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Volume 40 No. 5
15 M arch 25-27— Classics Peer Gynt 27 A pril 1-2 — Classics Converging Landscapes 39 April 8-10 — Classics de Waart & Brautigam 45 A pril 22-24 — Pops The Streisand Songbook 51 April 29 — BSC Presents Yo-Yo Ma & Kathryn Stott 5 Orchestra Roster 7 Conductor Bios 13 Milwaukee Symphony Chorus 56 A Grand Future Campaign 58 Endowment 59 Musical Legacy Society 60 Annual Fund 64 Bravo Corporate and Foundation Support 65 Matching Gifts Golden Note Partners Tributes 67 MSO Board of Directors 68 MSO Administration
Cover image: Steve Hall © Hall & Merrick Photographers
This program is produced and published by ENCORE PLAYBILLS. To advertise in any of the following programs: • • • • • • • •
Milwaukee Symphony Orchestra Florentine Opera Milwaukee Ballet Bel Canto Chorus Marcus Center Broadway Series Skylight Music Theatre Milwaukee Repertory Theater Sharon Lynne Wilson Center
please contact: Scott Howland at 414.469.7779 scott.encore@att.net MILWAUKEE SYMPHONY ORCHESTRA 212 West Wisconsin Avenue Milwaukee, Wisconsin 53203 414.291.6010 | mso.org
Connect with us! MSOrchestra @MilwSymphOrch MilwSymphOrch @MilwSymphOrch
MILWAUKEE SYMPHONY ORCHESTRA
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FRANKLY
MUSIC Back to Basics 2! 21 22 18 SEASON
N o.
Music of Couperin, Poulenc, Fauré, Foss, and Mozart
WEDNESDAY, APRIL 20 | 7 PM SCHWAN CONCERT HALL, WISCONSIN LUTHERAN COLLEGE
franklymusic.org
This season is dedicated to the memory of Jeanne Schmitz. This concert is supported in part by a grant from the Milwaukee Arts Board and the Wisconsin Arts Board with funds from the State of Wisconsin.
Sorel Etrog,The Source, 1964
The Lynden Sculpture Garden works with artists, educators, students, and our community to create, support, and share experiences at the intersection of art, nature, and culture.
Lynden operates as a laboratory, offering hands-on programs that integrate our collection of more than 50 monumental sculptures and temporary installations, and our community of artists, with the natural ecology of 40 acres of park, pond, and woodland.
LYNDENSCULPTUREGARDEN.ORG 2145 W BROWN DEER RD, MILWAUKEE, WI 53217 2
MILWAUKEE SYMPHONY ORCHESTRA
“Make new friends & keep the old...”
“Our granddaughters are friends and thought we should connect, since we are both enjoying life at Saint John’s. We have discovered we have much in common.” – Residents, Marge Polack and Sandy Duffy
(Pictured with family at Taylor’s Restaurant at Saint John’s, July 2019)
The best in retirement living includes... • • • •
Our 67,000 square foot Town Center to explore Indoor walking paths, a labyrinth and a tness center Two restaurants and many opportunities to socialize 3 annual, complimentary sessions with a tness specialist.
For more information about life at Saint John’s call 414-831-7300, visit our website at www.SaintJohnsMilw.org
or use your phone phone’s camera to scan this image.
www.SaintJohnsMilw.org 414-831-7300 1840 North Prospect Avenue, Milwaukee, Wisconsin 53202 MILWAUKEE SYMPHONY ORCHESTRA
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Milwaukee Symphony Orchestra
The Milwaukee Symphony Orchestra, led by Music Director Ken-David Masur, is among the finest orchestras in the nation. Since its inception in 1959, the MSO has found innovative ways to give music a home in the region, develop music appreciation and talent among area youth, and raise the national reputation of Milwaukee. The MSO’s full-time professional musicians perform more than 135 classics, pops, family, education, and community concerts each season at the Bradley Symphony Center and in venues throughout the state. A pioneer among American orchestras, the MSO has performed world and American premieres of works by John Adams, Roberto Sierra, Philip Glass, Geoffrey Gordon, Marc Neikrug, and Matthias Pintscher, as well as garnered national recognition as the first American orchestra to offer live recordings on iTunes. Now in its 50th season, the orchestra’s nationally syndicated radio broadcast series, the longest consecutive-running series of any U.S. orchestra, is heard annually by more than two million listeners on 147 subscriber stations in 38 of the top 100 markets. The MSO’s standard of excellence extends beyond the concert hall and into the community, reaching more than 40,000 children and their families through its Arts in Community Education (ACE) program, Youth and Teen concerts, Family Series, and Meet the Music pre-concert talks. Celebrating its 32nd year, the nationally-recognized ACE program integrates arts education across all subjects and disciplines, providing opportunities for students when budget cuts may eliminate arts programming. The program provides lesson plans and supporting materials, classroom visits from MSO musician ensembles and artists from local organizations, and an MSO concert tailored to each grade level. This season, more than 6,500 students and 400 teachers and faculty in 20 Southeastern Wisconsin schools are expected to participate in ACE.
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2021.22 SEASON KEN-DAVID MASUR Music Director Polly and Bill Van Dyke Music Director Chair EDO DE WAART Music Director Laureate YANIV DINUR Resident Conductor CHERYL FRAZES HILL Chorus Director Margaret Hawkins Chorus Director Chair TIMOTHY J. BENSON Assistant Chorus Director FIRST VIOLINS Ilana Setapen, Acting Concertmaster Charles and Marie Caestecker Concertmaster Chair Jeanyi Kim, Acting Associate Concertmaster (2nd Chair) Chi Li, Acting Assistant Concertmaster Alexander Ayers Michael Giacobassi Yuka Kadota Dylana Leung Lijia Phang Margot Schwartz SECOND VIOLINS Jennifer Startt, Principal Andrea and Woodrow Leung Second Violin Chair Timothy Klabunde, Assistant Principal Glenn Asch John Bian Lisa Johnson Fuller Paul Hauer Hyewon Kim Shengnan Li Laurie Shawger Mary Terranova VIOLAS Robert Levine, Principal Richard O. and Judith A. Wagner Family Principal Viola Chair Samantha Rodriguez, Acting Assistant Principal Friends of Janet F. Ruggeri Viola Chair Alejandro Duque, Acting 3rd Chair Assistant Principal Elizabeth Breslin Nathan Hackett * Erin H. Pipal Helen Reich
CELLOS Susan Babini, Principal Dorothea C. Mayer Cello Chair Nicholas Mariscal, Assistant Principal Scott Tisdel, Associate Principal Emeritus Madeleine Kabat Gregory Mathews Peter Szczepanek Peter J. Thomas Adrien Zitoun BASSES Jon McCullough-Benner, Principal Donald B. Abert Bass Chair Andrew Raciti, Associate Principal Scott Kreger Catherine McGinn Rip Prétat HARP Julia Coronelli, Principal Walter Schroeder Harp Chair FLUTES Sonora Slocum, Principal Margaret and Roy Butter Flute Chair Heather Zinninger Yarmel, Assistant Principal Jennifer Bouton Schaub PICCOLO Jennifer Bouton Schaub
CONTRABASSOON Beth W. Giacobassi HORNS Matthew Annin, Principal Krause Family French Horn Chair Krystof Pipal, Associate Principal Dietrich Hemann Andy Nunemaker French Horn Chair Darcy Hamlin TRUMPETS Matthew Ernst, Principal Walter L. Robb Family Trumpet Chair David Cohen, Associate Principal Martin J. Krebs Associate Principal Trumpet Chair Alan Campbell, Fred Fuller Trumpet Chair TROMBONES Megumi Kanda, Principal Marjorie Tiefenthaler Trombone Chair Kirk Ferguson, Assistant Principal BASS TROMBONE John Thevenet, Richard M. Kimball Bass Trombone Chair TUBA Robert Black, Principal
OBOES Katherine Young Steele, Principal Milwaukee Symphony League Oboe Chair Kevin Pearl, Assistant Principal Margaret Butler
TIMPANI Dean Borghesani, Principal Chris Riggs, Assistant Principal
ENGLISH HORN Margaret Butler Philip and Beatrice Blank English Horn Chair in memoriam to John Martin CLARINETS Todd Levy, Principal Franklyn Esenberg Clarinet Chair Benjamin Adler, Assistant Principal, Donald and Ruth P. Taylor Assistant Principal Clarinet Chair William Helmers
PERCUSSION Robert Klieger, Principal Chris Riggs PIANO Melitta S. Pick Endowed Piano Chair PERSONNEL MANAGERS Françoise Moquin, Director of Orchestra Personnel Paul Beck, Interim Assistant Personnel Manager LIBRARIANS Patrick McGinn, Principal Librarian, Anonymous Donor, Principal Librarian Chair Paul Beck, Associate Librarian
E FLAT CLARINET Benjamin Adler BASS CLARINET William Helmers BASSOONS Catherine Chen, Principal Muriel C. and John D. Silbar Family Bassoon Chair Rudi Heinrich, Assistant Principal Beth W. Giacobassi
PRODUCTION Tristan Wallace, Technical Manager & Live Audio Supervisor Paolo Scarabel, Stage Technician & Deck Supervisor
* Leave of Absence 2021.22 Season
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“Florentine's 'La Bohème' brings down the house” - Milwaukee Journal Sentinel Experience this beautiful powerhouse opera, now set in 1940s post-war Bronzeville.
May 6 & 8, 2022 Uihlein Hall at Marcus Performing Arts Center Proudly Sponsored By Plunkett Family Foundation in Memory of Gwen & Jim Plunkett Murph Burke
John Shannon & Jan Serr
Ralph Evinrude Foundation
Nita Soref
FlorentineOpera.org | 414.291.5700 6
MILWAUKEE SYMPHONY ORCHESTRA
Ken-David Masur, music director Hailed as “fearless, bold, and a life-force” (San Diego UnionTribune) and “a brilliant and commanding conductor with unmistakable charisma” (Leipzig Volkszeitung), Ken-David Masur is delighted to begin his third season as music director of the Milwaukee Symphony Orchestra, leading performances in the beautifully restored and renovated Bradley Symphony Center. This season, Masur makes his subscription debuts with the San Francisco Symphony and the Minnesota Orchestra and also leads performances with the Baltimore Symphony Orchestra, the Warsaw Philharmonic, the Rochester Philharmonic, the Kristiansand Symphony Orchestra, and at the Pacific Music Festival in Sapporo, Japan. Masur leads a range of innovative Photo by Adam DeTour programs with the Milwaukee Symphony Orchestra – including an expansive staging of Peer Gynt with director Bill Barclay – and with the Civic Orchestra of Chicago, the professional training orchestra of the Chicago Symphony and the Negaunee Music Institute where he has been principal conductor since 2019. Masur has conducted distinguished orchestras around the world, including the Boston Symphony Orchestra, the Los Angeles Philharmonic, the Chicago and Detroit Symphonies, l’Orchestre National de France, the Yomiuri Nippon Symphony in Tokyo, and the Orchestre National du Capitole de Toulouse. In addition to regular appearances at Ravinia, Tanglewood and the Hollywood Bowl, Masur has conducted internationally at the Verbier Festival in Switzerland, the Festival of Colmar in France, Denis Matsuev’s White Lilac Festival in Russia, the Tongyeong Festival in South Korea and the TV Asahi Festival in Tokyo, Japan. Previously Masur was associate conductor of the Boston Symphony Orchestra, where he led numerous concerts, at Symphony Hall and at Tanglewood, of new and standard works featuring guest artists such as Renée Fleming, Dawn Upshaw, Emanuel Ax, Joshua Bell, and others. For eight years, Masur served as principal guest conductor of the Munich Symphony, and has also served as associate conductor of the San Diego Symphony and as resident conductor of the San Antonio Symphony. Masur is passionate about the growth and encouragement of contemporary music and composers, and during the Milwaukee Symphony’s past season of virtual and live performances, he introduced a diversity of composers new to the orchestra. He has also conducted and commissioned dozens of new works at the Chelsea Music Festival, an annual summer music festival in New York City founded and directed by Masur and his wife, pianist Melinda Lee Masur, and touted as an “impressive addition to the New York cultural ecosystem” (Time Out NY). The Festival seeks to engage curious audiences with its collaborations between the performing, visual and culinary arts, and has been praised by The New York Times as a “gem of a series.” Music education and working with the next generation of young artists are also of major importance to Masur. In addition to his work with the young musicians of the Civic Orchestra of Chicago, he has led orchestras and masterclasses at New England Conservatory, Boston University, Boston Conservatory, the Tanglewood Music Center Orchestra and at leading universities and conservatories in Asia, Europe, and South America. Ken-David Masur has recorded works by Beethoven and Pēteris Vasks with the English Chamber Orchestra and violinist Fanny Clamagirand; Gisle Kverndokk’s Symphonic Dances with the Stavanger Symphony; and Strauss Ein Heldenleben for Naxos Japan. MILWAUKEE SYMPHONY ORCHESTRA
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Edo de Waart, music director laureate Edo de Waart is music director laureate of the Milwaukee Symphony Orchestra. His tenure as music director (2009-2017) of the MSO included sold-out concerts, critical acclaim, and a celebrated performance at Carnegie Hall. He is also conductor laureate of the New Zealand Symphony Orchestra and conductor laureate of the Antwerp Symphony and Netherlands Radio Philharmonic Orchestra.
Photo by Jesse Willems
During the 2021.22 season, de Waart will return to the MSO for two concert weekends. The first in February 2022 featured Beethoven’s Symphony No. 6. Then in April, de Waart will lead the orchestra in performances featuring Brahms, Schreker, Beethoven, and Mozart.
As an opera conductor, de Waart has enjoyed success in a large and varied repertoire in many of the world’s greatest opera houses. He has conducted at Bayreuth, Royal Opera House Covent Garden, Grand Théâtre de Genève, Opera de Bastille, Santa Fe Opera, Salzburg Festival, and The Metropolitan Opera. Recent appearances at The Met have included Der Rosenkavalier and The Marriage of Figaro. Edo de Waart’s extensive catalogue encompasses releases for Philips, Virgin, EMI, Telarc, and RCA. His most recent recording is Elgar’s Dream of Gerontius with the Royal Flemish Philharmonic. At the age of 23, de Waart won the Dimitri Mitropoulos Conducting Competition in New York which resulted in his appointment as assistant conductor to Leonard Bernstein at the New York Philharmonic. On his return to Holland, he was appointed assistant conductor to Bernard Haitink at the Royal Concertgebouw Orchestra. In 1967, the Rotterdam Philharmonic Orchestra appointed him guest conductor and, six years later, chief conductor and artistic director. Since then, he has also been music director of the San Francisco Symphony and Minnesota Orchestra, chief conductor and artistic director of the Sydney Symphony and Hong Kong Philharmonic, and chief conductor of De Nederlandse Opera. Edo de Waart has received a number of awards for his musical achievements, including becoming a Knight in the Order of the Dutch Lion and an Honorary Officer in the General Division of the Order of Australia, in reflection of his invaluable contribution to Australian cultural life during his decade with the Sydney Symphony. He was also appointed an Honorary Fellow of the Hong Kong Academy for Performing Arts in recognition of his contribution to music internationally, and in particular, his commitment to developing future generations of musicians in Hong Kong.
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Yaniv Dinur, resident conductor Named the 2019 Sir Georg Solti Conducting Fellow (the largest award for conductors in the U.S.), Yaniv Dinur is currently resident conductor of the Milwaukee Symphony and music director of the New Bedford Symphony Orchestra. The League of American Orchestras honored the New Bedford Symphony by selecting it to be one of the orchestras to perform at the 2021 League Conference. He is lauded for his bold and engaging programming, insightful interpretations, and unique ability to connect with varied audiences, from season subscribers to first time concertgoers. Recent and upcoming highlights include subscription debuts with the symphonies of Fort Worth and Houston, Orchestra Photo by Erin Kavanaugh Haydn in Italy, as well as return engagements with the San Diego Symphony, Orchestra di Padova e del Veneto, and the Peninsula (Wisconsin) and Round Top (Texas) festivals. Among other U.S. guest conducting appearances are the Louisiana Philharmonic, Detroit Symphony, New World Symphony, and the San Antonio Symphony. Yaniv Dinur made his conducting debut at the age of 19 with the National Symphony Orchestra of Ireland, which led to multiple return engagements. Following his European debut, he was invited to perform with the Israel Camerata in Jerusalem, making him the youngest conductor ever to conduct a professional orchestra in Israel. Since then, he has conducted orchestras around the world, including the Israel Philharmonic, Orchestra di Padova e del Veneto, Portugal Symphony Orchestra, Sofia Festival Orchestra/Bulgaria, Solisti di Perugia, State Orchestra of St. Petersburg, Torino Philharmonic, and the National Arts Centre Orchestra in Ottawa. Broadcast live on Israeli radio, he was the principal conductor of the Jerusalem Symphony’s Young Artists Competition from 2003 to 2010. An accomplished pianist, Dinur made his concerto debut with the Milwaukee Symphony in 2019, playing and conducting Mozart’s D Minor Concerto. He received critical acclaim for his “fluid, beautifully executed piano passages” and “deeply musical playing” (Milwaukee Journal Sentinel). Dinur has worked closely with such world-class conductors as Lorin Maazel, Michael Tilson Thomas, Pinchas Zukerman, Kurt Masur, and Jorma Panula; soloists with whom he has collaborated include Itzhak Perlman, Yefim Bronfman, Jean-EffIam Bavouzet, and Vadim Guzman. He holds a Doctorate in Orchestral Conducting from the University of Michigan School of Music, Theatre and Dance, where he was a student of Prof. Kenneth Kiesler. Born in Jerusalem, Yaniv Dinur began studying the piano at the age of six with his aunt, Olga Shachar, and later with Prof. Alexander Tamir, Tatiana Alexanderov, Mark Dukelsky, and Edna Golandsky. At the age of 16, he began to study conducting with Dr. Evgeny Zirlin. While still in high school, Dinur began his formal studies with Dr. Zirlin at the Jerusalem Academy of Music and Dance. After graduating from the Jerusalem Academy, he studied privately with conductor Mendi Rodan.
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Milwaukee Repertory Theater
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Presented by Camille & David Kundert
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APRIL 5 – MAY 15, 2022 www.MilwaukeeRep.com | 414-224-9490 10
MILWAUKEE SYMPHONY ORCHESTRA
Milwaukee Symphony Chorus
The Milwaukee Symphony Chorus, founded in 1976, is known and respected as one of the finest choruses in the country. Under the direction of Dr. Cheryl Frazes Hill, the 2021.22 chorus season with the MSO includes performances of Holiday Pops, Handel’s Messiah, Grieg’s Peer Gynt, Duruflé’s Requiem, and Beethoven’s Symphony No. 9. The 170-member volunteer chorus has been praised by reviewers for “technical agility,” “remarkable ensemble cohesion,” and “tremendous clarity.” In addition to performances with the MSO, the chorus has appeared on public television and recorded performances on radio stations throughout the country. The chorus has performed a cappella concerts to sold-out audiences and has made guest appearances with other performing arts groups including Present Music, Milwaukee Ballet, and the Chicago Symphony Orchestra. The chorus has also made appearances at suburban Chicago’s famed Ravinia Festival. The Margaret Hawkins Chorus Director Chair was funded by a chorus-led campaign in 2006 in honor of the founding choral director, Margaret Hawkins, during the ensemble’s 30th anniversary season. Comprised of teachers, lawyers, students, doctors, musicians, homemakers, and more, each of its members brings not only musical quality, but a sheer love of music to their task. “We have the best seats in the house,” one member said, a sentiment echoed throughout the membership. Please visit mso.org for more information on becoming a part of the Milwaukee Symphony Chorus.
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Chorus Members & Staff Jahnavi Acharya Barbara A. Ahlf Laura Albright-Wengler 6 James Anello Gela Sawall Ashcroft u Thomas R. Bagwell Mary Ann Beatty Cornelia Maria Beilke 6 JoAnn Berk Edward Blumenthal u Scott Bolens Becca Bowen Neil R. Brooks Elizabeth Brown Michelle Budny Ellen N. Burmeister Gabrielle Campbell Sarah M. Cook Elena Cressy Sarah Culhane Colin Destache Rebeca A. Dishaw Megan Kathleen Dixson u James Edgar Joe Ehlinger Jay Endres Larry Engel Michael Faust Catherine Fettig Carly Marie Fitzgerald Robert Friebus Karen Frink Maria Fuller George Galloway James T. Gallup William Gesch Charyl Granatella Virginia D. Grossman Hailey Gurgul Mark R. Hagner Eric Hanrehan
Beth Harenda Justin J. Maurer Kristin Eklund Betsy McCool Haverkampf Oscar Menoyo Paul James Hayes Kathleen Ortman Miller Madeline Hehemann Megan Miller u Karen Heins • Marjorie Moon Mary Catherine Helgren Bailey Moorhead Kurt Hellermann Jennifer Mueller Cameron Henrickson Michael Mueller Sara E. Herrick Matthew Neu Michelle Hiebert Kristin Nikkel Laura Hochmuth Mary Beth Norton Amy Hudson Alice Nuteson Matthew Hunt Marilyn Overstreet Stan Husi Robert Paddock Molly Pagryzinski u Tina Itson Grace Parlier • Christine Jameson Sarah Parlier Paula J. Jeske Amanda Peña John Jorgensen Janese Pentico Sherry Atienza Joseph Rebekah Picard Heidi L. Kastern R. Scott Pierce Jordan Keller u Michelle Beschta Klotz u Jessica E. Pihart Robert Anton Knier Catherine Anne Purdy Jill Kortebein Kaitlin Quigley Hannah Kovach Mary E. Rafel Kaleigh N. Kozak David Lee Reber 6 Jason Reuschlein u Joseph M. Krechel q Christine Krueger James Reynolds Marc Charles Ricard Harold Krueger Amanda Robison Rick Landin Carlos Rojo Jana Larson James Sampson Alexandra Lerch-Gaggl Bridget Sampson John W. Lettermann Darwin J. Sanders Robert Lochhead John Schilling Kristine Lorbeske Sarah Schmeiser Sarah Magid Rand C. Schmidt Grace Majewski Randy Schmidt Linda Marten Allison Schnier Joy Mast 6 Patricia Mathie Matthew Seider
STAFF Cheryl Frazes Hill, chorus director Timothy J. Benson, assistant director Christina Williams, chorus manager Diane Kachelmeier, rehearsal pianist Darwin J. Sanders, language/diction coach
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MILWAUKEE SYMPHONY ORCHESTRA
u Hannah Sheppard
David Siegworth Kristen M. Singer Lori Skelton Tim Socha u Bruce Soto Joel P. Spiess 6 Todd Stacey Claire Stangl u Donald E. Stettler Amanda D. Steven Scott Stieg 6 Donna Stresing Kristine Leigh Stresman Ashley Ellen Suresh Dean-Yar Tigrani Clare Urbanski Jessica Wagner Barbara Wanless Emma Mingesz Weiss Michael Peter Werni Christina Williams Emilie Williams Jessica Wirth Christopher Wojciechowicz Kathleen Wojcik-May Kevin Woller Maureen Woyci 6 Jamie M. Yu Stephanie Zimmer
u Section Leader 6
Mentor
q Charter Member
•
Librarian
Cheryl Frazes Hill, chorus director Dr. Cheryl Frazes Hill is now in her fifth season as director of the Milwaukee Symphony Chorus. In addition to her role in Milwaukee, she is the associate conductor of the Chicago Symphony Chorus, where she has assisted CSO Chorus Music Director Duain Wolfe for more than 20 years. Frazes Hill has also served as director of choral activities at Roosevelt University since 2002. During the 2021.22 season, Frazes Hill will prepare the Milwaukee Symphony Chorus for performances of Holiday Pops, Handel’s Messiah, Grieg’s Peer Gynt, Duruflé’s Requiem, and Beethoven’s Symphony No. 9. In her role as the Chicago Symphony Chorus associate conductor, she has prepared the chorus for Maestros Boulez, Barenboim, Levine, Mehta, Tilson Thomas, Conlon and many others. This season, she will prepare the Chicago Symphony Chorus for performances of Ravel’s Daphnis and Chloe, to be conducted by Esa-Pekka Salonen. Other recent preparations include a joint performance of the Milwaukee Symphony Chorus joining the Chicago Symphony Chorus and Orchestra for Mahler’s Symphony No. 8, conducted by Marin Alsop at the 2019 Summer Ravinia Festival. Recent recordings of Frazes Hill’s Chorus preparations on the Chicago Symphony Orchestra label include Beethoven, A tribute to Daniel Barenboim, and Chicago Symphony Chorus: A 50th anniversary Celebration. Frazes Hill received her Doctorate in Conducting and her Master of Music degree from Northwestern University and two undergraduate degrees from the University of Illinois. An accomplished vocalist, she is a featured soloist, nominated for a Grammy Award in the CBS Masterworks release Mozart, Music for Basset Horns. During her 15 years of public school teaching, Frazes Hill received numerous awards, including the Illinois Governor’s Award, the Northwestern University Alumni Merit Award, the Commendation of Excellence in Teaching from the Golden Apple Foundation, the Outstanding Teaching Award from the University of Chicago, and the Outstanding Music Educator Award. Frazes Hill is a frequent guest conductor and guest speaker. As a clinician, she conducts festivals throughout the country. Under her direction, the Roosevelt University choruses have been featured in prestigious and diverse events including appearances at national and regional music conferences, and performances with professional orchestras including the Chicago Symphony Orchestra, Chicago Sinfonietta, the Civic Orchestra of Chicago, and the Illinois Philharmonic. Among recent performances, the Roosevelt Conservatory Chorus received enthusiastic reviews for their American premiere of Jacob Ter Velduis’ Mountaintop. Other recent performances have included the internationally acclaimed production of Defiant Requiem. Her chorus also appeared with The Rolling Stones during their recent concert tour. Dr. Frazes Hill is a published author with her new book, a biography about her mentor, Margaret Hillis, the founder and first director of the Chicago Symphony Chorus. Margaret Hillis: Unsung Pioneer was released by GIA Publishing in January 2022. Frazes Hill is nationally published on topics of her research in music education and choral conducting.
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CATHEDRAL MUSIC FRIDAY, MAY 20 | 7:30 PM BASILICA OF ST. JOSAPHAT Includes masterworks from the early 1600s through today, specifically written for the majestic acoustics of a large cathedral
TICKETS ON SALE NOW: WWW.BELCANTO.ORG | 414-481-8801 ATTEND IN-PERSON OR LIVESTREAM FROM HOME!
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MILWAUKEE SYMPHONY ORCHESTRA
PEER GYNT Friday, March 25, 2022 at 7:30 pm Saturday, March 26, 2022 at 7:30 pm Sunday, March 27, 2022 at 2:30 pm ALLEN-BRADLEY HALL
Peer Gynt Music by Edvard Grieg Conducted by Ken-David Masur Written and Directed by Bill Barclay Adapted from the play by Henrik Ibsen Produced by Concert Theatre Works In a new full-length adaptation for the Milwaukee Symphony Orchestra. Originally commissioned by The Boston Symphony Orchestra.
www.ConcertTheatreWorks.com Bill Barclay, artistic director
The 2021. 22 Classics Series is presented by the UNITED PERFORMING ARTS FUND. The length of this concert is approximately 2 hours with one 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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2021/22 SEASON PRESENTED BY
DONALD & DONNA BAUMGARTNER
Cast Georgia Jarman, Solveig Vidar Skrede, hardanger fiddle Caleb Mayo, Peer Gynt Bobbie Steinbach, Aase Robert Walsh, The Button Molder Kortney Adams, Ingrid, Anitra, Ensemble Daniel Berger-Jones, Aslak, Begriffenfeldt, Ensemble Caroline Lawton, The Woman in Green, Ensemble Risher Reddick, The Dovre King of the Trolls, Mads Moen, Ensemble Will Lyman, Voice of Boygen Milwaukee Symphony Chorus Cheryl Frazes Hill, director
Production Team Cristina Todesco, scenic designer Charles Schoonmaker, costume and puppet designer David Reiffel, sound designer Maura Gahan, puppet co-designer and puppet realization Rachel Padula-Shufelt, assistant costume designer Stephanie Macklin, costume construction Nicole Pierce, dance choreography Tristan Wallace, sound engineer Slu Maldonado-Stone, lighting designer Justin Seward and Cristina Todesco, properties Chaal Aydiner, stage manager Kimberly Schuette, associate producer Justin Seward, production manager
MILWAUKEE SYMPHONY ORCHESTRA
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Guest Artist Biographies BILL BARCLAY, director and writer Director, writer, and composer, Barclay was director of music at Shakespeare’s Globe from 2012-2019 where he produced music for 130 productions and 150 concerts, composing 12 shows including Hamlet Globe-to-Globe which performed in 197 countries. He is artistic director of Concert Theatre Works. Broadway and West End credits as music supervisor include Farinelli and the King, Twelfth Night, and Richard III, all starring Sir Mark Rylance. This season’s collaborators include: National Symphony Orchestra, Cleveland Orchestra, Chicago Symphony, Music of the Baroque, Gandini Juggling, United Strings of Europe, Chautauqua Institution, Caramoor Festival, and the Harlem Chamber Players. A “personable polymath” (London Times), Bill Barclay has debuted works of concert theater for the LA Philharmonic, the BBC Symphony Orchestra, the Grammy-winning Silkroad Ensemble, City of London Sinfonia, and annually with the Boston Symphony Orchestra. He has created new work for some of the world’s most iconic spaces: The Hollywood Bowl, The Kennedy Center, the Barbican, Buckingham Palace, Shakespeare’s Globe, The Southbank Centre, Hampton Court Palace, and Washington National Cathedral. Collaborators include the conductors Marin Alsop, Andris Nelsons, Dame Jane Glover, Charles Dutoit, Seigi Ozawa, JoAnn Falletta, Bramwell Tovey, Gianandrea Noseda, Harry Christophers, Trevor Pinnock, and Sakari Oramo. Other partners include The English Concert, Tanglewood, The Virginia Symphony, Orchestra for the Age of Enlightenment, National Youth Orchestra of Great Britain, The Sixteen, Mostly Mozart Festival, and Handel & Haydn Society. As a composer, Barclay’s original music has been performed for President Obama, the British Royal Family, for the Olympic Torch, at the United Nations, and in refugee camps in Jordan and Calais. He recently created a new Four Seasons Recomposed for Max Richter on period instruments with the puppetry masters Gyre & Gimble. He conducted Soumik Datta’s King of Ghosts on tour with City of London Sinfonia and the USACH Orchestra in Chile. Barclay seeks to collapse the space between arts and advocacy, composing the film A Mother’s Love for the Wild Foundation, creating Tales in Migration to score immigrant’s stories, and funding The National Alliance for Audition Support. His single Let Nature Sing, made entirely of birdsong, debuted at #11 on the UK Pop Charts for the Royal Society for the Protection of Birds. A noted curator, he piloted the Candlelit Concerts series in the Globe’s Sam Wanamaker Playhouse from its construction in 2014. He founded the record label Globe Music, recognized by the BBC and Royal Philharmonic Society, for Shakespeare’s Globe. Contributor to the Guardian and Songlines, Bill writes and lectures widely, and has been published in Cambridge and Oxford University Presses on the music of Shakespeare. His newest play with music, The Chevalier, was commissioned by the Boston Symphony Orchestra and premiered at Tanglewood in 2019.
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Guest Artist Biographies GEORGIA JARMAN (Solveig) Vocal dexterity aligned with a strong theatrical instinct have been key to Georgia Jarman’s numerous successes, in roles spanning lyric and bel canto repertoire alongside a growing reputation in new commissions. Of those which hold special significance are the landmark compositions of George Benjamin – Written on Skin and Lessons in Love and Violence which Jarman has debuted at Venice Biennale Musica – under the composer’s baton – Staatsoper Hamburg, Gran Teatre del Liceu, Opera National de Lyon, and at the Beijing Music Festival with the Mahler Chamber Orchestra under Lawrence Renes. Her breakthrough performance and debut at The Royal Opera House, Covent Garden, came as Roxana in Kasper Holten’s spectacular production of Krol Roger – seen in cinemas and subsequently released on DVD – and further debuts include Musetta (La bohème) for Opernhaus Zurich, Helena (A Midsummer Night’s Dream) for Opera Philadelphia, Lucia (Lucia di Lammermoor) for Opéra National de Bordeaux, Gilda (Rigoletto) for her Santa Fe Festival debut, all four heroines in Richard Jones’ production of The Tales of Hoffmann for English National Opera, Maria Stuarda for Washington Concert Opera, and Manon at Malmö Opera. Exploring neglected bel canto repertoire, she has made numerous critically acclaimed appearances at the former Caramoor Summer Music Festival with the Orchestra of St. Luke’s including, most recently, Zenobia in Rossini’s rarely performed Aureliano in Palmira, alongside Norina (Don Pasquale) and Amina (La sonnambula).
VIDAR SKREDE (hardanger fiddle) Vidar Skrede is a Nordic folk musician and teacher from Haugesund, Norway, currently living in Milwaukee. He is a performer and a teacher of Harding-fiddle, fiddle, and guitar. He has a background in traditional music from his home area, Rogaland (South West of Norway) and has a master’s degree in performing Nordic folk music at the Royal Academy of Music in Stockholm. Skrede has numerous bands, projects, and record albums behind him, both in Scandinavia and in America. He has received nominations and awards for his albums in both Norway and Finland. He has toured all the Nordic countries, Scotland, Canada, and the United States, and he has performed with a wide range of artists, such as Arja Saijonmaa (FI), Kevin Henderson (UK), Liz Carroll (US), Bruce Molsky (US), Natalie Haas (US), to mention a few artists outside of his own tradition. Skrede is a leading musician on the Nordic folk music scene and is well known for his own tune creations across the scene; played and recorded by many artists besides himself.
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Guest Artist Biographies CALEB MAYO (Peer Gynt) Caleb Mayo originated the role of Peer with the Boston Symphony Orchestra in 2017. Credits include Stage: Los Angeles: Hamlet (Inner Circle Theatre), Antigone, The Beaux Stratagem (A Noise Within), Much Ado About Nothing, A Midsummer Night’s Dream (Knightsbridge Theatre); Washington DC: Cyrano, Henry IV Part 1, Henry IV Part 2, A Midsummer Night’s Dream, The Rivals (The Shakespeare Theatre); Boston: Twelfth Night (Commonwealth Shakespeare Company), To Kill A Mockingbird (Huntington Theatre Company); Lewiston: Moonshine (The Public Theatre) Film: One-Eyed Monster, Plato’s Symposium, The Time Machine, Hoax, The Proposition, 10,000 AD TV: Criminal Minds Web: ftrhstry. He holds a Bachelor of Arts in drama from Vassar College and has studied with the Royal Academy of Dramatic Art, the American Repertory Theatre, Shakespeare and Company, the Rebel Shakespeare Company, and the Beverly Hills Playhouse.
BOBBIE STEINBACH (Aase) Bobbie Steinbach is delighted to be revisiting Peer Gynt at Milwaukee Symphony’s new concert hall. A longtime actor, director, and acting coach based in Boston, she has performed in countless plays and musicals with many local and regional theatre companies, including The Lyric Stage, New Repertory Theatre, Huntington Theatre Company, Commonwealth Shakespeare, Boston Symphony, Greater Boston Stage Company, Michigan Opera Theatre, Cherry County Playhouse, and Boston Playwrights’ Theatre. She is a founding member of Actors’ Shakespeare Project, and as a resident actor with ASP, she has trod the boards in 22 of the Bard’s plays, one of which, Timon of Athens, was stunningly directed by the amazing Bill Barclay. In 2016 The Theatre Communications Guild honored Steinbach with a prestigious two-year Resident Actor Fox Fellowship for Distinguished Achievement, for which she partnered with ASP to develop a company project, I Am Lear, and a solo show, In Bed with the Bard. She is also the 2016 Huntington Theatre Company’s LuntFontanne Fellow and was honored with an Eliot Norton Award for Outstanding Actress for a trio of performances. She recently added a new credit to her resume as host of All Together Now, streaming on YouTube and Facebook, where she presented and interviewed performing artists, composers and writers from around the world. www.bobbiesteinbach.com
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Guest Artist Biographies ROBERT WALSH (The Button Molder) Off-Broadway: Gloucester Blue (Cherry Lane Theatre), Big Maggie (Douglas Fairbanks Theatre), Penelope (Perry St. Theatre), company member: Theater of the Open Eye and Riverside Shakespeare Company. Boston: Ah, Wilderness! and Hamlet (Huntington Theatre); Our Town, Mass Appeal, A Midsummer Night’s Dream (Merrimack Rep), Sins of the Mother, The Subject Was Roses (Gloucester Stage) ‘ART’, The Cocktail Hour (New Rep), Next Fall (Speakeasy Stage), and Coriolanus, Macbeth, Henry V (Commonwealth Shakespeare Co.), and King Lear, Henry IV, Titus Andronicus, and Hamlet, among others, for the Actors’ Shakespeare Project, where he was also a founding company member. Regional: Streamers (Arena Stage); Anna Christie (Stage West); Romeo and Juliet (Portland Stage Co.); Peter Pan (Barter Theatre); The Children’s Hour (American Stage Festival). Television: Body of Proof (ABC); One Life to Live; The Guiding Light; Another World. Film: Black Mass; The Spirit of Christmas; Evening; State and Main; Amistad; Eight Men Out; The Spanish Prisoner; In Dreams; Turk 182! For seven years he was the artistic director of Gloucester Stage Company and is an associate professor of the Practice at Brandeis University. He directed the on-field ceremonies for 1999 All-Star Game for Major League Baseball.
KORTNEY ADAMS (Ingrid, Anitra, Ensemble) Kortney Adams is a native of St. Louis, Missouri, and has been working as an actor, director, and teaching artist in Boston since 2002. Regional credits include A Human Being Died That Night (Sandra Feinstein-Gamm Theatre), Becky’s New Car (Lyric Stage Co. of Boston), Two Gentlemen of Verona (Commonwealth Shakespeare Company), Pippi Longstocking and Aladdin (Wheelock Family Theatre), Voyeurs de Venus (Company One), Doubt (Gloucester Stage Co.), After Mrs. Rochester (IRNE for Best Supporting Actress, Wellesley Summer Theatre), Young Nerds of Color, Harriet Jacobs, and the World Premiere of From Orchids to Octopi (Underground Railway Theater), and the role of Barbara Demarco in the long-running hit Shear Madness. Recent films include The Makeover, R.I.P.D., The Proposal, and On Broadway. Adams is the education manager for Central Square Theater, and also the managing director of Theatre Espresso, which uses theatre in education to introduce young people to issues of social justice and the law.
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Guest Artist Biographies DANIEL BERGER-JONES (Aslak, Begriffenfeldt, Ensemble) Daniel Berger-Jones is a Boston-based actor, producer, director, and entrepreneur. In the classical music world, he has enjoyed sharing the stage with the Boston Symphony Orchestra (Peer Gynt), Virginia Symphony Orchestra (Schmitt’s Antony and Cleopatra), The Boston Pops (Peter and the Wolf), The BYSO (Young Person’s Guide to the Orchestra, Peter and the Wolf), Boston Chamber Symphony, Odyssey Opera, and other small companies and performances which have given equal delight. As a stage actor, he has been in productions with the ART, Huntington, Lyric Stage, Speakeasy Stage, Boston Playwright’s Theatre, Actors’ Shakespeare Project, Shakespeare and Company, and many other small companies and performances which have given equal and sometimes more delight. As a cofounder of the Boston Fringe Theatre company Orfeo Group, he enjoyed three Eliot Norton Awards for Best Production by a Fringe Company in five years, starring in five of the group’s critically-acclaimed productions. Currently, he is the executive director of a nonprofit boutique tour company called Cambridge Historical Tours, giving entertaining tours of history, science, and art throughout the Greater Boston area. He is the host of the new podcast A People’s History of Food and Drink, the first season of which is now available wherever you get your podcasts.
CAROLINE LAWTON (The Woman in Green, Ensemble) Caroline Lawton is a Boston-based actor, who recently received her Master’s in classical theatre at the Royal Central School of Speech and Drama. Since returning from London, Lawton has been seen on Boston stages in Orlando, The Tale of the Allergist’s Wife (Lyric Stage) Charlotte’s Web and Trumpet of the Swan (Wheelock), Oceanside (Merrimack Rep), Women Who Mapped the Stars (Poets Theatre), Shear Madness (Charles Playhouse) and Reconsidering Hanna(h) (Boston Playwrights) as well as numerous films and commercials. International credits include Frankie and Johnny in the Claire de Lune (Chipping Norton Theatre), A Woman of No Importance (Clandon Park), Private Thoughts in Public Spaces (CASA Festival). U.S. theater credits include Taming of the Shrew (Commonwealth Shakespeare), Arcadia and Comedy of Errors (Publick Theatre), An American Daughter (SpeakEasy Stage), The Underpants (Lyric Stage), and Mr. Sensitivity (NY International Fringe Festival). Film and television credits include Confessions of a Shopaholic, One Night Only, Scotch Hill, Casting About, My Brother Jack, Guiding Light, and Castle Rock. When not on stage or leading her double life working in a biotech company in the immunoncology space, Lawton can be found hanging upside down from the ceiling...studying aerial acrobatics at Esh Circus Arts.
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Guest Artist Biographies RISHER REDDICK (The Dovre King of the Trolls, Mads Moen, Ensemble) Risher Reddick is a theater artist of many stripes with roots in Boston, Pittsburgh, and Chicago. He cut his teeth as an actor, working with many regional theaters including Shakespeare & Company, The American Repertory Theatre, and Actors Shakespeare Project. From 2007-2012, Reddick produced, directed, and acted in plays with his theatre company, Orfeo Group, garnering praise from audiences and critics alike and winning three Elliot Norton Awards for outstanding production. As a teacher, he has worked with theater companies and universities across the country and is currently on faculty at UMass Amherst. These days Reddick works primarily as a director, re-imagining classics and devising new plays both in professional and academic settings. In 2014, he led the devising process of a new play, Hymns to Future Tense, with Bricolage Production Company. In 2015 and 2016, he spent most of his time working at Steppenwolf and Lookingglass theaters, serving as an assistant to his directing mentors, Michael Rohd, Jessica Thebus, and Mary Zimmerman. In 2019, Reddick directed a site-specific production of King Lear at an abandoned steel facility in Pittsburgh. Reddick is currently working on a new project, To the Table, a civic engagement piece using story, song, and food to facilitate conversation between community stakeholders, and later this year he will direct an intimate production of Harold Pinter’s Old Times presented in homes throughout New England. Reddick holds a BFA in acting from Boston University and an MFA in directing from Northwestern University.
Production Team CRISTINA TODESCO (Scenic Designer) Based in Boston, Cristina Todesco is a scenic designer working in both theater and film. Theater companies and institutions include Actors Shakespeare Project, Boston Conservatory at Berklee, Company One, Capital Rep, Commonwealth Shakespeare Company, the Culture Project, Huntington Theatre, Merrimack Repertory Theater, New England Conservatory, New Repertory Theater, Olney Theater Center, Poet›s Theater, Shakespeare and Company, Speakeasy Stage Company, Summer Play Festival, Trinity Rep, Wheelock Family Theater, Williamstown Theater Festival, among many more. She is a frequent collaborator with Sally Taylor and the artists in Taylor’s Consenses, a festival which mines the deep connectivity between art mediums. Todesco has designed for the Boston Symphony Orchestra at Symphony Hall in Boston and at Tanglewood in the Berkshires. For Outstanding Design, she is the recipient of four Elliot Norton Awards and an IRNE Award. She received her MFA in scenic design from Boston University’s School of Theatre Arts, where she currently teaches.
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Production Team CHARLES SCHOONMAKER (Costume and Puppet Designer) Charles Schoonmaker has extensive experience designing costumes for television, theatre, dance, and opera. Current projects for Concert Theatre Works include Mendelsshon’s A Midsummer Night’s Dream, Grieg’s Peer Gynt, and The Chevalier. For Boston Baroque: Handel’s Agrippina and Monteverdi’s Il Ritorno d’ Ulisse in Patria. For Boston Midsummer Opera: The Barber of Seville, Don Pasquale, The Italian Girl in Algiers, Trouble in Tahiti, and Bon Appetit. Schoonmaker is the recipient of four Daytime Emmy Awards for his work in television and the IRNE for best costume design for Venus in Fur at the Huntington Theatre in Boston. Additional regional theatre credits include productions at Israeli Stage, Arts Emerson, the Berkshire Theatre Group, Dorset Theatre Festival, Chester Theatre Company, Weston Play House, Northern Stage, Bay Street Theatre, Riverside Theatre (FL), and seven seasons as the resident costume designer at Jacob’s Pillow Dance Festival. Other dance credits: The Richmond Ballet, The Atlanta Ballet, Nashville Ballet, BAM Next Wave, Alvin Ailey Dance Theatre, Dance Theatre of Harlem, The Limon Company. Television credits include All My Children, As the World Turns, and Another World. He teaches costume design at Bennington College. Charles-Schoonmaker.com. MAURA GAHAN (Puppet Co-Designer and Puppet Realization) For over 20 years, Maura Gahan has studied, created, and performed with large and small scale puppets around the world for theater and dance performances, orchestras, parades, festivals, pageants, bicycle shows, and schools. Gahan has enjoyed collaborating with dozens of companies and artists, including the Bread and Puppet Theater (full-time member 2007-2013), Dance Hegginbotham/Redwing Blackbird Theater, National Symphony Orchestra, Vermont Symphony Orchestra, Robert Ashley/Steve Paxton, and Ensemble Pi. Gahan is currently an MFA Teaching Fellow in Dance at Bennington College. NICOLE PIERCE (Dance Choreography) Nicole Pierce is a choreographer, dancer, performance artist, and video maker. She founded and ran EgoArt, Inc., a dance theater company, for which she created over 30 works. Her work is hailed as “expansive, muscular movement etched with vivid detail.” (Boston Globe) A classically trained pianist and teacher, much of her output is musically inspired leaning on rhythm, edite to texture and, innate musicality. She collaborates regularly with painter/sculptor Michael Prettyman with whom she creates dances for camera using found or invented art environments. Lastly, Pierce is a monologist skirting the line of standup comedy wherein she uses autobiographical content to tell universal stories. JUSTIN SEWARD (Production Manager) Before stepping into the role as production manager, Seward worked as props designer for past CTW productions of Midsummer Night’s Dream and A Soldier’s Tale. Seward resides in Boston and works full-time as assistant props director for the Huntington Theatre Company, 2013 Regional Theatre Tony Award recipient. Seward also regularly freelances for Antiques Roadshow (assistant set decorator,) The Boston Pops, and Boston Symphony/Tanglewood. Seward has produced props for various Broadway and off-Broadway productions including The 39 Steps, Porgy and Bess, Sons of the Prophet, All the Way, and Finding Neverland. Seward has worked for various companies including Opera Theatre of St. Louis, Seagle Festival, North Shore Music Theatre, and American Repertory Theatre. Seward is a proud member of the Society of Properties Artisan Managers. www.justinsewardprops.com
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Program notes by J. Mark Baker Tonight’s Peer Gynt is unlike any you’ve ever experienced before! In this fully-staged adaptation, conductor Ken-David Masur and director Bill Barclay unite Grieg’s unforgettable music with a fun and modern take on Ibsen’s 19th-century drama. Henrik Ibsen
Born 20 March 1828; Skien, Telemark, Norway Died 23 May 1906; Kristiana (now Oslo), Norway
Edvard Grieg
Born 15 June 1843; Bergen, Norway Died 4 September 1907; Bergen, Norway Peer Gynt
Published: 1867 Composed: 1874-75 First performance: 24 February 1876; Kristiana (now Oslo), Norway Last MSO performance: MSO premiere Instrumentation: 3 flutes (all doubling piccolo); 2 oboes; 2 clarinets; 2 bassoons; 4 horns; 2 trumpets; 3 trombones; tuba; timpani; percussion (bass drum, chimes, cymbals, snare drum, tam tam, tambourine, triangle, xylophone); harp; organ; piano; strings Approximate duration: 90 minutes with one intermission Edvard Grieg was the most important Norwegian composer during the nationalist-Romantic era. First and foremost a master melodist, his compositions show the influence of native folk idioms. His Lyric Pieces for piano solo, the much-loved Piano Concerto in A Minor, and the incidental music to Henrik Ibsen’s play Peer Gynt all possess an abundance of memorable, hummable tunes. The two concert suites (Opus 46 and Opus 55) he fashioned from the latter spread his name throughout the world. Indeed, he could never quite escape their popularity. The two suites, however, include only eight of some 26 numbers. Their order does not reflect the sequence of events in Ibsen’s drama; thus, we miss out on the impact they have when set in a narrative context. This weekend’s performances will remedy that situation. When Grieg first met Ibsen (1828-1906), in Rome in 1866, the composer was in his 20s and the playwright had already attained some celebrity. As one of the founders of modernism in theatre, Ibsen is sometimes called “the father of realism.” Peer Gynt, which began its life as a dramatic poem before being crafted into a five-act play, predates the more realistic dramas of Ibsen’s maturity, such as A Doll’s House (1879) and Hedda Gabler (1890). It tells the story of a loudmouth peasant who desires money and status. Though he is well on his way from rags to riches, his materialism effects his ultimate downfall, Ultimately, however, he gains redemption through the love and fidelity of Solvieg. When Ibsen invited Grieg to compose incidental music for his repurposed poem, the composer responded with immediate enthusiasm. Though Ibsen provided detailed explanations as to where music was needed, Grieg sometimes felt overwhelmed by such an extensive task. He told his friend Frants Beyer, “It is a terribly difficult play for which to write music.” One exception he noted was Solvieg’s heart-melting song. He never cared for the ever-popular “In the Hall of the MILWAUKEE SYMPHONY ORCHESTRA
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Mountain King,” calling it “…something that I literally can’t bear listening to because it absolutely reeks of cow-dung, exaggerated Norwegian nationalism, and trollish self-satisfaction!” In its original guise, the collaboration between the playwright and composer was set in five acts and lasted, Wagner-like, for five hours. In 2017, director Bill Barclay (see page xx), on commission from the Boston Symphony Orchestra, condensed the work into two acts that run just over an hour. He read all the English translations of Ibsen’s play, then created his own, shifting items in the incidental music so they match the action. It is this version that we’ll revel in tonight. Utilizing costumed actors, a playful puppet, props, lighting effects, a fiddler, a chorus of voices, and a soprano soloist – this production tells the sometimes whimsical, sometimes comical, sometimes charming, sometimes picaresque, sometimes moving, decades-long story of protagonist Peer Gynt. The inveterate yarn-spinner lies and sneaks his way through many misadventures, but finally learns his lesson.
Director’s Note by Bill Barclay Henrik Ibsen’s sprawling verse play has always been intimidating to stage. His protagonist encounters a who’s who of Scandinavian folklore across three continents, 40 scenes, and 60 years. As a contrast, Grieg’s original incidental score survives neatly in two concert suites, fashioned by the composer after the 1876 Oslo premier. This new adaptation tonight tries to tame the story while going back to the wilder incidental score, mining for fresh bits of Grieg you’ve probably not heard before. It’s hard to identify a more exuberant writer than Ibsen in 1867. In its grab bag of genres from fantasy to naturalism, Peer Gynt is said to anticipate the literary modernism of the First World War. I rather think it anticipates film, cutting from place to place, exploring fantastical imagery, and using comedy to connect us to Peer the person (who many thought had actually lived). Those innovations still amaze readers today, and all this before he wrote his greatest plays: Hedda Gabler, A Doll’s House, Ghosts, The Wild Duck, and The Master Builder. Like the play that barely contains him, Peer has a foot in both romantic and modernist impulses. A dreamer and an opportunist, he pursues the world’s temptations in the mold of the self-made man, only to realize at death’s door the hollowing consequences of individualism. In all the translations I’ve read, the word Self reigns supreme in Peer Gynt. His simple aim is to be who he is above all else. After all, didn’t Shakespeare counsel us to be true to thyself “above all?” Peer dares us to criticize him for this. What is amazingly insightful is in the decades since Ibsen wrote Peer Gynt, our global industrialized economy has only increasingly spun on this idea, as does our social media, celebritizing the Self one Instagram photo at a time. But where does compassion factor in? Where meaning? Is pleasure all? Peer’s cautionary tale of hedonism becomes more relevant with each passing day. It is a joy to bring theatrical tools so fully into the concert hall with this iconic score. Too often, Peer Gynt is only known to us through Grieg’s greatest hits. I have labored to find homes for as many unfamiliar movements from the original score as I could. To serve the music, the text had to be written from scratch, economizing the narrative while retaining the spirit of Ibsen’s many different meters and rhyme schemes. We have committed to a rare fully staged presentation in the concert hall so that Grieg’s iconic music can reunite with the grandeur of the story and the caprice of its characters. Above all, we have stayed true to the spirit of equal partnership between Ibsen and Grieg in our “concert theater” approach. However I hope we are honoring these legends most in making something that feels very true to us too.
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CONVERGING LANDSCAPES Friday, April 1, 2022 at 11:15 am Saturday, April 2, 2022 at 7:30 pm ALLEN-BRADLEY HALL Yaniv Dinur, conductor Tracy Silverman, electric violin Adam Larsen, visual artist
JEAN SIBELIUS Symphony No. 1 in E minor, Opus 39 I. Andante, ma non troppo – Allegro energico II. Andante, ma non troppo lento III. Scherzo: Allegro IV. Finale (Quasi una Fantasia): Andante – Allegro molto
INTERMISSION
COLERIDGE-TAYLOR PERKINSON Sinfonietta No. 1 for Strings I. Sonata Allegro II. Song Form: Largo III. Rondo: Allegro furioso JOHN ADAMS The Dharma at Big Sur
Tracy Silverman, electric violin Adam Larsen, visual artist
Tonight’s Guest Artist is sponsored by NOAH & MARGOT SCHWARTZ, in memory of Mr. Silverman’s former violin teacher, DEBBRA WOOD SCHWARTZ. The 2021.22 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 recordings. MSO Classics recordings (digital only) available on iTunes and at mso.org. MSO Binaural recordings (digital only) available at mso.org. MILWAUKEE SYMPHONY ORCHESTRA
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Guest Artist Biographies TRACY SILVERMAN Lauded by BBC Radio as “the greatest living exponent of the electric violin,” Tracy Silverman is the world’s foremost electric violin soloist, bringing concert hall legitimacy to this nextgeneration instrument. Pulitzer and Grammy award winning composer John Adams raves: “No one makes that instrument sing and soar like Tracy, floating on the cusp between Jasha Heifetz and Jimi Hendrix.” As part of Silverman’s vision for the “future of strings,” he has premiered and recorded several major new electric violin concertos written specifically for him by composers John Adams (The Dharma at Big Sur), Terry Riley (The Palmian Chord Ryddle), Nico Muhly (Seeing is Believing), Roberto Sierra (Ficciones), Kenji Bunch (Embrace), and three concertos of his own; appearing with the LA Philharmonic, BBC Symphony, and many others at Carnegie Hall, Disney Hall, Royal Albert Hall, and stages all over the world. Formerly first violinist with the innovative Turtle Island String Quartet, Silverman was named one of 100 distinguished alumni by The Juilliard School and is notable not only for his development and use of the electric six-string violin, but also for what he terms “progressive string playing,” an evolution of classical string playing that embraces contemporary popular idioms such as rock, jazz, and hip hop. Television, internet, and radio includes a solo Tiny Desk Concert on NPR, A Prairie Home Companion, Performance Today, St. Paul Sunday, and a profile on CBS News Sunday Morning. A longtime proponent of string education, Silverman is a leader in the progressive string community and the host of The Greater Groove: The Future of Strings podcast. His Strum Bowing method has been adopted by players and teachers all over the world. Silverman is the author of The Strum Bowing Method: How to Groove on Strings and The Rhythm String Player: Strum Bowing in Action, as well as several etude books and online courses on his Strum Bowing Groove Academy. Silverman is on the faculty of Belmont University in Nashville, Tenessee.
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Guest Artist Biographies ADAM LARSEN Adam Larsen has designed video projections for over 200 productions in theater, dance, symphony, and opera. Projects have ranged from intimate to extravagant and have appeared both on Broadway and in many of the major venues across the country. Larsen’s multifaceted work has led to collaborations with leading voices in symphony and opera including, 30 projects with James Darrah,15 projects with Michael Tilson Thomas, three with John Adams, as well as projects with Joni Mitchell, Janelle Monae, Esperanza Spalding, Missy Mazzoli, and Ellen Reid. Other designs include Hal Prince’s LoveMusik on Broadway; Missy Mazzoli’s Breaking The Waves at Opera Philadelphia and the Prototype Festival; Lee Breuer’s The Gospel at Colonus at the Athens, Edinburgh, and Spoleto festivals; Esperanza Spalding’s 12 Little Spells national tour; Watermill at the BAM Next Wave Festival; Haruki Murakami’s The Wind-Up Bird Chronicle at the Singapore and Edinburgh festivals; Janáček’s From the House of the Dead at Canadian Opera Company; Bernstein’s Mass at the Los Angeles Philharmonic and Lincoln Center; David Lang’s Prisoner of the State at the New York Philharmonic; Britten’s Peter Grimes, Bernstein’s On the Town, Mussorgsky’s Boris Godunov, as well as all eight seasons of the SoundBox series at San Francisco Symphony; The Pelleas Project at the Cincinnati Symphony; Adams’s A Flowering Tree and Handel’s Agrippina at Opera Omaha; and the direction and design for a semi-staged production of Bartók’s Bluebeard’s Castle at the Houston Symphony. In addition, Larsen has directed two feature-length documentaries about disability. His first, Neurotypical, about autism from the perspective of autistics, premiered on the the PBS series P.O.V and his second, Undersung, about caregivers of severely disabled family members, is available on Amazon.
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Program notes by J. Mark Baker On today’s concert, we’ll journey from the rustic beauty of Finland’s open spaces to the breathtaking scenery of the Pacific Coast. In between, we’ll enjoy Perkinson’s early and evocative Sinfonia No. 1. Welcome, Tracy Silverman! Jean Sibelius
Born 8 December 1865; Hämeenlinna, Finland Died 20 September 1957; Jarvenpää, Finland Symphony No. 1 in E minor, Opus 39
Composed: 1899 First performance: 26 April 1899; Helsinki, Finland Last MSO performance: February 2014; Santtu-Matias Rouvali, conductor Instrumentation: 2 flutes (1st and 2nd doubling piccolo); 2 oboes; 2 clarinets; 2 bassoons; 4 horns; 3 trumpets; 3 trombones; tuba; timpani; percussion (bass drum, cymbals, triangle); harp; strings Approximate duration: 38 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. His official first name was Johan; as an adolescent, he adopted the gallicized “Jean.” And though he was prolific in many genres – tone poems, choral music and songs, chamber music, solo piano works – his stature rests chiefly on his accomplishment as a composer of symphonies. For much of the 19th century, Finland had been a self-governing grand duchy of the Russian empire. That changed in 1899, when Tsar Nicholas II issued his “February Manifesto.” In essence, this held that he could rule Finland by edict. To fight back, the Finnish people chose passive resistance and music over guns. (This “Russification” continued until 1905, when the manifesto was declared null and void.) In 1899, the young Sibelius was just coming into his powers. He was patriotic, but not political, eager to write music that would bolster the spirits of his fellow countrymen. His bold new First Symphony was about to be premiered in the coming months. Its success let the world know that Finnish culture was worth the fight. (Finlandia, his most overt statement of Finnish nationalism, was also composed in 1899.) After its Helsinki premiere, his Opus 39 toured to Scandinavia, Germany, and the 1900 Paris World Exhibition. It has been said that Sibelius never approached the symphonic challenge the same way twice. The E minor symphony is indebted to Tchaikovsky’s harmonic vocabulary, especially the slow movement, “written in the wake, as it were, of Tchaikovsky’s Pathétique” (Robert Layton), which he had heard in Helsinki in prior years. Additionally, as writer David Hurwitz notes, “anyone who loves Italian opera will find much that sounds familiar in the first two Sibelius symphonies.” Igor Stravinsky, who was fond of some of Sibelius’s music, once quipped, “I like Italian-melody-gonenorth. Tchaikovsky did, too, of course…” The symphony begins with ominously rolling timpani, and the clarinet sings a pensive melody. As the drums subside, the clarinet proceeds on its own until the violins interrupt with a repeated-note figure; this initiates the main Allegro energio, a sonata-form in 6/4 meter. There’s a lot to take in here: soaring string melodies, stately brass fanfares, and lively woodwind conversations. There are also hazy passages of descending chromatic woodwind scales that seem to undermine the sense of a tonal center. As the movement nears its conclusion, the mood turns ominous, and two pizzicato chords bring it to a decisive close. 30
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The second movement, cast in a rondo-like form, falls into the “Italian-melody-gone-north” category, as gentle notes from the harp accompany an elegiac melody in the muted violins and cellos. A brief episode introduces, in sequence, the bassoon, clarinet, oboe, and flute; the strings soon join, and a dialogue between strings and brass ensures. Then follows an interlude of tranquil “nature music.” Listen, too, as fragments of the opening clarinet melody are employed by violins, horns, and harp arpeggios. Sibelius rounds off the movement by restating its initial material; the harp plays low E-flats in octaves beneath a tender variation of the Andante’s opening theme. As composers have long been wont to do, Sibelius set his Scherzo in a three-part form (A-B-A) in 3/4 time. Its tempestuous outer sections (A) enclose a more lyrical middle portion (B). Sibelius said the Finale is “Like a Fantasy;” its many contrasts are often abrupt, and the music seems to turn on a dime. Nevertheless, it follows a strict sonata form, and these contrasts go hand-in-glove with the Symphony’s aesthetic intent. The last movement’s “big tune” is in Sibelius’s expansive Italianate style; in its final statement, toward the end of the work, groups of instruments share the melody. Underpinning it all is an incessant, anxiety-ridden pedal tone, and the final bars strive to end forte. The last statement, however, goes to the same E-minor pizzicatos that closed the first movement – only paler and more stoic.
Coleridge-Taylor Perkinson
Born 14 June 1932; New York, New York Died 19 March 2004; Chicago, Illinois Sinfonietta No. 1 for Strings
Composed: 1954-55 First performance: 1966 Last MSO performance: MSO premiere Instrumentation: strings Approximate duration: 18 minutes Coleridge-Taylor Perkinson was named after the celebrated Afro-British composer, Samuel Coleridge-Taylor. Exposed to the arts at an early age – his mother gave piano lessons in the Bronx, played organ for a church there, and directed a theater company – in his teen years, Perkinson was a student at New York’s prestigious High School of Music and Art, where he began conducting and composing. He attended New York University and the Manhattan School of Music, earning a master’s degree in composition from the latter. He subsequently studied conducting in the Netherlands and at the Mozarteum in Salzburg. In 1965, he co-founded New York’s Symphony of the New World, the first racially integrated orchestra in the United States, later becoming its music director. Perkinson’s music blends Baroque counterpoint, American Romanticism, and rhythmic ingenuity with elements of the blues, spirituals, and Black folk music. His compositions range from works for unaccompanied solo instruments to those for chorus and orchestra. He also worked as a composer and arranger of recordings by many pop figures, including Marvin Gaye. His several film scores include the Martin Luther King Jr. documentary Montgomery to Memphis (1970). Perkinson was still in his early 20s when he composed the Sinfonietta No. 1 for Strings. Penned in the mid-1950s, it was not premiered for over a decade. From its opening measures, the Sonata Allegro’s robust counterpoint unveils the influence of one of Perkinson’s “teachers,” J.S. Bach. In this brief movement, listen especially for the engaging dialogues between the upper and lower voices. The mood of the second-movement Largo is not unlike that of Samuel Barber’s Adagio for Strings: gentle, expressive, elegiac, summoning the affect and musical language of the Romantic era. The vigorous Rondo (“fast and furious”) changes time signatures frequently, creating a sort of metrical ambiguity. Rhythmic flow is likewise disrupted by switching the relative positions of MILWAUKEE SYMPHONY ORCHESTRA
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the themes. In its more lyrical moments, the melodic fourths may remind us of the style of Aaron Copland. Throughout this engaging work, Perkinson has not only deftly combined the influences of other great masters, but also unquestionably presented his own musical vocabulary.
John Adams
John Adams
Born 15 February 1947; Worchester, Massachusetts
The Dharma at Big Sur
Composed: 2003 First performance: 24 October 2003; Los Angeles, California Last MSO performance: MSO premiere Instrumentation: 2 bass clarinets; 4 horns; 3 trumpets (1st doubling piccolo trumpet); 3 trombones; tuba; timpani; percussion (almglocken, bowl gongs, chimes, crotale, flower pots, glockenspiel, marimba, triangle, tuned gongs, vibraphone, xylophone); 2 harps; 2 synthesizers, strings Approximate duration: 27 minutes “I wanted to compose a piece that embodied the feeling of being on the West Coast – literally standing on a precipice overlooking the geographic shelf with the ocean extending far out to the horizon…” –John Adams (2008) John Adams was born and raised in New England, where he learned the clarinet from his father and played in marching bands and community orchestras during his formative years. He began composing at age ten and heard his first orchestral pieces performed while still a teenager. After graduating from Harvard, he moved in 1971 to the San Francisco Bay area where he has lived ever since. Adams’s orchestral scores are among the most frequently performed and influential compositions by an American since the era of Copland and Bernstein. Works such as ShakerLoops, Harmonielehre, Short Ride in a Fast Machine, and his Violin Concerto are by now staples of the symphonic repertoire. His operas and oratorios, including Nixon in China, The Death of Klinghoffer, El Niño, and Doctor Atomic – many with themes drawn from recent American history – have made a significant impact on the course of contemporary opera and are among the most produced by any living composer. The Dharma at Big Sur was composed to celebrate 2003 opening of the Frank-Gehry-designed Disney Hall in Los Angeles. Adams fashioned the piece for Tracy Silverman (see page 28) and his six-string electric violin. You’ll notice that the two extra strings allow the instrument to descend into the dark-hued cello range. Listen also to the “just intonation” of the two harps, piano, and two keyboard samplers. Adams’s original intent was that the entire orchestra be tuned this way, but it proved unfeasible. For his inspiration, Adams looked to several sources: the astounding beauty of the California coastline, of course, but also Jack Kerouac’s novel Big Sur and two fellow composer friends. The work is cast in two extensive movements. The first, “A New Day,” is an homage to Lou Harrison. Atop the quiet of an orchestral drone – with soft piano chords, gently pulsating harps, distant gongs, and brass textures – the soloist takes flight, pouring out an endless melody of rapturous delight. Eventually, the orchestra, having been so long in the distance, swells up to wrest the melody from the soloist. The music acquires a more defined pulse as we move into “Sri Moonshine,” a nod to composer Terry Riley. Adams has likened this movement to “a gigantic, pulsing gamelan” and the solo violin part to “a seagull moving in a wind storm.” “The brass instruments,” he writes, “so quiet and reserved at the beginning of the piece, now fill the acoustic space with surging walls of resonance. Low-tuned gongs mark the inner structure of the music as it vibrates over and over on one enormous ecstatic expression of ‘just B.’” 32
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M A D I S O N M E D I C A L A F F I L I AT E S
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When it comes to healthcare, you shouldn’t settle for anything less than the perfect fit. You need physicians who are engaged. Who listen. Who spend time with you. We want to make a difference in your life, and the lives of your family. INTERNAL MEDICINE
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Bravo! The arts help economies thrive, communities flourish and individuals connect with each other while educating and enriching societies. We are proud to be a part of this community.
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Five Generations Family Owned & Operated 2025 East Capitol Drive Shorewood, WI 53211 Telephone: 414.962.8383
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❖ Called to B e Disc iples of Jesus Chr ist Friday, May 6, 2022 ❖ 8:00PM
The Cathedral’s annual Grand Music concert will feature the Cathedral Choir and the Cathedral Women’s Choir presenting choral music portraits on discipleship. Music by Palestrina, Pergolesi, Fauré, and more! Please contact the Cathedral to purchase tickets.
❖ O rg an Rec ital: Dr. Thomas Fielding Tuesday, May 24, 2022 ❖ 7:00PM
Join celebrated international organ recitalist and Director of Music from the Cathedral of Saint Augustine, Diocese of Kalamazoo in Michigan, Dr. Thomas Fielding for a diverse organ program showcasing the Cathedral’s organs. Please contact the Cathedral to purchase tickets.
❖ W ednesday Conc ert S eries/Cathedral Choir
Masses
Every Wednesday from March through December, for the most part, we have 30 minute concerts from 12:15PM—12:45PM. These programs are free and feature some of the area’s finest musicians.
Please join the Cathedral Choir for the 11:00AM Mass most Sundays from mid-September through Pentecost as well as major solemnities (i.e. Christmas Midnight Mass and Easter Triduum). Please visit our website for more information!
For more information, contact the Cathedral Music Office at (414) 276-9814, x305, visit us online at www.stjohncathedral.org/finearts, or like us on Facebook.
812 N Jackson St ❖ Milwaukee WI 53202 ❖ (414) 276-9814 ❖ www.stjohncathedral.org MILWAUKEE SYMPHONY ORCHESTRA
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A Tradition of Distinction! SINCE 1953
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MILWAUKEE SYMPHONY ORCHESTRA
DE WAART & BRAUTIGAM Friday, April 8, 2022 at 7:30 pm Saturday, April 9, 2022 at 7:30 pm Sunday, April 10, 2022 at 2:30 pm ALLEN-BRADLEY HALL Edo de Waart, conductor Ronald Brautigam, piano JOHANNES BRAHMS Variations on a Theme by Joseph Haydn, Opus 56a Chorale St. Antoni: Andante Variation I: Poco più animato Variation II: Più vivace Variation III: Con moto Variation IV: Andante con moto Variation V: Vivace Variation VI: Vivace Variation VII: Grazioso Variation VIII: Presto non troppo Finale: Andante FRANZ SCHREKER Kammersymphonie (Chamber Symphony in One Movement) INTERMISSION
LUDWIG VAN BEETHOVEN Overture to Collin’s Coriolan, Opus 62 WOLFGANG AMADEUS MOZART Concerto No. 25 in C major for Piano and Orchestra, K. 503 I. Allegro maestoso II. Andante III. Allegretto Ronald Brautigam, piano The MSO Steinway piano was made possible through a generous gift from MICHAEL AND JEANNE SCHMITZ. The 2021.22 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 recordings. MSO Classics recordings (digital only) available on iTunes and at mso.org. MSO Binaural recordings (digital only) available at mso.org. MILWAUKEE SYMPHONY ORCHESTRA
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Guest Artist Biographies RONALD BRAUTIGAM One of the leading pianists of his generation, Ronald Brautigam is one of the few to perform at the highest level on modern as well as period instruments. A student of the legendary Rudolf Serkin, he has over the years established himself as an authority on the classical and early romantic composers, with an acclaimed discography on the BIS label that includes complete cycles of works by Haydn, Mozart, and Beethoven as well as recordings of solo works and concertos by Kraus, Weber, and Mendelssohn. Brautigam has performed with leading orchestras across the world – from the Amsterdam Concertgebouw Orchestra to the Sydney Symphony Orchestra – as well as the foremost period ensembles. In 2009 he began what has proved a highly successful collaboration with the Kölner Akademie and its conductor Michael Alexander Willens, resulting in acclaimed recordings of the complete piano concertos of Mozart (11 discs), Beethoven, Mendelssohn, and Weber. Current recording projects include the piano concertos by the Dutch-German composer Johann Wilhelm Wilms (1772-1847). In 2004, Brautigam released the first installment of a 15-disc Beethoven cycle on fortepiano, prompting the reviewer of the magazine Fanfare to envisage a series “that challenges the very notion of playing this music on modern instruments, a stylistic paradigm shift.” Featuring the piano sonatas, the first nine discs of the cycle were awarded an Edison Award and the prestigious Jahrespreise der Deutschen Schallplattenkritik in 2015. Besides his work for BIS, Brautigam has recorded piano concertos by Shostakovich, Hindemith, and Frank Martin with the Royal Concertgebouw Orchestra conducted by Riccardo Chailly, as well as several discs with violinist Isabelle van Keulen and cellist Christian Poltéra. His recordings have earned him a number of awards including three Edisons, a Diapason d’Or de l’Année, and two MIDEM Classical Awards, for best solo piano and best concerto recording respectively. His editorial work includes a reconstruction of the orchestral score of Beethoven’s piano concerto WoO4 from 1784, as well as preparing an edition of the five piano concertos by Johann Wilhelm Wilms.
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MILWAUKEE SYMPHONY ORCHESTRA
Program notes by J. Mark Baker Music Director Laureate Edo de Waart returns to conduct a program of Austro-German works: much-loved music by Mozart, Beethoven, and Brahms is complemented by Schreker’s lesser-known – but completely beguiling – Chamber Symphony. Welcome back to Milwaukee, Ronald Brautigam! Johannes Brahms
Born 7 May 1833; Hamburg, Germany Died 3 April 1897; Vienna, Austria Variations on a Theme by Joseph Haydn, Opus 56a Composed: 1873 First performance: 2 November 1873; Vienna, Austria Last MSO performance: March 2016; Joshua Weilerstein, conductor Instrumentation: 2 flutes; piccolo; 2 oboes; 2 clarinets; 2 bassoons; contrabassoon; 4 horns; 2 trumpets; timpani; percussion (triangle); strings Approximate duration: 19 minutes
Like the two orchestral serenades and Ein deutches Requiem, Brahms’s Variations on a Theme by Joseph Haydn predates his Symphony No. 1. The 40-year-old composer wrote the work in the summer of 1873. A few years earlier, his friend (and Haydn biographer) C.F. Pohl had shown him the score to Haydn’s Feldpartita in B-flat major – written for two oboes, two horns, three bassoons, and the archaic serpent horn. In his notebook, he copied the second movement, which probably was based on an old chant entitled Chorale St. Antonii, sung by the Burgenland pilgrims. (Despite Brahms’s title, the theme most likely predated Haydn.) The German master used its hymn-like melody as the theme for the Opus 56 Variations. First scored for two pianos (Opus 56b), it was always Brahms’s intention to create an orchestral version. And indeed, it is one of his finest. The eight variations retain the harmony, the rhythm, and, to a certain degree, the melody of the theme. Various instruments share the motives and melodies, playfully tossing them from one section of the orchestra to another. The variations build toward a dramatic climax, and the finale, passacaglia-like, provides variations on a fivemeasure basso-ostinato gleaned from the theme itself. The work pretends to taper to a quiet close, but a subito fortissimo ends the piece in a resounding B-flat major.
Franz Schreker
Born 23 March 1878; Monaco Died 21 March 1934; Berlin, Germany Kammersymphonie (Chamber Symphony in One Movement}
Composed: 1916 First performance: 12 March 1917; Vienna, Austria Last MSO performance: MSO premiere Instrumentation: flute; oboe; clarinet; bassoon; horn; trumpet; trombone; timpani; percussion (cymbals, glockenspiel, suspended cymbal, tam tam, triangle, xylophone); harp: celeste; harmonium; piano; strings Approximate duration: 25 minutes MILWAUKEE SYMPHONY ORCHESTRA
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Though his primary genre was opera, the Austrian composer Franz Schreker also wrote orchestral and chamber music, as well as songs and choral works. He studied violin and composition at the Vienna Conservatory and later had a career in that city as a composer, conductor, and professor. As a conductor, he was on the podium for the premieres of Zemlinsky’s Psalm XXIII and Schoenberg›s Friede auf Erden and Gurre-Lieder, among many others. In 1920, Schreker accepted the directorship of the Berlin Hochschule für Musik; he moved to Berlin and remained there for the rest of his life. As a Jew, he came under Nazi attack in the early 1930s, and was forced, in 1932, to resign from his position at the Hochschule. He then took over a masterclass in composition at the Prussian Academy of Arts, but was dismissed at the end of 1933. The shock of that event caused a severe heart attack, from which he never recovered; he died two days short of his 56th birthday. Though the music of his later years became leaner, harsher, and more dissonant, Schreker was essentially a Romantic composer. This is patently obvious in the Chamber Symphony, written to celebrate the centenary of the Vienna Academy. Its first performance was given there in 1917, conducted by the composer. From its phosphorescent opening measures – wherein first the flute, then the violins hover above the misty timbres of celesta, piano, harp, and harmonium – the Kammersymphonie beguiles us with its lush scoring and sultry eroticism. In Schreker’s hands, the orchestra becomes a prism, refracting motivic ideas as various instruments combine to create a kaleidoscope of colors. Melodies crisscross and, as in a relay race, are handed from one player or section to another. Schreker’s penchant for kinetic fluctuations of tempo, rhythm, and mood can delightfully obscure formal articulation. Nevertheless, this single-movement work contains four discernable sections: introduction, main movement, adagio, and scherzo. These often overlap and, except for the scherzo, are all echoed at the end.
Ludwig van Beethoven
Baptized 17 December 1770; Bonn, Germany Died 26 March 1827; Vienna, Austria Overture to Collin’s Coriolan, Opus 62 Composed: 1807 First performance: March 1807; Vienna, Austria Last MSO performance: February 2013; Edo de Waart, conductor Instrumentation: 2 flutes; 2 oboes; 2 clarinets; 2 bassoons; 2 horns; 2 trumpets; timpani; strings Approximate duration: 8 minutes Coriolanus was a celebrated Roman military leader of the fifth century B.C. His story has been related by the likes of Plutarch and Shakespeare, but Beethoven’s overture was inspired by Heinrich Joseph von Collin’s tragedy Coriolan, first staged in 1804 and revived in 1807. We don’t know whether or not Beethoven intended his Opus 62 to be performed in the theatre. Its first performance took place in a concert at Prince Lobkowitz’s Viennese palace; the composer’s Fourth Symphony and Fourth Piano Concerto were on the same program. In Collin’s drama, Coriolanus, failing to show adequate interest in the people of Rome, has been banned from the city. Angered, he joins forces with the Volscians, enemies of Rome, and resolves to attack his native city. When he reaches the edge of the city, Roman representatives beg him to desist, but he refuses. Before long, his wife and his mother, Volumnia, arrive to plead with him. Seeing his mother, he foreswears his revenge and, to reclaim his honor, falls on his sword. The Coriolan Overture is set in sonata-allegro form in C minor, a key Beethoven reserved for stormy, emotionally charged works (“Pathetique” Sonata, funeral march in the “Eroica” Symphony, Fifth Symphony, et al.). Its first theme, in C minor, portrays Coriolanus as the lamentable warrior. The second theme, depicting Volumnia, is its antithesis; set in the relative 42
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key of E-flat major, it is a melody of radiant gentleness. Throughout the work, the contrast between these motives remains unresolved. In the coda, Beethoven reverses the themes, first presenting Volumnia’s melody (now in C major), then the Coriolanus motive. The latter slows down and finally ebbs away, followed by three unison Cs, pizzicato et pianissimo. Beethoven dedicated his Opus 62 to H.J. Collin. In its own way, the Coriolan Overture is a watershed moment in the history of 19th-century music. Descriptive rather than narrative, it paved the way for concert overtures by Mendelssohn, Weber, Wagner, Smetana, Dvořák, Grieg, Tchaikovsky, and Elgar, among many others – all the way to Shostakovich’s Festive Overture (1954), one of the last that still shows links with the tradition.
Wolfgang Amadeus Mozart
Born 27 January 1756; Salzburg, Austria Died 5 December 1791; Vienna, Austria Piano Concerto No. 25 in C major, K. 503 Composed: 1786 First performance: [?] December 1786; Vienna, Austria Last MSO performance: March 1989; Lukas Foss, conductor; Richard Goode, piano Instrumentation: flute; 2 oboes; 2 bassoons; 2 horns; 2 trumpets; timpani; strings Approximate duration: 30 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 major concerto, K. 503. Though he would go on to write two more piano concertos, this was the last of what are considered the great 12 piano concertos he penned between 1784-86. Mozart completed the work on 4 December 1786; though the reason for its composition is uncertain, it’s possible that he premiered it the following evening on a projected Advent concert. What we do know is that the nimble composer also completed the “Prague” Symphony, K. 504 just two days later, on 6 December. In Mozart’s time (and earlier), C major and D major were the keys in which trumpets and drums were customarily used. “The extra depth of C seems to have led to Mozart’s preferring it for works of a more ceremonious character” (Stanley Sadie). This holds true for K. 503 – one of his greatest works in the concerto genre; here, he eschews the use of his beloved clarinets and instead opts for those more celebratory – and militaristic – instruments. The wide-ranging opening movement opens with a fanfare-like melody befitting its “maestoso” marking. Among its themes is a march-like melody with a short-short-short-long rhythm that some have likened to “La Marseillaise,” though that tune had not yet been written. Qualities other than majesty are soon evident, however, as shifts to the minor mode create moments of doubt and ambiguity. Mozart left no cadenza for this movement, so the soloist is free to play one of their own choosing – or from their own imagination. The serene Andante, set in F major in 3/4 meter, makes extensive and colorful use of the winds. Likewise, Mozart toys with the timbral possibilities of his own instrument, exploring and exploiting its extreme registers. Throughout the movement, primly straightlaced passages alternate with elaborately embellished ones to create a refined, graceful whole. The final Allegretto is a sonata-rondo that opens with a gavotte theme from Mozart’s 1781 opera Idomeneo. On its surface it is cheerful and confident, but, like the first movement, it is tinted by contrasts of major and minor keys. A lyrical theme in the middle of the bustling activity adds a moment of pathos, but this delightful work of the 30-year-old master ends with joy and assurance. MILWAUKEE SYMPHONY ORCHESTRA
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MILWAUKEE SYMPHONY ORCHESTRA
THE STREISAND SONGBOOK Friday, April 22, 2022 at 7:30 pm Saturday, April 23, 2022 at 7:30 pm Sunday, April 24, 2022 at 2:30 pm ALLEN-BRADLEY HALL Jason Seber, conductor Ann Hampton Callaway, vocalist Marvin Hamlisch, arranged by Jeff Tyzik A Marvin Hamlisch Celebration Music by David Shire; Lyrics by Richard Maltby, Jr. Starting Here, Starting Now Arthur Hamilton Cry Me a River Music by Richard Rodgers; Lyrics by Oscar Hammerstein II A Cockeyed Optimist Ann Hampton Callaway At The Same Time Music by Harold Arlen; Lyrics by Yip Harburg Over the Rainbow Music by Marvin Hamlisch; Lyrics by Alan Bergman and Marilyn Bergman The Way We Were Music by Jule Styne; Lyrics by Bob Merrill Don’t Rain On My Parade INTERMISSION
Continued on page 46
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THE STREISAND SONGBOOK
Continued
Jerry Herman, arranged by Robert Wendel Hello Dolly! Overture Music by Jule Styne; Lyrics by Betty Comden and Adolph Green Just in Time Alan Bergmanm, Marilyn Bergman, and Michel Jean Legrand How Do You Keep the Music Playing? Barbra Streisand and Paul Williams Evergreen Music by Jule Styne; Lyrics by Bob Merrill / Music and Lyrics by Stephen Sondheim People / Being Alive Music by Sigmund Romberg; Lyrics by Oscar Hammerstein II Lover, Come Back To Me Music by Richard Rodgers; Lyrics by Oscar Hammerstein II I’ve Dreamed of You Music by Burton Lane; Lyrics by Alan Jay Lerner / Music by Milton Ager; Lyrics by Jack Yellen On A Clear Day / Happy Days Are Here Again
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 on iTunes and at mso.org. MSO Binaural recordings (digital only) available at mso.org.
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Guest Artist Biographies JASON SEBER Jason Seber celebrates his sixth year with the Kansas City Symphony, beginning as assistant conductor in the 2016.17 season, and as associate conductor starting in the 2017.18 season. In this position, he has built a strong rapport with the Kansas City community, leading the symphony in over 300 concerts on the Classics Uncorked, Pops, Family, Film + Live Orchestra, Young People’s Concerts, KinderKonzerts, and Link Up series, as well as Christmas Festival, Symphony in the Flint Hills, and many other programs. In October 2019, he made his debut on the Classical Series and recently led another Classical Series program in the spring of 2021. He also serves as a cohost for the Symphony’s podcast, “Beethoven Walks into a Bar.” Prior to his appointment with the Kansas City Symphony, Seber served as education and outreach conductor of the Louisville Orchestra from 2013 to 2016 and music director of the Louisville Youth Orchestra from 2005 to 2016. He has also served as assistant conductor of the Cleveland Pops Orchestra and the National Repertory Orchestra. Seber has guest conducted many leading North American orchestras, including the Charleston Symphony, Cleveland Pops, Colorado Symphony, Houston Symphony, Indianapolis Symphony, St. Louis Symphony, and the Windsor Symphony. Upcoming engagements include the Houston Symphony, Milwaukee Symphony, and the San Diego Symphony. A passionate advocate of music education, Seber recently led programs with the National Repertory Orchestra at concerts in Breckenridge and as part of the Bravo! Vail Music Festival. He returns to conduct the NRO in July 2022. He has led the Honors Performance Series Orchestra in performances at Carnegie Hall (2018 and 2022), Royal Festival Hall in London (2019), and the Sydney Opera House (2017). In November 2019, he led the APAC Honors Festival Orchestra in Seoul, Korea. He has served as the All-State Orchestra conductor for Missouri and Georgia, and will be the conductor for the Pennsylvania and Kansas All-State Orchestras in 2022 and 2024, respectively. Seber has performed with classical artists Jinjoo Cho, Paul Jacobs, Conrad Tao, and Joyce Yang, and a diverse range of pops artists including Patti Austin, Andrew Bird, Boyz II Men, Melissa Etheridge, Ben Folds, Renée Elise Goldsberry, Lyle Lovett, Brian Stokes Mitchell, My Morning Jacket, Leslie Odom, Jr., Aoife O’Donovan, Pink Martini, Doc Severinsen, Bobby Watson, and Wynonna. He earned his master’s degree in orchestral conducting from the Cleveland Institute of Music and his bachelor’s degrees in violin performance and music education from Baldwin Wallace University.
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Guest Artist Biographies ANN HAMPTON CALLAWAY One of the leading champions of the Great American Songbook, Ann Hampton Callaway has made her mark as a singer, pianist, composer, lyricist, arranger, actress, educator, TV host, and producer. Voted recently by Broadwayworld.com as Performer of the Year, Callaway is a born entertainer. Her unique singing style that blends jazz and traditional pop, making her a mainstay in concert halls, theaters, and jazz clubs as well as in the recording studio, on television, and in film. Callaway is a Platinum Award winning writer whose songs are featured on seven of Barbra Streisand’s recent CDs. The only composer to have collaborated with Cole Porter, she has also written songs with Carole King, Rolf Lovland, and Barbara Carroll to name a few. Callaway has been a special guest performer with Wynton Marsalis and the Lincoln Center Jazz Orchestra, with Keith Lockhart and the Boston Pops at Symphony Hall and Tanglewood, and is featured at many of the Carnegie Hall tributes. She has sung with more than 30 of the world’s top orchestras and big bands. Callaway performed with her sister, Broadway star Liz Callaway, in their award winning show Sibling Revelry at London’s Donmar Warehouse. She took the symphony world by storm with her latest show “The Streisand Songbook” which she premiered with the Boston Pops and continues to tour with top orchestras across the country. Two of Callaway’s recent recordings received great critical acclaim: The Sarah Vaughan Project: Live at Dizzy’s in 2014 and The Hope of Christmas in 2015. She is featured on her sister Liz Callaway’s holiday EP Merry and Bright as well as Arbor’s Records CD Johnny Mandel: the Man and His Music. Her recent solo CDs At Last, Blues in the Night, Slow, and Signature have received rave reviews as well. She has recorded two popular holiday CDs: Holiday Pops! with Peter Nero and the Philly Pops, and her solo CD, This Christmas. Callaway’s other recordings include Easy Living, To Ella with Love, After Ours, Bring Back Romance, Ann Hampton Callaway, and the awardwinning live recording Sibling Revelry. Callaway has also been a guest performer on more than 40 CDs, including Kenny Barron’s latest CD, The Traveler. Callaway’s latest CD, Jazz Goes To The Movies, was released on Shanachie Entertainment and debuted at #12 on the Billboard Jazz Chart. In response to COVID-19 shutting down our concert venues, Callaway has introduced her monthly livestream series “The Callaway Hideaway,” which takes place on the Zoom platform.
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YO-YO MA cello
KATHRYN STOTT piano
Friday, April 29, 2022 at 7:30 pm Pieces grouped together are to be performed without pause. Song Without Words, Op. 109 Scarborough Fair Shenandoah Was it a Dream?, Op. 37 No. 4
FELIX MENDELSSOHN (1809-1847) TRADITIONAL, Arr. STEPHEN HOUGH CAROLINE SHAW (b. 1982) JEAN SIBELIUS (1865-1957)
From Jewish Life Prayer Supplication Jewish Song
ERNEST BLOCH (1880-1959)
4 Romantic Pieces Allegro moderato Allegro maestoso Allegro appassionato Larghetto
ANTONÍN DVOŘÁK (1841-1904)
INTERMISSION
Dervish Cristal Gracias a la vida Libertango Soledad Le Grand Tango
ERROLLYN WALLEN (b. 1958) CESAR CAMARGO MARIANO (b. 1943), Arr. JORGE CALANDRELLI VIOLETA PARRA (1917-1967), Arr. JORGE CALANDRELLI ASTOR PIAZZOLLA (1921-1992), Arr. KATHRYN STOTT ASTOR PIAZZOLLA (1921-1992) ASTOR PIAZZOLLA (1921-1992)
Management: Opus 3 Artists, LLC. opus3artists.com The MSO Steinway piano was made possible through a generous gift from MICHAEL AND JEANNE SCHMITZ. The length of this concert is approximately 2 hours. MILWAUKEE SYMPHONY ORCHESTRA
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Guest Artist Biographies YO-YO MA Yo-Yo Ma’s multi-faceted career is testament to his enduring belief in culture’s power to generate trust and understanding. Whether performing new or familiar works from the cello repertoire, collaborating with communities and institutions to explore culture’s role in society, or engaging unexpected musical forms, Yo-Yo strives to foster connections that stimulate the imagination and reinforce our humanity. In August 2018, Yo-Yo began a new journey, setting out to perform Johann Sebastian Bach’s six suites for solo cello in one sitting in 36 locations around the world, iconic venues that encompass our cultural heritage, our current creativity, and the challenges of peace and understanding that will shape our future. The Bach Project continues Yo-Yo’s lifelong commitment to stretching the boundaries of genre and tradition to explore music as a means not only to share and express meaning, but also as his contribution to a conversation about how culture can help us to imagine and build a stronger society and a better future. It was this belief that inspired Yo-Yo to establish Silkroad, a collective of artists from around the world who create music that engages their many traditions. Through his work with Silkroad, as well as throughout his career, Yo-Yo Ma has sought to expand the classical cello repertoire, frequently performing lesser-known music of the 20th century and commissions of new concertos and recital pieces. He has premiered works by a diverse group of composers, among them Osvaldo Golijov, Leon Kirchner, Zhao Lin, Christopher Rouse, Esa-Pekka Salonen, Giovanni Sollima, Bright Sheng, Tan Dun, and John Williams. In addition to his work as a performing artist, Yo-Yo partners with communities and institutions from Chicago to Guangzhou to develop programs that champion culture’s power to transform lives and forge a more connected world. Among his many roles, Yo-Yo is as a UN Messenger of Peace, the first artist ever appointed to the World Economic Forum’s board of trustees, and a member of the board of Nia Tero, the US-based nonprofit working in solidarity with Indigenous peoples and movements worldwide. Yo-Yo’s discography of over 100 albums (including 18 Grammy Award winners) reflects his wide-ranging interests. In addition to his many iconic renditions of the Western classical canon, he has made several recordings that defy categorization, among them “Appalachia Waltz” and “Appalachian Journey” with Mark O’Connor and Edgar Meyer, and two Grammy-winning tributes to the music of Brazil, “Obrigado Brazil” and “Obrigado Brazil — Live in Concert.” Yo-Yo’s recent recordings include: “Sing Me Home,” with the Silkroad Ensemble, which won the 2016 Grammy for Best World Music Album; “Brahms: The Piano Trios,” with Emanuel Ax and Leonidas Kavakos; “Six Evolutions — Bach: Cello Suites;” and “Not Our First Goat Rodeo,” with Stuart Duncan, Edgar Meyer, and Chris Thile. Yo-Yo’s latest album is “Songs of Comfort and Hope,” created and recorded with pianist Kathryn Stott in response to the COVID-19 pandemic. Yo-Yo was born in 1955 to Chinese parents living in Paris. He began to study the cello with his father at age four and three years later moved with his family to New York City, where he continued his cello studies with Leonard Rose at the Juilliard School. After his conservatory training, he sought out a liberal arts education, graduating from Harvard in 1976. He has 52
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received numerous awards, including the Avery Fisher Prize (1978), the Glenn Gould Prize (1999), the National Medal of the Arts (2001), the Dan David Prize (2006), the World Economic Forum’s Crystal Award (2008), the Presidential Medal of Freedom (2010), Kennedy Center Honors (2011), the Polar Music Prize (2012), and the J. Paul Getty Medal Award (2016). He has performed for nine American presidents, most recently on the occasion of President Biden’s inauguration. Yo-Yo and his wife have two children. He plays three instruments, a 2003 instrument made by Moes & Moes, a 1733 Montagnana cello from Venice, and the 1712 Davidoff Stradivarius.
KATHRYN STOTT At the age of five, I made friends with the upright piano in our living room. That was the beginning of my musical journey, one which continues as you read this. It would appear that my initial progress was rapid and by the age of eight, I found myself at a boarding school for young musicians, the Yehudi Menuhin School. During my studies there, it’s now clear to me that I was heavily influenced by two occasional visitors to the school; Nadia Boulanger and Vlado Perlmuter. From them, my great passion for French music was ignited and Fauré in particular has remained the musical love of my life. Further studies at the Royal College of Music in London then led me very abruptly into the life of a professional musician via the Leeds International Piano Competition. It remains the steepest learning curve I’ve ever experienced. After a rollercoaster three years, I realised that I needed to re-connect with chamber music in a bid to feel more connected to other musicians and after all, this had played an important part of my musical existence since being a child. When, quite by chance, I met Yo-Yo Ma in 1978, it turned out to be one of the most fortuitous moments of my life. Since 1985, we have enjoyed a collaboration which has taken us to so many fascinating parts of the world and led to musical adventures with musicians who shared so much from their own traditions. I’ve always considered us to be intrepid musical explorers on our own individual paths but with an incredible bond that unites us on the creative highway. Presently, I enjoy the challenge of creativity in a different way by bringing many musicians together once a year in my role as Artistic Director of the Australian Festival of Chamber Music. My love of curating and directing began in 1995 and since then I’ve brought to life many of my ideas in events lasting anything from long weekends to two weeks. I continue to push my capacity for exploring music I know nothing about and love bringing together unusual combinations whenever possible. There are too many highlights in my career to mention. Yes, it was a thrill to perform at the Last Night of the Proms to millions around the world, but equally a massive thrill to have lit up twenty small faces in an inner city school while they jumped up and down to energetic piano music! Working with young musicians is something I feel passionate about and presently teach at the Academy of Music in Oslo. I’ve also had some truly exciting music written for me and enjoyed a particularly close collaboration with composer Graham Fitkin. What an unbelievable privilege it is to be immersed in a language which has no boundaries and has allowed me to share musical stories on a global scale; that little upright piano set me on quite a path! Talking of paths - I’ve also been found trekking in Nepal, Costa Rica, Bhutan or walking my spaniel Archie on the Yorkshire Moors. The journey continues. MILWAUKEE SYMPHONY ORCHESTRA
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MILWAUKEE SYMPHONY ORCHESTRA
Elizabeth O’Neill Judith Ormond David Pauly and Renee Couture Daniel J. Petry Jessica and Paul Pihart Christopher and Kristen Piotrowski Therese Quirk Connie Gavin and Bob Rothacker In honor of Doug and Jane Hagerman Lauren and Michael Roznowski Hayden James A. Rydlewicz, MD Barry and Kathleen Sammons Ms. Keri L. Sarajian and Mr. Frederick P. Stratton III Nina Sarenac Robin and John Sasman Mr. Darren Schacht Emily Wacker and Steve Schultz Phil Schumacher and Pauline Beck Cary and Susan Silverstein Anne and Randy Sprecher Jeff and Jody Steren Mr. Donald E. Stettler Maggie and David Stoeffel Roland and Judith Strampe Ian and Ellen Szczygielski Ms. Lola Tegeder Joan Thompson Joan Tourdot Laura Vuchetich Michael Walton Tracy S. Wang, M.D. James and Janet White Jan Whittow Inge and Frank Wintersberger Dr. Donald and Marian Yoder Kathleen Yuille In memory of David L. Yuille MD The Zabinski Family In memory of Nicolas Sluss- Rodionov MSO ENDOWMENT Visionaries Commitments of $1,000,000 and above Jane Bradley Pettit Charles and Marie Caestecker Concertmaster Chair Herzfeld Foundation 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
MSO Endowment/Musical Legacy Society 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 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 Mary Ann Delzer Julie Doneis 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 Bud and Roxy Heyse Dr. and Mrs. Samuel Hoke Glenda Holm Jean and Charles Holmburg 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 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 Dr. Robert A. and Kathleen Sullo 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.
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Annual Fund ANNUAL FUND The Milwaukee Symphony Orchestra truly values the music lovers in the concert hall and we thank our contributors to the Annual Fund for investing their time and support to this treasure. We gratefully acknowledge the contributions to the Annual Fund as of November 10, 2021. Conductor Circle Harry John Brown Society $100,000 and above Isabel Bader Donald and JoAnne Krause Marty Krebs Nancy Laskin Sheldon and Marianne Lubar Charitable Fund of the Lubar Family Foundation Michael and Jeanne Schmitz Julia and David Uihlein Kenneth Schermerhorn Society $50,000 and above Two Anonymous Donors Laura and Mike Arnow Bobbi and Jim Caraway Anthony and Vicki Cecalupo Robert and Gail Korb Drs. Alan and Carol Pohl Lorry Uihlein Charitable Lead Unitrust Edo De Waart Society $35,000 and above Thomas E. Caestecker Gail Groenwoldt and Jeff Yabuki Haruki Toyama and Amy Blair Andreas Delfs Society $25,000 and above Richard and JoAnn Beightol Elaine Burke Dr. Deborah and Jeff Costakos Mr. and Mrs. Franklyn Esenberg Greater Milwaukee Foundation William R. and Charlotte S. Johnson Fund Doug and Jane Hagerman Judy and Gary Jorgensen Mr. and Mrs. George C. Kaiser Judith A. Keyes Jane and Tom Lacy Dr. Brent and Susan Martin Andy Nunemaker Pat and Allen Rieselbach Barbara and Harry Stratton Herbert Zien and Elizabeth Levins Maestro’s Society $15,000 and above Two Anonymous Donors Chris Abele Dr. Philip and the spirit of Beatrice Blank Marilyn and John Breidster Mary and Terry Briscoe Mary and James Connelly James Coyle Mrs. Alyce Coyne Katayama Ms. Dorothy Diggs Lee Fitzsimonds Richard and Ellen Glaisner Roberta Gordon Jewish Community Foundation Eileen & Howard Dubner Donor Advised Fund
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Mr. and Mrs. Ted Kellner Keith Mardak and Mary Vandenberg Cheryl and Blake Moret Mr. and Ms. Bruce Myers William and Marian Nasgovitz Paul Nausieda and Evonne Winston Lois and Richard Pauls Julie Peay Allison M. and Dale R. Smith Nancy and Greg Smith Susi and Dick Stoll Drs. Robert Taylor and Janice McFarland Taylor Haruki Toyama and Amy Blair Charles T. Urban and Joan M. Coufal Thora Vervoren Music Director $10,000 and above One Anonymous Donor Frances and Lowell Adams Sue and Louie Andrew Lois Bernard Mr. and Mrs. Paul Bielik William and Barbara Boles Katelyn Brewer Roger Byhardt Jennifer Dirks Bruce T. Faure M.D. Mary Lou M. Findley Mrs. Susan G. Gebhardt Greater Milwaukee Foundation Bernard J. and Marie E. Weiss Fund Judith J. Goetz Katherine Hauser Mr. and Mrs. Eric E. Hobbs Dr. and Mrs. Samuel Hoke Karen Hung and Bob Coletti Ms. Geraldine Lash and Mr. William Borghesani, Jr. Charles and Barbara Lund Mr. Peter L. Mahler Gerald and Elaine Mainman Mark and Donna Metzendorf Christian and Kate Mitchell Bob and Barbara Monnat Patrick and Mary Murphy Brian and Maura Packham Leslie Plamann Alice E. Read John and Mary Rickmeier Sara and Jay Schwister Mr. and Mrs. Thomas R. Tiffany Principal Circle $5,000 and above Four Anonymous Donors Dr. Rita Bakalars Dr. J. Mark Baker and Susan Loris Alton Bathrick Donna and Donald Baumgartner Mrs. David Beckwith Richard and Kay Bibler George S. and Sally Ann Borkowski Suzy and John Brennan Jean Britt Chris and Katie Callen Ara and Valerie Cherchian Donald and Judy Christl Sandra and Russell Dagon Karen Dobbs and Chris DeNardis Joanne Doehler Dr. and Mrs. Harry A. Easom Elizabeth and Herodotos Ellinas Dr. Donald Feinsilver and Jo Ann Corrao
MILWAUKEE SYMPHONY ORCHESTRA
Paul and Connie Flagg George E. Forish, Jr. Elizabeth and William Genne Kathryn Grossman Cynthia and Jeffrey Harris Margarete and David Harvey Drs. Carla and Robert Hay James and Crystal Hegge Ms. Mary E. Henke Cory Henschel Mr. and Mrs. Bernard C. Hlavac Megan Holbrook and Eric Vogel James and Karen Hyde Rosina and Michael Janowak Leon and Betsy Janssen Lee and Barbara Jacobi Jayne J. Jordan Mr. and Mrs. Yoshimasa Kadota Kenneth and Alice Kayser Kolaga Family Charitable Trust Al Krueger Christine Krueger Peter and Kathleen Lillegren Michael and Maureen McCabe Dr. Ann McDonald Genie and David Meissner Mr. and Mrs. George Meyer Dr. Mary Ellen Mitchanis William J. Murgas Mark Niehaus Barbara and Layton Olsen Dr. Thomas and Elaine Pagedas Mr. and Mrs. James R. Petrie Dr. and Mrs. Richard A. Pierce-Ruhland Agnes and Heinz Proell Jim and Fran Proulx Christine Radiske and Herbert Quigley Marcia J.S. Richards and Donald R. Whitaker Steve and Fran Richman Pat and David Rierson Dr. Thomas and Mary Roberts Glenn Roby Merlin and Gladys Rostad Arts Fund Kay Schanke Dr. and Mrs. R. Nikolaus Schmidt Richard Eli Schoen Kristin and John Sheehan William Stemper Kathleen and Frank Thometz Linda and Gile Tojek 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 Robert and Jessie Whitmore Charitable Trust Mr. and Mrs. Donald S. Wilson Jessica R. Wirth Diana J. Wood Principal Circle $3,500 and above Three Anonymous Donors Fred and Kay Austermann Marlene and Bert Bilsky Dr. Bruce and Marsha Camitta Lynda and Tom Curl Beth and Ted Durant Stan and Janet Fox Irving D. Gaines Jean and Thomas Harbeck Family Foundation
Annual Fund Drs. Stephen Hinkle and Margie Boyles Charles and Jean Holmburg Marilyn W. John Hak-Joong and Jungja Kim Mary S. Knudten Calvin and Lynn Kozlowski Anthony and Susan Krausen Stanley Kritzik Norm and Judy Lasca Eugene and Gwen Lavin Dr. Joseph and Amy Leung Frank Loo and Sally Long Merle and Sandra McDonald Rusti and Steve Moffic Theodore and Kelsey Perlick Molinari Joel Needlman Gerald T. and Carol K. Petersen David Peterson Margaret Riester Roger Ritzow Dr. Ann Rosenthal and Dr. Benson Massey Mr. Brian M. Schwellinger James Schultz and Donna Menzer Sue and Boo Smith Thomas St. John and Micaela Levine Nita Soref Carlton Stansbury James and Catherine Startt Loretto and Dick Steinmetz Katherine Thomson Mr. Wilfred Wollner Carol and Richard Wythes Orchestra Circle $1,500 and above Eight Anonymous Donors Jantina and Donald Adriano Ruth Agrusa Dr. Joan Arvedson Richard and Sara Aster Thomas Bagwell and Michelle Hiebert Mr. Robert A. Balderson Mark and Laura Barnard David Baumann and Kathleen Olejnik Priscilla and Anthony Beadell Jacqlynn Behnke Richard and Gloria Bergman Elliot and Karen Berman Greg Black Art Blair Scott Bolens and Elizabeth Forman Walter and Virginia Boyer Cheri and Tom Briscoe Marcia P. Brooks and Edward J. Hammond William Brown Mrs. John H. Burlingame Mr. David E. Cadle Karen and Harry Carlson Teri Carpenter B. Lauren and Margaret Charous Mr. and Mrs. Stephen L. Chernof Thomas and Joyce Christie Mr. and Mrs. Paul S. Connolly Amy and Frederick Croen Gerald and Kay Cullen Cynthia and Brian Dearing Jesse De Groat T. Arthur and Rhonda Downey Steven and Buffy Duback Mary Ann and Bob Dude Dr. and Mrs. Harry A. Easom Gerald and Signe Emmerich Joseph and Joan Fall
Robert and Kristin Fewel Edward and Joanne Filmanowicz Anne and Dean Fitzgerald Judith Fitzgerald Miller, PhD, RN, FAAN Donald Fraker and Maja Jurisic Jo Ann and Dale Frederickson Francis and Bonnie Freudinger Fred and Debby Ganaway Robert Gardenier and Lori Morse Gardenier Jane K. Gertler Kurt and Rosemary Glaisner William and Colette Goldammer Alison Graf and Richard Schreiner Greater Milwaukee Foundation John and Shirley Jeffrey Fund Donna and Tony Meyer Fund Virginia Hall Dale Harmelink David Harrison Judith and David Hecker Megumi Kanda Hemann and Dietrich Hemann Judy Hessel Robert Hey Mark and Judith Hibbard Quinn and Paula Hogan Barbara Hunt Robert S. Jakubiak Ann Janikowsky Jewish Community Foundation Dorothy & Merton Rotter Donor Advised Fund David and Mel Johnson Candice and David Johnstone Mr. William Josephson Matthew and Kathryn Kamm Mark and Ginny Kannenberg Barbara Karol Lynn and Tom Kassouf Dr. Bruce and Anna Kaufman Jack and Myrna Kaufman Christine and J. Patrick Keyes Cynthia and F. Michael Kluiber Tommy and Heidi Knudsen Benedict and Lee Kordus Dr. Michael J. Krco Milton and Carol Kuyers Mary E. Lacy Kaye Price Laud and Prakash Laud Mary and Lawrence LeBlanc Douglas and Patti Levy Dr. Douglas, Berna, and Todd Levy Cynthia and Mark Levy Bruce and Elizabeth Loder Mary Jane Loewi Stein Wayne and Kris Lueders James and Patricia Mathie Dr. and Mrs. Debesh Mazumdar Daniel and Constance McCarty Guy and Mary Jo McDonald Mr. and Mrs. Dean Mehlberg Ms. Jean L. Mileham Gregory and Susan Milleville Mark and Carol Mitchell James Nass Eric Nathan Drs. Donna Recht and Robert Newby Gerald and Diana Ogren Lynn and Lawrence Olsen Susan Otto Joseph Pabst Jamshed and Deborah Patel Dr. David Paris Richard Patt
Raymond and Janice Perry Dr. David and Louise Petering Yvonne Petersen Mr. Douglas E. Peterson Jessica and Paul Pihart Kathyrn Koenen Potos Cathy Procton Jerome Randall and Mary Hauser Barbara Recht Roberta and David Remstad Elizabeth and David Rickaby Timothy and Syma Richer Susan Riedel Emily and Mike Robertson Dottie Rotter Daniel Schicker Holly and Bradley Schlossmann Judy and Tom Schmid Rev. Doug and Marilyn Schoen Elaine Schueler Betty Jean Schuett Mr. Brian M. Schwellinger Mary and Jim Scott Katherine and Lawrence Schnuck Paul and Frances Seifert Dr. and Mrs. Kevin R. Siebenlist Paul and Diane Singer Margles Singleton Mrs. George R. Slater William and Sarah Slaughter Richard and Sheryl Smith Roger and Judy Smith Bonnie Steindorf Carol Stephenson Jeff and Jody Steren John Stewig and Richard Bradley James Strey P. Michael and Susan Stoehr Sally Swetnam Bonnie and Tim Tesch John and Anne Thomas Joan Thompson Eric Tienou R. James and Jean Tobin Luke and Amalia Todryk Sara J. Toenes Mr. and Mrs. Lynn F. Unkefer Kyle Veatch Lauren Vollrath Sarah Wagner Mary Schueller and Michael Walton Adrienne and Larry Waters Ann and Joseph Wenzler Lynn and Richard Wesolek Alfred White Susee and James Wiechmann Kathleen Wigdale Janet Wilgus Rolland and Sharon Wilson John Winter Lee Wolcott Floyd Woldt Denise and William Zeidler Sandra Zingler Leo Zoeller Orchestra Circle $1,000 and above Five Anonymous Donors Dr. and Mrs. Albert H. Adams, M.D. Mary Allmon and Michael Allen John Ambrose Helmut and Sandra Ammon Steven Barney Margaret and Bruce Barr
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Annual Fund James and Nora Barry Clair and Mary Baum Mr. James M. Baumgartner Philip Schumacher and Pauline Beck Mr. and Mrs. Ronald Beckman Fiesha Lynn Bell Eric Berg Roger Bialcik Laura and Dennis Birchall Robert Borch and Linda Wickstrom Ann Brophy and James Brown Phyllis and Alan Brostoff Dr. and Mrs. James D. Buck Professor David and Diane Buck Gregory Bultman Barbara and Dr. Henry Burko Ericka and Michael Burzynski Tom Buthod Marvin and Stacy Bynum Daniel and Allison Byrne Ms. Trish Calvy Steven and Gillian Chamberlin Edith Christian Nicole and Jack Cook Wayne and Marlene Cook Mr. Russell Darrow Jr. Miguel de Jesus Mr. Dominique Delugeau Jennifer and Paul Deslongchamps Sandra and George Dionisopoulos Julie Disseler Madison Dohmen Jack Douthitt and Michelle Zimmer Robert Draper Gloria and Peter Drenzek Don and Nora Dreske Jacquelyn and Dalibor Drummer Shawn Duffy Dr. Eric A. Durant Sigrid Dynek Tina Eickermann Lynn Engel Mr. and Mrs. A. William Finke Bill and Kari Foote Linda Frank Mr. and Mrs. Gerald Freitag Allan and Mary Ellen Froehlich Mary and John Galbraith Kimberly Gerber Laura and Jason Gerke Heiner and Barbara Giese Ralph and Cherie Gorenstein Ralph Grall Charmaine and Kurt Gunderson Greater Milwaukee Foundation Dresselhuys Family Fund Jay Kay Foundation Fund Stephen and Judy Maersch Fund Victoria Haas Karleen Haberichter Claire and Glen Hackmann Joseph and Leila Hanson Sandra and Jim Hanus Mr. Charles W. Helscher Jean and John Henderson Mr. Al Hentzen Tom Herman Dr. Sidney and Suzanne Herszenson Eric and Susan Hillstrom Alicia Holdorf John and Kathryn Housiaux Richard and Jeanne Hryniewicki Terry Huebner David Johnson Mary and Charles Kamps
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James and Peggy Karpowicz Robert and Sandra Kattman Robert Keefe Robert and Dorothy King Karen and John Kise Jane Kivlin and Thomas Kelly Jonathan Koenig and Melissa Love Koenig Julilly Kohler Julie and Michael Koss Mary Krall Sandra and Thomas Kuber Gisela and James Kuist Timothy and Kira Lafond William Lassow Judith Laste Chris and Emilia Layden Dale and Barbara Lenz John and Janice Liebenstein Matthew Linn Richard and Roberta London Mary and Robert Loots Krista and Christopher Ludwig Stephen and Jane Lukowicz Joan Maas Stephen and Judy Maersch Joseph Maier Donnalyn and Dennis Maiman Mike Malatesta Kristie Malone Mr. Peter Mamerow Sharon Manone Jeanne and David Mantsch Frank Marek Sara Marlega and John Savas Deidre Martin Mr. Michael Mcbride Scott McBride Joan McCracken Rita McDonald Debra and Jeffrey Metz Christel Mildenberg Carol Moerke William and Laverne Mueller Deborah and Peter Musante Thad Nation and Dr. Anna Varley David and Gail Nelson Pat and Grace O’Brien David and Janet Olsen Jane O’Meara Maggey and David Oplinger Jon Pagenkopf Dr. and Mrs. James T. Paloucek Tracie Parent Laura and Adam Peck Jo Perlson Carrie Peterson James Potter Beatrice and Edward Pronley John Pustejovsky David and Carol Raasch Francis Randall Kristine and James Rappé Denise and James Rasche Mr. Randy Reddemann and William Davidson Philip Reifenberg Angela and Dr. John Rhee Drs. Walter and Lisa Rich Lynn and Thomas Richtman David and Elizabeth Rickaby Carmen Mercedes Rigau and David Beach Mrs. Inger Riley Dan and Anna Robbins
MILWAUKEE SYMPHONY ORCHESTRA
Dr. and Mrs. David Y. Rosenzweig Russell and Emily Sagmoen Allen and Milly Salomon Mrs. Wilbert Schauer Mr. and Mrs. Roger Schaus Jr. Kathleen and Paul Schluter Roland Schroeder and Mary Mowbray Lawrence and Katherine Schnuck Jason Schultz Mr. and Mrs. Mark W. Schwallie Bob and Sally Schwarz Martin Schreiber Fred and Ruth Schwertfeger Lt. Cmdr. Ronald D. and Carol R. Scott Laurie Shawger Mason Sherwood and Mark Franke Marybeth and Gregory Shuppe Rebecca and Bradley Simenz Mary and Richard Sjoerdsma Susan Skudlarczyk Donna Smith Dr. and Mrs. C. John Snyder Joan Spector Kathy and Salvatore Spicuzza Barbara Ann Stein Ian and Ellen Szczygielski Rebecca and Robert Tenges Marilyn and Bob Teper Rebecca Thomas Katherine and Dean Thome Mr. and Mrs. James S. Tidey Drs. Steven and Denise Trinkl Ms. Lynde B. Uihlein Mike and Peg Uihlein James Van Ess Alfred Lustig and Janice Watson Robert Welch Henry J. Wellner and James Cook Robert and Barbara Whealon Mr. and Mrs. James Wigdale Linda and Dan Wilhelms Jay and Madonna Williams Ron and Alice Winkler Rebecca Winnie Prati and Norm Wojtal Melinda and Thomas Wolf Simon Woods Jim and Sandy Wrangell Thomas Zale Symphony Friends Sustainer $500 and above Eleven Anonymous Donors Linda Adams and Charles Schleevogt Tracy Alexanian Marilyn and Larry Anderson Robert Archer Judy and Robert Ashmore Timothy Bachhuber and Geri Feucht Robert Ater and Dr. Gregory Baer Laura Baacke Caroline Barrow Kellen and Matthew Bartel Rodney Bartlow and Judith Stephenson Dr. Patricia Barwig Thomas Bauldry and Thomas Czisny Amy Baumgart Jean Beaudoin Joanne Becker Bonnie Beeck Mr. Patrick J. Behling Catherine Benjamin David Benner and Diane Benjamin
Annual Fund Kristine Best Carolee Beutler Lawrence and JoAnne Bialcik John and Lynn Binder David and Mary Blackwelder Bruce and Melissa Block Carole and Donald Bock Naomi and Sid Bodine John and Sandra Bolger Lynne and Charles Bomzer Paul Bosanac Danielle Boyke Elizabeth Brasure Lois and Bob Brazner Russell and Karen Brooker Arthur and Anne Brooks Marianna Michael Bruch Norman Buebendorf Craig and Anne Bryant Halsey and Christine Buell Kathleen Burchby, MD Bruce and Joan Butterfield Phil and Anne Callen Paul and Lori Cannestra Michael and Patricia Carr Stephen Carlton Carol Carpenter Margaret Cary John Chain Cecile Cheng Sachin Chheda and Angela McManaman Walter and Aleta Chossek Patrick and Barbara Clare Terrence Cogswell John and Deborah Collins Dennis and Deborah Conta Barbara Costanzo Jeffery Debbink Stephen DeLeers Kristine Demski William J. Dietzler Robert and Carol Diggelman Thomas Dill Kendall and Kevin DiVito Linda Dohmen Kenneth and Barbara Donner Kendall Dowsett John Dragisic Karin and Peter Drescher David Drew Donald and Kathleen Drum John and Margot Dunn Pat and Michael Dunn Thomas Durkin and Joan Robotham Maryann and Maryanne Ebel Debra Eder Rosemarie Eierman Sheila Engfer Beulah Erickson Amy Farkas Francis and Sharon Feider Connie Fellows Sally and Albert Ferguson Eric Fisher and Anne Petersen-Fisher Roberta Forman Howard Frankenthal Gordon and Christine Freese David and Judy French Barbara Fritschel Eric Fritz Robert and Sally Gabriel Mark and Virginia Gennis Martha Giacobassi Matelan and Carole Glaske
Brad Glocke Greg and Debra Goeks Pearl Mary Goetsch Emil Gohr David Goldhaber Burton Goodman and Harriet Bocksenbaum Idy Goodman Michael Goodspeed and Gail Waring Linda Gorens-Levey and Michael Levey Marion and Mitch Gottschalk Stephen and Bernadine Graff Mr. and Mrs. James Gramentine Greater Milwaukee Foundation Paloucek Family Fund Bill and Gwen Werner Fund Norman and Daryl Grier Diane Griewank McGinn and Thomas McGinn Jean Gurney and Earl Lemon Douglas and Margaret Ann Haag William Hable Amber Halvorson Paul Hampton Joan Hardy Richard and Shirley Harvey Diana Haskell Cheryl and Roy Hauswirth Millicent Hawley Barbara Hayden Michael Heiderich Fred and Carol Heim Samuel Heine Dr. Bob Henschel Bonnie and Ralph Hensel Mark and Sarah Herr Barbara Himes Peter Hinow Anna Hirt Conrad and Jeanne Holling Laura and James Holtz Terri and Larry Holzen Colleen and Bruce Horner Richard Horsfield Alice Horton Jeffrey Hosler Thomas and Beryl Hsiang Kendra Ingram Danielle Ippolito Bruce and Elizabeth Jacobs John and Sonja Jacobsen Jerome and Alice Jacobson Gretchen Jaeger Kathryn and Alan Janicek Ann Janikowsky-Halstead Norine and Douglas Janzen Adam Jeffers and Rebekah Nagler Matthew Jeffers Thomas and Pauline Jeffers Jewish Community Foundation Margery H. & Irvin M. Beck Donor Advised Fund Alice and Jerome Jacobson Donor Advised Fund Diana & Kenneth Stein Donor Advised Fund Mary Johnson Robert and Carlotta Johnson Robin and Drew Johnson Paul Jonas Jill and Scott Jorgensen Robert and Rose Kaser Kaye and Mark Kass Susan and Raymond Kehm Eileen Kehoe and Carl Reinhold
Brian and Mary Lou Kennedy Kenan and Sara Kersten Doris and George Kimball John and Debra Kissinger Kevin and Angelique Klimara Donald and Carol Klockow Joseph Kmoch Jonathan and Willette Knopp Lezlie Knox Susan Kraeblen Bruce and Shirley Krenzke Doris Kresheck E Kubick Donna Kuchler Michael and Doris Kuhn Thomas and Evelyn Lajiness Dale and Sandra Landgren Kevin Langreck Avrum and Dannette Lank Rev. Curtis A. Larson W. Peter Larson Jeffrey Lasselle Lawrence Lauwasser Yakira and David Leevan Helen Leggeri David and Deborah Lenz Sandra Lofte Joan Ludington Frances and Neill Luebke Stephanie Lyons and Jack Haensel Ann MacIver Jacob Magnusson Jack and Joan Malin Sean Malloy Paul Mamerow and Deborah Coughlin Mamerow Sara and Nathan Manning Ann Margolis Louis and Mariann Maris James and Marsha Martell Dean and Mary Martinelli Pat and Patty Mattern Gregory McCarthy Joseph and Joni McDevitt Daryl and Rita Melzer Kenneth and Jeanne Menting Mary Kaye Merwin Anne and Tom Metcalfe Nicholas and Laura Meyer Howard and Sara Miller Craig and Sandra Modahl Jequitta Molot Jake Schilz and Samantha Morris Christine Mortensen Mary Ann Mueller Patricia and George Mueller Frank and Nancy Muench Isabel and Richard Muirhead Erik Nelson Doris Nice Natalie Nolan Timothy and Julie Nolan Joseph and Marjeta Novak Jean Novy Estee O’Connor Georgiana Orthaus Steven and Susan Ozimek Scott Paegelow and Charles Klockner Phillip and Dorene Paley Henri and Patricia Pensis Angela Penzkover Clint Peterson Daniel Petry Michael and Nancy Pfau Angela and Frank Pintar
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Annual Fund/Bravo/Corporate and Foundations Ms. Harvian Raasch-Hooten William Radonski Duane and Barbara Raetz Robert Rafel Virginia and Norman Rambo Stephen and Margie Rankin Janice and Jordan Reese Ron Reinke James and Lysbeth Reiskytl Page and John Remmers Paul and Karen Rice Werner and Carol Richheimer Eric Richmond Anthony Roberts John Roberts Kevin Ronnie and Karen Campbell Alice Rudebusch Dolores Ruetz William and Eva Rumpf Margaret Ruscetta Thomas Russell Mary Burke Ryan Polly and Lawrence Ryan Cheral Sadler Keri Sarajian and Frederick Stratton III Nina Sarenac Robin Sasman Leonard and Ruth Schacht Ruth Schauer Carlen Schenk Mar Schley Eric Schluter Kate Schoyer Mark and Marlene Schrager Lois and Stephen Schreiter Donald and Judith Schultz Gary and Beverly Schulze Caroline and Frederick Schwertfeger Judith and Ronald Shapiro Gale Shelton Randall and Linda Sherer Thomas and Donna Shriner Leonard Silva Douglas and Kay Simpkin Barbara Slania Barbara J. Smith Stephanie Smith Leonard Sobczak Jeanne and Richard Somers Gerald and Karen Splittgerber Reginald and Maria Sprecher James Stanke David Stanosz Ken and Diana Stein Anthony Steiner and Sue Martin-Steiner Ann Stevens Sarah Stevenson Cook Roland and Judith Strampe Tiffany Strom Alexandra Sullivan Sally Swetnam David Taggart and Terry Burko Ann Terwilliger Kent and Marna Tess-Mattner Stephen and Linda Thomas Jacquelyn and Way Thompson Mr. Stephen Thompson Lygia and David Topolovec David and Joan Totten Peter Turner and Nancy Northey Roy and Sandra Uelner Constance U’Ren Lisa VanLandeghem Thomas and June Varney
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John Viste and Elaine Strite Randall and Gillian Vodnik Mike and Julie Walz Ruth Way Ralph and Patricia Weber Mark and Anne Weitenbeck Stephanie Wesselowski Susan Westergard Deborah and Gerald Wetter Sammis and Jean White George and Ann Whyte Gerald and Judith Wille Terry Witkowski Daryl and Bonnie Wunrow Karen Zalucha Susan and Benjamin Zarwell Howard and Jane Zeft M. Ann Zion Marilyn and Doug Zwissler BRAVO Patrick Behling Britt Blackwelder Ashley Brinkman Victoria Haas Tina Itson Kaleigh Kozak Jacob Magnusson Molly Mingey TJ and Kelsey Molinari Esteé Tanel O’Connor and Walter Zoller Leah Olson Jessica and Paul Pihart Monica D. Reida Monica Rynders Russell and Emily Sagmoen Brian Schwellinger Megan Sorenson CORPORATE AND 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 Anonymous United Performing Arts Fund $250,000 and above Argosy Foundation The Lynde and Harry Bradley Foundation $100,000 and above Herzfeld Foundation Rockwell Automation State of Wisconsin – Department of Administration $50,000 and above Greater Milwaukee Foundation Milwaukee Symphony Orchestra Fund Johnson Controls Melitta S. and Joan M. Pick Charitable Trust Milwaukee County Arts Fund (CAMPAC) U.S. Department of Homeland Security $25,000 and above Anonymous
MILWAUKEE SYMPHONY ORCHESTRA
Bader Philanthropies, Inc. Chase Family Foundation First Midwest Bank, a division of Old National Bank Greater Milwaukee Foundation Gertrude Elser and John Edward Schroeder Fund Helen and Jeanette Oberndorfer Fund Norman and Lucy Cohn Family Fund Guardian Fine Art Services Krause Family Foundation 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 The League of American Orchestras Marietta Investment Partners Wisconsin Arts Board $10,000 and above BMO Harris Bank CD Smith Construction Services The Cudahy Foundation Greater Milwaukee Foundation David C. Scott Foundation William A. and Mary M Bonfield, Jr. Fund Ellsworth Corporation Godfrey & Kahn, S.C. Jane Bradley Pettit Foundation Northwestern Mutual Ralph Evinrude Foundation Rite Hite Holding Corporation William and Janice Godfrey Family Foundation Yabuki Family Foundation $5,000 and above ANON Charitable Trust Common Links Construction, LLC CornerStone One Ernst & Young, LLC FIS Global Gene and Ruth Posner Foundation, Inc. General Mills Foundation GRAEF Greater Milwaukee Foundation ELM II Fund Roxy and Bud Heyse Fund/Journal Fund Julian Family Foundation MGIC Investment Corporation Milwaukee Development Corporation Northern Trust Quarles & Brady, LLP Schwartz Foundation Silver Rock Consulting Staff Electric $2,500 and above Charles D. Ortgiesen Foundation Dean Family Foundation Greater Milwaukee Foundation David Wells Household Margaret Heminway Wells Fund Green Bay Packers Foundation
Corporate and Foundations/Matching Gifts/Golden Notes/Tributes Japan Foundation New York Milwaukee Arts Board Richard G. Jacobus Family Foundation Theodore W. Batterman Family Foundation
United Way of Greater Atlanta United Way of Greater Milwaukee and Waukesha United Way of Metropolitan Chicago Wisconsin Energy Corporation
$1,000 and above Anthony Petullo Foundation, Inc. Camille A. Lonstorf Trust Clare M. Peters Charitable Trust Ellis Family Charitable Fund Foley & Lardner LLP Glendale Women’s Club Greater Milwaukee Foundation Cottrell Balding Fund Del Chambers Fund Eleanor N. Wilson Fund George and Christine Sosnovsky Fund Henry C., Eva M., Robert H. and Jack J. Gillo Charitable Fund Irene Edelstein Memorial Fund Mildred L. Roehr & Herbert W. Roehr Fund Joan and Fred Brengel Family Foundation, Inc. Milwaukee Bucks Shirley Butzin Charitable Fund Townsend Foundation Usinger Foundation
GOLDEN NOTE PARTNERS The MSO gratefully acknowledges the following organizations for their gifts of product or services:
$500 and above AmazonSmile Foundation Bruce J. Loder, Branch Manager & Associates of Stifel of Mequon, WI Delta Dental Greater Milwaukee Foundation Carrie Taylor & Nettie Taylor Robinson Memorial Fund Donald and Barbara Abert Fund Nancy E. Hack Fund Robert C. Archer Designated Fund United Way of Greater Milwaukee and Waukesha County MATCHING GIFTS The Milwaukee Symphony Orchestra gratefully acknowledges the following corporations and foundations who match their employees’ contributions to the Annual Fund. Allstate American Family Insurance Group Aurora Health Care BMO Harris Bank Bright Funds Carrier Caterpillar Foundation Dominion Foundation Eaton Corporation Fiduciary Partners GE Foundation Google IBM Matching Grant Program Intel Foundation Johnson Controls Foundation Kohl’s Corp. Microsoft Corp Morgan Stanley Northwestern Mutual Reader’s Digest Foundation Refinitiv The Benevity Community Impact Fund U.S. Bank United Healthcare
88Nine Radio Milwaukee Becker Design Belle Fiori – Official Event Florist of the MSO Burke Chocolates The Capital Grille Central Standard Craft Distillery Coakley Bros. Co. Colectivo Coffee Downer Avenue Wine & Spirits Exceptional Events Godfrey & Kahn, S.C. Marcus Hotels & Resorts Milwaukee Journal Sentinel Ogletree Deakins Saint Kate – The Arts Hotel – Official Hotel of the MSO Sojourner Family Peace Center Steinway Piano Gallery of Milwaukee Studio Gear – Official Event Partner of the MSO Wisconsin Public Radio WMSE TRIBUTES In honor of Dr. Joan Arvedson’s 80th Birthday Maureen Lefton-Greif In honor of Amanda Bailey Shelly Bailey In memory of David A. Blumberg David and Sherry Blumberg Lucy Cooper Naomi and Reuben Eisenstein Gary Engle Kelsi Gard Raul Gomez 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 honor of Wendy and Warren Blumenthal Laurie Schweizer In honor of Ian Burch and Travis Trott Jon Nichols In memory of Valerie Cherchian Provident Trust Company Alicia and Bryan Sadoff In honor of David Cohen Frederick and Pamela Hess In memory of Gretchen Connolly Dr. and Mrs. Harry A. Easom Janyce Hetzel
Annette Langen In memory of Wayne Cook Audio Emporium, Inc. Julie Bradisse Thomas Bumgardner James Collier and Bette Jean Vanderburg Anne DeLeo and Patrick Curley Mary Ann Goodman Mr. and Mrs. Michael Hauer Thomas Kurtin Ms. Clare Leslie Ms. Lynn M. Lucius and Mr. Richard Taylor Patricia Marek Susan Mrnik Daniel Petry Carl Smaida Kathy Stokebrand Spore & Keith Spore 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 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 Tom Damm Kathleen Wigdale In memory of Donald Dippel, Jr. Mr. and Mrs. Thomas Dougherty In memory of James Durand Carla Durand In memory of Alan I. Ettinger Ms. Suzy B. Ettinger and Ms. Sally B. Waters In memory of Matthew Flaig Trinidad Torres
MILWAUKEE SYMPHONY ORCHESTRA
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Tributes In memory of Helen Flanner Mary Flanner In memory of Susan Fono Mary and James Connelly Marta P. and Doyne M. Haas Benedict and Lee Kordus In honor of Fred Fuller Ms. Anna E. Hirt In honor of Mike and Beth Giacobassi Mr. Mark Wilkinson In memory of Judy Gertsma Anonymous In memory of Jim Hawkins Kathleen Wigdale In memory of Jan Heins Lorrie and Scott Heins In honor of Chuck Holmburg’s Birthday Fred and Kay Austermann In honor of Thomas and Pauline Jeffers Adam Jeffers Matthew Jeffers In honor of Alyce Katayama Steven and Buffy Duback In memory of Duncan R. Kimball Eileen Kehoe and Bud Reinhold In honor of Kate Kinser Brittany Kinser In memory of Virjean Knudsen Jill Griffee Ross In honor of Scott Jeffrey Koehler Sharon Nagel Emily and David Wycoff In honor of Donald and JoAnne Krause James and Patricia Mathie
Marta Haas Jean Holmburg Barbara Hunt JoAnne Krause Maggie Stoeffel Linda Tojek In honor of Susan Martin Ms. Caroline Ham In memory of Ernabelle and Frank Medushaw Chris Griswold In honor of Mark Niehaus Christine A. Burgener Michael Levey and Linda Gorens-Levey In honor of North Shore Suzuki Strings Carol Waldvogel
In memory of Judith Wagner Steven A. & Lisa L. Wagner
In memory of W. Stuart Parsons Richard Abdoo Terry Burko and David Taggart Buffy and Steve Duback Jill Jelsma Raquel Lauritzen Patty and Mike McCauley Genie and David Meissner Michael Schmitz John Spencer Mrs. George Walcott Ann and George Whyte Kathrine Wolf
In memory of Tom Welch Greg Welch
In honor of Richard and Lois Pauls Andrew and Tai Pauls In memory of Kathy Paulsen Kathleen Wigdale In honor of Daniel Petry Wayne and Marlene Cook
In memory of Jill Ragatz Kathleen Wigdale
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In honor of Edward Veverka Barbara Lienau
In honor of Ellen and Tim Pappas Bobbie Cronk
In memory of Dr. Keith Austin Larson Rev. Curtis A. Larson Suzanne Zinsel
In memory of Susan Loris from the MSO League Past Presidents Mary Connelly Judy Christl Eileen Dubner
In honor of Julie and David Uihlein Mr. and Mrs. Harry T. Stratton
In honor of Earl and Joyce Vorpagel Elaine Wolters
In memory of Marilyn “Pat” Ellicson Petry - Jazz Lover David L. Harrison
In memory of Susan Loris Terry Burko and David Taggart Mark and Susan Cohen 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 Frederic Steinlein Judy Adamski Marynell Costa David Engen Lance Lamont Mr. and Mrs. Roger A. Newton Mr. and Mrs. Robert Schumann Joan Skimmons Scott Snyder Michael Sullivan Richard Vollbrecht
In honor of Andy Nunemaker Antiquarian Society of Wisconsin
In memory of Susan Kurtz Mary and James Connelly Sharon Davis
In appreciation of Todd Levy’s kindness Howard and Eileen Dubner
In memory of Donna Mathison Smith Moreau Parsons
In memory of Carl Romer Beulah Romer Erickson In memory of Bruce Salzman Terry Burko and David Taggart Elizabeth and Frederick Clem Catherine and Patrick McGinn Linda Unkefer In memory of Barb Schmidt Kathleen Wigdale In memory of John Schmitt Ann MacIver In memory of Lt. Cmdr. Ron D. Scott Barbara Janusiak Patricia Lynch Dr. and Mrs. Debesh Mazumdar John and Tasia Morgridge Lt. Cmdr. Ronald D. and Carol R. Scott
MILWAUKEE SYMPHONY ORCHESTRA
In memory of Anne T. White A. James White In honor of Peter Wicklund and Ruby Shemanski Linda Jenewein In memory of Libby Wigdale Kathleen Wigdale
MSO Board of Directors OFFICERS Susan Martin, Chair Andy Nunemaker, Immediate Past Chair David Uihlein, Honorary Co-Chair Julia Uihlein, Honorary Co-Chair Alyce Coyne Katayama, Secretary Patrick Murphy, Treasurer; Chair, Finance Committee Mark Niehaus, President & Executive Director, Michael and Jeanne Schmitz Chair EXECUTIVE COMMITTEE Susan Martin, Chair Andy Nunemaker, Immediate Past Chair Douglas M. Hagerman Eric E. Hobbs Karen Hung, Chair, Governance Committee Alyce Coyne Katayama, Secretary Robert Klieger, Chair, Players’ Council Patrick Murphy, Treasurer; Chair, Finance Committee Mark Niehaus, President & Executive Director, Michael and Jeanne Schmitz Chair Mike Schmitz, Chair, Chairman’s Council Dick Stoll, Chair, Advancement Committee; Chair, Marketing & Advocacy Committee Haruki Toyama, Chair, Artistic Direction Committee DIRECTORS Kate Brewer Jeff Costakos Jen Dirks Marion Gottschalk Charlotte Hayslett Peter Mahler, Chair, Grand Future Committee Mark Metzendorf Christopher Miller, Chair, Forte Christian Mitchell Robert Monnat Bruce Myers Maura Packham, Chair, Equity, Diversity, & Inclusion (EDI) Task Force
Leslie Plamann, Chair, Audit Committee Jay E. Schwister, Chair, Retirement Plan Committee Dale R. Smith Gregory A. Smith Herb Zien, Chair, Facilities Management Committee CITY AND COUNTY 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 CHAIRMAN’S COUNCIL Michael J. Schmitz, Chair Chris Abele Richard S. Bibler Charles Boyle Thomas E. Caestecker Roberta Caraway M. Judith Christl Mary Connelly Donn Dresselhuys Eileen G. Dubner Franklyn Esenberg Marta P. Haas Jean Holmburg Barbara Hunt Leon P. Janssen Angela G. Johnston Judy Jorgensen James A. Kasch Beverly A. Klein Lee Walther Kordus Michael J. Koss JoAnne Krause Martin J. Krebs Keith Mardak James G. Rasche Stephen E. Richman Allen N. Rieselbach Thomas L. Smallwood Joan Steele Stein
Linda Tojek Joan R. Urdan Larry Waters Kathleen A. Wilson MSO ENDOWMENT & FOUNDATION TRUSTEES Bruce Laning, Trustee Chairman, Endowment & Foundation Amy Croen, Endowment & Foundation Steven Etzel, Endowment & Foundation Douglas M. Hagerman, Foundation Allen Rieselbach, Foundation Bartholomew Reuter, Endowment 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)
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MSO 2021.22 Administration EXECUTIVE Mark Niehaus, President & Executive Director, Michael and Jeanne Schmitz Chair Bret Dorhout, Vice President of Artistic Planning Robin Sasman, Vice President & Chief Financial Officer Rick Snow, Vice President of Facilities & Building Operations Cynthia Moore, Human Resources, Diversity & Inclusion Manager Emma Zei, Administrative Assistant ADVANCEMENT Tina Itson, Director of Institutional Giving Heidi (Gempeler) Olson, Director of Advancement Operation & Stewardship Michael Rossetto, Director of Individual Giving Celeste Baldassare, Campaign Manager Krista Hettinger, Individual Giving Manager Sam Hushek, Events & Volunteer Manager Elliott King, Grants & Research Manager William Loder, Senior Individual Giving Manager Tracy Migon, Development Systems Manager Daniel Petry, Campaign Gift Officer Lindsey Ruenger, Individual Giving Manager Emily Santeler, Advancement Associate Maggie Seer, Institutional Giving Manager EDUCATION & COMMUNITY ENGAGEMENT Rebecca Whitney, Director of Education Hannah Esch, Senior Education & Engagement Manager Elise McArdle, Education Coordinator FINANCE Brandon Viliunas, Controller Jenny Beier, Senior Accountant Alexa Aldridge, Staff Accountant
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MILWAUKEE SYMPHONY ORCHESTRA
MARKETING Erin Kogler, Director of Communications Kathryn Reinardy, Director of Marketing Adam Cohen, Patron Systems Manager Marcella Morrow, Marketing Manger Zachary-John Reinardy, Lead Designer Kerry Ryan, Communications & Content Coordinator Zoe Waeltz, Assistant House Manager BOX OFFICE Luther Gray, Associate Director of Patron Services Al Bartosik, Box Office Manager Marie Holtyn, Box Office Supervisor Cameron Henrickson, Box Office Assistant Shanell Housen, Box Office Assistant Effie Atta-Krah, Box Office Assistant Zoe Waeltz, Box Office Assistant Bea Weigand, Box Office Assistant OPERATIONS Françoise Moquin, Director of Orchestra Personnel Terrell Pierce, Director of Operations Frank Almond, Artistic Advisor Paul Beck, Associate Librarian and Interim Assistant Personnel Manager Patrick McGinn, Principal Librarian, Anonymous Donor, Principal Librarian Chair Kelsey Padron, Artistic Coordinator Paolo Scarabel, Stage Technician & Deck Supervisor Emily Wacker Schultz, Artist Duty Assistant Jeremy Tusz, Audio & Video Producer Patrick G.H. Schley, House Manager Tristan Wallace, Technical Manager & Live Audio Supervisor Christina Williams, Chorus Manager
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