MSO PROGRAM 1 / October & November 2021 by Milwaukee Symphony Orchestra

ENCORE OCTOBER— NOVEMBER

2021

ENCORE

ENCORE OCTOBER— NOVEMBER

2021

Volume 40 No. 1

17 O ctober 1 – 3 — Classics A Grand Opening 27 O ctober 15 & 16 — Classics Frank Almond Plays Bruch 37 October 22 & 23 — Classics Dance & Delight 43 O ctober 29 – 31 — Pops Prohibition 47 N ovember 5 – 7 — Classics Andreas Delfs Returns

5 7 14 56 57 61 62 67 68

Orchestra Roster Conductor Bios Milwaukee Symphony Chorus Endowment/Planned Giving Annual Fund Corporate and Foundation Support A Grand Future Campaign MSO Board of Directors MSO Administration

Cover image by: Steve Hall© Hall & Merrick Photographers

This program is produced and published by ENCORE PLAYBILLS. To advertise in any of the following programs: • • • • • • • •

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please contact: Scott Howland at 414.469.7779 scott.encore@att.net MILWAUKEE SYMPHONY ORCHESTRA 212 West Wisconsin Avenue Milwaukee, Wisconsin 53203 414.291.6010 | mso.org

Connect with us! MSOrchestra @MilwSymphOrch MilwSymphOrch @MilwSymphOrch

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Milwaukee Symphony Orchestra

The Milwaukee Symphony Orchestra, led by Music Director Ken-David Masur, is among the finest orchestras in the nation. Since its inception in 1959, the MSO has found innovative ways to give music a home in the region, develop music appreciation and talent among area youth, and raise the national reputation of Milwaukee. The MSO’s full-time professional musicians perform more than 135 classics, pops, family, education, and community concerts each season at the Bradley Symphony Center and in venues throughout the state. A pioneer among American orchestras, the MSO has performed world and American premieres of works by John Adams, Roberto Sierra, Philip Glass, Geoffrey Gordon, Marc Neikrug, and Matthias Pintscher, as well as garnered national recognition as the first American orchestra to offer live recordings on iTunes. Now in its 50th season, the orchestra’s nationally syndicated radio broadcast series, the longest consecutive-running series of any U.S. orchestra, is heard annually by more than two million listeners on 147 subscriber stations in 38 of the top 100 markets. The MSO’s standard of excellence extends beyond the concert hall and into the community, reaching more than 40,000 children and their families through its Arts in Community Education (ACE) program, Youth and Teen concerts, Family Series, and Meet the Music pre-concert talks. Celebrating its 32nd year, the nationally-recognized ACE program integrates arts education across all subjects and disciplines, providing opportunities for students when budget cuts may eliminate arts programming. The program provides lesson plans and supporting materials, classroom visits from MSO musician ensembles and artists from local organizations, and an MSO concert tailored to each grade level. This season, more than 6,500 students and 400 teachers and faculty in 20 Southeastern Wisconsin schools are expected to participate in ACE.

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2021.22 SEASON KEN-DAVID MASUR Music Director Polly and Bill Van Dyke Music Director Chair EDO DE WAART Music Director Laureate YANIV DINUR Resident Conductor CHERYL FRAZES HILL Chorus Director Margaret Hawkins Chorus Director Chair TIMOTHY J. BENSON Assistant Chorus Director FIRST VIOLINS Ilana Setapen, Acting Concertmaster Charles and Marie Caestecker Concertmaster Chair Jeanyi Kim, Acting Associate Concertmaster (2nd Chair) Chi Li, Acting Assistant Concertmaster Alexander Ayers Michael Giacobassi Yuka Kadota Dylana Leung Lijia Phang Margot Schwartz SECOND VIOLINS Jennifer Startt, Principal Andrea and Woodrow Leung Second Violin Chair Timothy Klabunde, Assistant Principal Glenn Asch John Bian Lisa Johnson Fuller Paul Hauer* Hyewon Kim Shengnan Li Laurie Shawger Mary Terranova VIOLAS Robert Levine, Principal Richard O. and Judith A. Wagner Family Principal Viola Chair Samantha Rodriguez, Acting Assistant Principal Friends of Janet F. Ruggeri Viola Chair Alejandro Duque, Acting 3rd Chair Assistant Principal Elizabeth Breslin Nathan Hackett Erin H. Pipal Helen Reich

CELLOS Susan Babini, Principal Dorothea C. Mayer Cello Chair Nicholas Mariscal, Assistant Principal Scott Tisdel, Associate Principal Emeritus Madeleine Kabat Gregory Mathews Peter Szczepanek Peter J. Thomas Adrien Zitoun BASSES Jon McCullough-Benner, Principal Donald B. Abert Bass Chair Andrew Raciti, Associate Principal Scott Kreger Catherine McGinn Rip Prétat HARP Julia Coronelli, Principal Walter Schroeder Harp Chair FLUTES Sonora Slocum, Principal Margaret and Roy Butter Flute Chair Heather Zinninger Yarmel, Assistant Principal Jennifer Bouton Schaub PICCOLO Jennifer Bouton Schaub

CONTRABASSOON Beth W. Giacobassi HORNS Matthew Annin, Principal Krause Family French Horn Chair Krystof Pipal, Associate Principal Dietrich Hemann Andy Nunemaker French Horn Chair Darcy Hamlin TRUMPETS Matthew Ernst, Principal Walter L. Robb Family Trumpet Chair David Cohen, Associate Principal Martin J. Krebs Associate Principal Trumpet Chair Alan Campbell, Fred Fuller Trumpet Chair TROMBONES Megumi Kanda, Principal Marjorie Tiefenthaler Trombone Chair Kirk Ferguson, Assistant Principal BASS TROMBONE John Thevenet, Richard M. Kimball Bass Trombone Chair TUBA Robert Black, Principal

OBOES Katherine Young Steele, Principal Milwaukee Symphony League Oboe Chair Kevin Pearl, Assistant Principal Margaret Butler

TIMPANI Dean Borghesani, Principal Chris Riggs, Assistant Principal

ENGLISH HORN Margaret Butler Philip and Beatrice Blank English Horn Chair in memoriam to John Martin CLARINETS Todd Levy, Principal Franklyn Esenberg Clarinet Chair Benjamin Adler, Assistant Principal, Donald and Ruth P. Taylor Assistant Principal Clarinet Chair William Helmers E FLAT CLARINET Benjamin Adler

PERCUSSION Robert Klieger, Principal Chris Riggs PIANO Melitta S. Pick Endowed Piano Chair PERSONNEL MANAGERS Françoise Moquin, Director of Orchestra Personnel Elizabeth Fairfield, Orchestra Personnel and Artistic Administrator LIBRARIANS Patrick McGinn, Principal Librarian, Anonymous Donor, Principal Librarian Chair Paul Beck, Associate Librarian

BASS CLARINET William Helmers BASSOONS Catherine Chen, Principal Muriel C. and John D. Silbar Family Bassoon Chair Rudi Heinrich, Assistant Principal Beth W. Giacobassi

PRODUCTION TECHNICAL MANAGER Tristan Wallace, Technical Manager & Live Audio Supervisor

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Ken-David Masur, music director Hailed as “fearless, bold, and a life-force” (San Diego UnionTribune) and “a brilliant and commanding conductor with unmistakable charisma” (Leipzig Volkszeitung), Ken-David Masur is delighted to begin his third season as music director of the Milwaukee Symphony Orchestra, leading performances in the beautifully restored and renovated Bradley Symphony Center. This season, Masur makes his subscription debuts with the San Francisco Symphony and the Minnesota Orchestra and also leads performances with the Baltimore Symphony Orchestra, the Warsaw Philharmonic, the Rochester Philharmonic, the Kristiansand Symphony Orchestra, and at the Pacific Music Festival in Sapporo, Japan. Masur leads a range of innovative Photo by Adam DeTour programs with the Milwaukee Symphony Orchestra – including an expansive staging of Peer Gynt with director Bill Barclay – and with the Civic Orchestra of Chicago, the professional training orchestra of the Chicago Symphony and the Negaunee Music Institute where he has been principal conductor since 2019. Masur has conducted distinguished orchestras around the world, including the Boston Symphony Orchestra, the Los Angeles Philharmonic, the Chicago and Detroit Symphonies, l’Orchestre National de France, the Yomiuri Nippon Symphony in Tokyo, and the Orchestre National du Capitole de Toulouse. In addition to regular appearances at Ravinia, Tanglewood and the Hollywood Bowl, Masur has conducted internationally at the Verbier Festival in Switzerland, the Festival of Colmar in France, Denis Matsuev’s White Lilac Festival in Russia, the Tongyeong Festival in South Korea and the TV Asahi Festival in Tokyo, Japan. Previously Masur was associate conductor of the Boston Symphony Orchestra, where he led numerous concerts, at Symphony Hall and at Tanglewood, of new and standard works featuring guest artists such as Renée Fleming, Dawn Upshaw, Emanuel Ax, Joshua Bell, and others. For eight years, Masur served as principal guest conductor of the Munich Symphony, and has also served as associate conductor of the San Diego Symphony and as resident conductor of the San Antonio Symphony. Masur is passionate about the growth and encouragement of contemporary music and composers, and during the Milwaukee Symphony’s past season of virtual and live performances, he introduced a diversity of composers new to the orchestra. He has also conducted and commissioned dozens of new works at the Chelsea Music Festival, an annual summer music festival in New York City founded and directed by Masur and his wife, pianist Melinda Lee Masur, and touted as an “impressive addition to the New York cultural ecosystem” (Time Out NY). The Festival seeks to engage curious audiences with its collaborations between the performing, visual and culinary arts, and has been praised by The New York Times as a “gem of a series.” Music education and working with the next generation of young artists are also of major importance to Masur. In addition to his work with the young musicians of the Civic Orchestra of Chicago, he has led orchestras and masterclasses at New England Conservatory, Boston University, Boston Conservatory, the Tanglewood Music Center Orchestra and at leading universities and conservatories in Asia, Europe, and South America. Ken-David Masur has recorded works by Beethoven and Pēteris Vasks with the English Chamber Orchestra and violinist Fanny Clamagirand; Gisle Kverndokk’s Symphonic Dances with the Stavanger Symphony; and Strauss Ein Heldenleben for Naxos Japan. MILWAUKEE SYMPHONY ORCHESTRA

Edo de Waart, music director laureate Edo de Waart is music director laureate of the Milwaukee Symphony Orchestra. His tenure as music director (2009-2017) of the MSO included sold-out concerts, critical acclaim, and a celebrated performance at Carnegie Hall. He is also conductor laureate of the New Zealand Symphony Orchestra and conductor laureate of the Antwerp Symphony and Netherlands Radio Philharmonic Orchestra.

Photo by Jesse Willems

During the 2021.22 season, de Waart will return to the MSO for two concert weekends. The first in February 2022 will feature Beethoven’s Symphony No. 6. Then in April, de Waart will lead the orchestra in performances featuring Brahms, Schreker, Beethoven, and Mozart.

As an opera conductor, de Waart has enjoyed success in a large and varied repertoire in many of the world’s greatest opera houses. He has conducted at Bayreuth, Royal Opera House Covent Garden, Grand Théâtre de Genève, Opera de Bastille, Santa Fe Opera, Salzburg Festival, and The Metropolitan Opera. Recent appearances at The Met have included Der Rosenkavalier and The Marriage of Figaro. Edo de Waart’s extensive catalogue encompasses releases for Philips, Virgin, EMI, Telarc, and RCA. His most recent recording is Elgar’s Dream of Gerontius with the Royal Flemish Philharmonic. At the age of 23, de Waart won the Dimitri Mitropoulos Conducting Competition in New York which resulted in his appointment as assistant conductor to Leonard Bernstein at the New York Philharmonic. On his return to Holland, he was appointed assistant conductor to Bernard Haitink at the Royal Concertgebouw Orchestra. In 1967, the Rotterdam Philharmonic Orchestra appointed him guest conductor and, six years later, chief conductor and artistic director. Since then, he has also been music director of the San Francisco Symphony and Minnesota Orchestra, chief conductor and artistic director of the Sydney Symphony and Hong Kong Philharmonic, and chief conductor of De Nederlandse Opera. Edo de Waart has received a number of awards for his musical achievements, including becoming a Knight in the Order of the Dutch Lion and an Honorary Officer in the General Division of the Order of Australia, in reflection of his invaluable contribution to Australian cultural life during his decade with the Sydney Symphony. He was also appointed an Honorary Fellow of the Hong Kong Academy for Performing Arts in recognition of his contribution to music internationally, and in particular, his commitment to developing future generations of musicians in Hong Kong.

MILWAUKEE SYMPHONY ORCHESTRA

Yaniv Dinur, resident conductor Named the 2019 Sir Georg Solti Conducting Fellow (the largest award for conductors in the U.S.), Yaniv Dinur is currently resident conductor of the Milwaukee Symphony and music director of the New Bedford Symphony Orchestra. The League of American Orchestras honored the New Bedford Symphony by selecting it to be one of the orchestras to perform at the 2021 League Conference. He is lauded for his bold and engaging programming, insightful interpretations, and unique ability to connect with varied audiences, from season subscribers to first time concertgoers. Recent and upcoming highlights include subscription debuts with the symphonies of Fort Worth and Houston, Orchestra Photo by Erin Kavanaugh Haydn in Italy, as well as return engagements with the San Diego Symphony, Orchestra di Padova e del Veneto, and the Peninsula (Wisconsin) and Round Top (Texas) festivals. Among other U.S. guest conducting appearances are the Louisiana Philharmonic, Detroit Symphony, New World Symphony, and the San Antonio Symphony. Yaniv Dinur made his conducting debut at the age of 19 with the National Symphony Orchestra of Ireland, which led to multiple return engagements. Following his European debut, he was invited to perform with the Israel Camerata in Jerusalem, making him the youngest conductor ever to conduct a professional orchestra in Israel. Since then, he has conducted orchestras around the world, including the Israel Philharmonic, Orchestra di Padova e del Veneto, Portugal Symphony Orchestra, Sofia Festival Orchestra/Bulgaria, Solisti di Perugia, State Orchestra of St. Petersburg, Torino Philharmonic, and the National Arts Centre Orchestra in Ottawa. Broadcast live on Israeli radio, he was the principal conductor of the Jerusalem Symphony’s Young Artists Competition from 2003 to 2010. An accomplished pianist, Dinur made his concerto debut with the Milwaukee Symphony in 2019, playing and conducting Mozart’s D Minor Concerto. He received critical acclaim for his “fluid, beautifully executed piano passages” and “deeply musical playing” (Milwaukee Journal Sentinel). Dinur has worked closely with such world-class conductors as Lorin Maazel, Michael Tilson Thomas, Pinchas Zukerman, Kurt Masur, and Jorma Panula; soloists with whom he has collaborated include Itzhak Perlman, Yefim Bronfman, Jean-EffIam Bavouzet, and Vadim Guzman. He holds a Doctorate in Orchestral Conducting from the University of Michigan School of Music, Theatre and Dance, where he was a student of Prof. Kenneth Kiesler. Born in Jerusalem, Yaniv Dinur began studying the piano at the age of six with his aunt, Olga Shachar, and later with Prof. Alexander Tamir, Tatiana Alexanderov, Mark Dukelsky, and Edna Golandsky. At the age of 16, he began to study conducting with Dr. Evgeny Zirlin. While still in high school, Dinur began his formal studies with Dr. Zirlin at the Jerusalem Academy of Music and Dance. After graduating from the Jerusalem Academy, he studied privately with conductor Mendi Rodan

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Thallis Hoyt Drake, Founder | Charles Grosz, Executive & Artistic Director A

I VE R S A R

ACROSS BORDERS • SE

• ACROSS TIME

ASON

—— Upcoming Performances —— PARTHENIA

Italia Mia: Music of Renaissance Venice •••

•••

THE NEWBERRY CONSORT

A Mexican Christmas

NOVEMBER 13 • 5:00 pm

DECEMBER 4 • 5:00 pm

St. Paul’s Episcopal Church 914 E. Knapp St. | Milwaukee

St. Joseph Chapel 1501 S. Layton Blvd. | Milwaukee

All programs and venues subject to change

E A R L Y M U S I C N O W . O R G | 414.225.3113 10

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Milwaukee Symphony Chorus

The Milwaukee Symphony Chorus, founded in 1976, is known and respected as one of the finest choruses in the country. Under the direction of Dr. Cheryl Frazes Hill, the 2021.22 chorus season with the MSO includes performances of Holiday Pops, Handel’s Messiah, Grieg’s Peer Gynt, Duruflé’s Requiem, and Beethoven’s Symphony No. 9. The 170-member volunteer chorus has been praised by reviewers for “technical agility,” “remarkable ensemble cohesion,” and “tremendous clarity.” In addition to performances with the MSO, the chorus has appeared on public television and recorded performances on radio stations throughout the country. The chorus has performed a cappella concerts to sold-out audiences and has made guest appearances with other performing arts groups including Present Music, Milwaukee Ballet, and the Chicago Symphony Orchestra. The chorus has also made appearances at suburban Chicago’s famed Ravinia Festival. The Margaret Hawkins Chorus Director Chair was funded by a chorus-led campaign in 2006 in honor of the founding choral director, Margaret Hawkins, during the ensemble’s 30th anniversary season. Comprised of teachers, lawyers, students, doctors, musicians, homemakers, and more, each of its members brings not only musical quality, but a sheer love of music to their task. “We have the best seats in the house,” one member said, a sentiment echoed throughout the membership. Please visit mso.org for more information on becoming a part of the Milwaukee Symphony Chorus.

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Chorus Members & Staff Jahnavi Acharya Barbara A. Ahlf Anna Aiuppa Laura Albright-Wengler 6 James Anello Gela Sawall Ashcroft u Thomas R. Bagwell Mary Ann Beatty Cornelia Maria Beilke 6 JoAnn Berk Edward Blumenthal u Scott Bolens Becca Bowen Katie Brister Neil R. Brooks Elizabeth Brown Michelle Budny Ellen N. Burmeister Gabrielle Campbell Sarah M. Cook Elena Cressy Sarah Culhane Colin Destache Rebeca A. Dishaw Megan Kathleen Dixson u James Edgar Joe Ehlinger Jay Endres Larry Engel Michael Faust Catherine Fettig Carly Marie Fitzgerald Robert Friebus Karen Frink Maria Fuller George Galloway James T. Gallup Andrew Gerlach William Gesch Bennett Gillies Anne-Marie Giuca Sarah Glieberman Margaret Goodwin

Charyl Granatella Grace Majewski Grace Schaetz Virginia D. Grossman Linda Marten John Schilling Hailey Gurgul Joy Mast Sarah Schmeiser 6 Patricia Mathie Mark R. Hagner Rand C. Schmidt Eric Hanrehan Justin J. Maurer Randy Schmidt Beth Harenda Betsy McCool Allison Schnier Kristin Eklund Oscar Menoyo Matthew Seider Haverkampf Kathleen Ortman Miller u Hannah Sheppard Paul James Hayes Megan Miller David Siegworth Madeline Hehemann Phoebe Milner Kristen M. Singer u Karen Heins • Marjorie Moon Lori Skelton Mary Catherine Helgren Bailey Moorhead Tim Socha Kurt Hellermann Jennifer Mueller u Bruce Soto Cameron Henrickson Michael Mueller Joel P. Spiess Rolando Hernandez Matthew Neu Ashley Sprangers 6 Todd Stacey Sara E. Herrick Rachel Niemann Michelle Hiebert Kristin Nikkel Claire Stangl Laura Hochmuth Mary Beth Norton u Donald E. Stettler Alexander D. Howe Alice Nuteson Amanda D. Steven Amy Hudson Marilyn Overstreet Scott Stieg 6 Donna Stresing Matthew Hunt Robert Paddock Stan Husi Molly Pagryzinski Kristine Leigh Stresman u Tina Itson Grace Parlier Ashley Ellen Suresh • Christine Jameson Sarah Parlier Dean-Yar Tigrani Paula J. Jeske Leah Peavler Clare Urbanski John Jorgensen Amanda Peña Jessica Wagner Sherry Atienza Joseph Janese Pentico Barbara Wanless Heidi L. Kastern Rebekah Picard Emma Mingesz Weiss Jordan Keller R. Scott Pierce Michael Peter Werni u Michelle Beschta Klotz u Jessica E. Pihart Christina Williams Robert Anton Knier John Puchner Emilie Williams Jill Kortebein Catherine Anne Purdy Jessica Wirth Hannah Kovach Kaitlin Quigley Christopher Kaleigh N. Kozak Mary E. Rafel Wojciechowicz u Joseph M. Krechel David Lee Reber Kathleen Wojcik-May 6 Jason Reuschlein q Christine Krueger Kevin Woller Harold Krueger James Reynolds Maureen Woyci 6 Jamie M. Yu Rick Landin Marc Charles Ricard Jana Larson Amanda Robison Stephanie Zimmer Alexandra Lerch-Gaggl Carlos Rojo John W. Lettermann James Sampson Robert Lochhead Bridget Sampson Kristine Lorbeske Darwin J. Sanders

STAFF

u Section Leader

Cheryl Frazes Hill, chorus director Timothy J. Benson, assistant director Christina Williams, chorus manager Diane Kachelmeier, rehearsal pianist Darwin J. Sanders, language/diction coach

q Charter Member

MILWAUKEE SYMPHONY ORCHESTRA

•

Mentor

Librarian

Cheryl Frazes Hill, chorus director Dr. Cheryl Frazes Hill is now in her fifth season as director of the Milwaukee Symphony Chorus. In addition to her role in Milwaukee, she is the associate conductor of the Chicago Symphony Chorus, where she has assisted CSO Chorus Music Director Duain Wolfe for more than 20 years. Frazes Hill has also served as director of choral activities at Roosevelt University since 2002. During the 2021.22 season, Frazes Hill will prepare the Milwaukee Symphony Chorus for performances of Holiday Pops, Handel’s Messiah, Grieg’s Peer Gynt, Duruflé’s Requiem, and Beethoven’s Symphony No. 9. In her role as the Chicago Symphony Chorus associate conductor, she has prepared the chorus for Maestros Boulez, Barenboim, Levine, Mehta, Tilson Thomas, Conlon and many others. This season, she will prepare the Chicago Symphony Chorus for performances of Ravel’s Daphnis and Chloe, to be conducted by Esa-Pekka Salonen. Other recent preparations include a joint performance of the Milwaukee Symphony Chorus joining the Chicago Symphony Chorus and Orchestra for Mahler’s Symphony No. 8, conducted by Marin Alsop at the 2019 Summer Ravinia Festival. Recent recordings of Frazes Hill’s Chorus preparations on the Chicago Symphony Orchestra label include Beethoven, A tribute to Daniel Barenboim, and Chicago Symphony Chorus: A 50th anniversary Celebration. Frazes Hill received her Doctorate in Conducting and her Master of Music degree from Northwestern University and two undergraduate degrees from the University of Illinois. An accomplished vocalist, she is a featured soloist, nominated for a Grammy Award in the CBS Masterworks release Mozart, Music for Basset Horns. During her 15 years of public school teaching, Frazes Hill received numerous awards, including the Illinois Governor’s Award, the Northwestern University Alumni Merit Award, the Commendation of Excellence in Teaching from the Golden Apple Foundation, the Outstanding Teaching Award from the University of Chicago, and the Outstanding Music Educator Award. Frazes Hill is a frequent guest conductor and guest speaker. As a clinician, she conducts festivals throughout the country. Under her direction, the Roosevelt University choruses have been featured in prestigious and diverse events including appearances at national and regional music conferences, and performances with professional orchestras including the Chicago Symphony Orchestra, Chicago Sinfonietta, the Civic Orchestra of Chicago, and the Illinois Philharmonic. Among recent performances, the Roosevelt Conservatory Chorus received enthusiastic reviews for their American premiere of Jacob Ter Velduis’ Mountaintop. Other recent performances have included the internationally acclaimed production of Defiant Requiem. Her chorus also appeared with The Rolling Stones during their recent concert tour. Dr. Frazes Hill is a published author with her new book, a biography about her mentor, Margaret Hillis, the founder and first director of the Chicago Symphony Chorus. Margaret Hillis: Unsung Pioneer will be released by GIA Publishing in January 2022. Frazes Hill is nationally published on topics of her research in music education and choral conducting.

MILWAUKEE SYMPHONY ORCHESTRA

A GRAND OPENING Friday, October 1, 2021 at 7:30 pm Saturday, October 2, 2021 at 7:30 pm Sunday, October 3, 2021 at 2:30 pm ALLEN-BRADLEY HALL Ken-David Masur, conductor Aaron Diehl, piano

ERIC NATHAN Opening JAMES B. WILSON Green Fuse GEORGE GERSHWIN/Orch: Grofé, Ferde Rhapsody in Blue Aaron Diehl, piano INTERMISSION

DUKE ELLINGTON/Henderson, Luther and Tyzik, Jeff New World A-Comin’ Aaron Diehl, piano IGOR STRAVINSKY Suite from The Firebird (1919 revision) I. Introduction and Dance of the Firebird II. Dance of the Princesses III. Infernal Dance of King Kastchei IV. Berceuse V. Finale

The 2021.22 Classics Series is presented by the UNITED PERFORMING ARTS FUND. The MSO Steinway piano was made possible through a generous gift from MICHAEL AND JEANNE SCHMITZ. Opening is commissioned by the KOUSSEVITZKY FOUNDATION, LIBRARY OF CONGRESS. The length of this concert is approximately 1 hour, 30 minutes. Milwaukee Symphony Orchestra can be heard on Telarc, Koss Classics, Pro Arte, AVIE, and Vox/Turnabout recordings. MSO Classics recordings (digital only) available on iTunes and at mso.org. MSO Binaural recordings (digital only) available at mso.org. MILWAUKEE SYMPHONY ORCHESTRA

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Guest Artist Biographies AARON DIEHL Pianist and composer Aaron Diehl mystifies listeners with his layered artistry. At once temporal and ethereal, his expression transforms the piano into an orchestral vessel in the spirit of beloved predecessors Ahmad Jamal, Erroll Garner, and Jelly Roll Morton. Following three critically-acclaimed leader albums on Mack Avenue Records – and live appearances at historic venues from Jazz at Lincoln Center and The Village Vanguard to New York Philharmonic and the Philharmonie de Paris – the American Pianist Association’s 2011 Cole Porter fellow now focuses his attention on what it means to be present within himself. His forthcoming solo record promises an expansion of that exploration in a setting at once unbound and intimate. Diehl conjures three-dimensional expansion of melody, counterpoint, and movement through time. Rather than choose one sound or another, he invites listeners into the chambered whole of his artistry. Born in Columbus, Ohio, Diehl traveled to New York in 2003, following his success as a finalist in JALC’s Essentially Ellington competition and a subsequent European tour with Wynton Marsalis. His love affair with rub and tension prompted a years-long immersion in distinctive repertoire from Monk and Ravel to Gershwin and William Grant Still. Among other towering figures, Still in particular inspires Diehls’s ongoing curation of Black American composers in his own performance programming, unveiled this past fall at 92nd St. Y. Diehl has enjoyed artistic associations with Wynton Marsalis, Benny Golson, Jimmy Heath, Buster Williams, Branford Marsalis, Wycliffe Gordon, Philip Glass, and multi GRAMMY award-winning artist Cecile McLorin Salvant. He recently appeared with the New York Philharmonic and the Cleveland Orchestra as featured soloist. Diehl holds a Bachelor of Music in jazz studies from Juilliard. A licensed pilot, when he’s not at the studio or on the road, he’s likely in the air. Follow both his earthbound and aerial exploits via Instagram at www.instagram.com/aaronjdiehl.

MILWAUKEE SYMPHONY ORCHESTRA

Celebrating Celebrating the the Best Best of of the the Past Past 25 25 Years! Years! Take Me Home: The Music of John Denver Take Me Home: The Music of John Denver Starring Jim Curry Starring Jim Curry

Friday, October 15, 2021 • 7:30 p.m. Friday, October 15, 2021 • 7:30 p.m. Jim Curry presents the ultimate tribute experience, emerging as Jim Curry presents the ultimate tribute experience, emerging as the top performer of John Denver’s music today. the top performer of John Denver’s music today.

Jim Witter’s Best of the Piano Men Jim Witter’s Best of the Piano Men

Friday, October 29, 2021 • 7:30 p.m. Friday, October 29, 2021 • 7:30 p.m. Featuring favorites from all of Jim’s shows, this “Best of” show Featuring favorites from all of Jim’s shows, this “Best of” show will include the music of Billy Joel and Elton John, Simon and will include the music of Billy Joel and Elton John, Simon and Garfunkel, The Beatles, and folk favorites of the ’60s and ’70s. Garfunkel, The Beatles, and folk favorites of the ’60s and ’70s.

Christmas with the World Famous Glenn Miller Orchestra Christmas with the World Famous Glenn Miller Orchestra

Sunday, December 12, 2021 • 2:30 p.m. Sunday, December 12, 2021 • 2:30 p.m. Celebrate the Christmas season with the most popular and sought Celebrate the Christmas season with the most popular and sought after big band in the world today! after big band in the world today!

Close to You: The Music of the Carpenters Close to You: The Music of the Carpenters

Friday, February 11, 2022 • 7:30 p.m. Friday, February 11, 2022 • 7:30 p.m. Singer Lisa Rock and her band present a rare gem when it comes Singer Lisa Rock and her band present a rare gem when it comes to tribute shows, featuring hits like “We’ve Only Just Begun” and to tribute shows, featuring hits like “We’ve Only Just Begun” and “Rainy Days and Mondays” in their original key. “Rainy Days and Mondays” in their original key.

Stas Venglevski & Frank Almond Stas Venglevski & Frank Almond

Monday, March 21, 2022 • 7:00 p.m. Monday, March 21, 2022 • 7:00 p.m. Back by popular demand, master accordion player Stas Venglevski Back by popular demand, master accordion player Stas Venglevski will perform with violin virtuoso and former MSO Concertmaster will perform with violin virtuoso and former MSO Concertmaster Frank Almond. Frank Almond.

Piano Celebrations Series Piano Celebrations Series

Celebrate the beauty, power, and majesty of the Steinway Celebrate the beauty, power, and majesty of the Steinway grand piano in this series, which will feature these inspiring and grand piano in this series, which will feature these inspiring and engaging performances: engaging performances: Robin Spielberg Wednesday, November 10, 2021 • 7:00 p.m. Robin Spielberg Wednesday, November 10, 2021 • 7:00 p.m. Charlie Albright Wednesday, February 2, 2022 • 7:00 p.m. Charlie Albright Wednesday, February 2, 2022 • 7:00 p.m. David Osborne Wednesday, March 30, 2022 • 7:00 p.m. David Osborne Wednesday, March 30, 2022 • 7:00 p.m.

Center for Arts and Performance | Schwan Concert Hall Center for Arts and Performance | Schwan Concert Hall 8815 W. Wisconsin Avenue, Milwaukee, Wisconsin | Box Office: 414.443.8802 8815 W. Wisconsin Avenue, Milwaukee, Wisconsin | Box Office: 414.443.8802 For more information, tickets, and video samples visit: wlc.edu/guestartistseries For more information, tickets, and video samples visit: wlc.edu/guestartistseries 2021 MSO Ad_6.25x9.25.indd 1 2021 MSO Ad_6.25x9.25.indd 1

MILWAUKEE SYMPHONY ORCHESTRA

9/9/21 11:33 AM 9/9/21 11:33 AM

Program notes by J. Mark Baker At long last! Welcome back to experiencing music together! A world premiere opens our 2021.22 season, then James B. Wilson explores a Dylan Thomas poem. The MSO’s artistic partner Aaron Diehl serves up jazzy piano music by Gershwin and Ellington, and a suite from Stravinsky’s epic Firebird concludes this joyful program. Eric Nathan Born 8 December 1983; New York, New York

Opening Composed: 2020 First performance: 1 October 2021; Milwaukee, Wisconsin Last MSO performance: World premiere Instrumentation: 3 flutes, piccolo, 3 oboes, 3 clarinets, 2 bassoons, contrabassoon, 5 horns, 3 trumpets, piccolo trumpet, 3 trombones, tuba, timpani, percussion (suspended cymbal, sizzle cymbal, crash cymbals, gong, triangle, bass drum, brake drum, spring coil, ratchet, slapstick, vibraphone, chimes, glockenspiel), harp, strings. One flute, oboe, clarinet, 2 horns, trumpet, and 4 violins will be performing in the house. Approximate duration: 8 minutes The 37-year-old American composer Eric Nathan has already accumulated an impressive catalogue of works – orchestral music, chamber ensembles, pieces for solo instruments, vocal music, choral works, and more. He has garnered acclaim internationally through performances by Andris Nelsons and the Boston Symphony Orchestra, the National Symphony Orchestra, the Berlin Philharmonic’s Scharoun Ensemble, soprano Dawn Upshaw, violinist Jennifer Koh, at the New York Philharmonic’s 2014 and 2016 Biennials, and at the Tanglewood, Aspen, Aldeburgh, Cabrillo, Yellow Barn, and Chelsea Music festivals. A graduate of Cornell, Indiana, and Yale universities, Nathan currently serves as Associate Professor of Music in Composition-Theory at Brown University in Providence, Rhode Island. The composer has provided the following program notes: I will always remember visiting the Bradley Symphony Center as it was under construction, and standing in the hall in the palpable presence of its silence. The space was unadorned, with the audience sections filled to the ceiling with rows upon rows of scaffolding that seemed to reach across and embrace the hall as it was undergoing its surgery. I felt I “met” the hall privately that day in its vulnerable state, as it transitioned from the historic Warner Grand Theater into its new incarnation as an orchestral concert hall. I imagined what it would sound like when filled with music. A few months later, during the early stages of the coronavirus pandemic, I saw the Milwaukee Symphony Orchestra’s video performance of Elgar’s “Nimrod” from the Enigma Variations. I had heard the orchestra perform in person for the first time shortly before that, but seeing the players perform their individual parts remotely from their homes made me feel like I was meeting them each in a new way. The video highlighted the intimate and personal nature of orchestral performance, a celebration of the many unique voices that work together. The videos of the players were arranged in a large grid, divided by rows of intersecting lines both separating and uniting the orchestra. The imagery of the lines reminded me of the scaffolding of the hall. MILWAUKEE SYMPHONY ORCHESTRA

The Milwaukee Symphony Orchestra initially invited me to compose Opening to inaugurate its Bradley Symphony Center and to open its 2020.21 concert season. As events in the world unfolded, it soon became clear that the premiere of this work would also serve to accompany a long-awaited return to live performance. I thought of what it may mean for the full orchestra and audience to meet their new hall, and what it may be like for them to return together again for live performance, beginning a new musical journey. Composing this piece was itself a willful act of hope. Opening juxtaposes music of stillness and activity in a series of broadening gestures that unfurl over the course of its eight-minute trajectory. It asks us to listen to ourselves in the space that we inhabit together. Solo players are placed around the hall surrounding the audience, participating in intimate dialogues that reach across to the other soloists and players on the stage. The musicians also resound forcefully, enveloping the hall from all sides in resonance. At times, players in the strings are asked to play their parts asynchronously, as if they are soloists within a larger collective, creating a communal sense of singing. Opening begins with reverence and closes in celebration.

James B. Wilson Born 1988; Bedfordshire, England

Green Fuse Composed: 2017 First performance: 10 July 2017; Newmarket, England Last MSO performance: North American premiere Instrumentation: strings Approximate duration: 10 minutes The award-winning British composer James B. Wilson studied at the Royal Academy of Music, and also took frequent lessons with Sir Peter Maxwell Davies. His multifaceted compositions explore the rich textural, timbral, and harmonic possibilities of acoustic instruments. He has also penned numerous choral pieces. Green Fuse was commissioned by the Chineke! Orchestra, who gave its first performance at the Cheltenham Festival in 2017. The composer has provided the following information: This work takes as its inspiration a Dylan Thomas poem. In “The force that through the green fuse drives the flower” (1934), Thomas contemplates the nature of the force which drives all things. The poem evokes the strength of this force, but also confronts its uneasy duality, which both move a plant to flower and puts a man in his grave. What is this energy that makes creativity and joy possible, yet becomes life’s destroyer? Thomas conjures many striking images to convey the majesty of nature and the bloom of youth; the incandescent power of our world. They are colored, however, by a pervasive melancholy and inevitability. The poem leaves the question “Why?” unanswered, like a brooding cloud. However, I find a faint hint of consolation, a feeling not of hope but of comfort through discourse: a warmth. “Love drips and gathers, but the fallen blood/Shall calm her sores.” The music opens with a burst of color. The green fuse is lit.

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George Gershwin Born 26 September 1898; Brooklyn, New York Died 11 July 1937; Hollywood, California

Rhapsody in Blue Composed: 1924 First performance: 12 February 1924; New York, New York Last MSO performance: March 2018; Yaniv Dinur, conductor; Drew Peterson, piano Instrumentation: 2 flutes; 2 oboes; 2 clarinets; bass clarinet; 2 alto saxophones; 2 tenor saxophones; 2 bassoons; 3 horns; 3 trumpets; 3 trombones; tuba; timpani; percussion (bass drum, cymbals; glockenspiel, gong, snare drum, triangle); strings Approximate duration: 16 minutes George Gershwin, along with his lyricist brother Ira, gave us some of the most beloved songs in the history of popular music. “I Got Rhythm,” “Embraceable You,” “The Man I Love,” “Someone to Watch Over Me,” “Fascinating Rhythm” – these are just a few of their contributions to the Great American Songbook. In 1924, Paul Whiteman (1890-1967), the country’s best-known band leader from the 1920s to the 1940s, tapped Gershwin to write a “jazz concerto” for a concert he planned to present at New York’s Aeolian Hall. (Whiteman had been impressed by his earlier collaboration with Gershwin on George White’s Scandals of 1922.) Entitled “An Experiment in Modern Music,” it promised to broaden concertgoers’ perceptions of what serious American music could sound like. Whiteman, who had set the concert date for 12 February, didn’t bother to discuss the project with Gershwin until early January. The 25-year-old tunesmith was up for the task, but told Whiteman a full-length concerto wasn’t feasible, given the time constraints. Gershwin agreed to write a free-form composition, some sort of rhapsody that would feature him as the solo pianist. Whiteman’s band, which would be expanded to 23 musicians, would comprise the orchestra. The young composer committed the first notes to the page on 7 January, completing the piece on 3 February, just over a week before the concert. Gershwin’s customary Broadway process was to write the tunes and to leave the instrumentation to someone else. When he told Whiteman of his unease about the orchestration, the band leader replied, “No problem.” Gershwin notated the score for two pianos—one for the solo part and the other for the orchestral accompaniment, including certain suggestions for instrumentation. Ferde Grofé, Whiteman’s staff arranger since 1920 (nowadays best remembered for his 1931 Grand Canyon Suite), was called in to do the job, working daily to keep up with Gershwin as his composing proceeded. The title of the piece came from Ira, the family wordsmith, who had been inspired by a recent exhibition of James Abbott McNeill Whistler’s paintings. Whistler liked to give abstract titles to his paintings, even the representational ones; for example, the actual title of what we call “Whistler’s Mother” is Arrangement in Gray and Black. This concept appealed to the Gershwin brothers, who came up with Rhapsody in Blue, a moniker that infers “the blues” and, by extension, jazz. And indeed, as Whiteman intended for his “Experiment,” characteristics of both jazz and classical styles are melded into this ever-fresh “concerto,” a work its composer called “a musical kaleidoscope of America.” From its first performance, Rhapsody in Blue was a smashing success, one that catapulted Gershwin into a totally new status as a composer. He was acknowledged everywhere as a major figure in American music and in asserting American influence in Europe.

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Duke [Edward Kennedy] Ellington Born 29 April 1899; Washington, D.C. Died 27 May 1974; New York, New York

New World A-Comin’ Composed: 1943 First performance: 11 December 1943; New York, New York Last MSO performance: MSO premiere Instrumentation: 2 flutes; 2 oboes; English horn; 3 clarinets; bass clarinet; 2 bassoons; 4 horns; 4 trumpets; 3 trombones; tuba; timpani; percussion (suspended cymbals, drum set, snare drum); jazz bass; strings Approximate duration: 10 minutes Duke Ellington is generally acknowledged as the most significant composer in the history of jazz. He wrote as many as 6,000 works – including popular songs, musical comedies, film scores, sacred music, an opera (Boola, never completed), large-scale suites, and countless threeminute instrumental pieces (for 78 rpm records). The lion’s share of the incredible number of compositions he recorded are his own. An extraordinarily gifted band-leader, he also had a knack for orchestration, combining instrumental colors to create a canvas of great beauty. In 1943, Ellington premiered two works about the experience of Black Americans: Black, Brown, and Beige, traced their collective history; the other, New World A-Comin’, imagined a hopeful future. In his autobiography Music Is My Mistress (1973), the composer said of the latter, “I visualized this new world as a place in the distant future, where there would be no war, no greed, no categorization, no non-believers, where love was unconditional, and no pronoun was good enough for God.” The title of the piece was suggested by L.V. Ottley’s book of the same name, in which the author envisioned improved conditions for Blacks in post-WWII America. New World A-Comin’ emerges as a free-wheeling piano concerto, with a swinging virtuoso part for the soloist and with lush orchestral scoring. Ellington and his 15-piece band gave its first performance at Carnegie Hall. Subsequently, it was orchestrated for symphonic performance. The composer recalled that even Don Shirley, a pianist of prodigious technique, had trouble with a ragtime “Iick” for the left hand.

Igor Stravinsky Born 17 June 1882; Lomonosov, Russia Died 6 April 1971; New York, New York

Suite from The Firebird (1919 Version) Composed: 1909-10; rev. 1919 First performance: 25 June 1910; Paris, France (complete ballet) Last MSO performance: January 2016; Christopher Seaman, conductor Instrumentation: 2 flutes; piccolo; 2 oboes; English horn; 2 clarinets; 2 bassoons; 4 horns; 2 trumpets; 3 trombones; tuba; timpani; percussion (bass drum, cymbals, tambourine, triangle, xylophone); harp; celeste; piano; strings Approximate duration: 22 minutes With his ballet The Firebird, the 28-year-old Igor Stravinsky found immediate and lasting fame. (“I was once addressed by a man in an American railway dining car, and quite seriously, as ‘Mr. Fireberg,’” a much older Stravinsky related.) Composed between November 1909 and May 1910,

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the ballet was first performed at the Paris Opéra on 25 June 1910. Gabriel Pierné conducted. The next day, the composer was a celebrity. How did this “overnight” popularity come about? In 1906, the Russian impresario Sergei Diaghilev had taken a major exhibition of Russian art to the Petit Palais in Paris. The following year, he presented five concerts of Russian music in the city, and in 1908 mounted a production of Mussorgsky’s Boris Godunov, starring Feodor Chaliapin, at the Opéra. This led to an invitation to return the following year with ballet as well as opera, and thus to the launching of his famous Ballets Russes. The company’s first night, 19 May 1909, was a sensation. For the 1910 season, Diaghilev wanted to present a ballet based on the Russian legend of the Firebird. Unable to convince various composers – including Nikolai Tcherepnin, Alatole Liadov, Alexander Glazunov, and Nikolai Sokolov – to provide a score, the impresario finally turned to the wet-behind-the ears Stravinsky. Diaghilev had first heard Stravinsky’s music two years earlier at a concert in St. Petersburg, immediately asking the young composer to help orchestrate music for the 1909 Parisian ballet season. Thus, Stravinsky was in the right place at the right time. The Firebird was a tremendous success. Stravinsky relates: “The first-night audience at the Paris Opéra glittered indeed… I sat in Diaghilev’s box, where, at intermissions, a stream of celebrities, artists, dowagers, aged Egerias of the Ballet, writers, balletomanes, appeared. I met Proust, Firardoux, Paul Morand, St. John Perse, Paul Claudel, Sarah Bernhardt… I was called to the stage to bow at the conclusion, and was recalled several times. I was still onstage when the final curtain had come down, and I saw coming toward me Diaghilev and a dark man with a double forehead whom he introduced as Claude Debussy. The composer spoke kindly about the music, ending his words with an invitation to dine with him.” Over the years, Stravinsky fashioned three suites from the ballet: in 1911, 1919, and 1945. The latter two reduce the instrumentation of the original ballet, which Stravinsky had called “wastefully large.” A master of orchestral writing, Stravinsky trimmed the number of players without diminishing the music’s bold audacity. “For me, he wrote, the most striking effect in The Firebird was the natural-harmonic string glissando near the beginning, which the bass chord touches off like a Catherine wheel. I was delighted to have discovered this, and I remember my excitement in demonstrating it to [my teacher Rimsky-Korsakov’s] violinist and cellist sons. I remember, too, Richard Strauss’s astonishment when he heard it two years later in Berlin.” In all its various versions, Stravinsky’s score for The Firebird blends rich harmonies, the vigor of Russian folk music, and the orchestral magic he learned from Rimsky-Kosakov – conjuring music of tremendous power and beauty. The movements of the 1919 suite are listed below, with brief commentary. Introduction and Dance of the Firebird Muted cellos and basses plunge us immediately into the world of the fairy tale, intoning a spooky theme associated with Kastchei. We hear a natural-harmonic string glissando, an orchestral device invented by the composer. This “special effect” is produced by the player sliding a finger lightly up and down the string without pressing it to the fingerboard. In Kastchei’s illusory garden, Prince Ivan encounters the Firebird. She is depicted with opulent colors and radiant trills. Dance of the Princesses A khorovod is a Russian folk dance in which the participants are arranged in a circle. Prince Ivan watches the princesses who have been captured by Kastchei performing the dance – to simple, diatonic music. He falls in love with the one destined to be his bride. Infernal Dance of King Kastchei To protect Ivan, the Firebird casts a spell over Kastchei and his notorious henchmen. Stravinsky’s frenetic rhythms force them to dance themselves to exhaustion. MILWAUKEE SYMPHONY ORCHESTRA

Berceuse The lullaby of the Firebird lulls the hypnotized Kastchei to sleep. Its melody is played by the bassoon, accompanied by ethereal harmonies in the strings, flute, and harp. Ivan is instructed to destroy the giant egg containing the monster’s soul, and Kastchei’s power vanishes. Finale A solo horn intones the score’s best-known melody, announcing the jubilant arrival of sunlight. Together with Ivan and his betrothed, the rescued captives celebrate with music that swells and rings out in glorious triumph.

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FRANK ALMOND PLAYS BRUCH Friday, October 15, 2021 at 11:15 am Saturday, October 16, 2021 at 7:30 pm ALLEN-BRADLEY HALL Ken-David Masur, conductor Frank Almond, violin

ANNA THORVALDSDOTTIR Aeriality MAX BRUCH Concerto No. 1 in G minor for Violin and Orchestra, Opus 26 I. Prelude: Allegro moderato II. Adagio III. Finale: Allegro energico Frank Almond, violin INTERMISSION

SERGEI RACHMANINOFF Symphonic Dances, Opus 45 I. Non allegro II. Andante con moto (Tempo di valse) III. Lento assai – Allegro vivace

The 2021.22 Classics Series is presented by the UNITED PERFORMING ARTS FUND. The length of this concert is approximately 1 hour, 30 minutes. Milwaukee Symphony Orchestra can be heard on Telarc, Koss Classics, Pro Arte, AVIE, and Vox/Turnabout recordings. MSO Classics recordings (digital only) available on iTunes and at mso.org. MSO Binaural recordings (digital only) available at mso.org.

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Guest Artist Biographies FRANK ALMOND Frank Almond held the Charles and Marie Caestecker Concertmaster Chair at the Milwaukee Symphony Orchestra for 25 seasons. He held similar positions with the Rotterdam Philharmonic and the London Philharmonic Orchestra. Almond regularly performs as a soloist with the Milwaukee Symphony Orchestra and as soloist and chamber musician throughout the U.S. and Europe. He is the founder of Frankly Music, a chamber music series consistently recognized for innovative programming and ability to attract leading performers from around the world. His most recent series of recordings, A Violin’s Life, chronicles the history and lineage of his current violin, the 1715 Lipiński Stradivarius. The instrument has direct ties to Giuseppe Tartini, Edvard Grieg, Johannes Brahms, and Robert and Clara Schumann. Volume 3 of A Violin’s Life will be released on AVIE Records in late 2021. In 2014, the “ex-Lipiński” Stradivarius was stolen from Almond in an armed robbery after a concert. The robbery and recovery are the subject of a documentary film, “Plucked,” which premiered at the Tribeca Film Festival in April 2019 and he was recently featured from Lincoln Center on The Moth Radio Hour. He is the Johnston Family Artist-in-Residence at the Milwaukee Youth Symphony, one of the largest youth arts programs in the United States. Community outreach is also at the heart of his artistic priorities. He mentors young musicians of all performing levels and backgrounds, and performs in nontraditional venues where classical music is a rare and unusual presence. Almond writes an online column, as he admits, “instead of practicing.” Nondivisi offers his thoughts and expectations for the present and future of classical music. More information about Frankly Music, A Violin’s Life and the Lipiński Stradivarius is available at frankalmond.com.

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Program notes by J. Mark Baker Frank Almond, our current Artistic Advisor and former Concertmaster, returns to the MSO stage to perform Bruch’s beloved Violin Concerto No. 1. After intermission, we’ll hear Rachmaninoff’s final composition, his Symphonic Dances. Anna Thorvaldsdottir’s spellbinding Aeriality opens the concert. Anna Thorvaldsdottir Born 11 July 1977; Bogarnes, Iceland

Aeriality Composed: 2010-11 First performance: 24 November 2011; Reykjavik, Iceland Last MSO performance: MSO premiere Instrumentation: 2 flutes; alto flute; 2 oboes, English horn; 2 clarinets; bass clarinet; 2 bassoons; contrabassoon; 4 horns; 2 trumpets; trombone; bass trombone; tuba; timpani; percussion (suspended cymbal, bass bow, 2 high hats, 2 steel plates, 2 almglocken, 2 tom toms, 2 bass drums, 2 large gongs, tam tam, marimba, cymbals); harp; piano; strings Approximate duration: 13 minutes The music of Icelandic composer Anna Thorvaldsdottir is often influenced by landscapes and nature. She earned both master’s and doctoral degrees in composition from the University of Southern California, San Diego, and is the recipient of numerous awards and commissions. Aeriality is one of the latter, having been commissioned by the Iceland Symphony Orchestra, who gave its first performance. The composer has provided the following program notes: Aeriality refers to the state of gliding through the air with little or nothing to hold onto – as if flying… Aeriality is also a play on words, combining “aerial” and “reality,” so as to suggest two different worlds: “reality,” the ground, and “aerial,” the sky or the untouchable. Aerialty can be said to be on the border of symphonic music and sound art. Parts of the work consist of thick clusters of sound that form a unity as the instruments of the orchestra stream together to form a single force – a sound mass. The sense of individual instruments is somewhat blurred and the orchestra becomes a single moving body, albeit at times forming layers of streaming materials that flow between different instrumental groups. These chromatic layers of materials are extended by the use of quarter-tones to generate vast sonic textures. At what can perhaps be said to be the climax in the music, a massive sustained ocean of quarter-tones slowly accumulates and is then released into a brief lyrical field that almost immediately fades out at the peak of its own urgence, only to remain a shadow.

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Max Bruch Born 6 January 1838; Cologne, Germany Died 2 October 1920; Friedenau, Germany

Concerto No. 1 in G minor for Violin and Orchestra, Opus 26 Composed: 1864-67 First performance: 7 January 1868; Bremen, Germany Last MSO performance: September 2016; Yaniv Dinur, conductor; Itzhak Perlman, violin Instrumentation: 2 flutes; 2 oboes; 2 clarinets; 2 bassoons; 4 horns; 2 trumpets; timpani; strings Approximate duration: 24 minutes The catalog of German composer Max Bruch contains nearly 100 opus numbers, including three operas, melodious and idiomatic choral music (both sacred and secular), songs for voice and piano, and a wide variety of instrumental compositions. Perhaps because of their tunefulness and easy assimilation, many of his works now seem dated, with only first of two violin concertos, the Scottish Fantasy, and Kol nidre (Opus 47, for cello) remaining in the standard repertoire. (The latter gave rise to the mistaken notion that he was Jewish.) Throughout Bruch’s life, the popularity of his Opus 26 was a source of consternation: This early work was completed when the composer was only in his late 20s. The concerto is cast in three movements, but it does not follow the traditional forms we associate with such a layout. The first movement serves as a protracted free-form Prelude to the second. Here, two motives are stated, then concisely developed: the first cantabile melody is played over a soft orchestral background; the second is accompanied by pizzicato basses. The music moves to a high point, then recedes to leave room for the soloist’s cadenza, which connects directly into the Adagio. In the exquisite second movement, set in the key of E-flat major in 3/8 meter, the violinist introduces three slow-moving themes, expounding on each in its turn. Throughout the Adagio, the solo part plays almost without pause, except for a brief orchestral passage in the middle. The Finale is a loose sonata form – we usually expect a rondo here – whose sprightly, Magyarlike main theme employs double stops. The second theme is a bit more staid, but the Gypsyinfluenced mood is predominant throughout, in both the solo violin and the orchestra. At the end, it serves as the material for a flamboyant and high-spirited coda. Bruch dedicated his Opus 26 to the great Austro-Hungarian violinist Joseph Joachim (18311907), who gave its first performance. Almost forty years later, Joachim cited the piece as one of the four great violin concertos, alongside those of Beethoven, Brahms, and Mendelssohn, dubbing Bruch’s the “richest, most seductive” of the four.

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Sergei Rachmaninoff Born 1 April 1873; Semyonovo, Russia Died 28 March 1943; Beverly Hills, California

Symphonic Dances, Opus 45 Composed: 1940 First performance: 3 January 1941; Philadelphia, Pennsylvania Last MSO performance: September 2017; Jeffrey Kahane, conductor Instrumentation: 2 flutes; piccolo; 2 oboes; English horn; 2 clarinets; bass clarinet; alto saxophone; 2 bassoons; contrabassoon; 4 horns; 3 trumpets; 3 trombones; tuba; timpani; percussion (bass drum, chimes, cymbals, glockenspiel, tam tam, tambourine, triangle, xylophone); harp; piano; strings Approximate duration: 35 minutes After war broke out in Europe in 1939, following Hitler’s invasion of Poland, Rachmaninoff and his wife Natalya left that continent for the final time. They settled in the United States, on a rented Long Island estate, near their friends Vladimir and Wanda Horowitz. Rachmaninoff had not composed since 1936, when he had finished his Symphony No. 3; his scores at that time had been greeted lukewarmly, and he was weary of being dismissed as old hat, continually compared to more “modern” giants of the day like Stravinsky and Schoenberg. Nevertheless, in the summer of 1940, as this greatest of pianists was practicing incessantly for his upcoming concert tour, he could no longer ignore his compositional muse. On August 21, he wrote to Eugene Ormandy, the revered conductor of the Philadelphia Orchestra, “Last week I finished a new symphonic piece, which I want to give first to you and your orchestra. It is called Fantastic Dances. I shall now begin the orchestration. By October, the dances had become symphonic rather than fantastic, and he had nixed the idea of naming the three movements noon, dusk, and midnight. Premiered by Ormandy and the Philadelphians the next year, Symphonic Dances turned out to be the last music Rachmaninoff would set down. The score was also the only one written in the United States; previously, a good deal of his composing was done at his villa in Switzerland, while on breaks from recital tours. The opening dance features an extensive solo for alto saxophone. Though Rachmaninoff had never before written for the instrument, it demonstrates his interest, in his late orchestral works, in individual instrumental timbres. The movement is notable for its rhythmic vitality and “Prokofiev-like grotesquery” (Geoffrey Norris). In the coda, he covertly quotes the principal theme of his Symphony No. 1, itself derived from Russian Orthodox music. Set in 6/8 time, the Andante con moto is a dolorous waltz that, with its peculiar, fluctuating harmonies, turns pensive and uneasy. Especially in the final movement, the Symphonic Dances reveal Rachmaninoff’s perennial interest in ecclesiastical song. Here, he employs a chant from the liturgy, the Gregorian melody “Dies irae” from the Mass for the Dead, and a quotation from the ninth movement of his a cappella choral work All-Night Vigil, Op. 37 (1915). In its original guise, the latter is a setting of the word “Alleluia;” leaving no one to doubt, the composer wrote the word in the orchestral score at that point. Having completed what ultimately became his final work, Rachmaninoff noted presciently at the time, “It must have been my last spoils.” And on the concluding page of his manuscript he penned, “I thank Thee, Lord.”

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DANCE & DELIGHT Friday, October 22, 2021 at 7:30 pm Saturday, October 23, 2021 at 7:30 pm ALLEN-BRADLEY HALL Ken-David Masur, conductor Chee-Yun, violin EMMANUEL CHABRIER Joyeuse marche ÉDOUARD LALO Symphonie espagnole for Violin and Orchestra, Opus 21 I. Allegro non troppo II. Scherzando: Allegro molto III. Intermezzo: Allegretto non troppo IV. Andante V. Rondo Chee-Yun, violin INTERMISSION

MAURICE RAVEL Rapsodie espagnole I. Prélude a la nuit II. Malagueña III. Habañera IV. Feria GABRIELA LENA FRANK Three Latin-American Dances for Orchestra I. Introduction: Jungle Jaunt II. Highland Harawi III. The Mestizo Waltz MANUEL DE FALLA Suite No. 2 from The Three-Cornered Hat (Three Dances) I. The Neighbor’s Dance (Seguidillas) II. The Miller’s Dance (Farruca) III. Final Dance (Jota) The 2021.22 Classics Series is presented by the UNITED PERFORMING ARTS FUND. The length of this concert is approximately 1 hour, 45 minutes. Milwaukee Symphony Orchestra can be heard on Telarc, Koss Classics, Pro Arte, AVIE, and Vox/Turnabout recordings. MSO Classics recordings (digital only) available on iTunes and at mso.org. MSO Binaural recordings (digital only) available at mso.org. MILWAUKEE SYMPHONY ORCHESTRA

Guest Artist Biographies CHEE YUN Chee-Yun has performed with many of the world’s foremost orchestras and conductors. Orchestral highlights include her tours of the United States with the San Francisco Symphony and Japan with the NHK Symphony, a concert with the Seoul Philharmonic that was broadcast on national television, and a benefit for UNESCO with the Orchestra of St. Luke’s at Avery Fisher Hall. She has appeared with the Toronto, Pittsburgh, Dallas, Atlanta, and National symphony orchestras, and the Saint Paul and Los Angeles chamber orchestras. A champion of contemporary music, Chee-Yun has performed Christopher Theofanidis’ Violin Concerto as part of the Albany Symphony’s American Festival. As a recitalist, Chee-Yun has performed in many major U.S. cities. Career highlights include appearances at the Kennedy Center’s “Salute to Slava” gala and with the Mostly Mozart Festival on tour in Japan, as well as a performance in the inaugural season of Carnegie Hall’s Zankel Hall, and the U.S. premiere of Penderecki’s Sonata No. 2. In 2016, Chee-Yun performed as a guest artist for the Secretary General at the United Nations in celebration of Korea’s National Foundation Day and the 25th anniversary of South Korea joining the UN. Firmly committed to chamber music, Chee-Yun has toured with Music from Marlboro and appears frequently with Spoleto USA. Chee-Yun has performed frequently on NPR’s Performance Today and on WQXR and WNYC radio in New York City. She has been featured on KTV, CNBC, A Prairie Home Companion, Public Radio International, and numerous syndicated and local radio programs across the world. Chee-Yun’s first public performance at age eight took place in her native Seoul after she won the Grand Prize of the Korean Times Competition. At 13, she came to the United States and was invited to perform in a Young People’s Concert with the New York Philharmonic. Two years later, she appeared as soloist with the New York String Orchestra Carnegie Hall and the Kennedy Center. In Korea, Chee-Yun studied with Nam Yun Kim. In addition to her active performance and recording schedule, Chee-Yun is a dedicated and enthusiastic educator. She gives master classes around the world and has held several teaching posts at notable music schools and universities.

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Program notes by J. Mark Baker This evening, we visit the vibrant and colorful Iberian Peninsula – with Lalo, Ravel, and Falla as our tour guides. We’ll also travel to Latin America via music of Gabriela Lena Frank. A brief but joyous march by Chabrier heralds our departure. Emmanuel Chabrier Born 18 January 1841; Ambert, France Died 13 September 1894; Paris, France

Joyeuse marche Composed: 1885 (piano duet); orchestrated 1888 First performance: 4 November 1888; Angers, France Last MSO performance: MSO premiere Instrumentation: 2 flutes; piccolo; 2 oboes; 2 clarinets; 4 bassoons; 4 horns; 2 trumpets; 2 cornets; 3 trombones; tuba; timpani; percussion (bass drum, cymbals, snare drum, triangle); harp; strings Approximate duration: 4 minutes The French composer Emmanuel Chabrier is best known for his glittering orchestral rhapsody España. His primary output, however, includes operas, songs, and piano music. His most important works are the latter: They inspired compatriots of later generations, especially Ravel, who claimed that Chabrier was his principal influence. Chabrier numbered among his friends the leading composers, writers, and painters of his day. One of his closest associates was Edouard Manet, who painted Chabrier’s portrait in 1881. Chabrier himself collected Impressionist works of art long before they became fashionable. Joyeuse marche began its life as a piano duet that Chabrier later orchestrated. It was the second part of what, in the keyboard version, was called Prélude et marche française. This brilliantly colorful and buoyant piece is indeed joyous, making for a sparkling concert-opener. Chabrier dedicated it to his friend and fellow composer Vincent d’Indy.

Édouard Lalo Born 27 January 1823; Lille, France Died 22 April 1892; Paris, France

Symphonie espagnole for Violin and Orchestra, Opus 21 Composed: 1874 First performance: 7 February 1875; Paris, France Last MSO performance: January 1994; Lawrence Leighton Smith, conductor; Corey Cerovsek, violin Instrumentation: 2 flutes; piccolo; 2 oboes; 2 clarinets; 2 bassoons; 4 horns; 2 trumpets; 3 trombones; timpani; percussion (triangle, snare drum); harp; strings Approximate duration: 33 minutes While I do not know exactly what I am, I do know what I am not. I am not a member of any school, and I do not adhere to any system. I agree with the poet Musset: “My glass is small, but I drink from my glass.” –Édouard Lalo MILWAUKEE SYMPHONY ORCHESTRA

Born in Lille to a family of Spanish descent, Edouard Lalo studied at the Conservatoire there and later in Paris. A gifted violinist, his most famous compositions include the Violin Concerto (1873), the Symphonie espagnole (1874, a de facto violin concerto), and the opera Le Roi d’Ys (1888), based on Breton folklore. As shown in the quotation above, he refused to define his own musical style, and was in fact something of an outsider when it came to the French musical establishment of the mid-to-late 19th century. As musicologist Hugh MacDonald has pointed out, Lalo’s music has strong melodic and rhythmic elements, but virtually no counterpoint. Diatonic melody, piquant chromatic harmony, and ingenious orchestration typify his music. A gifted violinist, he was a founding member of the Armingaud Quartet, established in 1855 to perform the quartets of Haydn, Mozart, Beethoven and also Mendelssohn and Schumann – repertoire not particularly in vogue at that time in Paris. Lalo’s own string quartet dates from 1859. Lalo received no real recognition as a composer until he was in his late 40s. In 1872, his Divertissement – based on ballet music from his opera Fiesque – made a splash in Paris. Not long after, his Violin Concerto (Opus 20) was well-received in London when it was played by the Spanish violinist and composer Pablo de Sarasate (1844-1908). Lalo’s reputation was further enhanced by the Symphonie espagnole, written as a tribute to Sarasate, who premiered the work. Set in five movements, the Symphonie espagnole is a de facto violin concerto. Steeped in Spanish flavor, it is an engaging showpiece that has become its composer’s most acclaimed score. Following an orchestral introduction, the soloist makes a striking entrance; thereafter, intensity and excitement are the order of the day. The second movement Scherzando is a seguidilla, a bolero-like dance. It is followed by an Intermezzo, which makes ample use of the Spanish triplet rhythm. Then comes an eloquent Andante and finally a dazzling Rondo – the best-known movement – to bring this violinist’s tour de force to its brilliant conclusion.

Maurice Ravel Born 7 March 1875; Ciboure, France Died 28 December 1937; Paris, France

Rapsodie espagnole Composed: 1907-08 First performance: 15 March 1908; Paris, France Last MSO performance: October 2012; Olari Elts, conductor Instrumentation: 2 flutes; 2 piccolos; 2 oboes; English horn; 2 clarinets; bass clarinet; 3 bassoons; contrabassoon; 4 horns; 3 trumpets; 3 trombones; tuba; timpani; percussion (bass drum, castanets, cymbals, snare drum, triangle, tam tam, tambourine, xylophone); harp; celeste; strings Approximate duration: 15 minutes Maurice Ravel was born in Ciboure, not far from France’s border with Spain. His mother was from that country’s Basque region and had grown up in Madrid. Thus, his preoccupation with things Spanish is a natural evolution, even though his family moved to the French capital while he was still a baby. His father was Swiss, and instilled in young Maurice an admiration for things meticulous and mechanical that found its way into his flawless music. Ravel’s ability to create seemingly authentic Spanish music drew the admiration of Manuel de Falla, who spoke of the Rapsodie espagnole as “surprising one by its Spanish character, achieved through the free use of the modal rhythms and melodies and ornamental figures of our ‘popular’ music.” The Habanera movement was composed in 1895, originally scored for two pianos. The four-movement work became Ravel’s first published piece that was written specifically for orchestra. 40

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The Rapsodie’s opening section, “Prélude à la nuit” [Prelude to the Night], starts with a four-note descending figure (F–E–D–C-sharp) that permeates the movement; toward the end, there’s an unusual cadenza: for two bassoons. The colorful “Malagueña” is the shortest of the four pieces; the English horn gets an exquisite solo turn, and the four-note motif is heard once again. The “Habanera” – sultry, sensuous, provocative – leads to the splashy “Feria”, a brief Impressionistic tone poem in its own right.

Gabriela Lena Frank Born September 1972; Berkeley, California Three Latin-American Dances for Orchestra Composed: 2003 First performance: 23 April 2004; Salt Lake City, Utah Last MSO performance: MSO premiere Instrumentation: 3 flutes; piccolo; 2 oboes; English horn; 2 clarinets; bass clarinet; 3 bassoons; 4 horns; 3 trumpets; 3 trombones; timpani; percussion (bass drum, 2 castanets, 2 claves, 2 slapsticks, 2 suspended cymbals, tam tam, 2 triangles, chimes, xylophone, congas, 2 tambourines, 2 cymbals, 2 marimbas, shekere, temple blocks, thunder sheet, snare drum, bongo drums, wood block); harp, piano, strings Approximate duration: 17 minutes Born to a mother of mixed Peruvian/Chinese ancestry and a father of Lithuanian/Jewish descent, Gabriela Lena Frank seeks to explore her multicultural heritage through her compositions. She has traveled all across South America. As a result, her pieces are often rooted in Latin American folklore – incorporating poetry, mythology, and native musical styles into a Western classical framework that is entirely her own. When asked about how her heritage affects her music, she replied: “Sometimes the Latin influences are quite evident, and sometimes they are quite subtle. And of course, ‘Latin’ can mean so many different things. There is no one single Latin identity.” Three Latin-American Dances was premiered by the Utah Symphony Orchestra, conducted by Keith Lockhart. The opening scherzo, “Jungle Jaunt,” begins with “an unabashed tribute” to the urban jungle depicted in Bernstein’s West Side Story. The energy of the music that follows – with harmonies and rhythms derived from various pan-Amazonian dance forms – owes a debt to Argentinian composer Alberto Ginastera. “Highland Harawi” evokes the Andean harawi, a melancholy adagio traditionally played by a single bamboo quena flute to accompany a lone dancer. As mountain music, there’s an ambiance of mystery, vastness, and echo. The fast middle section depicts thunder, lightning, and rain. “The Mestizo Waltz” is a pun on Liszt’s well-known “Mephisto Waltz.” It is, Frank explains, “a lighthearted tribute to the mestizo or mixed-race music of the South American Pacific coast. It evokes the romancero tradition of popular songs and dances that mix influences from indigenous Indian cultures, African slave cultures, and western brass bands.”

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Manuel de Falla Born 23 November 1876; Cádiz, Spain Died 14 November 1946; Alta Gracia, Argentina

Suite No. 2 from The Three-Cornered Hat Composed: 1915-1919 (ballet) First performance: 22 July 1919; London, England (complete ballet) Last MSO performance: January 2005; Miguel Harth-Bedoya, conductor Instrumentation: 2 flutes; piccolo; 2 oboes; English horn; 2 clarinets; 2 bassoons; 4 horns; 3 trumpets; 3 trombones; tuba; timpani; percussion (bass drum, castanets, cymbals, snare drum, tam tam, triangle, xylophone); harp; piano; celeste; strings Approximate duration: 12 minutes Manuel de Falla is one of the few Spanish composers across the centuries to gain international renown. Though his compositions remained rooted in the folk music of his native country, he learned much from his French colleagues, particularly Debussy and Ravel. Along with the ballet El amor brujo [Love, the Magician] and the piano concerto Nights in the Gardens of Spain, The Three-Cornered Hat [El sombrero de tres picos] remains one of his best-known works. The Three-Cornered Hat began its life as a pantomime – El corregidor y la molinera [The Corregidor and the Miller’s Wife] – that was based on a novella by Pedro Antonio de Alarcón (1833-1891). The renowned impresario Serge Diaghilev had wanted to present Nights in the Gardens of Spain with his Ballets Russes, but the pantomime seemed better suited to dancing. He convinced Falla to revise the piece as The Three-Cornered Hat, and hired Pablo Picasso as the designer. Much of the material in this humorous work has its roots in popular music; though the orchestration shows the influence of Stravinsky, transfiguration of the guitar is often suggested. The ballet’s highly successful premiere (as Le tricorne), established Falla’s international reputation. The story’s central narrative employs three stock characters: a jealous miller, his beautiful young wife, and a lascivious magistrate (corregidor), whose rank is symbolized by his three-cornered hat. In this comic tale, the bumbling but relentless oaf is thwarted at every turn. His own constables arrest him by mistake, and in the end, he is subjected to peasant justice: being tossed with a blanket. Suite No. 2 opens with the miller’s neighbors gathering to celebrate the Feast of St. John; they dance seguidillas based on traditional themes. The miller then has his solo, a dark and fiery flamenco farruca; it is solemn and intense. The ballet’s many themes are combined in the final jota, a riotous apogee and joyous resolution all-in-one.

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PROHIBITION a Schirmer Theatrical/Greenberg Artists co-production Arrangements by Jeff Tyzik

Friday, October 29, 2021 at 7:30 pm Saturday, October 30, 2021 at 7:30 pm Sunday, October 31, 2021 at 2:30 pm ALLEN-BRADLEY HALL Ken-David Masur, conductor Madison Claire Parks, vocalist Bronson Norris Murphy, vocalist Myra Maud; vocalist Eric Metzgar, drummer RAYMOND SCOTT “Powerhouse” Music by JACK GOLDEN, Lyrics by TED KOEHLER and EDDIE POLA “My Canary has Circles Under His Eyes” Music by GILBERT WOLF and HARRY WARREN, Lyrics by AL DUBIN “Put a Tax on Love” IRVING BERLIN “What’ll I do” Music by VINCENT YOUMANS, Lyrics by LEO ROBIN and CLIFFORD GREY “Hallelujah” EDWARD ELZEAR “ZEZ” CONFREY “Dizzy Fingers” Music by LOUIS GUGLIELMI, Lyrics by EDITH PIAF “La vie en Rose”

Continued on page 44

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ANDRÉ HORNEZ and PAUL MISRAKI “De Temps en Temps” Music by JEN CHARLES, ANDRÉ GIOT DE BADET and ARMANDO BEGA OREFICHE “La Conga Blicoti” RAYMOND SCOTT “Twilight in Turkey” FREDERICK HOLLANDER “Jonny” Music by KURT WEILL, Lyrics by BERTOLT BRECHT “Alabama Song” from The Rise and Fall of the City of Mahagonny Music by KURT WEILL, Lyrics by BERTOLT BRECHT “Mack the Knife” from The Threepenny Opera Music by SHOLOM SECUNDA, Lyrics by JACOB JACOBS English version by SAUL CHAPLIN AND SAMMY CAHN “Bei Mir Bist du Schön”

Intermission

FERDINAND JOSEPH “JELLY ROLL” MORTON “Black Bottom Stomp” Music by HARRY REVEL and MACK GORDON “Doin’ the Uptown Lowdown” WILLIAM CHRISTOPHER HANDY “St. Louis Blues” Music by BEN BERNIE and MACEO PINKARD Lyrics by KENNETH CASEY “Sweet Georgia Brown”

RAYMOND SCOTT “At an Arabian House Party” Music by JAY GORNEY, Lyrics by Edgar Yipsel Harburg “Brother, Can You Spare a Dime” Music by HARRY WARREN, Lyrics by AL DUBIN “We’re in the Money” Music by FABIAN ANDRE AND WILBUR SCHWANDT Lyrics by GUS KAHN “Dream a Little Dream of Me” JAMES CAMPBELL, REGINALD CONNELY, and HARRY M. WOODS “Midnight, the Stars and You” Music by JIMMY MCHUGH, Lyrics by DOROTHY FIELDS “On the Sunny Side of the Street Music by JOHN HART AND TOM BLIGHT “Shout for Happiness” IRVING BERLIN “Puttin’ on the Ritz”

ALL ARRANGEMENTS AND IMAGERY LICENSED BY SCHIRMER THEATRICAL, LLC Creative Team Robert Thompson, Creative Producer Jeff Tyzik, Producer & Arranger Jami Greenberg, Producer & Booking Agent Alyssa Foster, Producer Mary Helen Gustafson, Assistant Producer Tyler Hanes, Choreographer Adam Grannick, Video Designer & Consultant

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ANDREAS DELFS RETURNS Friday, November 5, 2021 at 11:15 am Saturday, November 6, 2021 at 7:30 pm Sunday, November 7, 2021 at 2:30 pm ALLEN-BRADLEY HALL Andreas Delfs, conductor Olga Kern, piano

RICHARD WAGNER/Humperdinck, Englebert “Siegfried’s Rhine Journey” from Götterdämmerung EDVARD GRIEG Piano Concerto in A minor, Opus 16 I. Allegro molto moderato II. Adagio III. Allegro moderato molto e marcato Olga Kern, piano INTERMISSION

SARAH KIRKLAND SNIDER Something for the Dark ENGELBERT HUMPERDINCK Hansel and Gretel, Orchestral Suite arranged by Andreas Delfs

The 2021.22 Classics Series is presented by the UNITED PERFORMING ARTS FUND. The MSO Steinway piano was made possible through a generous gift from MICHAEL AND JEANNE SCHMITZ. The length of this concert is approximately 1 hour, 45 minutes. Milwaukee Symphony Orchestra can be heard on Telarc, Koss Classics, Pro Arte, AVIE, and Vox/Turnabout recordings. MSO Classics recordings (digital only) available on iTunes and at mso.org. MSO Binaural recordings (digital only) available at mso.org. MILWAUKEE SYMPHONY ORCHESTRA

Guest Artist Biographies ANDREAS DELFS Andreas Delfs has earned a stellar reputation as one of the most respected conductors in the orchestra world. He is widely recognized as both a successful, hands-on orchestra builder and as an imaginative and inspiring music director. His passionate and dramatic interpretations of the late romantic repertoire with orchestras in both North America and Europe have drawn critical acclaim, reflecting a constantly evolving artistic maturity marked by the insight, depth and integrity he brings to the podium. Delfs was educated in the finest conservatories of the old and the new world and mentored by great conductors; his approach to conducting has been forged by decades of experience. At the same time, his love of new music and his commitment to discovering and exploring fresh voices have led him to establish close relationships with many of today’s composers and to conduct numerous world premiere performances. Delfs counts among his profound musical inspirations composers and musicians who span many decades; he has partnered with many of the world’s most renowned solo artists, including André Watts, Emanuel Ax, Joshua Bell, Hilary Hahn, Yo-Yo Ma, Lang Lang, and Renée Fleming. Delfs has held chief artistic posts with several orchestras in both North America and Europe. As music director and conductor laureate of the Milwaukee Symphony Orchestra, Delfs was instrumental in the orchestra’s rise to national prominence. He also led the Saint Paul Chamber Orchestra as music director and artistic consultant. He served as general music director of Hanover, Germany; music director of the Bern Opera; resident conductor of the Pittsburgh Symphony; and music director of the Orchestre Suisse des Jeunes. Over the years Delfs has also led numerous distinguished ensembles. Born in Flensburg, Germany, Delfs began studying piano and music theory at age five. He studied with Christoph von Dohnányi and Aldo Ceccato at the Hamburg Conservatory. At 20, Delfs became the youngest-ever music director of the Hamburg University Orchestra and Musical Assistant at the Hamburg State Opera. He enrolled at The Juilliard School; studied with Jorge Mester, Sixten Ehrling, and Leonard Bernstein; and won the Bruno Walter Memorial Scholarship.

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Guest Artist Biographies OLGA KERN With a vivid onstage presence, dazzling technique, and keen musicianship, Russian-American pianist Olga Kern is widely recognized as one of the great artists of her generation, captivating fans and critics alike. She was born into a family of musicians in Russia and began studying piano at the age of five, and at 17 was awarded first prize at the Rachmaninoff International Piano Competition. In 2001, she jump - started her U.S. career, winning a historic Gold Medal at the Van Cliburn International Piano Competition in Fort Worth, Texas–the first woman to do so in more than 30 years. A Steinway Artist, Kern is a laureate of a number of international competitions. In 2016, she was jury chairman of both the Cliburn International Amateur Piano Competition and the first Olga Kern International Piano Competition, where she also holds the title of artistic director. Kern frequently gives masterclasses and since 2017 has served on the piano faculty of the Manhattan School of Music. In 2019, she was appointed the Connie & Marc Jacobson Director of Chamber Music at the Virginia Arts Festival. Kern has performed with many prominent orchestras, including the Moscow Philharmonic, St. Louis Symphony, Pacific Symphony, Baltimore Symphony, Detroit Symphony, and the National Symphony Orchestra (Washington, D.C.), as well as the São Paulo Symphony Orchestra, Iceland Symphony, Nordwestdeutsche Philharmonie, Tokyo’s NHK Symphony Orchestra, and the National Youth Orchestra of China, which marked her Chinese debut. She was also a featured soloist on US tours with the Royal Philharmonic Orchestra and the Royal Scottish National Orchestra, and during the 2017.18 season served as artist in residence at the San Antonio Symphony. Kern’s discography includes a Harmonia Mundi recording of the Tchaikovsky Piano Concerto No. 1 with the Rochester Philharmonic Orchestra; her Grammy-nominated disc of Rachmaninoff’s Corelli Variations and other transcriptions; and Chopin’s Piano Concerto No. 1 with the Warsaw Philharmonic. Other notable releases include Chopin’s Piano Sonatas No. 2 and 3, and, more recently, SONY’s release of the Rachmaninoff Sonata for Cello and Piano with Sol Gabetta. Kern is also featured in award-winning documentaries about the 2001 Cliburn Competition: Playing on the Edge, They Came to Play, and Olga’s Journey.

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DONATE TODAY AND SUPPORT OUR MEMBER GROUPS AT UPAF.ORG/DONATE Skylight Music Theatre, Kiss Me, Kate, Joe Capstick and Kaylee Annable, Photo by Ross Zentner. Next Act, Blood at the Root, Ibraheem Farmer, Photo by Ross Zentner.

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Program notes by J. Mark Baker Welcome back to Milwaukee, Maestro Delfs! Our Conductor Laureate has chosen a program of great adventure, beginning with music from Wagner’s “Ring” cycle and ending with the story of a gingerbread house and a wicked witch. In between, Olga Kern plays Grieg’s beloved Piano Concerto and Sarah Kirkland Snider takes inspiration from former U.S. poet laureate Philip Levine. Richard Wagner Born 22 May 1813; Leipzig, Germany Died 13 February 1883; Venice, Italy

“Siegfried’s Rhine Journey” from Götterdämmerung Composed: 1869-74 (opera) First performance: 17 August 1876; Bayreuth, Germany (complete opera) Last MSO performance: May 1986; Paul Polivnick, conductor Instrumentation: 2 flutes; piccolo; 2 oboes; 2 clarinets; 2 bassoons; 4 horns; 3 trumpets; 3 trombones; tuba; timpani; percussion (cymbals, glockenspiel, triangle); harp; strings Approximate duration: 10 minutes Richard Wagner’s Der Ring des Nibelungen is a monumental tour de force in the history of Western classical music. Comprised of four operas and something like 16 hours of music altogether, it is complex both in its story line and implementation. Along with Tristan und Isolde and Parsifal, its influence on composers of subsequent generations cannot be overestimated. “Siegfried’s Rhine Journey” comes from the last of the Ring operas, Götterdämmerung [Twilight of the Gods]. It serves as an orchestral interlude between the prologue and Act 1, portraying the hero’s voyage down the river to the castle of the Gibichungs, where he ultimately will be murdered by Hagen. The Journey begins with an exultant blast based on Siegfried’s horn call. The music moves ahead vibrantly, citing earlier leitmotifs that conjure Brünnhilde, the swirling water of the Rhine, and the Rhinemaidens’ paean to the gold Alberich stole from them to fashion the Ring, setting in motion the whole protracted saga.

Edvard Grieg Born 15 June 1843; Bergen, Norway Died 4 September 1907; Bergen, Norway

Piano Concerto in A minor, Opus 16 Composed: 1868 First performance: 3 April 1869; Copenhagen, Denmark Last MSO performance: November 2015; Lawrence Renes, conductor; Jon Kimura Parker, piano Instrumentation: 2 flutes; piccolo; 2 oboes; 2 clarinets; 2 bassoons; 4 horns; 2 trumpets; 3 trombones; timpani; piano; strings Approximate duration: 30 minutes

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Edvard Grieg was the most important Norwegian composer during the nationalist-Romantic era. First and foremost a master melodist, his compositions show the influence of native folk idioms. To discover this, one needs to look only as far as the felicitous Lyric Pieces (ten sets) for piano and the incidental music for Ibsen’s Peer Gynt – particularly the poignant “Solvejg’s Song” and the poetic “Morning Mood.” Likewise, the Piano Concerto in A minor shows folk influences, as we shall see. Numbering among Grieg’s earliest important works, the concerto was written by the 25-yearold composer in 1868 in Søllerød, Denmark, during one of his visits there to benefit from the climate. (All his life, Grieg suffered from ill-health – respiratory troubles stemming from an attack of pleurisy in 1860.) Grieg’s concerto is often compared to Robert Schumann’s – they share the same key, the opening descending flourish on the piano is similar, and the overall style is considered to be closer to Schumann than any other composer. Incidentally, in his teen years, Grieg had heard Schumann’s concerto played by Clara Schumann in Leipzig’s Gewandhaus. And he was greatly influenced by Schumann’s style in general, having studied the piano at the Leipzig Conservatory with Ernst Ferdinand Wenzel, a close friend of Schumann. The concerto was given its triumphant premiere in April 1869. That autumn, Grieg received a grant from the Norwegian government that enabled him to travel to Italy for further study. While there, he met Franz Liszt, who was then living in semi-retirement in Rome. At their second meeting, Grieg showed Liszt the score of the concerto, which Liszt played a prima vista and gave Grieg the warmest encouragement. Today it is one of Grieg’s most popular works and is among the most often performed of all piano concertos. It also holds the distinction of being the first piano concerto ever recorded – by Wilhelm Backhaus in 1908, in a heavily abridged six-minute version. Set in three movements, the piece opens with a crescendo roll from the timpani, which culminates in a crashing chord from the full orchestra. The soloist enters with a flourish based on a falling minor second followed by a falling major third, a motif that is typical of Norwegian folk music. The main theme of the movement is then introduced by the woodwinds with punctuations from the strings, and is soon taken up by the piano. After a short bridge passage, the second theme is played by the cellos against soft wind harmonies. The brief development section is based almost entirely on the main theme of the movement. The recapitulation is little more than a literal restatement of the exposition. The movement concludes with a brilliant and exciting cadenza and a brief coda. The nostalgic Adagio begins with an extended passage for muted strings, after which the piano enters with a theme of its own. The piano and strings then engage in a melodious dialogue and are soon joined by the winds. After a loud restatement of the opening theme by the piano and orchestra, the mood grows calmer and the music quietly ebbs away. The Finale, a loosely constructed rondo, follows without pause. Its refrain is an energetic theme with the rhythmic characteristics of the hallingdansen, a Norwegian folk dance in strongly accented duple meter. The songful middle section is ushered in by a solo flute over tremolo strings. After this material is rhapsodically developed by the piano and orchestra, the halling melody returns. In the final section of the movement, the theme is transformed into triple meter, thereby taking on the characteristics of the springdans, another Norwegian folk dance. Virtuoso scale passages in the piano lead into the broadly majestic coda, bringing the concerto to it glorious conclusion.

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Sarah Kirkland Snider Born 8 October 1973; Princeton, New Jersey

Something for the Dark Composed: 2016 First performance: 14 April 2016; Detroit, Michigan Last MSO performance: MSO premiere Instrumentation: 2 flutes; piccolo; 2 oboes; English horn; 3 clarinets; 2 bassoons; contrabassoon; 4 horns; 4 trumpets; 3 trombones; tuba; timpani; percussion (tam tam, vibraphone, marimba, glockenspiel, triangle, bass drum, suspended cymbals, cymbals, crotale, sleigh bells, chimes, snare drum, tom tom); harp; piano; celeste; strings Approximate duration: 12 minutes Born and raised in Princeton – where she still lives – Sarah Kirkland Snider earned a master’s degree and Artist Diploma from the Yale School of Music and a bachelor’s degree from Wesleyan University. In 2006, she was a Schumann Fellow at the Aspen Music Festival. She has studied composition with, among other, Martin Bresnick, Aaron Jay Kernis, David Lang, and Christopher Rouse. Her catalogue includes works for orchestra, chamber ensembles, solo instruments, voices (both solo and choral), and musical theatre. Something for the Dark was commissioned by the Detroit Symphony Orchestra after Snider won their Lebenbom Award for Female Composers in 2014. She offers the following insights about the piece: Thinking about Detroit led me to think about resilience, and what it means to endure. After a brief hint of passing doubt, Something for the Dark opens with a bold, heroic statement of hope and fortitude in the horns and trombones. I think of this music as the optimism of a very young person. Initially, I envisioned this motif journeying through a bit of challenge and adversity to arrive at an even stronger, bolder version of itself: Growth! Triumph! A happy ending! But that wasn’t what happened. Early into its search for glory, the motif finds itself humbled beyond recognition: a delicate, childlike tune in the flute, harp, and celeste arises in its stead. This new version of hope is then put through a series of challenges that roil and churn it like the sea tossing a small boat – testing it, weathering it, even taunting it with memories of its early hubristic naïveté. Eventually, the music finds its way to solid ground, and though its countenance has now darkened, its heroism a distant memory, there is serenity and some wisdom – and perhaps, even, the kind of hope that endures. The title of the piece comes from a poem by Philip Levine, the Detroit-born-and-raised, former U.S. poet laureate who was best known for his poems about Detroit’s working class. The last two lines of his poem “For Fran” struck me as an apt motto for his many clear-eyed reflections on endurance. In preparing the flower beds for winter, Levine’s wife becomes a symbol of the promise of renewal: “She packs the flower beds with leaves/Rags, dampened papers, ties with twine/The lemon tree, but winter carves/Its features on the uprooted stem… I turn to her whose future bears/The promise of the appalling air/My loving wife, Frances Levine, Mother of Theodore, John, and Mark/Out of whatever we have been/We will make something for the dark.”

MILWAUKEE SYMPHONY ORCHESTRA

Englebert Humperdinck Born 1 September 1854; Siegburg, Germany Died 27 September 1921; Neustrelitz, Germany

Hansel and Gretel, Orchestral Suite arranged by Andreas Delfs Composed: 1890-93 First performance: 23 December 1893; Weimar, Germany (complete opera) Last MSO performance: MSO premiere Instrumentation: 2 flutes; piccolo; 2 oboes; English horn; 2 clarinets; bass clarinet; 2 bassoons; 4 horns; 2 trumpets; 3 trombones; tuba; timpani; percussion (bass drum, cymbals, triangle, tambourine, tam tam, castanets, xylophone, glockenspiel, cuckoo, thunder sheet); harp; strings Approximate duration: 25 minutes Englebert Humperdinck was born in Siegburg, a stone’s throw away from both Bonn and Cologne. He studied at the conservatories in Cologne and Munich, later winning the Mendelssohn Prize of Berlin, which afforded him the opportunity to travel to Italy. There, he met Wagner in Naples in 1880, later becoming his musical assistant in preparation for the first performance of Parsifal (Bayreuth, 1882). In addition to his steady output as a composer – operas, incidental music, dozens of songs, choral music, instrumental and chamber works – he taught at several conservatories, was a music critic, and for a time was adviser to the publishing firm B. Schotts Söhne. (During his two years with them, he prepared new editions of J.S. Bach’s Well-Tempered Clavier and advocated for Hugo Wolf’s lieder.) Hansel and Gretel, Humperdinck’s best-known work, began in 1890 as song settings for his sister, Adelheid Wette, who wrote the libretto. Her original wish was to have a Singspiel (musical song-play) for her children to enact; this eventually morphed into the fully-fledged opera we know today. Its Weimar premiere was conducted by Richard Strauss, and it enjoyed immediate success, with productions at over 50 theatres in the first year; the work was especially wellreceived in Vienna. To this very day, it is a December holiday staple in the German-speaking countries. Though the music is delightfully tuneful – and, at times, dancelike – its Wagnerian harmonic and textural influences are unmistakable, as its melodies are assimilated into a refined, seamless fabric. The suite on today’s program, fashioned by Maestro Delfs, includes excerpts from – among others – the Overture, the Dream Pantomime, the Witch’s Ride, and the Crisp Waltz. It’s all quite enchanting!

MILWAUKEE SYMPHONY ORCHESTRA

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$10,000 and above BMO Harris Bank CD Smith Construction Services Charles D. Ortgiesen Foundation David C. Scott Foundation Ellsworth Corporation Jane Bradley Pettit Foundation Kahler Slater Marietta Investment Partners Ralph Evinrude Foundation William and Janice Godfrey Family Foundation Yabuki Family Foundation $5,000 and above Camille A. Lonstorf Trust Common Links Construction, LLC CornerStone One Ernst & Young, LLC Gene and Ruth Posner Foundation, Inc. General Mills Foundation Godfrey & Kahn, S.C. GRAEF Greater Milwaukee Foundation ELM II Fund Roxy and Bud Heyse Fund/Journal Fund Julian Family Foundation MGIC Investment Corporation

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Corporate and Foundation Support/Tributes/A Grand Future Milwaukee Arts Board Northern Trust Northwestern Mutual William A. and Mary M. Bonfield, Jr. Fund $2,500 and above Greater Milwaukee Foundation Margaret Heminway Wells Fund Japan Foundation New York Joan and Fred Brengel Family Foundation, Inc. Richard G. Jacobus Family Foundation Theodore W. Batterman Family Foundation $1,000 and above Clare M. Peters Charitable Trust Ellis Family Charitable Fund FIS Global Foley & Lardner LLP Glendale Women’s Club Greater Milwaukee Foundation Cottrell Balding Fund Del Chambers Fund Eleanor N. Wilson Fund George and Christine Sosnovsky Fund Henry C., Eva M., Robert H. and Jack J. Gillo Charitable Fund Irene Edelstein Memorial Fund Mildred L. Roehr & Herbert W. Roehr Fund Milwaukee Bucks Rite Hite Holding Corporation Townsend Foundation $500 and above AmazonSmile Foundation Greater Milwaukee Foundation Carrie Taylor & Nettie Taylor Robinson Memorial Fund Donald and Barbara Abert Fund Robert C. Archer Designated Fund United Way of Greater Milwaukee and Waukesha County Usinger Foundation MATCHING GIFTS The Milwaukee Symphony Orchestra gratefully acknowledges the following corporations and foundations who match their employees’ contributions to the Annual Fund. Allstate American Family Insurance Group Aurora Health Care BMO Harris Bank Bright Funds Carrier Caterpillar Foundation Dell Dominion Foundation Eaton Corporation Fiduciary Partners GE Foundation

Google Grace Evangelical Lutheran Church IMB Matching Grant Program Johnson Controls Foundation Microsoft Corp Morgan Stanley Northwestern Mutual Refinitiv The Benevity Community Impact Fund U.S. Bank United Healthcare United Way of Metropolitan Chicago United Way of Greater Milwaukee and Waukesha Wisconsin Energy Corporation

In memory of Jim Hawkins Kathleen Wigdale

GOLDEN NOTE PARTNERS The MSO gratefully acknowledges the following organizations for their gift of product or servies.

In honor of Alyce Katayama Steven and Buffy Duback

88Nine Radio Milwaukee Belle Fiori – Official Event Florist of the MSO The Capital Grille Central Standard Craft Distillery Colectivo Coffee Downer Avenue Wine & Spirits Godfrey & Kahn, S.C. Marcus Hotels & Resorts Milwaukee Journal Sentinel Ogletree Deakins Saint Kate – The Arts Hotel – Official Hotel of the MSO Sojourner Family Peace Center Steinway Piano Gallery of Milwaukee Studio Gear – Official Event Partner of the MSO Wisconsin Public Radio WMSE TRIBUTES In memory of David A. Blumberg Kelsi Gard Drs. Alan and Carol Pohl Norma Zehner Margaret Zickuhr In memory of Valerie Cherchian Provident Trust Company Alicia and Bryan Sadoff In honor of David Cohen Frederick and Pamela Hess In memory of Tom Damm Kathleen Wigdale In memory of Matthew Flag Trinidad Torres In memory of Helen Flanner Mary Flanner In honor of Fred Fuller Ms. Anna E. Hirt In memory of Judy Gertsma Anonymous

MILWAUKEE SYMPHONY ORCHESTRA

In honor of Thomas and Pauline Jeffers Adam Jeffers Mark Jeffers In memory of Virjean Knudsen Jill Griffee Ross In honor of Scott Jeffrey Koehler Sharon Nagel Emily and David Wycoff In honor of Donald and JoAnne Krause James and Patricia Mathie

In memory of W. Stuart Parsons Richard Abdoo Terry Burko and David Taggart Buffy and Steve Duback Jill Jelsma Raquel Lauritzen Patty and Mike McCauley Genie and David Meissner Michael Schmitz John Spencer Mrs. George Walcott Ann and George Whyte Kathrine Wolf In memory of Kathy Paulsen Kathleen Wigdale In honor of Daniel Petry Wayne and Marlene Cook In memory of Marilyn “Pat” Ellicson Petry - Jazz Lover David L. Harrison In memory of Jill Ragatz Kathleen Wigdale In memory of Barb Schmidt Kathleen Wigdale In memory of John Schmitt Ann MacIver In memory of Anne T. White A. James White In memory of Libby Wigdale Kathleen Wigdale A GRAND FUTURE $10,000,000 and above The Lynde and Harry Bradley Foundation David and Julia Uihlein $5,000,000 and above The Marcus Corporation Keith Mardak and Mary Vandenberg Michael and Jeanne Schmitz The Estate of Barbara Abert Tooman

A Grand Future $1,000,000 and above Debbie and Mark Attanasio Donna and Donald Baumgartner Murph and John Burke Mr. and Mrs. Franklyn Esenberg Herzfeld Foundation Donald and JoAnne Krause Alice and Martin Krebs Billie Kubly Arthur and Nancy Laskin Sheldon and Marianne Lubar Drs. Brent J. and Susan H. Martin In memory of Victoria Mayer Northwestern Mutual Mike and Cathy White Family $500,000 and above Chris Abele Jane Bradley Pettit Foundation Sandy and Bill Haack Evan & Marion Helfaer Foundation Ted and Mary Kellner Richard and Sarah Kimball Mary Ann and Charles P. LaBahn Ladish Co. Foundation Annette Marra Bill and Marian Nasgovitz Andy Nunemaker United Performing Arts Fund Barbara and Ted Wiley $250,000 and above One Anonymous Donor Bader Philanthropies, Inc. Donald and Judy Christl C.D. Smith Construction Doug and Jane Hagerman Hauske Family Foundation Angela G. Johnston Charles A. Krause Elaine and Gerry Mainman Lois and Richard Pauls Lynde B. Uihlein $150,000 and above Two Anonymous Donors Dr. and Mrs. John B. Alberti Isabel Bader Mrs. Elaine Burke Patrick & Rachel English Fund A Donor Advised Fund of the Bradley Impact Fund Margot and Paul Grangaard Judith A. Keyes Ronald and Vicki Krizek John and Linda Mellowes Alice E. Read Sara and Jay Schwister Allison M. and Dale R. Smith Stackner Family Foundation Thora M. Vervoren Mr. and Mrs. Willard Walker $100,000 and above ANON Charitable Trust A.O. Smith Foundation, Inc. Laura and Mike Arnow Clair and Mary Baum

Timothy Bowers and Mary Theisen Anthony and Vicki Cecalupo Charles T. Urban and Joan M. Coufal Sigrid Dynek and Barry Axelrood Greater Milwaukee Foundation Ernst and Eleanore Conrad Fund Gerda A. Debelak Fund Ivan P. Steingart Fund Mr. and Mrs. George C. Kaiser Judith and David Hecker Leon and Betsy Janssen Dr. and Mrs. Leander Jennings Kahler Slater Mrs. Alyce Coyne Katayama Charles and Barbara Lund Mr. Peter L. Mahler Christian and Kate Mitchell Kate and Ken Muth Pat and Allen Rieselbach Gayle G. Rosemann and Paul E. McElwee Jan Serr and John Shannon Guardian Fine Art Services Nancy and Greg Smith Olive I. And Eunice J. Toussaint Foundation Joan and James Urdan Family Cynthia and Gary Vasques The Wilhelms Family Foundation Mr. and Mrs. Donald S. Wilson Herbert Zien and Elizabeth Levins $50,000 and above Three Anonymous Donors Helmut and Sandra Ammon Astor Street Foundation Priscilla and Anthony Beadell Mary and Terry Briscoe Two Brass Players Dori L. Brown Ara and Valerie Cherchian Doolittle Charitable Trust Mrs. Mary Lou M. Findley Lee and Barbara Jacobi Mary E. Lacy Myron Laskin Donna and Stephen Liljegren Peter and Kathleen Lillegren Mrs. Alice H. Nelson Candy and Bruce Pindyck The Puelicher Foundation, Inc. Rotary Club of Milwaukee Dian Gabriel and Jack Simpson John Stewig and Richard Bradley $25,000 and above Two Anonymous Donors Sue and Louie Andrew Lori and Kurt Bechthold Richard and Joan Beightol Cathy G. Benjamin Bruce and Melissa Block William and Barbara Boles Marilyn and John Breidster Suzy and John Brennan Chris and Katie Callen William Chester Croen Foundation

Joanne Doehler In memory of Ed and Mary Doehler Beth and Ted Durant Mr. William E. Eastham Robert and Kristen Fewel Anne and Dean Fitzgerald Ellen and Jim Flesch George E. Forish, Jr. David L. Harrison Margarete and David Harvey Drs. Carla and Robert Hay Mr. and Mrs. Bernard C. Hlavac Frieda and William Hunt Memorial Trust Richard G. Jacobus Family Foundation Judy and Gary Jorgensen Megumi Kanda Hemann and Dietrich Hemann Kohler Co. Mark and Cynthia Levy Elizabeth Meyer and Sam Hope Mark Niehaus and Oliver Niehaus Brian and Maura Packham Jamshed and Deborah Patel Christine Radiske and Herbert Quigley Bill Davidson and Randy Reddemann John and Mary Rickmeier Debra and Howard Saltzman Dr. and Mrs. Neville Sender Steinway Piano Gallery of Milwaukee Susi and Dick Stoll Christine A. Symchych and James P. McNulty Thomas and Michele Tiffany Haruki Toyama and Amy Blair Drs. Steven and Denise Trinkl Ann and Joe Wenzler Nora and Jude Werra $15,000 and above Fred and Kay Austermann Dr. Rita Bakalars In memory of Earl Bakalars Ed and Janet Becker Lois Bernard Richard and Kay Bibler Boelter Family Foundation Fund A Donor Advised Fund of the Bradley Impact Fund Jean Britt Mrs. John H. Burlingame Lynda and Tom Curl Ellen Debbink Barbara and Harry L. Drake Judith J. Goetz Natalia and Patrick Goris Leila and Joe Hanson Megan Holbrook and Eric Vogel Pauline and Thomas Jeffers Ms. Chung J. Kim and Mr. Marshall Perlman Christine Krueger E.J. and Meloney Kubick Larry and Mary LeBlanc Richard and Roberta London Ann MacIver

MILWAUKEE SYMPHONY ORCHESTRA

A Grand Future Dr. Joseph Maier Drs. Robert Taylor and Janice McFarland-Taylor Christel U. Mildenberg Patrick and Mary Murphy Julie and Steven Peay Julie and Mason Ross Mr. Kenneth Treis Don Petersen and Corinthia Van Orsdol Anne H. and Frederick Vogel, III Bill and Gwen Werner Diana J. Wood $10,000 and above Four Anonymous Donors David A. Benner and Diane Benjamin Benner Mary Beth Pieprzyca Berkes Marlene and Bert Bilsky Dr. Philip and the spirit of Beatrice Blank Mr. and Mrs. Richard J. Cecil Mr. and Mrs. Stephen L. Chernof Coakley Brothers Mary and James Connelly In honor of Hamster Anne and Theodore Crandall Douglas and Eleanor Seaman Charitable Foundation In honor of David V. Uihlein, Jr Steven and Buffy Duback Robert Gardenier and Lori Morse Elizabeth and William Genné Carolie Goniu Alison Graf and Richard Schreiner Greater Milwaukee Foundation Dresselhuys Family Fund The Gary P. Grunau “Good for Milwaukee” Fund Donna and Tony Meyer Fund Sidney E. Grossberg, M.D. Rich Grunke and Bill Grasch Dale and Sara Harmelink Mr. and Mrs. Eric E. Hobbs Charles and Jean Holmburg Peg and Mark Humphrey Impact Foundation In honor of Patrick McGinn and Linda Unkefer Ms. Deborah A. Jacobus Mr. Ronald Jacquart Jewish Community Foundation Richman Family Donor Advised Fund Matthew and Kathryn Kamm Dennis and Sandy King In memory of Wayne A. King Gale Klappa of WEC Energy Group Robert Kohl & Clark Pellett In honor of Peter Mahler Juililly Kohler Kolaga Family Charitable Trust Dr. and Mrs. Anthony Krausen Dr. Michael Krco Norm and Judy Lasca Dale and Barbara Lenz Loretta Lorenzen

Wayne and Kris Lueders Katharine and Sandy Mallin Michael and Maureen McCabe Sallie and George Meyer Mrs. Rosemary D. Monroe Justin and Susanna Mortara Ms. Florence Parnegg Stuart Parsons and Julia Courtright Judy Perkins and David Keen Elaine N. Peterson Richard and Suzanne Pieper Dr. and Mrs. Richard A. Pierce-Ruhland Plunkett Family Foundation Linda and Blaine Rieke Pat and David Rierson Roger Ritzow In memory of Nancy Ritzow Two Sisters Linda Gale Sampson In memory of BJ and Carol Sampson Ms. Marsha Sehler In honor of David Uihlein Carlton Stansbury Carolyn and Donald G. Tyler Alice Weiss Bob and Barbara Whealon $5,000 and above One Anonymous Donor George R. Affeldt Mr. and Mrs. James B. Anello Richard and Sara Aster Robert Balderson Art Blair Michael and Marianna Bruch Ernest Brusubardis and Margaret Crowley Diane and David Buck Mr. Tom Buthod Gillian and Steven Chamberlin Nancy Cocking Dennis Conta and Deborah Gardner Kristin and Curtis Crain, Jr. In honor of Curtis and Nell Crain Steven Cupery and Lorna Young Larry and Eileen Dean Jane Dicus In memory of Bill Dicus Jack Douthitt and Michelle Zimmer The Duffy Women Elizabeth and Herodotos Ellinas Daniel and Patricia Fetterley Mr. and Mrs. A. William Finke Stephen M. and Nancy H. Fisher Ms. Julie A. Giacobassi Greater Milwaukee Foundation Haag Family Foundation Fund Leesley B and Joan J. Hardy Fund Daryl and Norman Grier Charmaine and Kurt Gunderson Jean Gurney and Earl M. Lemon Karleen Haberichter Margaret Hader In memory of Wayne K. Hader Ms. Mary E. Henke Roxy Heyse Drs. Stephen Hinkle and Margie Boyles

MILWAUKEE SYMPHONY ORCHESTRA

Konrad K. Kuchenbach In memory of John E. Holland Susan and Howard Hopwood Mr. and Mrs. Ted Hutton George and Angela Jacobi Jewish Community Foundation Bill & Idy Goodman Family Donor Advised Fund Mr. and Mrs. David L. Johnson Mary F. Johnson Susan and Raymond Kehm Mr. and Mrs. F. Michael Kluiber Jonathan H. Koenig and Melissa E. Love Koenig Kathy Donius and Paul Kosidowski Mr. and Mrs. Jay Lauck Robert and Emily Levine Mr. and Mrs. David Lindberg Jacob Magnusson Susan Martin of WEC Energy Group Donna Martynski In memory of Jerry Martynski Mark and Michele Meier Drs. Daryl Melzer and Rita Hanson Perry and Susan Michalos Dr. Mary Ellen Mitchanis David Miyama Erik and Carol Moeser Dr. and Mrs. Squat Botley Paul Nausieda and Evonne Winston Dr. Donna Recht and Dr. Robert Newby North Wells Capital Barbara and Layton Olsen Charles D. Ortgiesen Foundation Susan M. Otto Dr. Thomas and Elaine Pagedas Shane and Christina Reddemann Emily and Mike Robertson In memory of William F. Kachel, Jr Roger B. Ruggeri and Andrea K. Wagoner Dr. and Mrs. Ronald Santilli Michael and Eileen Schmalz Mr. Rand Schmidt and Mr. Steven Sanders Drs. Ronald and Camille Schulgit William and MacKay Schultz In memory of Hans and Irene Schwark Micaela Levine and Thomas St. John Mr. Richard Seesel Ms. Carol Skornicka The Startt Family In memory of Steven C. Haas Ms. Bonnie Steindorf Anne Szcygiel Ann Terwilliger Lois Tetzlaff Gile and Linda Tojek Betsy Trimble Mr. and Mrs. Lynn F. Unkefer Urban Innovations Mr. and Mrs. Francis Wasielewski Mr. and Mrs. Brian Wickert Ms. Janet Wilgus Mrs. Richard P. Zauner

A Grand Future $3,000 and above One Anonymous Donor Mrs. David Beckwith Dr. Andrew Catanzaro and Susan Friebert The Gardner Foundation Lee and Benedict Kordus Susan Kurtz Joan McCracken Gregory and Susan Milleville Rusti and Steve Moffic Ms. Ruth Renzelmann Patricia Sheehan Donna and Tom Shriner The Stratton Foundation Winifred and Arthur Thrall Sandra and Ross Workman $1,500 and above Four Anonymous Donors Donald and Barbara Abert Fund Mark and Laura Barnard Orren and Marilyn Bradley Deanna B. Braeger Mr. James Brown Martin Brutvan Napa Chayaworakul and Don Hanlon Thomas and Joyce Christie Rhonda and Richard Cohen Coles Family Foundation Mrs. Sarah Cook Cream City Foundation Valentine Fund Phillip and Patricia Crump Anne de Vroome Kamerling and Garry Kamerling Mr. Dominique Delugeau Mark and Jennie Ehrmann Barbara Meyer Elsner Foundation Dr. Jaleh H. Esmaili C. Frederick Geilfuss II and Anne Hamilton Greater Milwaukee Foundation Michael Hack Fund Pat and Charles Harper Lisa and Mick Hatch Mrs. Barbara Himes In memory of Joseph Himes, M.D. Daniel Hoan Foundation Jeanne and Conrad Holling Ralph and Margaret Hollmon Karen Hung and Bob Coletti Julia A. Ihlenfeldt Deane and Vicky Jaeger Philip and Jane Johns Jayne J. Jordan Mark and Ginny Kannenberg Tim and Mary Keane Family Fund Steven P Kelley Charles and Sandra Kincaid Dolores Knoernschild Mary S. Knudten Barbara and Raymond Krueger Prof. and Mrs. James M. Kuist William Lassow John and Janice Liebenstein Mr. and Mrs. A. Bela Maroti

Mike and Patty McCauley Ms. Melodi Muehlbauer Rev. and Mrs. William E. Mueller Richard and Isabel Muirhead Erik Nelson George and Monica Oess For Texet and the Original Mind Kathryn Koenen Potos Sarah J. Pratt, M.D. Martha Prince Jim and Fran Proulx Mary Hauser and Jerome Randall Marcia J.S. Richards and Donald R. Whitaker Timothy and Syma Richer Richard and Colleen Schumaker Paul and Fran Seifert Debra and Daniel Shannon Dr. and Mrs. C. John Snyder Leonard Sobczak and David Pionke Bonnie and Bill Stafford Dean and Katherine Thome Kathleen and Frank Thometz Scott Tisdel and Stefanie Jacob Trinidad Torres Dr. and Mrs. David R. Tschopp John and Joanne Wagner Jim Ward Barbara Wendt Karen Weston Prati and Norm Wojtal Jim and Sandy Wrangell $1,000 and above Four Anonymous Donors Mark and Lynn Alan Brian and Denise Alberti Tom and Sally Basting John L. and Janet T. Beck In honor of Michael J. Schmitz David and Sherry Blumberg Scott Bolens and Elizabeth Forman Lois and Robert Brazner Joyce Broan Timothy Bult and Xin Huang Terry Burko and David Taggart Drs. William and Edith Burns Teri Carpenter Tim and Kathleen Carr Jeane and Curtis Carter Sachin Chheda and Angela McManaman Jacquelyn Chrisien Mr. and Mrs. J.T. Christofferson David and Eugenia Coggin Barbara B. Collings Sarah Stevenson Cook In memory of Jeanne Cook Barbara K. Costanzo Heidi and Todd Cox William DeLind and Lori Skelton Art and Rhonda Downey Linda and Eli Frank Pam Garvey Jim and Judy Gehl Rosalie I. Gellman

Anne and Franklyn Gimbel Brad and Kristi Glocke Dr. Andrew and Marjorie Greene Thomas Hamm Kristin Hansen and Darrel Johnson Anna Henning Pastor Timothy Henning Cheryl Frazes Hill and Gary Hill Kathryn Hoffmann Mr. Jerome Holden Barbara Hunteman Tina Itson Karen and Peter Jansson Mr. and Mrs. James A. Kasch Myrtle Kastner Mary E. Kelly Laurie Kinzinger Barbara Kutchera Bruce Laning Mrs. Alexandra F. Lerch-Gaggl Sally Lewis and Kathleen Rivera Mr. and Mrs. James Mathie Susan McComb Debra Miller Josephine and Kathleen Misiewicz Elizabeth O’Neill Judith Ormond David Pauly and Renee Couture Daniel J. Petry Jessica and Paul Pihart Christopher and Kristen Piotrowski Therese Quirk Connie Gavin and Bob Rothacker In honor of Doug and Jane Hagerman Lauren and Michael Roznowski Hayden James A. Rydlewicz, MD Barry and Kathleen Sammons Ms. Keri L. Sarajian and Mr. Frederick P. Stratton III Nina Sarenac Robin and John Sasman Mr. Darren Schacht Emily Wacker and Steve Schultz Phil Schumacher and Pauline Beck Cary and Susan Silverstein Anne and Randy Sprecher Jeff and Jody Steren Maggie and David Stoeffel Roland and Judith Strampe Ian and Ellen Szczygielski Ms. Lola Tegeder Joan Thompson Joan Tourdot Laura Vuchetich Tracy S. Wang, M.D. Mr. and Mrs. Jerome T. Welz James and Janet White Jan Whittow Inge and Frank Wintersberger Dr. Donald and Marian Yoder Kathleen Yuille In memory of David L. Yuille MD The Zabinski Family In memory of Nicolas Sluss-Rodionov

MILWAUKEE SYMPHONY ORCHESTRA

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MILWAUKEE SYMPHONY ORCHESTRA

MSO Board of Directors OFFICERS Susan Martin, Chair Andy Nunemaker, Immediate Past Chair David Uihlein, Honorary Co-Chair Julia Uihlein, Honorary Co-Chair Alyce Coyne Katayama, Secretary Patrick Murphy, Treasurer; Chair, Finance Committee Mark Niehaus, President & Executive Director, Michael and Jeanne Schmitz Chair

Maura Packham, Chair, Equity, Diversity, & Inclusion (EDI) Task Force Richard Pauls Leslie Plamann Alice Read Jay E. Schwister, Chair, Retirement Plan Committee Dale R. Smith Gregory A. Smith, Chair, Audit Committee Herb Zien, Chair, Facilities Management Committee

EXECUTIVE COMMITTEE Susan Martin, Chair Andy Nunemaker, Immediate Past Chair Douglas M. Hagerman Eric E. Hobbs Karen Hung, Chair, Governance Committee Alyce Coyne Katayama, Secretary Robert Klieger, Chair, Players’ Council Patrick Murphy, Treasurer; Chair, Finance Committee Mark Niehaus, President & Executive Director, Michael and Jeanne Schmitz Chair Mike Schmitz, Chair, Chairman’s Council Dick Stoll, Chair, Advancement Committee; Chair, Marketing & Advocacy Committee Haruki Toyama, Chair, Artistic Direction Committee

CITY AND COUNTY DIRECTORS

DIRECTORS Louis Andrew Kate Brewer Jeff Costakos Jen Dirks Marion Gottschalk Charlotte Hayslett Eric Jorgensen Peter Mahler, Chair, Grand Future Committee Mark Metzendorf Christopher Miller, Chair, Forte Christian Mitchell Robert Monnat Bruce Myers

City Sachin Chheda Pegge Sytkowski Francis Wasielewski County Fiesha Bell Chris Layden Garren Randolph MUSICIAN DIRECTORS Robert Klieger, Chair, Players’ Council Ilana Setapen CHAIRMAN’S COUNCIL Michael J. Schmitz, Chair Chris Abele Richard S. Bibler Charles Boyle Thomas E. Caestecker Roberta Caraway M. Judith Christl Mary Connelly Donn Dresselhuys Eileen G. Dubner Franklyn Esenberg Marta P. Haas Jean Holmburg Barbara Hunt Leon P. Janssen Angela G. Johnston Judy Jorgensen James A. Kasch Beverly A. Klein Lee Walther Kordus Michael J. Koss JoAnne Krause Martin J. Krebs

Susan Kurtz Keith Mardak James G. Rasche Stephen E. Richman Allen N. Rieselbach Walter L. Robb Thomas L. Smallwood Joan Steele Stein Linda Tojek Joan R. Urdan Larry Waters Kathleen A. Wilson MSO ENDOWMENT & FOUNDATION TRUSTEES Bruce Laning, Trustee Chairman, Endowment & Foundation Amy Croen, Endowment & Foundation Steven Etzel, Endowment & Foundation Douglas M. Hagerman, Foundation Allen Rieselbach, Foundation PAST CHAIRMEN Andy Nunemaker (2014-2020) Douglas M. Hagerman (2011-2014) Chris Abele (2004-2011) Judy Jorgensen (2002-2004) Stephen E. Richman (2000-2002) Stanton J. Bluestone (1998-2000) Allen N. Rieselbach (1995-1998) Edwin P. Wiley (1993-1995) Michael J. Schmitz (1990-1993) Orren J. Bradley (1988-1990) Russell W. Britt* (1986-1988) James H. Keyes (1984-1986) Richard S. Bibler (1982-1984)John K. MacIver* (1980-1982) Donn R. Dresselhuys (1978-1980) Harrold J. McComas* (1976-1978) Laflin C. Jones* (1974-1976) Robert S. Zigman* (1972-1974) Charles A. Krause* (1970-1972) Donald B. Abert* (1968-1970) Erhard H. Buettner* (1966-1968) Clifford Randall* (1964-1966)John Ogden* (1962-1964) Stanley Williams* (1959-1962)

MILWAUKEE SYMPHONY ORCHESTRA

MSO 2021.22 Administration EXECUTIVE Mark Niehaus, President & Executive Director, Michael and Jeanne Schmitz Chair Susan Loris, Executive Vice President for Institutional Advancement, Charles A. Krause Chair Bret Dorhout, Vice President of Artistic Planning Robin Sasman, Vice President & Chief Financial Officer Heidi Gempeler, Chief of Staff Cynthia Moore, Human Resources, Diversity & Inclusion Manager Kelsey Padron, Administrative Assistant ADVANCEMENT Tina Itson, Director of Institutional Giving Michael Rossetto, Director of Individual Giving Celeste Baldassare, Campaign Manager Nate Groonwald, Advancement Officer Elliott King, Grants & Research Manager Orin Larson, Individual Giving Manager William Loder, Individual Giving Manager Tracy Migon, Development Systems Manager Daniel Petry, Campaign Gift Officer Lindsey Ruenger, Individual Giving Manager Emily Santeler, Advancement Associate Maggie Seer, Institutional Giving Manager EDUCATION & COMMUNITY ENGAGEMENT Rebecca Whitney, Director of Education Hannah Esch, Concerts for Schools and Education Manager Michelle McCormick, ACE and Education Manager FINANCE Brandon Viliunas, Controller Jenny Beier, Senior Accountant Colleen McHoney, Accountant MARKETING Jennifer Samuelson, Senior Director of Patron Experience & Front of House Operations Erin Kogler, Director of Communications Kathryn Reinardy, Director of Marketing & Strategic Engagement Luther Gray, Associate Director of Patron Services Al Bartosik, Box Office Manager

MILWAUKEE SYMPHONY ORCHESTRA

Adam Cohen, Patron Systems Manager Marie Holtyn, Box Office Supervisor Sam Hushek, Events & Volunteer Manager Marcella Morrow, Marketing Manager Kerry Ryan, Communications & Content Coordinator Patrick G.H. Schley, House Manager Zoe Waeltz, Assistant House Manager Arianna Witek, Patron Services Assistant OPERATIONS Françoise Moquin, Director of Orchestra Personnel Rick Snow, Director of Facilities Frank Almond, Artistic Advisor Paul Beck, Associate Librarian Elizabeth Fairfield, Orchestra Personnel & Artistic Administrator Patrick McGinn, Principal Librarian, Anonymous Donor, Principal Librarian Chair Terrell Pierce, Operations Manager Emily Wacker Schultz, Artist Duty Assistant Jeremy Tusz, Audio & Video Producer Tristan Wallace, Technical Manager & Live Audio Supervisor Christina Williams, Chorus Manager

MSO PROGRAM 1 / October & November 2021

Articles inside

A Grand Future Campaign

MSO Administration

October 22 & 23 — Classics

November 5 – 7 — Classics

Conductor Bios

October 15 & 16 — Classics

Annual Fund

Endowment/Planned Giving