MARCH — MAY 2023
Volume 41 No. 5
15 March 31 - April 1 — Special Brahms X. Radiohead
23 April 14 - 15 — Classics
Don Juan & Beethoven Piano
31 April 21 - 23 — Pops
Aretha: Queen of Soul
35 April 28 — Special
An Evening with Brian Stokes Mitchell
43 May 5 - 6 — Classics
In Nature’s Realm:
Joyce Yang Plays Mozart
53 May 12 - 14 — Film
Star Wars: The Force Awakens
57 May 26 - 28 — Classics
The Zodiac & The Planets
5 Orchestra Roster
7 Conductor Bios
11 Milwaukee Symphony Chorus
66 Gala Individuals / MSO Endowment
67 Musical Legacy / Annual Fund
70 Bravo / Gala Corporate / Corporate & Foundation
71 Golden Note / The Marquee Circle / Tributes
74 MSO Board of Directors
75 MSO Administration
This program is produced and published by ENCORE PLAYBILLS. To advertise in any of the following programs:
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• Florentine Opera
• Milwaukee Ballet
• Marcus Performing Arts Center Broadway Series
• Skylight Music Theatre
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scott.encore@att.net
MILWAUKEE SYMPHONY ORCHESTRA
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Milwaukee, Wisconsin 53203 414.291.6010 | mso.org
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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, Phillip 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 51st 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 40,000 children and their families through its Arts in Community Education (ACE) program, Youth and Teen concerts, Family Series, and Meet the Music pre-concert talks. Celebrating its 33rd 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 5,800 students and 500 teachers and faculty are expected participate in ACE both in person and in a virtual format.
KEN-DAVID MASUR
Music Director
Polly and Bill Van Dyke
Music Director Chair
EDO DE WAART
Music Director Laureate
YANIV DINUR
Resident Conductor
CHERYL FRAZES HILL
Chorus Director
Margaret Hawkins Chorus Director Chair
TIMOTHY J. BENSON
Assistant Chorus Director
FIRST VIOLINS
Ilana Setapen, Acting Concertmaster, Charles and Marie Caestecker
Concertmaster Chair
Jeanyi Kim, Acting Associate Concertmaster (2nd Chair)
Alexanders Ayers, Acting Assistant Concertmaster
Yuka Kadota
Ji-Yeon Lee**
Dylana Leung
Allison Lovera
Lijia Phang
Margot Schwartz*
Alejandra Switala**
Yuanhui Fiona Zheng
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
Shengnan Li*
Laurie Shawger
Mary Terranova
VIOLAS
Robert Levine, Principal, Richard O. and Judith A. Wagner Family Principal Viola Chair
Samantha Rodriguez, Acting Assistant Principal, Friends of Janet F. Ruggeri
Viola Chair
Alejandro Duque, Acting Assistant Principal (3rd Chair)
Elizabeth Breslin
Nathan Hackett
Erin H. Pipal
Helen Reich
CELLOS
Susan Babini, Principal, Dorothea C. Mayer Cello Chair
Nicholas Mariscal, Assistant Principal
Scott Tisdel, Associate Principal Emeritus
Madeleine Kabat
Peter Szczepanek
Peter J. Thomas
Adrien Zitoun
BASSES
Jon McCullough-Benner, Principal, Donald B. Abert Bass Chair
Andrew Raciti, Associate Principal
Nash Tomey, Assistant Principal (3rd Chair)
Brittany Conrad
Peter Hatch
Paris Myers
HARP
Julia Coronelli, Principal, Walter Schroeder Harp Chair
FLUTES
Sonora Slocum, Principal, Margaret and Roy Butter Flute Chair
Heather Zinninger, Assistant Principal
Jennifer Bouton Schaub
PICCOLO
Jennifer Bouton Schaub
OBOES
Katherine Young Steele, Principal, Milwaukee Symphony League Oboe Chair
Kevin Pearl, Assistant Principal Margaret Butler
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
E FLAT CLARINET
Benjamin Adler
BASS CLARINET
Taylor Eiffert
BASSOONS
Catherine Van Handel, Principal, Muriel C. and John D. Silbar Family Bassoon Chair
Rudi Heinrich, Assistant Principal
Beth W. Giacobassi
CONTRABASSOON
Beth W. Giacobassi
HORNS
Matthew Annin, Principal, Krause Family French Horn Chair
Krystof Pipal, Associate Principal
Dietrich Hemann, Andy Nunemaker French Horn Chair
Darcy Hamlin
Kelsey Williams**
TRUMPETS
Matthew Ernst, Principal, Walter L. Robb Family Trumpet Chair
David Cohen, Associate Principal, Martin J. Krebs Associate Principal
Trumpet Chair
Alan Campbell, Fred Fuller
Trumpet Chair
TROMBONES
Megumi Kanda, Principal, Marjorie Tiefenthaler
Trombone Chair
Kirk Ferguson, Assistant Principal
BASS TROMBONE
John Thevenet, Richard M. Kimball Bass Trombone Chair
TUBA
Robyn Black, Principal
TIMPANI
Dean Borghesani, Principal
Chris Riggs, Assistant Principal
PERCUSSION
Robert Klieger, Principal
Chris Riggs
PIANO
Melitta S. Pick Endowed Piano Chair
PERSONNEL MANAGERS
Françoise Moquin, Director of Orchestra Personnel
Constance Aguocha, Assistant Personnel Manager
LIBRARIAN
Paul Beck, Principal Librarian, Anonymous Donor, Principal Librarian Chair
PRODUCTION
Tristan Wallace, Technical Manager & Live Audio Supervisor
Paolo Scarabel, Stage Technician & Deck Supervisor
* Leave of Absence 2022.23 Season
** Acting member of the Milwaukee Symphony Orchestra 2022.23 Season
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 music director of the Milwaukee Symphony Orchestra. In 2022.23, Masur leads a range of programs with the Milwaukee Symphony, where his programming throughout the season explores the natural world and its relationship to humanity. He also continues the second year of an MSO artistic partnership with pianist Aaron Diehl and leads choral and symphonic works including Mendelssohn’s Elijah and Mahler’s Symphony No. 2. As principal conductor of the Civic Orchestra of Chicago, Masur leads concerts throughout the season, including an annual Bach Marathon. Other engagements include subscription weeks with the Nashville and Omaha symphony orchestras, and a return to Poland’s Wrocław Philharmonic.
In 2021.22, Masur made debuts with the San Francisco Symphony, the Minnesota Orchestra, and the Baltimore Symphony Orchestra, and led performances with the Rochester Philharmonic and the Kristiansand Symphony Orchestra. Following the gala opening of the Bradley Symphony Center, highlights of the MSO season included a semi-staged production of Peer Gynt. In the summer of 2022, Masur debuted at the Pacific Music Festival in Sapporo, Japan, leading three programs with the Festival Orchestra, including members of the Berlin and Vienna philharmonics, and another concert with the Sapporo Symphony. He debuted at Classical Tahoe in three programs that were broadcast on PBS and led the Boston Symphony Orchestra, Yo-Yo Ma, Itzhak Perlman, Branford Marsalis, and James Taylor at Tanglewood in a celebration of the composer John Williams.
Masur has conducted distinguished orchestras around the world, including the Chicago Symphony Orchestra, the Los Angeles Philharmonic, l’Orchestre National de France, the Yomiuri Nippon Symphony, the Orchestre National du Capitole de Toulouse, the National Philharmonic of Russia, and orchestras throughout the United States, France, Germany, Korea, Japan, and Scandinavia.
Previously, Masur was associate conductor of the Boston Symphony Orchestra, where he led numerous concerts, at Symphony Hall and at Tanglewood, of new and standard works featuring guest artists such as Renée Fleming, Dawn Upshaw, Emanuel Ax, Garrick Ohlsson, Joshua Bell, Louis Lortie, Kirill Gerstein, Nikolai Lugansky, and others. For eight years, Masur served as principal guest conductor of the Munich Symphony, and has also served as associate conductor of the San Diego Symphony and as resident conductor of the San Antonio Symphony.
Music education and working with the next generation of young artists are of major importance to Masur. In addition to his work with the Civic Orchestra of Chicago, he has led orchestras and masterclasses at Tokyo Bunka Kaikan Chamber Orchestra, University of Wisconsin-Milwaukee’s Peck School of the Arts, New England Conservatory, Boston University, Boston Conservatory, the Tanglewood Music Center Orchestra, and at other leading universities and conservatories throughout the world.
Masur is passionate about the growth, encouragement, and application of contemporary music and has conducted and commissioned dozens of new works, many of which have premiered at the Chelsea Music Festival, an annual summer music festival in New York City founded and directed by Masur and his wife, pianist Melinda Lee Masur. The Festival seeks to engage audiences with its ground-breaking collaborations between the performing, visual, and culinary arts, and has been praised by The New York Times as a “gem of a series.”
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 Rotterdam Philharmonic Orchestra, San Francisco Symphony, the Minnesota Orchestra, Netherlands Radio Philharmonic Orchestra, Hong Kong Philharmonic, Antwerp Symphony, New Zealand Symphony, and Sydney Symphony Orchestra, and a chief conductorship with De Nederlandse Opera and Santa Fe Opera. Edo de Waart is principal guest conductor of San Diego Symphony, conductor laureate of both Antwerp Symphony Orchestra and Netherlands Radio Philharmonic Orchestra and music director laureate of Milwaukee Symphony Orchestra.
Edo de Waart kicks off the 2022.23 season by returning to Sydney Symphony Orchestra with three performances in the newly renovated Sydney Opera House. Further engagements include Milwaukee, San Diego, Dallas, Fort Worth, and Antwerp symphony orchestras, and a special recording project of Rachmaninoff’s Piano Concerto No. 2 and Grieg’s Concerto for Piano with Royal Scottish National Orchestra and regular collaborator Joyce Yang.
As an opera conductor, Edo 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 Royal Flemish Philharmonic.
Beginning his career as an assistant conductor to Leonard Bernstein at New York Philharmonic, Edo 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.
Winner of the 2019 Sir Georg Solti Conducting Fellow Award, Yaniv Dinur is the resident conductor of the Milwaukee Symphony Orchestra and music director of the New Bedford Symphony Orchestra. He is lauded for his insightful interpretations and unique ability to connect with concertgoers of all ages and backgrounds, from season subscribers to symphony newcomers.
Dinur conducts more than 50 concerts per season with the Milwaukee Symphony and was named by the Milwaukee Business Journal as one of the city’s most impressive young leaders currently making a positive difference in Milwaukee. In New Bedford, he has brought star soloists such as Yefim Bronfman, Pinchas Zukerman, Karen Gomyo, and Vadim Gluzman to play with the orchestra. Under his leadership, the New Bedford Symphony has been nationally recognized for its bold, engaging programming and artistic quality, leading to the League of American Orchestras selecting the orchestra to perform at the 2021 League Conference.
Dinur’s recent and upcoming guest conducting highlights include subscription debuts with the symphonies of San Diego, Edmonton, Tulsa, Sarasota, Fort Worth, and Orchestra Haydn in Italy. He made his conducting debut at the age of 19 with the National Symphony Orchestra of Ireland, which led to multiple return engagements. Since then, he has conducted orchestras around the world, including the Israel Philharmonic, Jerusalem Symphony, Houston Symphony, Louisiana Philharmonic, Detroit Symphony, New World Symphony, San Antonio Symphony, Portugal Symphony, Sofia Festival Orchestra/Bulgaria, State Orchestra of St. Petersburg, Torino Philharmonic, and the National Arts Centre Orchestra in Ottawa.
An accomplished pianist, Dinur made his concerto debut with the Milwaukee Symphony in 2019, playing and conducting Mozart’s D Minor Concerto. He received critical acclaim for his “fluid, beautifully executed piano passages” and “deeply musical playing” (Milwaukee Journal Sentinel).
Born in Jerusalem, Dinur began studying the piano at the age of six with his aunt, Olga Shachar, and later with Prof. Alexander Tamir, Tatiana Alexanderov, Mark Dukelsky, and Edna Golandsky. He studied conducing in Israel with Dr. Evgeny Zirlin and Prof. Mendi Rodan, and holds a Doctorate in Orchestral Conducting from the University of Michigan School of Music, Theatre & Dance, where he was a student of Prof. Kenneth Kiesler.
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 2022.23 chorus season with the MSO includes works by Brahms, the beloved Holiday Pops concert, Handel’s Messiah, Mendelssohn’s grand oratorio Elijah, the ethereal finale of Holst’s The Planets, and Mahler’s magnificent Symphony No. 2, known as the “Resurrection” Symphony.
The 150-member volunteer chorus has been praised by reviewers for “technical agility,” “remarkable ensemble cohesion,” and “tremendous clarity.” In addition to performances with the MSO, the chorus has appeared on public television and recorded performances 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 in 2006 in honor of the founding choral director, Margaret Hawkins, during the ensemble’s 30th anniversary season.
Comprised of teachers, lawyers, students, doctors, musicians, homemakers, and more, each of its members brings not only musical quality, but a sheer love of music to their task. “We have the best seats in the house,” one member said, a sentiment echoed throughout the membership. Please visit mso.org/chorus for more information on becoming a part of the Milwaukee Symphony Chorus.
Barbara A. Ahlf
Laura Albright-Wengler
* James B. Anello
u Thomas R. Bagwell
Barbara Barth Czarkowski
Mary Ann Beatty
Marshall Beckman
Zachary Beeksma
Maria Cornelia Beilke
Yacob Bennett
* JoAnn Berk
Edward Blumenthal
u Scott Bolens
Robert Bortman
Neil R. Brooks
Michelle Budny
Maggie Burk
Ellen N. Burmeister
Gabrielle Campbell
Gerardo Carcar
Elise Cismesia
Ian Clark
Sarah M. Cook
Amanda Coplan
Sarah Culhane
Colin Destache
Becky Diesler
Rebeca A. Dishaw
Megan Kathleen Dixson
Kimberly Duncan
Rachel Dutler
u James Edgar
Marlene K. Ego
Joe Ehlinger
Hannah Ellison
Jay Endres
Amanda Swygard Fairchild
Michael Faust
Sarah N. Ferreira
Catherine Fettig
Carly Marie Fitzgerald
Robert Friebus
Karen Frink
Maria Fuller
James T. Gallup
Kara Grajkowski
Charyl Granatella
Virginia D. Grossman
Ashley Gutting
* Mark R. Hagner
Eric W. Hanrehan
Beth Harenda
u Karen Heins
Mary Catherine Helgren
Kurt Hellermann
Sara E. Herrick
Eric Hickson
Michelle Hiebert
Rae-Myra Hilliard
Laura Hochmuth
Amy Hudson
Matthew Hunt
Stan Husi
u Tina Itson
• Christine Jameson
Paula J. Jeske
Andrew Johnson
John Jorgensen
Heidi L. Kastern
u Michelle Beschta Klotz
Robert Anton Knier
Jill Kortebein
Kaleigh Kozak-Lichtman
u Joseph M. Krechel
Harry Krueger
Rick Landin
Jana Larson
Cheryl Frazes Hill, chorus director
Timothy J. Benson, assistant director
Christina Williams, chorus manager
Kayoko Miyazawa, rehearsal pianist
Darwin J. Sanders, language/diction coach
Alexandra Lerch-Gagg
Noah Liermann
Robert Lochhead
Kristine Lorbeske
Sarah Magid
Grace Majewski
Joy Mast
Saige Matson
Justin J. Maurer
Kathryn McGinn
Kathleen Ortman Miller
Megan Miller
Victor Montañez Cruz
• Marjorie Moon
Bailey Moorhead
Jennifer Mueller
Matthew Neu
Kristin Nikkel
Jason Niles
Mary Beth Norton
Alice Nuteson
Thomas Ohlgren
Robert Paddock
Molly Pagryzinski
R. Scott Pierce
u Jessica E. Pihart
Olivia Pogodzinski
Gabriel Poulson
Kaitlin Quigley
* Jason Reuschlein
James Reynolds
Marc Charles Ricard
Amanda Robison
Carlos Rojo
Vivian Romano
Bridget Sampson
James Sampson
Darwin J. Sanders
John T. Schilling
Sarah Schmeiser
Rand C. Schmidt u Allison Schnier
Trinny Schumann
Bob Schuppel
Matthew Seider
Bennett Shebesta
u Hannah Sheppard
David Siegworth
Kristen M. Singer u Bruce Soto
Joel P. Spiess
* Todd Stacey
u Donald E. Stettler
Amanda D. Steven
Scott Stieg
* Donna Stresing
Ashley Ellen Suresh
Dean-Yar Tigrani
Clare Urbanski
Jessica Wagner
Barbara Wanless
Tess Weinkauf
Emma Mingesz Weiss
Michael Werni
Erin Weyers
Grant Wheeler
Christina Williams
Emilie Williams
Kathleen Wojcik-May
Kevin R. Woller
Maureen Woyci
* Jamie M. Yu
Stephanie Zimmer
u Section Leader
6 Mentor
• Librarian
Dr. Cheryl Frazes Hill is now in her sixth 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 2022.23 season, Frazes Hill will prepare the Milwaukee Symphony Chorus for classical performances of Brahms’s Gesang der Parzen, Schicksalslied, and Academic Festival Overture, Mendelssohn’s Elijah, Holst’s The Planets, and Mahler’s Resurrection Symphony.
In her role as the Chicago Symphony Chorus associate conductor, she has prepared the chorus for Maestros Boulez, Barenboim, Levine, Mehta, Tilson Thomas, Conlon, Alsop, and many others. She most recently prepared the Chicago Symphony Chorus for performances of Ravel’s Daphnis and Chloe, conducted by Esa-Pekka Salonen. 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, 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 Velduis’s Mountaintop. Other recent performances have included the internationally acclaimed production of Defiant Requiem and appearances with The Rolling Stones during a recent United States concert tour.
Frazes Hill received her Doctorate in Conducting and her Master of Music degree from Northwestern University and two undergraduate degrees from the University of Illinois. An accomplished vocalist, she is a featured soloist, nominated for a Grammy Award in the CBS Masterworks release Mozart, Music for Basset Horns. An award-winning conductor/educator, Frazes Hill has received the ACDA Harold Decker Conducting Award, 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 newly released book, Margaret Hillis: Unsung Pioneer, a biography of the famed female conductor, is available on Amazon and in bookstores. She is nationally published on topics of her research in music education and choral conducting. Frazes Hill is a frequent guest conductor and guest speaker, most recently featured with conductor Marin Alsop at Ravinia Festival’s Breaking Barriers: Women on the Podium.
Friday, March 31, 2023 at 7:30 pm
Saturday, April 1, 2023 at 7:30 pm
ALLEN-BRADLEY HALL
Steve Hackman, conductor
Rich Saunders, vocalist
Alita Moses, vocalist
Jamal Moore, vocalist
Brahms: Symphony No. 1 in C minor, Opus 68
Radiohead: OK Computer
I. Un poco sostenuto – Allegro “Airbag”
“Paranoid Android”
“Climbing Up the Walls”
“Karma Police”
“Subterranean Homesick Alien”
II. Andante sostenuto “No Surprises”
III. Un poco allegretto e grazioso “Let Down”
IV. Adagio – Più andante – “Exit Music (For a Film)”
Allegro non troppo, ma con brio “Lucky”
“Electioneering”
This weekend’s media sponsor is WISCONSIN PUBLIC RADIO. The length of this concert is approximately 1 hour and 30 minutes without intermission.
Milwaukee Symphony Orchestra can be heard on Telarc, Koss Classics, Pro Arte, AVIE, and Vox/Turnabout recordings. MSO Classics recordings (digital only) available on iTunes and at mso.org. MSO Binaural recordings (digital only) available at mso.org.
A multi-hyphenate music powerhouse and visionary producer, Steve Hackman is a daring voice leading the charge among a new generation of classical musicians intent on redefining the genre. Equally adept in classical and popular styles, he is the creator of a production concept called FUSE, which synthesizes classical and popular masterworks. He has conducted these productions, like Brahms X. Radiohead and The Resurrection Mixtape (Mahler X Notorious BIG X Tupac Shakur), all over the world, including Philadelphia, Richmond, San Francisco, San Diego, Seattle, Colorado, Phoenix, and Grand Rapids symphonies; Pittsburgh, Nashville, symphony orchestras; 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 Kanye West, Doja Cat, and Andrew Bird. He was trained at the Curtis Institute of Music and The Juilliard School.
When Rich Saunders was a child, he and his family would spend long, relaxing afternoons sitting in a circle and singing together in the way that only blood relatives truly can, creating close harmonies whose naturally blending tones seem the result of some kind of inbuilt genetic code. Fast forward a couple of decades and, though much has happened in the interim – a period as one-third of Universal-signed group Thirdstory, a stint singing backing vocals for Chance the Rapper, a trans-Atlantic, more experimental duo going by the name Refs – it’s still those magical vocal moments that are at the crux. However, now they’re coming primarily from the singer himself under new, voice-centric solo project. Recent collaborations include SG Lewis, Smoko Ono, Maths Time Joy, SHAED, and more. In the last year, Saunders has also grown his Tiktok to over 600K followers, with co-signs along the way from Justin Vernon of Bon Iver, James Blake, Elton John, Timbaland, Haley Williams, and more. Recent support includes Wonderland, BBC Radio 1, Complex, Flaunt, KCRW, and more.
Alita Moses is a remarkably versatile vocalist, songwriter, and entertainer whose talents have taken her all over the world, both as a performer and as a teaching artist. She has shared the stage with a myriad of household names in both the pop and jazz world, including legends like Shawn Mendes, Cynthia Erivo, Al Jarreau, Dee Dee Bridgewater, Chris Botti, and, currently, Jacob Collier on his DJESSE world tour. Her brush with orchestral features began at the young age of 14 with the Hartford Symphony Orchestra, later with the Philly POPS, and she has since been seen with several big bands and chamber groups in New York City. Her latest feat was releasing her first single as an independent artist, entitled “Still.” Whether on stage or in the studio, Moses brings a natural warmth to each performance and astounds audiences with musical lustre, grace, and soul.
Jamal Moore is an internationally acclaimed singer, songwriter, and recording artist. Known for his smooth, rich tone and his crossstyle versatility, Moore brings captivating artistry to everything he touches, be it pop, classical, gospel, or jazz.
A regular collaborator with Beyoncé, Moore has performed at Coachella Festival, the Kobe & Gianna Bryant Memorial service, on Disney’s new The Lion King soundtrack, and on Beyoncé’s newest hit track, “Break My Soul.” He has also toured globally with Kanye West as a member of gospel sensations The Sunday Service Collective. On screen, Moore has performed on The Academy Awards, BET Awards (with Kirk Franklin), Super Bowl Halftime Show (with The Weeknd), Jimmy Kimmel Live, The Tonight Show with Jimmy Fallon, and Netflix documentary, Beyoncé Homecoming. Moore was also a finalist on NBC’s The SingOff and can be heard as the singing voice of “Synth” on Dreamworks/Netflix series, Trolls. Most recently, Moore appeared alongside Rihanna at this year’s Oscars, performing a soul-stirring arrangement of “Lift Me Up” from Marvel’s Black Panther: Wakanda Forever
With a degree in opera from New York’s Eastman School of Music, Moore remains active in the classical music space, having recently made his solo symphonic debut with the LA Philharmonic, performing solo Duke Ellington selections at Walt Disney Concert Hall. Moore has toured extensively as a featured soloist with Wynton Marsalis and the Jazz at Lincoln Center Orchestra, including most recently as a soloist in Marsalis’ “All Rise Symphony” in commemoration of the Tulsa Race Massacre. A member of LA Opera and LA Master Chorale, Moore has performed Mahler’s Second Symphony and Beethoven’s Ninth Symphony, both with Gustavo Dudamel and the LA Philharmonic, and sang in The Little Mermaid Live at the Hollywood Bowl.
With vocal quintet The Exchange, Moore has performed in over 50 countries, served as an official cultural ambassador abroad for the U.S. State Department, and opened for the Backstreet Boys’ Europe arena tour. For Moore’s original songwriting, he was the Grand Prize Finalist in the esteemed John Lennon Songwriting Contest.
In 2020 and 2021, Moore released Love Letters Vol. 1 and 2, a collection of genre-bending covers and originals, to great acclaim. His next record, set to release 2023, promises a groundbreaking fusion of the multiple diverse styles that have shaped Moore into the one-of-a-kind artist he is. With 5+ million views and 60,000+ followers on YouTube, Moore is grateful for the opportunity to collaborate and learn from other creatives and to share his voice with his growing audience around the globe.
Brahms X. Radiohead is an orchestral synthesis of the Brahms First Symphony (1882) and Radiohead’s OK Computer (1997), wherein ten songs from Radiohead’s seminal album are experienced through the lens of Brahms, drawing upon the latter’s harmony, form, counterpoint, and motifs. This was the first large-scale work of this type that I endeavored, and what a thrilling process of analysis, discovery, de/re-construction, and creation it was.
These two works share striking and defining characteristics; the most significant is their mood of anxiety and brooding pathos. Brahms, unendingly plagued by the shadow of the great Beethoven, took more than a decade to write this symphony for fear of not living up to his predecessor. That pressure is felt in each tightly-wound measure. For Radiohead, the themes of social alienation, consumerism, emotional isolation, and political turmoil are channeled electrically through every anxious note and lyric of OK Computer
Secondly, both pieces represent “invention within convention” – adhering to existing structures but innovating within them (in Brahms’s case, the symphonic form, and in Radiohead’s, the concept album).
Finally, they have distinct musical similarities; beyond the fact that both are dense, substantive, and full of rich counterpoint, I heard unmistakably similar melodic and harmonic devices. For example: the iv-I chord progression of “No Surprises” is used by Brahms (with an added 6th, in inversion) in the final moments of the second movement; or the fact that “Subterranean Homesick Alien,” like the Brahms first movement, is in 6/8 time (rare for an alternative rock song).
I took advantage of those similarities in the synthesis, and it is those moments that I am most excited about. We hear “Subterranean Homesick Alien” over an undercurrent of Brahms’s pedal tones; the stark opening music of the symphony adding to the frenzy of “Paranoid Android”; the final lyric of “No Surprises” floating over the gorgeous conclusion of the second movement; themes of the third movement evoked in the distance during the experimental middle section of “Let Down”; and the ostinato bass figure of the fourth movement coda providing the rhythmic motor of “Electioneering.”
A final note: some may purport that these two pieces are separated by more than just time. They may seek to label and categorize them and perhaps judge their respective and comparative values accordingly.
I believe that the more we truly understand the creative and technical processes that result in any kind of art – regardless of genre or category – the more similar they will reveal themselves to us.
Airbag
In the next world war
Jack-knifed juggernaut
I am born again
In the neon sign
Scrolling up and down
I am born again
An interstellar burst
I’m back to save the universe
Paranoid Android
Please could you stop the noise, I’m trying to get some rest
From all the unborn chicken voices in my head
What’s that...?
When I am king, you will be first against the wall
With your opinion which is of no consequence at all
What’s that...?
Ambition makes you look pretty ugly
Kicking and squealing gucci little piggy
You don’t remember
You don’t remember
Why don’t you remember my name?
Off with his head, man
Off with his head, man
Why don’t you remember my name?
I guess he does...
Rain down, rain down
Come on rain down on me
From a great height
From a great height... height...
That’s it, sir
You’re leaving
The crackle of pigskin
The dust and the screaming
The yuppies networking
The panic, the vomit
The panic, the vomit
God loves his children
God loves his children, yeah
I am the key to the lock in your house
That keeps your toys in the basement
And if you get too far inside
You’ll only see my reflection
And either way you turn
I’ll be there
Open up your skull
I’ll be there
Climbing up the walls...
Karma Police
Karma police
Arrest this man
He talks in maths
He buzzes like a fridge
He’s like a detuned radio
Karma police
Arrest this girl
Her Hitler hairdo
Is making me feel ill
And we have crashed her party
This is what you’ll get
When you mess with us
For a minute there
I lost myself, I lost myself
The breath of the morning
I keep forgetting
The smell of the warm summer air
I live in a town
Where you can’t smell a thing
You watch your feet
For cracks in the pavement
Up above
Aliens hover
Making home movies
For the folks back home
Of all these weird creatures
Who lock up their spirits
Drill holes in themselves
And live for their secrets
They’re all uptight
Uptight...
I wish that they’d swoop down in a country lane
Late at night when I’m driving
Take me on board their beautiful ship
Show me the world as I’d love to see it
I’d tell all my friends
But they’d never believe me
They’d think that I’d finally lost it completely
I’d show them the stars
And the meaning of life
They’d shut me away
But I’d be all right
All right...
I’m just uptight
Uptight...
A heart that’s full up like a landfill
A job that slowly kills you
Bruises that won’t heal
You look so tired-unhappy
Bring down the government
They don’t, they don’t speak for us
I’ll take a quiet life
A handshake of carbon monoxide
With no alarms and no surprises
No alarms and no surprises
No alarms and no surprises
Silence...
This is my final fit
My final bellyache
With no alarms and no surprises
No alarms and no surprises
No alarms and no surprises
Silence...
Such a pretty house
And such a pretty garden
Silence...
Transport, motorways and tramlines
Starting and then stopping
Taking off and landing
The emptiest of feelings
Disappointed people clinging on to bottles
And when it comes it’s so, so disappointing
Let down and hanging around
Crushed like a bug in the ground
Let down and hanging around
Shell smashed, juices flowing
Wings twitch, legs are going
Don’t get sentimental
It always ends up drivel
One day I’m going to grow wings
A chemical reaction
Hysterical and useless
Hysterical and...
Let down and hanging around
Crushed like a bug in the ground
Let down and hanging around
Let down again
You know, you know where you are with
You know where you are with
Floor collapsing
Floating, bouncing back
And one day...
I am going to grow wings
A chemical reaction
Hysterical and useless
Hysterical and...
Let down and hanging around
Crushed like a bug in the ground
Let down and hanging around
Wake from your sleep
The drying of your tears
Today we escape
We escape
Pack and get dressed
Before your father hears us
Before all hell breaks loose
Breathe, keep breathing
Don’t loose your nerve
Breathe, keep breathing
I can’t do this alone
Sing us a song
A song to keep us warm
There’s such a chill, such a chill
You can laugh
A spineless laugh
We hope your rules and wisdom choke you
Now we are one
In everlasting peace
We hope that you choke, that you choke
Lucky
I’m on a roll
I’m on a roll this time
I think my luck could change
Kill me Sarah
Kill me again with love
It’s gonna be a glorious day
Pull me out of the aircrash
Pull me out of the lake
‘Cause I’m your superhero
We are standing on the edge
The Head of State
Is calling me by name
But I don’t have time for him
It’s gonna be a glorious day
I feel my luck could change
Pull me out of the aircrash
Pull me out of the lake
‘Cause I’m your superhero
We are standing on the edge
Electioneering
I will stop, I will stop at nothing. Say the right things when electioneering
I trust I can rely on your vote.
When I go forwards, you go backwards
And somewhere we will meet.
Riot shields, voodoo economics,
It’s just business, cattle prods and the I.M.F.
I trust I can rely on your vote.
When I go forwards, you go backwards
And somewhere we will meet.
Friday, April 14, 2023 at 11:15 am
Saturday, April 15, 2023 at 7:30 pm
ALLEN-BRADLEY HALL
Roderick Cox, conductor
Inon Barnatan, piano
RICHARD STRAUSS
Don Juan, Opus 20
LUDWIG VAN BEETHOVEN
Concerto No. 4 in G major for Piano and Orchestra, Opus 58
I. Allegro moderato
II. Andante con moto
III. Rondo: Vivace
Inon Barnatan, piano
JEAN SIBELIUS
Symphony No. 5 in E-flat major, Opus 82
I. Tempo molto moderato – Allegro moderato – Presto
II. Andante mosso, quasi allegretto
III. Allegro molto – Misterioso
This weekend’s concerts are dedicated to the memory of SUSAN LORIS by JULIA AND DAVID UIHLEIN.
The MSO Steinway Piano was made possible through a generous gift from MICHAEL AND JEANNE SCHMITZ The 2022.23 Classics Series is presented by the UNITED PERFORMING ARTS FUND
The length of this concert is approximately 2 hours.
Milwaukee Symphony Orchestra can be heard on Telarc, Koss Classics, Pro Arte, AVIE, and Vox/Turnabout
Winner of the 2018 Sir Georg Solti Conducting Award by the U.S. Solti Foundation, Berlin-based American conductor, Roderick Cox, has been praised as a conductor who is “paving the way” (NBC News) and recognized as a trailblazer ... a conductor who will be amongst the vanguard” (Minnesota’s Star Tribune).
Forthcoming highlights include debuts with the Philadelphia Orchestra, Mostly Mozart Festival Orchestra, RundfunkSinfonieorchester Berlin, Staatskapelle Dresden, City of Birmingham Symphony Orchestra, Royal Liverpool Philharmonic, Royal Philharmonic Orchestra, and Barcelona Symphony, while he returns to the Los Angeles Philharmonic, BBC Philharmonic, and Philharmonia Orchestra.
Recent highlights include his debuts with the Deutsches Symphonie-Orchester Berlin, Die Deutsche Kammerphilharmonie Bremen, Malmo Symphony, Lahti Symphony, Boston Symphony, Cincinnati Symphony, New World Symphony, and Orchestre de Paris, as well as returns to Detroit Symphony Orchestra, Minnesota Orchestra, Seattle Symphony, and Aspen Music Festival Chamber Orchestra.
In the theatre, Cox has recently made important debuts at the Houston Grand Opera (Pêcheurs de Perles) and San Francisco Opera (Il barbiere di Siviglia), as well as recording Jeanine Tesori’s Blue with the Washington National Opera. Last season, he returned to the Opéra national de Montpellier for Rigoletto, where he is also developing a relationship on the symphonic platform.
With a passion for education and diversity and inclusion in the arts, Cox started the Roderick Cox Music Initiative (RCMI) in 2019 – a project that provides scholarships for young musicians from historically marginalized communities, allowing them to pay for instruments, music lessons, and summer camps. Cox and his new initiative will be featured in an upcoming documentary called Conducting Life.
Born in Macon, Georgia, Cox attended the Schwob School of Music at Columbus State University, and then later attended Northwestern University, graduating with a master’s degree in 2011. He was awarded the Robert J. Harth Conducting Prize from the Aspen Music Festival in 2013 and has held fellowships with the Chicago Sinfonietta as part of their Project Inclusion program and at the Chautauqua Music Festival, where he was a David Effron Conducting Fellow. In 2016, Roderick was appointed as associate conductor of the Minnesota Orchestra, under Osmo Vänskä, for three seasons, having previously served as assistant conductor for a year.
“One of the most admired pianists of his generation” (The New York Times), Inon Barnatan has received universal acclaim for his “uncommon sensitivity” (The New Yorker), “impeccable musicality and phrasing” (Le Figaro), and his stature as “a true poet of the keyboard: refined, searching, unfailingly communicative” (The Evening Standard).
As a soloist, Barnatan is a regular performer with many of the world’s foremost orchestras and conductors, and he was the inaugural artist-in-association of the New York Philharmonic. Equally at home as a curator and chamber musician, Barnatan is music director of La Jolla Music Society Summerfest in California, one of leading music festivals in the country, and he regularly collaborates with world-class partners such as Renée Fleming and Alisa Weilerstein. His passion for contemporary music has resulted in commissions and performances of many living composers, including premieres of new works by Thomas Adès, Andrew Norman, and Matthias Pintscher, among others.
Barnatan’s 2022.23 season highlights include concerto performances in the U.S. with the Los Angeles Philharmonic, Philadelphia Orchestra, Boston Symphony Orchestra, Atlanta Symphony, San Diego Symphony, and others, and internationally with the Royal Liverpool Philharmonic, Royal Stockholm Philharmonic, Auckland Philharmonia, and Philharmonie Zuidnederland.
Barnatan will give solo recitals in London, Kansas City, Aspen, and Santa Fe and play chamber music at festivals through the U.S. Barnatan will also tour North America with Les Violons du Roy, performing concertos by C.P.E. Bach and Shostakovich.
A recent addition to Barnatan’s acclaimed discography is a two-volume set of Beethoven’s complete piano concertos, recorded with Alan Gilbert and the Academy of St Martin in the Fields on Pentatone. In its review, BBC Music Magazine wrote “The central strength of this first installment of Inon Barnatan’s piano concertos cycle is that, time and again, it puts you in touch with that feeling of ongoing wonderment.”
Born in Tel Aviv in 1979, Barnatan started playing the piano at the age of three, when his parents discovered his perfect pitch, and made his orchestral debut at 11. He studied with some of the 20th century’s most illustrious pianists and teachers, including Professor Victor Derevianko, Christopher Elton, and Maria Curcio, and the late Leon Fleisher was also an influential teacher and mentor. For more information, visit inonbarnatan.com.
This weekend, guest conductor Roderick Cox is joined by pianist Inon Barnatan for a showcase of frenzied seduction, serene lyricism, and compelling majesty. The first half includes an early tone poem by Richard Strauss and a beguiling concerto by Beethoven. After intermission, we’ll soak up Sibelius’s natureinfused Symphony No. 5.
Born 11 June 1864; Munich, German
Died 8 September 1949; Garmisch-Partenkirchen, Germany
Don Juan, Opus 20
Composed: 1888
First performance: 11 November 1889; Weimar, Germany
Last MSO performance: January 2019; Carlos Kalmar, conductor
Instrumentation: 3 flutes (3rd doubling piccolo); 2 oboes (2nd doubling English horn); 2 clarinets; 2 bassoons; contrabassoon; 4 horns; 3 trumpets; tuba; timpani; percussion (cymbals, glockenspiel, suspended cymbals, triangle); harp; strings
Approximate duration: 17 minutes
Richard Strauss was only 24 when he composed the tone poem Don Juan, his first important work. He cited Nikalaus Lenau’s (1802-1850) German verse play as his source of inspiration, but we should also duly note that Strauss had conducted Mozart’s Don Giovanni in Munich not long before he set to work on Don Juan. Strauss prefaced the published score with excerpts from Lenau’s poem; they include such intriguing lines as “The charmed circle of many kinds of beautiful, stimulating femininity ... I should like to traverse them in a storm of pleasure, and die of a kiss upon the lips of the last woman.” Lenau’s verses are more like reflections on amorous pursuits than lists of the titular character’s womanizing conquests.
The swirling, energetic opening theme is meant to portray Don Juan himself. This motif soon yields to a romantic melody, first introduced by a solo violin. A gentle oboe suggests a nighttime assignation. Insistent horns then break the mood as they intone a bold, self-assured theme. Melodies are restated and mingled together, always borne along by the composer’s matchless orchestration.
In Lenau’s poem, Don Juan, tired of chasing women, allows himself to be defeated in a duel. Strauss’s tone poem depicts this with a piercing stab from the trumpets. He drops, trembling, to the ground. The atmosphere becomes quiet and forlorn, signifying the protagonist’s imminent demise; it’s a disconsolate ending rather than a fortissimo finale. The music’s final phrases grow ever softer, concluding with what sounds like the last breaths of a dying man. Don Juan’s life was over, but Strauss’s magnificent career had just begun.
Baptized 17 December 1770; Bonn, Germany
Died 26 March 1827; Vienna, Austria
Piano Concerto No. 4 in G major, Opus 58
Composed: 1805-06
First performance: 6 March 1807; palace of Prince Lobkowitz, Vienna (private)
22 December 1808; Vienna, Austria (public)
Last MSO performance: May 2017; Edo de Waart, conductor; Ronald Brautigam, piano
Instrumentation: flute; 2 oboes; 2 clarinets; 2 bassoons; 2 horns; 2 trumpets; timpani; strings
Approximate duration: 34 minutes
Beethoven’s Piano Concerto No. 4 dates from around the same time as the Waldstein and Appassionata piano sonatas, the Triple Concerto, Opus 56, the three string quartets, Opus 59 (“Razumovsky”), and the Violin Concerto, Opus 61. The composer dedicated the work to his friend, patron, and pupil Archduke Rudolph of Austria. Its first public performance took place on a four-hour marathon concert that also included the first performances of Symphonies No. 5 and No. 6, the Choral Fantasy, Opus 80, the soprano concert aria Ah, perfido!, and portions of the Mass in C, Opus 86. At the still-young age of 38, it was the last time Beethoven would appear as a concerto soloist due to his increasing deafness.
In his landmark book The Classical Style (1972), Charles Rosen wryly observes, “the most important fact about the concerto form is that the audience waits for the soloist to enter.” In the exquisitely lyrical opening phrases of the G major piano concerto, Beethoven offers a gentle rebuff to Rosen’s axiom, beginning with the piano alone. The orchestra enters four bars later, quietly echoing the soloist’s motif, but in the strikingly distant key of B major. Only after several pages does the texture grow into a full tutti and a true conversation between the piano and orchestra begin.
The compelling E minor Andante con moto – a literal dialogue between piano and strings – in the 19th century was said to depict Orpheus (soloist) taming the Furies (strings). Beethoven scholar Lewis Lockwood posits an equally intriguing notion, equating the second movement to an operatic scena in which “entreaty is met at first by obdurate refusal … The rhetorical character of the movement, like no other in Beethoven, invites association with tradition, and one of these may well have been that of the expressive aria with strings from Mozart’s late Italian works.”
Any remaining oppositions are reconciled in the sprightly rondo-finale. It begins softly, with a lively motif in the strings. Then, for the first time in the concerto, the trumpets and timpani make their entrance. The fleet, energetic piano is afforded ample opportunity for virtuoso display as Beethoven’s soulful and captivating Opus 58 dashes to its conclusion.
Born 8 December 1865; Hämeenlinna, Finland
Died 20 September 1957; Järvenpää, Finland
Symphony No. 5 in E-flat major, Opus 82
Composed: 1915; revised 1916, 1919
Premiere: 8 December 1915; Helsinki, Finland (original version)
24 November 1919; Helsinki, Finland (final version)
Last MSO performance: January 2013; Francesco Lecce-Chong, conductor
Instrumentation: 2 flutes; 2 oboes; 2 clarinets; 2 bassoons; 4 horns; 3 trumpets; 3 trombones; timpani; strings
Approximate duration: 30 minutes
Jean Sibelius was born into a Swedish-speaking family in a hamlet in south-central Finland. The man who would become the most famous Finn in history did not begin to speak the Finnish language until age eight and acquired complete proficiency in the language only as a young man. Though he was closely identified with Finnish nationalism, it wasn’t because he wrote folksy musical bonbons – or even commanding pieces like his well-known Finlandia. No, his stature rests chiefly on his accomplishment as a composer of that most serious of musical genres – the symphony.
Sibelius’s Fifth Symphony – probably the second-most popular, after Symphony No. 2 – dates from the years of World War I, his only major composition during this time. Because of the national hostilities, Sibelius lost revenue from his German publishers Breitkopf & Härtel; his conducting commitments abroad were also curtailed. As a result, he targeted the domestic market, penning a great deal of piano music and of violin and piano miniatures.
Originally cast in four movements, Sibelius’s Opus 82 was completed in time for his 50th birthday (8 December 1915) – an occasion that was treated almost as a national holiday; he conducted the work’s premiere in Helsinki. He wasn’t entirely satisfied with his original efforts, however, and over the next few years made revisions. What had been four movements became three, as he linked together the two opening movements, making the work bolder and more confident. There’s a lot a take in: listen for the various layers of orchestral color – strings, brass, winds – and how they both interweave and act separately. In the strings, the timbral qualities of tremolos are also fascinating, as they move back and forth from primary to secondary material. Throughout, the dynamic contrasts range from ppp to fff.
The second movement is a lovely pastoral interlude in G major. Formally, we might think of it as a set of variations on a five-note motif, first sounded by the violas and cellos, pizzicato. Though much of the music is decidedly arcadian, for contrast there is the occasional darkening of both harmony and orchestration. There is also a bit of what Igor Stravinsky, who was fond of some of Sibelius’s music, once referred to as “Italian-melody-gone-north.”
It is no secret that Sibelius was frequently inspired by his native homeland. Indeed, the Finnish landscape is often palpable in his music. Nature thus infuses the most famous motif of his Fifth Symphony, the so-called “Swan Hymn.” He explained this in a 1915 diary entry: “Today at ten to eleven, I saw 16 swans. One of my greatest experiences! Lord God, what beauty! They circled over me for a long time. Disappeared into the solar haze like a gleaming silver ribbon.” Sibelius depicts this with a swinging, endlessly repeating ostinato in the horns, as a beautiful descant in the woodwinds and violins sails above. In the symphony’s final pages, we’re back in the home key of E-flat major as brass and timpani hammer out the swan theme. At the very end, six decisive chords from the full orchestra bring this powerful work to a stirring conclusion.
Friday, April 21, 2023 at 7:30 pm
Saturday, April 22, 2023 at 7:30 pm
Sunday, April 23, 2023 at 2:30 pm
Yaniv Dinur, conductor
Capathia Jenkins, vocalist
Ryan Shaw, vocalist
Hannah Esch, vocalist
Shawn Holmes, vocalist
Ashley Patin, vocalist
This weekend’s media sponsor is WISCONSIN PUBLIC RADIO
The length of this concert is approximately 2 hours. All programs are subject to change.
Milwaukee Symphony Orchestra can be heard on Telarc, Koss Classics, Pro Arte, AVIE, and Vox/Turnabout recordings. MSO Classics recordings (digital only) available at mso.org.
The Brooklyn-born and raised singer/actor, Capathia Jenkins, premiered her new show, “She’s Got Soul,” with the Houston Symphony in October 2022, with upcoming performances including Cleveland Orchestra, Seattle Symphony, Baltimore Symphony, Utah Symphony, Colorado Springs Philharmonic, Asheville Symphony, Arkansas Symphony, Tucson Symphony, Phoenix Symphony, and Calgary Philharmonic, among others. Jenkins starred as Medda in the hit Disney production of Newsies on Broadway. She made her Broadway debut in The Civil War, where she created the role of Harriet Jackson. She then starred in the OffBroadway 2000 revival of Godspell, where she wowed audiences with her stirring rendition of “Turn Back, O Man,” which can still be heard on the original cast recording. She returned to Broadway in The Look of Love and was critically acclaimed for her performances of the Bacharach/David hits. Jenkins then created the roles of The Washing Machine in Caroline, Or Change and Frieda May in Martin Short-Fame Becomes Me, where she sang “Stop the Show” and brought the house down every night. In 2007, she went back to Off-Broadway and starred in (mis) Understanding Mammy – The Hattie McDaniel Story for which she was nominated for a Drama Desk Award. She was also seen in Nora Ephron’s Love, Loss, and What I Wore.
An active concert artist, Jenkins has appeared with numerous orchestras around the world, including the Cleveland Orchestra, Houston Symphony, Pittsburgh Symphony (with Marvin Hamlisch), National Symphony, Cincinnati Pops (with John Morris Russell), Philly Pops, San Francisco Symphony, Seattle Symphony, Utah Symphony, Minnesota Orchestra, Toronto Symphony, San Diego Symphony, the Hong Kong Philharmonic, and many others. She was also a soloist with the Festival Cesky Krumlov in the Czech Republic multiple times. Jenkins had the great honor of performing in the “Broadway Ambassadors to Cuba” concert as part of the Festival De Teatro De La Habana. She will be returning to Carnegie Hall with the New York Pops for Get Happy: That Nelson Riddle Sound and also sang in a Tribute to Marvin Hamlisch at the Library of Congress.
Her television credits include 30 Rock, The Practice, Law & Order SVU, The Sopranos, Law & Order, as well as on her critically acclaimed album Phenomenal Woman with Louis Rosen and her most recent single, “I am Strong.” She can be seen in the film Musical Chairs, directed by Susan Seidelman. Jenkins was also seen in The Wiz in a live performance on NBC. She can be heard on the following film soundtracks: Nine, Chicago, Legally Blonde 2. Visit capathiajenkins.com.
Ryan Shaw is a three-time Grammy® nominated artist for his solo projects, Columbia Records’s This is Ryan Shaw, his In Between, and Dynotone’s Real Love. He has shared the world stage with such artists as Van Halen, Bonnie Raitt, John Legend, B.B. King, and Jill Scott. His music has been featured on FOX’s So You Think You Can Dance and ABC’s Dancing with the Stars, Grey’s Anatomy, and Lincoln Heights, and the films My Blueberry Nights, Bride Wars, and the Sex and the City. Shaw has been a featured guest on national TV talk shows and has starred as Judas in the Lyric Opera of Chicago’s Olivier Award-winning London production of Jesus Christ Superstar, as the original Stevie Wonder in Motown: The Musical on Broadway, and on London’s West End as the Soul of Michael Jackson in Thriller Live. Shaw’s new album, Imagining Marvin, showcases Marvin Gaye hits alongside Shaw’s original songs and features multi-Grammy® Award-winning co-writers and special guests.
As a concert soloist, Shaw made his Radio City Music Hall debut at the “Dream Concert” benefit to build the Martin Luther King Jr. National Monument in Washington D.C. His Carnegie Hall appearances include an “Elton John and Bernie Taupin Tribute,” “A Celebration of The African American Cultural Legacy,” and a Nat King Cole centennial concert with the New York Pops. Shaw has also been honored to be the second artist in history to be asked to perform a return engagement at the Central Park Summer Stage Gala (second to Stevie Wonder). He has also been a featured artist with the Houston Symphony for their “R&B Mixtape” concert as well as the soloist for the Houston Symphony’s 4th of July celebration. Shaw has also performed with the Cleveland Orchestra, Philly Pops, Utah Symphony, Colorado Symphony, St. Louis Symphony, Harrisburg Symphony, Helena Symphony, Anchorage Symphony, Orlando Philharmonic, Tucson Symphony, Calgary Philharmonic, Des Moines Symphony, Omaha Symphony, Wheeling Symphony, Wilmington Symphony, Mississippi Symphony, Springfield Symphony, and Gulf Coast Symphony. Upcoming concert engagements include Seattle Symphony, Houston Symphony, Chicago Philharmonic, Arkansas Symphony, South Dakota Symphony, Knoxville Symphony, Allentown Symphony, Long Beach Symphony, Greeley Philharmonic, and Fort Wayne Philharmonic.
Cedar Community announces a new definition of distinction for adults 55 and better–The Lofts at Cedar Lake. Maintenance-free, private independent residences ranging in size from 1,100 to 2,000 square feet.
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Friday, April 28, 2023 at 7:30 pm
ALLEN-BRADLEY HALL
Yaniv Dinur, conductor
Brian Stokes Mitchell, vocalist
PROGRAM TO BE ANNOUNCED FROM THE STAGE
This weekend’s media sponsor is WISCONSIN PUBLIC RADIO.
The length of this concert is approximately 1 hour and 30 minutes without intermission.
Milwaukee Symphony Orchestra can be heard on Telarc, Koss Classics, Pro Arte, AVIE, and Vox/Turnabout recordings. MSO Classics recordings (digital only) available on iTunes and at mso.org. MSO Binaural recordings (digital only) available at mso.org.
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Dubbed “the last leading man” by The New York Times, two-time Tony Award winner Brian Stokes Mitchell has enjoyed a career that spans Broadway, television, film, and concert appearances with the country’s finest conductors and orchestras.
He received Tony, Drama Desk, and Outer Critics Circle awards for his star turn in Kiss Me, Kate He also gave Tony-nominated performances in Man of La Mancha, August Wilson’s King Hedley II, and Ragtime. Other notable Broadway shows include Kiss of the Spider Woman, Jelly’s Last Jam, Women on the Verge of a Nervous Breakdown, and Shuffle Along. In 2016, he was awarded his second Tony Award, the prestigious Isabelle Stevenson Tony for his Charitable work with The Actors Fund. That same year, Stokes was inducted into the Theatre Hall of Fame.
An extremely versatile and in-demand singer, Stokes has performed at venues spanning jazz, opera, pops, country, and musical theater worlds. He has worked with John Williams, Marvin Hamlisch, Gustavo Dudamel, Keith Lockhart, Michael Tilson Thomas, The Smithsonian Jazz Masterworks Big Band, The Mormon Tabernacle Choir, and the Muppets. Stokes has made multiple appearances at Carnegie Hall, beginning with his debut with the San Francisco Symphony through his televised performance in South Pacific opposite Reba McEntire to his sold-out solo concert, which he continues to perform throughout the U.S. He has been invited twice to perform at the White House (both times aired on PBS’s Great Performances) and has performed multiple times for Presidents Clinton and Obama.
A self-professed autodidact, he studied film scoring, orchestration, and conducting both privately and through UCLA and subsequently scored and conducted a number of Trapper John, MD episodes. His musical talent has extended to the present day as producer, arranger, and orchestrator on his three solo albums, including Simply Broadway and his latest recording, Plays With Music Stokes has appeared on more than 20 albums.
His extensive screen credits began with a guest starring role on Roots: The Next Generations, followed by a seven-year stint on Trapper John, MD, and have continued with memorable appearances on everything from PBS’s Great Performances to The Fresh Prince, Frasier, Glee, Jumping the Broom, and his most recent recurring roles on Madam Secretary, Mr. Robot, The Path, Billions, and The Good Fight Other recent TV appearances include The Blacklist, Elementary, and Bull
As a writer, Stokes has contributed to the book Hirschfeld’s Harlem, wrote the preface to At This Theatre, and co-authored the children’s book Lights on Broadway. Stokes has enjoyed working with numerous charitable organizations from the March of Dimes to the USO. He is on the board of Americans for the Arts and is serving his 16th term as chairman of the Board of the Entertainment Community Fund (formerly The Actors Fund).
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Friday, May 5, 2023 at 11:15 am
Saturday, May 6, 2023 at 7:30 pm
ALLEN-BRADLEY HALL
Yaniv Dinur, conductor
Joyce Yang, piano
ANTONÍN DVOŘÁK
In Nature’s Realm, Opus 91
WOLFGANG AMADEUS MOZART
Concerto No. 24 in C minor for Piano and Orchestra, K. 491
I. Allegro
II. Larghetto
III. Allegretto
Joyce Yang, piano
WITOLD LUTOSŁAWSKI
Concerto for Orchestra
I. Intrada
II. Capriccio notturno e Arioso
III. Passacaglia, Toccata e Corale
The MSO Steinway Piano was made possible through a generous gift from MICHAEL AND JEANNE SCHMITZ. The 2022.23 Classics Series is presented by the UNITED PERFORMING ARTS FUND.
The length of this concert is approximately 1 hour and 45 minutes.
Milwaukee Symphony Orchestra can be heard on Telarc, Koss Classics, Pro Arte, AVIE, and Vox/Turnabout recordings. MSO Classics recordings (digital only) available on iTunes and at mso.org. MSO Binaural recordings (digital only) available at mso.org.
JOYCE YANG
Joyce Yang first came to international attention in 2005 when, as the youngest contestant at 19 years old, she won the silver medal at the 12th Van Cliburn International Piano Competition and a year later made her New York Philharmonic debut.
Yang received the 2010 Avery Fisher Career Grant and earned her first Grammy® nomination for her recording of Franck, Kurtág, Previn, and Schumann with violinist Augustin Hadelich.
Notable orchestral engagements have included the Chicago Symphony, Los Angeles Philharmonic, Philadelphia Orchestra, San Francisco Symphony, Hong Kong Philharmonic, and BBC Philharmonic, among others.
As a recitalist, Yang has performed at New York City’s Lincoln Center and Metropolitan Museum, the Kennedy Center in Washington, D.C., Chicago’s Symphony Center, Zurich’s Tonhalle, and all throughout Australia.
In the 2022.23 season, Yang shares her versatile repertoir, performing with the Milwaukee Symphony, Indianapolis Symphony, Grand Rapids Symphony, Alabama Symphony, Charlotte Symphony, and Florida Orchestra, among others, and in recital, in numerous cities including Berkeley, San Diego, and at the Aspen Music Festival.
Yang appears in the film In the Heart of Music, a documentary about the 2005 Van Cliburn International Piano Competition. She is a Steinway artist.
The MSO’s resident conductor Yaniv Dinur is on the podium for a program that includes a symphonic poem by Dvořák and Lutosławski’s powerful Concerto for Orchestra. Audience favorite Joyce Yang plays Mozart’s colorful Piano Concerto No. 24.
Born 8 September 1841; Nelahozeves, Bohemia
Died 1 May 1904; Prague, Bohemia
In Nature’s Realm, Opus 91
Composed: 1891
First performance: 28 April 1892; Prague, Bohemia
Last MSO performance: MSO premiere
Instrumentation: 2 flutes; 2 oboes; English horn; 2 clarinets; bass clarinet; 2 bassoons; 4 horns; 2 trumpets; 3 trombones; tuba; timpani; percussion (cymbals, triangle); strings
Approximate duration: 13 minutes
We wouldn’t be far off the mark if we called Antonín Dvořák the most versatile composer of the Romantic era. The Czech master’s list of works includes operas, chamber music, choral music and songs, symphonies, concertos, tone poems, and other orchestral music.
Dvořák’s V přirodĕ [In Nature’s Realm] is part of a cycle of three concert overtures Dvořák premiered at a farewell concert in Prague just prior to his departure to the U.S. to head the new National Conservatory of Music in New York City. The other two are the brilliant Carnival, Opus 92 – one of the master’s most popular compositions – and the intensely passionate Othello, Opus 93. He conducted all three during his first winter on this side of the Atlantic. From its opening measures – a pedal-tone F in the basses – above which woodwind solos evoke warbling birds, we are surrounded by the beauties of the composer’s Bohemian homeland. The scoring is light and airy, and the piece is set in sonata form, a splendid symmetrical arc that will bring back the quiet opening at the work’s end. In the exposition, listen for the characteristic interval of a descending minor third, one that evokes the sounds of Moravian folk yodeling, a motif that appears in various instruments and registers as the music increases in intensity. The development is about half as long as the exposition, but its disposition is more dramatic, employing intense harmonic progressions and counterpoint. As we’d expect, the recapitulation repeats the thematic content of the exposition, but instead of adding severity, the mood becomes more tranquil, and the piece ends quietly.
Dvořák dedicated In Nature’s Realm to Cambridge University – a thank-you card for an honorary doctorate he had received shortly before.
Born 27 January 1756; Salzburg, Austria
Died 5 December 1791; Vienna, Austria
Piano Concerto No. 24 in C minor, K. 491
Composed: 1786
First performance: April 1786; Vienna, Austria
Last MSO performance: January 1999; Keith Lockhart, conductor; Robert Levine, piano
Instrumentation: flute; 2 oboes; 2 clarinets; 2 bassoons; 2 horns; 2 trumpets; timpani; strings
Approximate duration: 31 minutes
It is an axiom among music lovers that Beethoven’s greatest, most profound musical utterances are to be found in his late string quartets and late piano sonatas. The same is said of Mozart’s late operas and late piano concertos. Such is certainly the case with the C minor concerto (K. 491), the penultimate among what are considered the great 12 piano concertos he penned between 1784-86. Mozart completed the work on 24 March 1786. This concerto is one of only two such works in a minor key. (Interestingly, only three pieces in his entire output are in C minor.) Composed about the same time as The Marriage of Figaro (K. 492), it has been postulated that Mozart chose to write a concerto in a minor key to provide himself a personal anodyne to all the major-key music in the opera. In his 1977 biography of the composer, Wolfgang Hildesheimer notes that minor-key works rarely occur in Mozart’s oeuvre, and when they do, they are of uncommon weight. “… when we do come upon them, we prick up our ears and search for a particular motivation … Is it really a decision for ‘the tragic’? Since we have no definition for a musical equivalent of what we call in words ‘the tragic,’ this question cannot be answered.”
It’s hard to believe that, in the 19th century, Mozart’s piano concertos were rarely heard. Seemingly, only the Concerto in D minor (K. 466) – the other minor-key concerto – appealed to Romantic-era sensibilities. It was held in high regard (both Beethoven and Brahms wrote cadenzas for it) and found a place in the concert repertoire. That scenario has changed since the 1950s, and today we have access to many recordings of the complete body of work.
Cast in the typical three-movement format (fast-slow-fast), K. 491 is unique in its orchestration, calling for both oboes and clarinets. The opening Allegro is, as we would expect, set in sonataallegro form; unusually, though, for a first movement, its time signature is 3/4. In the Classical era, rondos were usually reserved for the final movement, but Mozart employs the form in the Larghetto, set in five parts (ABACA) in the relative key of E-flat major. Having exhausted his rondo option, for the final Allegretto, the master creates a theme-and-variations movement. It is a jaunty cut-time march that allows the composer – having both oboes and clarinets at his disposal – to create some delightfully outdoorsy wind-band music. Following the cadenza, the sparkling coda is set in compound (6/8) meter.
Speaking of cadenzas, Mozart would have improvised his own, and generations of pianists have followed his lead in that regard. Joyce Yang has stated that the cadenzas she plays in the K. 491 were inpsired by legendary Spanish pianist Alicia de Larrocha (1923-2009).
Born 25 January 1913; Warsaw, Poland
Died 7 February 1994; Warsaw, Poland
Composed: 1950-54
First performance: 21 November 1954; Warsaw, Poland
Last MSO performance: November 2012; Christoph König, conductor
Instrumentation: 3 flutes (2nd and 3rd doubling piccolo); 3 oboes (3rd doubling English horn); 3 clarinets (3rd doubling bass clarinet); 3 bassoons (3rd doubling contrabassoon); 4 horns; 4 trumpets; 4 trombones; tuba; timpani; percussion (bass drum, cymbals, glockenspiel, snare drum, suspended cymbals, tambourine, tam tam, tenor drum, tom tom, xylophone); 2 harps; celeste; piano; strings
Approximate duration: 28 minutes
The Polish composer and conductor Witold Lutosławski was one of the most important European composers of the second half of the 20th century. As a conductor, he often led performances and recordings of his own music. At the same time, he lectured at some of the world’s most prestigious educational institutions and received several honorary doctorates – from the universities of Cambridge, Chicago, and Warsaw, among others. His compositions include works written especially for baritone Dietrich Fischer-Dieskau, violinist Anne-Sophie Mutter, pianist Kristian Zimmerman, and oboist Heinz Holliger. His Symphony No. 3 (1981-83) was commissioned by the Chicago Symphony Orchestra and Sir George Solti, and premiered in September 1983.
Lutosławski’s Concerto for Orchestra – the title refers to Bartók’s piece of the same name – is his best-known composition. Lutosławski’s earliest works, from the late 1930s, display a folk-like quality in which diatonic melodies are harmonized with chords that lack functional relationships – not unlike the music of Bartók. The Concerto was composed at the behest of conductor Witold Rowicki, who wanted a piece to showcase the newly-formed Warsaw Philharmonic. The premiere was a triumph for the composer, conductor, and orchestra.
Set in three movements, Lutosławski’s masterwork is a model of compositional directness and expert skill. Its architecture displays balanced proportions, its orchestration is innovative, there is stylistic variety, and its shifting moods, silences, and dramatic contrasts keep us on the edge of our seats. Folk music elements, diatonicism, chromaticism, and even occasional Romantic and Impressionistic idioms are employed.
The ominous opening of the Intrada is soon followed by more pastoral melodies, and the cumulative fabric of the opening draws on several brief melodies to create textures and harmonies that alternate between glowering and bucolic moods. By contrast, the scampering nocturnal Capriccio is almost Mendelssohnian. In its central section, however, Lutosławski can’t resist a more threatening tone, and its folklike melody is harshly refashioned. This is not what we’d consider a typical Arioso!
Two clear sections, which share the same principal folk theme, delineate the closing movement: a Passacaglia that leads to a Toccata and Chorale. Lutosławski seems to take Bach’s organ Passacaglia in C minor (BWV 582) as his model. Listen as the theme is presented in the lowest voices (basses, doubled by the harp) and moves through a waxingly animated orchestral texture until it reaches the piccolo’s highest notes. As the music shifts to the Toccata, the main theme is
joined by an impudent folk melody in duple time (low strings). The Chorale follows shortly, and the work comes to an exciting end in a series of linked codas.
When we realize that the Concerto was written during the Cold War, Lutosławski’s achievement becomes all the more impressive. Like Shostakovich, he was able to surmount the hurdles of “socialist realism” to create music that was truly unique. “In its passage from darkness to light,” opined Polish music specialist Adrian Thomas, “it is an allegory of the hope of individual creativity, but also a work that acknowledges the precepts of its cultural-political context.” This writer would put it more succinctly: “Wow! What a piece!”
FILM WITH ORCHESTRA
Friday, May 12, 2023 at 7:30 pm
Saturday, May 13, 2023 at 7:30 pm
Sunday, May 14, 2023 at 2:30 pm
ALLEN-BRADLEY HALL
Yaniv Dinur, conductor
Star Wars: The Force Awakens
FEATURE FILM WITH ORCHESTRA
This weekend’s media sponsor is WISCONSIN PUBLIC RADIO
The length of this concert is approximately 2 hour and 45 minutes.
Presentation licensed by Disney Concerts in association with Lucasfilm Ltd., and Warner/Chappell Music. ©All rights reserved.
Harrison Ford
Mark Hamill
Carrie Fisher
Adam Driver
Music by John Williams
Star Wars: The Force Awakens
A Lucasfilm Ltd. Production A Bad Robot Production
Starring
Daisy Ridley
John Boyega
Oscar Isaac
Lupita Nyong’o
Andy Serkis
Visual Effects and Animation by Industrial Light & Magic
Costume Designer
Michael Kaplan
Editors
Mary Jo Markey, ACE Maryann Brandon, ACE
Production Designers
Rick Carter and Darren Gilford
In 3D, REAL D 3D and IMAX 3D
Domhnall Gleeson
Anthony Daniels
Peter Mayhew and Max Von Sydow
Director of Photography
Dan Mindel, ASC, BSC
Executive Producers
Tommy Harper Jason McGatlin
Produced by Kathleen Kennedy, p.g.a.
J.J. Abrams, p.g.a. Bryan Burk, p.g.a.
Written by Lawrence Kasdan & J.J. Abrams and Michael Arndt
Directed by J.J. Abrams
© 2015 & ™ Lucasfilm Ltd. All rights reserved. Original Motion Picture Soundtrack on Walt Disney Records available at Disneymusicemporium.com
SYMPHONY ORCHESTRA
In a career spanning more than six decades, John Williams has become one of America’s most accomplished and successful composers for film and the concert stage. He remains one of our nation’s most distinguished and contributive musical voices. He has composed the music for more than 100 films, including all nine Star Wars films, the first three Harry Potter films, Schindler’s List, E.T. the Extra-Terrestrial, Jaws, Jurassic Park, Saving Private Ryan, Lincoln, Close Encounters of the Third Kind, Superman, and the Indiana Jones films. He served as music director of the Boston Pops Orchestra for 14 seasons and remains their laureate conductor. He has composed numerous works for the concert stage including two symphonies and more than a dozen concertos commissioned by some of America’s most prominent orchestras. He has received five Academy Awards and 53 Oscar nominations, seven British Academy Awards, 25 Grammys, four Golden Globes, and five Emmys. His other honors include the Kennedy Center Honors, the National Medal of Arts, an honorary KBE from Queen Elizabeth II, the Life Achievement Award from the American Film Institute, Spain’s Princess of Asturias Award for the Arts, and the Gold Medal from the UK’s prestigious Royal Philharmonic Society.
President, Disney Music Group
Ken Bunt
SVP/GM, Disney Concerts
Chip McLean
Supervising Technical Director
Alex Levy – Epilogue Media
Film Preparation
Ramiro Belgardt
Business Affairs, Lucasfilm
Rhonda Hjort
Chris Holm
For Booking Inquires:
Emily.Yoon@ICMPartners.com
Music Preparation
Mark Graham
Matthew Voogt
Joann Kane Music Service
Disney Music Library
Operations, Disney Concerts
Brannon Fells
Royd Haston
Business Affairs, Disney Concerts
Darryl Franklin
Gina Lorscheider
Phil Woods
Elena Contreras
Addison Granillo
Business Affairs, Lucasfilm
Rhonda Hjort
Chris Holm
Business Affairs, Warner-Chappell
Scott McDowell
Marketing & Publicity
Lisa Linares
Rebecca Armour
Maria Kleinman
Friday, May 26, 2023 at 7:30 pm
Saturday, May 27, 2023 at 7:30 pm
Sunday, May 28, 2023 at 2:30 pm
ALLEN-BRADLEY HALL
Ken-David Masur, conductor
Aaron Diehl Trio
Aaron Diehl, piano
David Wong, bass
Aaron Kimmel, drums
Alicia Hall Moran, mezzo-soprano
Milwaukee Symphony Women’s Chorus
Cheryl Frazes Hill, director
MARY LOU WILLIAMS
Zodiac Suite
Aries
Taurus
Gemini Cancer
Leo
Virgo
Libra
Scorpio
Sagittarius
Capricorn
Aquarius
Pisces
Aaron Diehl Trio
Alicia Hall Moran, mezzo-soprano
The Planets, Opus 32
I. Mars, The Bringer of War
II. Venus, The Bringer of Peace
III. Mercury, The Winged Messenger
IV. Jupiter, The Bringer of Jollity
V. Saturn, The Bringer of Old Age
VI. Uranus, The Magician
VII. Neptune, The Mystic
Milwaukee Symphony Women’s Chorus
The MSO Steinway Piano was made possible through a generous gift from MICHAEL AND JEANNE SCHMITZ. The 2022.23 Classics Series is presented by the UNITED PERFORMING ARTS FUND. The length of this concert is approximately 1 hour and 50 minutes.
Milwaukee Symphony Orchestra can be heard on Telarc, Koss Classics, Pro Arte, AVIE, and Vox/Turnabout recordings. MSO Classics recordings (digital only) available on iTunes and at mso.org. MSO Binaural recordings (digital only) available at mso.org.
Pianist and composer Aaron Diehl mystifies listeners with his layered artistry. At once temporal and ethereal, his expression transforms the piano into an orchestral vessel in the spirit of beloved predecessors Ahmad Jamal, Erroll Garner, and Jelly Roll Morton. Following three critically-acclaimed leader albums on Mack Avenue Records – and live appearances at historic venues from Jazz at Lincoln Center and The Village Vanguard to New York Philharmonic and the Philharmonie de Paris – the American Pianist Association’s 2011 Cole Porter fellow now focuses his attention on what it means to be present within himself. His forthcoming solo record promises an expansion of that exploration in a setting at once unbound and intimate.
Diehl conjures three-dimensional expansion of melody, counterpoint, and movement through time. Rather than choose one sound or another, he invites listeners into the chambered whole of his artistry. Born in Columbus, Ohio, Diehl traveled to New York in 2003, following his success as a finalist in JALC’s Essentially Ellington competition and a subsequent European tour with Wynton Marsalis. His love affair with rub and tension prompted a years-long immersion in distinctive repertoire from Monk and Ravel to Gershwin and William Grant Still. Among other towering figures, Still in particular inspires Diehl’s ongoing curation of Black American composers in his own performance programming, unveiled this past fall at 92nd St. Y.
Diehl has enjoyed artistic associations with Wynton Marsalis, Benny Golson, Jimmy Heath, Buster Williams, Branford Marsalis, Wycliffe Gordon, Philip Glass, and multi-Grammy® award-winning artist Cecile McLorin Salvant. He recently appeared with the New York Philharmonic and the Cleveland Orchestra as featured soloist.
Diehl holds a Bachelor of Music in jazz studies from Juilliard. A licensed pilot, when he’s not at the studio or on the road, he’s likely in the air. Follow both his earthbound and aerial exploits via Instagram @aaronjdiehl.
Bassist David Wong was born and raised in New York City. In 2004, he graduated from The Juilliard School in classical music. He has studied with Orin O’Brien (New York Philharmonic) and Ron Carter. He is currently a member of Roy Haynes’s Fountain of Youth band, the Charles McPherson Quintet, and The Vanguard Jazz Orchestra. He was also the last bass player in the Heath Brother’s Quartet, led by Jimmy Heath and Albert “Tootie” Heath, as well as Hank Jones’s Great Jazz Trio, and is featured on the piano master’s last recording. Wong is on faculty at Temple University, Purchase College, The New School, and The City College of New York.
Aaron Kimmel is a native of Hollidaysburg, Pennsylvania. He holds a Bachelor of Music degree from The Juilliard School, where he studied with Kenny Washington and Billy Drummond, and he is now a freelance drummer living in New York City. He frequently appears at Smalls and Dizzy’s Club Coca-Cola, performing as a sideman with the Benny Green trio and Aaron Diehl, among others. He has also played with such jazz luminaries as Harry Allen, Ken Peplowski, Eric Alexander, Joe Magnarelli, Grant Stewart, Terell Stafford, Ryan Kisor, Toshiko Akiyoshi, Brian Lynch, Ann Hampton Callaway, Mary Stallings, and Jon Faddis.
Alicia Hall Moran’s (mezzo-soprano) blend of musicality, vocal beauty, and social inquiry intersect art, dance, opera, film, theater, Broadway, literature, poetry, and contemporary thought. She’s recorded two critically acclaimed albums: Heavy Blue and Here Today and performed in unique concert tours (Black Wall Street, the motown project, and Battle of the Carmens/Breaking Ice), cocomposed and directed a short opera for Washington National Opera, produced and performed an on-ice musical residency at Bryant Park, and enjoyed forays into improvisational music with artists such as Bill Frisell, Charles Lloyd, Brandon Ross, Kaoru Watanabe, and Yosvany Terry.
Moran has premiered works by celebrated composers Tania León, Bryce Dessner, Tomeka Reid, James Moore, Yosvany Terry, and Gabriel Kahane. Symphony engagements have included the
Oregon Symphony, Grant Park Orchestra, Chicago Philharmonic, Spoleto Festival, San Francisco Symphony, Virginia Symphony Orchestra, Dayton Philharmonic, stargaze Ensemble, National Symphony Orchestra Pops, Austin Symphony, Ocean City, Roanoke Symphony, 1B1 Orchestra, and Kennedy Center Honors.
Honors include a Bessie Award for musical collaboration with Bill T. Jones/Arnie Zane Dance Company, an NAACP Theater Award nomination (Best Lead Female in a Musical) for her portrayal of Bess – originally premiered in the Tony Award-winning production of Porgy and Bess, a Jerome Hill Artist Fellowship, Van Lier Fellowship, Ford Foundation Art of Change fellowship, and numerous artist residencies, including the Inaugural Chamber Music Artist Residency at Frost School of Music at University of Miami, Isabella Stewart Gardner Museum, National Sawdust, Massachusetts Museum of Contemporary Art, and Yale Art Gallery, to name but a few. Her writing credits include New York Amsterdam News, Tidal Magazine, and Princeton U. Press.
Moran’s artistic and curatorial vision continue to inspire concert formats with husband Jason Moran, including Bleed for the Whitney Biennial, Work Songs for the Venice Biennial, and the tour Two Wings: The Music of Black America in Migration, commissioned by Carnegie Hall.
MSO Artistic Partner Aaron Diehl returns to Milwaukee to premiere the complete full-orchestra version of jazz composer Mary Lou Williams’s Zodiac Suite. After intermission, we’ll stay among the stars for Holst’s The Planets.
Born 8 May 1910; Atlanta, Georgia
Died 28 May 1981; Durham, North Carolina
Zodiac Suite
Composed: 1942-45
First performance: 31 December 1945
Last MSO performance: MSO premiere
Instrumentation: flute (doubling piccolo); oboe; clarinet (doubling bass clarinet); tenor saxophone; bassoon; horn; trumpet; trombone; strings
Approximate duration: 30 minutes
Popularly known as “the first lady of jazz keyboard,” Mary Lou Williams (née Mary Alfrieda Winn) was one of the first significant female instrumentalists in jazz. A child prodigy, at age two, she was picking out simple tunes on the family piano, and at age three began piano lessons with her mother. A prolific composer, she was also a master arranger, creating musical scores for Duke Ellington, Benny Goodman, and other swing-era bands. Assuming the roles of friend, mentor, and teacher, her circle included such luminaries as Thelonious Monk, Charlie Parker, Miles Davis, Budd Powell, and Dizzy Gillespie.
Her pianism has been described as a distinctively understated, legato style based on subtly varied stride and boogie-woogie bass patterns. At the same time, she was a major advocate of postwar modern jazz, constantly probing harmonies and articulations in a manner that allowed her to retain a reputation as a “modernist” for most of her career. And she made it a point to study the music of Stravinsky and Schoenberg. Some of her most important arrangements include “Froggy Bottom,” “Walkin’ and Struttin’,” “Mary’s Idea” (all for Andy Kirk’s band, 1936-38), and “Roll ’em” (for Benny Goodman, 1937). She also penned the bop piece “In the Land of Oo-bla-dee” and, following her conversion to Roman Catholicism, composed several sacred works, including a mass. Her cantata Black Christ of the Andes (1963) is a notably successful fusion of jazz and church music. She briefly played in Duke Ellington’s band, writing for him the well-known “Trumpet No End.” It was about this same time that she penned her 12-movement Zodiac Suite, a winning fusion of jazz and classical idioms, inspired by musical associates of Williams who were born under the respective constellations.
• Aries: Billie Holiday, Ben Webster
• Taurus: Duke Ellington
• Gemini: Shorty Baker
• Cancer: Lem Davis
• Leo: Vic Dickenson
• Virgo: Phil Moore
• Libra: Art Tatum, Dizzy Gillespie, Bud Powell, Thelonious Monk, Charlie Parker, John Coltrane
• Scorpio: Ethel Waters, Katherine Dunham, Al Lucas
• Sagittarius: Eddie Heywood
• Capricorn: Pearl Primus, Frankie Newton
• Aquarius: Josh White, Eartha Kitt
• Pisces: Al Hall, Barney Josephson
The work exists in several versions: jazz trio, piano and chamber ensemble, and piano and symphony orchestra. In June 1945, Williams recorded the jazz trio version on the Asch record label. It has since been re-released on the Smithsonian label and can be found on YouTube. (It’s worth the time!)
At the end of that year, she presented a version for chamber orchestra at Town Hall in New York, conducted by Milton Orent, whom Williams credited with having a hand in the orchestration. The following summer came full symphonic orchestrations of three of the 12 movements, with the Carnegie Pops Orchestra. The arrangement heard on these MSO concerts was prepared by Jeffrey Sultanof and Rob Duboff, published in 2011 with the authorization of the Mary Lou Williams Foundation, Inc.
Born 21 September 1874; Cheltenham, England
Died 25 May 1934; London, England
The Planets, Opus 32
Composed: 1914-16
Premiere: 28 September 1918; London, England
Last MSO performance: February 2017; Edo de Waart, conductor
Instrumentation: 4 flutes (3rd doubling piccolo, 4th doubling piccolo and alto flute); 3 oboes (3rd doubling bass oboe and English horn); 3 clarinets; bass clarinet; 3 bassoons; contrabassoon; 6 horns; 4 trumpets; 3 trombones; tuba; tenor tuba; 2 timpani; percussion (bass drum, cymbals, glockenspiel, gong, snare drum, tambourine, triangle, xylophone); 2 harps; celeste; organ; strings
Approximate duration: 51 minutes
These pieces were suggested by the astrological significance of the planets. There is no program music in them, neither have they any connection with the deities of classical mythology bearing the same names. If any guide to the music is required, the subtitle of each piece will be found sufficient, especially if it is used in a broad sense. For instance, Jupiter brings jollity in the ordinary sense, and also the more ceremonial kind of rejoicing associated with religious or national festivities. Saturn brings not only physical decay, but also a vision of fulfillment. Mercury is the symbol of mind.
– Gustav HolstThe English composer Gustav Holst is best known for his seven-movement suite The Planets That such should be the case was a source of great consternation to him – much like Boléro for Ravel or the piano prelude in C-sharp minor for Rachmaninoff. With other fine orchestral music, several operas, chamber music, songs, and a plethora of sublime choral music in his catalogue, the composer never thought it his best work; he was flummoxed by the sensation it caused. Regarding success, he stated, “It made me realize the truth of ‘Woe to you when all men speak well of you.’”
Born into a musical household – his father was a pianist and organist, his mother a pianist and singer – Gustavus Theodore von Holst’s family tree had its roots in Scandinavia, Russia, and Germany (he anglicized his name in the course of WWII). As a child, he took piano lessons and began writing music while still in grammar school. In his late teens, he entered the Royal Academy of Music, where he studied composition with the eminent Charles Villiers Stanford (1852-1924). At the RCM, he met fellow student Ralph Vaughan Williams (1872-1958). The two immediately became fast friends and began the lifelong habit of playing their newest works-inprogress to each other.
Throughout his adult life, Holst was a teacher – and an influential one. That profession took up most of his time, allowing him to compose only on weekends and in August, when he worked undisturbed in his soundproof music room at St. Paul’s Girls’ School, Hammersmith. Appointed director or music there in 1905, it was the only teaching post he kept to the end of his life. Often lecturing in evening institutes as well, he was forced to save up his compositional ideas until the end of each week. That’s why it took him two years (1914-16) to write The Planets. (Bad eyesight and neuritis in his right arm had kept him from war service.)
As Holst makes clear in the quote on the previous page, offered in connection with the work’s first performance, The Planets was conceived with an astrological, rather than astronomical, mindset. Holst was first introduced to astrology in 1913 by Clifford Bax, brother of composer Arnold Bax, while the two were on a tour of Spain. Not long afterward, he wrote to a friend, “Recently the character of each planet suggested lots to me, and I have been studying astrology fairly closely.” Thus, their contrasting personalities gave rise to a work unlike anything he had ever composed.
The first performance was for an invited audience of a few hundred people; Sir Adrian Boult led the New Queen’s Hall Orchestra. Many thought Mars was a depiction of the war still being fought, when in fact it was composed prior to August 1914. The end of Neptune – with its offstage women’s chorus fading into silent infinity – caused the biggest commotion, but Holst’s own favorite was always Saturn. Over one hundred years later, the piece never fails to please. His daughter and biographer Imogen Holst (1907-84) summed it up best: “During the many years since it was written, The Planets has suffered from being quoted in snippets as background music, but in spite of all unwanted associations it has survived as a masterpiece, owing to the strength of Holst’s invention.”
The Milwaukee Symphony Orchestra thanks our individual donors for their generous support of the 2022 MSO Annual Gala.
Mrs. Susan Arensmeier
Laura and Mike Arnow
Marget Boyd
Keith and Kate Brewer
Mr. Richard D. Buchbwand
Mr. Norman Buebendorf
Daniel and Allison Byrne
Anthony and Vicki Cecalupo
Mr. and Mrs. Stephen L. Chernof
Heather Crouse
Lafayette Crump
Karen Dobbs and Chris DeNardis
Mrs. and Mr. Margaret Diaz
Jonathan Dowling
Elizabeth and Robert Drwaper
Linda Edelstein
Mr. David Froiland
Jacqueline and Joseph Gessner
Mitch and Marion Gottschalk
Matt & Victoria Haas
Katherine and Christopher Hermann
Mr. and Mrs. Eric E. Hobbs
John E. Holland
and Konrad K. Kuchenbach
Mrs. Kendra Ingram
Scott and Jill Jorgensen
Mrs. Alyce Coyne Katayama
Christine and J. Patrick Keyes
Mary and Alex Kramer
Mr. and Mrs. Christopher Ludwig
Sara and Nathan Manning
Dr. Brent and Susan Martin
Mr. and Mrs. George Meyer
Christian and Kate Mitchell
Theodore and Kelsey Perlick Molinari
Bob and Barbara Monnat
Patrick and Mary Murphy
Bruce and Joyce Myers
William and Marian Nasgovitz
Maggey and David Oplinger
Leslie Plamann
Mr. & Mrs. Thomas Richtman
Elizabeth Ridley and Abim Kolawole
Robin and John Sasman
Steven and Gillian Chamberlin
Michael Schmitz
Craig and Lynn Schmutzer
Lawrence and Katherine Schnuck
Kate and William Schoyer
Mrs. Gretchen G. Seamons
Mr. Leonard Silva
Nancy and Greg Smith
Allison M. and Dale R. Smith
Gile and Linda Tojek
Haruki Toyama
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Mr. and Mrs. Jay Williams
Herbert Zien and Elizabeth Levins
Myra Huth
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Mr. and Mrs. John Griffith
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Mr. Dan Parman
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Thomas Levan
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Jessica Adkins
Tim and Sandy Gerend
Mr. Chris Behling
Andrew and Lori Barrieau
Matthew H. Domski
Ms. Kelly Brown
Tiffany Davister
George and Karen Oliver
Skip McConeghy
Carolin Masur and Uwe Strom
Tomoko Masur
Marc and Amy Vandiepenbeeck
Chrystel Pierre
Jakob Schjoerring-Thyssen
Olivier Leonetti
Rich and Kelly Dancy
Annie and Todd Kosel
Pieter and Lee Lens
Jillian Culver
John Castino Sandi Fedele-Jacoby
Anthony Fuerst
Venkatesh Rajakrishnan
John Burkham
Amanda Boynes
Melinda L. Masur
Dirk Timmermans
Aditi Gokhale
Rex Groner
Miek de Graeve
Kim Hardy
Matthew Denardis
Alexander Huhn
Visionaries
Commitments of $1,000,000 and above
Jane Bradley Pettit
Charles and Marie Caestecker
Concertmaster Chair
Herzfeld Foundation
Rev. Curtis and Dr. Gizell Larson
Krause Family Principal Horn Chair
Phyllis and Harleth Pubanz
Gertrude M. Puelicher Education Fund
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
Two 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
Elizabeth Elser Doolittle
Charitable Trust
Franklyn Esenberg
Principal Clarinet Chair
David L. Harrison Endowment for Music Education
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
Donald and Judy Christl
Jo Ann Corrao
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
Jo Ann 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
Ms. Kathleen Marquardt
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 Schultz and Donna Menzer
Mason Sherwood and Mark Franke
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
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.
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 March 1, 2023.
$100,000 and above
Bobbi and Jim Caraway
Mr. and Mrs. George C. Kaiser
Donald and JoAnne Krause
Marty Krebs
Nancy Laskin
Sheldon and Marianne Lubar
Charitable Fund of the Lubar Family Foundation
Michael Schmitz
Julia and David Uihlein
$50,000 and above
Two Anonymous Donors
Laura and Mike Arnow
Isabel Bader
Anthony and Vicki Cecalupo
Drs. Alan and Carol Pohl
Mr. and Mrs. Donald S. Wilson
$25,000 and above
Two Anonymous Donors
Elaine Burke
Mr. and Mrs. Franklyn Esenberg
Mrs. Susan G. Gebhardt
Doug and Jane Hagerman
Judy and Gary Jorgensen
Robert and Gail Korb
Dr. Brent and Susan Martin
Drs. George and Christine Sosnovsky
Charitable Trust
Drs. Robert Taylor
and Janice McFarland Taylor
Lorry Uihlein Charitable Lead Unitrust
Thora Vervoren
$15,000 and above
Two Anonymous Donors
Richard and JoAnn Beightol
Marilyn and John Breidster
Mary and Terry Briscoe
Mary and James Connelly
Dr. Deborah and Jeff Costakos
Mrs. Alyce Coyne Katayama
Cynthia and Brian Dearing
Barbara and Harry L. Drake
Lee Fitzsimonds
Roberta Gordon
Drs. Carla and Robert Hay
Dr. and Mrs. Samuel Hoke
Jewish Community Foundation
Eileen & Howard Dubner Donor
Advised Fund
Judith A. Keyes
Charles and Barbara Lund
Maureen McCabe
William and Marian Nasgovitz
Paul Nausieda and Evonne Winston
Lois and Richard Pauls
Pat Rieselbach
Allison M. and Dale R. Smith
Susi and Dick Stoll
Haruki Toyama
Charles T. Urban and Joan M. Coufal
$10,000 and above
Three Anonymous Donors
Frances and Lowell Adams
Sue and Louie Andrew
Dr. Rita Bakalars
Lois Bernard
Keith and Kate Brewer
Ms. Dorothy Diggs
Jennifer Dirks
Bruce T. Faure M.D.
Mary Lou M. Findley
Greater Milwaukee Foundation
Bernard J. and Marie E. Weiss Fund
Judith J. Goetz
Stephanie and Steve Hancock
Katherine Hauser
Ms. Charlotte Hayslett
Mr. and Mrs. Eric E. Hobbs
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
Mr. and Ms. Bruce Myers
Andy Nunemaker
Brian and Maura Packham
Julie Peay
Leslie and Aaron Plamann
Christine Radiske and Herbert Quigley
John and Mary Rickmeier
Lynn and Craig Schmutzer
Sara and Jay Schwister
Nancy and Greg Smith
Mr. and Mrs. Thomas R. Tiffany
Herbert Zien and Elizabeth Levins
$5,000 and above
Four Anonymous Donors
Fred and Kay Austermann
Thomas Bagwell and Michelle Hiebert
Clair and Mary Baum
Donna and Donald Baumgartner
Natalie Beckwith
Richard and Kay Bibler
William and Barbara Boles
George S. and Sally Ann Borkowski
Suzy and John Brennan
Jean Britt
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
Joanne Doehler
Beth and Ted Durant
Dr. Eric Durant and Scott Swickard
Jacquelyn and Dalibor Drummer
Dr. and Mrs. Harry A. Easom
Elizabeth and Herodotos Ellinas
Dr. Donald Feinsilver
and Jo Ann Corrao
Paul and Connie Flagg
Elizabeth and William Genne
Richard and Ellen Glaisner
Alison Graf and Richard Schreiner
James and Crystal Hegge
Ms. Mary E. Henke
Mark and Judy Hibbard
James and Karen Hyde
Lee and Barbara Jacobi
Jayne J. Jordan
Lynn and Tom Kassouf
Kenneth and Alice Kayser
Kolaga Family Charitable Trust
Anthony and Susan Krausen
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
William J. Murgas
Mark Niehaus
Barbara and Layton Olsen
Elaine Pagedas
Ellen Rohwer Pappas
and Timothy Pappas
Mr. and Mrs. James R. Petrie
Dr. and Mrs. Richard A. Pierce-Ruhland
Jim and Fran Proulx
Jerome Randall & Mary Hauser
Alice E. Read
Dr. Donna Recht and Dr. Robert Newby
Dr. Marcia J.S. Richards
Steve and Fran Richman
Pat and David Rierson
Roger Ritzow
Dr. Thomas and Mary Roberts
Kay Schanke
Richard Eli Schoen
Brian M. Schwellinger
Carlton Stansbury
Loretto and Dick Steinmetz
John Stewig and Richard Bradley
Kathleen and Frank Thometz
John and Karen Tomashek
Mrs. James Urdan
Mrs. George Walcott
Tracy S. Wang, MD
Jim Ward
Mr. and Mrs. Francis Wasielewski
Nora and Jude Werra
Jessica R. Wirth
Diana J. Wood
$3,500 and above
Three Anonymous Donors
Dr. Philip and the spirit
of Beatrice Blank
Professor David and Diane Buck
Ms. Nancy A. Desjardins
Fred and Debby Ganaway
Stephen and Bernadine Graff
Virginia Hall
Margarete and David Harvey
Drs. Margie Boyles and Stephen Hinkle
Barbara Hunt
David and Mel Johnson
Olof Jonsdottir
and Thorsteinn Skulason
Dr. and Mrs. Kim
Mary S. Knudten
Benedict and Lee Kordus
Calvin and Lynn Kozlowski
Stanley Kritzik
Norm and Judy Lasca
Dr. Joseph and Amy Leung
Micaela Levine and Thomas St. John
Rusti and Steve Moffic
Christopher Mullins and Kay Bokowy
Mr. and Mrs. Joel Needlman
Dr. and Mrs. R. Nikolaus Schmidt
Elaine Schueler
James Schultz and Donna Menzer
Mr. Thomas P. Schweda
Sue and Boo Smith
Nita Soref
James and Catherine Startt
Gile and Linda Tojek
Corinthia Van Orsdol
and Donald Petersen
Janet Wilgus
Mr. Wilfred Wollner
Carol and Richard Wythes
Sandra Zingler
Leo Zoeller
$2,500 and above
Robert Balderson
Mark and Laura Barnard
Marlene and Bert Bilsky
Scott Bolens
and Elizabeth Forman
Walter and Virginia Boyer
Mr. David E. Cadle
Mr. and Mrs. Stephen L. Chernof
Jack Douthitt and Michelle Zimmer
Steven and Buffy Duback
Robert Gardenier
and Lori Morse Gardenier
Kurt and Rosemary Glaisner
Mr. Kim M. Graff
Jean and Thomas Harbeck
Family Foundation
Leesley B. and Joan J. Hardy
Mr. and Mrs. Bernard C. Hlavac
Charles and Jean Holmburg
Howard and Susan Hopwood
Karen Hung and Bob Coletti
Deane and Vicky Jaeger
Leon and Betsy Janssen
Jewish Community Foundation
Dorothy & Merton Rotter
Donor Advised Fund
Matthew and Kathryn Kamm
Megumi Kanda Hemann
and Dietrich Hemann
Jane and Tom Lacy
Mary E. Lacy
Frank Loo and Sally Long
Dr. and Mrs. Debesh Mazumdar
Daniel and Constance McCarty
Guy and Mary Jo McDonald
Mark and Carol Mitchell
William and Laverne Mueller
Raymond and Janice Perry
David J. Peterson
Kathryn Koenen Potos
Barbara Recht
Susan Riedel
Ann Rosenthal and Benson Massey
Dottie Rotter
Judy and Tom Schmid
Rev. Doug and Marilyn Schoen
Greg and Marybeth Shuppe
Mrs. George R. Slater
Roger and Judy Smith
Dr. and Mrs. C. John Snyder
Jim Strey
John and Anne Thomas
Ann and Joseph Wenzler
Floyd Woldt
$1,500 and above
Six Anonymous Donors
Jantina and Donald Adriano
Ruth Agrusa
Dr. Joan Arvedson
Richard and Sara Aster
Margaret and Bruce Barr
Jacqlynn Behnke
Richard Bergman
Elliot and Karen Berman
Mrs. Kristine Best
Roger Bialcik
Virginia Bolger
Dr. and Mrs. Squat Botley
Cheri and Tom Briscoe
Marcia P. Brooks
and Edward J. Hammond
Ms. Dori Brown
Barbara and Dr. Henry Burko
Bobbi and Jim Caraway
Karen and Harry Carlson
Teri Carpenter
Edith Christian
Mr. and Mrs. Thomas F. Christie
Lynda and Tom Curl
Paul Dekker
Mr. and Mrs. Thomas Dougherty
Art and Rhonda Downey
Sigrid Dynek and Barry Axelrood
Signe and Gerald Emmerich, Jr.
Shirley Erwin
Joseph and Joan Fall
Robert and Kristin Fewel
Mr. and Mrs. A. William Finke
Jo Ann and Dale Frederickson
Jane K. Gertler
Colette Goldammer
Greater Milwaukee Foundation
Donna and Tony Meyer Fund
Randall J. and Judith F. Hake
Family Foundation
Leila and Joe Hanson
Judith and David Hecker
Robert Hey
Terry Huebner
Barbara Hunteman
Robert S. Jakubiak
Maja Jurisic and Don Fraker
Dr. Bruce and Anna Kaufman
Dr. Jack and Myrna Kaufman
Mr. and Mrs. F. Michael Kluiber
Julilly Kohler
Maritza and Mario Laguna
Drs. Kaye and Prakash Laud
Larry and Mary LeBlanc
Mr. and Mrs. Mark Levy
Bruce and Elizabeth Loder
Kathleen Lovelace
Dr. John and Kristie Malone
Mr. and Mrs. Dean Mehlberg
Gregory and Susan Milleville
Richard and Isabel Muirhead
Jean A. Novy
Laurie Ocepek
Lynn and Lawrence Olsen
Susan M. Otto
Dr. David Paris
Jamshed and Deborah Patel
Gerald T. and Carol K. Petersen
Cathy P. Procton
Emily and Mike Robertson
Dr. and Mrs. David Y. Rosenzweig
Margaret Ruscetta
Lawrence and Katherine Schnuck
Ms. Betty Jean Schuett
Ian and Ellen Szczygielski
Paul and Frances Seifert
Dr. and Mrs. Kevin R. Siebenlist
Margles Singleton
Richard and Sheryl Smith
Leonard Sobczak
Kathy and Salvatore Spicuzza
Jeff and Jody Steren
Joan Thompson
Mr. Stephen Thompson
R. James and Jean Tobin
Sara Toenes
Mike and Peg Uihlein
Mr. and Mrs. Lynn F. Unkefer
Lauren Vollrath
Nancy Vrabec and Alastair Boake
Michael Walton
Larry and Adrienne Waters
Rolland and Sharon Wilson
John Winter
Prati and Norm Wojtal
Lee and Carol Wolcott
Jim and Sandy Wrangell
Mr. William Zeidler
$1,000 and above
Six Anonymous Donors
Drs. Helmut and Sandra Ammon
Betty Arndt
Paul Barkhaus
Steven Barney
James and Nora Barry
Mr. James M. Baumgartner
Jack Beatty
Mr. and Mrs. Ronald Beckman
Fiesha Lynn Bell
Dianne and David Benner
Mr. Lawrence Bialcik
Karen and Geoffrey Bilda
Robert Borch and Linda Wickstrom
Karen and Russell Brooker
Dr. and Mrs. James D. Buck
Tom Buthod
Ms. Trish Calvy
David and Oksana Carlson
Ms. Carol A. Carpenter
Tim and Kathleen Carr
Dr. Curtis and Jean Carter
Mr. and Mrs. Richard J. Cecil
Mr. John Chain
B. Lauren and Margaret Charous
Nicole and Jack Cook
Glen and Karen Copper
Ellen Debbink
Mrs. Linda DeBruin
Ms. Kristine Demski
Madison Dohmen
Gloria and Peter Drenzek
Don and Nora Dreske
Mary Ann Dude
Thomas Durkin and Joan Robotham
Tina Eickermann
Mr. Donald Elliott
Jill and George Fahr
Anne and Dean Fitzgerald
Stan and Janet Fox
Kimberly Gerber
Pearl Mary Goetsch
Ralph and Cherie Gorenstein
Greater Milwaukee Foundation
Dresselhuys Family Fund
Jay Kay Foundation Fund
Mr. and Mrs. James Grigg
Douglas and Margaret Ann Haag
Dale and Sara Harmelink
Charles W. Helscher
Jean and John Henderson
Dr. Sidney and Suzanne Herszenson
Jenny and Bob Hillis
Jeanne and Conrad Holling
Laura and James Holtz
Mr. Jeffrey L. Hosler
Mr. and Mrs. James H. Hunter III
Kathryn and Alan Janicek
Faith L. Johnson
Mary and Charles Kamps
Eileen Kehoe and Bud Reinhold
Patrick and Jane Keily
Jane Kivlin and Thomas Kelly
Robert and Dorothy King
Joseph W. Kmoch
Jonathan and Willette Knopp
Julie and Michael Koss
Dr. Michael J. Krco
Dr. and Mrs. John Krezoski
Dale and Barbara Lenz
John and Janice Liebenstein
Matt and Patty Linn
Ann Loder
Bruce and Elizabeth Loder
Richard and Roberta London
Stephen and Jane Lukowicz
Joan Maas
Stephen and Judy Maersch
Mike and Jamy Malatesta
Mr. Peter Mamerow
Sara and Nathan Manning
Jennifer McClure
Joan McCracken
Joni and Joe McDevitt
Debra and Jeffrey Metz
Christel Mildenberg
Theodore and Kelsey Perlick Molinari
Christine Mortensen
Molly Mulroy
David and Gail Nelson
Dr. and Mrs. James T. Paloucek
Douglas E. Peterson
Mr. and Thomas Quadracci
Francis J. Randall
Philip Reifenberg
Lysbeth and James Reiskytl
Roberta and David Remstad
Karen and Paul Rice
Drs. Walter and Lisa Rich
Werner and Carol Richheimer
Dan and Anna Robbins
Kevin Ronnie and Karen Campbell
Russell and Emily Sagmoen
Allen and Millie Salomon
Keri Sarajian and Rick Stratton
Wilbert and Genevieve Schauer
Foundation
Martin Schreiber
Lois and Stephen Schreiter
Donald and Judith Schultz
Phil Schumacher and Pauline Beck
Mark and Deborah Schwallie
Bob and Sally Schwarz
Fred and Ruth Schwertfeger
Scott Silet
Susan Skudlarczyk
Barbara and Everett Smith
Mr. Reeves E. Smith
Joan Spector
Ken and Dee Stein
Bonnie L. Steindorf
Ann Stevens
Sally Swetnam
David Taggart and Terry Burko
Rebecca and Robert Tenges
Tim and Bonnie Tesch
Dean and Katherine Thome
Mr. and Mrs. James S. Tidey
Drs. Steven and Denise Trinkl
Constance U’Ren
James Van Ess
Ruth A. Way
Henry J. Wellner and James Cook
Jerome and Bonnie Welz
Robert and Barbara Whealon
A. James White
Robert and Lana Wiese
Mr. and Mrs. James Wigdale
Linda and Dan Wilhelms
Ron and Alice Winkler
Frank and Inge Wintersberger
Daryl and Bonnie Wunrow
Gertrude and Richard Zauner
BRAVO
The Milwaukee Symphony Orchestra is grateful for the members of Bravo, our young professionals donor membership program. Thank you for making an impact on the MSO and broader community through your support and engagement.
Danielle Boyke
Ashley Brinkman
Elizabeth and Robert Draper
Matt and Victoria Haas
Dan and Krista Hettinger
Matthew and Alicia Hunt
Tina Itson
Benjamin Ivey
Kaleigh Kozak
Jacob Magnusson
TJ and Kelsey Molinari
Jessica and Paul Pihart
Monica D. Reida
Sarah E. Rieger
Monica Rynders
Russell and Emily Sagmoen
Cyreia Sandlin
Michael Schaner
Allison Schnier
Brian Schwellinger
Megan Sorenson
GALA CORPORATE
The Milwaukee Symphony Orchestra thanks our Corporate Sponsors for their generous support of the 2022 Annual Gala.
Baird Private Wealth Management
BMO Harris Bank
CD Smith Construction Services
Ernst & Young, LLP
FIS Global
Godfrey & Kahn, S.C.
Johnson Controls, Inc.
Kahler Slater
Kujawa Enterprises, Inc.
ManpowerGroup
Marietta Investment Partners
Northern Trust
Northwestern Mutual
Old National Bank
PricewaterhouseCoopers LLP
Quarles
Rite-Hite
Rockwell Automation
U.S. Bank
We Energies Foundation
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
$50,000 and above
Bader Philanthropies, Inc.
Greater Milwaukee Foundation
Milwaukee Symphony Orchestra
Fund
Johnson Controls
Melitta S. and Joan M. Pick
Charitable Trust
U.S. Department of Homeland Security
$25,000 and above
Anonymous
Chase Family Foundation
Greater Milwaukee Foundation
Gertrude Elser and John Edward
Schroeder Fund
Helen and Jeanette Oberndorfer
Fund
Norman and Lucy Cohn Family Fund
Krause Family Foundation
Milwaukee County Arts Fund
(CAMPAC)
Old National Bank
R.D. and Linda Peters Foundation
Schoenleber Foundation, Inc.
U.S. Bank
WEC Energy Group
Wisconsin Department of Tourism
$15,000 and above
A.O. Smith Foundation, Inc.
Bert L. & Patricia S. Steigleder
Charitable Trust
Gladys E. Gores Charitable Foundation
Kahler Slater
Komatsu Mining Corp Foundation
National Endowment for the Arts
Wisconsin Arts Board
$10,000 and above
BMO Harris Bank
Brewers Community Foundation
Charles D. Ortgiesen Foundation
The Cudahy Foundation
Greater Milwaukee Foundation
David C. Scott Foundation
William A. and Mary M Bonfield, Jr.
Fund
Ellsworth Corporation
Jane Bradley Pettit Foundation
Northwestern Mutual
Ralph Evinrude Foundation
William and Janice Godfrey Family
Foundation
Wispact Foudation
$5,000 and above
ANON Charitable Trust
Gene and Ruth Posner Foundation, Inc.
General Mills Foundation
Greater Milwaukee Foundation
Roxy and Bud Heyse Fund/Journal
Fund
Julian Family Foundation
MGIC Investment Corporation
Milwaukee Arts Board
Schwartz Foundation
$2,500 and above
Brico Fund
Camille A. Lonstorf Trust
Dean Family Foundation
Enterprise Holdings
Greater Milwaukee Foundation
David Wells Household
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
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
Ellis Family Charitable Fund
FIS Global Foley & Lardner LLP
Greater Milwaukee Foundation
Bechthold Family Fund
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
AmazonSmile Foundation
Bell Foundation
Greater Milwaukee Foundation
Carrie Taylor & Nettie Taylor
Robinson Memorial Fund
Nancy E. Hack Fund
Robert C. Archer Designated Fund
Steinway Piano Gallery of Milwaukee
GOLDEN NOTE PARTNERS
The MSO gratefully acknowledges the following organizations for their gifts of product or services:
88Nine Radio Milwaukee
Becker Design
Belle Fiori – Official Event Florist of the MSO
The Capital Grille
Central Standard Craft Distillery
Coakley Bros. Co.
Colectivo Coffee
Downer Avenue Wine & Spirits
Drury Hotels
Encore Playbills
Exceptional Events
GO Riteway Transportation Group
Godfrey & Kahn, S.C.
Hilton Milwaukee City Center and Milwaukee ChopHouse
Kohler Co.
Marcus Hotels & Resorts
Milwaukee Journal Sentinel
Ogletree Deakins
Saint Kate – The Arts Hotel –Official Hotel of the MSO
Sojourner Family Peace Center
Steinway Piano Gallery of Milwaukee
Studio Gear – Official Event Partner of the MSO
Thomas and Mary Wacker
Wisconsin Public Radio
The Milwaukee Symphony Orchestra proudly partners with the following members of the 2022.23 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
TRIBUTES
In memory of Mary Ann
Abrahamson
Linda Budlow
Suzanne and Roger Chernik
Ms. Katie A. Heil
In memory Dorothy Aring
Mary and James Connelly
Scott Coonen and Anitamarie Zingale
Mr. and Mrs. Richard Frank
Molly Fritz
Lff Foundation
Lee and Susie Jennings
Daniel Petry
Michael and Jeanne Schmitz
Vera Wilson
In memory of Mark Barr
Brenda Kaplan
Vashti and Luke Lozier
Robert and Hanna McDermott
In memory of Stan Bluestone
Stephen and Frances Richman
In memory of David A. Blumberg
David and Sherry Blumberg
Lucy Cooper
Naomi and Reuben Eisenstein
Gary Engle
Kelsi Gard
Raul Gomez
Mark Lukoff
Richard and Mary Lux
Jay and Barbara Miller
Suzanne Millett
Drs. Alan and Carol Pohl
Howard and Judy Tolkan
David Weissman and Miriam Schechter
Norma Zehner
Margaret Zickuhr
In memory of Dr. Charles Brindis
Calvin Bruce
In honor of Richard Cecil
Barbara Cecil
In honor of Ellen Checota’s 80th birthday
Donna and Donald Baumgartner
Jodi Peck
Dr. James and Dorothy Stadler
Mr. and Mrs. L. William Teweles
Jodi Peck and Les Weil
In memory of Wayne Cook
Greg and Julie Bradisse
Art and Rena Thomas Bumgardner
James Collier and Bette Jean Vanderburg
Anne DeLeo
Anne DeLeo and Patrick Curley
Jim and Marlene Gauger
Mary Ann Goodman
Mr. and Mrs. Michael Hauer
Dave and Debbie Holmes
Richard Kruse
David Kuehn
Tom and Judy Kurtin
Ms. Clare Leslie
Ms. Lynn M. Lucius and Mr. Richard Taylor
Patricia Marek
Mr. Ehud Moscovitz and Ms. Shelley London
Susan Mrnik
Daniel Petry
Al Schefsky
Bernice Smaida
Kathy Stokebrand Spore & Keith Spore
Winifred and Arthur Thrall
Jennifer, Gabe, Susie & Lisa Vulpas
In memory of Russ Dagon
Joanne Bauer
Mary Bell
Paulette Berkich
Michael & Catherine Borschel
Dr. and Mrs. Squat Botley
Terry Burko and David Taggart
Chris and Katie Callen
Donald Chappie
Steve Cohen
Stephen Colburn
Eric and Lynn Delzer
Beth Giacobassi
Phillip Harvey
Lee and Barbara Jacobi
Ms. Mary Jirovec
Hal and Jean Kacanek
Joe Kutchera
Paul Mehlenbeck
Hannah Pearson
Michael Poytinger
Kyle Pyne
Beth Rees
Ms. Helen Reich
Roger B. Ruggeri and Andrea K. Wagoner
Dean and Martha Sayles
Dr. and Mrs. Mark A. Schrager
Robert Schultz
Gary and Jan Small
Karen P. Smith and Donald Haack
Gwen Tushaus
Mark Ulmer
Linda Unkefer
Shawn Verdoni
Anne de Vroome Kamerling
Gary Wagner
Carl Welle
Michael Welsh
Lynn and Roger White
Mr. and Mrs. Steve Whitney
In memory of Ellen Debbink
Mr. Andrew C. Debbink
In memory of James DeLeeuw
Bob and Barbara Whealon
In Memory of Don Devona
Ms. Joan Maas
In honor of Neil Dinesen on his 90th birthday
Mr. James M. Green
In honor of Carlotta Durand
Carla Durand
In memory of Lois Ehlert
Patricia and Richard Ehlert
In memory of Alan I. Ettinger
Ms. Suzy B. Ettinger and Ms. Sally B. Waters
In honor of Mr. John T. Evans
Dr. James and Dorothy Stadler
In honor of the 60th Wedding Anniversary of Joanne and Ed Filmanowicz
Mrs. James Urdan
In memory of Anne Fitzgerald
Michael and Jeanne Schmitz
Mrs. James Urdan
Bob and Barbara Whealon
In memory of Matt Flaig
Trinidad Torres
In memory of Florence and Glen Fraser
Lisa Gilvary
In memory of Charles Gorham
Michael Schmitz
Bob and Barbara Whealon
In honor of Marilyn Hagerman
Michael and Marilyn Hagerman
In honor of Dr. Cheryl Frazes Hill
Mary Helgren
In Memory of Doyne M. Haas from the MSO League Past Presidents
Linda Tojek
Mary Connelly
Judy Christl
Eileen Dubner
Jean Holmburg
Barbara Hunt
JoAnne Krause
Maggie Stoeffel
In honor of William R. and Charlotte
S. Johnson
Bill and Char Johnson
In honor of Alyce Katayama
Steven and Buffy Duback
In memory of Janie Klug
Bob and Barbara Whealon
In memory of Mary Knudten
Clair and Mary Baum
In memory of Patricia Knuth
Jennifer Jesse
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 Susan Loris
Anonymous
Terry Burko and David Taggart
Mark and Susan Cohen
Anne DeLeo & Patrick Curl
James and Charmaine LaBelle
Kathleen and Charles Marn
Nellie Martens Murphy
Daniel Petry
Kathryn and ZJ Reinardy
Susi and Dick Stoll
The Tomashek Family
Linda and Lynn Unkefer
Mrs. James Urdan
In memory of Susan Loris from the MSO League Past Presidents
Mary Connelly
Judy Christl
Eileen Dubner
Marta Haas
Jean Holmburg
Barbara Hunt
JoAnne Krause
Maggie Stoeffel
Linda Tojek
Mrs. James Urdan
In honor of Peter Mahler’s birthday
Linda Gorens-Levey and Michael Levey
In recognition of Susan Martin’s service on the MSO Board
James Berkes and Mary Beth
Pieprzyca Berkes
Ms. Caroline Ham
In honor of Robert Meldman
Drs. Alan and Carol Pohl
In memory of Michael McCabe
Sharon Adams
Fred and Kay Austermann
Gary Balcerzak and Thomas Ewing
George and Patricia Barger
Carolyn Bellin
James and Helen Benton
Joyce and Carl Budde
Elizabeth Ladu Carrier
John Cefalu
Sharon Chudy
Charles and Stephanie Cruse
Anne Davis
Sandra Degeorge
Beth and Ted Durant
Dr. and Mrs. Brenton Field
Bill and Kari Foote
Sharon Gardner
James and Jenny Gettel
Joseph Grafwallner
Susan Gramling
Kathyrn Hall
Mrs. and Mrs. Michael Hauer
Betsy Head
Donald and Marian Heinz
Jeffrey and Susan Heyen
Christine Hill
Jacquelyn Holland
Ms. Sally D. Holt
Dave and Anne Hynek
Cynthia E Jensen
Ms. Anne Kebisek
Dorothy Kerr
Linda Krause
Dr. Michael J. Krco
Mordecai Lee
Mary and Earl Lillydahl
Beth Logan
Chuck and Linda Malone
Eric Master
Jeffrey McCabe
Dennis McEvoy
Catherine and Patrick McGinn
Cynthia Michalak
Mary Michalak
Michelle Murphy
Jean Palkert
Ildiko Poliner
David Raday
Ellen Redeker and Steven Harvey
Patrick and Noreen Regan
Karol Rehm
Mary Jane Reichart
Lauri Rollings
Mr. Darren Schacht
Carl and Barbara Schwartz
James and Mary Jo Sebern
Carole and Kevin Shafer
Karen Spinti and James Hempel
John Suchorski
Mike and Barbara Sweeney
Gary and Susan Tatsak
Bonnie Thomson
Taylor Tinmouth
Marybeth Trampe
Robert and Joanne Vandenbusch
Elizabeth Vogel
Kathy Wagner
William and Christine Walker
Diane W. Wirth
Barbara Wollermann
In honor of the Milwaukee Symphony Orchestra Musicians
Dennis and Patricia DuBoux
Patricia Rieselbach
In honor of Andy Nunemaker with wishes for many happy years in his new home
Mrs. James Urdan
In honor of Brian Packham’s Milwaukee Premiere
Bob Bronzo
In memory of Mary G. Peterson
David J. Peterson
Gretchen Saunders
In honor of Adrienne Pollack-Sender on her milestone birthday
Mrs. James Urdan
In memory of David Reber
James and Charmaine LaBelle
In memory of Allen Rieselbach
Mr. and Mrs. Anthony w. Asmuth, III
Richard and Sara Aster
Margery Becker
Richard and Kay Bibler
Dr. Philip and the spirit of Beatrice Blank
Bruce and Melissa Block
Mark and Sharon Cameli
Mary and James Connelly
Valeria Downey
Dr. Howard and Eileen Dubner
Thomas Florsheim
Susan Freeman and Richard Kahn
G. Frederic and Elizabeth Friedman
Judith Goetz
Joan J. Hardy
Benedict and Lee Kordus
Norm and Judy Lasca
Jim and Mary LaVelle
Mr. and Mrs. Shelby Lozoff
Ann MacIver
Mr. and Mrs. Robert C. Mandel
Frederick Muth
Stephen and Frances Richman
Pat and David Rierson
Michael Schmitz
Michael and Jane Simpson
Nicole Teweles
Gile and Linda Tojek
Joan and the Spirit of Jim Urdan,
Jennifer, Jon, and Jeff
Elizabeth Walcott
In honor of the wedding of Tracy
Rogers and Tom Tavolier
John and Catherine Crichton
In memory of I. Carl Romer
Beulah Romer Erickson
In memory of John Sawchuk
Daniel Sawchuk
In memory of Debra Schaefer
Karen Copper
In honor of Gonzalez Schlenker
Francisco Schlenker
In honor of Bob Schuppel
Sarah Cauwels
In honor of Thomas L. Smallwood
David and Julia Uihlein
In memory of Thomas St. John
Bobbi and Jim Caraway
In memory of Edie Bonness Tomsyck
Maureen Bonness
Timothy Dykstal
In honor of David Uihlein and Julia
A. Uihlein
Mrs. James Urdan
In honor of Polly & Bill Van Dyke
Anonymous
In honor of Tom Varney
Stanley Kokotiuk
In memory of Judy Wagner
Terry Burko and David Taggart
In memory of Donald R. Whitaker
Dr. Marcia JS Richards
In honor of Peter Wicklund and Ruby
Shemanski
Ms. Linda Jenewein
In memory of Anne T. White
A. James White
Susan Martin, Chair
Andy Nunemaker, Immediate Past Chair
David Uihlein, Honorary Co-Chair
Julia Uihlein, Honorary Co-Chair
Gregory Smith, Secretary
Patrick Murphy, Treasurer; Chair, Finance Committee
Douglas M. Hagerman, Chair, Chairman’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
Susan Martin, Chair
Andy Nunemaker, Immediate Past Chair
Douglas M. Hagerman Chair, Chairman’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
Dick Stoll, Chair, Marketing & Advocacy Committee
Haruki Toyama, Chair, Artistic Direction Committee
Kate Brewer
Jeff Costakos
Jennifer Dirks
Steve Hancock
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
Herb Zien, Chair, Facilities Management Committee
DESIGNATED DIRECTORS
City
Sachin Chheda
Pegge Sytkowski
Francis Wasielewski
County
Fiesha Lynn Bell
Chris Layden
Garren Randolph
MUSICIAN 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
M. Judith Christl
Mary Connelly
Donn R. Dresselhuys
Eileen G. Dubner
Franklyn Esenberg
Marta P. Haas
Jean Holmburg
Barbara Hunt
Leon P. Janssen
Angela G. Johnston
Judy Jorgensen
James A. Kasch
Lee Walther Kordus
Michael J. Koss
JoAnne Krause
Martin J. Krebs
Keith Mardak
James G. Rasche
Stephen E. Richman
Michael J. Schmitz
Thomas L. Smallwood*
Joan Steele Stein
Linda Tojek
Joan R. Urdan
Larry Waters
Kathleen A. Wilson
MSO ENDOWMENT & FOUNDATION TRUSTEES
Bruce Laning, Trustee Chairman, Endowment & Foundation
Amy Croen, Endowment & Foundation
Steven Etzel, Endowment & Foundation
Douglas M. Hagerman, Endowment & Foundation
Bartholomew Reuter, Endowment & Foundation
David Uihlein, Foundation
PAST CHAIRMEN
Andy Nunemaker (2014-2020)
Douglas M. Hagerman (2011-2014)
Chris Abele (2004-2011)
Judy Jorgensen (2002-2004)
Stephen E. Richman (2000-2002)
Stanton J. Bluestone* (1998-2000)
Allen N. Rieselbach* (1995-1998)
Edwin P. Wiley* (1993-1995)
Michael J. Schmitz (1990-1993)
Orren J. Bradley* (1988-1990)
Russell W. Britt* (1986-1988)
James H. Keyes (1984-1986)
Richard S. Bibler (1982-1984)
John K. MacIver* (1980-1982)
Donn R. Dresselhuys (1978-1980)
Harrold J. McComas* (1976-1978)
Laflin C. Jones* (1974-1976)
Robert S. Zigman* (1972-1974)
Charles A. Krause* (1970-1972)
Donald B. Abert* (1968-1970)
Erhard H. Buettner* (1966-1968)
Clifford Randall* (1964-1966)
John Ogden* (1962-1964)
Stanley Williams* (1959-1962)
* deceased
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
Kathryn Reinardy, Vice President of Marketing & Communications
Rick Snow, Vice President of Facilities & Building Operations
Cynthia Moore, Human Resources, Diversity & Inclusion Manager
Michele Fitzgerald, Executive Assistant & Board Liaison
Michael Rossetto, Senior Director of Advancement & Major Gifts
William Loder, Director of Advancement
Maggie Seer, Director of Institutional Giving
Krista Hettinger, Individual Giving Manager
Elise McArdle, Grant Writer
Tracy Migon, Development Systems Manager
Lindsey Ruenger, Donor Stewardship & Engagement Manager
Emma Zei, Advancement Coordinator
EDUCATION & COMMUNITY ENGAGEMENT
Rebecca Whitney, Director of Education
Hannah Esch, Senior Education & Engagement Manager
FINANCE
Cathy O’Loughlin, Controller
Jenny Beier, Senior Accountant
Alexa Aldridge, Staff Accountant
MARKETING
Erin Kogler, Director of Communications
Marcella Morrow, Director of Marketing
Lizzy Cichowski, Marketing Manager
Adam Cohen, Patron Systems Manager
David Jensen, Marketing & Communications Coordinator
Zachary-John Reinardy, Lead Designer
Kerry Tomaszewski, Communications Manager
BOX OFFICE
Luther Gray, Director of Ticket Operations & Group Sales
Al Bartosik, Box Office Manager
John Hallman, Patron Services Assistant
Marie Holtyn, Box Office Supervisor
BOX OFFICE ASSISTANTS
Christine McElligott, Rora Sanders
OPERATIONS
Françoise Moquin, Director of Orchestra Personnel
Terrell Pierce, Director of Operations
Kayla Aftahi, Operations Coordinator
Constance Aguocha, Assistant Personnel Manager
Paul Beck, Principal Librarian, Anonymous Donor, Principal Librarian Chair
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
Travis Byrd, Facilities Coordinator
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, Nathan Desing, Eliana Kiltz, Roger Kocher, Luke Maillefer, Brennan Martinez, Cynthia Nord, Ashley Patin, Steve Pfisterer, Carlos Rojo, Amy Rook, Amelia Schaetzke, Anne Sempos, Michael Stebbins, Jack Waeltz, Elliot White, Heather Whitmill
Harwood Place offers a host of on-site amenities and a variety of apartment floor plans to meet your needs. Stay healthy and happy for many years to come with these features at your doorstep:
• Fine and Casual Dining
• Fitness and Wellness Programming
• Entertainment, Social Activities and Outings
• Transportation
• Salon Services
• Spiritual Services
• Health Clinic and Therapy Services
Call 414-256-6814 to schedule your tour!
Call 414.256.6814
Move-In-Specials & to schedule a tour
month’s rent! HURRY! Offer ends 1/31/2023
Together, we are expanding human possibility in our communities –helping nurture the next generation of builders, makers and innovators.
