MSO PROGRAM 6 - MAY-JUNE 2022

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ENCORE MAY— JUNE 2022

Volume 40 No. 6

15 M ay 13-14— Classics Brahms’s Second Piano Concerto 21 M ay 20-22 — Classics Requiem & Song 29 June 3-5— Pops Revolution: The Music of The Beatles 39 June 10-11 — Classics Strauss & Schumann 47 June 16-19 — Classics Ode to Joy: Beethoven’s Ninth

5 Orchestra Roster 7 Conductor Bios 13 Milwaukee Symphony Chorus 60 A Grand Future Campaign 62 Endowment 63 Musical Legacy Society 64 Annual Fund 68 Bravo Corporate and Foundation Support 69 Matching Gifts Golden Note Partners Tributes 71 MSO Board of Directors 72 MSO Administration

Cover Image: Steve Hall © Hall & Merrick Photographers

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MILWAUKEE SYMPHONY ORCHESTRA

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Welcomes Three PianoArtists to Milwaukee for

THE CONCERT OF A LIFETIME Milwaukee Symphony Orchestra MSO Resident Conductor Yaniv Dinur

Wednesday, June 1, 2022 7:30 pm

Godwin Friesen

Solomon Ge

Ailun Zheng

DISCOVER exciting classical pianists during the Concerto Round of the 2022 North American Competition performing masterworks by Shostakovich, Beethoven, and Schumann. Join us in Allen-Bradley Hall at 6:30 pm for Concert Conversations.

This concert is supported in part by a grant from the Milwaukee Arts Board with funds from the Wisconsin Arts Board and the State of Wisconsin.

PianoArts is a proud affiliate of the United Performing Arts Fund.

BRADLEY SYMPHONY CENTER • TICKETS: $25 & $15 (student) on sale MAY 11 • MSO BOX OFFICE

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*Limited seating: reservations required

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Additional details at FOFAQ.org

Sponsored by: Friends of the Fine Arts Quartet and 140+ community donors.

MILWAUKEE SYMPHONY ORCHESTRA

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Milwaukee Symphony Orchestra

Photo by Jonathan Kirn

The Milwaukee Symphony Orchestra, led by Music Director Ken-David Masur, is among the finest orchestras in the nation. 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. 4

MILWAUKEE SYMPHONY ORCHESTRA

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

MILWAUKEE SYMPHONY ORCHESTRA

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BROADWAY AND SO MUCH MORE Keep an eye out for all these incredbile performances on stage at MPAC. Packages for our 2022/2023 Season available now!

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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’s Ein Heldenleben for Naxos Japan.

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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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MILWAUKEE SYMPHONY ORCHESTRA

Yaniv Dinur, resident conductor Named the 2019 Sir Georg Solti Conducting Fellow (the largest award for conductors in the U.S.), Yaniv Dinur is currently resident conductor of the Milwaukee Symphony and music director of the New Bedford Symphony Orchestra. The League of American Orchestras honored the New Bedford Symphony by selecting it to be one of the orchestras to perform at the 2021 League Conference. He is lauded for his bold and engaging programming, insightful interpretations, and unique ability to connect with varied audiences, from season subscribers to first time concertgoers.

Recent and upcoming highlights include subscription debuts with the symphonies of Fort Worth and Houston, Orchestra Photo by Erin Kavanaugh Haydn in Italy, as well as return engagements with the San Diego Symphony, Orchestra di Padova e del Veneto, and the Peninsula (Wisconsin) and Round Top (Texas) festivals. Among other U.S. guest conducting appearances are the Louisiana Philharmonic, Detroit Symphony, New World Symphony, and the San Antonio Symphony.

Yaniv Dinur made his conducting debut at the age of 19 with the National Symphony Orchestra of Ireland, which led to multiple return engagements. Following his European debut, he was invited to perform with the Israel Camerata in Jerusalem, making him the youngest conductor ever to conduct a professional orchestra in Israel. Since then, he has conducted orchestras around the world, including the Israel Philharmonic, Orchestra di Padova e del Veneto, Portugal Symphony Orchestra, Sofia Festival Orchestra/Bulgaria, Solisti di Perugia, State Orchestra of St. Petersburg, Torino Philharmonic, and the National Arts Centre Orchestra in Ottawa. Broadcast live on Israeli radio, he was the principal conductor of the Jerusalem Symphony’s Young Artists Competition from 2003 to 2010.

An accomplished pianist, Dinur made his concerto debut with the Milwaukee Symphony in 2019, playing and conducting Mozart’s D Minor Concerto. He received critical acclaim for his “fluid, beautifully executed piano passages” and “deeply musical playing” (Milwaukee Journal Sentinel).

Dinur has worked closely with such world-class conductors as Lorin Maazel, Michael Tilson Thomas, Pinchas Zukerman, Kurt Masur, and Jorma Panula; soloists with whom he has collaborated include Itzhak Perlman, Yefim Bronfman, Jean-EffIam Bavouzet, and Vadim Guzman. He holds a Doctorate in Orchestral Conducting from the University of Michigan School of Music, Theatre and Dance, where he was a student of Prof. Kenneth Kiesler.

Born in Jerusalem, Yaniv Dinur began studying the piano at the age of six with his aunt, Olga Shachar, and later with Prof. Alexander Tamir, Tatiana Alexanderov, Mark Dukelsky, and Edna Golandsky. At the age of 16, he began to study conducting with Dr. Evgeny Zirlin. While still in high school, Dinur began his formal studies with Dr. Zirlin at the Jerusalem Academy of Music and Dance. After graduating from the Jerusalem Academy, he studied privately with conductor Mendi Rodan.

MILWAUKEE SYMPHONY ORCHESTRA

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FRANKLY

MUSIC 21 22

SEASON

N o.

18

Chamber Music with Joyce Yang MONDAY, MAY 16

| 7 PM

SCHWAN CONCERT HALL WISCONSIN LUTHERAN COLLEGE

Tickets at wlc.edu/Box-Office Join our mailing list! info@franklymusic.org

This season is dedicated to the memory of Jeanne Schmitz.

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

PROUD AFFILIATE

A Tradition of Distinction!

SINCE 1953

TH Christoph Ptack, President & CEO

SEASON

October 1, 2021 – August 20, 2022

ON SALE NOW! THE SYMPHONY SERIES 7:30pm | August 2-20, 2022 | Door Community Auditorium, Fish Creek

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MILWAUKEE SYMPHONY ORCHESTRA

www.musicfestival.com

Milwaukee Symphony Chorus

Photo by Jonathan Kirn

The Milwaukee Symphony Chorus, founded in 1976, is known and respected as one of the finest choruses in the country. Under the direction of Dr. Cheryl Frazes Hill, the 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.

MILWAUKEE SYMPHONY ORCHESTRA

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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 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 Mark R. Hagner Eric Hanrehan Beth Harenda Kristin Eklund

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 Justin J. Maurer u Hannah Sheppard Betsy McCool David Siegworth

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

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 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.

MILWAUKEE SYMPHONY ORCHESTRA

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MILWAUKEE SYMPHONY ORCHESTRA

BRAHMS’S SECOND PIANO CONCERTO

Friday, May 13, 2022 at 11:15 am Saturday, May 14, 2022 at 7:30 pm ALLEN-BRADLEY HALL Ruth Reinhardt, conductor Alessio Bax, piano

LOTTA WENNÄKOSKI Flounce ANTONÍN DVOŘÁK Symphony No. 5 in F major, Opus 76 [formerly No. 3, Opus 24]

I. Allegro ma non troppo

II. Andante con moto

III. Scherzo: Allegro scherzando

IV. Finale: Allegro molto INTERMISSION

JOHANNES BRAHMS Piano Concerto No. 2 in B-flat major, Opus 83

I. Allegro non troppo

II. Allegro appassionato

III. Andante

IV. Allegretto grazioso Alessio Bax, 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 RUTH REINHARDT Ruth Reinhardt is quickly establishing herself as one of today’s most dynamic and nuanced young conductors, building a reputation for her musical intelligence, programmatic imagination, and elegant performances.

In the 2021.22 season, Reinhardt makes U.S. debuts with the symphony orchestras of Naples, Portland, Milwaukee, and San Francisco, culminating in summer festival debuts at Blossom Music Center and Wolf Trap. She will also return to Seattle, Indianapolis, North Carolina, and San Diego symphonies, Orquestra Simfónica de Barcelona, and Helsingborg Symphony, among others.

Highlights of Reinhardt’s recent seasons include debuts with the symphony orchestras of Detroit, Baltimore, Houston, San Antonio, Fort Worth, Omaha, Orlando, Portland, Sarasota, and Grand Rapids, as well as the Los Angeles and St. Paul chamber orchestras. In Europe, debuts include the Frankfurt Radio Symphony, Tonkünstler Orchestra, Gävle Symphony, Royal Stockholm Philharmonic, Grosses Orchester Graz, and Kristiansand Symphony Orchestra. In the summers of 2018 and 2019, she served as the assistant conductor of the Lucerne Festival Academy Orchestra.

Reinhardt received her master’s degree in conducting from The Juilliard School, where she studied with Alan Gilbert. Born in Saarbrücken, Germany, she began studying violin at an early age and sang in the children’s chorus of Saarländisches Staatstheater, Saarbrücken’s opera company. She attended Zurich’s University of the Arts to study violin with Rudolf Koelman, and began conducting studies with Constantin Trinks, with additional training under Johannes Schlaefli. Prior to her appointment in Dallas, Reinhardt was a Dudamel Fellow of the Los Angeles Philharmonic, conducting fellow at the Seattle Symphony and Boston Symphony Orchestra’s Tanglewood Music Center, and an associate conducting fellow of the Taki Concordia program.

A precocious talent, by age 17, she had already composed and conducted an opera for and performed by the children and youths of her hometown. While studying in Zurich, she also conducted the premieres of two chamber operas for children. Other opera productions she has conducted include Dvořák’s Rusalka and Weber’s Der Freischütz for the North Czech Opera Company and Strauss’s Die Fledermaus at the Leipzig University of the Arts.

Guest Artist Biographies ALESSIO BAX Combining exceptional lyricism and insight with consummate technique, Alessio Bax is without a doubt “among the most remarkable young pianists now before the public” (Gramophone). He catapulted to prominence with First Prize wins at both the Leeds and Hamamatsu International Piano Competitions, and is now a familiar face on five continents, not only as a recitalist and chamber musician, but also as a concerto soloist who has appeared with more than 150 orchestras, including the London, Royal, and St. Petersburg philharmonic orchestras, the Boston, Dallas, Cincinnati, Sydney, and City of Birmingham symphony orchestras, and the NHK Symphony in Japan, collaborating with such eminent conductors as Marin Alsop, Vladimir Ashkenazy, Sir Andrew Davis, Sir Simon Rattle, Yuri Temirkanov, and Jaap van Zweden.

Bax constantly explores many facets of his career. He released his eleventh Signum Classics album, Italian Inspirations, whose program was also the vehicle for his solo recital debut at New York’s 92nd Street Y as well as on tour. He recently embarked on a trio tour of Spain with violinist Joshua Bell and cellist Steven Isserlis. Bax and his regular piano duo partner, Lucille Chung, gave recitals at New York’s Lincoln Center and were featured with the St. Louis Symphony and Stéphane Denève. He has also presented the complete works of Beethoven for cello and piano with cellist Paul Watkins in New York City.

This season he will make his debut with the Milwaukee Symphony, performing Brahms’s second piano concerto and will return for the fourth time for two recitals at the historic Teatro Colón in Buenos Aires. This summer is highlighted by his fifth season as artistic director of Tuscany’s Incontri in Terra di Siena festival, as well as return appearances at the Seattle Chamber Music Festival and at the Bravo! Vail Music Festival with the Dallas Symphony and Fabio Luisi conducting.

Bax revisited Mozart’s K. 491 and K. 595 concertos, as heard on Alessio Bax Plays Mozart, for his recent debuts with the Boston and Melbourne symphonies, both with Sir Andrew Davis, and with the Sydney Symphony, which he led himself from the keyboard. Other recent highlights include the pianist’s Auckland Philharmonia debut, concerts in Israel, a Japanese tour featuring dates with the Tokyo Symphony, a high-profile U.S. tour with Berlin Philharmonic principal flutist Emmanuel Pahud, and an Asian tour with Berlin Philharmonic First Concertmaster Daishin Kashimoto.

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Program notes by J. Mark Baker German-born conductor Ruth Reinhardt makes her MSO debut this weekend, leading music both familiar (Dvořák and Brahms) and new (Wennäkoski).

We are also pleased to welcome pianist Alessio Bax, the soloist in Brahms’s mighty Opus 83.

Lotta Wennäkoski Born 8 February 1970; Helsinki, Finland

Flounce

Composed: 2017 First performance: 9 September 2017; London, England Last MSO performance: MSO premiere Instrumentation: 2 flutes, piccolo, 2 oboes (2nd doubling English horn); 2 clarinets; bass clarinet; bassoon; contrabassoon; 4 horns; 2 trumpets; trombone; bass trombone; tuba; percussion (bass bow, bass drum, cowbell, crotale, cymbals, gong, guiro, rainstick, slide whistle, temple blocks, triangle, vibraphone, vibraslap, xylophone); harp; strings Approximate duration: 5 minutes Helsinki-born Lotta Wennäkoski studied violin, music theory, and Hungarian folk music at Budapest’s Béla Bartók Conservatory. She continued her education at the Sibelius Academy in her native city. Wennäkoski began her career as a composer by writing music for short films and incidental music for radio plays. Several high-profile commissions brought her to the attention of a larger public. Variously typified as a lyricist, a lyrical modernist, and a post-Expressionist, Wennäkoski has described herself as “often navigating in an area between exciting timbral qualities and more conventional gestures like melodic fragments.”

Flounce was written on a commission from BBC Radio 3. The composer has provided the following comments: Sometimes it is the title that starts to guide the musical ideas of a work in the making. This was more or less the case with the short orchestral piece Flounce, written in spring 2017. I was fascinated by the different meanings of the English word “flounce” – both the verb and the noun.

The piece is thus largely characterized by brisk gestures “non troppo serioso” [not too serious], but it also has passages of lace-like ornamenting in a more lightweight and lyrical mood. The same kind of duality is present in the way I’m aiming to combine an often-energetic pulse with (sometimes non-conventional) timbral ideas and a feeling of space in the orchestration.

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MILWAUKEE SYMPHONY ORCHESTRA

Antonín Dvořák Born 8 September 1841; Nelahozeves, Bohemia Died 1 May 1904; Prague, Bohemia

Symphony No. 5 in F major, Opus 76 [formerly No. 3, Opus 24]

Composed: 1875 First performance: 25 March 1879; Prague, Bohemia Last MSO performance: June 2001; Janos Fürst, conductor Instrumentation: 2 flutes; 2 oboes; 2 clarinets (2nd doubling bass clarinet); 2 bassoons; 4 horns; 2 trumpets; 3 trombones; timpani; percussion (triangle); strings Approximate duration: 36 minutes We wouldn’t be far off the mark if we called Antonín Dvořák the most versatile composer of the Romantic era. The Czech master’s list of works includes operas, chamber music, choral music and songs, symphonies, concertos, tone poems, and other orchestral music.

In early 1875, the 33-year-old composer was buoyed after winning the Austrian State Stipendium, established to aid struggling young artists. (Brahms, who later became one of Dvořák’s staunchest advocates, was among the adjudicators.) The result was fecund rush of new works: the Serenade for Strings, Opus 22; the Nocturne for Strings, Opus 40; several chamber pieces; and the Symphony No. 5 (first published in 1888 as Symphony No. 3, Opus 24), which the composer set down in only a few weeks’ time – between 15 June and 23 July. The latter shows a great stride forward, surpassing anything he had written previously.

The words “pastoral” and “bucolic” are often used to describe the opening movement. Like Beethoven’s “Pastoral” Symphony, it is set in F major. As an introduction, clarinets – then flutes – play an elemental arpeggio motive that leads to a new “grandioso” theme for full orchestra, brilliantly colored by the brass. Three rising and falling phrases, with mellifluous syncopations, constitute the second subject. The two melodies alternate gently – interrupted by fortissimo exclamations. A minor-key statement from the horns, then trombones, is the final building block from which Dvořák constructs this radiant Allegro.

A melancholy theme from the cellos opens the A minor slow movement. The violins soon take up the melody, which is then relayed from one instrument to another. Notice how both melody and accompaniment are sourced from the same motive. Cast in ternary form, the middle section is set in A major. The scherzo follows on without a pause. Rife with charming melodies and rich harmonies, it is set in B-flat major. Its D-flat major trio has a main theme that is a slight variation of the previous movement’s B section.

In the finale, Dvořák borrows an idea from Beethoven and Schubert: he begins in the “wrong key” (A minor, in this instance). This increases the dramatic impact we feel when, more than 50 bars later, the tonic (F major) finally makes it appearance. At the very end, a salvo from the trumpets transforms the movement’s opening theme into a fanfare. Simultaneously, the trombones roar out the clarinet motive from the symphony’s beginning bars, as Dvořák’s Opus 76 concludes in blazing exultation.

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Johannes Brahms

Born 7 May 1833; Hamburg, Germany Died 3 April 1897; Vienna, Austria

Piano Concerto No. 2 in B-flat major, Opus 83

Composed: 1878-1881 First performance: 9 November 1881; Budapest, Hungary Last MSO performance: September 2016; Edo de Waart, conductor; Emanuel Ax, piano Instrumentation: 2 flutes (1st doubling piccolo); 2 oboes; 2 clarinets; 2 bassoons; 4 horns; 2 trumpets; timpani; strings Approximate duration: 44 minutes Honored Master, I beg you to forgive my delay in thanking you for so kindly sending me your Concerto. Frankly speaking, at the first reading this work seemed to me a little gray in tone; I have, however, gradually come to understand it. It possesses the pregnant character of a distinguished work of art, in which thought and feeling move in noble harmony. With sincerest esteem, most devotedly, Franz Liszt

Brahms made his first sketches of the Piano Concerto No. 2 in the spring of 1878, following his first trip to Italy. He put it on the back burner, though, to work on the Violin Concerto, Opus 77.

It wasn’t until the summer of 1881, following a second trip to Italy, that the honored master completed the concerto – in the village of Pressbaum, near Vienna. The work was premiered in Budapest on 9 November of that year, with the composer as soloist.

Chronologically, Brahms’s Opus 83 falls between the second and third symphonies. It dates from about the same time as the Academic Festival Overture, Tragic Overture, Violin Sonata No. 1, Piano Trio No. 2, the piano works of Opus 76 and Opus 79, and the choral/orchestral Nänie, Opus 82.

In other words, the second piano concerto finds the 48-year-old composer at the height of his creative powers, celebrating previously undreamed-of accomplishments. Brahms dedicated the concerto to Eduard Marxsen, his piano teacher during his childhood days in Hamburg. As boys, both Johannes and Fritz Brahms had taken lessons from Marxsen, who – recognizing the family’s financial straits – never charged them for his services.

Brahms chose an unconventional four-movement structure that enlarges the piece to symphonic dimensions. (In a letter to his friend Elisabeth von Herzogenberg, Brahms coyly referred to Opus 83, one of the most sizable works in the concert pianist’s repertoire, as “a tiny little concerto with a wisp of a scherzo.”) A solo horn opens the lengthy first movement, followed by a cadenza for the soloist that leads to the Allegro non troppo’s exposition. The stormy development segues to the final statement of the opening theme, with a brilliant maestoso coda.

The Allegro appassionato is the aforementioned scherzo, set in D minor. This “wisp” is fiery and tragic, though, not the playful joke we might expect; a brief trio in D major offsets the movement’s overall darkly passionate aesthetic. Following all this fervor, the serenity of the Andante, back in the friendly home key of B-flat major, is made all the more telling. The cello’s tender solo calls to mind the melody of a song Brahms would write several years later, “Immer leiser wird mein Schlummer” (Ever softer grows my slumber); the piano expands on this in a quiet solo passage. Although the central section is more restless, the overall effect of the movement is of quiet introspection. In form, the cheerful B-flat major Allegretto grazioso is a rondo. It is indeed graceful, but quickly evolves into lively virtuoso passages for the soloist. There are no trumpets and drums here, there is no sturm und drang, only youthful energy and ease, with the piano and orchestra sharing equally in the rousing, radiant conclusion.

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REQUIEM & SONG

Friday, May 20, 2022 at 7:30 pm Saturday, May 21, 2022 at 7:30 pm Sunday, May 22, 2022 at 2:30 pm ALLEN-BRADLEY HALL Ken-David Masur, conductor Kelley O’Connor, mezzo-soprano John Brancy, baritone Milwaukee Symphony Chorus Cheryl Frazes-Hill, chorus director

TŌRU TAKEMITSU Requiem for Strings JOSEPH CANTELOUBE Chants d’Auvergne (Songs of the Auvergne) La delaïssádo (The Deserted Girl) Lo fiolairé (The Spinning Girl) Lou boussu (The Hunchback) Malurous qu’o uno fenno (Unhappy He Who Has a Wife) Baïlèro (Shepherd’s Song)

Kelley O’Connor, mezzo-soprano

John Brancy, baritone MISATO MOCHIZUKI Musubi II

INTERMISSION (Continued on page 22)

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REQUIEM & SONG Continued from page 21

MAURICE DURUFLÉ Requiem, Opus 9

I. Introit

II. Kyrie

III. Domine Jesu Christe

IV. Sanctus

V. Pie Jesu

VI. Agnus Dei

VII. Lux aeterna

VIII. Libera me

IX. In Paradisum

Kelley O’Connor, mezzo-soprano

John Brancy, baritone

Milwaukee Symphony Chorus Cheryl Frazes-Hill, chorus director

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.

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Guest Artist Biographies KELLEY O’CONNOR Possessing a voice of uncommon allure, the GRAMMY® Awardwinning mezzo-soprano Kelley O’Connor is one of the most compelling performers of her generation. She is internationally acclaimed equally in the pillars of the classical music canon – from Beethoven and Mahler to Brahms and Ravel – as she is in new works of modern masters – from Adams and Dessner to Lieberson and Talbot.

In the 2021.22 season, O’Connor returns to the Concertgebouworkest for performances of Peter Lieberson’s Neruda Songs led by Stéphane Denève, and a robust North American concert calendar includes performances of Mozart’s Requiem with Fabio Luisi conducting the Dallas Symphony Orchestra, Mahler’s Das Lied von der Erde with Asher Fisch and the Seattle Symphony, Mendelssohn’s Elijah with Jun Märkl and the Indianapolis Symphony Orchestra, and Beethoven’s Ninth Symphony with Juraj Valčuha and the Minnesota Orchestra and with Michael Stern and the Kansas City Symphony. Additional performances bring her together with Andrés Orozco-Estrada and the Houston Symphony for Mahler’s Second Symphony, and with Robert Spano and the Atlanta Symphony Orchestra for Mahler’s Third Symphony.

John Adams wrote the title role of The Gospel According to the Other Mary for Kelley O’Connor and she has performed the work, both in concert and in the Peter Sellars fully staged production, under the batons of John Adams, Gustavo Dudamel, Grant Gershon, Gianandrea Noseda, Sir Simon Rattle, and David Robertson. She has sung the composer’s El Niño with Vladimir Jurowski and the London Philharmonic Orchestra and continues to be the eminent living interpreter of Peter Lieberson’s Neruda Songs, having given this moving set of songs with Christoph Eschenbach and the National Symphony Orchestra, with Bernard Haitink and the Chicago Symphony Orchestra, with Robert Spano and the Minnesota Orchestra, and with David Zinman and the Berliner Philharmoniker and the Tonhalle-Orchester Zürich, among many others.

Past performances include Wagner’s Wesendonck Lieder with Matthias Pintscher and the Indianapolis Symphony Orchestra, Bernstein’s Songfest for her Boston Symphony Orchestra debut under the baton of Bramwell Tovey, Beethoven’s Missa Solemnis with David Robertson and the St. Louis Symphony, Mahler’s Des knaben Wunderhorn with Krzysztof Urbański and the Indianapolis Symphony Orchestra, and Das Lied von der Erde with the symphonies of Atlanta, Dallas, Detroit, and Glasgow, among many others.

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Guest Artist Biographies JOHN BRANCY GRAMMY Award-winning baritone John Brancy is known for his intense musicality and communicative power. Hailed by The New York Times as “a vibrant, resonant presence,” Brancy is equally at home in staged opera, concert performance, and recital, with a wide-ranging repertoire that includes classical, contemporary world premieres, and musical theater.

During the 2021.22 season, Brancy returns to the San Francisco Opera as Guglielmo in Michael Cavanagh’s production of Così fan tutte, conducted by Henrik Nánási; sings the role of Franz Wolff-Metternich in the world premiere of La Beauté du monde, by playwright Michel Marc Bouchard and composer Julien Bilodeau, at Opéra de Montréal under the baton of Jean-Marie Zeitouni; performs the world premiere of the Boston Symphony Orchestra-commissioned work Cantata, by Michael Gandolfi, with the Boston Symphony Chamber Players, soprano Sophia Burgos, and pianist Alessio Bax; joins the Rundfunkchor Berlin for performances of human requiem, a scenic realization of Johannes Brahms’s Ein deutsches Requiem staged by Jochen Sandig and members of Sasha Waltz & Guests, at the Ludwigsburg Festival; and reprises his portrayal of Guglielmo for the San Diego Opera production of Così fan tutte led by Bruce Stasyna. In concert, Brancy will appear as soloist at Carnegie Hall in Orff’s Carmina Burana with Cecilia Chorus of New York conducted by Mark Shapiro.

June 2021 marked the release of a collaboration between Vocal Arts DC and Avie Records, The Journey Home: Live from the Kennedy Center, which presents Brancy and pianist Peter Dugan in a recital program inspired by the 100th anniversary of the end of World War I. The recital was also filmed and aired on the new PBS app AllArts TV over Memorial Day. Additional highlights of the 2020.21 season included recording selections from Hanns Eisler’s Hollywooder Liederbuch with pianist Victoria Kirsch under the auspices Kaleidoscope Chamber Orchestra in Los Angeles for online streaming and joining forces with Tony Award–winning composer Adam Guettel to create a short film titled Medusa as part of his song cycle Myths and Hymns, produced by MasterVoices, which also featured artists Dove Cameron, Renée Fleming, and Cheyenne Jackson.

The 2019 release of Tobias Picker’s Fantastic Mr. Fox, performed by the Boston Modern Orchestra Project with an all-star cast of singers led by Brancy and conducted by Gil Rose, won the 2020 GRAMMY Award for Best Opera Recording.

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Program notes by J. Mark Baker Vocal music, both solo and choral, is featured on today’s concert: Canteloube’s disarmingly beautiful Songs of the Auvergne and Duruflé’s exquisite setting of the missa pro defunctis. Instrumental works by Japanese composers Takemitsu and Mochizuki round out the program.

Tōru Takemitsu

Born 8 October 1930; Tokyo, Japan Died 20 February 1996; Tokyo, Japan

Requiem for Strings

Composed: 1957 First performance: June 1957; Toyko, Japan Last MSO performance: January 1999; Jun’ichi Hirokami, conductor Instrumentation: strings Approximate duration: 9 minutes One of the most prolific composers of the second half of the 20th century, Tōru Takemitsu was the first Japanese composer fully recognized in the West. His impressive list of works includes over 180 concert pieces, 93 film scores, and several works for theater and dance. His early influences were Debussy, Webern, and Messiaen, but his later music reflects a preoccupation with tone color and an understated, crystalline sound. Precision is ever at the forefront, and silence is fully organized.

Takemitsu’s brief Requiem – dedicated to his colleague, the film composer Fumio Hoyasaka – is the composition that first introduced his music to the West. While on tour in Japan in 1959, Igor Stravinsky heard the work, pronouncing it a masterpiece and praising its sustained intensity. The rest, as ’tis said, is history.

Cast in a single pseudo-rondo (A-B-C-A) movement, the Requiem opens with muted strings, as static lower voices support intertwining melodies in the violins and violas. These come and go, and the section ends with a brief viola solo. After a transitory pause, the now-unmuted instruments continue the chordal texture, but with a richer sound. In the third section, lyrical passages interrupt a busy rhythmic motif. The piece concludes with a reprise of the opening music, somewhat shortened.

Joseph Canteloube

Born 21 October 1879; Annonay, France Died 4 November 1957; Gridny, France

Chants d’Auvergne (Songs of the Auvergne)

Composed: 1923-30 Last MSO performance: MSO premiere Instrumentation: 2 flutes (2nd doubling on piccolo); 2 oboes (2nd doubling on English horn); 2 clarinets; 2 bassoons; 2 horns; trumpet; timpani; percussion (bass drum, cymbals, sleigh bells, suspended cymbals); piano; strings Approximate duration: 16 minutes MILWAUKEE SYMPHONY ORCHESTRA

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The French composer Joseph Canteloube was born in the Auvergne region of south-central France, where his ancestors had long resided. From 1901, he studied at the Paris Schola Cantorum with its founder, the composer Vincent d’Indy. In addition to a meticulous foundation in compositional technique, d’Indy encouraged an all-embracing study of music of the past.

Prompted by this influence, Canteloube traveled throughout his homeland collecting folksongs, making artful arrangements of them. The most widely known and admired of these are the Chants d’Auvergne, which were published in five volumes.

The Songs of the Auvergne are sung in the distinctive langue d’oc dialect, which combines characteristics of the early Celtic tongue with Latin introduced by Roman invaders. In his vibrant orchestrations, Canteloube melds the timbres of ancient instruments with the color palette of the modern orchestra to create works of singular beauty. We’ll hear five of these charming songs on today’s concert.

In “La delaïssádo” (The Deserted Girl), expressive woodwind solos lend plangent tone colors to the tale of a woeful shepherdess, deserted by her lover. “Lo fiolairé” (The Spinning Girl) features another shepherdess; this maiden is lighthearted, and the movement of her spinning wheel is vividly depicted in the orchestra. Canteloube’s piquant orchestration of “Lou boussu” (The Hunchback) is a perfect example of his ability to turn the simplest strophic folksong into an entertaining work of art. “Malurous qu’o uno fenno” (Unhappy He Who Has a Wife) is a bourée, a French folk dance in 3/8 meter; its instrumental interlude appropriately summons the rustic sounds of rural life. The oft-recorded “Baïlèro” (Shepherd’s Song) is probably the best-known of the Auvergne songs; it is an affecting dialogue between a shepherd and his distant lady-love, richly scored.

Misato Mochizuki

Born 31 January 1969; Tokyo, Japan

Musubi II

Composed: 2013 First performance: 21 September 2013; Besançon, France Last MSO performance: MSO premiere Instrumentation: 3 flutes; 3 oboes; 2 clarinets; bass clarinet; 2 bassoons; contrabassoon; 4 horns; 3 trumpets; 3 trombones; tuba; percussion (bass drum, crotale, glockenspiel, plastic blocks, roto toms, sandpaper blocks, tam tam, 2 vibraphones); strings Approximate duration: 13 minutes Equally active in Europe, North America, and Japan, Misato Mochizuki’s musical vocabulary is a unique combination of Occidental tradition and the Asiatic sense of breathing – developing electrifying rhythms and unique sounds in a manner that allows great freedom, in terms of both style and form. Her catalogue contains nearly 60 works, including 16 orchestral compositions and 15 pieces for ensemble.

Between 2011 and 2013 Misato Mochizuki was composer-in-residence at the Festival international de musique de Besançon, where she hosted numerous workshops and conferences. Mochizuki was also on the jury panel for the renowned young conductors’ competition. Musubi II was written as a text piece for the finalists.

The term “musubi” means to forge a relationship. In this work, Mochizuki turns to the simplicity of ancient Gregorian chant, utilizing a variety of instrumentation to generate several layers of engaging tone colors. “My wish,” she said, “was that this piece would somehow be a musical manifestation of the energies of various beings and periods of time.”

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Maurice Duruflé

Born 11 January 1902; Louviers, France Died 16 June 1986; Paris, France Requiem, Opus 9 Composed: 1947 First performance: 1947; Paris, France Last MSO performance: MSO premiere Instrumentation: 3 flutes (2nd and 3rd doubling piccolo); 2 oboes (2nd doubling English horn); English horn; 2 clarinets; bass clarinet; 2 bassoons; 4 horns; 3 trumpets; 3 trombones; tuba; timpani; percussion (bass drum, cymbals, suspended cymbal, tam tam); harp; celeste (doubling on organ); strings Approximate duration: 45 minutes Though greatly beloved by church organists and choral singers, Maurice Duruflé is probably not a household name. This is due in part to his own fastidiousness and high standards; he published just over a dozen works across a lifetime of 84 years. As the man himself stated, “[I feel] incapable of adding anything significant to the piano repertoire, view the string quartet with apprehension, and envisage with terror the idea of composing a song after the finished examples of Schubert, Fauré, and Debussy.”

Born in the small village of Louvier, at age ten he became a chorister at Rouen Cathedral. The choral plainsong tradition there was a strong and lasting influence on Duruflé. Moving to Paris at age 17, he studied with Charles Tournemire and, subsequently, at the Paris Conservatoire with Eugène Gigout. In 1927, he became Louis Vierne’s assistant at Notre Dame and two years later was appointed titular organist at Saint-Ètienne-du-Mont, a post he held for the rest of his life.

A world-class organist by any standard, he gave the premiere of Poulenc’s organ concerto (1939), and advised the composer on the registrations of the organ part.

Duruflé’s Requiem dates from 1947, and is dedicated to the memory of his father, a music-lover who recognized his young son’s precocious talent – as a preschooler, he’d come home from mass and pick out the plainchants on the family harmonium – and enrolled him in the choir school at Rouen. In each of the movements, Duruflé makes use of the Gregorian chant melodies from the missa pro defunctis. His sensuous harmonies suffuse every note with heartfelt emotion.

“This Requiem is not an ethereal work that sings of detachment from human concerns,” he wrote in 1980. “It reflects, in the unchanging form of Christian prayer, the anguish of man faced with the mystery of his final end. It is often dramatic, or filled with resignation, or hope or terror, like the same words of the scripture used in the liturgy. It tries to translate the human feeling in front of their terrifying, inexplicable, or consoling destiny.” Indeed, the Requiem presents the whole spectrum of human emotion. But most especially it offers great consolation, and has brought comfort and solace to countless thousands across its 75-year lifetime.

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REVOLUTION: THE MUSIC OF THE BEATLES A SYMPHONIC EXPERIENCE

Friday, June 3, 2022 at 7:30 pm Saturday, June 4, 2022 at 7:30 pm Sunday, June 5, 2022 at 2:30 pm ALLEN-BRADLEY HALL Yaniv Dinur, conductor Paul Loren, vocals Colin Smith, vocals Rick Brantley, vocals Oscar Rodriguez, guitar Brian Killeen, bass Spencer Cohen, drums Luke McGinnis, keyboard A Schirmer Theatrical/Greenberg Artists co-production Arrangements by Jeff Tyzik

“Because” originally released on Abbey Road (1969) “Get Back” originally released on Let it Be (1970) “Ticket to Ride” originally released on Help! (1965) “Drive My Car” originally released on Rubber Soul (1965) “Yesterday” originally released on Help! (1965) “Penny Lane” originally released on Magical Mystery Tour (1967) “If I Needed Someone” originally released on Rubber Soul (1965) “Lady Madonna” originally released on Past Masters: Volume Two (1988) “Blackbird” originally released on The Beatles (The White Album) (1968) “In My Life” originally released on Rubber Soul (1965)

(continued on page 30)

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(REVOLUTION continued from page 29)

“Eleanor Rigby” originally released on Revolver (1966) “Paperback Writer” originally released as a single (1966) “Hello, Goodbye” originally released on Magical Mystery Tour (1967) “Here Comes the Sun” originally released on Abbey Road (1969) “Hey Jude” originally released on Past Masters: Volume Two (1988) INTERMISSION

“The Fool on the Hill” originally released on Magical Mystery Tour (1967) “Got to Get You into My Life” originally released on Revolver (1966) “Maxwell’s Silver Hammer” originally released on Abbey Road (1969) “With a Little Help from My Friends” originally released on Sgt. Pepper’s Lonely Hearts Club Band (1967) “Come Together” originally released on Abbey Road (1969) “Something” originally released on Abbey Road (1969) “She’s Leaving Home” originally released on Sgt. Pepper’s Lonely Hearts Club Band (1967) “I am the Walrus” originally released on Magical Mystery Tour (1969) “Let It Be” originally released on Let It Be (1970) “Golden Slumbers” originally released on Abbey Road (1969) “Twist and Shout” originally released on Please Please Me (1963) ALL ARRANGEMENTS LICENSED TO G. SCHIRMER AND/OR SCHIRMER THEATRICAL, LLC, BY SONY/ ATV MUSIC PUBLISHING LLC AND HARRISONGS LTD, C/O THE BICYCLE MUSIC COMPANY ALL IMAGES OF THE BEATLES LICENSED FROM ADAMS MEDIA WORK LTD, OWNER OF THE BEATLES BOOK PHOTO LIBRARY ALL OTHER IMAGERY LICENSED FROM RESPECTIVE RIGHTS HOLDERS AND/OR THEIR LICENSING AGENTS THE SHOW IS NOT ENDORSED BY OR CONNECTED TO APPLE CORPS OR THE BEATLES.

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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Creative Team Robert Thompson, Creative Producer Jeff Tyzik, Producer & Arranger Jami Greenberg, Producer & Booking Agent Alyssa Foster, Producer Mary Helen Gustafson, Assistant Producer Ilana Becker, Stage Direction Alek Deva, Technical Supervisor (Black Ink Presents) Mike Kasper, Assistant Technical Supervisor (Black Ink Presents) Paul Bevan, Sound Designer Charles Yurick, Projection Designer (Tour de Force) Bill Dwyer, Associate Motion Graphics Designer Adam Grannick, Video Designer (Pre-Concert and Intermission) Andy Roninson, Synth Consultant Jeff Sugg, Production Consultant (Handmade Media, LLC)

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Milwaukee Ballet, Marie Collins, Photo by Mark Frohna. Skylight Music Theatre, Raven Dockery, Photo by Mark Frohna.

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Guest Artist Biographies PAUL LOREN, vocals Leading a new generation of soulful crooners, Paul Loren is a singer, songwriter, producer, and consummate entertainer. A native New Yorker, Loren recently completed his first headline tour in 2019, also having performed in the past as a support artist for: The Temptations, as part of Stamford’s Summer Concert Series “Wednesday Night Live,” Brendan James, American Idol Winner Taylor Hicks, David Bromberg, and sold-out Joe’s Pub at the Public in NYC multiple times.

He was also selected by Jennifer Lopez to perform at her Birthday Gala in Las Vegas, showcased at The SoHo House NYC, was a featured artist at the AAA Radio Convention in Boulder, Colorado, and shared the stage with Paul Shaffer, Queen Latifah, and Christie Brinkley at Target’s launch event for New York Fashion Week.

COLIN SMITH, vocals With a career spanning over 20 years, Irish-born Colin Smith has led a musical life as varied as it is impressive. With his former band MrNorth, while on RCA, they toured extensively with the likes of The Who, Van Halen, Sheryl Crow, and Journey, among many others. As a solo artist, songs from his two records have been licensed to movies and TV alike. Smith has been seen in live collaborations with Alicia Keys and has worked multiple times on Saturday Night Live as the featured vocal talent. Smith has most recently been seen touring with Christina Aguilera, performing a duet with her on the GRAMMY winning “Say Something” to audiences across the globe, as well as performing background vocals for the show. Smith splits his time between NYC and LA.

RICK BRANTLEY, vocals Singer-songwriter Rick Brantley was born and raised in the musical mecca of Macon, Georgia, a preacher’s son, soaking up the strains of gospel music, fire-and-brimstone sermons, and the echoes of musical legends: Blind Willie McTell, Otis Redding, and The Allman Brothers. His own songs and red-hot band performances led to a publishing contract and new home base in Nashville. Since then, his songs have been covered by artists ranging from Meat Loaf to country crooner David Nail, while he’s continued honing his stage chops as both full-tilt rock-show frontman and acoustic solo performer, opening for acts as diverse as John Hiatt, Zac Brown Band, Better Than Ezra, and Steve Earle.

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OSCAR ALBIS RODRIGUEZ, guitar Oscar Albis Rodriguez is a producer, engineer, multi-instrumentalist, and songwriter. Since making Brooklyn his home base in 2000, he’s played every DIY venue and basement in North America with his punk/hardcore bands De La Hoya and Nakatomi Plaza, freelanced with innumerable NYC singer/songwriters and bands, performed in Broadway musicals (most notably Hedwig & The Angry Inch), and toured the world with the GRAMMY Award winning duo A Great Big World. Rodriguez started producing and engineering at Russell Street Recording in 2013, and soon after began collaborating with Zach Jones. Since then, the two have played in each other’s bands (Albis and Zach Jones & The Tricky Bits) and have co-produced records for artists such as Jenny Owen Youngs, Elizabeth Wyld, Hannah Winkler, Talay, Jesse Dylan & The Scaredy Cats, and A Great Big World. On his own, Rodriguez’s production credits include Jukebox The Ghost, Jon The Guilt, and Rikki Will.

BRIAN KILLEEN, bass Brian Killeen is a NYC bassist that has enjoyed performing with many inspiring artists. Some of his favorite musical situations have included sharing stages with Chuck Loeb, Jarle Bernhoft, Liz Longley, A Great Big World, and Joe Sumner, as well as various on and offBroadway theatrical productions. He is thrilled to be a part of Revolution: The Music of The Beatles.

SPENCER COHEN, drums Percussionist Spencer Cohen is a lover of life, music, family, friends, coffee, and his amazing wife, Shelly. Cohen is privileged to have been a part of the Broadway production of Tootsie the Musical, The Team’s Mission Drift production at the National Theater London, Miss You Like Hell at the Public Theater, and The World to Come Musical. He can be heard on over 15 film scores, including Bliss by Wills Bates.

He is the co-composer for an upcoming D&D live-streaming show.

Cohen received his music education at NYU and serves as a teaching artist for the St. Luke’s School. He currently resides in Brooklyn, New York. SpencerCohenMusic.com

LUKE MCGINNIS, keyboard Luke McGinnis is a music director, multi-instrumentalist, and vocalist from Atlanta, Georgia. After studying choral conducting at Berklee College of Music, McGinnis co-created Apartment Sessions, a New York-based collective recording original symphonic arrangements in a Brooklyn apartment with a rotating ensemble, featuring artists Gabriel Kahane, Kishi Bashi, Linqua Franqa, and many more. Videos can be viewed at Apartment Sessions on YouTube. McGinnis is grateful for the opportunity again to play with an orchestra, and thrilled to be joining on keys for Revolution: The Music of The Beatles.

MILWAUKEE SYMPHONY ORCHESTRA

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MILWAUKEE SYMPHONY ORCHESTRA

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STRAUSS & SCHUMANN Friday, June 10, 2022 at 11:15 am Saturday, June 11, 2022 at 7:30 pm ALLEN-BRADLEY HALL Ken-David Masur, conductor Awadagin Pratt, piano

RICHARD STRAUSS Metamorphosen, TrV 290 JESSIE MONTGOMERY Rounds for solo piano and string orchestra Awadagin Pratt, piano INTERMISSION

FELIX MENDELSSOHN Overture to Die Heimkehr aus der Fremde, Opus 89 (The Return from Abroad) ROBERT SCHUMANN Symphony No. 4 in D minor, Opus 120 (1841 version)

I. Andante con moto: Allegro di molto

II. Romanza: Andante

III. Scherzo: Presto

IV. Finale: Allegro vivace The MSO Steinway piano was made possible through a generous gift from MICHAEL AND JEANNE SCHMITZ. This project is supported in part by the NATIONAL ENDOWMENT FOR THE ARTS. 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.

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Guest Artist Biographies AWADAGIN PRATT Among his generation of concert artists, pianist Awadagin Pratt is acclaimed for his musical insight and intensely involving performances in recital and with symphony orchestras.

At the age of 16, Pratt entered the University of Illinois where he studied piano, violin, and conducting. He subsequently enrolled at the Peabody Conservatory of Music where he became the first student in the school’s history to receive diplomas in three performance areas – piano, violin, and conducting.

In 1992, Pratt won the Naumburg International Piano Competition and two years later was awarded an Avery Fisher Career Grant. Since then, he has played numerous recitals throughout the U.S., including performances at Lincoln Center, the Kennedy Center, Dorothy Chandler Pavilion in Los Angeles, Chicago’s Orchestra Hall, and the New Jersey Performing Arts Center. His many orchestral performances include appearances with the New York Philharmonic, Minnesota Orchestra, and the Pittsburgh, Cincinnati, Baltimore, Indianapolis, Atlanta, St. Louis, National, and Detroit symphonies, among many others. Summer festival engagements include appearances at Ravinia, Blossom, Wolftrap, Caramoor, Aspen, and the Hollywood Bowl.

Pratt is the founder and artistic director of the Art of the Piano and produces a festival every spring featuring performances and conversations with well-known faculty members and pianists. Through the Art of the Piano Foundation and inspired by a stanza from T. S. Eliot’s Four Quartets, Pratt has commissioned seven composers – Jessie Montgomery, Alvin Singleton, Judd Greenstein, Tyshawn Sorey, Jonathan Bailey Holland, Paola Prestini, and Peteris Vasks – to compose works for piano and string orchestra or piano, string orchestra, and a Roomful of Teeth.

Ms. Montgomery’s concerto will be performed by a consortium of nine U.S. orchestras, including the St. Louis, Baltimore, Milwaukee, and Indianapolis symphonies, in the spring of 2022.

All seven works will be recorded in summer 2022 with the chamber orchestra A Far Cry for New Amsterdam Records.

Pratt is currently Professor of Piano and Artist in Residence at the College-Conservatory of Music at the University of Cincinnati. He also served as the Artistic Director of the World Piano Competition in Cincinnati and the Next Generation Festival. In recognition of his achievements in the field of classical music, he received the Distinguished Alumni Award from Johns Hopkins University as well as honorary doctorates from Illinois Wesleyan and Susquehanna Universities and delivered commencement addresses at those institutions and at Peabody Conservatory.

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Program notes by J. Mark Baker On a program largely devoted to works by German masters – Mendelssohn, Schumann, and Richard Strauss – we’ll hear a brand-new piece by American composer Jessie Montgomery, Rounds. We welcome pianist Awadagin Pratt, for whom the work was written.

Richard Strauss

Born 11 June 1864; Munich, Germany Died 8 September 1949; Garmisch-Partenkirche, Germany

Metamorphosen, TrV 290

Composed: 1945 First performance: 25 January 1946; Zurich, Switzerland Last MSO performance: February 2015; Edo de Waart, conductor Instrumentation: strings Approximate duration: 26 minutes I may not be a first-rate composer, but I am a first-class second-rate composer. –Richard Strauss, 1947

The term “metamorphosis” has its root in a Greek word that means “to change shape.” By 1945, the 80-year-old Richard Strauss had seen his share of change in the world – from the humiliating defeat of Germany at the end of World War I to the destruction wrought upon his native country as the Allies fought to defeat Hitler and fascism. Munich, his beloved hometown, had been bombed in 1943, and its venerable opera house – the site of many a Strauss opera performance – had been destroyed. Learning of the latter, he sighed with sadness and resignation, stating, “I can write no more music today. I am beside myself.”

Several months later, inspired to create a musical memorial, Strauss limned a brief Adagio for strings. From the outset, its intention was clear to the composer: atop one sketch he penned “Lament for Munich.” As time went on, the work kept increasing in size and scope. No longer intended for a non-descript string orchestra, he labeled it “a study for 23 solo strings” – ten violins, five violas, five cellos, and three double basses.

In Metamorphosen, Strauss interweaves elaborate string textures to create what one writer called “an anguished elegy to a culture in ruins.” The composer pours out not only his grief, but also his love for a world that no longer existed, at least in the way he had known it. The music is heartbreaking – both in its sorrow and in its beauty. In their initial rhythmic pattern, the lower strings mimic a rhythmic pattern from the funeral march in Beethoven’s Symphony No. 3 (“Eroica”). (At the end, Strauss quotes this explicitly. On his manuscript, he scrawled In memoriam above these measures.) There are also thematic allusions to Wagner, heightening the music’s pathos and pointing up Strauss’s angst-ridden state of mind over the wreckage of the country he had esteemed all his life.

Metamorphosen turned out to be the composer’s valediction in the realm of instrumental music.

It was completed in fulfillment of a commission from Paul Sacher for his Zurich Collegium Musicum. By the time of its 1946 premiere, the world was at peace – but Strauss’s cosmos had crumbled.

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Jessie Montgomery

Born 8 December 1981; New York, New York

Rounds for solo piano and string orchestra

Composed: 2021-22 First performance: 27 March 2022; Hilton Head, South Carolina Last MSO performance: MSO premiere (co-commission) Instrumentation: strings Approximate duration: 15 minutes Jessie Montgomery is an acclaimed composer, violinist, and educator. She was born and raised in Manhattan’s Lower East Side. Since 1999, Jessie has been affiliated with The Sphinx Organization, which supports young African-American and Latinx string players. Her growing body of work includes solo, chamber, vocal, and orchestral works. She holds degrees from the Juilliard School and New York University.

Rounds was commissioned for pianist Awadagin Pratt by Art of the Piano Foundation and cocommissioned by Hilton Head Symphony Orchestra, Baltimore Symphony Orchestra, Colorado Symphony, Indianapolis Symphony Orchestra, IRIS Orchestra, Kansas City Symphony, Milwaukee Symphony Orchestra, Rochester Philharmonic Orchestra, and St. Louis Symphony Orchestra.

The composer has provided the following program notes.

Rounds for solo piano and string orchestra is inspired by the imagery and themes from T.S. Eliot’s epic poem Four Quartets. Early in the first poem, Burnt Norton, we find these evocative lines: At the still point of the turning world. Neither flesh nor fleshless; Neither from nor towards; at the still point, there the dance is, But neither arrest nor movement. And do not call it fixity, Where past and future are gathered.

Neither movement from nor towards, Neither ascent nor decline. Except for the point, the still point, There would be no dance, and there is only the dance.

© T.S. Eliot Reproduced by courtesy of Faber and Faber Ltd In addition to this inspiration, while working on the piece, I became fascinated by fractals (infinite patterns found in nature that are self-similar across different scales) and also delved into the work of contemporary biologist and philosopher Andreas Weber who writes about the interdependency of all beings. Weber explores how every living organism has a rhythm that interacts and impacts with all of the living things around it and results in a multitude of outcomes.

Like Eliot in Four Quartets, beginning to understand this interconnectedness requires that we slow down, listen, and observe both the effect and the opposite effect caused by every single action and moment. I’ve found this is an exercise that lends itself very naturally towards musical gestural possibilities that I explore in the work – action and reaction, dark and light, stagnant and swift.

Structurally, with these concepts in mind, I set the form of the work as a rondo, within a rondo, within a rondo. The five major sections are a rondo; section “A” is also a rondo in itself; and the cadenza – which is partially improvised by the soloist – breaks the pattern, yet, contains within it, the overall form of the work.

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To help share some of this with the performers, I’ve included the following poetic performance note at the start of the score: Inspired by the constancy, the rhythms, and duality of life, in order of relevance to form: Rondine – AKA Swifts (like a sparrow) flying in circles patterns Playing with opposites – dark/light; stagnant/swift Fractals – infinite design I am grateful to my friend Awadagin Pratt for his collaborative spirit and ingenuity in helping to usher my first work for solo piano into the world.

–Jessie Montgomery (February 2022)

Felix Mendelssohn

Born 3 February 1809; Hamburg, Germany Died 4 November 1847; Leipzig, Germany

Overture to Die Heimkehr aus der Fremde, Opus 89 (The Return from Abroad)

Composed: 1829 First performance: 26 December 1829; Berlin, Germany Last MSO performance: MSO premiere Instrumentation: 2 flutes; 2 oboes; 2 clarinets; 2 bassoons; 2 horns; 2 trumpets; strings Approximate duration: 6 minutes Like Mozart before him, Felix Mendelssohn was a wunderkind. By age 14, he had written 13 string symphonies, among other pieces. A Midsummer Night’s Dream Overture, one his most enduring works, came at age 17. His extensive list of compositions includes concertos (including the ever-popular Violin Concerto), chamber music, solo piano and organ pieces, songs and duets for voice(s) and piano, and lots of choral music – both sacred and secular.

Felix Mendelssohn was 20 years old when he wrote Heimkehr aus der Fremde in 1829, the same year he conducted the Berlin Singakademie in the revival of J.S. Bach’s St. Matthew Passion, the first time it had been heard since Bach’s day. The impression of that singular event was so farreaching that it ignited the great 19th-century revival of the 18th-century master’s music.

Heimkehr aus der Fremde (The Return from Abroad) is a one-act Liederspiel (song-play) with a libretto by Mendelssohn’s friend Karl Klingemann, who later severed as a diplomat in London.

Its comic plot involves Kauz, a likable dissembler, who pretends to be the long-absent son of the village mayor Schultz, in an effort to win the hand of the mayor’s ward, Lisbeth. Kauz’s ruse is exposed when Hermann, the true son, returns incognito. Mendelssohn penned an overture, seven strophic songs, a few ensembles, and a finale. We’ll enjoy the charming A-major overture, in which a lilting Andante introduction in 6/8 meter paves the way for a spirited cut-time Allegro di molto.

Program Notes continued on page 44

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Robert Schumann

Born 8 June 1810; Zwickau, Germany Died 29 July 1856; Endenich (near Bonn), Germany

Symphony No. 4 in D minor, Opus 120 (1841 version)

Composed: 1841, 1851 Premiere: 6 December 1841; Leipzig, Germany (original version, as Symphony No. 2) 3 March 1853; Düsseldorf, Germany (as Symphony No. 4, Op. 121) Last MSO performance: October 2011; Edo de Waart, conductor Instrumentation: 2 flutes; 2 oboes; 2 clarinets; 2 bassoons; 4 horns; 2 trumpets; 3 trumpets; timpani; strings Approximate duration: 28 minutes Of the composers of the Romantic era, Robert Schumann is quite likely the most romantic.

His music emphasized self-expression, is inherently lyrical, and often displays literary, extramusical connections. Schumann was prolific as a composer, father (eight children), and writer (co-founder of the periodical, Neue Zeitung für Musik, “New Journal for Music”). In the latter role, he helped further the career of the young Johannes Brahms.

Schumann’s Symphony No. 4 began its life in 1841, as his Symphony No. 2. Ten years later, it was revised and renumbered. It is this revision that is most frequently heard today. Often hailed as one of his most original works, Opus 120 is notable for its formal continuity and for the cohesiveness of its thematic material. Though cast in the traditional four segments, the composer called it a “symphony in one movement” and instructed that it be played without a pause. In various musical guises, three main motifs recur throughout: • the somber, sinuously flowing opening melody that fills most of the slow introduction • the first theme of the Allegro section, a 16th-note passage introduced by the violins • a martial, fanfare-like figure, first heard about six minutes in; played by brass and timpani, punctuated by winds The Allegro is dominated by the 16th-note motif, but, following the militaristic fanfare, a lyrical theme is introduced in the movement’s development section. The oboe and cello open the lyrical Romanza, then the introductory melody returns to blossom into a sumptuous passage, set in D major. In the middle section, a solo violin provides generous ornamentation; the oboe/cello melody closes the movement.

The tempestuous Scherzo is created largely from the first movement’s introductory theme (turned upside down) and martial theme; its trio is like the central section of the Romanza, but this time with all the violins playing arabesques. The 16th-note theme returns during the spellbinding transition to the Finale. The closing Allegro vivace is energetic, jubilant music, fueled by yet another version of the martial theme and the 16th-note motif. As the movement progresses, the music grows ever more exultant, ending in a whirlwind of delightful good humor.

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45

Robert Schumann

Born 8 June 1810; Zwickau, Germany Died 29 July 1856; Endenich (near Bonn), Germany

Symphony No. 4 in D minor, Opus 120 (1841 version)

Composed: 1841, 1851 Premiere: 6 December 1841; Leipzig, Germany (original version, as Symphony No. 2) 3 March 1853; Düsseldorf, Germany (as Symphony No. 4, Op. 121) Last MSO performance: October 2011; Edo de Waart, conductor Instrumentation: 2 flutes; 2 oboes; 2 clarinets; 2 bassoons; 4 horns; 2 trumpets; 3 trumpets; timpani; strings Approximate duration: 28 minutes Of the composers of the Romantic era, Robert Schumann is quite likely the most romantic.

His music emphasized self-expression, is inherently lyrical, and often displays literary, extramusical connections. Schumann was prolific as a composer, father (eight children), and writer (co-founder of the periodical, Neue Zeitung für Musik, “New Journal for Music”). In the latter role, he helped further the career of the young Johannes Brahms.

Schumann’s Symphony No. 4 began its life in 1841, as his Symphony No. 2. Ten years later, it was revised and renumbered. It is this revision that is most frequently heard today. Often hailed as one of his most original works, Opus 120 is notable for its formal continuity and for the cohesiveness of its thematic material. Though cast in the traditional four segments, the composer called it a “symphony in one movement” and instructed that it be played without a pause. In various musical guises, three main motifs recur throughout: • the somber, sinuously flowing opening melody that fills most of the slow introduction • the first theme of the Allegro section, a 16th-note passage introduced by the violins • a martial, fanfare-like figure, first heard about six minutes in; played by brass and timpani, punctuated by winds The Allegro is dominated by the 16th-note motif, but, following the militaristic fanfare, a lyrical theme is introduced in the movement’s development section. The oboe and cello open the lyrical Romanza, then the introductory melody returns to blossom into a sumptuous passage, set in D major. In the middle section, a solo violin provides generous ornamentation; the oboe/cello melody closes the movement.

The tempestuous Scherzo is created largely from the first movement’s introductory theme (turned upside down) and martial theme; its trio is like the central section of the Romanza, but this time with all the violins playing arabesques. The 16th-note theme returns during the spellbinding transition to the Finale. The closing Allegro vivace is energetic, jubilant music, fueled by yet another version of the martial theme and the 16th-note motif. As the movement progresses, the music grows ever more exultant, ending in a whirlwind of delightful good humor.

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MILWAUKEE SYMPHONY ORCHESTRA

ODE TO JOY: BEETHOVEN’S NINTH Thursday, June 16, 2022 at 7:30 pm Friday, June 17, 2022 at 7:30 pm Saturday, June 18, 2022 at 7:30 pm Sunday, June 19, 2022 at 2:30 pm ALLEN-BRADLEY HALL Ken-David Masur, conductor Aizuri Quartet Emma Frucht, violin Miho Saegusa, violin Ayane Kozasa, viola Karen Ouzounian, cello Felicia Moore, soprano Deborah Nansteel, mezzo-soprano Andrew Haji, tenor Nathan Berg, bass baritone Milwaukee Symphony Chorus Cheryl Frazes-Hill, chorus director

JOHN ADAMS Absolute Jest for string quartet and orchestra

Aizuri Quartet

Emma Frucht, violin

Miho Saegusa, violin

Ayane Kozasa, viola

Karen Ouzounian, cello

INTERMISSION (continued on page 48)

MILWAUKEE SYMPHONY ORCHESTRA

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(ODE TO JOY continued from page 47)

LUDWIG VAN BEETHOVEN Symphony No. 9 in D minor, Opus 125, “Choral”

I. Allegro ma non troppo, un poco maestoso

II. Molto vivace

III. Adagio molto e cantabile

IV. Presto – Allegro assai – Allegro assai vivace

Felicia Moore, soprano

Deborah Nansteel, mezzo-soprano

Andrew Haji, tenor

Nathan Berg, bass baritone

Milwaukee Symphony Chorus

Cheryl Frazes-Hill, chorus director 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.

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Steve Hall © Hall + Merrick Photographers

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MILWAUKEE SYMPHONY ORCHESTRA

Guest Artist Biographies

AIZURI QUARTET Emma Frucht, violin Miho Saegusa, violin Ayane Kozasa, viola Karen Ouzounian, cello

The Aizuri Quartet has established a unique position within today’s musical landscape, infusing all their music-making with infectious energy, joy, and warmth, cultivating curiosity in listeners, and inviting audiences into the concert experience through their innovative programming and the depth and fire of their performances.

The Aizuri Quartet was awarded the Grand Prize at the 2018 M-Prize Chamber Arts Competition, along with top prizes at the 2017 Osaka International Chamber Music Competition in Japan and the 2015 Wigmore Hall International String Quartet Competition in London. The Quartet’s debut album, Blueprinting, featuring new works written for the Aizuri Quartet by five American composers, was released by New Amsterdam Records to critical acclaim, nominated for a 2019 GRAMMY Award, and named one of NPR Music’s Best Classical Albums of 2018.

The 2020.21 concert season, featuring the Aizuri Quartet’s Expanse, What’s Past is Prologue, and Song Emerging recital programs, showcases the breadth of the Quartet’s musical appetite.

Notable highlights include the Quartet’s major concerto debut with the Milwaukee Symphony Orchestra in performances of John Adams’s Absolute Jest, its debut at the 92Y, a collaborative program with Anthony McGill and Demarre McGill at the Philadelphia Chamber Music Society, and the premieres of new string quartets by Lembit Beecher and Paul Wiancko presented by the Phillips Collection in Washington D.C. The 2020.21 concert season illustrated the Aizuri Quartet’s ingenuity and creativity, as they offered beautifully filmed performances along with spoken program notes for virtual concerts during the pandemic. The Quartet appeared in virtual and hybrid concerts presented by Baryshnikov Arts Center, Tippet Rise, Friends of Chamber Music Denver, Kaufmann Music Center, Ohio Performing Arts, Philadelphia Chamber Music Society, New Orleans Friends of Chamber Music, Lincoln Friends of Chamber Music, Chamber Music Pittsburgh, and Shriver Hall Concert Series, among others. Special projects included collaborations with Celtic harpist Maeve Gilchrist, as well as guitarist Nels Cline, with whom they recorded Douglas Cuomo’s Seven Limbs, released on Sunnyside Records.

Formed in 2012 and combining four distinctive musical personalities into a powerful collective, the Aizuri Quartet draws its name from “aizuri-e,” a style of predominantly blue Japanese woodblock printing that is noted for its vibrancy and incredible detail.

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Guest Artist Biographies FELICIA MOORE Noted by The Wall Street Journal for her “opulent, Wagner-scaled soprano” and acclaimed by The New York Times as the “lustrous, commanding soprano,” Felicia Moore is recognized as a powerful and innovative artist.

In the 2021.22 season, Moore makes her Metropolitan Opera debut as First Lady in The Magic Flute under the baton of Dame Jane Glover and covers in Elektra in the company’s revival of the Patrice Chéreau production led by Sir Donald Runnicles.

She makes a role debut as Sieglinde in Die Walküre with New Orleans Opera, and concert engagements bring Moore to the Las Vegas Philharmonic for Beethoven’s Ninth Symphony and to the Erie Philharmonic for Mahler’s Second Symphony.

Highlights of past seasons include the role of Susan B. Anthony in The Mother of Us All at the Metropolitan Museum of Art as a part of Project 19, the New York Philharmonic’s multi-season initiative marking the centennial of the 19th Amendment, and the title role of Lady M in an online fantasia of Verdi’s Macbeth with Heartbeat Opera, as well as the soprano’s first appearance on the roster of the Metropolitan Opera covering First Lady in The Magic Flute.

DEBORAH NANSTEEL Mezzo-soprano Deborah Nansteel is poised for international stardom, having already performed in almost all of the leading opera companies in the U.S. She made her debut with the Metropolitan Opera as Alisa in Lucia di Lammermoor, her debut with the Lyric Opera of Chicago as Gertrude in Roméo et Juliette, her Carnegie Hall debut in Mozart’s Coronation Mass, and her New York Philharmonic debut alongside Eric Owens in In Their Footsteps: Great African American Singers and Their Legacy. She also performed the role of Mother in the world premiere of Blind Injustice with Cincinnati Opera, which will soon be commercially released on the Cincinnati Symphony Orchestra’s Fanfare Cincinnati label.

2020 and 2021 engagements were to include the Mother in Jeanne Tesori and Tazwell Thompson’s Blue with Minnesota Opera, the role of Miriam in the world premiere of Tobias Picker’s Awakenings with Opera Theater St. Louis, a role debut of Amneris in Aida with Opera Carolina, and a return to the Metropolitan Opera for The Fiery Angel.

Sought after for her performances on the concert stage, Nansteel has performed Handel’s Messiah with the Memphis Symphony and Charleston Symphony; John Harbison’s Mirabai Songs with the Oregon Mozart Players; Beethoven’s Symphony No. 9 with Seattle Symphony and Fondazione Orchestra Sinfonica e Coro Sinfonico in Milan under the baton of Maestro Xian Zhang; the role of Brigitta in Bard Music Festival’s Die tote Stadt in concert; and various additional concerts including Stravinsky’s Les noces, Penderecki’s Credo, and Handel’s Israel in Egypt.

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Guest Artist Biographies ANDREW HAJI Canadian tenor Andrew Haji has become one of the most sought-after voices on both operatic and concert stages. Winner of the Grand Prix at the 50th International Vocal Competition in ‘s-Hertogenbosch and the Montreal International Music Competition’s Oratorio Prize, Haji recently debuted with Calgary Opera in Norma and performed Beethoven’s Choral Fantasy with the Orchestra of St. Luke’s at Carnegie Hall. Haji’s 2021.22 season engagements have included the Canadian Opera Company’s digital productions of Puccini’s Gianni Schicchi and Mozart’s Requiem, Handel’s Messiah (National Arts Centre, Houston Symphony), La bohème with Edmonton Opera, La traviata with Calgary Opera, and a return to New York with Orchestra of St. Luke’s for Mozart’s Requiem. Upcoming, Haji looks forward to performing Beethoven’s Symphony No. 9 with the Victoria Symphony and Bach’s B Minor Mass at the Elora Festival.

NATHAN BERG Canadian bass-baritone Nathan Berg has enjoyed a career spanning a vast range of repertoire on the concert and operatic stage. He recently earned worldwide acclaim for his portrayals of the title role in Der fliegende Holländer in his Bolshoi Theatre debut, Alberich in Das Rheingold with the Seoul Philharmonic Orchestra and Minnesota Opera, Doktor in Wozzeck with the BBC Scottish Symphony Orchestra and the Houston Symphony, for which he won a GRAMMY Award, and his company debut at Teatro alla Scala in Robert Carsen’s world-premiere production of Battistelli’s CO2.

In the 2021.22 season, Berg performed with the Metropolitan Opera as The Father in the New York premiere of Matthew Aucoin’s Eurydice, conducted by Yannick Nézet-Séguin, returns to Theater Basel as Philippe in Don Carlos, and debuts the role of Kurwenal in Tristan und Isolde with the Taiwan Philharmonic. He will also lead a residency with Opera Lafayette in Taos, New Mexico, culminating in performances of Grétry’s Silvain in both New York and Washington, D.C. In the 2020.21 season, Berg made a highly acclaimed debut with Theater Basel in the title role of Messiaen’s Saint François d’Assise. The previous season, he made his role and house debut as Jochanaan in Salome with Atlanta Opera, and returned to the roster of the Metropolitan Opera in Manon and Turandot. On the concert stage, he joined the Toronto Symphony Orchestra as Palemon in Thaïs, the Rotterdam Philharmonic on a European tour as Der Einarmige in Die Frau ohne Schatten, led by Yannick Nézet-Séguin, and the Helsinki Philharmonic Orchestra in Berlioz’s Lélio.

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Program notes by J. Mark Baker With this weekend’s concerts, the MSO’s first full season in its magnificent new home comes to an end. One can think of no better way to celebrate this milestone than with Beethoven’s (and Schiller’s) paean to the interconnectedness of all humanity. John Adams’s music – which borrows material from Beethoven – gets us off to a rollicking start.

John Adams Born 15 February 1947; Worchester, Massachusetts

Absolute Jest for string quartet and orchestra

Composed: 2012; revised 2013 First performance: 15 March 2012; San Francisco, California Last MSO performance: MSO premiere Instrumentation: 2 flutes; piccolo; 2 oboes; English horn; 2 clarinets; bass clarinet; 2 bassoons; contra bassoon; 4 horns; 2 trumpets (1st doubling on piccolo trumpet); 2 trombones; timpani; percussion (bass drum, chimes, cowbell, glockenspiel, vibraphone, xylophone); harp; celeste; piano; strings Approximate duration: 25 minutes 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 Shaker Loops, 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. His recent works include the Passion oratorio The Gospel According to the Other Mary, a saxophone concerto, and Scheherazade.2, a “dramatic symphony for violin and orchestra,” written for Leila Josefowicz. Adams was awarded a Pulitzer Prize for On the Transmigration of Souls (2003), commemorating those who died in the 9/11 terrorist attacks.

Absolute Jest was written on a commission from the San Francisco Symphony, as part of their centennial season. Michael Tilson Thomas led its premiere, with the St. Lawrence String Quartet as soloists. Unhappy with its opening section, Adams revised the work in 2013. It is that version we’ll hear on tonight’s concert.

Adams first got the idea for Absolute Jest from hearing a performance of Stravinsky’s Pulchinella, which filters the music of G.B. Pergolesi and other Baroque-era composers through Stravinsky’s DNA. In what he has called “a hall of mirrors,” Adams takes fragments from Beethoven – the String Quartets of Opus 131 and Opus 135, the Grosse Fuga, and the scherzo of the Ninth Symphony, among others – to create “the world’s largest scherzo” (Adams). In choosing the word

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“jest,” the composer noted that the term doesn’t just mean “joke” (scherzo), but rather hints at its Latin root, “gesta,” which implies “invention.”

And inventive it is! Adams displays a latter-day fascination with age-old contrapuntal techniques. Beethoven’s motifs are stretched, turned upside-down, and piled one on top of the other. There’s a dynamic dialogue between the solo quartet and the orchestra, with the former taking the spotlight from time to time. For the work’s striking coda, Adams turned to a work from Beethoven’s middle period, the Piano Sonata in C major, Opus 53. Adams’s teenaged son had been practicing the piece, one the composer never tired of hearing. Listen, as the music “rides upon the harmonic changes at the opening of the ‘Waldstein’” (Adams).

Ludwig van Beethoven

Baptized 17 December 1770; Bonn, Germany Died 26 March 1827; Vienna, Austria

Symphony No. 9 in D minor, Op. 125, “Choral”

Composed: 1822-24 First performance: 7 May 1824; Vienna, Austria Last MSO performance: June 2018; Jun Märkl, conductor; Heidi Stober, soprano; Kelley O’Connor, mezzo-soprano; Anthony Dean Griffey, tenor; Morris Robinson, bass Instrumentation: 2 flutes; piccolo; 2 oboes; 2 clarinets; 2 bassoons; 4 horns; 2 trumpets; 3 trombones; tuba; timpani; percussion (bass drum, cymbals, triangle); strings Approximate duration: 65 minutes The brotherhood of man was a longed-for goal for both Ludwig van Beethoven and Friedrich von Schiller (1759-1805), the great poet whose words Beethoven used in the finale of the Ninth Symphony. Schiller’s ode An die Freude (“To Joy”) had appealed to Beethoven for a long time; he was only 22 (1792) when he first planned to set it to music, though the earliest surviving sketches for the Ninth Symphony date from 1817 and 1818.

Beethoven’s “Joy” theme is one of the best-known melodies in classical music. From its use in beginning piano instruction books to its adaptation as a church hymn to its appearance in countless film soundtracks to its performance at every Olympic Games since 1956, its presence is seemingly ubiquitous. Because of this, notes Beethoven scholar Lewis Lockwood, there are two “Ninth Symphonies” in the mind of the general public: “One is the ‘Ode to Joy’ itself, as a choral anthem; that is, just the melody, not the elaborate and complex movement from which it comes.

The other is the symphony as a complete work, a large-scale four-movement cycle in which the enormous finale brings solo and choral voices into the symphonic genre for the first time.”

Consider, too, the fact that the Ninth has been put to cultural and political use, for both abhorrent and redeeming ends. The Nazis, after declaring Beethoven sufficiently Germanic and racially pure, propagandized his works as the sum and substance of Aryan strength; Furtwängler even conducted a performance of the Ninth to celebrate Hitler’s 53rd birthday. At the other end of the spectrum, it has been used to proclaim freedom, most memorably at the 25 December 1989 concert led by Leonard Bernstein to celebrate the destruction of the Berlin Wall. On that happy occasion, the great maestro instructed the singers to use the word “freedom” (“Freiheit”) instead of “joy” (“Freude”).

In his sketchbooks for the Seventh and Eighth Symphonies, both finished in 1812, Beethoven makes mention of at least one further symphony. Over ten years elapsed, though, before he turned his full attention to the Ninth. By the autumn of 1822, he had finished the bulk of the MILWAUKEE SYMPHONY ORCHESTRA

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Missa solemnis and had put the finishing touches on his last two piano sonatas. Most of Opus 125 was composed between then and the end of 1823; by February 1824, the score was complete.

On its face, the Ninth looks like a conventional symphony. It is set is four movements, though the slow movement is placed third, not second, providing greater contrast to what follows.

And what follows, as we all know, is a finale that is unlike anything else in the orchestral canon.

It, and the entire work itself, is a watershed in the history of symphonic music, one that would influence composers in the generations that followed – from Brahms and Wagner to Berlioz and Mahler – all the way into the 21st century.

The opening 16 measures evoke the sound of an orchestra tuning up before a performance.

“Is this the first theme?” we might wonder, but the true first theme then forcefully erupts: a descending D-minor arpeggio. The main subject is then restated in B-flat major and remains in that key to the end of the exposition. The development section features fugato writing on several motifs and leads to the recapitulation with a return to the “introduction.” This time, though, the full orchestra is in D major, fortissimo. A powerful coda, itself almost like another development section, closes the movement.

The extended second movement – over 1,500 measures, if all internal repeats are counted – is a scherzo (though Beethoven had by 1822 given up the use of that term). Set in D minor, it is characterized by impetuous forward motion, symmetrical phrase structure, and imitative textures. A sylvan trio in D major provides a quiet interlude between the extroverted music of the scherzo.

The songful Adagio is surely some of the most heartfelt music the master ever set down. It is an elegant set of variations on two melodies: the first (Adagio molto cantabile) is in B-flat major; the second (Andante moderato) is in D major. Toward the movement’s end, fanfares for trumpets and timpani disrupt the quiet, warning us that something momentous is just over the horizon. The movement ends quietly, but with anticipation.

Beethoven’s history-changing finale begins with a dissonant fanfare that combines two chords: B-flat major (the key of the Adagio) and D minor (the Ninth’s overall key). Recitativelike passages for the lower strings follow, as music from the first three movements is stated in turn, each time separated by recitative, and rebuffed. The woodwinds at last intimate the “Joy” theme, which is graciously accepted. Cellos and double basses intone this melody, gradually joined by the rest of the orchestra. The opening Presto returns to usher in a recitative for the bass soloist; he then leads the chorus and the other soloists through three verses of Schiller’s poem. A Turkish march for the tenor soloist and men’s chorus follows, replete with cymbals and triangle; it is a variant of the “Joy” motif.

The march theme is developed as a spirited orchestral double fugue, then the chorus repeats the first verse text in yet another guise. A broad new motive sets the words “Seid umschungen, Millionen” and leads to a mystical Adagio. Beethoven quickens the pace to Allegro energico as the first verse returns in yet another variation; this is combined with “Seid umschungen” to fashion a jubilant double fugue for chorus and orchestra. A florid, polyphonic cadenza for the four soloists leads to the concluding Prestissimo, an ebullient stretto on “Seid umschungen” that is checked only briefly by a grand Maestoso for “Joy, the daughter of Elysium.”

The story of the first performance of the Ninth Symphony is one of musical legend. Beethoven was in the middle of the orchestra, following the music with his score, but he was so deaf that he seemed to have lost his place. At the conclusion, there was tremendous applause, which Beethoven could not hear, The incident was described by Sir George Grove, who heard it, long after Beethoven’s death, from Caroline Unger, the alto soloist of that first performance: “The master, though placed in the midst of this confluence of music, heard nothing of it at all and was not even sensible of the applause of the audience at the end of his great work, but continued standing with his back to the audience and beating the time, until Fräulein Unger turned him, or induced him 54

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to turn and face the people, who were still clapping their hands and giving way to the greatest demonstrations of pleasure. His turning about, and the sudden conviction thereby forced on everybody that he had not done so before because he could not hear what was going on, acted like an electric shock on all present, and a volcanic explosion of sympathy and admiration followed.”

In his book on the composer (Beethoven; Schirmer Books, 1977), musicologist Maynard Solomon waxes philosophical about this great work: “If we lose our awareness of the transcendent realms of play, beauty, and brotherhood which are portrayed in the great affirmative works of our culture, if we lose the dream of the Ninth Symphony, there remains no counterpoise against the engulfing terrors of civilization, noting to set against Auschwitz and Vietnam as a paradigm of humanity’s potentialities. Maste pieces of art are instilled with a surplus of constantly renewable energy – an energy that provides a motive force for changes in the relations between human beings – because they contain projections of human desires and goals which have not yet been achieved...”

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A Grand Future/MSO Endowment Susan Kurtz Joan McCracken Gregory and Susan Milleville Rusti and Steve Moffic Ms. Ruth Renzelmann Patricia Sheehan Donna and Tom Shriner The Stratton Foundation Winifred and Arthur Thrall Sandra and Ross Workman Jim and Sandy Wrangell $1,500 and above Four Anonymous Donors Thomas Bagwell and Dr. Michelle Hiebert Mark and Laura Barnard Orren and Marilyn Bradley Deanna B. Braeger Mr. James Brown Martin Brutvan Napa Chayaworakul and Don Hanlon Thomas and Joyce Christie Rhonda and Richard Cohen Coles Family Foundation Mrs. Sarah Cook Cream City Foundation Phillip and Patricia Crump Anne de Vroome Kamerling and Garry Kamerling Mr. Dominique Delugeau Dalibor and Jacquelyn Drummer Mark and Jennie Ehrmann Barbara Meyer Elsner Foundation Dr. Jaleh H. Esmaili C. Frederick Geilfuss II and Anne Hamilton Greater Milwaukee Foundation Michael Hack Fund Pat and Charles Harper Lisa and Mick Hatch Mrs. Barbara Himes In memory of Joseph Himes, M.D. Daniel Hoan Foundation Jeanne and Conrad Holling Ralph and Margaret Hollmon Julia A. Ihlenfeldt Deane and Vicky Jaeger Philip and Jane Johns Jayne J. Jordan Tim and Mary Keane Family Fund Steven P Kelley Charles and Sandra Kincaid Dolores Knoernschild Mary S. Knudten Barbara and Raymond Krueger Prof. and Mrs. James M. Kuist William Lassow John and Janice Liebenstein Mr. and Mrs. A. Bela Maroti Mike and Patty McCauley Ms. Melodi Muehlbauer Rev. and Mrs. William E. Mueller Richard and Isabel Muirhead Erik Nelson George and Monica Oess For Texet and the Original Mind Kathryn Koenen Potos Sarah J. Pratt, M.D. Martha Prince Jim and Fran Proulx Mary Hauser and Jerome Randall Marcia J.S. Richards and Donald R. Whitaker Timothy and Syma Richer

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Richard and Colleen Schumaker Paul and Fran Seifert Debra and Daniel Shannon Dr. and Mrs. C. John Snyder Leonard Sobczak and David Pionke Bonnie and Bill Stafford Dean and Katherine Thome Kathleen and Frank Thometz Scott Tisdel and Stefanie Jacob Trinidad Torres Dr. and Mrs. David R. Tschopp John and Joanne Wagner Jim Ward Mr. and Mrs. Jerome T. Welz Barbara Wendt Karen Weston Prati and Norm Wojtal $1,000 and above Four Anonymous Donors Mark and Lynn Alan Brian and Denise Alberti Tom and Sally Basting John L. and Janet T. Beck In honor of Michael J. Schmitz David and Sherry Blumberg Scott Bolens and Elizabeth Forman Lois and Robert Brazner Joyce Broan Timothy Bult and Xin Huang Terry Burko and David Taggart Drs. William and Edith Burns Teri Carpenter Tim and Kathleen Carr Dr. Curtis Carter Sachin Chheda and Angela McManaman Jacquelyn Chrisien Mr. and Mrs. J.T. Christofferson David and Eugenia Coggin Barbara B. Collings Sarah Stevenson Cook In memory of Jeanne Cook Barbara K. Costanzo Heidi and Todd Cox William DeLind Art and Rhonda Downey Linda and Eli Frank Pam Garvey Jim and Judy Gehl Rosalie I. Gellman Anne and Franklyn Gimbel Brad and Kristi Glocke Dr. Andrew and Marjorie Greene Thomas Hamm Kristin Hansen and Darrel Johnson Anna Henning Pastor Timothy Henning Cheryl Frazes Hill and Gary Hill Kathryn Hoffmann Mr. Jerome Holden Barbara Hunteman Tina Itson Karen and Peter Jansson Mr. and Mrs. James A. Kasch Myrtle Kastner Mary E. Kelly Laurie Kinzinger Barbara Kutchera Bruce Laning Kaye Price Laud and Prakash Laud Mrs. Alexandra F. Lerch-Gaggl Sally Lewis and Kathleen Rivera Sheila and Myril Manhoff Mr. and Mrs. James Mathie

MILWAUKEE SYMPHONY ORCHESTRA

Susan McComb Debra Miller Josephine and Kathleen Misiewicz Elizabeth O’Neill Judith Ormond David Pauly and Renee Couture Daniel J. Petry Jessica and Paul Pihart Christopher and Kristen Piotrowski Therese Quirk Connie Gavin and Bob Rothacker In honor of Doug and Jane Hagerman Lauren and Michael Roznowski Hayden James A. Rydlewicz, MD Barry and Kathleen Sammons Ms. Keri L. Sarajian and Mr. Frederick P. Stratton III Nina Sarenac Robin and John Sasman Mr. Darren Schacht Emily Wacker and Steve Schultz Phil Schumacher and Pauline Beck Cary and Susan Silverstein Anne and Randy Sprecher Jeff and Jody Steren 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

MSO Endowment/Musical Legacy Society Northwestern Mutual Foundation Melitta S. Pick Endowed Piano Chair Walter L. Robb Family Principal Trumpet Chair Robert T. Rolfs Foundation Michael and Jeanne Schmitz President and Executive Director Chair Gertrude Elser and John Edward Schroeder Guest Artist Fund Walter Schroeder Foundation Principal Harp Chair Muriel C. and John D. Silbar Family Principal Bassoon Chair Marjorie Tiefenthaler Principal Trombone Chair Richard O. and Judith A. Wagner Family Principal Viola Chair Benefactors Commitments of $100,000 and above Two Anonymous Donors Patty and Jay Baker Fund for Guest Artists Mr. and Mrs. Frederick J.O. Blachly Philip Blank English Horn Chair in memoriam to John Martin and his favorite cousin, Beatrice Blank Judith and Stanton Bluestone Estate of Lloyd Broehm Louise Cattoi, in memory of David and Angela Cattoi Lynn Chappy Salon Series Elizabeth Elser Doolittle Charitable Trust Franklyn Esenberg Principal Clarinet Chair David L. Harrison Endowment for Music Education 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 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 April 18, 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 Mr. and Mrs. George C. Kaiser 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 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 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 Cynthia and Brian Dearing Ms. Dorothy Diggs Lee Fitzsimonds Richard and Ellen Glaisner Roberta Gordon Jewish Community Foundation Eileen & Howard Dubner Donor Advised Fund Mr. and Mrs. Ted Kellner Keith Mardak and Mary Vandenberg

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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 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 Mark and Laura Barnard 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 Mrs. William T. Dicus 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 Dr. Eric Durant and Scott Swickard Stan and Janet Fox Irving D. Gaines Fred and Debby Ganaway

Annual Fund Jean and Thomas Harbeck Family Foundation 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 Elaine Schueler Mr. Thomas P. Schweda 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 Leo Zoeller Orchestra Circle $1,500 and above Eight Anonymous Donors Ruth Agrusa Dr. Joan Arvedson Richard and Sara Aster Thomas Bagwell and Michelle Hiebert Mr. Robert A. Balderson 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 Barbara and Dr. Henry Burko 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 Jesse De Groat T. Arthur and Rhonda Downey Steven and Buffy Duback Mary Ann and Bob Dude Sigrid Dynek 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 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 Laurie Ocepek 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 Betty Jean Schuett 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 Mike and Peg Uihlein 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 Orchestra Circle $1,000 and above Five Anonymous Donors Mary Allmon and Michael Allen John Ambrose Helmut and Sandra Ammon Steven Barney Margaret and Bruce Barr James and Nora Barry Clair and Mary Baum Mr. James M. Baumgartner

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Annual Fund 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 Phyllis and Alan Brostoff Dr. and Mrs. James D. Buck Professor David and Diane Buck Gregory Bultman 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 Thomas Durkin and Joan Robotham 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 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 Jenny and Bob Hillis Eric and Susan Hillstrom Alicia Holdorf John and Kathryn Housiaux Richard and Jeanne Hryniewicki Terry Huebner David Johnson Mary and Charles Kamps 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

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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 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 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 Lois and Stephen Schreiter Roland Schroeder and Mary Mowbray Lawrence and Katherine Schnuck

MILWAUKEE SYMPHONY ORCHESTRA

Donald and Judith Schultz 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 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 Jantina and Donald Adriano Dr. and Mrs. Albert H. Adams, M.D. 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 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

Annual Fund 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 Ann Brophy and James Brown Marianna Michael Bruch Norman Buebendorf Craig and Anne Bryant Halsey and Christine Buell Kathleen Burchby, MD Mrs. John H. Burlingame 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 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 Foundatio Paloucek Family Fund Bill and Gwen Werner Fund Norman and Daryl Grier Diane Griewank McGinn and Thomas McGinn Mr. and Mrs. James Grigg Jean Gurney and Earl Lemon Douglas and Margaret Ann Haag Matt and Victoria Haas 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 Patrick and Jane Keily 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 Gail McCarthy Gregory McCarthy Joseph and Joni McDevitt Rita McDonald 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 Ms. Harvian Raasch-Hooten William Radonski Duane and Barbara Raetz Robert Rafel Virginia and Norman Rambo Stephen and Margie Rankin

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Annual Fund/Bravo/Corporate and Foundations Janice and Jordan Reese Ron Reinke James and Lysbeth Reiskytl Page and John Remmers Paul and Karen Rice Werner and Carol Richheimer Eric Richmond Sarah E. Rieger 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 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 MartinSteiner 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 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

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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 Sarah E. Rieger 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 Bader Philanthropies, Inc. Chase Family Foundation First Midwest Bank, a division of Old National Bank

MILWAUKEE SYMPHONY ORCHESTRA

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 Hamparian Family Foundation Japan Foundation New York Milwaukee Arts Board Richard G. Jacobus Family Foundation Theodore W. Batterman Family Foundation

Corporate and Foundations/Matching Gifts/Golden Notes/Tributes $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 $500 and above Albert J. & Flora H. Ellinger Foundation 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 Thrivent Financial U.S. Bank United Healthcare United Way of Greater Atlanta United Way of Greater Milwaukee and Waukesha United Way of Metropolitan Chicago Wisconsin Energy Corporation

GOLDEN NOTE PARTNERS The MSO gratefully acknowledges the following organizations for their gifts of product or services: 88Nine Radio Milwaukee Becker Design Belle Fiori – Official Event Florist of the MSO 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 memory Dorothy Aring Mary and James Connelly Scott Coonen and Anitamarie Zingale Lff Foundation Vera Wilson Lee and Susie Jennings Michael and Jeanne Schmitz 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

Janyce Hetzel Annette Langen In memory of Wayne Cook Greg and Julie Bradisse Art and Rena Thomas Bumgardner James Collier and Bette Jean Vanderburg Anne DeLeo Anne DeLeo and Patrick Curley Jim and Marlene Gauger Mary Ann Goodman Mr. and Mrs. Michael Hauer Dave and Debbie Holmes Richard Kruse David Kuehn Tom and Judy Kurtin Ms. Clare Leslie Ms. Lynn M. Lucius and Mr. Richard Taylor Patricia Marek Mr. Ehud Moscovitz and Ms. Shelley London Susan Mrnik Daniel Petry Al Schefsky Bernice Smaida Kathy Stokebrand Spore & Keith Spore 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 honor of David Cohen Frederick and Pamela Hess

In memory of Donald Dippel, Jr. Mr. and Mrs. Thomas Dougherty

In memory of Gretchen Connolly Dr. and Mrs. Harry A. Easom

In memory of James Durand Carla Durand

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Tributes In memory of Alan I. Ettinger Ms. Suzy B. Ettinger and Ms. Sally B. Waters In memory of Anne Fitzgerald Michael and Jeanne Schmitz Mrs. James Urdan In memory of Matthew Flaig Trinidad Torres 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 Katie Johnston Daniel Krohm 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 In memory of Susan Kurtz Mary and James Connelly Sharon Davis In memory of Dr. Keith Austin Larson Rev. Curtis A. Larson Suzanne Zinsel In memory of Marjorie Lee Paul Lee In memory of Elaine Lehman Milwaukee Area Piano Teachers Association In appreciation of Todd Levy’s kindness Howard and Eileen Dubner

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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 Mrs. James Urdan In memory of Susan Loris from the MSO League Past Presidents Mark and Susan Cohen Mary Connelly Judy Christl Anne DeLeo & Patrick Curl Eileen Dubner Marta Haas Jean Holmburg Barbara Hunt JoAnne Krause Kathryn and Zachary-John Reinardy Maggie Stoeffel The Tomashek Family Linda Tojek Linda and Lynn Unkefer Mrs. James Urdan In memory of Michael McCabe Sharon Adams Fred and Kay Austermann George and Patricia Barger Carolyn Bellin James and Helen Benton Joyce and Carl Budde Elizabeth Ladu Carrier John Cefalu Sharon Chudy Charles and Stephanie Cruse Anne Davis Sandra Degeorge Beth and Ted Durant Dr. and Mrs. Brenton Field Bill and Kari Foote Sharon Gardner James and Jenny Gettel Joseph Grafwallner Susan Gramling Kathyrn Hall Mrs. and Mrs. Michael Hauer Betsy Head Donald and Marian Heinz Jeffrey and Susan Heyen Christine Hill Jacquelyn Holland Ms. Sally D. Holt Dave and Anne Hynek Cynthia E Jensen Ms. Anne Kebisek Dorothy Kerr Linda Krause Mordecai Lee Mary and Earl Lillydahl Beth Logan Chuck and Linda Malone Eric Master Jeffrey McCabe Dennis McEvoy Catherine and Patrick McGinn Cynthia Michalak Mary Michalak Michelle Murphy Jean Palkert Dr. Michael J. Krco

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In memory of Alice Christy Roemer Barbara Roemer 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 Rosalyn Salzman 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 In memory of Donna Mathison Smith Moreau Parsons 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 Julie and David Uihlein Mr. and Mrs. Harry T. Stratton In honor of Edward Veverka Barbara Lienau In honor of Earl and Joyce Vorpagel Elaine Wolters In memory of Judith Wagner Steven A. & Lisa L. Wagner In memory of Tom Welch Greg Welch 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 Michele Fitzgerald, Executive Assistant & Board Liaison 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 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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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 BOX OFFICE Luther Gray, Associate Director of Patron Services Al Bartosik, Box Office Manager Marie Holtyn, Box Office Supervisor David Jensen, Patron Services Assistant 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 Patrick G. H. Schley, Director of Event Services Kayla Aftahi, Operations Coordinator Frank Almond, Artistic Advisor Paul Beck, Associate Librarian and Interim Assistant Personnel Manager Travis Byrd, Facility Coordinator 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 Zoe Waeltz, Assistant House Manager Tristan Wallace, Technical Manager & Live Audio Supervisor Christina Williams, Chorus Manager

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