MSO 3 / December 2023 - February 2024 by Milwaukee Symphony Orchestra

ENCORE DECEMBER 2023— FEBRUARY 2024

ENCORE Volume 42 No. 3

15 December 8 - 10 — Special Handel’s Messiah

ENCORE DECEMBER

2023— FEBRUARY

2024

21 December 14-17 & 19 — Pops Holiday Pops 27

ecember 30 & 31 — Film D Back to the Future

37 January 20 — Special Steve Hackman’s Beethoven X Coldplay 45 January 26 & 27 — Classics Labadie Conducts Mozart 51 February 2 & 3 — Classics Mozart Oboe & Symphony 5 7 8 9 12 58

Orchestra Roster Music Director Music Director Laureate Assistant Conductor Milwaukee Symphony Chorus MSO Endowment Musical Legacy Society 59 Annual Fund 61 Gala Sponsors Gala Paddle Raisers 62 Corporate & Foundation 63 Matching Gifts/Golden Note Partners/ Marquee Circle/Tributes 66 MSO Board of Directors 67 MSO Administration

This program is produced and published by ENCORE PLAYBILLS. To advertise in any of the following programs: • Milwaukee Symphony Orchestra • Florentine Opera • Milwaukee Ballet • Marcus Performing Arts Center Broadway Series • Skylight Music Theatre • Milwaukee Repertory Theater • Sharon Lynne Wilson Center 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

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MONDAY

7:00 pm Wisconsin Lutheran College

WORKS OF

TELEMANN, HAYDN, BARTÓK, AND KORNGOLD franklymusic.org

PROUD AFFILIATE

Eugene Drucker, violin (ex Emerson Quartet), Roberta Cooper, cello, Frank Almond, violin, Marta Aznavoorian, piano

SATURDAY

JAN

MAR

7:00 pm Milwaukee Youth Arts Center

MUSIC OF ,

BACH REGER, GEORGE CRUMB, AND BRAHMS Frank Almond, violin, Tamás Varga (Principal cello, Vienna Philharmonic), Victor Santiago Asunción, piano Toby Appel, viola

These concerts are supported in part by a grant from the Milwaukee Arts Board, the Wisconsin Arts Board with funds from the State of Wisconsin, and the National Endowment for the Arts.

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www.SaintJohnsMilw.org 414-831-6900 1840 North Prospect Avenue, Milwaukee, Wisconsin 53202 MILWAUKEE SYMPHONY ORCHESTRA

MILWAUKEE SYMPHONY ORCHESTRA

Photo by Jonathan Kirn

The Milwaukee Symphony Orchestra, led by Music Director Ken-David Masur, is among the finest orchestras in the nation and the largest cultural institution in Wisconsin. 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 over 135 classics, pops, family, education, and community concerts each season 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 52nd 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. In January of 2021, the MSO completed a years-long project to restore and renovate a former movie palace in the heart of downtown Milwaukee. The Bradley Symphony Center officially opened to audiences in October 2021. This project has sparked a renewal on West Wisconsin Avenue and continues to be a catalyst in the community. The MSO’s standard of excellence extends beyond the concert hall and into the community, reaching more than 30,000 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 34th year, the nationally-recognized ACE program integrates arts education across all subjects and disciplines, providing opportunities for students when budget cuts may eliminate arts programing. 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 5,900 students and 500 teachers and faculty are expected to participate in ACE both in person and in a virtual format. 4

MILWAUKEE SYMPHONY ORCHESTRA

CELLOS Susan Babini, Principal, Dorothea C. Mayer Cello Chair Nicholas Mariscal, Assistant Principal* Shinae Ra, Acting Assistant Principal (2nd chair) Scott Tisdel, Associate Principal Emeritus Madeleine Kabat Peter Szczepanek Peter J. Thomas Adrien Zitoun

CONTRABASSOON Beth W. Giacobassi

BASSES Jon McCullough-Benner, Principal, Donald B. Abert Bass Chair* Andrew Raciti, Associate Principal Nash Tomey, Assistant Principal (3rd chair) Brittany Conrad Teddy Gabrieledes** Peter Hatch* Paris Myers

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

TIMOTHY J. BENSON Assistant Chorus Director

HARP Julia Coronelli, Principal, Walter Schroeder Harp Chair

FIRST VIOLINS Jinwoo Lee, Concertmaster, Charles and Marie Caestecker Concertmaster Chair Ilana Setapen, First Associate Concertmaster Jeanyi Kim, Associate Concertmaster Alexander Ayers Yuka Kadota Elliot Lee** Ji-Yeon Lee Dylana Leung Allison Lovera Lijia Phang Yuanhui Fiona Zheng

FLUTES Sonora Slocum, Principal, Margaret and Roy Butter Flute Chair Heather Zinninger, Assistant Principal Jennifer Bouton Schaub

TROMBONES Megumi Kanda, Principal, Marjorie Tiefenthaler Trombone Chair Kirk Ferguson, Assistant Principal

2023.24 SEASON KEN-DAVID MASUR Music Director Polly and Bill Van Dyke Music Director Chair EDO DE WAART Music Director Laureate RYAN TANI Assistant Conductor CHERYL FRAZES HILL Chorus Director Margaret Hawkins Chorus Director Chair

SECOND VIOLINS Jennifer Startt, Principal, Andrea and Woodrow Leung Second Violin Chair Timothy Klabunde, Assistant Principal John Bian, Assistant Principal (3rd chair) Glenn Asch Lisa Johnson Fuller Paul Hauer Hyewon Kim Alejandra Switala** Mary Terranova VIOLAS Robert Levine, Principal, Richard O. and Judith A. Wagner Family Principal Viola Chair Georgi Dimitrov, Assistant Principal (2nd chair), Friends of Janet F. Ruggeri Viola Chair Samantha Rodriguez, Assistant Principal (3rd chair)* Alejandro Duque, Acting Assistant Principal (3rd chair) Elizabeth Breslin Nathan Hackett Erin H. Pipal Helen Reich

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

HORNS Matthew Annin, Principal, Krause Family French Horn Chair Krystof Pipal, Associate Principal Dietrich Hemann, Andy Nunemaker French Horn Chair Darcy Hamlin Kelsey Williams**

BASS TROMBONE John Thevenet, Richard M. Kimball Bass Trombone Chair TUBA Robyn Black, Principal, John and Judith Simonitsch Tuba Chair TIMPANI Dean Borghesani, Principal Chris Riggs, Assistant Principal PERCUSSION Robert Klieger, Principal Chris Riggs

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* Taylor Eiffert* Madison Freed**

PIANO Melitta S. Pick Endowed Piano Chair

E-FLAT CLARINET Benjamin Adler*

PRODUCTION Tristan Wallace, Technical Manager & Live Audio Supervisor Paolo Scarabel, Stage Technician & Deck Supervisor

BASS CLARINET Taylor Eiffert* Madison Freed** BASSOONS Catherine Van Handel, Principal, Muriel C. and John D. Silbar Family Bassoon Chair Rudi Heinrich, Assistant Principal Beth W. Giacobassi

PERSONNEL MANAGER Françoise Moquin, Director of Orchestra Personnel LIBRARIANS Paul Beck, Principal Librarian, Anonymous Donor, Principal Librarian Chair Matthew Geise, Assistant Librarian & Media Archivist

* Leave of Absence 2023.24 Season ** Acting member of the Milwaukee Symphony Orchestra 2023.24 Season

MILWAUKEE SYMPHONY ORCHESTRA

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 celebrating his fifth season as music director of the Milwaukee Symphony Orchestra and principal conductor of the Chicago Symphony’s Civic Orchestra. He has conducted distinguished orchestras including the Chicago Symphony, the Los Angeles Philharmonic, the San Francisco Symphony, the Minnesota Orchestra, l’Orchestre National de France, the Yomiuri Nippon Symphony, the National Philharmonic of Russia, and others throughout the United States, France, Germany, Korea, Japan, and Scandinavia. Masur’s tenure in Milwaukee has been marked by innovative thematic programming, including a festival celebrating the music of the 1930s, when the Bradley Symphony Center was built, and the Water Festival, which highlighted local community partners whose work centers on water conservation and education. He has also instituted a multi-season artist-in-residence program, and he has led highly-acclaimed performances of major choral works, including a semi-staged production of Peer Gynt. This season, he begins a residency with bass-baritone Dashon Burton and leads the MSO in an inaugural city-wide Bach Festival, celebrating the diverse and universal appeal of J.S. Bach’s music in an ever-changing world. Photo by Adam DeTour

Last season, Masur made his New York Philharmonic debut in a gala program featuring John Williams and Steven Spielberg. He also debuted at the Pacific Music Festival in Sapporo, Japan and at Classical Tahoe in three programs that were broadcast on PBS, and he led the Boston Symphony Orchestra, Yo-Yo Ma, Itzhak Perlman, Branford Marsalis, and James Taylor at Tanglewood in a 90th birthday concert for John Williams. The summer of 2023 marked Masur’s debuts with the Grant Park Festival and the National Repertory Orchestra; later this season, he returns to the Baltimore Symphony and the Kristiansand Symphony. Previously, Masur was associate conductor of the Boston Symphony Orchestra. During his five seasons there, he led numerous concerts at Symphony Hall and at Tanglewood. For eight years, Masur served as principal guest conductor of the Munich Symphony, and he has also served as associate conductor of the San Diego Symphony and as resident conductor of the San Antonio Symphony. Music education and working with the next generation of young artists are of major importance to Masur. In addition to his work with Civic Orchestra of Chicago, he has conducted orchestras and led masterclasses at the University of Wisconsin-Milwaukee’s Peck School of the Arts, New England Conservatory, Manhattan School of Music, Boston University, Boston Conservatory, Tokyo’s Bunka Kaikan Chamber Orchestra, the Tanglewood Music Center Orchestra, and The Juilliard School, where he leads the Juilliard Orchestra this fall. Masur is passionate about contemporary music and has conducted and commissioned dozens of new works, many of which have premiered at the Chelsea Music Festival, an annual summer festival in New York City founded and directed by Masur and his wife, pianist Melinda Lee Masur. The Festival, which celebrates its 15th anniversary in 2024, has been praised by The New York Times as a “gem of a series” and by TimeOutNY as an “impressive addition to New York’s cultural ecosystem.” Masur and his family are proud to call Milwaukee their home and enjoy exploring all the riches of the Third Coast. MILWAUKEE SYMPHONY ORCHESTRA

EDO DE WAART, MUSIC DIRECTOR LAUREATE Throughout his long and illustrious career, renowned Dutch conductor Edo de Waart has held a multitude of posts with orchestras around the world, including music directorships with the Rotterdam Philharmonic Orchestra, San Francisco Symphony, Minnesota Orchestra, Netherlands Radio Philharmonic Orchestra, Hong Kong Philharmonic, Milwaukee Symphony Orchestra, Antwerp Symphony, New Zealand Symphony, and Sydney Symphony Orchestra, and a chief conductorship with the De Nederlandse Opera and Santa Fe Opera. Edo de Waart is principal guest conductor of the San Diego Symphony, conductor laureate of both the Antwerp Symphony Photo by Jesse Willems Orchestra and Netherlands Radio Philharmonic Orchestra, and music director laureate of the Milwaukee Symphony Orchestra. This season, he returns to Netherlands Radio Philharmonic Orchestra and the Milwaukee, San Diego, and Fort Worth symphony orchestras. 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, Salzburg Festival, Royal Opera House, Covent Garden, Grand Théâtre de Genève, Opéra Bastille, Santa Fe Opera, and the Metropolitan Opera. With the aim of bringing opera to broader audiences where concert halls prevent full staging, he has, as music director in Milwaukee, Antwerp, and Hong Kong, often conducted semi-staged and opera-in-concert performances. A renowned orchestral trainer, he has been involved with projects working with talented young players at the Juilliard and Colburn schools and the Music Academy of the West in Santa Barbara. Edo de Waart’s extensive catalogue encompasses releases for Philips, Virgin, EMI, Telarc, and RCA. Recent recordings include Henderickx’s Symphony No. 1 and Oboe Concerto, Mahler’s Symphony No. 1, and Elgar’s Dream of Gerontius, all with the Royal Flemish Philharmonic. Beginning his career as an assistant conductor to Leonard Bernstein at the New York Philharmonic, de Waart then returned to Holland where he was appointed assistant conductor to Bernard Haitink at the Royal Concertgebouw Orchestra. Edo de Waart has received a number of awards for his musical achievements, including becoming a Knight in the Order of the Netherlands Lion and an Honorary Officer in the General Division of the Order of Australia. He is also an Honorary Fellow of the Hong Kong Academy for Performing Arts.

MILWAUKEE SYMPHONY ORCHESTRA

RYAN TANI, ASSISTANT CONDUCTOR Ryan Tani is in his first season as assistant conductor of the Milwaukee Symphony Orchestra. In 2021, he completed his two-year tenure as the Orchestral Conducting Fellow for the Yale Philharmonia under Music Director Peter Oundjian, where he was the recipient of the Dean’s Prize for artistic excellence in his graduating class. Committed to meaningful community music-making in the state of Montana, Tani has directed the Bozeman Chamber Orchestra, Bozeman Symphonic Choir, Second String Orchestra, and MSU Symphony Orchestras. He frequently serves as cover conductor for the St. Louis, Colorado, and Bozeman symphonies and also recently served on the faculty at the Montana State University School of Music. Tani recently concluded his tenure as music director of the Occasional Symphony in Baltimore. A fierce advocate of new music, Tani curated over 20 commissions from Baltimore-based composers during his four-year directorship of OS. As resident conductor of the New Music New Haven series, he has collaborated, under the guidance of Aaron Jay Kernis, with Yale University composition students and faculty. Tani is also a graduate of the Peabody Institute, where he studied conducting with Marin Alsop and Markand Thakar, and of the University of Southern California, where he studied voice with Gary Glaze. In 2015, he was declared the winner of the ACDA Undergraduate Student Conducting Competition at their national conference in Salt Lake City, Utah. In addition to his studies at Yale and Peabody, Tani has also studied conducting with Larry Rachleff, Donald Schleicher, Gerard Schwarz, Grant Cooper, and José-Luis Novo. Tani currently resides in Milwaukee, Wisconsin, where he can be found in the park with his dog, playing board games with friends and family, in the library with a good book, or in the practice room with his violin.

MILWAUKEE SYMPHONY ORCHESTRA

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MILWAUKEE SYMPHONY CHORUS

Photo by Jonathan Kirn

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 2023.24 chorus season with the MSO includes works by Beethoven, Bach, Debussy, and Orff, as well as Handel’s Messiah and the Holiday Pops performances. The 150-member 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 for 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 during the ensemble’s 30th anniversary season in 2006, in honor of the founding chorus director, Margaret Hawkins. 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/chorus for more information on becoming a part of the Milwaukee Symphony Chorus.

MILWAUKEE SYMPHONY ORCHESTRA

CHORUS MEMBERS & STAFF Anna Aiuppa Marty Foral Noah Liermann Randy Schmidt Mia Akers Robert Friebus Nicholas Lin u Allison Schnier Laura Albright-Wengler Karen Frink Robert Lochhead Trinny Schumann Maria Fuller Kristine Lorbeske Bob Schuppel * James B. Anello u Thomas R. Bagwell William Gesch Grace Majewski Matthew Seider Barbara Barth Samantha Gibson Douglas R. Marx Bennett Shebesta Czarkowski Jessica Golinski Joy Mast u Hannah Sheppard Scott Bass Justin J. Maurer David Siegworth * Mark R. Hagner Marshall Beckman Eric W. Hanrehan Kathryn McGinn Bruce Soto Zachary Beeksma Beth Harenda Shannon McMullen Joel P. Spiess Yacob Bennett u Karen Heins Kathleen Ortman Miller * Todd Stacey Mary Catherine Megan Miller u Donald E. Stettler * JoAnn Berk Edward Blumenthal Helgren Victor Montañez Cruz Scott Stieg u Scott Bolens Kurt Hellermann Bailey Moorhead * Donna Stresing Robert Bortman Martha Hellermann Jennifer Mueller Ashley Ellen Suresh Neil R. Brooks Sara E. Herrick Joseph Thiel * Matthew Neu Heather Brown Eric Hickson Kristin Nikkel Dean-Yar Tigrani Michelle Budny Michelle Hiebert Jason Niles Clare Urbanski Ellen N. Burmeister Laura Hochmuth Alice Nuteson Tess Weinkauf Gabrielle Campbell Matthew Hunt Robert Paddock Emma Mingesz Weiss Gerardo Carcar Stan Husi R. Scott Pierce Michael Werni Elise Cismesia u Tina Itson u Jessica E. Pihart Erin Weyers Ian Clark Olivia Pogodzinski Cameron Wilkins • Christine Jameson Sarah M. Cook Paula J. Jeske Gabriel Poulson Christina Williams Amanda Coplan Andrew Johnson Kaitlin Quigley Emilie Williams u Sarah Culhane John Jorgensen Mary E. Rafel Sally Witte Phoebe Dawsey Kevin R. Woller • Heidi Kastern * Jason Reuschlein Colin Destache Michelle Beschta Klotz Rehanna Rexroat Rachel Yap Emma DeVries Robert Anton Knier James Reynolds * Jamie Mae Yu Becky Diesler Jill Kortebein Marc Charles Ricard Michele Zampino Rebeca Dishaw Kaleigh KozakAmanda Robison Katarzyna Zawislak Megan Kathleen Lichtman Stephanie Zimmer * Bridget Sampson Dixson u Joseph M. Krechel James Sampson Rachel Dutler Julia M. Kreitzer Darwin J. Sanders u James Edgar Savannah Grace Jenny E. Sanders Joe Ehlinger Kroeger Alana Sawall Jay Endres Autumn Schacherl • Harold Krueger Katelyn Farebrother Benjamin Kulhmann John T. Schilling Michael Faust Pamela Lembke Sarah Schmeiser Catherine Fettig Alexandra Lerch-Gaggl Rand C. Schmidt

STAFF

u Section Leader

Cheryl Frazes Hill, chorus director Timothy J. Benson, assistant director Kayoko Miyazawa, primary pianist Terree Shofner-Emrich, Diane Kachelmeier, rehearsal pianists Darwin J. Sanders, language/diction coach Christina Williams, chorus manager

* Mentor

MILWAUKEE SYMPHONY ORCHESTRA

• Librarian

DR. CHERYL FRAZES HILL, CHORUS DIRECTOR Dr. Cheryl Frazes Hill is now in her seventh 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. Frazes Hill is Professor Emeritus at Roosevelt University’s Chicago College of Performing Arts, where she served for 20 years as director of choral activities. During the 2023.24 season, Frazes Hill will prepare the Milwaukee Symphony Chorus for classical performances of Beethoven’s Meeresstille und glückliche Fahrt and Choral Fantasy, Bach’s Magnificat, Debussy’s Nocturnes, and Orff’s Carmina Burana, as well as for holiday performances of Handel’s Messiah. In her role as the Chicago Symphony Chorus associate conductor, she has prepared the chorus for Maestros Alsop, Boulez, Barenboim, Conlon, Levine, Mehta, Salonen, Tilson Thomas, and many others. 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. 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, the Chicago Sinfonietta, the Civic Orchestra of Chicago, and the Illinois Philharmonic. The Roosevelt Conservatory Chorus received enthusiastic reviews for their American premiere of Jacob ter Veldhuis’s Mountain Top. Other recent performances have included the internationally acclaimed production of Defiant Requiem and three appearances with The Rolling Stones during a recent United States concert tour. Frazes Hill received her Master of Music and Doctorate degrees in conducting from Northwestern University and undergraduate degrees in voice and music education from the University of Illinois. An accomplished vocalist, she is a featured soloist in the Grammynominated recording CBS Masterworks release Mozart: Music for Basset Horns. An award-winning conductor/educator, Frazes Hill recently received the ACDA Harold Decker Conducting Award, the Mary Hoffman Music Educators Award, and in recent years the Commendation of Excellence in Teaching from the Golden Apple Foundation, the Illinois Governor’s Award, Roosevelt University’s Presidential Award for Social Justice, the Northwestern University Alumni Merit Award, and the Outstanding Teaching Award from the University of Chicago, among many others. Frazes Hill’s recently released book, Margaret Hillis: Unsung Pioneer, a biography of the famed female conductor, received a commendation from the 2023 Midwest Book Awards. The book is available on Amazon and in bookstores. Frazes Hill is nationally published on topics of her research in music education and choral conducting. A frequent guest conductor and guest speaker, Frazes Hill has recently collaborated with Maestro Marin Alsop at Ravinia Festival’s Breaking Barriers: Women on the Podium.

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HANDEL’S MESSIAH Friday, December 8, 2023 at 7:30 pm Saturday, December 9, 2023 at 7:30 pm Sunday, December 10, 2023 at 2:30 pm ALLEN-BRADLEY HALL Ken-David Masur, conductor Hannah Sheppard, soprano Ashley Suresh, soprano Mary Rafel, alto Scott Bass, countertenor Nicholas Lin, tenor David Govertsen, bass Milwaukee Symphony Chorus Cheryl Frazes Hill, director

GEORGE FRIDERIC HANDEL Messiah, HWV 56 PART I 1. Sinfonia (Overture) 2. Arioso (Tenor): Comfort ye, my people 3. Aria (Tenor): Ev’ry valley shall be exalted 4. Chorus: And the Glory of the Lord 5. Recitative (Bass): Thus saith the Lord 6. Aria (Alto): But who may abide the day of his coming? 7. Chorus: And he shall purify Recitative (Alto): Behold, a virgin shall conceive 8. Air and Chorus (Alto): O thou that tellest good tidings to Zion 9. Arioso (Bass): For behold, darkness shall cover the earth 10. Air (Bass): The people that walked in darkness 11. Chorus: For unto us a child is born 12. Pifa (Pastoral Symphony) Recitative (Soprano): There were shepherds abiding in the field 13. Arioso (Soprano): And lo, the angel of the Lord came upon them Recitative (Soprano): And the angel said unto them 14. Arioso (Soprano): And suddenly, there was with the angel 15. Chorus: Glory to God in the Highest 16. Air (Soprano): Rejoice greatly, O daughter of Zion

MILWAUKEE SYMPHONY ORCHESTRA

INTERMISSION PART II 19. Chorus: Behold the Lamb of God 20. Air (Alto): He was despised 21. Chorus: Surely he hath borne our griefs 22. Chorus: And with his stripes we are healed 23. Chorus: All we like sheep have gone astray 24. Arioso (Tenor): All they that see him laugh him to scorn 25. Chorus: He trusted in God 33. Chorus: The Lord gave the word 34a. Duet/Chorus/Air (Soprano): How beautiful are the feet of him 35a. Arioso and Chorus (Tenor): Their sound is gone out 36. Air (Bass): Why do the nations so furiously rage together? 37. Chorus: Let us break their bonds asunder Recitative (Tenor): He that dwelleth in Heaven 38. Air (Tenor): Thou shalt break them with a rod of iron 39. Chorus: Hallelujah PART III 41. Chorus: Since by man came death 42. Recitative (Bass): Behold, I tell you a mystery 43. Air (Bass): The trumpet shall sound 47. Chorus: Worthy is the Lamb that was slain

The 2023.24 Handel’s Messiah is presented by the UNITED PERFORMING ARTS FUND and ROCKWELL AUTOMATION. The length of this concert is approximately 2 hours and 5 minutes. 16

MILWAUKEE SYMPHONY ORCHESTRA

Guest Artist Biographies HANNAH SHEPPARD Soprano Hannah Sheppard has sung with the Milwaukee Symphony Chorus since 2013, serving as a core member and section leader. Her long musical career began in Pittsburgh and includes performances as a cellist and as a vocalist in various productions as a child and young adult. Sheppard has most recently appeared as a soloist in Mendelssohn’s Elijah as the Knabe with the Milwaukee Symphony Orchestra and Chorus and as Serena in the short film Peace Offering. Prior to gracing Milwaukee’s musical stages, Sheppard enriched her craft as a college student in Washington, Pennsylvania, lending her voice to the Washington & Jefferson Choir and the W&J Camerata Singers. Currently residing in Milwaukee, she shares her life with her husband and their cherished canine companion, Wally, continuing to captivate audiences around the city and working as a clinical researcher.

ASHLEY SURESH Ashley Suresh, soprano, has performed in numerous operas and musicals from a young age. She recently performed in the Milwaukee Ballet’s production of Dracula with The Florentine Opera Company. As a soloist, she has performed works such as Strauss’s Four Last Songs with the Beloit Symphony Orchestra and Kenneth Frazelle’s The Motion of Stone. While obtaining her Master of Music degree in vocal performance from Northwestern University, she sang the role of Fiordiligi in Cosí fan tutte with Northwestern Opera Theater and performed in a master class with the renowned Renée Fleming. She has performed with the A.J. Fletcher Opera Institute in productions of La rondine, The Merry Wives of Windsor, and Maria Stuarda. She debuted with Piedmont Opera in 2012 as Bridget Booth in Robert Ward’s The Crucible and is a recipient of the William R. Kenan Jr. Excellence Scholarship Award from University of North Carolina School of the Arts. She currently resides in Wisconsin with her husband and son.

SCOTT BASS Scott Bass (he/they) is a countertenor, songwriter, and multiinstrumentalist based out of Chicago, Illinois. Since receiving a Bachelor of Music in vocal performance from the Chicago College of Performing Arts in 2019, Bass has built up a vast portfolio of vocal, instrumental, composition, and production work. With multiple albums of original music recorded and released under their name and their solo project, base., Bass takes pride in the diversity of musical language, taking influence from a vast pool of musical history from sacred, pop, Baroque, and beyond. This is Bass’s first year singing with the Milwaukee Symphony Chorus, and Bass was previously featured in the semichorus of Beethoven’s Choral Fantasy in November 2023. Outside of the Milwaukee Symphony Chorus, Bass is a featured soloist with Kol Zimrah Jewish Community Singers, performing works by Jewish composers including Bernstein, Janowski, and more. Bass is also the Cantorial Soloist for Beth Chaverim Humanistic Jewish Community and has been featured singing with the Evanston Chamber Opera in Humperdinck’s Hänsel und Gretel as the Sandman, as well as leading the tenor section on the album Max Janowski - Great Works for the Max Janowski Society. This is Bass’s mainstage debut singing Messiah, and Bass is excited to share the brilliance of Handel’s works with you.

MILWAUKEE SYMPHONY ORCHESTRA

Guest Artist Biographies MARY RAFEL Mary Rafel is an experienced and educated vocalist with over 17 years of choral experience and professional musicianship. Rafel has always been passionate about music and pursued it academically in her undergraduate studies at St. Norbert College in De Pere, Wisconsin, where she earned her Bachelor of Music degree in voice. She continued her education at the University of Wisconsin-Milwaukee, where she earned her Master of Music degree, studying musicology and voice. It was then that her journey began as an alto in the Milwaukee Symphony Chorus. Rafel has enjoyed being part of the Milwaukee Symphony Chorus for over 12 years. In that time, she has sung a wide variety of repertoire, ranging from the Baroque to the 20th century. Rafel currently studies under the tutelage of Dr. Tanya Kruse-Ruck.

NICHOLAS LIN Nicholas Lin is a tenor based out of Milwaukee and Chicago. He has performed with The Florentine Opera Company (chorus member in Rigoletto, L’enfant et les sortilèges, Il barbieri di Siviglia, and L’elisir d’amore), Music of the Baroque, Opera for the Young (Count Almaviva in The Barber of Seville), and the Chicago Symphony Chorus. In 2023, he joined the Milwaukee Symphony Chorus as a paid core member. As a soloist, Lin has sung the tenor solo in Mozart’s Requiem for the Northwestern Summer Chorus and the role of Colas in South Loop Symphony’s semi-staged production of Bastien und Bastienne. He is a graduate of Northwestern University’s voice and opera program, where he studied under Karen Brunssen. At Northwestern, Lin performed the roles of Orfeo (L’Orfeo), Frank (Die Fledermaus), The Keeper of the Madhouse (The Rake’s Progress), The Lord Chancellor (Iolanthe), the Learned Judge (Trial and Error), and chorus work in Don Giovanni, Theodora, and Béatrice et Bénédict. In the fall of 2019, he directed OPUS’s production of Arthur Honegger’s operetta Les aventures du roi Pausole at Northwestern. Music festivals he has performed in include Atlantic Music Festival in Waterville, Maine; Classical Lyrical Arts in Novafeltria, Italy; and International Lyric Academy in Vicenza, Italy.

DAVID GOVERTSEN Chicago native David Govertsen has been active as a professional singer for nearly 20 years, portraying a wide variety of opera’s low-voiced heroes, villains, and buffoons. Govertsen has appeared as a soloist with numerous local and regional opera companies, including Lyric Opera of Chicago, Santa Fe Opera, Tulsa Opera, Chicago Opera Theater, and the Haymarket Opera Company. He is a member of the vocal chamber quartet Fourth Coast Ensemble, performing art song in Chicago and throughout the Midwest. As a concert soloist, Govertsen has performed with the Chicago, Detroit, and Madison symphony orchestras, Rochester Philharmonic Orchestra, Grant Park Orchestra, Santa Fe Symphony, and Santa Fe Chamber Music Festival, among many others. He made his Carnegie Hall debut in 2011 as the Herald in Otello with the Chicago Symphony Orchestra conducted by Riccardo Muti. He is an alumnus of the Ryan Opera Center and the Santa Fe Opera and Central City Opera apprentice programs and holds degrees from Northwestern University, Northern Illinois University, and the College of DuPage. Govertsen is currently on faculty at North Park University, Lewis University, and the College of DuPage. 18

MILWAUKEE SYMPHONY ORCHESTRA

Program notes by Elaine Schmidt GEORGE FRIDERIC HANDEL

Born 23 February 1685; Halle, Germany Died 14 April 1759; London, England

Messiah, HWV 56

Composed: 22 August – 14 September 1741 First performance: 13 April 1742; Dublin, Ireland Last MSO performance: 18 December 2022; Ken-David Masur, conductor Instrumentation: 2 oboes; bassoon; 2 trumpets; timpani; harpsichord; organ; strings Approximate duration: 2 hours and 5 minutes It’s a great story: a young German boy is forbidden by his father from having anything to do with “musical nonsense.” The boy sneaks a little keyboard instrument into the house and up to the attic, where he plays it when no one can hear him. He eventually becomes one of the most revered composers of the Baroque era. That is a true story of Handel’s childhood. He did eventually receive musical training, in Germany and in Italy, and began his career in Germany before moving permanently to England. There, he won the favor of audiences and royalty alike, building a reputation as one of the finest composers of the Baroque era and a successful, lucrative career. Handel began his career in England by writing Italian operas, which were a favorite of audiences at the time. But public tastes changed, and he began writing English-language oratorios, which are loosely defined as operas presented without costumes or scenery, to keep his audiences happy. Messiah, Handel’s oratorio based on the biblical Christmas story and the story of Christ’s suffering and death, is a departure from typical dramatic oratorio storytelling. Handel and his librettist, Charles Jennens, created a musical contemplation, or meditation, on the biblical stories rather than a literal retelling. Handel wrote Messiah in just three weeks during the summer of 1741, using a libretto Jennens had based on verses from the King James Bible and, to a lesser degree, the Church of England Book of Common Prayer. Although Messiah was premiered in Dublin on 13 April 1742 (proceeds from the ticket sales went to charity) and was a resounding success, Londoners began complaining ahead of the 1743 London premiere that Bible verses had no place in a secular theater. The kerfuffle died down and Messiah clearly endured it unscathed. As to why audiences stand up for the “Hallelujah” chorus? No one really knows. The accepted story is that King George II was so moved he stood when he first heard the “Hallelujah” chorus at the London premiere. The entire audience joined him because one never sat in front of a standing monarch. It’s a great story, but it didn’t appear until about 20 years after the London premiere, and there is no proof that it’s true. Nevertheless, here we are, 290 years after the London premiere, and I promise you that people will stand for the “Hallelujah” chorus.

MILWAUKEE SYMPHONY ORCHESTRA

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HOLIDAY POPS

Thursday, December 14, 2023 at 7:30 pm Friday, December 15, 2023 at 7:30 pm Saturday, December 16, 2023 at 2:30 pm Saturday, December 16, 2023 at 7:30 pm Sunday, December 17, 2023 at 2:30 pm Tuesday, December 19, 2023 at 7:30 pm ALLEN-BRADLEY HALL Byron Stripling, conductor, trumpet, and vocalist Mamie Parris, vocalist Bobby Floyd, piano Milwaukee Symphony Chorus Timothy Benson, assistant chorus director PAUL AND ROBERT O’NEILL AND KINKEL/arr. Bob Phillips Christmas Eve/Sarajevo 12/24 WILLIAM CHATTERTON DIX/arr. Marty Robinson What Child is This? EMIL WALDTEUFEL/arr. Jeff Tyzik The Skater’s Overture J. FRED/HAVEN COOTS/GILLESPIE/arr. Cy Payne Santa Claus is Coming to Town LEROY ANDERSON Sleigh Ride JERRY HERMAN/arr. Robert Wendel We Need a Little Christmas Milwaukee Symphony Chorus JOHN RUTTER What Sweeter Music

Milwaukee Symphony Chorus

Continued on page 22 MILWAUKEE SYMPHONY ORCHESTRA

Holiday Pops, continued from page 21

JOHN RUTTER Star Carol

Milwaukee Symphony Chorus

TRADITIONAL/arr. Mackrel Go Tell it on the Mountain Milwaukee Symphony Chorus INTERMISSION TRADITIONAL/arr. Jeff Tyzik O Come, All Ye Faithful Mamie Parris, vocalist Milwaukee Symphony Chorus TRADITIONAL/arr. Jeff Tyzik God Rest Ye Merry, Gentlemen Mamie Parris, vocalist Milwaukee Symphony Chorus ADOLPHE ADAM/arr. Bill Grimes O Holy Night Mamie Parris, vocalist Milwaukee Symphony Chorus IRVING BERLIN/arr. Cy Payne White Christmas Milwaukee Symphony Chorus VARIOUS/arr. Bill Grimes Holiday Medley Sing-Along We Wish You a Merry Christmas Silent Night Jingle Bells Mamie Parris, vocalist Milwaukee Symphony Chorus GEORGE FRIDERIC HANDEL “Hallelujah Chorus” from Messiah Milwaukee Symphony Chorus TRADITIONAL/arr. Larry Cook Joy to the World

Holiday Pops is presented by WE ENERGIES FOUNDATION. This weekend’s media sponsor is WISCONSIN PUBLIC RADIO. The length of this concert is approximately 1 hour and 45 minutes. All programs are subject to change. 22

MILWAUKEE SYMPHONY ORCHESTRA

Guest Artist Biographies BYRON STRIPLING

Columbus Jazz Orchestra.

With a contagious smile and captivating charm, conductor, trumpet virtuoso, singer, and actor Byron Stripling has ignited audiences across the globe. In 2020, Stripling was named principal pops conductor of the Pittsburgh Symphony Orchestra, and his baton has led countless orchestras throughout the United States and Canada. As a soloist with the Boston Pops Orchestra, Stripling has performed frequently under the baton of Keith Lockhart, as well as being the featured soloist on the PBS television special Evening at Pops with conductors John Williams and Mr. Lockhart. Currently, Stripling serves as artistic director and conductor of the highly acclaimed

Since his Carnegie Hall debut with Skitch Henderson and the New York Pops, Stripling has become a pops orchestra favorite throughout the country, soloing with over 100 orchestras around the world, including the Boston Pops, National Symphony, Pittsburgh Symphony, Dallas Symphony, Cincinnati Pops, Seattle Symphony, Baltimore Symphony, Minnesota Orchestra, St. Louis Symphony, Vancouver Symphony, Toronto Symphony, and orchestras throughout Europe and Asia. He has been a featured soloist at the Hollywood Bowl and performs at festivals around the world. An accomplished actor and singer, Stripling was chosen, following a worldwide search, to star in the lead role of the Broadway-bound musical Satchmo. Many will remember his featured cameo performance in the television movie The Young Indiana Jones Chronicles and his critically acclaimed virtuoso trumpet and riotous comedic performance in the 42nd Street production of From Second Avenue to Broadway. Stripling earned his stripes as lead trumpeter and soloist with the Count Basie Orchestra under the direction of Thad Jones and Frank Foster. He has also played and recorded extensively with the bands of Dizzy Gillespie, Woody Herman, Dave Brubeck, Lionel Hampton, Clark Terry, Louis Bellson, and Buck Clayton, in addition to the Jazz at Lincoln Center Orchestra, The Carnegie Hall Jazz Band, and The GRP All-Star Big Band. Stripling is devoted to giving back and supports several philanthropic organizations, including The United Way and the Community Shelter Board. He also enjoys sharing the power of music through seminars and master classes at colleges, universities, conservatories, and high schools. His informative talks, combined with his incomparable wit and charm, make him a favorite guest speaker for groups of all ages. Stripling was educated at the Eastman School of Music in Rochester, New York, and the Interlochen Arts Academy in Interlochen, Michigan. One of his greatest joys is to return to Eastman and Interlochen as a special guest lecturer. A resident of Ohio, Stripling lives in the country with his wife Alexis, a former dancer, writer, and poet, and their beautiful daughters.

MILWAUKEE SYMPHONY ORCHESTRA

Guest Artist Biographies MAMIE PARRIS Mamie Parris has been studying strangers’ habits and creating imaginary worlds since she was a toddler. It was just a matter of time until she put those skills to use. As a result, she has developed a diverse and unique body of work throughout her extensive career. Best known for her one-of-a-kind rendition of the iconic “Memory,” she is no stranger to the work of Sir Andrew Lloyd Webber, having starred as Grizabella in the Broadway revival of Cats, as Rosalie (closing cast) and Patty (opening cast) in Broadway’s School of Rock, and — most recently — in the U.S. premiere of the Lloyd Webber retrospective Unmasked. Other Broadway appearances include the Tony-nominated revivals of Ragtime, 110 in the Shade, and On The Twentieth Century, as well as the Tony-winning musical The Drowsy Chaperone. Across the country, she appeared as Elphaba in the First National Tour of fan-favorite Wicked, as well as performing with the touring companies of Legally Blonde and Dolly Parton’s 9 To 5. Other credits include roles at Arena Stage, The Old Globe, The Goodspeed Opera House, Pittsburgh CLO, the St. Louis Muny, the Macau International Music Festival, and more. Film and TV credits include The Blacklist, State of Affairs, and A Standup Guy. She is a sought-after master class instructor and performs as a soloist with distinguished symphony orchestras across the country. A native of Fort Worth, Texas, Mamie attended the Paseo Academy of the Arts in Kansas City, Missouri, before graduating from the American Musical and Dramatic Academy. She currently resides in the Pocono Mountains with her husband, Johnathan, and shih tsu mix, Cookie.

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Guest Artist Biographies TIMOTHY BENSON Timothy Benson has been the assistant director of the Milwaukee Symphony Chorus since 1994 and has served as director of music and organist at several churches since playing his first Mass at age 10. A Milwaukee native, he began playing the piano at the age of five before taking up pipe organ studies. His former teachers include S. Theophane Hytrek, Christopher Herrick, and Peter le Huray. Graduate studies in music took Benson to England, where he studied musical composition at Cambridge University. Teachers included Paul Patterson, Robin Holloway, and private studies in Wales with William Mathias. A summer session in Croydon at the Royal School of Church Music included further studies in organ with Peter Hurford and Stephen Cleobury and vocal pedagogy and choral conducting with Philip Ledger and George Guest. That summer saw Benson as the guest organist in a performance of J. S. Bach’s Magnificat for Her Majesty, the Queen Mother. Upon returning to the U.S., he joined the Milwaukee Symphony Chorus, then under the directorship of its founder, Margaret Hawkins, who asked him to pursue yet further graduate studies with her at the Wisconsin Conservatory of Music. While there, he studied choral conducting with Hawkins, orchestral conducting with Daniel Forlano, and vocal pedagogy with Signe Quale. Benson enjoys the life of working with the wonderful singers of the Milwaukee Symphony Chorus, bringing the soul-enriching beauty of music to the wider community, providing great organ music and choral direction to churches in the area, and maintaining a small but thriving number of both organ and voice students.

MILWAUKEE SYMPHONY ORCHESTRA

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IN CONCERT Saturday, December 30, 2023 at 7:30 pm Sunday, December 31, 2023 at 2:30 pm ALLEN-BRADLEY HALL Ryan Tani, conductor

STEVEN SPIELBERG Presents

BACK TO THE FUTURE A ROBERT ZEMECKIS Film MICHAEL J. FOX CHRISTOPHER LLOYD LEA THOMPSON CRISPIN GLOVER Written by ROBERT ZEMECKIS & BOB GALE Music by ALAN SILVESTRI Produced by BOB GALE and NEIL CANTON Executive Producers STEVEN SPIELBERG KATHLEEN KENNEDY and FRANK MARSHALL Directed by ROBERT ZEMECKIS

Tonight’s program is a presentation of the complete film Back to the Future with a live performance of the film’s entire score, including music played by the orchestra during the end credits. Out of respect for the musicians and your fellow audience members, please remain seated until the conclusion of the credits. © Universal City Studios LLC and Amblin Entertainment, Inc. All Rights Reserved. MILWAUKEE SYMPHONY ORCHESTRA

PRODUCTION CREDITS Back to the Future in Concert produced by Film Concerts Live!, a joint venture of IMG Artists, LLC and The Gorfaine/Schwartz Agency, Inc. Producers: Steven A. Linder and Jamie Richardson Director of Operations: Rob Stogsdill Production Manager: Sophie Greaves Production Assistant: Katherine Miron Worldwide Representation: IMG Artists, LLC Technical Director: Mike Runice Music Composed by Alan Silvestri Music Preparation: Jo Ann Kane Music Service Film Preparation for Concert Performance: Kristopher Carter and Mako Sujishi Technical Consultant: Laura Gibson Sound Remixing for Concert Performance: Chace Audio by Deluxe The score for Back to the Future has been adapted for live concert performance. With special thanks to: Universal Pictures, Amblin Entertainment, Steven Spielberg, Robert Zemeckis, Bob Gale, Alan Silvestri, David Newman, Kristin Stark, Michael Silver, Patrick Koors, Tammy Olsen, Lawrence Liu, Thomas Schroder, Tanya Perra, Chris Herzberger, Noah Bergman, Jason Jackowski, Shayne Mifsud, Darice Murphy, Mark Graham and the musicians and staff of the Milwaukee Symphony Orchestra.

Film projectors generously donated by MARCUS CORPORATION. This weekend’s media sponsor is ONMILWAUKEE. The length of this concert is approximately 2 hours and 20 minutes with intermission. 28

MILWAUKEE SYMPHONY ORCHESTRA

Composer Biography ALAN SILVESTRI Composer Alan Silvestri has scored some of the most beloved and profitable films in Hollywood history, with over a hundred credits to date, earning him two Oscar and Golden Globe nominations, two Emmy awards, and three Grammy awards. While stylistically diverse, his scores feature unmistakable rhythmic melodies that continue to embody cinematic excitement and drama for generations of moviegoers. Born in New York City and raised in Teaneck, New Jersey, Silvestri studied at the Berklee College of Music in Boston, eventually finding his way to Hollywood at the age of 22, where he composed the scores for several successful low-budget films including The Doberman Gang and its sequel The Amazing Dobermans. This led to his composing the energetic, action-driven music for the hit TV series CHiPs, which caught the ear of budding filmmaker Robert Zemeckis. Their first collaboration, the 1984 film Romancing the Stone, was a runaway hit, and its success formed the basis of a decades-long composer-director relationship that continues to this day. Their numerous collaborations include Who Framed Roger Rabbit?, Back to the Future 1, 2, and 3, What Lies Beneath, Death Becomes Her, Contact, Cast Away, Beowulf, A Christmas Carol, and The Polar Express, from which Silvestri’s original song “Believe” garnered an Oscar nomination. But perhaps no film defines their creative partnership better than Zemeckis’ 1994 Best Picture winner Forrest Gump, for which Silvestri’s gift for beautifully melodic themes earned him an Oscar nomination for Best Original Score. Silvestri’s other films feature original scores in a wide range of styles and genres, including the hard-hitting percussive scores of Predator, Judge Dredd, and James Cameron’s The Abyss, the thrilling effects-driven scores for The Mummy Returns and G.I. Joe: Rise of Cobra, the ethnic rhythms of Soapdish and The Mexican, and the raucous fun of family films like Stuart Little 1 and 2, Disney’s Lilo and Stitch, and the Night at the Museum trilogy. Other credits include the romantic film noir The Bodyguard, edgy comedies like Mouse Hunt, and heartfelt romantic comedies like The Father of the Bride 1 and 2, The Parent Trap, and What Women Want. Silvestri has also proven adept at evoking the Wild West in Young Guns 2 and The Quick and the Dead, providing thrilling macho muscle for Van Helsing and The A-Team, and creating a dynamic musical soundscape for Steven Spielberg’s Ready Player One. Silvestri’s long-standing collaboration with Marvel Studios has helped to propel a number of their films to spectacular world-wide success, including Captain America: The First Avenger, The Avengers, The Avengers: Infinity War, and most recently The Avengers: Endgame, which broke all previous worldwide box office records to become the number one grossing film of all time. In 2014, Silvestri won two Emmy awards for his music for Cosmos: A Spacetime Odyssey, based on Carl Sagan’s original 1980 series and updated with the latest scientific discoveries, as well as spectacular visual effects and animation. Sagan’s widow, Ann Druyan, who co-wrote the original Cosmos series, served as an executive producer, writer, and director, alongside executive producer Seth MacFarlane.

MILWAUKEE SYMPHONY ORCHESTRA

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MILWAUKEE SYMPHONY ORCHESTRA

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MILWAUKEE SYMPHONY ORCHESTRA

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MILWAUKEE SYMPHONY ORCHESTRA

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MILWAUKEE SYMPHONY ORCHESTRA

STEVE HACKMAN’S BEETHOVEN X COLDPLAY Saturday, January 20, 2024 at 7:30 pm ALLEN-BRADLEY HALL Steve Hackman, conductor Casey Breves, vocalist Gregory Fletcher, vocalist Malia Civetz, vocalist BEETHOVEN

COLDPLAY

Symphony No. 3, I. Allegro con brio “Clocks” “Politik” “42” “Every Teardrop Is a Waterfall” “Trouble” Symphony No. 3, II. Marcia funebre: Adagio assai

“The Scientist” “Princess of China” “In My Place”

Symphony No. 3, III. Scherzo: “Paradise” Allegro vivace – Trio Symphony No. 3, IV. Finale: Allegro molto – Poco andante – Presto

“Viva la Vida” “Fix You”

The length of this concert is approximately 90 minutes with no intermission.

MILWAUKEE SYMPHONY ORCHESTRA

Guest Artist Biographies STEVE HACKMAN A multi-hyphenate music powerhouse and creative visionary, Steve Hackman is a daring voice intent on redefining art music in the 21st century. Trained at the elite level classically but equally adept in popular styles, his breadth of musical fluency and technique is uncanny — he is at once a composer, conductor, producer, DJ, arranger, songwriter, singer, and pianist. He uses these polymathic abilities to create original music of incisive modernism yet rooted in elevated classicism. His groundbreaking orchestral fusions, such as Brahms X Radiohead and The Resurrection Mixtape (Mahler X Notorious BIG X Tupac Shakur), are introducing the symphony orchestra to its future audience; he has conducted these pieces to sellout houses across the country with the orchestras of Philadelphia, San Francisco, Dallas, Seattle, Pittsburgh, San Diego, Colorado, Phoenix, Nashville, Oregon, Indianapolis, Grand Rapids, Columbus, Charlotte, Southwest Florida, Alabama, Colorado Music Festival, and the Boston Pops. Hackman has teamed up with some of the biggest pop superstars of today to add a signature virtuosic and classical dimension to their work, including Steve Lacy, Doja Cat, and Andrew Bird. He was trained at the Curtis Institute of Music and the University of Illinois at UrbanaChampaign and holds degrees in orchestral conducting and piano performance. He recently taught his first course at The Juilliard School entitled “Fusion, Re-imagination and Revelation.” He is active on Instagram under @stevehackmanmusic.

CASEY BREVES Casey Breves performs across the United States, Europe, and Asia as both a pop and classical vocalist. Born and raised in New York City, he sang with the Grammy Award‐winning vocal ensemble Chanticleer after graduating from Yale University, where he was a member of the Whiffenpoofs. He has performed on Saturday Night Live, Good Morning America, and Prairie Home Companion, as a soloist in concert with the Los Angeles Philharmonic, the Seattle Symphony, and the Denver Philharmonic, and at Radio City Music Hall as a backup vocalist for Adele. He recently completed a ten-city concert tour of China and Southeast Asia with husband and musical collaborator Sam Tsui. As a singer, songwriter, and content creator, his videos — including original songs, mashups, and collaborations — have received over half a billion views on YouTube and hundreds of millions of streams on Spotify.

GREGORY FLETCHER Gregory Fletcher is a versatile, award-winning artist thriving in the greater Los Angeles area. As a vocalist originally from California’s Inland Empire, he has become a multifaceted musician, obtaining session work in various musical genres including R&B, jazz, gospel, pop, classical, musical theater, and folk. Fletcher has performed around the world, spanning from the Playboy Jazz Festival and Super Bowl LIV to international venues, including St. Paul’s Cathedral 38

MILWAUKEE SYMPHONY ORCHESTRA

Guest Artist Biographies in London and the National Theater and Concert Hall in Taipei, Taiwan. He has worked alongside world-renowned artists including The Weeknd, Lauren Daigle, Shoshana Bean, Scott Hoying, and Michael Bublé. As a vocalist, Fletcher can be heard on films such as Just Mercy, Bad Boyz 4 Life, Sing 2, Avatar 2, The Harder They Fall, Disney and Pixar’s Turning Red, and Spacejam 2, in addition to television shows like Midnight Mass, Jimmy Kimmel Live, Dear White People, Zoey’s Extraordinary Playlist, Wednesday, DC’s Legends of Tomorrow, and Star Wars: The Book Of Boba Fett. Fletcher can be found on tour with The House Jacks, and works as a songwriting and piano teacher at Orange County School of the Arts (OCSA), a private voice and piano instructor, studio musician, and lead vocalist of R&B band MiloBloom, in addition to writing for several Warner Music Group artists. He has had the opportunity to serve as a guest artist, educator, adjudicator, and clinician at numerous Heritage Festivals, SCVA Festivals, and the Fullerton Jazz Festival, as well as the Monterey Next Generation Summer Jazz Camp, and continues to work around the world as an active musician and educator.

MALIA CIVETZ Malia Civetz has performed as a vocal soloist on countless occasions across the United States and around Europe in Steve Hackman’s symphonic mashups. She began working with Steve Hackman in January 2015, performing in Beethoven X Coldplay, and continues to lend her voice to that piece and a growing list of symphonic fusions, including Stravinsky’s Firebird Remix-Response, Tchaikovsky v. Drake, Skull and Bones, The Times They Are-A-Changin’, Bartók v. Björk, and From Beethoven to Beyoncé. Civetz, a Los Angeles-based recording artist and songwriter, signed a publishing deal with Warner Chappell Music after graduating from the University of Southern California Thornton School of Music’s Popular Music Program. Post-college, she linked up with powerhouse songwriters Ross Golan and JKash, signing to their newly-created joint label. She initially made waves with her independent single “Champagne Clouds,” which was debuted by Ryan Seacrest on his KIIS FM morning show On Air With Ryan Seacrest. The song quickly earned over 20 million streams and made Taylor Swift’s “Favorite Songs” playlists on both Apple Music and Spotify. She moved on to sign a record deal with Warner Records, making her major label debut in 2020 with her first EP The Flip, featuring hit radio single “Broke Boy.” Civetz unveiled her second EP, Heels In Hand, featuring “Partied Out” and fan-favorite “Sugar Daddy.” Her work has amassed love from numerous publications and has landed spots in major film, TV, and commercial productions. Surpassing 85 million total streams as an artist, Civetz continues to also write for a variety of artists across numerous genres. Her musical accomplishments span well over a decade, with early highlights that include performing as a “Star of Tomorrow” at New York’s Apollo Theater at age 13, having the privilege to sing for President Obama at age 16, and performing in Barry Manilow’s show at Paris Las Vegas at 17.

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The Scientist Nobody said it was easy No one ever said it would be this hard Oh, take me back to the start — Clocks Lights go out and I can’t be saved Tides that I tried to swim against Have brought me down upon my knees Oh I beg, I beg and plead singing You…are… Confusion it never stops Closing walls and ticking clocks Gonna come back and take you home I could not stop that you now know You…are… And nothing else compares — 42 Those who are dead are not dead They’re just living in my head And since I fell for that spell I am living there as well Time is so short and I’m sure there must be something more You thought you might be a ghost — Clocks Home, home, where I wanted to go — Every Teardrop is a Waterfall I turn the music up I got my records on I shut the world outside Until the lights come on Maybe the streets alight Maybe the trees are gone I feel my heart start beating To my favorite song I turn the music up I got my records on From underneath the rubble Sing a rebel song Maybe I’m in the black Maybe I’m on my knees Maybe I’m in the gap Between the two trapezes But my heart is beating And my pulses start Cathedrals in my heart As we saw Oh this light I swear you emerge blinking To tell me it’s alright As we soar walls Sirens are a symphony Every tear’s a waterfall The Scientist Come up to meet you Tell you I’m sorry 40

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You don’t know how lovely you are I had to find you Tell you I need you Tell you I’ll set you apart Tell me your secrets Ask me your questions Oh, let’s go back to the start Running in circles Coming in tails Heads on a science apart Nobody said it was easy It’s such a shame for us to part Nobody said it was easy No one ever said it would be this hard Oh, take me back to the start I was just guessing At numbers and figures Pulling your puzzles apart Questions of science Science and progress Do not speak loud as my heart Tell me you love me Come back and haunt me Oh, and I rush to the start Running in circles Chasing our tails Coming back as we are Nobody said it was easy It’s such a shame for us to part Nobody said it was easy No one ever said it would be this hard Oh, take me back to the start — Princess in China Could’ve been a princess, you’d be a king Could’ve had a castle and worn a ring Once upon a time somebody ran Somebody ran away, sayin’ fast as I can I got to go I got to go Once upon a time we fell apart You’re holding in your hands the two halves of my heart Oh, oh… Oh, oh… Once upon a time we burned bright, Now all we ever seem to do is fight On and on And on and on and on Once upon a time on the same side Once upon a time on the same side in the same game And why’d you have to go Have to go and throw water on my flame Could’ve been a princess, you’d be a king Could’ve had a castle and worn a ring But no You let me go And stole my star La la la…

And you really hurt me Paradise When she was just a girl She expected the world It flew away from her reach So she ran away in her sleep And dreamed of paradise And dreamed of paradise

Tears stream down your face And I will try to fix you

Lights will guide you home And ignite your bones And I will try to fix you — The Scientist Nobody said it was easy

Ah…

L Y

Be my mirror my sword Missionaries in a foreign field But that was when I ruled the world I used to rule the world Seas would rise when I gave the word Now in the morning I sleep alone Sweep the streets I used to own

High up above and down below When you’re too in love to let it go But if you never try you’ll never know

Viva La Vida I hear Jerusalem bells Roman cavalry choirs Never an honest word But that was when I ruled the world

Tears stream down your face When you lose something you cannot replace And I will try to fix you

So lying underneath the stormy sky She knows the sun must set to rise So she dreams of paradise!

And dreamed of paradise And dreamed of paradise

Lights will guide you home And ignite your bones And I will try, and I will try To fix you

Life goes on, it gets so heavy The wheel breaks the butterfly Every tear a waterfall In the night, the stormy night She closed her eyes In the night, the stormy night Away she flies

When the tears come streaming down your face When you lose something you can’t replace When you love someone but it goes to waste Could it be worse?

When she was just a girl She expected the world It flew away from her reach The bullets catch in her teeth

For some reason I can’t explain I know St. Peter won’t call my name Never an honest word But that was when I ruled the world — Fix You When you try your best, but you don’t succeed And you get what you want but not what you need When you feel so tired but you can’t sleep Stuck in reverse

I used to roll the dice Feel the fear in my enemy’s eyes Listen as the crowd would sing “Now the old king is dead; long live the king”

One minute I held the key Next the walls were closed on me And I discovered that my castles stand Upon pillars of salt and pillars of sand

C S

I hear Jerusalem bells are ringing Roman cavalry choirs are singing Be my mirror, my sword and shield My missionaries in a foreign field For some reason I can’t explain Once you go there was never Never an honest word But that was when I ruled the world It was a wicked and a wild wind Shattered windows and the sound of drums People couldn’t believe what I’d become Oh, who would ever want to be king Oh… MILWAUKEE SYMPHONY ORCHESTRA

Notes by Steve Hackman on Beethoven X. Coldplay Beethoven X. Coldplay is a symphonic fusion of Beethoven’s “Eroica” Symphony and the music of Coldplay. The latter’s melodies and lyrics are fused with the former’s music in every possible way, turning the “Eroica” Symphony into an oratorio. I sought to combine Beethoven and Coldplay because of their shared universality. They both confront broad, humanist themes of the human experience in their music: love, loss, tragedy, triumph, joy, pain. Their treatment of these themes is so elegant and perfect that you do not need to be a fan of classical or alternative rock for their music to speak to you. So their universality is two-fold: in the themes they confront and the appeal they therefore create. Shortly after beginning work on this fusion, I realized I was the exact same age Beethoven was when he wrote the “Eroica.” This had a curious effect on me. I started to wonder: what was Beethoven the 35-year-old like? What would it have been like to sit down with him? What would we talk about? And, eventually, I wondered: would he have liked the music of Coldplay? It seems quite a preposterous notion, does it not? But that is only because we by default think of Beethoven as the legendary historical figure, the giant who sits atop our Mount Olympus of composers. I ask you to instead consider Beethoven the human being, as I began to do when I realized the similarity in our ages. Take the following into account: At the time of writing the “Eroica,” Beethoven was still preoccupied with becoming regarded by all as the preeminent composer of his day. He knew his “Eroica” would settle this unequivocally. But though the piece is now mentioned among only a handful of pieces that changed the course of music forever, the premiere was met with ambivalence, with some critics calling it “unintelligible.” Would Beethoven have felt empathy with the Coldplay line, “Nobody said it was easy…no one ever said it would be this hard”? Beethoven had a coarse and unpleasant personality and therefore found sanctuary from the outside world in his music. Would he have appreciated the lyric, “I turn my music up…I shut the world outside…I hear my heart start beating to my favorite song…”? The natural world was also a refuge for Beethoven; he sought in his music to approach that perfection God had exhibited in his creation of the Earth. Can we imagine Beethoven in this Coldplay line: “Lying underneath the stormy sky…he knows the sun must set to rise…so he dreams of Paradise.” Or, “When you love someone and it goes to waste, could it be worse?” Would those lines have meant something to the composer who struggled with romance and was often tortured by unrequited love? And can you imagine the 35-year-old composer, who had recently battled depression to the extent of considering taking his own life, coming to the realization that he was irreversibly going deaf, not being overcome by the lyric, “Tears stream down your face…when you lose something you cannot replace…and I will try to fix you”? We love Coldplay because we feel they are speaking just to us - their songs seem to tell our own stories. So why shouldn’t they tell Beethoven’s? If he was once a person the same age as us, desperate for recognition of his genius, battling his health and depression, longing for love, and “dreaming of paradise,” who is to say he wouldn’t have found escape in a song by Coldplay? Or a 42

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moment of peace knowing that someone had been through exactly what he was going through and had found a way to perfectly articulate it through song? So what is the point of an exercise of this sort? Will changing the lens through which we view these artists and composers provide a new perspective? Will finding connections between them offer a new context? Isn’t it just a little too far-fetched to even think that Beethoven would ever have listened to Coldplay? And even if he had — what is the point in combining his music with theirs? I know my answer. You’re about to hear it.

-Steve Hackman, February 2020

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Sorel Etrog,The Source, 1964

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LABADIE CONDUCTS MOZART

Friday, January 26, 2024 at 7:30 pm Saturday, January 27, 2024 at 7:30 pm ALLEN-BRADLEY HALL Bernard Labadie, conductor Matthew Ernst, trumpet

HENRI-JOSEPH RIGEL Symphony in C minor, Opus 12, No. 4 I. Allegro assai II. Largo non troppo III. Allegro spiritoso JOHANN NEPOMUK HUMMEL Concerto in E-flat major for Trumpet and Orchestra, WoO 1, S. 49 I. Allegro con spirito II. Andante III. Rondo: Allegro Matthew Ernst, trumpet INTERMISSION

WOLFGANG AMADEUS MOZART Symphony No. 40 in G minor, K. 550 [revised version] I. Molto allegro II. Andante III. Menuetto: Allegretto IV. Allegro assai

The 2023.24 Classics Series is presented by the UNITED PERFORMING ARTS FUND and ROCKWELL AUTOMATION. The length of this concert is approximately 1 hour and 50 minutes. MILWAUKEE SYMPHONY ORCHESTRA

Guest Artist Biographies BERNARD LABADIE Bernard Labadie has established himself worldwide as one of the preeminent conductors of the Baroque and Classical repertoire, a reputation closely tied to his work with Les Violons du Roy (for which he served as music director from its inception until 2014) and La Chapelle de Québec. With these two ensembles he has regularly toured Canada, the U.S., and Europe, in major venues and festivals such as Carnegie Hall, Avery Fisher Hall, Walt Disney Concert Hall, Kennedy Center, The Barbican, The Concertgebouw, and the Salzburg Festival, among others. He is the principal conductor of the Orchestra of St. Luke’s in New York. Recent guest conducting highlights include the Chicago Symphony, Cleveland Orchestra, Handel & Haydn Society, National Arts Center Orchestra, L’Orchestre Symphonique de Montréal, Orchestre Philharmonique de Monte-Carlo, Orchestre National de Lyon, Mozarteum Orchestra Salzburg, and NDR Radiophilharmonie. Labadie has become a regular presence on the podiums of the major North American orchestras, including the Chicago, Kansas City, St. Louis, Pittsburgh, New World, and San Francisco symphonies; the Cleveland and Philadelphia orchestras; the Los Angeles and New York philharmonics; the Handel & Haydn Society; and L’Orchestre Symphonique de Montréal. International audiences in past seasons have seen and heard Labadie conduct the Bayerischen Rundfunks Symphony Orchestra, Academy of Ancient Music, English Concert & Chorus, Orchestra of the Age of Enlightenment, BBC Royal Scottish National Orchestra, Kammerakademie Potsdam, Melbourne Symphony Orchestra, Orchestra of the Collegium Vocale Ghent, Royal Concertgebouw Orchestra, Royal Northern Sinfonia, Swedish Chamber Orchestra, WDR Sinfonieorchester (Cologne), and Zürich Chamber Orchestra. His extensive discography includes many critically acclaimed recordings on Dorian, ATMA, and Virgin Classics labels, including Handel’s Apollo e Dafne and a collaborative recording of Mozart’s Requiem with Les Violons du Roy and La Chapelle de Québec, both of which received Canada’s Juno Award. Other recordings include C.P.E. Bach’s complete cello concertos with Truls Mørk and Les Violons du Roy; J.S. Bach’s complete piano concertos with Alexandre Tharaud, both on Virgin Classics; and Haydn’s piano concertos with Marc-André Hamelin as soloist, released by Hyperion. He has received Paris’s Samuel de Champlain award, the Canadian government’s “Officer of the Order of Canada”, and his home province has named him “Chevalier de l’Ordre National du Québec.”

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Guest Artist Biographies MATTHEW ERNST Matthew Ernst currently serves as principal trumpet of the Milwaukee Symphony Orchestra, appointed by Edo de Waart in 2016. He was previously the principal trumpet of the Cincinnati Symphony Orchestra and the Cincinnati Pops. Ernst was also a member of the Louisiana Philharmonic Orchestra and has served as acting principal trumpet for the Santa Fe Opera Orchestra and the Virginia Symphony Orchestra. Ernst has held teaching positions at Northwestern University, the University of Virginia, the University of New Orleans, the Round Top Festival, and the New Orleans Center for the Creative Arts. Ernst pursued his Bachelor of Music degree from the University of Michigan. He also received the school’s prestigious Emerging Artist Award. He earned two Master of Music degrees from Southern Methodist University — the first in trumpet performance and the second in wind conducting. In addition to his degree work, Ernst was also a fellow at Tanglewood Music Center and attended the Pacific Music Festival and Brevard Music Center.

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Program notes by Elaine Schmidt HENRI-JOSEPH RIGEL

Born 9 February 1741; Wertheim, Germany Died 2 May 1799; Paris, France

Symphony in C minor, Opus 12, No. 4

Composed: 1774 First performance: Unknown Last MSO performance: MSO Premiere Instrumentation: 2 oboes; bassoon; 2 horns; timpani; strings Approximate duration: 16 minutes Classical-era French composer Henri-Joseph Rigel is not exactly a household name, even among classical musicians. But he would not have been a household name in his childhood home in Wertheim, Germany, under that moniker either, as his given name was Heinrich Joseph Riegel. His father was a court intendant, a prominent position that allowed him to provide music lessons for not only the young Heinrich, but apparently also for his son Anton, who became a noted composer as well. Heinrich studied with some of the most prominent musicians in the Wertheim area. He eventually moved to Stuttgart to continue his studies. Through contacts in Stuttgart, he landed a job as the music tutor for a young woman of the aristocracy in France. By 1768, at age 27, he was in Paris working as a composer and had changed his name to HenriJoseph Rigel. He married a French woman who served as the engraver of many of his early publications. He published and distributed those compositions himself, which was not terribly unusual, as Paris was the music publishing capital of Europe at the time and was peppered with small and large publishing enterprises. In this early part of his career, he became known particularly for his instrumental music, including sonatas, quartets (written in the uniquely French two-movement style and referred to as “dialogues”). He became one of the principal composers for two prominent Parisian ensembles and wrote 14 symphonies, four of which have been lost. Rigel’s story gets a little convoluted from here thanks to his son, the composer Henri-Jean Rigel. Some of the music of both father and son has been misattributed to wrong Rigel. In addition, the etching that is often identified today as the elder Rigel is actually an image of his son. The elder Rigel spent the last two decades of his life writing operas and teaching. He became one of the most respected musicians in Paris during his lifetime and was particularly noted for a musical open-mindedness, through which he drew elements of French, Italian, and German styles into seamless music. It was written of him at the time that: “He is one of the foreigners living amongst us who best honors music in France.”

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JOHANN NEPOMUK HUMMEL

Born 14 November 1778; Pressburg, Kingdom of Hungary (now Bratislava, Slovakia) Died 17 October 1837; Weimar, Germany

Concerto in E-flat major for Trumpet and Orchestra, WoO 1, S. 49

Composed: December 1803 First performance: 1 January 1804; Vienna, Germany Last MSO performance: MSO Premiere Instrumentation: flute; 2 oboes; 2 clarinets; 2 bassoons; 2 horns; timpani; strings Approximate duration: 21 minutes One of the great composers of the Classical era, Johann Nepomuk Hummel would likely be better known today had he not been a contemporary and colleague of Franz Joseph Haydn and Ludwig van Beethoven in Vienna. Hummel and Beethoven became friends while they were both students in Vienna. Later, as adults, they were regarded as the two finest composers in Vienna, and Hummel was hailed as one of the finest pianists in Europe. He was among the handful of composers selected to walk beside Beethoven’s casket during the composer’s enormous funeral procession through the streets of Vienna in 1827 and improvised at the funeral, as Beethoven had requested. We remember Hummel today for his adult career as a composer, but he was known during his childhood as a prodigy of Mozart’s caliber. Hearing the eight-year-old Hummel play, Mozart offered to take him on as a student and take him into his own home — all with no charge. Hummel stayed with the Mozart family for two years and made his concert debut at age nine, playing on one of Mozart’s concerts. After Hummel finished his studies with Mozart, his father took him on a concert tour of Europe. It was during their stay in London that Haydn heard the young Hummel play and was so impressed that he wrote a sonata for him. Although Hummel wrote in a wide variety of musical genres, he wrote no symphonies, deferring to Beethoven, who he believed he could never surpass in symphonic writing. But Hummel and Beethoven vied for the public’s highest regard as composers of other music and as pianists. Despite the fame Hummel achieved during his lifetime, little of his music is heard on concert stages today, apart from the trumpet concerto on this evening’s program. Hummel wrote the concerto in 1803 for trumpeter Anton Weidinger, who had redesigned the instrument to give it chromatic capabilities, particularly in its lower register, that it had never had before. In a time before brass instruments had valves, Weidinger developed a revolutionary key system for the instrument. His virtuosic 1804 premiere of Hummel’s trumpet concerto absolutely astonished the audience.

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WOLFGANG AMADEUS MOZART Born 27 January 1756; Salzburg, Austria Died 5 December 1791; Vienna, Germany

Symphony No. 40 in G minor, K. 550 [revised version]

Composed: July 1788 First performance: Unknown; possibly 17 April 1791 Last MSO performance: 11 April 2015; Edo de Waart, conductor Instrumentation: flute; 2 oboes; 2 clarinets; 2 bassoons; 2 horns; strings Approximate duration: 35 minutes As a boy, Mozart led a life comparable to one of today’s child stars. He was fawned over by the aristocracy and royalty of several European nations, as his father took both of his prodigy children, Wolfgang Amadeus and Maria Anna (Nannerl), on extended concert tours. The problem with this uncommon childhood was that it set him up for a difficult adulthood. As an adult, Mozart knew he was a much more polished and accomplished musician than he had been as a child, but he struggled to understand why the public had lost interest in him. It was, of course, because as a child he had been an amazing curiosity, while in his adult years in Vienna, working as a performer and composer, the public saw him as just another very fine musician. Mozart’s childhood did not prepare him for the uncertainties of a career in music. History has long told us that Mozart and his wife, Constanza, struggled with finances even when Mozart was having a good year. Recent scholarship describes a fairly substantial income during much of his time in Vienna, just not as much as he felt he deserved, nor enough to live in the style he and Constanza desired. In 1788, Mozart was having what he described as “dark thoughts,” struggling with finances, the recent death of his father, and the loss of his infant daughter (of Mozart and Constanza’s six children, only two survived to adulthood). Dark thoughts notwithstanding, Mozart had a six-week burst of incredible creativity that summer, writing his symphonies 39, 40, and 41 while also working on a host of other pieces. Despite his financial concerns, he wrote the three symphonies without commissions or any promise of performances. His Symphony No. 40, in G minor, is one of just two symphonies he wrote in a minor key. The other, No. 25, is also in G minor. From its familiar opening bars to a final movement that leans toward moments of atonality, the symphony forms the center of a breathtaking triptych. George Bernard rather poetically described the three symphonies, the last Mozart would write, as “the last word of the 18th century.” It is entirely possible that Mozart never heard any of these monumental symphonies performed, although some evidence points to a performance of this symphony taking place in Vienna before Mozart’s death in 1791, at age 35.

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MOZART OBOE & SYMPHONY

Friday, February 2, 2024 at 7:30 pm Saturday, February 3, 2024 at 7:30 pm ALLEN-BRADLEY HALL Ken-David Masur, conductor Katherine Young Steele, oboe WOLFGANG AMADEUS MOZART Symphony No. 35 in D major, K. 385, “Haffner” I. Allegro con spirito II. Menuetto III. Allegro spiritoso IV. Presto WOLFGANG AMADEUS MOZART Concerto in C major for Oboe and Orchestra, K. 314 (271k) I. Allegro aperto II. Adagio non troppo III. Rondo: Allegretto Katherine Young Steele, oboe INTERMISSION

MAX REGER Variations and Fugue on a Theme by Mozart, Opus 132 Theme: Andante grazioso Variation I. L’istesso tempo, quasi un poco più lento Variation II. Poco agitato Variation III. Con moto Variation IV. Vivace Variation V. Quasi presto Variation VI. Sostenuto (quasi adagietto) Variation VII. Andante grazioso Variation VIII. Molto sostenuto Fugue: Allegretto grazioso The 2023.24 Classics Series is presented by the UNITED PERFORMING ARTS FUND and ROCKWELL AUTOMATION. The length of this concert is approximately 1 hour and 50 minutes. MILWAUKEE SYMPHONY ORCHESTRA

Guest Artist Biographies KATHERINE YOUNG STEELE Katherine Young Steele is the principal oboe of the Milwaukee Symphony Orchestra, a position she has held since 2012. With the Milwaukee Symphony, she has performed as soloist on several occasions and has frequently collaborated as a chamber musician. Of her performances of Richard Strauss’s Oboe Concerto with Music Director Edo de Waart, Steele was praised for her “engrossing performance…with a ringing, beautifully centered sound and elegant interpretive direction.” (Milwaukee Journal Sentinel, 2/15). Also notably, Steele had the distinct opportunity of performing the first notes in solo performance at the opening of the MSO’s new home, the Bradley Symphony Center, in January 2021. Steele was principal oboe of The Florida Orchestra from 2007 to 2012, where she appeared frequently as soloist and collaborated on the orchestra’s multi-year cultural exchange with musicians in Havana, Cuba. She has also served as guest principal oboe in the Grant Park Symphony Orchestra, Saint Paul Chamber Orchestra, the San Diego Symphony, and the Sarasota Orchestra. From 2003 to 2007, she was a member of the New World Symphony in Miami Beach, Florida, and toured with the orchestra to the Accademia de Santa Cecilia in Rome and twice to Carnegie Hall. Since 2008, Steele has been co-principal oboe of the Eastern Music Festival. She has also performed in the music festivals of Tanglewood, Spoleto USA, Banff, Music in the Mountains in Durango, Colorado, and with the National Repertory Orchestra. Steele currently serves on the faculty of the University of Wisconsin-Milwaukee and has previously taught at the University of Tampa, St. Petersburg College, and the New World School of the Arts in Miami, Florida. A native of Lancaster, Ohio, Steele holds a Bachelor of Music degree and the prestigious Performer’s Certificate from the Eastman School of Music, and a Master of Music degree from Rice University’s Shepherd School. Her primary teachers include Richard Killmer, Robert Atherholt, and Donna Conaty. She resides in Glendale, Wisconsin, with her husband Jonathan and their two sons, Charlie and Jack.

MILWAUKEE SYMPHONY ORCHESTRA

Program notes by Elaine Schmidt WOLFGANG AMADEUS MOZART Born 27 January 1756; Salzburg, Austria Died 5 December 1791; Vienna, Germany

Symphony No. 35 in D major, K. 385, “Haffner” Composed: 1782 First performance: 23 March 1783; Vienna, Germany Last MSO performance: 5 May 2002; Pinchas Zukerman, conductor Instrumentation: 2 flutes; 2 oboes; 2 clarinets; 2 bassoons; 2 horns; 2 trumpets; timpani; strings Approximate duration: 17 minutes

The relationship between Mozart and his father, Leopold, who was a respected musician himself, has long fascinated the music world. The story of the two pieces in Mozart’s catalog that bear the name Haffner shed some light on their father-son dynamic. In 1776, Salzburg’s most prominent family, the Haffners, requested that Mozart write a piece for their daughter’s wedding. The younger Mozart wrote his “Haffner” serenade for the wedding, which is regarded today as one of the finest orchestral serenades ever written. In 1782, by which time Mozart was living in Vienna, the Haffners reached out to Mozart’s father, who was still living in Salzburg, requesting a piece for the occasion of the son’s receiving his title of nobility. This time, Mozart balked at the request. The younger Mozart, whose opera The Abduction from the Seraglio had just met with success in Vienna, was not thrilled by the request. He was scrambling to prepare arrangements of the opera before someone else published them, as there were no uniform copyright laws in Europe at the time. He wrote to his father, “I am up to my eyes in work. By Sunday week I must arrange my opera for wind instruments, otherwise someone will beat me to it and secure the profits instead of me. And now you ask me to write a symphony too! How am I to do it?” Mozart added that he would have to work through the nights on the new piece (a sevenmovement serenade), which he would do for his father. He then used that sacrifice as a bargaining chip to get his father to agree to his marriage to Constanza Weber. Mozart included the melody of the aria “Ha, wie will ich triumphieren!” (Oh, how I shall triumph!) from his aforementioned opera, The Abduction from the Seraglio, in the serenade. Mozart’s bargaining chip paid off — Leopold gave the marriage his blessing. Mozart created his Symphony No. 35, or “Haffner” symphony, largely from material he wrote for the Haffners’ second request for a piece of music. Having long complained about the paucity of clarinets in Salzburg, he did not include any clarinets in the original work, which was to be performed in Salzburg. He added them when revising the “Haffner” symphony for a performance in Vienna, where there were plenty of fine clarinetists.

MILWAUKEE SYMPHONY ORCHESTRA

WOLFGANG AMADEUS MOZART Born 27 January 1756; Salzburg, Austria Died 5 December 1791; Vienna, Germany

Concerto in C major for Oboe and Orchestra, K. 314 (285d) Composed: 1777 First performance: Unknown Last MSO performance: MSO Premiere Instrumentation: 2 oboes; 2 horns; strings Approximate duration: 21 minutes

For a musicologist, finding a piece of music that was written by a famous composer, but was thought to have been lost over time, is akin to winning Olympic gold. Viennese musicologist Bernhard Paumgartner’s “Olympic gold” occurred while he was doing research in the Mozarteum Library in Salzburg, Austria, in 1920. He came across some orchestral parts for an oboe concerto in C major by Mozart — a concerto that bore a striking resemblance to Mozart’s well-known flute concerto in D major. Thinking the oboe concerto was a transcription of the flute concerto, he began digging for information about it. He discovered that the oboe concerto was not the transcription, but the original concerto. The flute concerto was the transcription. The piece provides us a delightful look at Mozart at work, and a cautionary tale about how easy it for great works of music to disappear. The 21-year-old Mozart wrote his Concerto in C major for Oboe and Orchestra in 1777, in Salzburg, Austria. He wrote it for virtuoso oboist Giuseppe Ferlendis, the newly appointed principal oboist of the Salzburg court. Fast-forward a bit to Mozart’s 1777-78 stay in Paris, where he was concertizing, composing, and hoping to find permanent work that would keep him out of what he considered the provincial backwater of Salzburg. Scrambling to pay his bills, Mozart decided to complete the last few pieces left of a commission from Dutch flutist Ferdinand de Jean for four flute quartets and three concertos. Given Mozart’s dim view of Salzburg and his rather dim view of the flute itself, it’s easy to imagine how it occurred to him to simply recycle the oboe concerto for the flute commission, and make some quick cash. Unfortunately, de Jean recognized the flute concerto as the as the transcription it was and refused to pay for it. Mozart never completed the last pieces for the commission, but he did gift a copy of his oboe concerto to Friedrich Ramm, one the finest oboists in Europe at the time, who loved it. He played it in numerous concerts, inspiring Mozart to call it “Ramm’s warhorse.” Ramm had good reason for being taken with oboe concerto. It is built of elegant, expressive melodies and thrilling virtuosic passages, and it is somehow infused with a sense of joy.

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MAX REGER

Born 19 March 1873; Brand, Bavaria Died 11 May 1916; Leipzig, Germany

Variations and Fugue on a Theme by Mozart, Opus 132

Composed: 1914 First performance: 5 February 1915; Berlin, Germany Last MSO performance: MSO Premiere Instrumentation: 3 flutes; 2 oboes; 2 clarinets; 2 bassoons; 4 horns; 2 trumpets; timpani; harp; strings Approximate duration: 35 minutes German composer and conductor Max Reger was known in his time as a virtuoso organist and pianist, as well as a respected teacher (he counted Hungarian-born conductor and composer George Szell among his students). His name is still prominent among organists, who continue to play many of his organ works today, but the concert-going public and even many orchestral musicians know little about him or his works. Growing up in Weiden, Germany, Reger showed an aptitude for music at a young age, which his father, an amateur musician, happily fed and watered. He taught his son what he could and then found the best possible teachers for the boy. As a young man, Reger served in the military, which took an enormous toll on his physical and mental health. He moved back into his parents’ home in 1898, at age 25, to convalesce. As his strength returned, so did his passion for music. Reger became a prolific composer, a sought-after performer, and a man of strong opinions and a mercurial temperment like Beethoven’s. The fact that Reger wrote no symphonies is probably part of why he is not better known today. He began working on his first symphony in his early forties, leaving it unfinished when he died at age 43. Reger was an outspoken opponent of program music — music intended to convey descriptions or narratives without the use of words. Such pieces as Richard Strauss’s Death and Transfiguration and Don Juan, as well as Franz Liszt’s cycle of 13 symphonic poems, were still considered progressive, modern music until about the beginning of World War I. Although Reger favored the non-descriptive, non-narrative, “absolute” music of Mozart or Brahms to program music, he made great use of the harmonic colors and effects that were so much a part of the sounds of the modern era. Reger’s Variations and Fugue on a Theme by Mozart goes to the heart of Reger’s aesthetic, mixing expressive, colorful harmonies with a theme and form of the past. After completing the orchestral version of this piece, Reger created an arrangement for two pianos, changing the beautiful eighth variation significantly. Several performances of the two-piano version can be heard on YouTube.

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MSO Endowment/Musical Legacy Society MSO ENDOWMENT Visionaries Commitments of $1,000,000 and above Jane Bradley Pettit Charles and Marie Caestecker Concertmaster Chair Herzfeld Foundation Dr. Keith Austin Larson Principal Organ Chair Krause Family Principal Horn Chair Phyllis and Harleth Pubanz Gertrude M. Puelicher Education Fund John and Judith Simonitsch Tuba Chair Stein Family Foundation Principal Pops Conductor Chair Polly and Bill Van Dyke Music Director Chair Philanthropists Commitments of $500,000 and above Donald B. Abert Principal Bass Chair Mr. Richard Blomquist Patrice L. (Patti) Bringe Margaret and Roy Butter Principal Flute Chair Donald and Judy Christl Fred Fuller Trumpet Chair Andrea and Woodrow Leung Principal Second Violin Chair and Fred Fuller Dorothea C. Mayer Principal Cello Chair Milwaukee Symphony Orchestra League Principal Oboe Chair Northwestern Mutual Foundation Melitta S. Pick Endowed Piano Chair Walter L. Robb Family Principal Trumpet Chair Robert T. Rolfs Foundation Michael and Jeanne Schmitz President and Executive Director Chair Gertrude Elser and John Edward Schroeder Guest Artist Fund Walter Schroeder Foundation Principal Harp Chair Muriel C. and John D. Silbar Family Principal Bassoon Chair Marjorie Tiefenthaler Principal Trombone Chair Richard O. and Judith A. Wagner Family Principal Viola Chair Benefactors Commitments of $100,000 and above Four Anonymous Donors Patty and Jay Baker Fund for Guest Artists Mr. and Mrs. Frederick J.O. Blachly Philip Blank English Horn Chair in memoriam to John Martin and his favorite cousin, Beatrice Blank Judith and Stanton Bluestone Estate of Lloyd Broehm Louise Cattoi, in memory of David and Angela Cattoi Lynn Chappy Salon Series Terry J. Dorr and Michael Holloway Elizabeth Elser Doolittle Charitable Trust

Franklyn Esenberg Principal ] Clarinet Chair David L. Harrison Endowment for Music Education Estate of Sally Hennen Karen Hung and Robert Coletti Richard M. Kimball Bass Trombone Chair William Randolph Hearst Foundation Judith A. Keyes MSOL Docent Fund Charles A. Krause Donald and JoAnne Krause Music Education Endowment Fund Martin J. Krebs Co-Principal Trumpet Chair Charles and Barbara Lund Marcus Corporation Foundation Guest Artist Fund Andy Nunemaker French Horn Chair John and Elizabeth Ogden Gordana and Milan Racic The Erika Richman MSO-MYSO Reading Workshop Fund Pat and Allen Rieselbach Friends of Janet F. Ruggeri Assistant Principal Viola Chair Allison M. & Dale R. Smith Percussion Fund Estate of Walter S. Smolenski, Jr. Bert L. & Patricia S. Steigleder Charitable Trust Donald B. and Ruth P. Taylor Assistant Principal Clarinet Chair Mrs. William D. Vogel Barbara and Ted Wiley Jack Winter Guest Artist Fund Fern L. Young Endowment Fund for Guest Artists MUSICAL LEGACY SOCIETY The Musical Legacy Society recognizes and appreciates the individuals who have made a planned gift to the MSO. The MSO invites you to join these generous donors who have remembered the Orchestra in their estate plans. Nine Anonymous Donors George R. Affeldt Mr. and Mrs. Charles W. Aring, Jr. Dana and Gail Atkins Robert Balderson Adam Bauman Priscilla and Anthony Beadell Mr. F. L. Bidinger Dr. Philip and Beatrice Blank Mr. Richard Blomquist Judith and Stanton Bluestone Patrice L. (Patti) Bringe Jean S. Britt Laurette Broehm Neil Brooks Anthony and Vicki Cecalupo Lynn Chappy Ellen and Joe Checota Donald and Judy Christl Mary E. and James M. Connelly Jo Ann Corrao

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Lois Ellen Debbink Mary Ann Delzer Julie Doneis Terry Dorr and Michael Holloway Donn Dresselhuys Beth and Ted Durant Rosemarie Eierman Franklyn Esenberg John and Sue Esser JoAnn Falletta Donald L. Feinsilver, M.D. Frank and Pauline Fichtner Susie and Robert Fono Ruth and John Fredericks Mr. and Mrs. E. G. Goldsmith Brett Goodman Roberta Gordon Marta P. and Doyne M. Haas Ms. Jean I. Hamann Ms. Sybille Hamilton Kristin A. Hansen David L. Harrison Judy Harrison Cheryl H. and Roy L. Hauswirth Harold W. Heard Cliff Heise Sidney and Suzanne Herszenson Dr. and Mrs. Samuel Hoke Glenda Holm Jean and Charles Holmburg Karen Hung and Robert Coletti Myra Huth William and Janet Isbister Lee and Barbara Jacobi Leon and Betsy Janssen Marilyn W. John Faith L. Johnson Mary G. Johnson Bill and Char Johnson Jayne J. Jordan Judy and Gary Jorgensen Debra Jupka James A. and Robin S. Kasch Howard Kaspin James H. Keyes Judith A. Keyes Richard and Sarah Kimball Ronald J. and Catherine Klokner Mary Krall JoAnne and Donald Krause Martin J. and Alice Krebs Ronald and Vicki Krizek Cynthia Krueger-Prost Susan Kurtz Steven E. Landfried Mr. Bruce R. Laning Victor Larson Arthur and Nancy Laskin Tom and Lise Lawson Andrea and Woodrow Leung Mr. Robert D. Lidicker Mr. and Mrs. John B. Liebenstein Drs. John and Theresa Liu Dr. John and Kristie Malone Dana and Jeff Marks Steven and Mary Rose Marinkovich Ms. Kathleen Marquardt

Annual Fund JoAnne Matchette Rita T. and James C. McDonald Patricia and James McGavock Nancy McGiveran Nancy McKinley-Ehlinger Mrs. Christel U. Mildenberg Christian and Kate Mitchell Joan Moeller Ms. Melodi Muehlbauer Robert Mulcahy Kathleen M. Murphy Andy Nunemaker Diana and Gerald Ogren Lynn and Lawrence Olsen Mr. and Mrs. Philip W. Orth Lygere Panagopoulos Jamshed and Deborah Patel Gerald T. and Carol K. Petersen Mr. and Mrs. Ronald R. Poe Julie Quinlan Brame and Jason Brame Ms. Harvian Raasch-Hooten Gordana and Milan Racic Christine Radiske and Herbert Quigley Steve and Susan Ragatz Catherine A. Regner Ms. Monica D. Reida Pat and David Rierson Pat and Allen Rieselbach Dr. Thomas and Mary Roberts Gayle G. Rosemann and Paul E. McElwee Roger B. Ruggeri and Andrea K. Wagoner Nina Sarenac Mary B. Schley in recognition of David L. Schley Dr. Robert and Patty Schmidt Michael J. and Jeanne E. Schmitz James and Kathleen Scholler Charitable Fund James Schultz and Donna Menzer Mason Sherwood and Mark Franke John and Judith Simonitsch Margles Singleton Lois Bernard and William Small Dale and Allison Smith Susan G. Stein John Stewig and Richard Bradley Dr. Robert A. and Kathleen Sullo Terry Burko and David Taggart Lois Tetzlaff E. Charlotte Theis David Tolan Thora Vervoren Dr. Richard O. and Judith A. Wagner Veronica Wallace-Kraemer Michael Walton Brian A. Warnecke Earl Wasserman Alice Weiss Sally Wells Carol and James Wiensch Rolland and Sharon Wilson Floyd Woldt Sandra and Ross Workman Marion Youngquist

For more information on becoming a Musical Legacy Society member, please contact the Development Office at 414.226.7891. ANNUAL FUND The Milwaukee Symphony Orchestra truly values the music lovers in the concert hall and we thank our contributors to the Annual Fund for investing their time and support to this treasure. We gratefully acknowledge the contributions to the Annual Fund as of September 28, 2023 CONDUCTOR CIRCLE $100,000 and above Ellen and Joe Checota Mr. and Mrs. George C. Kaiser Donald and JoAnne Krause Marty Krebs Sheldon and Marianne Lubar Charitable Fund of the Lubar Family Foundation Michael Schmitz Julia and David Uihlein $50,000 and above Laura and Mike Arnow Anthony and Vicki Cecalupo Drs. Alan and Carol Pohl Mr. and Mrs. Donald S. Wilson Evonne Winston $25,000 and above One Anonymous Donor Bobbi and Jim Caraway Mr. and Mrs. Franklyn Esenberg Mrs. Susan G. Gebhardt Doug and Jane Hagerman Judy and Gary Jorgensen Judith A. Keyes Robert and Gail Korb Dr. Brent and Susan Martin Drs. George and Christine Sosnovsky Charitable Trust Drs. Robert Taylor and Janice McFarland Taylor Thora Vervoren $15,000 and above Two Anonymous Donors Dr. Rita Bakalars Marilyn and John Breidster Mary and Terry Briscoe Elaine Burke Mary and James Connelly Dr. Deborah and Jeff Costakos Mrs. Alyce Coyne Katayama Barbara and Harry L. Drake George E. Forish, Jr. Roberta Gordon Jewish Community Foundation Eileen and Howard Dubner Donor Advised Fund Charles and Barbara Lund Maureen McCabe William and Marian Nasgovitz

Lois and Richard Pauls Pat Rieselbach Allison M. and Dale R. Smith John Stewig and Richard Bradley Susi and Dick Stoll Mr. and Mrs. Thomas R. Tiffany Haruki Toyama $10,000 and above Two Anonymous Donors Keith and Kate Brewer Jennifer Dirks Bruce T. Faure M.D. Mary Lou M. Findley Greater Milwaukee Foundation Bernard J. and Marie E. Weiss Fund Judith J. Goetz Kim and Nancy Graff Stephanie and Steve Hancock Katherine Hauser Drs. Carla and Robert Hay Mr. and Mrs. Eric E. Hobbs Dr. and Mrs. Samuel Hoke Barbara Karol Christine Krueger Geraldine Lash Mr. Peter L. Mahler Keith Mardak and Mary Vandenberg Mark and Donna Metzendorf Dr. Mary Ellen Mitchanis Christian and Kate Mitchell Bob and Barbara Monnat Patrick and Mary Murphy Andy Nunemaker Brian and Maura Packham Julie Peay Leslie and Aaron Plamann Christine Radiske and Herbert Quigley Lynn and Craig Schmutzer Brian M. Schwellinger Sara and Jay Schwister Nancy and Greg Smith Tracy S. Wang, MD Mr. and Mrs. Francis Wasielewski Diana J. Wood Herbert Zien and Elizabeth Levins PRINCIPAL CIRCLE $5,000 and above Eight Anonymous Donors Anthony and Kathie Asmuth Fred and Kay Austermann Thomas Bagwell and Michelle Hiebert Robert Balderson Clair and Mary Baum Donna and Donald Baumgartner Natalie Beckwith Lois Bernard William and Barbara Boles Suzy and John Brennan Roger Byhardt Chris and Katie Callen Ara and Valerie Cherchian Donald and Judy Christl Sandra and Russell Dagon Karen Dobbs and Chris DeNardis Mrs. William T. Dicus

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Annual Fund Joanne Doehler Jacquelyn and Dalibor Drummer Beth and Ted Durant Dr. Eric Durant and Scott Swickard Dr. and Mrs. Harry A. Easom Dr. Donald Feinsilver and JoAnn Corrao Stan and Janet Fox Elizabeth and William Genne Richard and Ellen Glaisner Alison Graf and Richard Schreiner Margarete and David Harvey James and Crystal Hegge Ms. Mary E. Henke Mark and Judy Hibbard Lee and Barbara Jacobi Leon and Betsy Janssen Jayne J. Jordan Anthony and Susan Krausen Alysandra and Dave Lal Peter and Kathleen Lillegren Wayne and Kristine Lueders Gerald and Elaine Mainman Dr. Ann H. and Mr. Michael J. McDonald Genie and David Meissner Mr. and Mrs. George Meyer Judith Fitzgerald Miller Rusti and Steve Moffic William J. Murgas Mr. and Ms. Bruce Myers Mark Niehaus Barbara and Layton Olsen Elaine Pagedas Ellen Rohwer Pappas and Timothy Pappas Sharon R. Petrie Dr. and Mrs. Richard A. Pierce-Ruhland Jim and Fran Proulx Jerome Randall and Mary Hauser Dr. Donna Recht and Dr. Robert Newby Dr. Marcia J.S. Richards Pat and David Rierson Roger Ritzow Dr. Thomas and Mary Roberts Gayle G. Rosemann and Paul E. McElwee Richard Eli Schoen Mr. Thomas P. Schweda Carlton Stansbury Loretto and Dick Steinmetz Bob and Betty Streng Jim Strey Kathleen and Frank Thometz John and Karen Tomashek Mrs. James Urdan Gary and Cynthia Vasques Jim Ward Nora and Jude Werra Janet Wilgus Jessica R. Wirth $3,500 and above Two Anonymous Donors Dr. Philip and the spirit of Beatrice Blank Professor David and Diane Buck Mr. David E. Cadle Ms. Nancy A. Desjardins Stephen and Bernadine Graff

Judith and David Hecker Drs. Margie Boyles and Stephen Hinkle Barbara Hunt David and Mel Johnson Olof Jonsdottir and Thorsteinn Skulason Dr. and Mrs. Kim Benedict and Lee Kordus Stanley Kritzik Norm and Judy Lasca Dr. Joseph and Amy Leung Christopher Mullins and Kay Bokowy Mr. and Mrs. Joel Needlman Elaine Schueler James Schultz and Donna Menzer Roger and Judy Smith Sue and Boo Smith James and Catherine Startt Ian and Ellen Szczygielski Gile and Linda Tojek Corinthia Van Orsdol and Donald Petersen Wilfred Wollner Carol and Richard Wythes Sandra Zingler Leo Zoeller ORCHESTRA CIRCLE $2,500 and above Two Anonymous Donors Marlene and Bert Bilsky Scott Bolens and Elizabeth Forman Virginia Bolger Jean Britt Mr. and Mrs. Stephen L. Chernof Mr. and Mrs. Thomas F. Christie Amy and Frederick Croen Jack Douthitt and Michelle Zimmer Jo Ann and Dale Frederickson Kurt and Rosemary Glaisner Natalia and Patrick Goris Jean and Thomas Harbeck Family Foundation Robert Hey Mr. and Mrs. Bernard C. Hlavac Charles and Jean Holmburg Howard and Susan Hopwood Deane and Vicky Jaeger Jewish Community Foundation Dorothy and Merton Rotter Donor Advised Fund Matthew and Kathryn Kamm Megumi Kanda Hemann and Dietrich Hemann Lynn and Tom Kassouf Mr. and Mrs. F. Michael Kluiber Kolaga Family Charitable Trust Jane and Tom Lacy Frank Loo and Sally Long Dr. and Mrs. Debesh Mazumdar Mark and Carol Mitchell Jamshed and Deborah Patel Raymond and Janice Perry David J. Peterson Kathryn Koenen Potos Susan Riedel Ann Rosenthal and Benson Massey

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Dottie Rotter Judy and Tom Schmid Rev. Doug and Marilyn Schoen Ms. Betty Jean Schuett Paul and Frances Seifert Greg and Marybeth Shuppe Mrs. George R. Slater Dr. and Mrs. C. John Snyder John and Anne Thomas Nancy Vrabec and Alastair Boake Larry and Adrienne Waters Ann and Joseph Wenzler Floyd Woldt Jim and Sandy Wrangell $1,500 and above Five Anonymous Donors Donald and Jantina Adriano Ruth Agrusa Dr. Joan Arvedson Richard and Sara Aster Paul Barkhaus Margaret and Bruce Barr Jacqlynn Behnke Richard Bergman Elliot and Karen Berman Roger Bialcik Dr. and Mrs. Squat Botley Cheri and Tom Briscoe Marcia P. Brooks and Edward J. Hammond James Brown and Ann Brophy Dr. and Mrs. James D. Buck Karen and Harry Carlson Teri Carpenter Tim and Kathleen Carr Edith Christian Mr. and Mrs. Thomas F. Christie Lynda and Tom Curl Larry and Eileen Dean Paul Dekker Mr. and Mrs. Thomas Dougherty Sigrid Dynek and Barry Axelrood Donald Elliott Signe and Gerald Emmerich, Jr. Shirley Erwin Joseph and Joan Fall Robert and Kristin Fewel Mr. and Mrs. A. William Finke Robert Gardenier and Lori Morse Gardenier Kimberly Gerber Jane K. Gertler Martha Giacobassi Pearl Mary Goetsch Colette Goldammer Ralph and Cherie Gorenstein James and Sarah Gramentine Mr. and Mrs. James Grigg Greater Milwaukee Foundation Leesley B. and Joan J. Hardy Randall J. and Judith F. Hake Family Foundation Ginny Hall Amber and Scott Halvorson Leila and Joe Hanson Jean and John Henderson

Annual Fund/Gala Sponsors/Gala Paddle Raisers Barbara Hunteman Robert S. Jakubiak Maja Jurisic and Don Fraker Dr. Bruce and Anna Kaufman Dr. Jack and Myrna Kaufman Brian and Mary Lou Kennedy Julilly Kohler Milton and Carol Kuyers Maritza and Mario Laguna Larry and Mary LeBlanc Mr. and Mrs. Mark Levy Bruce and Elizabeth Loder Kathleen Lovelace Stephen and Jane Lukowicz Dr. John and Kristie Malone Guy and Mary Jo McDonald Mr. and Mrs. Dean Mehlberg Gregory and Susan Milleville Jean A. Novy Laurie Ocepek Lynn and Lawrence Olsen Susan M. Otto Dr. and Mrs. James T. Paloucek Gerald T. and Carol K. Petersen Cathy P. Procton Francis J. Randall Philip Reifenberg Lysbeth and James Reiskytl Drs. Walter and Lisa Rich Dr. and Mrs. David Y. Rosenzweig Roger Ruggeri and Andrea Wagoner Mr. Thomas Schneider Lawrence and Katherine Schnuck Kristin Shebesta Dr. and Mrs. Kevin R. Siebenlist Margles Singleton Richard and Sheryl Smith Leonard Sobczak Joan Spector Mr. James Stanke David Taggart and Terry Burko Libby Temkin Joan Thompson Mr. Stephen Thompson Sara Toenes Drs. Steven and Denise Trinkl Mike and Peg Uihlein Mr. and Mrs. Lynn F. Unkefer James Van Ess Michael Walton Robert and Lana Wiese Rolland and Sharon Wilson Prati and Norm Wojtal Lee and Carol Wolcott Mr. William Zeidler and Mrs. Denise Zeidler $1,000 and above Four Anonymous Donors Drs. Helmut and Sandra Ammon Sue and Louie Andrew Betty Arndt James and Nora Barry Mr. James M. Baumgartner Jack Beatty Mr. and Mrs. Ronald Beckman Dianne and David Benner

Mrs. Kristine Best Mr. Lawrence Bialcik Karen and Geoffrey Bilda Lynn and John Binder Robert Borch and Linda Wickstrom Lois and Robert Brazner Barbara and Dr. Henry Burko Tom Buthod Ms. Trish Calvy David and Oksana Carlson Ms. Margaret R. Cary Ms. Carol A. Carpenter Mr. and Mrs. Richard J. Cecil John Chain B. Lauren and Margaret Charous Margaret Cieslak-Etlicher Ellen Debbink Mrs. Linda DeBruin Ms. Kristine Demski Thomas C. Dill Madison Dohmen Gloria and Peter Drenzek Mary Ann Dude Tom Durkin and Joan Robotham Tina Eickermann Jill and George Fahr Anne and Dean Fitzgerald Barbara and Richard Frank Gerald Gensch and Ellen Conley Greater Milwaukee Foundation Dresselhuys Family Fund Jay Kay Foundation Fund Douglas and Margaret Ann Haag Karleen Haberichter Dale and Sara Harmelink Charles W. Helscher Jenny and Bob Hillis Jeanne and Conrad Holling Laura and James Holtz Mr. and Mrs. James H. Hunter III Kathryn and Alan Janicek Amy S. Jensen Faith L. Johnson Rose and Dale Kaser Robert and Dorothy King Joseph W. Kmoch Michael Koss/Koss Foundation Dr. and Mrs. John Krezoski Katherine and Ian Lambert David and Deborah Lenz Matt and Patty Linn Ann Loder Richard and Roberta London Ann MacIver Stephen and Judy Maersch Mr. Peter Mamerow Dr. Daniel and Constance McCarty Jennifer McClure Joni and Joe McDevitt Christine Mortensen William and Laverne Mueller Richard and Isabel Muirhead David and Gail Nelson Dr. and Mrs. Joseph Novak William and Cynthia Prost Mr. and Thomas Quadracci Seth Rawson

Dan and Anna Robbins Kevin Ronnie and Karen Campbell Allen and Millie Salomon Keri Sarajian and Rick Stratton Wilbert and Genevieve Schauer Foundation Elaine and Martin Schreiber Stephen and Lois Schreiter Phil Schumacher and Pauline Beck Bob and Sally Schwarz Fred and Ruth Schwertfeger Scott Silet Mr. Reeves E. Smith Ken and Dee Stein Bonnie L. Steindorf Sally Swetnam Rebecca and Robert Tenges Tim and Bonnie Tesch Jacquelyn and Way Thompson Mr. and Mrs. James S. Tidey Constance U’Ren Ruth A. Way Henry J. Wellner and James Cook Jerome and Bonnie Welz Robert and Barbara Whealon Sammis and Jean White Linda and Dan Wilhelms Ron and Alice Winkler Frank and Inge Wintersberger Melinda and Thomas Wolf Daryl and Bonnie Wunrow GALA SPONSORS Laura and Mike Arnow Baird Funds BMO Bank Brewers Community Foundation, Inc. Tony and Vicki Cecalupo Ernst & Young, LLP Godfrey & Kahn, S.C. Kahler Slater Architects, Inc Alyce Katayama Marietta Investment Partners Susan and Brent Martin Bob and Barb Monnat Northern Trust Northwestern Mutual Old National Bank Brian and Maura Packham Rite-Hite Holding Corporation Foundation Rockwell Automation U.S. Bank We Energies Foundation Westbury Bank Herb Zien and Liz Levins GALA PADDLE RAISERS Mary Allmon and Michael Allen Alice Ambrowiak Helmut and Sandra Ammon Adam and Rachel Arndt Laura and Mike Arnow Ahmed and Laila Azam Kerry Bartelt Erica and Eric Berg Jeremy Billow

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Gala Paddle Raisers/Corporate & Foundation Virginia Bolger Trisha Bournelis Lory Bowman Meg Boyd Brewers Community Foundation, Inc. Bob Bronzo Norman Buebendorf Carrie and Mike Burton Mike Burton Daniel and Allison Byrne Nancy Caliendo Anthony and Vicki Cecalupo Brian and Dawn Cooke Michael Cyrus Brett Dawsey George and Sandra Dionisopoulos Jennifer Dirks Jonathan Dowling Elizabeth and Robert Draper Dale and Syndee Edman Marquita Edwards April Falk George Forish Tom Funk Marion and Mitch Gottschalk John and Peggy Griffith Rex Gromer Matt and Victoria Haas Terry Hamann and Alan Perlstein Kim Hardy Korina Harman Kathryn Hausman and Matthew Millson Katherine and Christopher Hermann LaShonda Hill Judy Hsiung Myra Huth Dustin Hutter Alyce Katayama Tamara Knudsen William Kravit and Mari Katz Konrad Kuchenbach Jason Kuwayama Emily Laga Tom Lindow Christopher and Krista Ludwig Elaine and Gerald Mainman Bill Mastoris Melinda and Ken-David Masur Susan McVey Sallie and George Meyer Monica Meyer and Brandon Beale Christian and Kate Mitchell Robert and Barbara Monnat Arsen and Allison Mugurdumov Patrick and Mary Murphy Mark Niehaus Rebecca and David Nowacek Maggey and David Oplinger Susan Otto Brian and Maura Packham Gian Perrone Tirzah Peterson Terrell and Amber Pierce Leslie and Aaron Plamann Kathryn Podmokly David Polzin

Deanna Singh and Justin Ponder Kathryn Reinardy Thomas and Lynn Richtman Patricia Rieselbach Chris Riggs Rite-Hite Holding Corporation Michael Rossetto Linda and Mark Schaefer Michael Schmitz Craig and Lynn Schmutzer Janel and Randal Schneider Lawrence and Katherine Schnuck Christopher Schreiber Gretchen Seamons Leonard Silva Dorothy Smaglick Dale and Allison Smith David Smullen and Merri Moore Patrick Sorek Pamela Stampen Linda and Gile Tojek Haruki Toyama Marq and Rachel Truscott Daniel and Katie Urbanek Rebecca Valcq Andrew and Lisa Vedder Lauren Vollrath Thomas Warden Piotr Wasiak and Elizabeth Odian Jay and Madonna Williams Dawn and Joseph Wilson Blaine Wisniewski Suzanne Zwaska CORPORATE & FOUNDATION The Milwaukee Symphony Orchestra truly values the generosity of musicloving patrons in the concert hall and throughout the community. We especially thank our Corporate and Foundation contributors for investing their time and support to this treasure. We gratefully acknowledge contributions from: $1,000,000 and above United Performing Arts Fund $250,000 and above Argosy Foundation The Lynde and Harry Bradley Foundation Laskin Family Foundation $100,000 and above Herzfeld Foundation Rockwell Automation We Energies Foundation $50,000 and above Bader Philanthropies, Inc. Chase Family Foundation Greater Milwaukee Foundation Milwaukee Symphony Orchestra Fund Melitta S. and Joan M. Pick Charitable Trust

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$25,000 and above Anonymous Greater Milwaukee Foundation Gertrude Elser and John Edward Schroeder Fund Helen and Jeanette Oberndorfer Fund Norman and Lucy Cohn Family Fund Johnson Controls Krause Family Foundation Milwaukee County Arts Fund (CAMPAC) Old National Bank R.D. and Linda Peters Foundation Schoenleber Foundation, Inc. Wisconsin Department of Tourism $15,000 and above A.O. Smith Foundation, Inc. Bert L. & Patricia S. Steigleder Charitable Trust Frank L. Weyenberg Charitable Trust Komatsu Mining Corp Foundation National Endowment for the Arts U.S. Bank Wisconsin Arts Board $10,000 and above Brewers Community Foundation, Inc. Charles D. Ortgiesen Foundation The Cudahy Foundation Ellsworth Corporation General Mills Foundation Greater Milwaukee Foundation David C. Scott Foundation William A. and Mary M Bonfield, Jr. Fund Jane Bradley Pettit Foundation Northwestern Mutual Ralph Evinrude Foundation William and Janice Godfrey Family Foundation Wispact Foundation $5,000 and above ANON Charitable Trust Brico Fund Frieda and William Hunt Memorial Gene and Ruth Posner Foundation, Inc. Greater Milwaukee Foundation Roxy and Bud Heyse Fund/Journal Fund Julian Family Foundation Milwaukee Arts Board Rite-Hite Holding Corporation Schwartz Foundation Westbury Bank $2,500 and above Camille A. Lonstorf Trust Dean Family Foundation Greater Milwaukee Foundation ELM II Fund Henry C., Eva M., Robert H. and Jack J. Gillo Charitable Fund Margaret Heminway Wells Fund Hamparian Family Foundation Hydrite Chemical Co. Richard G. Jacobus Family Foundation

Matching Gifts/Golden Note Partners/Marquee Circle/Tributes Theodore W. Batterman Family Foundation $1,000 and above Albert J. & Flora H. Ellinger Foundation Anthony Petullo Foundation, Inc. Clare M. Peters Charitable Trust Delta Dental Einhorn Family Foundation Greater Milwaukee Foundation Cottrell Balding Fund Del Chambers Fund Eleanor N. Wilson Fund George and Christine Sosnovsky Fund Irene Edelstein Memorial Fund Mildred L. Roehr & Herbert W. Roehr Fund Joan and Fred Brengel Family Foundation, Inc. Townsend Foundation Usinger Foundation $500 and above Anonymous Bell Foundation Greater Milwaukee Foundation Carrie Taylor & Nettie Taylor Robinson Memorial Fund Nancy E. Hack Fund Robert C. Archer Designated Fund Loyal D. Grinker MLG Capital Steinway Piano Gallery of Milwaukee MATCHING GIFTS The Milwaukee Symphony Orchestra gratefully acknowledges the following corporations and foundations who match their employees’ contributions to the Annual Fund. Abbott Laboratories Aurora Health Care Benevity Community Impact Fund BMO Harris Bank Bucyrus Foundation, Inc. Carrier Matching Gift Program Caterpillar Foundation CNH Industrial America LLC Dominion Foundation Eaton Corporation GE Foundation Give Lively Google Humana Johnson Controls Foundation Kohl’s Corp. Morgan Stanley Northwestern Mutual Reader’s Digest Foundation Ross Gives Back Stifel Thrivent Financial The Travelers Insurance Co. U.S. Bank United Way of Greater Milwaukee and Waukesha County

Wisconsin Energy Corporation

Laurie Schweizer

GOLDEN NOTE PARTNERS The MSO gratefully acknowledges the following organizations and individuals for their gifts of product or services:

In honor of Joe and Ellen Checota, and, Andy Nunemaker and Lee Weeks James Stadler

Becker Design Belle Fiori – Official Event Florist of the MSO Patrice Bringe The Capital Grille Central Standard Craft Distillery Downer Avenue Wine & Spirits Drury Hotels Encore Playbills GO Riteway Transportation Group Godfrey & Kahn, S.C. Hilton Milwaukee City Center and Milwaukee ChopHouse Kohler Co. Marcus Hotels & Resorts Marcus Corporation Ogletree Deakins Saint Kate – The Arts Hotel – Official Hotel of the MSO Darwin Sanders Sojourner Family Peace Center Steinway Piano Gallery of Milwaukee Studio Gear – Official Event Partner of the MSO Thomas and Mary Wacker

In memory of Steven Paul Glick Jeff Glick

MARQUEE CIRCLE

In memory of Helen Oberkirsch Francine Cervasio

The Milwaukee Symphony Orchestra proudly partners with the following members of the 2023.24 Marquee Circle. We thank these generous partners of our annual corporate subscription program for their charitable contributions and for connecting their corporate communities with the MSO. Ellsworth Corporation Hupy and Abraham, S.C. Port Washington State Bank Walker Forge, Inc.

In memory of Thomas Hausman Jane Hausman and William G. Finley In memory of Nancy and Arthur Laskin Joan J. Hardy In memory of Dr. Keith Austin Larson Austin Larson Rev. Curtis A. Larson Suzanne Zinsel In memory of William MacPherson Kathleen Wing In honor of the Milwaukee Symphony Chorus Sopranos Ms. Jill Kortebein In honor of Robert Meldman Drs. Alan and Carol Pohl

In memory of Mary G. Peterson David J. Peterson Gretchen Saunders In memory of David Reber James and Charmaine LaBelle Gretchen Saunders Marie and Gary Zellmer In memory of I. Carl Romer Beulah Romer Erickson In memory of Elaine Sauer Teresa and Robert Klug

TRIBUTES

In memory of John Sawchuk Daniel Sawchuk

In honor of Laura and Michael Arnow’s (33 1/3) wedding anniversary Fredrick and Kay Austermann Kathleen D. Ryan

In memory of Debra Schaefer Karen Copper In honor of Patrick Schley Jeffrey Pereles Imogene Schley

In memory of J. Mark Baker Laura Petrie Anderson Juliana Fortune Mr. Jim Gettel Kathleen and Charles Marn Milwaukee Chamber Choir In memory of Dennis and Barbara Benjamin Marie Zelmer In honor of Warren and Wendy Blumenthal’s 50th wedding anniversary

In memory of Reverend Michael Joseph Hammer David L. Harrison, Jr.

In memory of Michael C. Schnier Tricia Burlage Julie Hartman Pamela Mueller Mike Park Elaine Schnier In honor of Bob Schuppel Sarah Cauwels In memory of Lynne Soto Paul Trotter

MILWAUKEE SYMPHONY ORCHESTRA

Tributes In memory of Betty Stasson Barbara and Dr. Henry Burko In memory of Edie Bonness Tomsyck Kamaile Anderwald Beth Bonness Maureen Bonness Timothy Dykstal Patty Giuffre Mrs. Robert Gross Chris Lambach Robert Mueller Guy Tomsyck

In memory of Walter Maurice “Reese” Wininsky American Lung Association Marisa Lemorande Erika Sward Terry Burko and David Taggart Mary Clare Vanderschaaf In memory of JeanAnn Wirth Joanne A. Sobolik

In honor of Fischer & Catherine Van Handel Ellen Hruzek In honor of Tom Varney Stanley Kokotiuk In memory of Gerald Wetter Deborah and Gerald Wetter In memory of Anne T. White A. James White In honor of Peter Wicklund and Ruby Shemanski Ms. Linda Jenewein

GIVE YOUR CHILD A MUSICAL SUMMER THEY’LL NEVER FORGET!

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 Gregory Smith, Secretary; Chair, Governance Committee Patrick Murphy, Treasurer; Chair, Finance Committee EX OFFICIO DIRECTORS Douglas M. Hagerman, Chair, Chair’s Council Ken-David Masur, Music Director, Polly and Bill Van Dyke Music Director Chair Mark Niehaus, President & Executive Director, Michael and Jeanne Schmitz Chair EXECUTIVE COMMITTEE Susan Martin, Chair Andy Nunemaker, Immediate Past Chair Douglas M. Hagerman Chair, Chair’s Council Eric E. Hobbs Robert Klieger, Chair, Players’ Council 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 Michael J. Schmitz Gregory Smith, Secretary; Chair, Governance Committee Haruki Toyama, Chair, Artistic Direction Committee ELECTED DIRECTORS Kate Brewer Jeff Costakos Jennifer Dirks Steve Hancock, Chair, Education Committee Charlotte Hayslett Alyce Coyne Katayama Peter Mahler, Chair, Grand Future

Committee Mark A. Metzendorf, Chair, Advancement Committee Christian Mitchell Robert B. Monnat Leslie Plamann, Chair, Audit Committee Craig A. Schmutzer Jay E. Schwister, Chair, Retirement Plan Committee Dale R. Smith Pam Stampen Herb Zien, Chair, Facilities Management Committee DESIGNATED DIRECTORS City Sachin Chheda Pegge Sytkowski, Chair, Marketing & Advocacy Committee Francis Wasielewski County Fiesha Lynn Bell Garren Randolph PLAYER DIRECTORS Robert Klieger, Chair, Players’ Council Ilana Setapen, Player-at-Large CHAIR’S COUNCIL Douglas M. Hagerman, Chair Chris Abele Richard S. Bibler Charles Boyle Roberta Caraway Judy Christl Mary E. Connelly Donn R. Dresselhuys Eileen Dubner Franklyn Esenberg Marta P. Haas Jean Holmburg Barbara Hunt Leon Janssen Judy Jorgensen James A. Kasch Lee Walther Kordus Michael J. Koss JoAnne Krause Martin J. Krebs Keith Mardak James G. Rasche Stephen E. Richman

MILWAUKEE SYMPHONY ORCHESTRA

Michael J. Schmitz, Immediate Past Chair Joan Steele Stein Linda Tojek Joan R. Urdan Larry Waters Kathleen A. Wilson MSO ENDOWMENT & FOUNDATION TRUSTEES Bruce Laning, Trustee Chairman Amy Croen Steven Etze Douglas M. Hagerman Bartholomew Reute David Uihlein PAST CHAIRS 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) * deceased

MSO 2023.24 Administration EXECUTIVE Mark Niehaus, President & Executive Director, Michael and Jeanne Schmitz Chair Bret Dorhout, Vice President of Artistic Planning Tom Lindow, Vice President & Chief Financial Officer Monica K. Meyer, Vice President of Advancement Terrell Pierce, Vice President of Orchestra Operations Kathryn Reinardy, Vice President of Marketing & Communications Rick Snow, Vice President of Facilities & Building Operations Marquita Edwards, Director of Community Engagement Michele Fitzgerald, Executive Assistant & Board Liaison ADVANCEMENT Michael Rossetto, Senior Director of Advancement & Major Gifts William Loder, Director of Advancement Maggie Seer, Director of Institutional Giving Maddy Corson, Campaign Coordinator Kathryn Hausman, Individual Giving Manager, Research & Discovery Elise McArdle, Grant Writer Tracy Migon, Development Systems Manager Fiona Pantoga-Montoto, Advancement Coordinator Leah Peavler, Institutional Giving Manager Lindsey Ruenger, Donor Stewardship & Engagement Manager Emma Zei, Annual Fund Manager EDUCATION & COMMUNITY ENGAGEMENT Rebecca Whitney, Director of Education Courtney Buvid, ACE & Education Manager Nathan Hickox-Young, Concerts for Schools & Education Manager FINANCE Cathy O’Loughlin, Controller Jenny Beier, Senior Accountant Cynthia Moore, Human Resources, Diversity & Inclusion Manager

BOX OFFICE Luther Gray, Director of Ticket Operations & Group Sales Al Bartosik, Box Office Manager Marie Holtyn, Box Office Supervisor Adam Klarner, Box Office Coordinator BOX OFFICE ASSISTANTS Gabrielle Brady, Vanessa Luster, Andrew Perry, Rora Sanders, Tifani Ziemba OPERATIONS Françoise Moquin, Director of Orchestra Personnel Kayla Aftahi, Operations Coordinator Paul Beck, Principal Librarian, Anonymous Donor, Principal Librarian Chair Matthew Geise, Assistant Librarian & Media Archivist Kelsey Padron, Artistic Coordinator Paolo Scarabel, Stage Technician & Deck Supervisor Emily Wacker Schultz, Artistic Associate Jeremy Tusz, Audio & Video Producer Tristan Wallace, Technical Manager & Live Audio Supervisor Christina Williams, Chorus Manager FACILITIES & EVENT SERVICES Patrick G. H. Schley, Director of Event Services Donovan Burton, Facilities Manager - 2nd Shift Travis Byrd, Facilities Manager Sam Hushek, Events & Volunteer Manager Lisa Klimczak, House Manager David Kotlewski, House Manager Zed Waeltz, Senior House Manager FRONT OF HOUSE STAFF Anthony Andronczyk, Ky Catlett, Fatima Gomez, Eliana Kiltz, Roger Kocher, Klaire Maduscha, Brennan Martinez, Max McGraw, Cynthia Nord, Ashley Patin, Steve Pfisterer, Amy Rook, Anne Sempos, Jenn Sorvick, Michael Stebbins, Elliot White, Heather Whitmill

MARKETING Erin Kogler, Director of Communications Lizzy Cichowski, Senior Marketing Manager Adam Cohen, Patron Systems Manager David Jensen, Communications Coordinator Zachary-John Reinardy, Lead Designer Kerry Tomaszewski, Communications Manager

MILWAUKEE SYMPHONY ORCHESTRA

We’re for raising our community up. You’re for the arts too, so please join us to ensure that our world-class performing arts groups make a full recovery.

DONATE TODAY. UPAF.ORG/DONATE Milwaukee Ballet, Marie Collins, Photo by Mark Frohna. Skylight Music Theatre, Raven Dockery, Photo by Mark Frohna.

MUSIC | DANCE | SONG | THEATER

UPAF IS FOR THE PERFORMING ARTS that you are here to enjoy today. We’re for thousands of local artists in the spotlight and behind the scenes. We’re for you — the audience — experiencing excitement, inspiration and connection. We’re for Milwaukee, Tosa, Waukesha, Racine & beyond. We’re for being together, surrounded by the magic of music, dance, song and theater.

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