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Welcome to the 2015-16 La Crosse Symphony Orchestra Concert Season Contents Concert Dates: October 24, 2015 November 21, 2015 December 18 & 19, 2015 February 6, 2016 March 12, 2016 April 30, 2016
Chamber Concert June 23, 2016
6 President’s Message 7 Board of Directors & Staff 8 Orchestra Members 9 Educational Programs 12 Biography 13 Alexander Platt
17 October 24 Concert 27 November 21 Concert 35 December 18 & 19 Concert 40 Rising Stars
2015-16 Season Sponsors
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Welcome Letter
Concerto Competition
46 Valentine Ball 47 February 6 Concert 55 March 12 Concert 65 April 30 Concert 70 Conductor Wannabe 71 June 23 Chamber Concert 74 Lokken Legacy 76 LSO Contributors 81 Guest Artist Society 82 In-Kind Gifts 83 Corporate Partners 85 Memorials/Legacy Society 91 The 20/30 Club 92 Endowment
For your information... In Case of Emergency
Please locate the exit nearest your seat. If an emergency should develop, move quickly and carefully to that exit when directed by the ushers or Stage Manager.
Wheelchairs
Wheelchair locations are available on the main floor and lower balcony at the Viterbo University Fine Arts Center. Please call the Symphony Office if you would like further information or a wheelchair location: 783-2121.
Please...
Turn off cell phones or leave them in your car. No smoking, food, or drink are allowed in the theatre at Viterbo. Taking pictures or using recording equipment is prohibited.
Cough Drops
Located in the lobby by the Concert Sponsors’ display is a container of complimentary cough drops, courtesy of The Prescription Center.
Thank you for supporting the Arts!
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LSO Office Hours & Ticket Info The LSO office is open from 8:00 a.m. to 4:00 p.m., Monday through Friday, and is located at 201 Main Street, Suite 230, La Crosse, WI 54601. Our offices are housed within the US Bank building in downtown La Crosse. Tickets are sold for all concerts at the Viterbo University EAST Box office on the nights of the performances starting at 5:30 p.m. For your convenience, you can reach the LSO office through the following:
Voice: (608) 783-2121 Fax: (608) 783-3121
Bravo!
The La Crosse Symphony Orchestra extends SPECIAL THANKS to
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Website - Check it Out!
Meridian created and maintains the La Crosse Symphony Orchestra’s new website as a generous donation. Find information about concerts, Symphony events, musicians, and educational opportunities. Use the site to place ticket orders, volunteer, or make contributions to the LSO. Take a look at www.lacrossesymphony.org.
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for our office space at 201 Main St., Suite 230, La Crosse, WI 54601
E-mail: accountant@lacrossesymphony.org Website: www.lacrossesymphony.org Facebook: www.facebook.com/lacrossesymphony Twitter: www.twitter.com/laxsymphony
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Post-Concert
RECEPTION
Live in beautiful harmony Design makes the difference
Everyone is welcome! Please join our conductor and guest artists after each concert for coffee in the Fine Arts Lobby area. COFFEE PROVIDED BY
Visit: M-F 9am–5pm, 1802 State Street, La Crosse Call: 608.784.9530
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s d r o w & music
On behalf of the Board of Directors, Maestro Platt, our fabulous musicians and staff, it is with great pride and pleasure that I welcome you to our 118th season of the La Crosse Symphony Orchestra.
KEN RILEY
Board President of the La Crosse Symphony Orchestra
Thank you for allowing me to serve as your President. I am both thrilled and inspired by the opportunity to lead such an extraordinary group of individuals who bring such passion, commitment, and so many diverse talents to the crucial task of supporting symphonic music and music education in our community and beyond. I would also like to give a special “THANK YOU” to all of our endowment donors and visionaries connected with our campaign and sculpture “Ode to Joy,” now located outside the Fine Arts Center. Through this campaign, we stabilized our organization and created a legacy that will ensure another 118 years of growth and success for the La Crosse Symphony Orchestra. For 118 years, we have successfully striven to fulfill our mission of providing excellent symphonic music for the pleasure of the public in the tri-state region, educating people of all ages in the symphonic repertoire and tradition, and encouraging student and professional musicians to develop and share their musical talents and skills. It is for YOU and because of YOU that season after season, we continue to be successful and build upon one incredible program after another. We wouldn’t have that success without YOU; the people who come to the concerts, subscribe to the season and donate to the LSO. Without YOU the music would cease. We are not simply the La Crosse Symphony Orchestra, but rather, we are YOUR La Crosse Symphony Orchestra. So from all of us at the LSO, we extend to you our deepest gratitude for helping to make this yet another successful season. Please make yourself comfortable, and prepare yourself for an astonishing performance! Musical salutations,
Ken Riley LSO Board President 6
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Administrative Staff The mission of the Symphony is “to provide excellent symphonic music for the pleasure of the public in the tri-state region, educate people of all ages in the symphonic repertoire and tradition, and encourage student and professional musicians to develop and share their musical talents and skills.”
EXECUTIVE DIRECTOR Tracy Fell
Board of Directors 2015-16 President-KEN RILEY
KEN RILEY is a teacher and president and founder of ED3 Solution Group, a company that collaborates with educational leaders. “I saw first-hand the power of volunteerism through my involvement with the Friends of the Symphony. The volunteers positively impacted the greater La Crosse Community through music and education, and I wanted to be a part of that.”
FINANCE & OPERATIONS MANAGER Jan Henry
President Elect-JAY JAEHNKE
JAY JAEHNKE, CFP, CPA, Vice President/Investments at Stifel Nicolaus. Jay works with business owners, professionals and retirees to build and manage their wealth. “I wanted to serve on the LSO board because of my passion for music and desire to serve the community in ways that involve both my interests and talents.”
Treasurer-WAYNE OLIVER
OPERATIONS AND PERSONNEL MANAGER Melissa Roby
Artistic Staff
WAYNE OLIVER is Executive Vice President of State Bank Financial. Wayne works with individuals and businesses in our communities to achieve their goals and aspirations. “I was honored to be asked to join the LSO Board so that I, too, may be able to help spread the news of what a great symphony we have here in La Crosse”.
Secretary-MARILYN ARNDT
MARILYN ARNDT retired from the La Crosse School District in 2011, after a 37-year career as a teacher. Music has always been a strong interest for me as a student when I was growing up and continuing throughout my entire life. Serving on the Symphony Board is a way for me to stay connected to one of my passions and to serve the community in support of making the arts available to others and making the arts an important part of the La Crosse region culture.
PAST PRESIDENT Pat Heim
EXECUTIVE MEMBERS AT LARGE
Jennifer Kloehn Randy Van Rooyen BOARD EMERITUS
Mary Ann Gschwind Dick Record David Reedy
CONCERT MASTER
Wes Luke
PRODUCER / EQUIPMENT MANAGER
Aaron Lewis
RECORDING ENGINEER
Brett Huus
BOARD OF DIRECTORS Harvey Bertrand Jeanne Connelly Kathy Davig Diane Foust Nancy Gerrard Jean Ann Gundersen Stephanie Krueger Bill Leonard Steve Michaels Joan Parke
MUSIC DIRECTOR (Program Notes) Alexander Platt
Jane Rada Eva Marie Restel Janet Roth Bob Schreier Connie Smith ORCHESTRA REP
Melissa Roby
Thank you to our office volunteers
IT SPECIALIST
Chad Gilbeck HEAD USHERS
Larry Frohmader Linda and Paul Winans INTERNS
Michaela Burton Heidi Gempeler Brooke Miller Kasey Overgaard
Char Lebakken and Art & Kathy Ingalls www.facebook.com/lacrossesymphony
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*-Principal Players
LOA-Leave of Absence
Violin 1
Section sponsored by Mark & Jeanne Connelly
CONCERT MASTER *Wes Luke CO-ASSOCIATE CONCERT MASTERS Tim Kamps Michelle Elliott Eric Bate Lauren Cooper Anne Judisch –LOA Brad Lebakken Amy Lindstrom - LOA Laura Mericle David Phipps Amy Scarborough Spring Spaeth
Violin 2
Section sponsored by Larry & Carolyn Furlong
*Mark Wamma Molly Breitlow Nicole Cody Eden Ehm Nori Hadley Kris Jenkins Linda Lebakken Susan Radloff - LOA Margit Speckeen Carole Schoonover Rolf Wulfsberg
Viola
Section sponsored by Becky Post & David Maddocks
*Luke Hubbard Elizabeth Becker - LOA Sean Dostal Melissa Roby
Orchestra Members Cello
Horn French
CO-ACTING PRINCIPALS *Jonathan Hodges *Wyatt Sutherland
*Paul Litterio Tammy Bartz Kelly Heidel Robert Fant Melvin Jackson
Section sponsored by Harold & Betty Haworth Memorial and Catherine Kinyon
Kathy Boarman Cindy Johnson Randy Mastin – LOA Adam Stiber
Bass
ACTING PRINCIPAL Chris Brown Blake Bonde Doug Nelson Eric Solberg Karyn Quinn
Flute/Piccolo *Carol Hester Barbara Tristano Bethany Gonella
Section sponsored by Richard & Dorothy Lenard and Richard & Lizbeth Reynertson
*Laura Chesher John Cord Patrick Gonsalves
Trombone
Section sponsored by Bob & Janet Roth
*Joseph Greer George Von Arx Jesus Arellano
Tuba
*Mike Forbes
Harp
*MaryBeth Hensel Jonathan Thompson
*Elinor Niemisto
Section sponsored by Alex & Jackie Vaver
Clarinet
Section sponsored by Ernie & Sally Micek
*Michael Chesher David Bell
Bass Clarinet
Section sponsored by Lillian Bell
* Kristy Femal
Section sponsored by Bob & Janet Roth
*Daniel Breining Harry Hindson www.lacrossesymphony.org www.lacrossesymphony.org
Trumpet
Oboe
Bassoon
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Section sponsored by Larry & Kathleen Wagner
Section sponsored by Dick Record
Piano/Celeste Section sponsored by Larry & Carolyn Furlong
*Pamela Kelly
Timpani
*Tammy Fisher
Percussion
*Richard Mac Donald Steve Groth James Knutson
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Educational Programs ANNUAL STRING SCHOLARSHIPS:
On Saturday, May 16, 2015, auditions were held to award eleven (11) scholarships for area string players. These scholarships are awarded on the students’ merit, potential progress, and perceived goals and desires.
THE SCHOLARSHIP INCLUDES THE FOLLOWING: • • •
Twenty lessons with an LSO musician with one-half tuition covered Tuition towards membership with the La Crosse Youth Symphony Orchestra Two complimentary season tickets
CONGRATULATIONS TO OUR RECIPIENTS:
Matthew Waters, Alex Ihrke, Henry Kline, Ellie Dingel, Austin Noble, Sam Orlan, Anna Gady, Sam Lakkman, Chia Mee Yang, Agnes Falter, Dominic Falter
STRING SCHOLARSHIP PROGRAM SPONSORS: Jeanne & Mark Connelly David Reedy Mary Rohrer
STRING SCHOLARSHIPS:
Marilyn & Jerry Arndt, Diane Foust & Jim Nelson Cindi & Deak Swanson, Marine Credit Union Educational Sponsorship in honor of Amy Mills (2), Joan & George Parke, Franke & Turnbull, CPA’s, Stephanie & William Krueger, Jean Ann & Sigurd Gundersen III, Jane and Ron Rada
There are three performances, scheduled for March 10, 2016 at 11 a.m., 12:15 p.m., and 1:30 p.m. Invitations to music teachers and homeschool parents across the area have already been sent; reservations are being taken. Teachers and parents have been informed about the theme and repertoire. It is our hope that these concerts will inspire a love of orchestral music and the development of a future audience for our wonderful La Crosse Symphony Orchestra!!! The youth are our future!!
PROGRAM FOR SYMPHONY FOR YOUTH 2016 CONCERT:
“LOST IN SPACE: Great Music Inspired by the Planets” Gustav Holst: “Mars”, “Venus”, and “Jupiter”, from THE PLANETS John Williams, arr. Burden: STAR WARS Suite
MAJOR SPONSORS: Ronald McDonald House Charities of Western Wisconsin and Southeastern Minnesota
ADDITIONAL SUPPORT: BNSF Foundation, La Crosse Community Foundation, Maureen & Mike Norris, Xcel Energy, Media Sponsor: WXOW - Channel 19
SYMPHONY FOR YOUTH
This well-established program is implemented by the musicians, staff, and volunteers of the LSO. It is the only project of its kind in the La Crosse area and is truly unique! The La Crosse Symphony for Youth program has been enriching the musical experience of over 2,500 students annually. The concert is geared towards students in third through fifth grades. These concerts act as an introduction to the full orchestra experience for our area youth. www.facebook.com/lacrossesymphony
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Alexander Platt’s Biography
The newly-appointed Music Director of the Minnesota Philharmonic Orchestra, Alexander Platt is Music Director of the Wisconsin Philharmonic, the Marion Indiana Philharmonic and the La Crosse Symphony Orchestra, and spends his summers in Woodstock, New York as Music Director of the Maverick Concerts, the oldest summer chamber-music festival in America. He also recently concluded twelve seasons as Resident Conductor and Music Advisor of Chicago Opera Theater (2001-12). At COT he led the Chicago premieres of Britten’s DEATH IN VENICE, John Adams’ NIXON IN CHINA, Dmitri Shostakovich’s MOSCOW PARADISE and Britten’s A MIDSUMMER NIGHT’S DREAM; the world premiere of the Tony Kushner/Maurice Sendak version of Hans Krasa’s BRUNDIBAR; the double-bill of Schoenberg’s ERWARTUNG and Bartok’s BLUEBEARD’S CASTLE with Samuel Ramey and Nancy Gustafson, and the world-premiere recording of Kurka’s THE GOOD SOLDIER SCHWEIK -all to consistently high acclaim in the major papers of Chicago and New York. Prior to this he spent twelve years as Music Director of the Racine Symphony Orchestra, three seasons as Principal Conductor of the Boca Raton Symphonia, and two years as Apprentice Conductor of the Minnesota Orchestra, the Saint Paul Chamber Orchestra and the Minnesota Opera, conducting Colin Graham’s production of MADAMA BUTTERFLY. A graduate of Yale College, King’s College Cambridge (where he was a British Marshall Scholar) and conducting fellowships at both Aspen and Tanglewood, he has guest-conducted the Brooklyn Philharmonic, the Illinois Philharmonic, the Freiburg Philharmonic in Germany, the Aalborg Symphony in Denmark, the Scottish Chamber Orchestra, the Wisconsin Chamber Orchestra, the City of London Sinfonia, Camerata Chicago, the Banff Festival, the Aldeburgh Festival, and the Houston, Charlotte, Columbus and Indianapolis Symphonies. In 2013 he made his debut at the Ravinia Festival, the summer home of the Chicago Symphony Orchestra, to high praise in the Chicago Tribune. He has recorded for Minnesota Public Radio, National Public Radio, the South-West German Radio and the BBC, and his Cedille Records disc with Rachel Barton of Max Bruch’s Scottish Fantasy is still often heard on radio stations across America.
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Dear LSO Friends: As you all know, this past April my wonderful Mother, for 50 years the great sustaining force in my life, unexpectedly passed away. This loss to my family prevented me from being with you for last season’s grand finale at our wonderful Viterbo Fine Arts Center; but our triumphant, first-ever series of chamber-orchestra concerts that followed soon after in June, both here in La Crosse and in nearby Viroqua, proved to me two things: how much this wonderful, greater La Crosse community has really come to mean to me, and as ever, the true importance of music in our lives. It is in that spirit that I welcome you to the La Crosse Symphony Orchestra’s 2015-16 Season, “Words and Music” -- inspired, at a distance, by the passing away 400 years ago of William Shakespeare, the greatest poet of all. While our final concert this season at Viterbo will duly celebrate some of the greatest music actually inspired by The Bard, the rest of our equally fabulous season will reflect on the relationship between words and music -- from the angelic finale to Mahler’s Fourth Symphony, to the fabulous song stylings from the best of the James Bond films, to even the slow movement of Carl Nielsen’s majestic Third Symphony, where two singers, singing a song without words, suggest that perhaps there is some truth to the old adage “Where Words End, Music Begins”. Most of all, none of this musical magnificence would happen without You -- our audience, our wonderful Board and administrative staff, and of course, our wonderful and devoted musicians. Please do consider further supporting the La Crosse Symphony in its sacred task of making our community whole, through the power of words, but especially, great music. “What came first?”, another old saying goes, “The Music, or the Words?” Does it really matter? What matters most is their occasional and glorious union onstage, making the magic happen......and as always, I feel privileged every day to be your Maestro.
Alexander Platt Alexander Platt, Music Director
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THE LA CROSSE SYMPHONY ORCHESTRA COUPON BOOK A special thank you to our Coupon Book Sponsors! Whether you buy a book to support the LSO or not, please thank these local businesses through your patronage; we ask our symphony patrons to support the establishments that support us.
All proceeds benefit the LA CROSSE SYMPHONY ORCHESTRA 14
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All coupons are
BUY 1 GET 1 FREE!
La Crosse Youth Symphony
La Crosse Symphony Orchestra Coupon Book Sponsors
OVER $600 VALUE*
only $40
(*if you maxed out every coupon, at all the maximum amounts)
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2015-2016 Concert Season
Dr. Paul Rusterholz, Conductor
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Performances are more powerful when we all play our part. From the stage to the seats, everyone who supports the arts deserves applause. We’re honored to play a role in making our community more inspiring. U.S. Bank is proud to support La Crosse Symphony Orchestra. 201 Main St Suite 100 | La Crosse WI 54601 | 608.782.8101
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WORDS
October 24, 2015 • 7:30 p.m.
Nordic Moods: Celebrating the Anniversary Years of Nielsen and Sibelius The Star-Spangled Banner Sinfonia delle Gioie (LSO Commission: World Premiere)
William Neil
Symphony No. 3, Op.27, “Sinfonia Espansiva” (First LSO Performance) Allegro espansivo Andante pastorale Allegretto un poco Finale: Allegro
Carl Nielsen
Ann Schoenecker, soprano Hans Laping, baritone INTERMISSION
Violin Concerto in D Minor, Op.47 Allegro moderato Adagio di molto Allegro, ma non tanto
Jean Sibelius
Janet Sung, violin
Thank you to our October Concert Sponsors Joe & Pat Heim
Thank you to our Season Sponsors
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OCTOBER GUEST ARTIST
Janet Sung Violin
VIOLINIST JANET SUNG enjoys an international career as a virtuoso soloist, praised for her lustrous tone and impassioned, bravura performances. Janet Sung’s current season is highlighted by her debut with the La Crosse Symphony Orchestra, under the baton of Music Director Alexander Platt. Since her orchestral debut with the Pittsburgh Symphony Orchestra at age nine, Janet Sung has been guest soloist with, among many others, the Buffalo Philharmonic Orchestra, Aspen Chamber Symphony and Pro Arte Chamber Orchestra of Boston, as well as the orchestras of Boise, Bozeman, Cheyenne, Corpus Christi, Delaware, Dubuque, Fargo-Moorhead, Hartford, Las Cruces, Springfield (Massachusetts & Ohio), Tacoma and Wyoming. Abroad, she has been heard with South Korea’s Pusan Philharmonic Orchestra, Germany’s Stelzen Festival Orchestra and Russia’s Omsk Philharmonic Orchestra and National Symphonic Orchestra of Bashkortostan. Her solo performances have frequently been aired on radio and television, nationally and internationally, including multiple broadcasts of her performance of Korngold’s Violin Concerto on NPR’s “Performance Today.” Acclaimed for her compelling performances of traditional works from Bach to Berg, she also reveals her repertoire’s diversity by presenting the works of the 20th and 21st centuries. In 2009, Ms. Sung presented the world premiere of Kenneth Fuchs’ American Rhapsody for Violin and Orchestra, and, in 2011, the world premiere of Augusta Reed Thomas’ Double Helix. Additionally, she has toured regularly throughout the United States with fiddler Mark O’Connor’s American String Celebration, showcased in performances of Vivaldi’s The Four Seasons and Sarasate’s Zigeunerweisen. In recital, Janet Sung has been presented in Boston, Chicago, Cleveland, Louisville, New York City and Pittsburgh, as well as in Odense, Denmark, Lausanne, Switzerland and Queenstown, New Zealand. She is also a frequently heard artist at distinguished music festivals, including: Aspen, Bellingham, Bowdoin, Britt, Green Mountain, Hot Springs, Newport, Sewanee, Germany’s Sulzbach-Rosenberg International Music Festival and Switzerland’s Lucerne Festival.
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OCTOBER GUEST ARTISTS Ann Schoenecker Soprano
Hans Laping Baritone
ANN ELISE SCHOENECKER, SOPRANO, has performed all genres of music from opera to oratorio to music theatre throughout the United States and Europe. She has appeared in over 30 opera and oratorio roles, most recently in the role of Asya in Arshin, Mal Alan at the famed Dorothoy Chandler Pavilion in Los Angeles, CA. She has taken her most recent recital The Shining Place: A Celebration of Women Poets and American Composers throughout the Midwest, Florida and Hong Kong. Dr. Schoenecker has held teaching positions at The Performing Arts Studios, Vienna, in Vienna, Austria, Luther College, University of Minnesota and the University of Missouri-Columbia. She is sought after nationally and internationally as a singer, clinician and director. Her students have competed on the international and national stages and have gone on to top graduate programs in voice. Dr. Schoenecker is a former Regional Metropolitan Opera Finalist, Finalist in the Jenny Lind National Competition for Sopranos and has sung many roles with Opera Boston, among others. Dr. Schoenecker is a graduate of Luther College, the University of Missouri-Columbia under the tutelage of Costanza Cuccaro, and the University of Minnesota where she received her DMA in vocal performance and pedagogy under Lawrence Weller and Dr. Clifton Ware. Dr. Ann Elise Schoenecker currently resides in Onalaska, WI with her husband and four daughters, where she is a tenured Associate Professor of Music at Viterbo University teaching lyric diction, song literature, opera literature and applied voice. HANS LAPING, BARITONE became interested in classical music in his late twenties. He soon discovered his baritone voice and joined the UW-La Crosse Choral Union and soon after became a member of the La Crosse Chamber Chorale which were both under the direction of Paul Rusterholz. He is a frequent soloist with both groups. His repertoire ranges from Brahms and Faure Requiems to Gilbert and Sullivan. Hans has been a longtime private voice student of Dr.Jerry Benser. He won the adult division of the Wisconsin State National Association of Teachers of Singing auditions. When not singing, he enjoys playing on his hobby farm in rural Vernon County. Hans is looking forward to making his solo debut with the La Crosse Symphony Orchestra.
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OCTOBER PROGRAM NOTES Sinfonia delle Gioie William Neil WILLIAM NEIL’S compositions present the listener with an intense brilliant effect (FANFARE MAGAZINE) and represents contemporary writing at its most intellectual probing (CHICAGO T R I B U N E ) . H i s extremely characteristic harmonic world (CLASSICAL CD REVIEW) is fundamental to the unfolding of his music. Never exhausting his quest for what he calls “dream craft”, Neil regularly performs with Project Fourth Stream, immersing himself in the energy of improvisation and spontaneous composition. In the 1980’s Neil was appointed as the first composer-in-residence with the Lyric Opera of Chicago, the first residency of its kind with a major American opera company. He then went on to produce award winning concerts and events at the New Music Chicago Spring Festival for several years. His has composed music for celebrated musicians including John Bruce Yeh and Chicago Pro Musica, guitarist Michael Lorimer and soprano Barbara Ann Martin. His Rhapsody for Violin, commissioned by the Abelson Foundation, was premiered in Prague by the Czech National Symphony, and conducted by Paul Freeman, has been recorded and released on the New Albany label. The Rome Prize and the Charles Ives Award are among his honors. His work has been recognized through grants from the National Endowment of the Arts, the Illinois Arts Council, fellowships from the Fulbright Commission and the American Symphony Orchestra
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LSO Commission: World Premiere League and awards from ASCAP and BMI. In 2008 he served as the McKnight Visiting Composer with the American Composers Forum for the city of Winona, MN. Most recently, Trio Malipiero premiered his piano trio, Notte dei Cristalli, at the Teatro alla Specola in Padova in June. The La Crosse Symphony Orchestra, directed by Alexander Platt will premiere his Symphony No. 1 (Sinfonia delle Gioie) in October of this year. Neil is the artistic director of TheComposerStudio.Com, LLC that specializes in film and sound design for theatre. Recently, he has produced sound design for the In Tandem Theatre Company production of Beast on the Moon and The Glass Menageries in Milwaukee, WI. “Sinfonia delle Gioie (symphony of joys) is a symphony in one movement that was inspired by my personal reflection on the joys that have emerged in my life over time. Musically, I have drawn inspiration from the Norwegian willow flute or sallow flute that is a type of overtone flute played by varying the force of air blown in the mouthpiece. Indeed, the primary theme of the piece is a surging, joyful spring of sound that radiates from the flutes and double bass harmonics, emulating this simple flute. This jubilant theme threads throughout the entire piece and is the source of secondary themes that develop as the music unfolds. Melody in this symphony predominates and expresses what I call the “long, deep song”. I believe that all music
stems from the basic impulse for humans to tell stories that reflect on their experiences through song and dancing and so my chosen genre of storytelling is the magnificent medium of the symphony orchestra. Another meaning for the Italian word “gioie” is jewels. This word in my title references what I treasure most in my life: the gem-like memories that I cherish like jewels. So, this single movement symphony is an elaborate and powerful song that reaches deeply into the shadows and emerges with a universal expression of joy.” JEAN SIBELIUS (1865-1957): Concerto in D Minor for Violin and Orchestra, Op.47 I. Allegro moderato II. Adagio di molto III. Allegro ma non tanto Born one hundred fifty years ago this December, Jean Sibelius is unquestionably the greatest composer the small, but stalwart nation of Finland has produced. Indeed, as his rise to prominence coincided exactly with Finland’s ever-increasing struggle for independence from the Russian Empire in the years just before World War I, his nickname as “the George Washington of Finland” has been not without merit. It’s fair to say that every citizen of Finland knows about Sibelius and his music, but due to the pioneering work in the mid20th century by three very different, legendary conductors -- the German maestro Herbert von Karajan, the
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gloriously eccentric Sir Thomas Beecham, and our own Leonard Bernstein -- it was not until fairly recently that Sibelius (and, one should say as regards Bernstein, Carl Nielsen) became as highly regarded a composer in the English-speaking world as his already-famous contemporaries of Mahler and Richard Strauss. Coming on the heels of the completion of his first two symphonies -- it is my hope to present in La Crosse his symphonic masterpieces in chronological order -- Sibelius’ Violin Concerto, begun when its creator was thirty-eight years old, completing a triumverate of works that presented a fully-fledged genius to the musical world. It is not for nothing that the first performance of the final revised version of the Concerto, in 1905 as the composer turned forty, was in Berlin under the baton of no less a figure than Richard Strauss himself. The Concerto’s first movement begins with an unmistakable gesture: a strange murmur in the strings, over which the solo violin sings its ancientlike, sorrowful song. From this, and a weightier theme in the low winds, cellos and basses, Sibelius shows his unique talent for the constant growth and germination of ideas, all building to an extraordinary cadenza (one which could only have been written, as was in the case with Sibelius, by a composer who was a skilled violinist himself), and a frightening climax. The second movement begins with pairs of woodwinds, sighing together, as it were, in thirds -- here Sibelius is recalling the cranes and swans of Finland’s lonely landscape of lakes and forests. The main melody, equally haunting, though of a more Slavic tone, is soon taken up by the solo violin. The movement is essentially an ongoing development of this sad, Tchaikovskian idea, and soon dies away, in the same musical half-light in which it entered. T he esteem ed o l d S c o tt i sh musicologist Sir Donald Francis Tovey famously referred to the Concerto’s last movement as “a polonaise for
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polar bears”, and it’s not difficult to hear why: the jaunty, heavy, but irrepressably joyous three-time rhythm, the dark but vigorous scoring in the low strings and timpani, and most of all, that bear-claw of an idea, utterly original, in the soloist’s hands. The main idea’s basic dotted rhythm gets developed and developed, always sounding feverish and new; and, as in the first movement, the sheer level of virtuosity that is required of the soloist is nothing short of spellbinding. The Concerto’s final bars are in a blazing D major, with the solo fireworks always at the fore.
There, however, the similarities mostly end. Sibelius was born into a comfortable middle-class Helsinki family of Swedish-speaking Finns; Nielsen was born poor -- but, as the saying goes, he was poor but happy, growing up on the remote island of Funen, son of a well-liked village musician, with the constant, direct contact with nature and its sounds having a profound impact on the music he would leave us. Sibelius is perhaps the ultimate nationalist lateRomantic: his musical personality is dark, moody, somewhat Slavic, representing a nation yearning for CARL NIELSEN (1865-1931): freedom; Nielsen, on the other hand, is S y m p h o n y No . 3 , O p . 2 7 , the happy early-Modernist, energetic, unsentimental, with a contentedness “Sinfonia Espansiva” that was perhaps not unrelated to growing up in a nation that had long I. Allegro espansivo known its place in the world. II. Andante pastorale III. Allegretto un poco Of all of Nielsen’s symphonies -IV. Finale: Allegro his First Symphony is actually an Born, like Sibelius, 150 years ago in astonishingly effective early work, and 1865, Carl Nielsen -- not to sound his Second Symphony, subtitled by simplistic -- really is to Denmark what him “The Four Temperaments”, took Jean Sibelius is to Finland and Grieg this sense of striding self-confidence a is to Norway: unquestionably the good deal further -- one might say that greatest composer this small Nordic it is his Third Symphony, nicknamed nation has produced. (Actually, by the composer the “Espansiva” Sweden also has a great symphonic (“Expanding”), which best exemplifies genius, the underrated Franz Berwald those traditionally Danish character (1796-1868), who, unlike the traits of boisterousness, civility, aforementioned masters, was almost enlightenment and good humor. completely ignored in his lifetime -- Much ink has been spilled over but that is another story.) Building on what Nielsen meant exactly by this the substantial work of men such as symphony’s subtitle, but it was, I think, Johan Svendsen and Niels Gade in the the English composer Robert Simpson early years of the 20th century, Carl who described it best, saying that the Nielsen made a mark on Scandinavian term described “the outward growth of (and indeed, European) music which the mind’s scope and the expansion of was profound and unmistakable; life that comes from it.” But whereas but, as with Sibelius, it was not until in the Second Symphony Nielsen the 1960’s that Nielsen began to be portrayed the four wildly divergent recognized in the English-speaking medieval moods of the human world as the towering genius he is. temperament, in his Third Symphony, Once again, it would be Leonard the mood across its four traditional Bernstein who would finally bring movements of sonata-allegro, slow attention to Nielsen on these shores ballad, dance-movement and finale is -- indeed, there is a wonderful altogether sunny in its outlook. And performance of the Symphony No.3 while nothing better exemplifies this on YouTube, with Lenny directing than the symphony’s final movement, the Royal Danish Orchestra -- with its main theme seeming like a and astonishingly, the first British “hymn to humanity”, listen especially performance of the “Sinfonia for the ending of the pastoral second movement, where, as if recalling Espansiva” did not occur until 1962.
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those lovely, lonely island days of his childhood, Nielsen suddenly offers us two wordless voices, singing from the rafters in haunting vocalise.
almost forty years ago that “from the Third Symphony onwards...(Nielsen’s) music is characterized by an increasing concordance of orchestration and texture...he developed a dynamic No one summed up better in approach to symphonic form early on. English the essence of Carl Nielsen’s Starting from the traditional sonata Symphony No.3 better than the form, he transformed it towards a scholar Torben Schousboe, who wrote personal episodic form. By means
of intensive motivic treatment and the development of linear structure, he linked his musical progressions in increasingly large structural sections which are directly adjacent, but at once separated by, and united through, large curves of tension; here again, the Third Symphony is the central work.” LSO
The La Crosse Symphony Orchestra would like to extend a special thanks to the Candlewood Suites of La Crosse for providing gracious accommodations to our Music Director.
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Learn about what inspired the composers at the
CONCERT PREVIEW WITH MAESTRO ALEXANDER PLATT 6:45 - 7:15 p.m. in the Viterbo Lobby
Did you know that wherever you are in Wisconsin you can hear a great orchestra? VISIT:
www.wisconsinorchestras.org to learn where to find wonderful music ... any time!
Maestro Alexander Platt will present a light and informative concert presentation regarding the composers and their music — what inspired the composers, historical perspective and what to listen for at each concert.
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November 21, 2015 • 7:30 p.m.
Bond, James Bond: The Ultimate 007 Concert Featuring soprano Mary Carewe, and the symphonic arrangements of Nic Raine John Barry, Monty Norman, Bill Conti, David Arnold, George Martin, Marvin Hamlisch, Bono, and Thomas Newman, as orchestrated by Nic Raine: The James Bond Theme (from Dr. No) Goldfinger You Only Live Twice For Your Eyes Only The World is Not Enough Live and Let Die
INTERMISSION Chase Music, from On Her Majesty’s Secret Service Nobody Does It Better, from The Spy Who Loved Me Goldeneye Surrender Diamonds Are Forever Skyfall
Thank you to our November Concert Sponsors George & Connie Smith
Thank you to our Season Sponsors
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NOVEMBER GUEST ARTIST Mary Carewe
MARY CAREWE is one of the most accomplished and versatile concert and recording artists in the UK. She has performed extensively throughout the UK, Europe, the Americas and Australia, with repertoire encompassing stage and screen, 20th century cabaret and contemporary classical music. A dynamic stage performer, Mary regularly appears with the main UK orchestras including the Royal Philharmonic and Royal Liverpool Philharmonic Orchestras, City of Birmingham and Bournemouth Symphony Orchestras, the Hallé, Philharmonia, Northern Sinfonia and Ulster Orchestra. In Europe she has performed with the Orchestre d’Ile de France, Czech National Symphony Orchestra, Sinfonia Lahti, Bochum Symphony Orchestra, Odense Symphony Orchestra, NDR Radiophilharmonie, Sønderjyllands Symphony Orchestra, Helsingborg Symphony Orchestra and Stavanger Symphony Orchestra; and further afield, with the Indianapolis Symphony Orchestra, Pacific Symphony Orchestra, Richmond Symphony Orchestra, Florida Orchestra, National Symphony Orchestra, New York Pops (with whom she made her debut at the Carnegie Hall, New York); and also with the Melbourne, Queensland and Tasmanian Symphony Orchestras, and Malaysian Philharmonic Orchestra. She has performed under the baton of Sir Simon Rattle, John Rutter, Carl Davis, Kurt Masur, John Wilson, Don Pippin and David Charles-Abell. With Australian pianist and arranger Philip Mayers, Mary presents a number of Serious Cabaret programmes exploring the development of cabaret and jazz throughout the 20th century. Acclaimed by having the “capacity to live the song... with the even rarer ability of giving the impression that she is singing directly to you” (seenandheardinternational.com), Mary has charmed audiences across the globe. In 2012, Mary and Philip released Serious Cabaret for Orchid Classics, which included Berlin cabaret songs, re-inventions of popular songs by George Gershwin, Kurt Weill and Lionel Bart as well as contemporary art songs. This will be followed by a CD of Gershwin songs arranged by Mayers for voice, string orchestra and piano. As a recitalist she has appeared at the Théâtre du Châtelet, Maison de Radio-France in Paris, Festival de l’Ile de France, the Concertgebouw in Amsterdam, Calouste Gulbenkian Foundation in Lisbon, Casa da Música in Porto, Opera Butxaca in Barcelona, the Berlin Philharmonie, the Sage Gateshead, the Southbank Centre and King’s Place, London, as well as the Aldeburgh and Cheltenham Music Festivals. Last season the duo returned to Australia to perform Tell Me the Truth about Love at the Melbourne Recital Centre and Sydney’s Independent Theatre. The 2015/2016 season includes performances with the City of Birmingham and Royal Liverpool Philharmonic Orchestras, and her debut with La Crosse Symphony in the USA. On stage, Mary has sung the role of Mrs Noye in Britten’s Noye’s Fludde at the Loch Shiel Spring Festival; Anna 1 in Kurt Weill’s Seven Deadly Sins in Bilbao and Cuenca, Spain; and in theatrical revues of Sondheim, Rodgers and Hart, and Cole Porter at London’s Cadogan Hall. At the 2010 Musikfest Stuttgart, Mary presented Das Lied der Nacht, performing Schönberg’s Pierrot Lunaire and songs by Kurt Weill with the Sheridan Ensemble. Mary has appeared frequently as a soloist for BBC Radio 2. On their flagship live music programme Friday Night is Music Night she has starred in over 75 episodes. On television, her voice is a familiar feature for jingles and TV themes, and her appearance alongside Carl Davis and the Philharmonia in a concert to celebrate 50 years of James Bond was aired on BBC4 in 2012 to wide acclaim. A prolific recording artist, Mary’s discography reflects the diversity of her work, ranging from quintessential musical theatre composers including Rogers and Hammerstein, and Kander and Ebb; to 70’s pop icons Abba and the hits of the James Bond movies. Mary has also recorded Life Story by and with Thomas Adès for EMI, Britten on Film with the Birmingham Contemporary Music Group and appears with the Hallé on their CD Britten to America. Further to this, Mary has recorded extensively for Welsh composer Karl Jenkins, featuring on his Christmas CD Stella Natalis, and providing vocals on all bar one of the instantly recognizable Adiemus albums.
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NOVEMBER PROGRAM NOTES Bond, James Bond:
The Ultimate 007 Concert I trust that the films based on the James Bond, or “007” novels of Ian Fleming need no introduction for American audiences; but perhaps, a word or two about the composer and/or orchestrator of most of their music, John Barry (1933-2011). Born John Barry Prendergast in the ancient northern English city of York, Barry was, from his earliest years, awash in the world of movies -- his father made his living owning several cinemas. Doing his National Service by serving in the British Army in its postwar administration of the island of Cyprus, Barry spent his off-hours learning how
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to play the trumpet, forming his own band, The John Barry Seven, upon his being discharged. Following the group’s success, Barry was hired by the producers of the very first James Bond film, Dr. No (1962), as they were dissatisfied by their original choice of Monty Norman; the result, “the James Bond Theme”, has become one of most ubiquitous pieces of music in the history of cinema. Many, many other successful “007” projects followed over the years, with Barry producing memorable scores for Goldfinger (1964), Moonraker (1979), The Living Daylights (1987), and Thunderball (1965); A View to a Kill (1985), From Russia With Love (1963), and You Only Live Twice (1967); Diamonds Are Forever (1971), the most comedic of the Bond films up to that time aside from the spoof of Casino Royale (1967), The Man With the Golden Gun (1974), and of course, the most curious and elegiac of them all, On Her Majesty’s
Secret Service (1969), the one “007” film starring George Lazenby as our English Cold-War hero. And while, of course, other fine composers have contributed to the James Bond musical treasure-trove over the years -- Thomas Newman wrote the score for the recent Skyfall, no less than Bono wrote the theme song for Tina Turner to sing in GoldenEye, and Marvin Hamlisch would pen the tunes for The Spy Who Loved Me -- John Barry’s mark is, indeed, everywhere in the “007” oeuvre: no mere tunesmith, Barry wrote the complete soundtracks for most of his Bond-film projects, giving all of the “007” movies a lush orchestration and truly symphonic scope. Also the composer of the masterly scores for such classic films as Born Free, The Lion in Winter, Out of Africa, Dances With Wolves, and Somewhere in Time, John Barry unsurprisingly received many awards over the decades for his brilliant and lasting contribution to the film-music genre: five Academy Awards, several Grammy Awards, and in 1999, the tile of Officer of the British Empire, at a ceremony at Buckingham Palace. A resident of the United States since 1975, John Barry died in 2011. LSO
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Johns, Flaherty & Collins, SC is proud to support the arts in our community.
600 Exchange Building • 205 Fifth Ave. South La Crosse • WI 54601
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December 18 & 19, 2015 • 7:30 p.m.
Home for the Holidays
Featuring the La Crosse Dance Centre (Nikki Balsamo, Artistic Director; choreographers Joey Miller, Jen TeBeest, and Erin Balsamo; Costume Designer; Bryce Turgeon) and Ballet L a C r o s s e (Misty Lown, Director; Kennet Oberly, Artistic Director; Amanda Schrams, Assistant Director) Cinderella Waltz White Christmas March of the Toys, from Babes in Toyland Troika (“Sleigh Ride”), from Lieutenant Kije Chorale Prelude on “Silent Night” Stille Nacht The Christmas Song Hanukkah Festival Overture Sleigh Ride
Richard Rodgers/Bennett Irving Berlin/Bennett Victor Herbert Sergei Prokofiev Samuel Barber Chip Davis/Mannheim Steamroller Mel Torme/Lowden Lucas Richman Leroy Anderson
INTERMISSION Prelude and Act II from Cinderella Christmas Sing-Along
Sergei Prokofiev John Finnegan
Thank you to our December Concert Sponsor
Thank you to our Season Sponsors
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DECEMBER GUEST Nikki Balsamo
NIKKI BALSAMO grew up dancing at La Crosse Dance Centre. Nikki has her BFA in Dance from the University of Minnesota and her MA in Servant Leadership from Viterbo University. Nikki’s professional performing credits include performing as a guest dancer with “JAZZDANCE!” by Danny Buraczeski, works by Christine Maginnins, Cyndi and Brad Garner, and Emily Johnson. Nikki directed the Jazz Dance Program at DanceWorks Performing Arts Center in Lakeville, MN. She also directed the dance program at the Arizona Bridge Project, an after school arts program for teenage girls in Minneapolis, and served as a dance specialist in the Minneapolis Public Schools. Nikki’s choreography has been performed at the American College Dance Festival, the Walker Art Center in Minneapolis, and Viterbo University’s Bright Star Season. In 2001, Nikki became Artistic Director of La Crosse Dance Centre. She directs La Crosse Dance Centre’s annual Nutcracker Ballet each year and directs LDC’s performing ensembles. Nikki served as the Dance Coordinator in the Theatre & Music Theatre Department at Viterbo University from 2004-2014. Nikki is currently Owner and Artistic Director of La Crosse Dance Centre. She is passionate about investigating how dance education can promote human connection and community by fostering creativity and collaboration. La Crosse Dance Centre (LDC) provides unique dance education, promoting human connection and community by fostering creativity and collaboration. In its 32nd year, LDC is committed to helping children and adults of all ages unlock their creative minds and integrate this creativity with body awareness and coordination, creating a vehicle for joyful discovery. LDC’s programs prepare dance artists to pursue dance at the collegiate and professional levels, as well as inspire a life-long love of the art form. One manifestation of LDC’s mission is to collaborate with various artistic and community groups to bring life to stories through various media. LDC is proud to be collaborating with La Crosse Symphony Orchestra for the third time. LDC has recently collaborated with Viterbo University’s Music Department, the Pump House Regional Arts Center, Amanda’s Academy of Dance, Nicole’s School of Dance, the Scenic Bluffs Chapter of the American Red Cross, and New Horizon’s Shelter and Women’s Center. LDC recently performed it’s 26th Annual Nutcracker Ballet at Viterbo. Visit www.lacrossedancecentre.org for more information about La Crosse Dance Centre’s training and choreographic programs.
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DECEMBER GUEST Misty Lown
MISTY LOWN founded her first business, Misty’s Dance Unlimited, at age 21. Misty’s Dance Unlimited was named a “Top 50 Studios in the Nation” by Dance Spirit Magazine and has provided over $200,000 in scholarship for dancers. She has also been the keynote speaker for the Australian Teachers of Dancing Convention and has authored over 40 articles for Dance Studio Life Magazine. Misty has founded several more companies including More Than Just Great Dancing™ (a licensed dance studio affiliation program that has a positive impact on over 40,000 dance students around the globe each week), Everything Dance, Midwest Dance Connection, and A Chance To Dance Foundation. She has been recognized as “Dance Teacher of the Year” by Eclipse Studio Dance, “Outstanding Businesswoman of the Year” by the local YWCA and awarded the “Pope John XXIII Award for Distinguished Service” by Viterbo University. Misty has encouraged and inspired hundreds of entrepreneurs and thousands of young women in the past eighteen years and continues to share her positive and humorous perspective on business and life through through her writing, speaking, and mentoring. Misty married her high school sweetheart, Mitch and lives in her hometown of La Crosse, Wisconsin. Family, faith, and mentoring are the anchors of her life. She and her family volunteer together at the annual Thanksgiving Community Dinner and at their church. Mitch volunteers for the Dive Search and Rescue Team and serves as president of Global Groundwork, a 501(c)3 foundation. Misty pitches in as a field trip chaperone for the kids’ school, and advisor for Youth Protection Advocates in Dance and as the president of the A Chance to Dance Foundation. Misty gives credit to her parents for teaching her the importance of giving and working hard, and that all people have value no matter what their background or situation. She gives credit to her husband and his mom, Karen, for making it possible for her to pursue all her entrepreneurial dreams. Misty gives God all the credit for any success or impact she has through speaking, writing, giving or teaching. Any mistakes or flops…she is quick to own those as well. Her favorite part of the day is spending time with Mitch and their five amazing kiddos: Isabella – our beautiful dancer Mason – our history buff Sam – our card shark Max – our LEGO master Benjamin – our little music lover Although life is busy, Misty makes time for family, prayer, and fun each day.
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DECEMBER PROGRAM NOTES Home for the Holidays Sergei Prokofiev: Prelude and Ball Scene from CINDERELLA (1944) While I know you’ll all enjoy the favorite Christmas and Hanukkah selections on the first half of tonight’s performance, some words are in order about the beautiful ballet score that will follow it, the under-appreciated CINDERELLA by the towering 20th-century Russian master, Sergei Prokofiev (1891-1953). Born just as the decadent “belle epoque” of turnof-the-century European culture was getting started, Prokofiev shot to fame as an “enfant terrible” during the years of the First World War, and would soon emigrate to Paris after the Russian Revolution; he even came to our own Middle West, for the world premiere of his opera THE LOVE FOR THREE ORANGES in 1920’s Chicago. Convinced -- ensnared, really -- by the Soviet authorities to eventually return to his Russian homeland, Prokofiev, like his colleague Dmitri Shostakovich, was a true soldier of music in the cataclysm of World War II, still referred to these days in Russia as “The Great Patriotic War”. When the torment of war was over, however, Marshal Joseph Stalin would turn his ruthless gaze on this great -- but naïve -- composer, driving him undeniably to an early grave. The fact that Prokofiev died on the exact same exact day as his nemesis, in 1953, only makes his story more pathetic.
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In was during the Second World War that Prokofiev composed the ballet score for CINDRELLA, on the heels of his most well-known ballet masterpiece, his stunning ROMEO AND JULIET of the late 1930’s. Commissioned by the Kirov Ballet (where ROMEO had been premiered) in 1940, work on the new ballet had to be postponed due to the Nazi invasion of Russia, inspiring Prokofiev to compose instead his monumental opera WAR AND PEACE. Finally able to get back to the ballet in 1943, the premiere of CINDERELLA took place at Moscow’s legendary Bolshoi Theatre in November 1945, soon after the first performance of his epic Fifth Symphony. Due to the inexorable decline in his health caused largely by Stalin’s persecution of him, Prokofiev never got to fashion orchestral suites from CINDERELLA as he’d done with ROMEO AND JULIET, so it’s left to every conductor to do what they feel best; thus with the help of both of our wonderful ballet companies, we here present a sequence that hopefully distills the essence of the story. In the opening numbers, we experience both the work’s basic thematic material and most of its central characters: first, the essential dichotomy of the work, in which Cinderella’s loneliness is contrasted with her dream of a happy life; then her selfish, quarrelling stepsisters, who come to blows over a shawl, tearing it in two; and finally, a tender scene in which Cinderella discovers a hidden portrait of her deceased mother, with all its attendant memories of her oncehappy childhood. The rest of tonight’s music is centered on the magnificent ball scene, really the heart of the ballet’s drama, in Act II. Following an impish mazurka, that Polish dance-form so immortalized by Chopin, we hear the music for the now-transformed Cinderella’s dazzling
entrance at the ball, whereupon the handsome Prince is captivated. The guests gossip about this strange newcomer, and she, and then the Prince, both have their solo dances; and after another dose of squabbling stepsisters, our hero and heroine fall in love. Sadly, in her happy delirium Cinderella forgets the warning of her Fairy Godmother, that the spell of her magic slippers will disappear at the final stroke of midnight; and so it is that Cinderella’s gorgeous attire disappears as well, with our heroine fleeing from the ballroom in rags, leaving only a slipper behind......we all know that the story will eventually have a happy ending, but at this Holiday time, it is good to remember, if wistfully, that one’s fate can turn in an instant. LSO
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Announcing...
Travel Leaders Owned and Operated by Goli’s Avenues of Travel John Bolstad
The 17th Annual RISING STARS CONCERTO C O M P E T I T I O N
PLEASE JOIN US! ATTENDANCE IS FREE!!
SATURDAY, JANUARY 23, 2016 at 3:30 p.m. in the Recital Hall at Viterbo University
All high school students 14-18 years of age are eligible to compete for cash prizes. One pianist and one instrumentalist will be selected to perform at the February 6, 2016 concert. Application, repertoire list, competition rules & entry deadline are available at:
www.lacrossesymphony.org For more information, contact: David Reedy at davidhreedy@gmail.com or Janet Roth at theroths07@msn.com
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Heart problems don’t keep schedules.
That’s why a team of specialists, including the region’s only full-time cardiac electrophysiologist, is right here in La Crosse. Some of the people who will see the cardiac care team next week don’t even know it yet. While most plan for their pacemaker implantation or ablation procedures in advance, a young athlete who suddenly collapses on game day doesn’t have that option. Good thing the right heart specialists are nearby.
Mayo Clinic Health System - Franciscan Healthcare 700 West Ave. South, La Crosse, WI 54601 mayoclinichealthsystem.org/lacrosse
To schedule an appointment for a consultation, call 608-392-9862
La Crosse Symphony Program / No Bleed - 5.5” x 9.75” www.facebook.com/lacrossesymphony 2015-16 Season
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February 6, 2016 • 7:30 p.m.
Boy Wonders and Rising Stars Symphony No. 1 in C Major, Op.21 Adagio molto -- Allegro con brio Andante cantabile con moto Menuetto: Allegro molto e vivace Adagio -- Allegro molto e vivace
Ludwig van Beethoven
LSO Rising Stars Instrumental Division Winner, Repertoire To Be Announced INTERMISSION
LSO Rising Stars Piano Division Winner, Repertoire To Be Announced Symphony No. 1 in D Major, D.82 Adagio -- Allegro vivace Andante Menuetto: Allegro Allegro vivace
Franz Schubert
Thank you to our February Concert Sponsors
Thank you to sponsors of the Rising Stars Concerto Competition winners Anna Beth Culver • Jane Saline Memorial
Thank you to our Season Sponsors
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FEBRUARY PROGRAM NOTES Boy Wonders and Rising Stars LUDWIG VAN BEETHOVEN (1770-1827): Symphony No.1 in C Major, Opus 21 I. Adagio molto; Allegro con brio II. Andante cantabile con moto III. Menuetto: Allegro molto e vivace IV. Adagio; Allegro molto e vivace How fitting that, surrounding performances of favorite concerto movements with the brilliant young winners of this year’s LSO “Rising Stars” Competition, we offer you this evening the very first symphonies of the two great “boy wonders” of early 19th century German music: Franz Schubert, and before that, -who else? -- Ludwig van Beethoven. Tragically, Schubert, who had every expectation to succeed Beethoven as the great Viennese composer of his time on the former’s death in 1827, would himself perish the very next year, cut off from life at the tender age of thirty-one. But both men, in their very different ways, would grow from their “enfant terrible” status into being the great symphonic masters of their time -- indeed, it would be Schubert and Beethoven who would grab the reins of the high Classical symphony, inherited from Haydn and Mozart, and transform it into the musical hallmark of the Romantic style. And did I say “enfant terrible”? Well, how about this for some early critical notices of Beethoven’s first try at
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symphonic writing: “the confused explosions of the outrageous effrontery of a young man....” “A danger to the musical art....a prodigal use of the most barbarous dissonances....Alas, the ear is only stabbed; there is no appeal to the heart.” Yes, such were among the first reviews of Beethoven’s First Symphony, premiered in Vienna in the tellingly signal year of 1800. While such comments about a relatively tame late-Classical symphony are as shocking to us now as, apparently, some early critics saw the actual music, one must notice and remember the ever-fascinating dichotomy of this work. On the one hand, yes: here Beethoven is already appearing to have that brash, slovenly, eccentric confidence that would mark the rest of his career. But on the other hand, we are reminded on every page of this perfectly-crafted symphony that Beethoven also wishes to honor the tradition in which he was raised -- he worshiped Mozart, and studied with Haydn -- and to still cultivate what was then his popular image: a dashing and brilliant young solo pianist, elegant in manner and popular with the ladies, steadily gaining commissions as a composer and eager to gain for himself ever more of the support-system of Vienna’s aristocratic families. So then, at the very beginning of this First Symphony, we have a grand slowintroduction in the Joseph Haydn manner; but already there are strange, shifting, ambiguous harmonies before we finally get into the main, fast Allegro in the usual sonata form -but again, one full of bold, shocking dynamic gestures, and harmonic twists and turns. That said, the second movement is all tradition: a graceful, lilting dance in three-quarter time, also subtly developed in the sonata form of exposition, development and recapitulation in which all the great
Germanic composers have excelled. The “Minuet”, however, ain’t no minuet: in what must have been one of the most offensive gestures to what was undoubtedly a very conservative Viennese audience at the premiere, here we have not a broad, courtly dance in 3/4 time but a raging, irrepressible scherzo, one-to-the-bar and full of an energy that many a later 19th century composer would envy. As for the Finale, here again Beethoven annoyingly plays with the expectations of his audience: a simple scale creeps upward in the first violins, going one little note higher on each repetition.....testing our patience, he then, as if out of nowhere, tears into a jolly, dance-like Allegro vivace, the infectious wit and laughter straight out of the character of Haydn’s late “London” symphonies -- but with a certain earthiness that would immediately distinguish the pupil from his teacher. FRANZ SCHUBERT (1797-1828): Symphony No.1 in D Major, D.82 I. Adagio; Allegro vivace II. Andante III: Menuetto: Allegro IV. Allegro vivace At first glance, Schubert’s First Symphony, written in 1813 but not published until 1884, would seem to be full of similarities to Beethoven’s First: a clear, compact Viennese symphony of the early 19th century, beginning a composer’s steady transition from the Classical to the Romantic style. But really, it is the differences between the two works, and their respective creators, that now speak to us more loudly. Beethoven, while lionized throughout Vienna, never lost his rougher, more northern German character (he was born in Bonn); Schubert, on the other hand, was Viennese through and through,
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and his music would always sound more truly, more liltingly Austrian -in that southernmost of Germanic traditions, the composer always seems to be looking towards Italy, out of one eye. Beethoven spent his entire career as very much a public genius; Schubert, on the other hand, was for his entire career damnably underrated (it is indeed ironic that his Symphony No.1 was one of the very few of his orchestral works he actually got to hear in his lifetime, in a performance by the fellow members of the seminary school he attended as a boy.) In Beethoven’s symphony, we hear the echoes of Haydn and Mozart, but often with shocking surprises; Schubert’s symphony actually pays great homage stylistically to
Rossini would have loved. The second movement, as with Beethoven the most traditional of the four, ever betrays Haydn’s gentle hand, but also employs a second subject in that march-like style which, later in Schubert’s career, would take on haunting overtones. It is in the charming minuet and frothy finale, both in the home key of D major, that Beethoven’s influence is most apparent; but as Blair Johnston would note, pointing as it were to the towering masterpieces that would crown the master’s brief existence, “the vigorous coda that ends the Symphony is of a forcefulness and stiff harmonic fiber well outside the limits So then, after a grandiose and that Schubert’s eighteenth-century impressive slow introduction, the main idols prescribed for themselves.” LSO body of Schubert’s opening Allegro vivace is full of a bubbly, genial wit that Beethoven’s first two symphonies, but the effervescent influence of Italian music of the era is always there as well (before finishing his First Symphony Schubert would actually compose two “Overtures in the Italian style” in order to prepare for the task ahead of him.) With Beethoven, the storm clouds always seem to be on the horizon; with Schubert, the sunshine of Italy seems to be beckoning. Beethoven, even the young Beethoven we hear tonight, is already shaking his fist; Schubert, the gentlest of souls, seems to be always smiling.
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Music is... the literature of the heart. It commences where speech ends. —Alphonse de Lamartine
It is not an easy task to
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Every Gift Matters. Please consider including the La Crosse Symphony Orchestra in your estate plans. For more information on doing so, please contact Tracy Fell, LSO Executive Director at 608.783.2121.
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Meet the Assistant Conductor
J. THOMAS SEDDON IVÂ
Our 7th year supporting the
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Dr. J. Thomas Seddon has a Doctor of Musical Arts from The Hartt School, University of Hartford. In addition, he holds a Master of Music Education from The Hartt School and a B. S. in Music Education from Lebanon Valley College of Pennsylvania. Tom also completed graduate work at the University of Illinois at Urbana-Champaign. Dr. Seddon has served on public school faculties in Pennsylvania, New York and Connecticut. His public school teaching includes work at all levels from elementary to high school. Dr. Seddon has appeared as a clinician and presenter for regional and national conferences, does work as an adjudicator and is published in the Journal of Band Research and the Instrumentalist. At the University of Wisconsin – La Crosse, Dr. Seddon is the Director of Orchestral Studies and Director of the Wind Ensemble, where he also teaches conducting, trumpet and horn.
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WORDS
March 12, 2016 • 7:30 p.m.
The Heavenly Life Coriolan Overture, Op.62 Four Last Songs, Opus posth. Fruehling (Spring) September Beim Schlafengehen (When Falling Asleep) Im Abendrot (At Sunset)
Ludwig van Beethoven Richard Strauss
CAROLINE WORRA, soprano INTERMISSION Symphony No. 4 in G Major (First LSO performance) Bedaechtig, nicht eilen Im gemaechlicher Bewegung, ohne Hast Ruhevoll, poco adagio Sehr behaglich
Gustav Mahler
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MARCH GUEST ARTIST Caroline Worra
CAROLINE WORRA has been hailed by Opera News as “one of the finest singing actresses around.” She has sung over 75 different operatic roles, including more than 20 World, American, and Regional Premieres. She was internationally acclaimed for her performances of Jenny in The Mines of Sulphur, Grammy nominated CD for Best Opera Recording, and as the title role for The Greater Good; Passion of Boule de Suif, Opera News and New York Times pick for one of the top classical CDs of the year. Her third full opera recording, Glory Denied, was released by Albany Records and is a Washington Post and Opera News pick for one of the top CDs of the year. Ms. Worra has worked at over 30 opera companies across the United States including The Metropolitan Opera, The Lyric Opera of Chicago, Boston Lyric Opera, Pittsburgh Opera, Fort Worth Opera, Dallas Opera, Long Beach Opera, Opera Santa Barbara, Madison Opera, Cedar Rapids Opera, Opera Memphis, Fargo-Moorhead Opera, Gotham Chamber Opera, Urban Arias, American Lyric Theatre, American Opera Projects, Tanglewood, Opera Saratoga, Berkshire Opera Festival, and six seasons at both Glimmerglass Opera and New York City Opera. Caroline performed on two U.S. National Tours with San Francisco’s Merola/Western Opera Theatre singing Violetta in LaTraviata and Rosalinda in DieFledermaus. She gave a debut recital at Carnegie Hall (Weill Hall) and performed on the main stage of Carnegie Hall as the soprano soloist in Britten’s Spring Symphony, Haydn’s Lord Nelson Mass and Orff’s Carmina Burana. Overseas she has performed as Anne True Love in The Rake’s Progress at Teatro Massimo Bellini in Catania, Sicily and Jenny in The Mines of Sulphur at The Wexford Festival Opera in Ireland (winner of The 2009 Best Opera of Ireland Award.) Caroline is a recipient of the Shoshana Foundation/Richard F. Gold Career Grant. She has a Bachelor of Arts Degree in Piano and Vocal Performance from Luther College, a Master of Music Degree in Vocal Performance from The University of Missouri in Columbia where she also received a Distinguished Alumni Award from the College of Arts and Science, and a Doctor of Music degree in Vocal Performance from Indiana University.
LUDWIG VAN BEETHOVEN (1770-1827): Coriolanus Overture, Opus 62
MARCH PROGRAM NOTES The Heavenly Life 56
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It is indeed strange that Beethoven never wrote a full-scale work on a Shakespearean subject, given Beethoven’s own personality and the central place (after Goethe) of Shakespeare in German culture. That said, we should feel lucky that we have this amazing little overture by the composer, who in his own emotional make-up -proud, protective, passionate; and, we should say, imperious, prone to self-righteousness, and always ironwilled -- was unsurprisingly drawn to the character of Coriolanus, the celebrated general of ancient Rome. The immediate stimulus for Beethoven’s Coriolanus Overture was not The Bard himself but rather the play of the same name (in German, Coriolan), by the
composer’s exact contemporary, the Viennese dramatist Heinrich von Collin (1771-1811), whom Beethoven so admired that he once harbored the thought of composing an opera, Macbeth, after von Collin’s play after that Shakespeare tragedy -- surely one of the great “if only’s” of music history. The play itself was premiered in 1804, without Beethoven’s music; Beethoven actually wrote the Overture in 1807, and its first performance that March was such a success that it is probable that the revival of von Collin’s play later that spring was done expressly in order to combine it with Beethoven’s music. It is not difficult to see why. In a few musical gestures and a few minutes of a compact sonata-form design, Beethoven brilliantly lays out the central character, and content, of the Shakespeare/von Collin story(which actually originated with the poet
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and historian Plutarch, in ancient Greece.) The main idea is the strongwilled Coriolan himself, whose take-no-prisoners methods, though victorious, lead the Roman senate to exile him; in revenge, the brilliant, ruthless general teams up with his enemies, and lays siege to Rome itself. Beethoven’s second theme clearly conveys the pleadings of his wife and children, to see the force of reason and relent. The Overture’s climax and conclusion with equal clarity convey Coriolanus’ suicide, as he realizes, all too late, that there is a force in life greater than himself. Richard Strauss (1864-1949): Four Last Songs, Opus posth.(1948) If we may take our evening’s analogy further: if Brahms’ Academic Festival is a celebration of youth and his Tragic Overture a portrayal of the conflicts of middle life, then the Four Last Songs of Richard Strauss -- who, with such early masterpiece tone-poems as Death and Transfiguration was initially seen in late 19th-century German music as the symphonic heir to Brahms, before becoming a radical composer of opera -- are a reflection on the approaching end of one’s time on earth. Blithely surpassing, in his Aryan self-assurance, his equally gifted but far more tortured colleagues Gustav Mahler and Arnold Schoenberg as the most successful Germanic composer of his time, Richard Strauss nonetheless found himself in a strange and lonely place at the end of World War II. Surely the most cynical of the great composers -- upon Adolf Hitler’s seizure of power in 1933, Strauss remarked to a friend with his customary self-regard, “If I could work for the Kaiser, if I could work for Weimar, then I can work for these fellows too” -- Strauss found himself escaping to Switzerland at the end of the War, not being “de-Nazified” by an Allied tribunal until 1948 (he soon after returned to his beloved Munich, dying there in September of 1949.) Whatever the source of Strauss’ cynicism -and it should be remembered that throughout the War, he fell afoul of the Nazi authorities, and worked
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hard to save his Jewish daughterin-law, Alice, and her children -- it is unquestionable that a new and profound mood of repentance and reflection comes over the little clutch of Strauss’ final masterpieces, written in Germany’s darkest hour: his Oboe Concerto, his Metamorphosen for strings, and the Four Last Songs, not premiered until the year after the composer’s death. It was in 1948 that the 84 year-old Strauss came upon a poem of the great Romantic poet Joseph von Eichendorff called “Im Abendrot”(“At Sunset”); Strauss had also recently been given a copy of poems of his contemporary, Hermann Hesse, and in the same mood of contemplation he set three of them, along with the Eichendorff, in a set of four songs for the Wagnerian soprano Kirsten Flagstad, one of the great voices of the century. The three Hesse songs -- “Spring”, “September”, and “Going to Sleep” -- all convey a serene acceptance of death, with Strauss’ gently soaring melodies -along with Mozart, no composer in history ever wrote so beautifully for the soprano voice -- bathed in a gorgeous twilight of instrumentation. But surely the most sublime moment comes at the end of “At Sunset”, where the soprano’s final words -- “Is this perhaps death?” -- are joined by a quotation from the final theme of his Death and Transfiguration, which, written in his 20s, began his illustrious career. A year later, on his deathbed, Strauss would famously remark, “Dying’s just like I composed it in Tod und Verlaerung”. “FRUEHLING” (“SPRING”) (Hermann Hesse) In shadowy crypts I dreamt long of your trees and blue skies, of your fragrance and birdsong. Now you appear in all your finery, drenched in light like a miracle before me. You recognize me, you entice me tenderly, All my limbs tremble at your blessed presence!
“SEPTEMBER” (Hermann Hesse) The garden is in mourning, Cool rain seeps into the flowers. Summertime shudders, quietly awaiting its end. Golden leaf after leaf falls from the tall acacia tree. Summer smiles, astonished and feeble, at his dying dream of a garden. For just a while he tarries beside the roses, yearning for repose. Slowly he closes his weary eyes. “BEIM SCHLAFENGEHEN” (“Going to sleep”) (Hermann Hesse) Now that I am wearied of the day, my ardent desire shall happily receive the starry night like a sleepy child. Hands, stop all your work. Brow, forget all your thinking. All my senses now yearn to sink into slumber. And my unfettered soul wishes to soar up freely into night’s magic sphere to live there deeply and thousandfold. “IM ABENDROT” (“AT SUNSET”) (Joseph von Eichendorff) We have through sorrow and joy gone hand in hand; From our wanderings, let us now rest in this quiet land. Around us, the valleys bow as the sun descends. Two larks soar upwards dreamily into the light air. Come close, and let them fly. Soon it will be time for sleep. Let us not lose our way in this solitude. O vast, tranquil peace, so deep in the evening’s glow! How weary we are of wandering -Is this perhaps death?
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GUSTAV MAHLER (1860-1911): Symphony No. 4 in G Major (1901) As Strauss’ Four Last Songs are a gentle rumination upon death, so is Mahler’s Fourth Symphony -- the core of which is its sung last movement, “Wir geniessen die himmlischen Freuden”(“All of Heaven’s joys are ours”) -- a musical vision of Purgatory and Paradise, of all a child’s wishes -- and sometimes, nightmares -- coming true. Like most German artists of the 19th century, Mahler felt a special reverence for folk culture; this love for him in particular focused on the pseudo-folk poem anthology from the early Romantic era, Des Knaben Wunderhorn (“Youth’s Magic Horn.”) Mahler would set no less than 24 songs from this great collection over the course of his career, with songs finding their way into his Second, Third, and Fourth Symphonies; this central inspiration is perhaps what makes Mahler’s Fourth the most seductively beautiful of all his works. On one level -- the orchestration, almost unique, calls for a large complement of woodwinds and percussion, but no trombones or tuba -- the Fourth is the absolute summation of the Austrian Classical chamber symphony, first immortalized by Haydn and Mozart 150 years previously. On a deeper level, as Mahler himself remarked, “In the first three movements, there reigns the serenity of a higher realm, a realm strange to us, oddly frightening....In the finale, the child, which in its previous existence already belonged to this higher realm, tells us what it all means...” I. Bedaechtig, nicht eilen; Recht gemaechlich (Haupttempo). The entire first movement, and much of the finale as well, is dominated by the music one immediately hears: a strange, chirping rhythm, played by sleigh-bells and flutes, and then joined in by a section of twangy violins -- a vision of Austrian folk-music extraordinaire, spun out over a vast, Everest-like span of a fraught-laden sonata form: think of an early Mozart symphony, meeting one of those fairytales by the brothers Grimm.
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II. In gemaechlicher Bewengung. Ohne Hast. In this dark-tinged but leisurely scherzo, which Mahler once characterized with the phrase “Freund Hein spielt auf ” (“Death calls the tune”), the Austrian folkelement is brought even more to the fore, as the concertmaster is required to play two different violins: his normal instrument, and a second one tuned a whole tone higher, with the admonition from the composer to play it “like a fiddle!”, giving the music a decidedly macabre tone which the central trio, a kind of ultimate take on the old, pre-waltz dance of rural Austria, the Laendler, only temporarily serves to dispel.
We dance and spring, We jump and sing While St.Peter in Heaven looks on. The lamb we have from St.John. Herod, the butcher will be. We lead the meek, And innocent, Little lamb to the death. St.Luke slaughters the oxen Without any worry or heed. The wine costs us naught From our heavenly draught And the angels bake us our bread.
Fine vegetables grow In the garden of Heaven. Good asparagus, good beans, III. Ruhevoll (Poco agagio). “The Whatever we please. Scherzo”, Mahler once said, “is Whole plates of them wait to be eaten. so uncanny, almost sinister, that your hair may stand on end....Yet Good apples, good grapes, good pears! in the following Adagio, where all The gardeners give what we wish. complications are dissolved, you And roebucks and hares will feel that it was really not all Run into our arms that sinister...”. A set of magisterial Here in the open streets! slow variations on two different themes, Mahler once remarked to And when there is a fast day, his pupil, the great conductor Bruno The fish come swimming in. Walter, that this movement had St.Peter he runs been originally inspired by a vision With his net and his bait of a church monument, with its To fish in the heavenly pond; reclining figures of the dead, “their St.Martha the cook here must be. arms closed in eternal peace.” On earth there is no music IV. Sehr behaglich. Again, quoting To be compared with ours; Mahler: “What I have envisioned for The eleven thousand virgins the last movement was very difficult. Make bold to dance. Try, if you will, to imagine a heaven St.Ursula smiles on the scene. of undifferentiated blue....This is the fundamental mood. But it darkens St.Caecilia, her kith and her kin sometimes, grows spooky, even Play like a royal band. terrifying. It is not that heaven itself And choirs of angels lift up our spirits, really dims: on the contrary, it shines To the highest of heavenly joys. on and on, in its eternal blue.” This sense of eternal innocence is inspired by Composed mainly in 1900-01, the that poem from the Wunderhorn cycle, final, revised version of Mahler’s “Der Himmel haengt voll Geigen” Fourth Symphony was given its (“Heaven is strewn with fiddles”): premiere in January of 1911 by the New York Philharmonic, and its Music Wir geniessen die himmlischen Director -- Gustav Mahler, in his Freuden....(Achim von Arnim and brief and tragic sojourn in New York Clemens von Brentano) (where, insanely, he also concurrently ran the Metropolitan Opera.) One All heavenly joys are ours, month later, Mahler would conduct Pleasures of earth we disdain. his last concert (February 21, 1911), No worldly strife and shortly thereafter collapsed from Mars our heavenly life. the nervous and physical strain which We live here in sweetest peace. had long beleaguered him; he died in Vienna, three months later. LSO We lead an angelic life, Yet are merry as can be.
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WORDS
April 30, 2016 • 7:30 p.m.
Music For The Bard: Celebrating Shakespeare in Music Scherzo and Wedding March, from A Midsummer Night’s Dream
Felix Mendelssohn
Featuring the Winners of the LSO 2016 Conductor Wannabe Competition Piano Concerto in A Minor, Op.54 Allegro affettuso Intermezzo: Andantino grazioso Allegro vivace
Robert Schumann
SIMON MULLIGAN, piano INTERMISSION “The Shakespeare Symphony”: The Three Shakespeare Fantasy-Overtures Hamlet, Op.67a The Tempest, Op.18 Romeo and Julet (Version of 1880)
Pyotr Ilyich Tchaikovsky
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Thank you to our Season Sponsors
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APRIL GUEST ARTIST Simon Mulligan
British pianist SIMON MULLIGAN began playing at the age of 3 and quickly established himself in the music world as a multi-faceted virtuoso. Described by The Times of London as ‘the most abundantly gifted of pianists,’ Mulligan performs and records internationally as a soloist and chamber musician in many diverse genres. Following his début with the Royal Philharmonic Orchestra, Mulligan has enjoyed performance and recording engagements with the BBC Symphony (Slatkin), English Symphony Orchestra (Boughton), Warsaw Sinfonia (Menuhin), Hong Kong Philharmonic (Atherton), Malaysian Philharmonic, Orquesta Sinfónica Nacional, and the Royal National Scottish Orchestra (Serebrier) to name a few. Mulligan’s first compact disc was recorded under the direction of Yehudi Menuhin, leading to a seven-year collaboration and friendship, culminating in what was to be Lord Menuhin’s final concert at the Tonhalle in Düsseldorf. He has since made over twenty recordings for compact disc, including the solo album “Piano” for Sony Classical featuring his own arrangements, compositions, and adaptations for piano and orchestra which has garnered international acclaim and featured in various television, radio, and internet campaigns. Other recording highlights include a disc of Beethoven sonatas for Sony Masterworks, the Martinu Sonatas and Triple Concerto, Mussorgsky’s Pictures at an Exhibition, Rozsa’s Spellbound Concerto, the Chopin Nocturnes, and the première disc “The Piano Music of Alexis Weissenberg” for Nimbus, which included spontaneous improvisations recorded in the presence of the composer. His première recording of Ned Rorem’s Piano Concerto No. 2 with José Serebrier and the Royal National Scottish Orchestra for Naxos was Gramophone magazine’s “Editor’s Choice.” As a chamber musician, Mulligan collaborates with many notable artists. He first began touring with cellist Lynn Harrell while a student at London’s Royal Academy of Music, and has also given numerous worldwide recital tours with Joshua Bell, including performances at every major international venue as well as the Grammy Awards, for Her Majesty The Queen and the Royal Family, and President Barack Obama. In other fields, Simon has supported artists as varied as Branford Marsalis, Van Morrison, Sting, Dame Shirley Bassey, and Liza Minnelli. In addition he has recently begun a series of concerts with award-winning broadcaster and journalist John Suchet about the life of Beethoven. Alongside an extensive solo repertoire and over fifty concertos, Mulligan is a devotee of contemporary music and has given first performances of works by Hans Werner Henze, James MacMillan, Tobias Picker, Alexis Weissenberg, Mark Anthony Turnage and Paul Moravec (winner of the Pulitzer Prize for Music.) Mulligan’s passion for composition, arranging, and improvisation has led to articles in numerous music publications, including Downbeat, JazzTimes, International Pianist, and Gramophone magazines. His collaboration on several projects with Michael Kamen featured him as soloist on Decca’s The New Moon in the Old Moon’s Arms with the BBC Symphony under Slatkin, and on HBO’s award-winning television series Band of Brothers. As a jazz pianist, Mulligan continues to lead several of his own groups, performing at festivals throughout the UK, Europe, Shanghai and the Americas. His jazz quartet album, “Playlist,” features all-original compositions. A Music Scholar of St Paul’s School in London, Mulligan studied under Alexander Kelly at the Royal Academy of Music and Jaques Rouvier in Paris; he also studied Beethoven at the personal invitation of Alfred Brendel. He won a scholarship to the International Piano Academy on Italy’s Lake Como and was one of the youngest recipients to be awarded the prestigious Fellowship of the Royal Academy of Music for his musical achievements. He additionally counts among his mentors Charles Rosen and Murray Perahia.
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APRIL PROGRAM NOTES Music For The Bard: Celebrating Shakespeare in Music FELIX MENDELSSOHN (1809-1847): Scherzo and Wedding March from the incidental music for William Shakespeare’s A Midsummer Night’s Dream Mendelssohn was in many ways the Mozart of the early 19th century -- the most brilliant musical child prodigy of his time (as a boy he even befriended Goethe!), he too worked himself to death by middle age; and as with Mozart, his best music never lost its sense of youth (people are often stunned to discover that Mendelssohn’s radiant Violin Concerto was actually one of his last major works.) No better example of this is Mendelssohn’s music for perhaps the most beloved of Shakespeare’s plays, A Midsummer Night’s Dream. Fresh off the miraculous achievement of his Octet for Strings -- as with the best of Mozart, one of those works of Western music that never gets stale -- Mendelssohn was a boy of seventeen when he composed his concert Overture for A Midsummer Night’s Dream -- a work equally unparallelled for its delicacy, imagination and humor. The real miracle, perhaps, is that those same qualities of invention were not one bit less fresh 16 years later, when Mendelssohn was commissioned to compose a full set of incidental music for the whole of Shakespeare’s play in a new production at Berlin’s Royal Theater, where it would
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quickly sell to sold-out houses. The second of our selected pieces from the set, the Wedding March from Act 5, needs no introduction; and the Scherzo, which introduces Act II, represents this composer’s talent for elfin atmosphere which is supreme: as Puck will declare, “Over hill, over dale....I do wander everywhere....” ROBERT SCHUMANN (1810-1856): Piano Concerto in A Minor, Op.54 Schumann was not only Mendelssohn’s friend and colleague; he was, in many ways, his alter-ego. At this truly extraordinary time for German music, both were central figures of their time, as composers, pianists, conductors and impresarios; both had centrally important, gifted women in their lives -- for Robert, his beloved wife, the legendary pianist Clara; for Felix, his composer-sister Fanny -- and both, tragically, died in early middle age. But then, there are vital differences: where Mendelssohn was the Mozartian prodigy, for which everything musical came easily (indeed, to his critics, too easily), Schumann was the young diletante who willed his way into being a professional composer, who eventually even gave up being a pianist (leaving that to his far more talented wife), and was a sadly incompetent maestro. Mendelssohn quite simply worked himself to death; Schumann lost his mind, attempting suicide by my jumping into the Rhine. And where Mendelssohn’s music, with its quicksilver orchestration, is always assured and deft of touch, Schumann’s, always more thickly scored, reveals a profound neurosis -as Charles Rosen famously remarked, Schumann’s work introduced into Western music a sense of unease from which it has never since recovered.
the work began as a one-movement miracle: a first movement on its own, a Konzertstuck written in fervent dedication to Clara, his new bride, which four years later became the fleshed-out, 3-movement work we know today. As with Mendelssohn’s triumph, there is utterly no flagging of freshness and inspiration between the first movement and the rest of the work; and at the second performance of it, in Leipzig, it would be Robert and Clara’s friend, Mendelssohn himself, on the podium to accompany Clara as the conductor. Schumann once wrote to Clara that his Concerto would be for her “a compromise between a symphony, a concerto, and a huge sonata”, and he was right: there are few works of the Romantic era that combine such a sense of wistfulness and rhapsody with such perfect, concise command of sonata form. Not one note of this Concerto is extraneous, and yet Robert’s love for his bride is revealed on every page. PETER ILYICH TCHAIKOVSKY (1840-1893): The Three FantasyOvertures after Shakespeare: Hamlet, Op.67a; The Tempest, Op.18; Romeo and Juliet
It was of another kind of love -doomed, tragic -- that would become the special preserve of a very different Romantic genius, the late-Romantic Russian composer Tchaikovsky. Yes, Tchaikovsky was homosexual (although to this day, Russians have trouble admitting it), by the standards of his time quite openly so, and his ultimately tragic end -- desperately in love with a nephew and increasingly fearing reprisal for his lifestyle in Czarist society, he probably indeed committed suicide -- is certainly reflected beforehand in his music; and yet it would be a mistake to conclude that his life-experience precluded And, where would we be without him from understanding the love of them both....perhaps Schumann left others. If nothing else, Tchaikovsky’s us no more perfect masterpiece than music, in all its grandeur, represents his Piano Concerto in A Minor. As an understanding of human love on with Mendelssohn’s Dream music, a universal scale: from the innocent,
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childlike love portrayed in his immortal ballet The Nutcracker, to the complicated romantic relationships of men and women in his two operatic masterpieces, Eugene Onegin and The Queen of Spades. The three “fantasy-overtures” that Tchaikovsky composed after William Shakespeare are perfect examples of this genius. We’ll present them to you tonight in the reverse order of their composition -Romeo and Juliet was Tchaikovsky’s first major work, while Hamlet represents the now middle-aged composer heading towards a personal abyss -- and together they form a kind of dramatic programsymphony; doubtless inspired by the adventurous but inferior symphonic poems after literary subjects of his predecessor Franz Liszt, Tchaikosky in each piece creates a new kind of symphonic form, in which the basic sonataallegro principles of exposition, development and recapitulation are masterfully subjugated to the goal of conveying the dramatic essence of Shakespeare’s play. In Hamlet, Tchaikovsky’s list of depictions is quite precise: the gloom of the Elsinore castle, Hamlet himself, the appearance of his father’s ghost; Polonius, the doomed maiden Ophelia (immortalized on the oboe), Hamlet’s struggle and death. With The Tempest, it is equally so, even verbally described
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by the composer in a written preface: “The Sea. The magician Prospero commands his spirit Ariel to create a storm, of which a victim is the fortunate Ferdinand. The enchanted island. The first timid stirrings of love between Ferdinand and Miranda. Ariel. Caliban. The lovers are overwhelmed by their passion. Prospero renounces his magical powers and leaves the island. The Sea.” -- And with Romeo and Juliet, first written under Mily Balakirev’s stern tutelage and later going through several revisions, we have perhaps the most famous of Romantic-era tone poems, in which Tchaikovsky perfectly portrays almost all the play’s essential characters, from Friar Laurence praying in his cloister to the violent battles between the Montagues and Capulets. It should be noted that always, Tchaikovsky is not aiming to provide his listener with a musical play-by-play of the actual events of each drama, but is rather conveying the essence of what The Bard is aiming to eternally portray: the force of love -- whether it be the puppylove of Juliet and her Romeo, the doomed, almost psychotic love of Hamlet and Ophelia, or the profoundly knowing, vulnerable, adult-like love of Ferdinand and Miranda -- trying desperately to survive, in the stupid, tragic tumult of human events. LSO
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2015 CONDUCTOR WANNABES
THE LSO WOULD LIKE TO CONGRATULATE, THANK & CELEBRATE... An awesome group of conductor wannabes from 2015. A group of incredibly selfless individuals who together raised $47,567!
The Conductor Wannabe format changed this past season! In the spirit of collaboration, we asked each of the seven candidates to choose a non-profit organization that would receive ½ of the money they each raised during the campaign. Each “vote” was $2.00 – one dollar going to the LSO and the other dollar going to the candidates chosen charity. The LSO is proud to collaborate with such wonderful organizations that are truly needed in our community.
THE CONDUCTOR WANNABES OF 2015 WERE: Karen Becker Catholic Charities
Cameron Carey American Red Cross Mike Desmond Boys & Girls Clubs of Greater La Crosse Josh Gates Family & Children’s Center Ann Kappauf, New Horizons Ilene Kernozek UW-La Crosse Foundation Joe Kruse Gerard Hall at Mayo Clinic Health System – Franciscan Healthcare
For seven weeks, these seven amazing candidates and their chosen charities mailed countless letters, talked to hundreds of people and literally walked the streets looking for votes! The winner of the competition was Ilene Kernozek who raised $14,864! And the runner up was Joe Kruse who raised $12,623! Ilene and Joe conducted different movements from Bizet’s Carmen Suite No. 1. We would also like to say a special thank you to Ken Riley, Randy Van Rooyen, Marilyn Arndt, Mary Ann Gschwind and Jan Henry for assisting with the conductor wannabe competition. 70
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Dr. Michael and Caroline White
Chamber Concert: Voices on the Water
GEORGE FREDERIC HANDEL GEOFFREY PETERSON J.S. BACH GEORG PHILIPP TELEMANN
June 23, 2016
featuring Frederic Chiu at the Weber Center
WATER MUSIC Suite (1717) The Edmund Fitzgerald, Concerto for Piano & Strings (2002) Piano Concerto No. 3 in D Major WATER MUSIC Suite (1723)
Whether celebrating the moods and waves of the mighty Elbe or the Thames, the “Water Music” of both Handel and Telemann is truly some of the most glorious and colorful music of the Baroque Era -- and it will be lovingly brought to life by some of our expert La Crosse Symphony musicians, as we offer another unique Chamber Orchestra program for our friends and fans. In between, two riveting works for piano and strings: the area premiere of composer Geoffrey Peterson’s musical remembrance of the sinking of The Edmund Fitzgerald, the Great Lakes tragedy of 41 years ago, and the most joyous of the immortal keyboard concertos of that other titan of the Baroque, Johann Sebastian Bach. In his LSO debut, the distinguished Chinese-American pianist Frederic Chiu, known internationally for his many fine recordings for the Harmonia Mundi label, will bring these masterworks to life.
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JUNE GUEST ARTIST Frederic Chiu
Frederic Chiu's intriguing pianoplaying and teaching springs from a diverse set of experiences and interests: his Asian/American/European background, his musical training, and an early and ongoing exploration of artificial intelligence and human psychology, especially the body-mindheart connection. With over 20 CDs on the market, his repertoire includes the complete work of Prokofiev as well as popular classics of Chopin, Liszt and others, and lesser known masterpieces of Mendelssohn and Rossini, with a special place for the piano transcription. Many have been singled out, such as "Record of the Year" by Stereo Review, "Top 10 recordings" by the New Yorker, with raves from the Wall Street Journal and the New York Times. His most recent recordings demonstrate his wide range: Beethoven/Liszt Symphony V, Carnival of the Animals with David Gonzalez, and Hymns and Dervishes, music by Gurdjieff/de Hartmann. (hymnsanddervishescd.com)
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A new recording on the Yamaha Entertainment Group label, released in 2015, is a long-awaited recording of the music of Debussy, along with world premieres of work by Chinese composer Gao Ping. This recording breaks new ground, introducing the first classical recording to the YEG catalogue. The performance will be released in Audio CD, DVD and DisklavierTV formats. Frederic Chiu has toured in Europe and the US with the Orchestre de Bretagne and Stefan Sanderling. He has played with the Hartford Symphony, Dayton Philharmonic, Kansas City Symphony, Indianapolis Symphony, BBC Scottish Symphony, BBC Concert Orchestra, Estonia National Symphony, China National Symphony, the FOSJE Orquesta in Ecuador, among others. In recital, he performs in the world's most prestigious halls including the Berlin Philharmonic, Kioi and Suntory Halls in Tokyo, Lincoln Center in New York and Kennedy Center in Washington DC. Mr. Chiu's musical partners include Joshua Bell, Pierre Amoyal, Elmar Oliveira, Gary Hoffman, David Krakauer, Matt Haimovitz and the St. Lawrence, Shanghai and Daedalus string quartets. Frederic Chiu recently premiered Edgar Meyer’s Concert Piece with Joshua Bell. He has worked with many composers, including George Crumb, Frederick Rzewsky, Bright Sheng, Gao Ping and David Benoit. He was the recipient of the Avery Fisher Career Grant, the Petscheck Award of the Juilliard School, and was a fellow of the American Pianist Association. He was also the "nonwinner" of the 1993 Van Cliburn Competition, where his elimination from the finals caused an uproar in the press. Frederic Chiu is also committed to expanding the place of classical music. He has created unusual collaborations with personalities outside the world of Classical music, such as the
Shakespearean actor Brian Bedford and psychologist/writer/clown Howard Buten. He worked with the hip-hop artist Socalled in the Messiaen Remix project. He does extensive work with children through concert/lectures for schools, and has brought classical music to places where it is rarely heard. Currently, he is performing with David Gonzalez in the classics Peter and the Wolf and Carnival of the Animals, transcribed for solo piano and narrator. He is also running a multi-year project called Classical Smackdown, in which audiences vote for their favorite composers (ClassicalSmackdown.com) Deeper Piano Studies, Frederic Chiu’s innovative workshop program, brings together pianists from around the world to study aspects of piano playing usually left uncovered. Articles in Piano Today and the New York Times have featured his original approach to learning and performing that draws on ancient traditions of philosophy and meditation combined with the most recent discoveries in psychology and acoustic sciences, using non-traditional techniques such as cooking and learning without using the instrument. Frederic Chiu has been invited to many prestigious music schools and conservatories to present his DPS program, including the Juilliard School, New England Conservatory, Mannes College, The Banff Centre, Cornell University, Indiana University’s Jacob Music School, and major conservatories in China: Beijing, Shanghai, Sichuan, Shenyand and Wuhan. He has been guest artist at many state and national Teachers’ Conferences. After 12 years spent in France, Frederic Chiu returned to the United States, where any free time he can find is divided between writing, painting and cooking. He also co-directs artistic activities at Beechwood Arts, an arts immersion non-profit in Connecticut.
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WORDS Thank you to our 2014-2015 Contributors
Thank you to these benefactors whose gifts were received by the LSO between Sept. 1, 2014 and Aug. 31, 2015
Virtuoso Society $5,000 and Greater
Anonymous (1) Dahl Family Foundation Elmwood Foundation Robert & Maureen Freedland Gerrard-Hoeschler Realtors/ Nancy Gerrard & Rick Staff Gundersen Health System Joe & Pat Heim International Furniture La Crosse Community Foundation Logistics Health, Inc. Marie Lokken Family Memorial/ Financial Investment Management Group Jeff & Patti Lokken, Jay Lokken & Ken Riley Drs. John & Kerrie Moore James Munn Oral Surgery Clinic of La Crosse Dick Record Ronald Mc Donald House Charities of Western Wisconsin & Southeastern Minnesota S&S Cycle /George & Connie Smith Trust Point, Inc. Wells Fargo / Wells Fargo Advisors Michael & Carolyn White
Cresendo Society $2,500 to $4,999
Rotary Works Foundation United Fund for the Arts & Humanities U.S. Bank Foundation Vernon Memorial Healthcare
Fortissimo Society $1,000 to $2,499 Burt & Norma Altman Anna Beth Culver First Supply Donald & Barbara Frank Dan & Roberta Gelatt James & Jeannie Groskreutz Dr. Sigurd Gundersen, Jr. John & Donna Hansen Herbert H. Kohl Charities Jay & Dawn Jaehnke 76
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La Crosse Tribune-Jeans Day Char Lebakken Mathy Construction Company Mayo Clinic Health System- Franciscan Healthcare Ron Nelson Michael & Maureen Norris Ron & Jane Rada David Reedy Bob & Janet Roth Barb Schultz Thomas Skogen Richard & Carolyn Smith Smith Educational, Medical, and Charitable Foundation, Inc. Wyatt Sutherland Trust Point, Inc. Alex & Jackie Vaver Xcel Energy
Grazioso Society $500 to $999
Jerry & Marilyn Arndt Lillian M. Bell Harvey & Dr. Suzanne Tanner- Bertrand James Bolstad Larry Casey & Alison Bradford Cleary-Kumm Foundation, Inc. Mark & Jeanne Connelly David & Susan Foran Larry & Carolyn Furlong Sigurd & Jean Ann Gundersen Catherine & Stephen Kinyon Mike & Sue Klauke Joseph & Barbara Kruse Becky Post & Dave Maddocks Ernest & Sally Micek James & Rebecca Naugler Kermit & Barbara Newcomer Burleigh & Mary Jane Randolph Richard & Lisbeth Reynertson Dennis & Sharon Ryan Dick & Mary Jean Sartz Patricia Sheehan Walter & Jean Susdorf Deak & Cindi Swanson Travel Leaders-Owned & Operated by Goli’s Avenues of Travel Larry & Kay Wagner William Neil Financial Consultant, Inc.
Vivace Society $250 to $499
Anonymous (1) Jerry & Caroline Benser Franke Foundation James & Janice Gallagher Kenneth & Virginia Horth Fred & Jean Skemp Diane Foust & Jim Nelson Patrick & Teresa Mullaney Florence Overgard Galen & Marianne Pittman Stephen & Katherine Webster Tom & Jan Brock Charles & Lu Ann Cagin Coulee Bank Barry Blomquist & Eva Dahl Dan & Sandy Fanning Stephanie Krueger Fred & Ruth Kurtz Marine Credit Union Foundation Joan Parke Roland & Betty Roskos Rev. Allan & Carla Townsend Franke & Turnbull CPA’s Randy Van Rooyen & Kelly Nowicki- Van Rooyen Byron Annis Charles & Shirley Haas Ornelle Jorgensen Justin Maslowski John & Karla Stanek Kathy Stehly Richard & Pamela Strauss
Allegro Society $100 to $249
Anonymous (7) Constance Arneson Anne L. Babich Jason & Kelley Bahr Douglas & Debra Bakken Jim McCormick & Joan Barth Craig & Mary Bartos Bill & Marsha Bateman Dave & Karen Becker Brian & Barb Benson William & Cindy Berg Anthony Binsfeld Stanley Bissen Nancy Borgen John & Gwen Brennan 2015-16 Season
Thank you to our 2014-2015 Contributors
Thank you to these benefactors whose gifts were received by the LSO between Sept. 1, 2014 and Aug. 31, 2015
Dr. William & Andrea Bucknam Wendy Butler Dr. Robert & Yvonne Caplan Chris Haskell & Bob Carney Marvin & Carolyn Case Steven & Mary Christian Marv & Darryle Clott Mary Strasser & Bill Colclough Robin Cosby Dr. Dennis & Anne Costakos Coulee Region Mechanical Andrew & Jamie Dahl Tyler Dahl Kristin & Eric Dall-Winther Kathy Davig Daniel Deetz Jeffry & Joanne Degenhardt Peggy Denton Dean Dickinson Jeff, Lynette & Tyler Dornink Mark & Karen Drazkowski John & Kate Dunnum Rich & Jean Ellis Cecilia Caron & Thomas Erb William Estes Paul Felion Craig & Caroline Fisher Steve & Katie Fleis Fredrick R. Fletcher Marla French Judson Frye Thomas & Bette Frye John Ganrude Josh, Shelley, Mason, Ella, & Cooper Gates Julie Gates David & Abigail Gerzema David & Nancy Goode Peter & Amy Grabow Tom & Heidi Grau Kathleen Gresens Jeb Griffith Ron & Merle Gustafson Hale, Skemp, Hanson, Skemp & Sleik Law Firm Julian Hamerski Kent & Karen Handel Jim & Jan Hanesworth Nancy Reithel & Tim Henke Ken & Barbara Herlitzka Don & Kathy Hill Scott & Sue Horne Peter & Susie Hughes Tony & Jan Hutchens Yvonne Hyde Carol Ilstrup The Insurance Center
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Jerry Peterson Family Jackson Jantzen & Julia Johnson Tim & Reggi Johnson Tim Padesky & Tara Johnson Mark & Sharon Jolivette Anne Kappauf Tom, Erik & Nicole Kernozek James & Patricia Kirchner Mary Kisken Ruth Ann Knapp June Krbecek Joe & Barb Krien Jack & Marcella Kruse La Crosse Memorials, Inc. Bill & Barb Lanzel Barbara Larsen Anita Evans & Larry Lebiecki Bud & Barb Lee Russ & Sandy Lee John & Barb Leinfelder Rich & Dorothy Lenard Gary & Kim Lenth Larry & Diane Lindesmith John & Linda Lyche Mike & Carol Mader Monsignor Matthew Malnar Julie Manas Markos Wholesale Apparel Lenny & Rose Matiak Richard & Sandra McCormick John & Maggie McHugh Donna Medland Clayton & Karyn Menagh Janine Merkitch Patricia Mertens Rick & Annette Mikat Howard & Nancy Mills Mark & Nancy Misch Modern Crane Service, Inc. Tom Monson Dale & Karen Montgomery Betsy Morgan Brian Munn Sherrill Munson Vinay Naik Evan Nelson James & Amy Noel Jim & Donna Omernik David Onsrud Diane Otte Steve & Connie Overholt Christine Papke Dee Paque Roberto Partarrieu Marty & Kathy Passe Elsie Patterson Dr. Stephen & Jeanne Pavela Lyle & Myrna Peacock
Cheryl Pearse Drs. Mark & Sandra Perpich Dave & Helen Peschau Charles & Jennifer Peters Lee & Lorilee Peterson Sonia & Gene Phillips Michael Price Mary Zaky & Prem Rabindranauth Marc & Liz Ranger James & Sharon Rathgaber Scott & Mary Rathgaber Greg & Danielle Reichert Jon & Ann Rigden Ken Riley Ted & Sheila Riley Linda Hirsh & Terry Rindfleisch Duane Ring, Jr. Kim Riutzel Alan Robertson Eric Rotert Brian & Karen Rude Dave & Kial Rushlow Dr. Michael & Tess Saunders Schamberger Inc. Linda Schams Maureen Sullivan & Tom Schauer Joe & Jamie Schloegel Patricia Schmid Courtney Schmidt Jay & Connie Schnoor Grace Schroeder Kurt Schuldes Robert Robinson & Martha Schwem Carolyn & Jay Scott Umesh Sharma Donald Sloan Donald & Nancy-Korn- Smith George & Connie Smith Reid Smith & Franki Lambert- Smith Lloyd & Wendy Sorenson Paul & Jane Steingraeber Vincent & Amy Stodola Brad & Lynn Sturm Alan Hecht & Kristin Swanson Dr. James & Nancy Terman Tom & Pricilla Thibodeau Steve Thicke Dick & Marcia Thompson Jeff & Sandra Thompson Michele Thorman Pat & Cindy Tierney Tom & Marilyn Tiggelaar Al & Lynn Trapp Rob & Kathie Tyser Michael & Jane Van Nordstrand Andi Van Sickle
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Thank you to our 2014-2015 Contributors
Thank you to these benefactors whose gifts were received by the LSO between Sept. 1, 2014 and Aug. 31, 2015
Vendini Frank & Linda Vierling Jean Villhauer Kathleen Wagner Jake Wardon James & Phyllis Warren Paul & Suzanne Weibel Michael Finnegan & Diane Weigel M. Joyce Weise Weiser Brothers General Contractor, Inc. Shawn & Mary Jo Werner Ralph & Ruth Wettstein Kathleen & Case Wewerka Eric & Vicki Wheeler
Dolce Society $25-$99
Anonymous (17) Jim Abeyta Rick & Joan Artman Arnold & Donna Asp Becky Post & Dave Bacon Tami Baker Gregory & Martha Balfany Patrick Barlow Thomas & Kathryn Barth Carole Baumgardner Barbara Beach Sister Rita Marie Bechel Bernadette Becker Jody & Kerry Becker Becker Brothers Construction Alice Benson Thomas & Carol Berra Ed & Jean Biddick James & Margaret Binash Clifford & Betty Blaha Heidi Blanke Patricia Boge Bucky Boland Steven & Kristine Borene Borton Construction, Inc. Bill & Betty Brendel Jim & Nancy Brenstein Bruce & Jerrilyn Brewer Mary Brickl Rose Bruha Mark & Jennifer Brumm Shirley Bryhn Barbara Bulman Beth Burgos Wayne & Carla Burkhardt Pauline Byom Joshua & Tina Caldwell Dorothy Carey Mark & Minda Chamberlain Tim Clements John & Ardus Cleveland 78
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Mary Kay Colsch Jan Contreras Michael Conway T. Scott & Marla Cunningham Earlamae Dahlby Mark Dahlke Sharon DeCicco Sister Helen Deppe Vincent Desio Larry & Amelia Dittman Jim & Lori Dubczak Joseph Durst, MD Tim & Sue Durtsche Randy & Judy Eddy Laura M. Eddy Howie & Heidi Eglash Art & Mary Ann Ekern Ronald & Carol Ellis Earlamae Engelson Eric Erickson Sue Erickson Rod & Ruth Erickson Ron & Rae Evenson Bonny Fisher Mary Fitzpatrick Flanagan Financial, Inc. Donald & Elizabeth Fox Mark Frise Alan & Laurie Ann Frohmader Chris & Cherryl Frye Arthur & June Gale John & Karen Gardner Michael & Gretchen Geary Jason Gelder James Georgieff Don & Anne Gilbert Frank & Linda Gillette John & Carlena Goddeau Wayne & Susan Goeldner Roger & Charlotte Grant Tricia Gray John & Kris Greany Jim & Rita Grenisen Mark & Connie Greylak April Guentner Merri Jo Guggenbuehl Jim & Judy Gull Rachel Gundersen Greg & Kristine Hall Shirley Hallberg Charles & Cheryl Hanson Peter & Esther Harman Natalie Hartigan Ann Brice & Bill Haviland Kristin Swanson & Alan Hecht Herb & Barbara Heili Gary & Linda Heilman John Herath Ron & Susanne Herman
Bob Hetzel Fred & Susan Heuer Ruth S. Hill Win Hlaing Marion Stuart & Alden Hoefer Carol Kratz & Drake Hokanson Virgil & Theda Holder Gayda Hollnagel Russ & Kathleen Holman Diane Holmay Tom & Bonnie Holzer Rosalie Hooper Thomas Pat & Kathy Houlihan Christopher & Krista Huiras Art & Kathy Ingalls Dar & Darlene Isaacson John & Karen Jaeger Camilla Jaekel Shari & Clare Jarvis Ione Johnson Ed & Lorri Johnson Dan & Beth Jones Mark & Betty Jorgenson Jim Jorstad Audrey Kader David Kampa Gerald & Charlotte Kann Sandy Keller Dr. Gretchen & Tim Kelly Dr. Kenneth & Linda Kempf Betty Kendrick Alys Kerrigan Ruth Ann Kielley Michael & Regina Kilbey David Kilpatrick Ron & Tawni Kind Lorraine King Maureen Kinney Theresa Kivy Cindy Klar Gary & Melissa Klein Ralph Knudson & Nancy Heerens- Knudson Betty Koenen Francine Klein & Eric Kraemer Lydia Kruse David & Karen Lange Vicki Lange Thomas & Virginia Larkin Jim Larson William & Tari LaRue Robert Laubach Alan Lauermann Jeffrey & Angela Lawrence Donetta Lee Kyla R. Lee Roger LeGrand Michael & Tomi Lemmon Carol Lewis 2015-16 Season
Thank you to our 2014-2015 Contributors
Thank you to these benefactors whose gifts were received by the LSO between Sept. 1, 2014 and Aug. 31, 2015
Jack & Joyce Lockhart Francis & Barbara Loken Rick & Wendy Lommen Tom & Jean Londergan Denise Loveland Wayne & Donna Loveland Jean Lund Sue Lynch Allan & Heidi Mac Pherson Darcie Manning Brian & Nancy Manske Carmen Dargel & Jared Manske Don & Lisa Mayer Ingrid McCallson Patricia McCormick Kevin & Chris McGraw Patrick McGuire Lorraine McIlraith Nancy Medinger Jeff & Denise Meyer Roger & Lynn Meyer Michael S. Meyers Steve & Deb Michaels Carl & Caralee Miller Jerry & Dottie Miller Sonja Moe Dennis & Julie Montabon Rick & Barb Morrison Jean Moser Leah Mudler Dr. John & Joan Mueller Kurt & Mary Mueller Jason Munz Dennis & Dianne Naumann Randy Nelson Bill & Karen Newburg John & Jackie Newman Marie Newstrom Claudia Newton Aaron & Rochelle Nicks Noelke Family Travis Noffke Dr. David & Carolyn Norenberg Samantha North Christine Nykiel Mike & Sylvia O’Brien Dr. Thomas & Carol Olsen Paul & Julie Olson Sara Olson Modupe Adenike & Lawrence Omole Mary Papenfuss Patrick Park Dorothy Paulikas Lu & Patty Paulson Daniel & Annette Paulus John & Cathy Pederson Robert & Jackie Pitel
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Tom & Mary Poellinger Mike & Leanne Poellinger Saul & Keren Prombaum Phil & Barb Quillin Dana & Jonella Rademacher Teri Wildt & Mike Rader Jeanne Rady Robert & Mary Ragan Doug & Barb Ramsey Lewis Reingold Todd & Eva Marie Restel James & Barbara Rice Bruce & Peggie Riley Erika Ritter Cameron & Carlene Roberts Steve & Nancy Rose Patricia Rubasch Joyce Rugen David & Nancy Russell Paul & Barbara Rusterholz Bev & Curt Ruston Barbara L. Saathoff Deacon Richard & Mary Sage Mark & Mary Jo Sandheinrich Chuck & Patti Sans Crainte Jerome P. & Mary Lou Saterbak Will & Kate Schanhofer Randy & Marian Schiesser John & Beverly Schilling Dan Schmidt Susan Schmidt Roz Schnick Kurt Schroeder Rebecca Schroedl Michael & Robin Schultz David & Diane Schumacher Phil & Becky Schumacher Glenn & Lila Seager Jim & Gloria Servais Tim & Lisa Servais Bruce Shong Glen & Pat Skewes David Skogen Tom & Judy Sleik Brent & Ellen Smith George & Marita Smith Martin Smith Wilma Spaeth Nathan Spriggs Stanek Dental, Inc. Pat & Joanne Stephens Gordon & Diane Stewart Jonathan & Gwyneth Straker Tom & Michele Strange Kevin & Angela Strangman Maureen Strothman Mark & Brenda Stuhr Richard & Janice Stuntebeck
Peter Tabor Carol Taebel Steve & Suzanne Tanke Paul Taylor Joe & Heidi Thesing Christopher & Tami Thilges Dyanne Brudos & Roger Thornton Pam & Bill Thrune Jeff & Kate Tooke Mary Tronick Mary Trussoni Marc Tumerman Ulrich Construction, LLC Tom & Charmaine Uphaus Terri Urbanek Gary & Karmin Van Domelen Mary Veglahn Janet & Rodelino Virata Jo Voight Glenn & Sue Voigtschild Kristine Von Ruden Bernadine Voss Rick & Joan Waniger Phyllis Weihrouch Morris & Jill Welch Robert Wessler John Wettstein Jodi Widuch Richard Willette Paul & Linda Winans Kenneth & Lynn Winter Terry & Kris Wirkus Mary Ann Zaky Kurt & Kelly Ziegelbein
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Wall Murals
Brilliant images with dynamic, vivid colors Wall murals are great in restaurants, retail settings, offices, and more. Ideas include natural scenic backdrops, animal murals, city landscapes, natural landscapes, sports, and much more.
We can create custom wall murals from your photo or artwork!
Posters Banners Trade Show Displays Canvas Prints Jackson Plaza La Crosse
608.784.2110
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Inclusion of such high quality guest artists are possible with the generous support of our Guest Artist Society.
Join the Society today with your
$2,000 donation & receive the following benefits:
• Name in the program book as a guest artist season sponsor • Meet and greets with the artists for society members • Signed copies of the guest artist’s CD (When available) • CD recordings of each concert – archival purposes only • Input into future season’s guest artists • Receptions and private concerts with the artists
CURRENT GUEST ARTIST SOCIETY MEMBERS
Burt & Norma Altman, Lu & Charles Cagin, Harvey Bertrand & Dr. Suzanne Tanner-Bertrand Pat & Joe Heim, La Crosse Community Foundation Margaret Forseth Burgess Music Fund, Dick Record, Eva Marie & Todd Restel, Tom Skogen, Rick & Carolyn Smith, Connie & George Smith www.facebook.com/lacrossesymphony
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WORDS
4 Sisters Wine & Tapas Amenity Electrolysis Anonymous (5) Aquinas High School Gerald & Betty Baldner Dr. Suzanne Tanner-Bertrand & Harvey Bertrand Barb & Brian Benson Scott Bjorge Martin Bolanoz Jay Buckley Buzzard Billy’s Café Divine Studio 16 Candlewood Suites Center for Chiropractic Central States Warehouse Children’s Museum of La Crosse Commonweal Theatre Company Coulee Golf Bowl Creative Heirlooms Crescent Jewelers Crescent Printing Co. Culligan Water of La Crosse Dahl Toyota Winona Kathy Davig Digicopy Digger’s Sting Dr. Js Car and Marine Drugan’s Dublin Square Wanda Ducharme & Ed Storey E&C endlessly and constantly E Spa and Makeup Studio Edwardos Front Porch Photography Generous Earth Nancy Gerrard & Rick Staff Gerrard-Hoeschler Realtors Chad Gilbeck Gloria Jean’s Coffee Great Harvest Bread Company Great River Shakespeare Festival Green Bay Packers Pat and Joe Heim Holiday Inn Hotel and Suites of La Crosse Innovative Graphics, LLC Renee Chrz International Furniture Interstate Roofing Joba Flats Joyce Dively Pottery
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IN-KIND DONATIONS Kate’s on State Ruth Ann Knapp Kraus-Anderson Realty Company Fred and Ruth Kurtz La Crosse Area Youth Symphony La Crosse Chamber Chorale La Crosse Community Theatre La Crosse Loggers La Crosse Radio Group La Crosse Tribune Lady Luck Casino Marquette Le Chateau Leithold Music Loews Minneapolis Hotel LSO Board of Directors Madison Symphony Orchestra Marcie’s Pet Spa Marriott Courtyard Mary Cody’s Restaurant Massage by Megan Mathy Construction Meridian Corp. Metropolitan Salon & Day Spa Midwest Family Broadcasting La Crosse Minnesota Marine Art Museum Misty’s Dance Unlimited Monet Floral Monique’s Culinary Experiences Noelke Distributors Jennifer Nordeen Old Navy Onalaska High School Organic Valley Outback Panera Bread Painted Porch Pearl Soda Fountain Peggy Lovejoy Piggy’s Restaurant Pizza Amore Pleasoning PMK Photography illumin8 Practically Posh Progreba Restaurant Pump House Radisson Hotel Ravinia Dick Record David Reedy Mary Ann Redfearn Ken Riley & Jay Lokken
River City Chiropractic Road America Bob and Janet Roth Rose Jewelers Chris Salzwedel Mimi Saterbak Signatures Restaurant Simple Pleasures / Christina Farrell S&S Cycle Connie & George Smith Rick Stewart Sue Kolve’s Salon & Spa The Company Store The Minnesota Timberwolves & the Tanke Family The Prescription Center The Waterfront Restaurant and Tavern Three Rivers Lodge Three Rivers Outdoors Thrive Health Center Travel Leaders Treehouse Gift & Home University of Wisconsin La Crosse UW-L Theater Department Valentine Ball Committee Viterbo University Weber Center Weddings by Nancy Wells Fargo Advisors Wettstein’s Jessica Wikkins Winona State University WKBT-News 8 WLSU-88.9 Jane Wood WXOW-News 19
2015-16 Season
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CORPORATE PARTNERS
Thank you to our 2015-2016 Corporate Sponsors
CONCERT SPONSORS:
SPONSOR A SECTION:
October 24
Dick Record Richard and Dorothy Lenard Larry and Carolyn Furlong Alex & Jackie Vaver Ernie & Sally Micek Bob & Janet Roth (2) Richard & Lizbeth Reynertson Larry & Kathleen Wagner Lillian Bell Harold & Betty Haworth Memorial Mark & Jeanne Connelly Catherine Kinyo Becky Post & David Maddocks
Pat and Joe Heim
November 21
George & Connie Smith
December 18 & 19 February 6 March 12 April 30
Trust Investment Management
GUEST ARTIST SOCIETY:
SPECIAL CHAMBER CONCERT MAJOR SPONSOR:
Dr. Michael & Carolyn White
Eva Marie & Todd Restel
THE VALENTINE BALL 2016 MAJOR SPONSORS:
Connie & George Smith
Wells Fargo
Dick Record Charles and Lu Cagin
La Crosse Community Foundation Wells Fargo Advisors Margaret Forseth Burgess Music Fund Interstate Roofing Harvey Bertrand & Dr. Suzanne Tanner-Bertrand
www.facebook.com/lacrossesymphony
RISING STARS CONCERTO COMPETITION: Dick Record
RISING STARS COMPETITION PRIZE MONIES: Anna Beth Culver - $2,000 Jane Saline Memorial - $2,000
Jay and Dawn Jaehnke - $1,000
Tom Skogen Burt & Norma Altman
State Bank of La Crosse
Jane Saline Memorial - $1,000
Pat & Joe Heim Rick & Carolyn Smith
PRE-CONCERT SPONSORSHIP:
Travel Leaders – Owned and Operated by Goli’s Avenues of Travel – $500 John Bolstad – $500
STRING SCHOLARSHIP PROGRAM SPONSOR: David Reedy Mary Rohrer Mark & Jeanne Connelly
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WORDS
STRING SCHOLARSHIPS: Marilyn & Jerry Arndt Diane Foust & Jim Nelson Franke & Turnbull, CPA’s Marine Credit Union Cindi & Deak Swanson Stephanie & William Krueger
CORPORATE PARTNERS ADVERTISING: La Crosse Radio Group La Crosse Tribune
EXECUTIVE DIRECTOR CONCERT WARDROBE: E&C endlessly and constantly
Midwest Family Broadcasting
STORAGE SPACE:
WKBT – NewsChannel 8
Central States Warehouse
WLSU – 88.9
CONCERT COUGH DROPS:
WXOW – Channel 19
GRANTS AND FOUNDATIONS:
The Prescription Center
Jane & Ron Rada
United Fund for the Arts and Humanities
Monet Floral
Joan & George Parke
La Crosse Community Foundation
Jean Ann & Sigurd Gundersen III
La Crosse Tribune
EVENING OUT COUPON BOOK:
2 Educational Sponsorships in honor of Amy Mills
SYMPHONY FOR YOUTH CONCERT: Major Sponsor :
Elmwood Foundation Xcel Energy Foundation
CONDUCTOR ACCOMMODATIONS:
Ronald McDonald House Charities of Western Candlewood Suites Wisconsin and Southeastern Minnesota
Additional Support: BNSF Foundation La Crosse Community Foundation Maureen & Mike Norris Xcel Energy
Media Sponsor: WXOW – Channel 19
GUEST ARTISTS’ ACCOMMODATIONS: Holiday Inn Hotel and Suites of La Crosse
INSTRUMENTS AND REHEARSAL SPACE: Onalaska High School
Midwest Family Broadcasting
MUSICIANS BOTTLED WATER: Culligan Water of La Crosse
POST-CONCERT RECEPTIONS: Gloria Jean’s Coffee
VALENTINE BALL PRINTING: Digicopy
E-NEWSLETTER SPONSOR:
Winona State University
Wells Fargo / Wells Fargo Advisors
Leithold Music
WEB SITE PRODUCTION AND MAINTENANCE:
Kraus-Anderson Realty Company
www.lacrossesymphony.org
Digicopy
Viterbo University
LSO OFFICE SPACE:
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CONCERT BOUQUETS:
Meridian
2015-16 Season
2014-2015 MEMORIAL AND HONORARY GIFTS LEATRICE PLATT MEMORIAL Joe & Pat Heim AVERY GUNDERSEN MEMORIAL Dr. Sigurd Gundersen, Jr. PATRICIA HENRY MEMORIAL Charles & Jan Henry Tom & Cindy Adams Arthur & Kathryn Ingalls George & Nancy Schmidt Janice Kehr Michelle O�Connell LEWIS LEBAKKEN MEMORIAL LSO Staff and Board of Directors RAY SUNDET MEMORIAL Wayne & Donna Loveland LSO Staff and Board of Directors
MADDELINE SCHULDES MEMORIAL Gundersen Lutheran Medical Foundation Dean Clinic Katherine Stehly Joanne Martin & Susan Lefel JOHNSTON BELL MEMORIAL Lillian Bell MARIE LOUISE LOKKEN MEMORIAL Audrey Kader JOYCE ROSSO MEMORIAL Anthony Rosso Paul Beal Charles & Ann Yeager Robin Jones Virginia Fellman HAZEN AMES MEMORIAL Chester Hilton Paul & Linda Starr Winans
CHARLES GELATT MEMORIAL George & Connie Smith
IN HONOR OF KEN RILEY & JAY LOKKEN Ron & Jane Rada
ANDREA GOUDIE MEMORIAL Bob & Barb Fisher Michael & Victoria Henry Patricia Mertens Mary Jane Greenewald Lloyd & Wendy Sorenson
IN HONOR OF JAY LOKKEN Saul & Keren Prombaum
PAMELA GREEN MEMORIAL Mark & Wendy Mattison TERRY LARSEN MEMORIAL Barbara Larsen WILLIAM HYDE MEMORIAL Joan Yeatman Dwaine & Barbara Smith
www.facebook.com/lacrossesymphony
Bravo! To our generous and thoughtful patrons who donated their concert tickets for re-sale in 2014-2015 Garry & Sandra Anderson Jesus Arellano Glen & Mary Bakalars Jerry & Caroline Benser Harvey Bertrand & Dr. Suzanne Tanner-Bertrand Stan & Sandy Bissen Tom & Carol Bramschreiber Jerrilyn Brewer Marvin & Carolyn Case Mark & Jeanne Connelly Rusty & Gail Cunningham Michael & Joyce Davy Elaine De Buhr Don & Nancy Ellingson Larry Lebiecki & Anita Evans Diane Foust Dr. Robert & Maureen Freedland Marla French Larry & Carolyn Furlong James & Janice Gallagher Michael & Gretchen Geary James & Jeannie Groskreutz Sig & Jean Ann Gundersen Charles & Shirley Haas Peter & Esther Harman Herb & Barb Heili Lisa Henner Terry Rindfleisch & Linda Hirsh Maria Holley Mark & Sharon Jolivette Ralph & Nancy Heerens-Knudson Catherine Kinyon Gloria Kubiak Roger & Patricia La Rue Sid & Monica Lazere Mary Leavitt Char Lebakken John & Barb Leinfelder Wayne & Donna Loveland Kay Mazza Rev. Bernard Mc Garty Lorraine Mc Ilraith Lucille Mulder Kermit & Barbara Newcomer Carla Pena
MUSICAL LEGACY SOCIETY: BENEFACTORS WHO HAVE PLANNED BEQUESTS TO THE LSO. John Bolstad Barbara & Herb Heili Fred & Ruth Kurtz The Marie Lokken Family Donna & Wayne Loveland Carol & Michael Mader Dick Record David Reedy Janet & Robert Roth Tom Skogen Carolyn & Richard Smith Donald & Nancy Smith
Galen & Marianne Pittman Delores Poloncsik Lynn Quinlisk Julienne Ripp Alan & Cathy Robertson Sharon Ryan Dick & Mary Jean Sartz Jerry & Mary Lou Saterbak Peggy & Angela Schrabeck Maureen Sullivan & Tom Schauer Jeri Sebo Bill & Jane Simmons Martin & Ruby Smith Lynn Spicer Mary Stavropoulos Dr. James & Nancy Terman Jeff & Sandy Thompson Allen & Carla Townsend Audrey Uber John & Roberta Ujda Kathleen Wagner Kathleen E. Wagner Stephen & Katherine Webster Eric & Vicki Wheeler Lori White Daniel & Carolyn Wokosin
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Bistro
O PEN FOR LUNCH AND W EEKEND B RUNCH open 7 days bakery • deli • grocery • fresh produce • meat & seafood • health & wellness
• locally flavored and seasonally inspired • featuring salads, sandwich boards, and signature dishes • hearty and healthy brunch on weekends
Anyone can Shop, Everyone is Welcome
Hours: Mon.–Fri. 11 a.m. to 3 p.m. Sat.–Sun. 8 a.m. to 3 p.m.
People’s Food Co-op 315 Fifth Avenue S La Crosse, WI 608.784.5798 519 First Avenue SW Rochester, MN 507.289.9061 www.pfc.coop 86
www.lacrossesymphony.org
Above People’s Food Co-op 315 Fifth Avenue S 608.784.5798 ext. 2202 www.pfc.coop 2015-16 Season
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2015–16 Viterbo University Fine Arts Center
All Tickets On Sale Viterbo University Fine Arts Center Box Office 608-796-3100 www.viterbo.edu/tickets
Cirque Mechanics Pedal Punk
Million Dollar Quartet
VOCES 8 Fine Arts Center Ticket Information
www.facebook.com/lacrossesymphony
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FIM Group Proudly Supports LA CROSSE SYMPHONY ORCHESTRA “Music is enough for a lifetime, but a lifetime isn’t enough for music.” ~ Sergei Rachmaninoff
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Creativity at work 608.788.1909 • design@iglacrosse.com • www.iglacrosse.com • facebook.com/iglacrosse 90
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2015-16 Season
La Crosse Symphony
b u l C 0 20/3
The 20/30 Club is designed to reach out to those between the ages of 18 to 39 who may not regularly get an opportunity to attend a symphony concert. The 20/30 Club members are eligible to receive $10 best available seats to La Crosse Symphony Orchestra concerts located at the Viterbo Fine Arts Center. Club members also receive access to a number of exclusive pre or post-concert happy hours throughout the LSO season. Members of The 20/30 Club can purchase $10 best available tickets to 2015-2016 concerts starting September 30, 2015.
HOW DOES THE 20/30 CLUB WORK? Simply sign up on our website www.lacrossesymphony.org for The 20/30 Club, and we’ll send you the coupon code to use online to receive the discount. No membership fees, no rush lines – just worldclass music at an extremely affordable price.
ONCE YOU RECEIVE YOUR COUPON CODE… Pick any regular LSO concert (offer excludes November 21 concert). Choose your seats and enter the coupon code at checkout. Bring your ID to will-call the day of the concert to get your tickets. Enjoy live world-class music! Repeat this process as many times as you like throughout the entire season. Join The 20/30 Club now! If you have any questions contact LSO Executive Director, Tracy Fell, at tracyf@lacrossesymphony.org. www.facebook.com/lacrossesymphony www.facebook.com/lacrossesymphony
2015-16 2015-16 Season Season
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Thank you!
Because of the following endowment donors... $250,000 LEADERSHIP CIRCLE ANONYMOUS CHARLES & SUE GELATT WEBER FAMILY FOUNDATION $25,000 Principal’s Circle Anonymous (2) In Memory of Vicki Bigley Joe & Pat Heim Dick Record
$10,000 Artist’s Circle
Ellyn Ash In Memory of Randolph Baier Barry Blomquist & Eva Dahl Ruth M. Dalton, M.D. Dr. Sigurd Gundersen, Jr. Ken Riley & Jay Lokken The Marie Lokken Family Memorial John & Linda Lyche Richard & Joan Marchiando Ernie & Sally Micek Tom & Amy Strom
$5,000 Patron’s Circle
Anonymous Jerry & Marilyn Arndt John Bolstad Anna Beth Culver Andrew & Jamie Dahl Terry Rindfleisch & Linda Hirsh Drs. John & Kerrie Moore James Munn David Reedy Bob & Janet Roth In Memory of Jack Schwem George & Connie Smith Dr. Michael & Carolyn White
$100,000 CONDUCTOR’S CIRCLE HANSEN FAMILY FOUNDATION DAVID & BARBARA SKOGEN
$4,999 or under-Friends Circle -------------------------------Jesus Arellano Elizabeth Becker Kathy Boarman Nancy Borgen Lori Carlson Michael & Laura Chesher Mark & Jeanne Connelly Timothy Cox In Memory of Lucy Davidson Nancy & Don Ellingson Tracy Fell Tammy Fisher David & Susan Foran Mike Forbes Franciscan Sisters of Perpetual Adoration Mary Funk David & Abigail Gerzema Mark Glasel Bethany Gonella David & Nancy Goode Steve Groth Mary Ann Gschwind Sigurd Gundersen III & Jean Ann Gundersen Charles & Shirley Haas
Nori Hadley Jean Hammons Natalie Hartigan Charlie & Jan Henry Mary Beth Hensel Carol Hester Harry Hindson Arthur & Kathryn Ingalls Jay & Dawn Jaehnke Dr. Julia Johnson & Jackson Jantzen Kris Jenkins Cindy Johnson Ornelle Jorgensen Anne Judisch Timothy Kamps Gary & Melissa Klein Brian Koh Greg & Susan Knorr Lewis & Charlene Lebakken Bill & Kay Leonard Angelica Lundberg Rich Mac Donald Conrad Madson Randy Mastin Kay Mazza
Lorraine Mc Ilraith David Morrison Roy Munderloh Doug Nelson Elinor Niemisto Tom & Lori Nigon Lance & Sue Paulson Sue Radloff Melissa Roby Amy Scarborough Steve Schani Tom Schauer & Maureen Sullivan Colleen Shaw William & Louise Temte Dr. James & Nancy Terman Kristin Thelander Robert & Lynne Trine Barbara Tristano Randy Van Rooyen & Kelly Nowicki-Van Rooyen Alex & Jackie Vaver Donald Vinger Mark Wamma Roger & Carol Ziff
If you’d like to learn more about how you can contribute to the Endowment Campaign, call
608.783.2121
Our Symphony will continue to thrive! 92 92
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Thank you Dick Record
Elmer Petersen Sculptor
For your generosity and continued support of the community and especially the Arts!
Dick Record, Philanthropist
THE SCULPTURE: SYMPHONIC JOY
Elmer Petersen, sculptor, created this sculpture to celebrate the joy and music-making of the La Crosse Symphony Orchestra. His artwork will allow people to experience a composition of music, Beethoven’s “Ode to Joy,” as they would a representational painting. A colored glass filled panel sculpture represents a musical score with thick, stain-glass notes of jewel quality that resemble church windows. “People will see what looks like a musical score made up of very rich, colorful shapes with the light shining through at different times,” Petersen said. “The sculpture is a unique visual experience and an interesting place to contemplate, he said. “Nature interacts with the piece and the attributes of light enhance the feeling of being alone with nature,” Petersen said. LSO endowment campaign donors are recognized in the sculpture.
SCULPTURE DONOR
Dick Record, co-owner of Midwest Family Broadcasting who has been a regular donor to the LSO for 30+ years, commissioned a sculpture honoring the 115-year history of the La Crosse Symphony Orchestra to kick off the organization’s endowment campaign. He paid for La Crosse area sculptor, and Elmer Petersen created the piece of work to recognize the symphony’s significant role in the community. “The sculpture is something visible and tangible, for people to connect with, and it’s a lasting tribute to honor the history of the symphony,” said Record, who served on the symphony’s board of directors and is a Board Emeritus. “It’s a piece of art that I think will get people excited about the endowment fund and generate interest in the community,” he said. Record, also the main sponsor of the LSO’s Rising Stars Concerto Competition, said the commission allows him to combine his interest in classical music and visual arts. He is an avid art collector, and his artwork has been on loan and on display in the symphony office. Record is a big fan of Petersen’s sculptures. “I wanted Elmer to do it, and I had no requests or demands, just that it gives the feeling of the symphony,” he said. Record said sponsoring symphony activities helps keep the arts organization an important part of the community. “I get to work with a group of dedicated people who want the symphony to make great music, and the orchestra is doing a damn good job of it,” he said. “Now it’s time for all of us to step up to ensure the symphony’s future because it takes more than buying a ticket to keep the LSO going.”
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2015-16 2015-16Season Season
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