Milwaukee Symphony Orchestra PROGRAM ONE 2023

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ENCORE

SEPTEMBER — OCTOBER 2023
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ENCORE

Volume 42 No. 1

15 September 22 & 24 — Classics

Beethoven 5

21 September 29 - 30 — Classics

Brahms, Stravinsky & Prayer for Ukraine

27 October 3 — Special Violent Femmes

31 October 6 - 8 — Pops

Gershwin Celebration

with Marcus Roberts Trio

39 Ocober 20 - 22 — Classics

Josefowicz & Boléro

5 Orchestra Roster

7 Music Director

8 Music Director Laureate

11 Milwaukee Symphony Chorus

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

• Milwaukee Symphony Orchestra

• Florentine Opera

• Milwaukee Ballet

• Marcus Performing Arts Center Broadway Series

• Skylight Music Theatre

• Milwaukee Repertory Theater

• Sharon Lynne Wilson Center please contact: Scott Howland at 414.469.7779 scott.encore@att.net

MILWAUKEE SYMPHONY ORCHESTRA

212 West Wisconsin Avenue Milwaukee, Wisconsin 53203

414.291.6010 | mso.org

Connect with us!

MSOrchestra

@MilwSymphOrch

MilwSymphOrch

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MILWAUKEE SYMPHONY ORCHESTRA 1
9 Assistant Conductor
Fund
Gifts/Tributes
52 MSO Endowment/Musical Legacy 53 Annual
55 Corporate & Foundation 56 Matching
58 MSO Board of Directors
59 MSO Administration
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2 MILWAUKEE SYMPHONY ORCHESTRA
Untitled-3 1 9/8/22 10:02 PM
MILWAUKEE SYMPHONY ORCHESTRA 3

MILWAUKEE SYMPHONY ORCHESTRA

The Milwaukee Symphony Orchestra, led by Music Director Ken-David Masur, is among the finest orchestras in the nation and the largest cultural institution in Wisconsin. Since its inception in 1959, the MSO has found innovative ways to give music a home in the region, develop music appreciation and talent among area youth, and raise the national reputation of Milwaukee.

The MSO’s full-time professional musicians perform over 135 classics, pops, family, education, and community concerts each season in venues throughout the state. A pioneer among American orchestras, the MSO has performed world and American premieres of works by John Adams, Roberto Sierra, Philip Glass, Geoffrey Gordon, Marc Neikrug, and Matthias Pintscher, as well as garnered national recognition as the first American orchestra to offer live recordings on iTunes. Now in its 52nd season, the orchestra’s nationally syndicated radio broadcast series, the longest consecutive-running series of any U.S. orchestra, is heard annually by more than two million listeners on 147 subscriber stations in 38 of the top 100 markets.

In January of 2021, the MSO completed a years-long project to restore and renovate a former movie palace in the heart of downtown Milwaukee. The Bradley Symphony Center officially opened to audiences in October 2021. This project has sparked a renewal on West Wisconsin Avenue and continues to be a catalyst in the community.

The MSO’s standard of excellence extends beyond the concert hall and into the community, reaching more than 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 34th year, the nationally-recognized ACE program integrates arts education across all subjects and disciplines, providing opportunities for students when budget cuts may eliminate arts programing. The program provides lesson plans and supporting materials, classroom visits from MSO musician ensembles and artists from local organizations, and an MSO concert tailored to each grade level. This season, more than 5,800 students and 500 teachers and faculty are expected to participate in ACE both in person and in a virtual format.

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Photo by Jonathan Kirn

2023.24 SEASON

KEN-DAVID MASUR

Music Director

Polly and Bill Van Dyke

Music Director Chair

EDO DE WAART

Music Director Laureate

RYAN TANI

Assistant Conductor

CHERYL FRAZES HILL

Chorus Director

Margaret Hawkins Chorus Director Chair

TIMOTHY J. BENSON

Assistant Chorus Director

FIRST VIOLINS

Jinwoo Lee, Concertmaster, Charles and Marie Caestecker Concertmaster Chair

Ilana Setapen, First Associate Concertmaster

Jeanyi Kim, Associate Concertmaster

Alexander Ayers

Yuka Kadota

Elliot Lee**

Ji-Yeon Lee**

Dylana Leung

Allison Lovera

Lijia Phang

Yuanhui Fiona Zheng

SECOND VIOLINS

Jennifer Startt, Principal, Andrea and Woodrow Leung Second Violin Chair

Timothy Klabunde, Assistant Principal

John Bian, Assistant Principal (3rd Chair)

Glenn Asch

Lisa Johnson Fuller

Paul Hauer

Hyewon Kim

Alejandra Switala**

Mary Terranova

VIOLAS

Robert Levine, Principal, Richard O. and Judith A. Wagner Family Principal Viola Chair

Georgi Dimitrov, Assistant Principal (2nd chair), Friends of Janet F. Ruggeri

Viola Chair

Samantha Rodriguez, Assistant Principal (3rd chair)*

Alejandro Duque, Acting Assistant Principal (3rd Chair)

Elizabeth Breslin

Nathan Hackett

Erin H. Pipal

Helen Reich

CELLOS

Susan Babini, Principal, Dorothea C. Mayer Cello Chair

Nicholas Mariscal, Assistant Principal *

Scott Tisdel, Associate Principal Emeritus

Madeleine Kabat

Shinae Ra

Peter Szczepanek

Peter J. Thomas

Adrien Zitoun

BASSES

Jon McCullough-Benner, Principal, Donald B. Abert Bass Chair *

Andrew Raciti, Associate Principal

Nash Tomey, Assistant Principal (3rd Chair)

Brittany Conrad

Teddy Gabrieledes **

Peter Hatch *

Paris Myers

HARP

Julia Coronelli, Principal, Walter Schroeder Harp Chair

FLUTES

Sonora Slocum, Principal, Margaret and Roy Butter Flute Chair

Heather Zinninger, Assistant Principal

Jennifer Bouton Schaub

PICCOLO

Jennifer Bouton Schaub

OBOES

Katherine Young Steele, Principal, Milwaukee Symphony League Oboe Chair

Kevin Pearl, Assistant Principal

Margaret Butler

ENGLISH HORN

Margaret Butler, Philip and Beatrice Blank English Horn Chair in memoriam to John Martin

CLARINETS

Todd Levy, Principal, Franklyn Esenberg Clarinet Chair

Benjamin Adler, Assistant Principal, Donald and Ruth P. Taylor Assistant Principal Clarinet Chair *

Taylor Eiffert*

Madison Freed**

E-FLAT CLARINET

Benjamin Adler *

BASS CLARINET

Taylor Eiffert*

Madison Freed **

BASSOONS

Catherine Van Handel, Principal, Muriel C. and John D. Silbar Family Bassoon Chair

Rudi Heinrich, Assistant Principal

Beth W. Giacobassi

CONTRABASSOON

Beth W. Giacobassi

HORNS

Matthew Annin, Principal, Krause Family French Horn Chair

Krystof Pipal, Associate Principal

Dietrich Hemann, Andy Nunemaker French Horn Chair

Darcy Hamlin

Kelsey Williams**

TRUMPETS

Matthew Ernst, Principal, Walter L. Robb Family Trumpet Chair

David Cohen, Associate Principal, Martin J. Krebs Associate Principal

Trumpet Chair

Alan Campbell, Fred Fuller Trumpet Chair

TROMBONES

Megumi Kanda, Principal, Marjorie Tiefenthaler Trombone Chair

Kirk Ferguson, Assistant Principal

BASS TROMBONE

John Thevenet, Richard M. Kimball Bass Trombone Chair

TUBA

Robyn Black, Principal

TIMPANI

Dean Borghesani, Principal

Chris Riggs, Assistant Principal

PERCUSSION

Robert Klieger, Principal

Chris Riggs

PIANO

Melitta S. Pick Endowed Piano Chair

PERSONNEL MANAGERS

Françoise Moquin, Director of Orchestra Personnel

Constance Aguocha, Assistant Personnel Manager

LIBRARIANS

Paul Beck, Principal Librarian, Anonymous Donor, Principal Librarian Chair

Matthew Geise, Assistant Librarian & Media Archivist

PRODUCTION

Tristan Wallace, Technical Manager & Live Audio Supervisor

Paolo Scarabel, Stage Technician & Deck Supervisor

* Leave of Absence 2023.24 Season

** Acting member of the Milwaukee Symphony Orchestra 2023.24 Season

MILWAUKEE SYMPHONY ORCHESTRA 5
6 MILWAUKEE SYMPHONY ORCHESTRA

KEN-DAVID MASUR, MUSIC DIRECTOR

Hailed as “fearless, bold, and a life-force” (San Diego UnionTribune) and “a brilliant and commanding conductor with unmistakable charisma” (Leipzig Volkszeitung), Ken-David Masur is celebrating his fifth season as music director of the Milwaukee Symphony Orchestra and principal conductor of the Chicago Symphony’s Civic Orchestra. He has conducted distinguished orchestras including the Chicago Symphony, the Los Angeles Philharmonic, the San Francisco Symphony, the Minnesota Orchestra, l’Orchestre National de France, the Yomiuri Nippon Symphony, the National Philharmonic of Russia, and others throughout the United States, France, Germany, Korea, Japan, and Scandinavia.

Masur’s tenure in Milwaukee has been marked by innovative thematic programming, including a festival celebrating the music of the 1930s, when the Bradley Symphony Center was built, and the Water Festival, which highlighted local community partners whose work centers on water conservation and education. He has also instituted a multi-season artist-in-residence program, and he has led highly-acclaimed performances of major choral works, including a semi-staged production of Peer Gynt. This season, he begins a residency with bass-baritone Dashon Burton, and leads the MSO in an inaugural city-wide Bach festival, celebrating the diverse and universal appeal of J.S. Bach’s music in an ever-changing world.

Last season, Masur made his New York Philharmonic debut in a gala program featuring John Williams and Steven Spielberg. He also debuted at the Pacific Music Festival in Sapporo, Japan, and at Classical Tahoe in three programs that were broadcast on PBS, and he led the Boston Symphony Orchestra, Yo-Yo Ma, Itzhak Perlman, Branford Marsalis, and James Taylor at Tanglewood in a 90th birthday concert for John Williams. The summer of 2023 marked Masur’s debuts with the Grant Park Festival and the National Repertory Orchestra; later this season, he returns to the Baltimore Symphony and the Kristiansand Symphony.

Previously, Masur was associate conductor of the Boston Symphony Orchestra. During his five seasons there, he led numerous concerts at Symphony Hall and at Tanglewood. For eight years, Masur served as principal guest conductor of the Munich Symphony, and he has also served as associate conductor of the San Diego Symphony and as resident conductor of the San Antonio Symphony.

Music education and working with the next generation of young artists are of major importance to Masur. In addition to his work with Civic Orchestra of Chicago, he has conducted orchestras and led masterclasses at the University of Wisconsin-Milwaukee’s Peck School of the Arts, New England Conservatory, Manhattan School of Music, Boston University, Boston Conservatory, Tokyo’s Bunka Kaikan Chamber Orchestra, the Tanglewood Music Center Orchestra, and The Juilliard School, where he leads the Juilliard Orchestra this fall.

Masur is passionate about contemporary music and has conducted and commissioned dozens of new works, many of which have premiered at the Chelsea Music Festival, an annual summer festival in New York City founded and directed by Masur and his wife, pianist Melinda Lee Masur. The Festival, which celebrates its 15th anniversary in 2024, has been praised by The New York Times as a “gem of a series” and by TimeOutNY as an “impressive addition to New York’s cultural ecosystem.”

Masur and his family are proud to call Milwaukee their home and enjoy exploring all the riches of the Third Coast.

MILWAUKEE SYMPHONY ORCHESTRA 7
Photo by Adam DeTour

EDO DE WAART, MUSIC DIRECTOR LAUREATE

Throughout his long and illustrious career, renowned Dutch conductor Edo de Waart has held a multitude of posts with orchestras around the world, including music directorships with the Rotterdam Philharmonic Orchestra, San Francisco Symphony, Minnesota Orchestra, Netherlands Radio Philharmonic Orchestra, Hong Kong Philharmonic, Milwaukee Symphony Orchestra, Antwerp Symphony, New Zealand Symphony, and Sydney Symphony Orchestra, and a chief conductorship with the De Nederlandse Opera and Santa Fe Opera.

Edo de Waart is principal guest conductor of the San Diego Symphony, conductor laureate of both the Antwerp Symphony Orchestra and Netherlands Radio Philharmonic Orchestra, and music director laureate of the Milwaukee Symphony Orchestra. This season he returns to Netherlands Radio Philharmonic Orchestra and the Milwaukee, San Diego, and Fort Worth symphony orchestras.

As an opera conductor, de Waart has enjoyed success in a large and varied repertoire in many of the world’s greatest opera houses. He has conducted at Bayreuth, Salzburg Festival, Royal Opera House, Covent Garden, Grand Théâtre de Genève, Opéra Bastille, Santa Fe Opera, and the Metropolitan Opera. With the aim of bringing opera to broader audiences where concert halls prevent full staging, he has, as music director in Milwaukee, Antwerp, and Hong Kong, often conducted semi-staged and opera in concert performances.

A renowned orchestral trainer, he has been involved with projects working with talented young players at the Juilliard and Colburn schools and the Music Academy of the West in Santa Barbara.

Edo de Waart’s extensive catalogue encompasses releases for Philips, Virgin, EMI, Telarc, and RCA. Recent recordings include Henderickx’s Symphony No.1 and Oboe Concerto, Mahler’s Symphony No.1, and Elgar’s Dream of Gerontius, all with the Royal Flemish Philharmonic.

Beginning his career as an assistant conductor to Leonard Bernstein at the New York Philharmonic, de Waart then returned to Holland where he was appointed assistant conductor to Bernard Haitink at the Royal Concertgebouw Orchestra.

Edo de Waart has received a number of awards for his musical achievements, including becoming a Knight in the Order of the Netherlands Lion and an Honorary Officer in the General Division of the Order of Australia. He is also an Honorary Fellow of the Hong Kong Academy for Performing Arts.

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Photo by Jesse Willems

RYAN TANI, ASSISTANT CONDUCTOR

Ryan Tani is in his first season as assistant conductor of the Milwaukee Symphony Orchestra. In 2021, he completed his two-year tenure as the Orchestral Conducting Fellow for the Yale Philharmonia under Music Director Peter Oundjian, where he was the recipient of the Dean’s Prize for artistic excellence in his graduating class. Committed to meaningful community music-making in the state of Montana, Tani has directed the Bozeman Chamber Orchestra, Bozeman Symphonic Choir, Second String Orchestra, and MSU Symphony Orchestras. He frequently serves as cover conductor for the St. Louis, Colorado, and Bozeman symphonies and also recently served on the faculty at the Montana State University School of Music.

Tani recently concluded his tenure as music director of the Occasional Symphony in Baltimore. A fierce advocate of new music, Tani curated over 20 commissions from Baltimore-based composers during his four-year directorship of OS. As resident conductor of the New Music New Haven series, he has collaborated, under the guidance of Aaron Jay Kernis, with Yale University composition students and faculty.

Tani is also a graduate of the Peabody Institute where he studied conducting with Marin Alsop and Markand Thakar, and of the University of Southern California, where he studied voice with Gary Glaze. In 2015, he was declared the winner of the

ACDA Undergraduate Student

Conducting Competition at their national conference in Salt Lake City, Utah. In addition to his studies at Yale and Peabody, Tani has also studied conducting with Larry Rachleff, Donald Schleicher, Gerard Schwarz, Grant Cooper, and José-Luis Novo. Tani currently resides in Milwaukee, Wisconsin, where he can be found in the park with his dog, playing board games with friends and family, in the library with a good book, or in the practice room with his violin.

MILWAUKEE SYMPHONY ORCHESTRA 9

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MILWAUKEE SYMPHONY CHORUS

The Milwaukee Symphony Chorus, founded in 1976, is known and respected as one of the finest choruses in the country. Under the direction of Dr. Cheryl Frazes Hill, the 2023.24 chorus season with the MSO includes works by Beethoven, Bach, Debussy, and Orff, as well as Handel’s Messiah and the Holiday Pops performances.

The 150-member chorus has been praised by reviewers for “technical agility,” “remarkable ensemble cohesion,” and “tremendous clarity.” In addition to performances with the MSO, the chorus has appeared on public television and recorded performances for radio stations throughout the country. The chorus has performed a cappella concerts to sold-out audiences and has made guest appearances with other performing arts groups including Present Music, Milwaukee Ballet, and the Chicago Symphony Orchestra. The chorus has also made appearances at suburban Chicago’s famed Ravinia Festival.

The Margaret Hawkins Chorus Director Chair was funded by a chorus-led campaign during the ensemble’s 30th anniversary season in 2006, in honor of the founding chorus director, Margaret Hawkins.

Comprised of teachers, lawyers, students, doctors, musicians, homemakers, and more, each of its members brings not only musical quality, but a sheer love of music to their task. “We have the best seats in the house,” one member said, a sentiment echoed throughout the membership. Please visit mso.org/chorus for more information on becoming a part of the Milwaukee Symphony Chorus.

MILWAUKEE SYMPHONY ORCHESTRA 11
Photo by Jonathan Kirn

CHORUS MEMBERS & STAFF

Anna Aiuppa

Mia Akers

Laura Albright-Wengler

* James B. Anello

u Thomas R. Bagwell

Barbara Barth Czarkowski

Scott Bass

Marshall Beckman

Zachary Beeksma

Yacob Bennett

* JoAnn Berk

Edward Blumenthal

u Scott Bolens

Robert Bortman

Neil R. Brooks

Heather Brown

Michelle Budny

Ellen N. Burmeister

Gabrielle Campbell

Gerardo Carcar

Elise Cismesia

Ian Clark

Sarah M. Cook

Amanda Coplan

Sarah Culhane

Phoebe Dawsey

Colin Destache

Emma DeVries

Becky Diesler

Rebeca Dishaw

Megan Kathleen Dixson

Rachel Dutler

u James Edgar

Joe Ehlinger

Jay Endres

Amanda Swygard

Fairchild

Katelyn Farebrother

STAFF

Michael Faust

Catherine Fettig

Marty Foral

Robert Friebus

Karen Frink

Maria Fuller

William Gesch

Samantha Gibson

Jessica Golinski

* Mark R. Hagner

Eric W. Hanrehan

Beth Harenda

u Karen Heins

Mary Catherine Helgren

Kurt Hellermann

Martha Hellermann

Sara E. Herrick

Eric Hickson

Michelle Hiebert

Laura Hochmuth

Matthew Hunt

Stan Husi

u Tina Itson

• Christine Jameson

Paula J. Jeske

Andrew Johnson

John Jorgensen

Heidi Kastern

u Michelle Beschta Klotz

Robert Anton Knier

Jill Kortebein

Kaleigh KozakLichtman

u Joseph M. Krechel

Julia M. Kreitzer

Savannah Grace

Kroeger

Harold Krueger

Benjamin Kulhmann

Cheryl Frazes Hill, chorus director

Timothy J. Benson, assistant director

Christina Williams, chorus manager

Kayoko Miyazawa, rehearsal pianist

Darwin J. Sanders, language/diction coach

Pamela Lembke

Alexandra Lerch-Gaggl

Noah Liermann

Nicholas Lin

Robert Lochhead

Kristine Lorbeske

Grace Majewski

Douglas R. Marx

Joy Mast

Justin J. Maurer

Kathryn McGinn

Shannon McMullen

Kathleen Ortman Miller

Megan Miller

Victor Montañez Cruz

Bailey Moorhead

Jennifer Mueller

* Matthew Neu

Kristin Nikkel

Jason Niles

Alice Nuteson

Robert Paddock

R. Scott Pierce

u Jessica E. Pihart

Ubaldo Piña-Martinez

Olivia Pogodzinski

Gabriel Poulson

Kaitlin Quigley

Mary E. Rafel

* Jason Reuschlein

Rehanna Rexroat

James Reynolds

Marc Charles Ricard

Amanda Robison

* Bridget Sampson

James Sampson

Darwin J. Sanders

Jenny E. Sanders

Alana Sawall

Autumn Schacherl

John T. Schilling

Sarah Schmeiser

Rand C. Schmidt

Randy Schmidt

u Allison Schnier

Trinny Schumann

Bob Schuppel

Matthew Seider

Bennett Shebesta

u Hannah Sheppard

David Siegworth

Bruce Soto

Joel P. Spiess

* Todd Stacey

u Donald E. Stettler

Scott Stieg

* Donna Stresing

Ashley Ellen Suresh

Joseph Thiel

Dean-Yar Tigrani

Clare Urbanski

Jessica Wagner

Tess Weinkauf

Emma Mingesz Weiss

Samantha Wells

Michael Werni

Erin Weyers

Cameron Wilkins

Christina Williams

Emilie Williams

Sally Witte

Kevin R. Woller

Rachel Yap

* Jamie Mae Yu

Michele Zampino

Katarzyna Zawislak

Stephanie Zimmer

u Section Leader

* Mentor

• Librarian

12 MILWAUKEE SYMPHONY ORCHESTRA

DR. CHERYL FRAZES HILL, CHORUS DIRECTOR

Dr. Cheryl Frazes Hill is now in her seventh season as director of the Milwaukee Symphony Chorus. In addition to her role in Milwaukee, she is the associate conductor of the Chicago Symphony Chorus. Frazes Hill is Professor Emeritus at Roosevelt University’s Chicago College of Performing Arts, where she served for 20 years as director of choral activities. During the 2032.24 season, Frazes Hill will prepare the Milwaukee Symphony Chorus for classical performances of Beethoven’s Meeres Stille und Glückliche Fahrt and Choral Fantasy, Bach’s Magnificat, Debussy’s Nocturnes, and Orff’s Carmina Burana, as well as for holiday performances of Handel’s Messiah.

In her role as the Chicago Symphony Chorus associate conductor, she has prepared the chorus for Maestros Alsop, Boulez, Barenboim, Conlon, Levine, Mehta, Salonen, Tilson Thomas, and many others. Recordings of Frazes Hill’s chorus preparations on the Chicago Symphony Orchestra label include Beethoven, A Tribute to Daniel Barenboim and Chicago Symphony Chorus: A 50th anniversary Celebration.

Under her direction, the Roosevelt University choruses have been featured in prestigious and diverse events including appearances at national and regional music conferences and performances with professional orchestras including the Chicago Symphony Orchestra, the Chicago Sinfonietta, the Civic Orchestra of Chicago, and the Illinois Philharmonic. The Roosevelt Conservatory Chorus received enthusiastic reviews for their American premiere of Jacob Ter Velduis’ Mountaintop. Other recent performances have included the internationally acclaimed production of Defiant Requiem and three appearances with The Rolling Stones during a recent United States concert tour.

Frazes Hill received her Master of Music and Doctorate degrees in conducting from Northwestern University and undergraduate degrees in voice and music education from the University of Illinois. An accomplished vocalist, she is a featured soloist in the Grammynominated recording CBS Masterworks release Mozart, Music for Basset Horns. An award-winning conductor/educator, Frazes Hill recently received the ACDA Harold Decker Conducting Award, the Mary Hoffman Music Educators Award, and in recent years the Commendation of Excellence in Teaching from the Golden Apple Foundation, the Illinois Governor’s Award, Roosevelt University’s Presidential Award for Social Justice, the Northwestern University Alumni Merit Award, and the Outstanding Teaching Award from the University of Chicago, among many others.

Frazes Hill’s recently released book, Margaret Hillis: Unsung Pioneer, a biography of the famed female conductor, received a commendation from the 2023 Midwest Book Awards. The book is available on Amazon and in bookstores. Frazes Hill is nationally published on topics of her research in music education and choral conducting. A frequent guest conductor and guest speaker, Frazes Hill has recently collaborated with Maestro Marin Alsop at Ravinia Festival’s Breaking Barriers: Women on the Podium.

MILWAUKEE SYMPHONY ORCHESTRA 13
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BEETHOVEN 5

Friday, September 22, 2023 at 7:30 pm

Sunday, September 24, 2023 at 2:30 pm

ALLEN-BRADLEY HALL

Ken-David Masur, conductor

Dashon Burton, bass-baritone

DANIEL KIDANE

Be Still

ELEANOR ALBERGA

The Soul’s Expression

George Eliot: “Blue Wings”

Emily Brontë: “The Sun Has Set”

George Eliot: “Roses”

Elizabeth Barrett Browning: “The Soul’s Expression”

Dashon Burton, bass-baritone

FRANZ SCHUBERT

Entr ’acte No. 2 in D Major from Rosamunde, D. 797

FRANZ SCHUBERT

IIIb., Romanze from Rosamunde, D. 797

Dashon Burton, bass-baritone

FRANZ SCHUBERT/orch. Max Reger

Du bist die Ruh’, D. 776; Opus 59, No. 3

Dashon Burton, bass-baritone

FRANZ SCHUBERT/orch. Max Reger

Erlkönig, D. 328; Opus 1

IN TERMISSION

LUDWIG VAN BEETHOVEN

Dashon Burton, bass-baritone

Symphony No. 5 in C minor, Opus 67

I. Allegro con brio

II. Andante con moto

III. Scherzo: Allegro

IV. Allegro

The 2023.24 Classics Series is presented by the UNITED PERFORMING ARTS FUND and ROCKWELL AUTOMATION

The length of this concert is approximately 1 hour and 50 minutes.

Milwaukee Symphony Orchestra can be heard on Telarc, Koss Classics, Pro Arte, AVIE, and Vox/Turnabout recordings. MSO Classics recordings (digital only) available at mso.org.

MILWAUKEE SYMPHONY ORCHESTRA 15

Guest Artist Biographies

DASHON BURTON

Hailed as an artist “alight with the spirit of the music” (Boston Globe), Dashon Burton has established a vibrant career appearing regularly throughout the U.S. and Europe. Highlights of his 2023.24 season include multiple appearances with Michael Tilson Thomas, including with the San Francisco Symphony, the New World Symphony, and the San Diego Symphony. Burton also performs Bach’s Christmas Oratorio with the Washington Bach Consort, sings Handel’s Messiah with the St. Paul Chamber Orchestra and the Philadelphia Orchestra, and performs the title role in Sweeney Todd at Vanderbilt University. With the Cleveland Orchestra, Burton participates in a semi-staged version of Mozart’s The Magic Flute, and he joins the Milwaukee Symphony and Ken-David Masur for three subscription weeks as their artistic partner.

A multiple award-winning singer, Burton won his second Grammy Award in March 2021 for Best Classical Solo Vocal Album with his performance featured in Dame Ethyl Smyth’s masterwork The Prison with The Experiential Orchestra (Chandos). As an original member of the groundbreaking vocal ensemble Roomful of Teeth, he won his first Grammy Award for their inaugural recording of all new commissions.

His other recordings include Songs of Struggle & Redemption: We Shall Overcome (Acis); the Grammy-nominated recording of Paul Moravec’s Sanctuary Road (Naxos); Holocaust, 1944 by Lori Laitman (Acis); and Caroline Shaw’s The Listeners with the Philharmonia Baroque Orchestra. His album of spirituals garnered high praise and was singled out by The New York Times as “profoundly moving…a beautiful and lovable disc.”

Burton received a Bachelor of Music degree from Oberlin College and Conservatory and a Master of Music degree from Yale University’s Institute of Sacred Music. He is an assistant professor of voice at Vanderbilt University’s Blair School of Music.

16 MILWAUKEE SYMPHONY ORCHESTRA

Program notes by Elaine Schmidt

DANIEL KIDANE

Born 1986; Great Britain

Be Still

First performance: 19 January 2021; Manchester, United Kingdom

Last MSO performance: MSO Premiere

Instrumentation: percussion (crotales); strings

Approximate duration: 8 minutes

Born to a Russian mother and an Eritrean father, Daniel Kidane grew up in Britain. Although Kidane’s official bio says that he began his musical studies on the violin at age eight, he has said in interviews that his first music-making experiences were actually on the recorder as a young boy. He sang in the English National Opera’s children’s chorus, later choosing to focus on composition when he entered the Royal Northern College of Music, from which he graduated in 2012. He also traveled to his mother’s homeland to study at the St. Petersburg Conservatory.

By 2016, Kidane had received a commission from the BBC Philharmonic to create his “Sirens” as one of five short pieces that the orchestra performed to mark the 400th anniversary of Shakespeare’s death. Various commissions followed, and his works began gaining a wider and wider audience, including his orchestral work, Woke, which received its premiere performance by the BBC Symphony Orchestra on the last night of the Proms in 2019.

Although the COVID-19 shutdown put a halt to live premieres of new works, several of Kidane’s pieces received online premieres while theaters were dark, including The Song of the Thrush and The Mountain Ash, written for the Huddersfield Choral Society.

Be Still, which was commissioned and premiered by the Manchester Camerata on 19 January 2021, is scored for strings and crotales, which are sometimes called antique cymbals.

Kidane wrote of the piece:

“Written towards the end of 2020, Be Still is a reflective piece on the year gone by. In a year where lockdowns became a thing, the idea of time became more apparent to me as everyday markers, such as meeting with friends and family, traveling, or attending concerts vanished.”

Kidane has said that he had the first lines of T.S. Eliot’s “Burnt Norton” (the first poem of his Four Quartets) in his thoughts:

Time present and time past

Are both perhaps present in time future, And time future contained in time past.

If all time is eternally present

All time is unredeemable.

MILWAUKEE SYMPHONY ORCHESTRA 17

ELEANOR ALBERGA

Born 30 September 1949; Kingston, Jamaica

The Soul’s Expression

First performance: 22 July 2017; Wales

Last MSO performance: MSO Premiere

Instrumentation: strings

Approximate duration: 17 minutes

Jamaican-born, British composer Eleonor Alberga is the definition of a multifaceted musician. She was just five years old when she announced she wanted to become a concert pianist. By age 10 she was composing piano pieces, and at 19 she won the biennial Royal Schools of Music Scholarship for the West Indies, which allowed her to attend the Royal Academy of Music in London. From this point on, her musical interests began to compete a bit. She studied piano and singing at the Royal Academy of Music, becoming one of three finalists in the International Piano Concerto Competition in Dudley, England. Just a few years later, she landed a position at the London Contemporary Dance Theatre, where she became well known for her improvisations during ballet class. She was eventually commissioned to write works for the company, which led to her becoming the company’s musical director. In that position, she conducted, composed, and performed on many of the company’s tours. Alberga ended her performing career in 2001 to focus her energies on composition.

In Alberga’s music, one can hear elements of her Jamaican background, along with jazz influences, repeated rhythmic patterns, and a good deal of tonal writing. She began to incorporate increasingly atonal elements in her later works. Her works include orchestral, chamber, piano, vocal, and choral pieces, along with scores for film and stage.

The Soul’s Expression, written for baritone and strings, is built upon four poems by Victorian-era, British women:  Elizabeth Barrett Browning’s “The Soul’s Expression,” Emily Brontë’s “The Sun Has Set,” and “Blue Wings” and “Roses” by George Elliot (the pen name for Mary Ann Evans, the English novelist, journalist, poet, and translator who is well-remembered for her novels: The Mill on the Floss, Silas Marner, and Middlemarch). Within the piece, the four poems are separated by interludes that condemn evil, specifically evil words.

FRANZ SCHUBERT

Born 31 January 1797; Vienna, Austria

Died 19 November, 1828; Vienna, Austria

Despite his tragically short life, Austrian composer Franz Schubert produced an astonishing amount of work. Bridging the Classical and early Romantic eras, he wrote more than 600 secular vocal pieces, many of them Lieder (songs), including several song cycles. He completed seven symphonies and wrote a great deal of chamber music, as well as sacred music, operas, and incidental music.

Entr’acte No. 2 and Romanze from Rosamunde, D. 797

First performance: 20 December 1823; Vienna, Austria

Last MSO performance: MSO Premiere

Instrumentation: 2 flutes; 2 oboes; 2 clarinets; 2 bassoons; 2 horns; 2 trumpets; 2 trombones; bass trombone; timpani; strings

Approximate duration: 8 minutes

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Rosamunde, Fürstyn von Zypern (Rosamunde, Princess of Cyprus) is a play we would probably not remember had Schubert not written its incidental music. Schubert later used some of his Rosamunde music in other pieces, but the manuscript disappeared until Sir George Grove (Grove’s Dictionary of Music and Musicians) and Sir Arthur Sullivan (the musical half of Gilbert and Sullivan) found the manuscript in a closet while researching Schubert. Rosamunde is the story of a princess raised as a peasant who manages to claim her throne. The lovely Romanze is sung by Rosamunde’s birth mother when Rosamunde returns to Cyprus. Although written for alto, the Romanze lends itself to the baritone voice as well.

Du bist die Ruh’, D. 776; Opus 59, No. 3

First performance: Unknown; first publishing by Sauer & Leidesdorf in Vienna, 1826.

Last MSO performance: MSO Premiere

Instrumentation: 2 flutes; oboe; 2 clarinets; 2 bassoons; 2 horns; trumpet; timpani; strings

Approximate duration: 5 minutes

When Schubert set this Friedrich Rückert poem to music, it did not yet have a title, so he used the first line of the poem, “Du bist die Ruh’,” (You are the peace) as the title. Rückert later gave the poem the title “Kehr ein bei mir” (Stay with Me). With this song, Schubert created a feeling of absolute calm.

Erlkönig, D. 328; Opus 1

First performance: 7 March 1821, Vienna, Austria

Last MSO performance: MSO Premiere

Instrumentation: flute; oboe; 2 clarinets; bassoon; 2 horns; timpani; strings

Approximate duration: 5 minutes

Erlkönig (Erl-king) is one of Schubert’s most famous Lieder. Johann Wolfgang von Goethe’s dramatic poem, which was also set by about 35 other composers, tells of a father racing by horseback to get help for his ailing son, who he cradles in his arms as he rides. The boy describes his fever-dreams to his father, one of which is of an Erl-king who wants to take the boy. The father finally arrives at his destination, only to find that his son has already died. Schubert’s setting not only captures the drama of the poem, but the voices of the father, his son, and the Erl-king. The racing figures in the accompaniment capture the motion of the running horse.

LUDWIG VAN BEETHOVEN

Born 17 December 1770; Bonn, Germany

Died 26 March 1827; Vienna, Austria

Symphony No. 5 in C minor, Op. 67

Premiere: 22 December 1808; Vienna, Austria

Last MSO performance: 23 April 2017; Anu Tali, conductor

Instrumentation: 2 flutes; piccolo; 2 oboes; 2 clarinets; 2 bassoons; contrabassoon; 2 horns; 2 trumpets; 3 trombones; timpani; strings

Approximate duration: 31 minutes

The opening bars of Beethoven’s Symphony No. 5 are among the most recognized bits of music in the symphonic repertoire. The entire piece is certainly well-loved by audiences around the world, and it remains one of the most often-played pieces in today’s orchestral repertoire. But the bold short-short-short-long theme that opens the piece and recurs throughout it seems to have been fated to take on a life of its own. Interestingly, Beethoven called the piece his Schicksalssinfonie (fate symphony), and German author E.T.A. Hoffman, who penned the story on which The Nutcracker ballet is based, referred to the theme as “fate knocking at the door.“

MILWAUKEE SYMPHONY ORCHESTRA 19

Beethoven wrote his Symphony No. 5 between 1804 and 1809, working on it as Napoleon was waging war on Austria and the country was hoping and praying for victory. About 20 years later, having nothing to do with Beethoven’s Symphony No. 5, American inventor Samuel Morse and several colleagues developed a code of short and long electrical impulses that could be transmitted by wire over great distances, assigning a short-short-short-long pattern of pulses to the letter V (the letter U is short-short-long). Fast forward a century to World War II, during which the Allied troops relied on Morse code to communicate. The short-short-short-long of the letter V led the Allies to adopt the opening bars of Beethoven’s Symphony No. 5 for all Allied radio broadcasts, as a “V for Victory” rallying cry in the most destructive war the world had ever known. For those in the Allied nations who had lived through the war, and certainly for those who had fought in the war or had lost loved ones to it, hearing Beethoven’s Napoleonic-era Symphony No. 5 remained a deeply stirring experience throughout their lives.

In 2022, shortly after the Russian military began its relentless war against Ukraine, orchestras around the world began performing Beethoven’s Symphony No. 5 as a means of showing solidarity with Ukraine. Quite a few orchestras have performed the symphony on programs that also included Ukrainian composer Valentin Silvestrov’s “Prayer for Ukraine,” which will be performed by the MSO on September 29 and 30.

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BRAHMS, STRAVINSKY & PRAYER FOR UKRAINE

Friday, September 29, 2023 at 7:30 pm

Saturday, September 30, 2023 at 7:30 pm

ALLEN-BRADLEY HALL

Ken-David Masur, conductor

Yefim Bronfman, piano

VALENTIN SILVESTROV/arr. Andreas Gies

Prayer for the Ukraine

JOHANNES BRAHMS

Concerto No. 1 in D minor for Piano, Opus 15

I. Maestoso

II. Adagio

III. Rondo: Allegro non troppo

Yefim Bronfman, piano

IN TERMISSION

IGOR STRAVINSKY

Petrushka (1947 revision)

I. The Shrovetide Fair

II. Petrushka’s Cell

III. The Moor’s Cell

IV. The Shrovetide Fair (Toward Evening)

The MSO Steinway Piano was made possible through a generous gift from MICHAEL AND JEANNE SCHMITZ. The 2023.24 Classics Series is presented by the UNITED PERFORMING ARTS FUND and ROCKWELL AUTOMATION.

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 at mso.org.

MILWAUKEE SYMPHONY ORCHESTRA 21

Guest Artist Biographies

YEFIM BRONFMAN

Internationally recognized as one of today’s most acclaimed and admired pianists, Yefim Bronfman stands among a handful of artists regularly sought by festivals, orchestras, conductors, and recital series. His commanding technique, power, and exceptional lyrical gifts are consistently acknowledged by the press and audiences alike.

Following summer festival appearances in Verbier, Israel, Aspen, Grand Tetons, and Sun Valley, the season begins with a European tour celebrating the auspicious 500th anniversary of the Munich Opera and Orchestra with concerts in Lucerne, Bucharest, London, Paris, Linz, Vienna, and Munich. In partnership with Amsterdam’s Royal Concertgebouw Orchestra, together they will visit Japan and Korea, followed in the U.S. by return engagements throughout the season with New York Philharmonic, Boston, Kansas City, National, Milwaukee, Pittsburgh, San Francisco symphonies, and Minnesota Orchestra. With the Munich Philharmonic and both Brahms concerti on the program, he will travel to Spain and Carnegie Hall followed by European engagements with the Budapest Festival Orchestra. An extensive winter/spring recital tour will begin in Ljubljana and include Milan, Berlin, Cleveland, Chicago, Vancouver, Seattle, San Francisco, Los Angeles, La Jolla, and culminate in Carnegie Hall in early May.

Born in Tashkent in the Soviet Union, Yefim Bronfman immigrated to Israel with his family in 1973, where he studied with pianist Arie Vardi, head of the Rubin Academy of Music at Tel Aviv University. In the United States, he studied at The Juilliard School, Marlboro School of Music, and the Curtis Institute of Music under Rudolf Firkušný, Leon Fleisher, and Rudolf Serkin. A recipient of the prestigious Avery Fisher Prize, one of the highest honors given to American instrumentalists, in 2010 he was further honored as the recipient of the Jean Gimbel Lane prize in piano performance from Northwestern University and in 2015 with an honorary doctorate from the Manhattan School of Music.

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Program notes by Elaine Schmidt

VALENTIN SILVESTROV

Born 30 September 1937; Kyiv, Ukraine

Prayer for the Ukraine

First performance: 2014 arrangement for orchestra by Andreas Gies 2 March 2022; Aalborg, Denmark

Last MSO performance: MSO Premiere

Instrumentation: 2 flutes; oboe; 2 clarinets; bassoon; 2 horns; trumpet; timpani; harp; strings

Approximate duration: 6 minutes

Ukrainian composer Valentin Silvestrov is considered a national treasure in his now-embattled homeland. He is part of a long roster of exceptional Ukrainian-born musicians that most of the world has been conditioned to think of as Russian or Soviet rather than Ukrainian. That roster includes composer Sergei Prokofiev, violinist, violist, and conductor David Oistrakh, violinist Nathan Milstein, and violinist Isaac Stern, to name just a few. Conductor and composer Leonard Bernstein, the first American-born conductor to lead a major orchestra, was born to parents who emigrated to the U.S. from Ukraine.

Silvestrov is no stranger to political strife in his homeland. He wrestled with government controls and restrictions on composers during the Soviet era and was expelled from the Ukrainian Union of Composers after taking part in protests in 1970. His music began to change after 1970, moving away from what The New York Times has referred to as “noisy scores” to a much softer, gentler style of writing that many have called “consoling.”

Silvestrov wrote his hauntingly beautiful, fluid Prayer for Ukraine following the 2013 Maidan Uprising in his hometown of Kyiv and the strife that followed. The protests began on November 21 of that year and continued in waves in Kyiv’s Independence Square, eventually escalating to an encampment of thousands of protesters barricading themselves in the square. The Maidan Uprising led to the 2014 “Revolution of Dignity” and eventually resulted in the ouster of proRussia Ukrainian President Victor Yanukovych, who wanted to forge a closer relationship with Russia rather than sign the European Union–Ukraine Association Agreement.

Silvestrov originally wrote Prayer for Ukraine for a cappella chorus as the 13th movement of a series of songs for chorus, entitled Maidan 2014. Five of the piece’s movements were arrangements of the Ukrainian national anthem.

Silvestrov, now 86 years old, fled Kyiv in March 2022, making his way out of Ukraine, through Poland, and into Germany by bus. He is currently living and writing music in Berlin. His Prayer for Ukraine has become an anthem of solidarity with Ukraine through performances around the world.

MILWAUKEE SYMPHONY ORCHESTRA 23

JOHANNES BRAHMS

Born 17 May 1833; Hamburg, Germany

Died 3 April 1897; Vienna, Austria

Piano Concerto No. 1 in D minor, Opus 15

First performance: 22 January 1859; Hanover, Germany

Last MSO performance: 25 January 2014; Edo de Waart, conductor; Inon Barnatan, piano

Instrumentation: 2 flutes; 2 oboes; 2 clarinets; 2 bassoons; 4 horns; 2 trumpets; timpani; strings

Approximate duration: 44 minutes

We tend to picture German composer and pianist Johannes Brahms as he appeared in middle age — portly, serious, and due for a haircut and beard trim. But an early photo of him gives a glimpse of the shy, 20-year-old pianist and composer who ramped up his courage and presented himself to the reigning royalty of the classical music world at the time: Robert and Clara Schumann.

The year was 1853 and the Schumanns, who were experiencing some of the last happiness they would know together, were so impressed with Brahms that they invited him to stay in their home for a time. Early the following year, Robert would attempt suicide and would be committed to an asylum. Brahms, by then close to both Robert and Clara, would hurry to provide help and support to Clara and the Schumann children, beginning a complex relationship with her that still has historians wondering about it today.

It was during this time that Brahms began his Piano Concerto No. 1, although he did not yet understand that he was writing a concerto. The piece began as a duet for two pianos, which he and Clara played quite frequently. Thinking it needed more power and color than two pianos could provide, he decided to turn it into his first symphony. But haunted by Robert’s words about being Beethoven’s successor, he decided he was not ready to write a symphony and turned the piece into a piano concerto, completing it in 1858. The 1859 premiere, with a 25-yearold Brahms at the piano, received a dismal reception at its first two performances. The third performance, with a different soloist and some adjustments to the music, was a success. The piece is still viewed and heard with awe today.

The mercurial first movement opens with big, bold sounds, moving to some espressivo writing before resuming the force of the opening. The second movement, which he wrote was a “gentle portrait” of Clara, could hardly be more of a contrast to the first movement in character and sound. Many musicologists see ties between the character-filled third movement and the finale of Beethoven’s Piano Concerto No. 3.

24 MILWAUKEE SYMPHONY ORCHESTRA

IGOR STRAVINSKY

Born 17 June 1882; Saint Petersburg, Russia

Died 6 April 1971; New York City, United States

Petrushka (1947 revision)

First performance: 13 June 1911; Paris, France (original premiere)

Last MSO performance: 1 March 2014; Edo de Waart, conductor

Instrumentation: 3 flutes (3rd doubling on piccolo); 2 oboes; English horn; 3 clarinets (3rd doubling on bass clarinet); 2 bassoons; contrabassoon; 4 horns; 3 trumpets; 3 trombones; tuba; timpani; percussion (bass drum, bass drum with attached cymbals, cymbals, snare drum, suspended cymbals, tam tam, tambourine, triangle, xylophone); harp; celeste; piano; strings

Approximate duration: 34 minutes

Hearing the music of Russian composer Igor Stravinsky, it can be a little difficult to remember that he was once a student of Rimsky-Korsakov and that he admired Tchaikovsky quite deeply. It seems rather a long road from those two composers to the infamous melee at the 1913 premiere of his Le sacre du printemps (The Rite of Spring) in Paris. Stravinsky, who eventually held citizenships in France and the United States, was in Lausanne, Switzerland, in 1910, supposedly working on Le sacre du printemps, which was slated to be his next collaboration with the Parisbased Ballets Russes impresario Serge Diaghilev, when the great impresario paid him a visit to see how the ballet was coming along. One can easily imagine Diaghilev’s surprise when Stravinsky announced he had experienced a vision of his next orchestral piece and was working on that instead of the ballet. Diaghilev gave a listen to the completed portion of the piece and thought there was a ballet lurking within it. And thus, Petrushka was born.

With Petrushka, Stravinsky pushed away from the music he had studied and admired, finding his extremely unique voice. From form and use of rhythm to tonality and orchestral colors, this was the introduction of the Stravinsky we know so well today. In fact, the chord (two major chords a tritone apart) which serves as a leitmotif for the Petrushka character was new to listeners and is still known to this day as “the Petrushka chord.” The success of the ballet, with its story about a puppet that comes to life briefly before succumbing to the consequences of his love, rage, and jealousy, and its root in Russian folk music, also gave him the confidence and momentum to finish his famous/infamous Le sacre du printemps. Legendary dancer Vaslav Nijinsky, who would be featured in Le sacre du printemps a year later, danced the title role in the Petrushka premiere.

Stravinsky revisited Petrushka in 1946, making alterations to the orchestration and tempos, shaping the work for concert presentation, and expanding some of the piano part to create what is known as “the 1947 version.”

MILWAUKEE SYMPHONY ORCHESTRA 25

C enter for A rts and P erformance

2023-2024 SEASON

TAKE3: WHERE ROCK MEETS BACH

September 29, 2023 • 7:30 p.m.

JUKEBOX SATURDAY NIGHT

October 29, 2023 • 2:30 p.m.

THE SOUL OF BROADWAY: IMPOSSIBLE DREAMS

Starring Terron Brooks

November 10, 2023 • 7:30 p.m.

CHRISTMAS WITH SIX APPEAL VOCAL BAND

December 9, 2023 • 2:30 p.m.

THE FOURTH WALL

February 4, 2024 • 2:30 p.m.

PIANIST SARAH HAGEN

Wonder Woman: A Celebration of Female Composers

February 25, 2024 • 2:30 p.m.

SWEET SEASONS

A Celebration of the Music and Life of Carole King

April 7, 2024 • 2:30 p.m.

For more information, tickets, and video samples visit: WLC.EDU/GUESTARTISTSERIES

Center for Arts and Performance | Schwan Concert Hall

8815 W. Wisconsin Avenue, Milwaukee, Wisconsin Box Office: 414.443.8802

26 MILWAUKEE SYMPHONY ORCHESTRA

VIOLENT FEMMES WITH ORCHESTRA

Tuesday, October 3, 2023 at 7:30 pm

ALLEN-BRADLEY HALL

Ryan Tani, conductor

Violent Femmes

Gordon Gano, Brian Ritchie, Blaise Garza, and John Sparrow

GORDON GANO/Tim Jones

Violent Femmes

“Add It Up”

“Confessions”

“Prove My Love”

“Promise”

“All I Want”

“Color Me Once”

“To The Kill”

“Gone Daddy Gone”

“Look Like That”

“I Held Her in my Arms”

“American Music”

“Kiss Off”

“Please Do Not Go”

“Gimme the Car”

“Add It Up” Reprise

The length of this concert is approximately 2 hours. All programs are subject to change. Milwaukee Symphony Orchestra can be heard on Telarc, Koss Classics, Pro Arte, AVIE, and Vox/Turnabout recordings. MSO Classics recordings (digital only) available at mso.org.

MILWAUKEE SYMPHONY ORCHESTRA 27

Guest Artist Biographies

VIOLENT FEMMES 40TH ANNIVERSARY

The world may look different, but every generation goes through high school—or something like it.

Back in 1983, Violent Femmes documented the boredom, the anxiety, the elation, the depression, and the wonder of the high school experience, while living it on their seminal selftitled full-length debut, Violent Femmes. Akin to other totems to growing up à la The Catcher in the Rye, this album has only proven more relevant as it’s lived through the fall of the Berlin Wall, the advent of the internet, an uneventful Y2K, a very eventful turn-of-the-century, seven presidents, and one pandemic to celebrate its 40th birthday.

So, how did these tracks make it this long?

For starters, they’re real. Frontman, singer, songwriter, and guitarist Gordon Gano chronicled life as a high schooler in Milwaukee as it was happening to him (he didn’t do so years retrospectively as a twenty-something). So, his lyrics reeked of glorious awkwardness, whether it be the headscratching confession of “I stain my sheets” on opener “Blister In The Sun” or the prick principal’s warning, “I hope you know that this will go down on your permanent record,” during “Kiss Off.” This was the ultimate report from the frontlines of the teenage experience—back when the drinking age was 18—before we got so used to such a thing in wantonly self-indulgent social media posts.

As the story goes, Gano, bassist Brian Ritiche, and drummer Victor DeLorenzo recorded at Castle Recording Studios in Lake Geneva, Wisconsin, over the course of one weekend. For as openhearted as the lyrics may be, the single-recording takes allowed for Brian’s acoustic bass to drill through Gano’s masterfully plucky riffs in a way that gives the listener the feeling that they are witnessing the cracks and grooves of Victor’s sole snare drum to rattle your brain. The record also harbors a quirky history befitting of its unlikely legacy. Of note, their fans practically destroyed Carnegie Hall when they played there in ’86, leading to a ban for the group and every other rock band for the next 20 years!

28 MILWAUKEE SYMPHONY ORCHESTRA

Guest Artist Biographies

It was also the album that enshrined Violent Femmes as folk punk progenitors. The album steadily sold a million copies in its first decade, going platinum in America by its 10th anniversary. Not surprising, a well-worn cassette of Violent Femmes and a dog-eared copy of The Catcher in the Rye were rites of passage for high school and college kids from coast to coast. To date, the album has sold over 3 million copies worldwide, placements on “greatest albums of the eighties” lists by the likes of Pitchfork, a slot on the first Lollapalooza in 1991, co-headlining Big Day Out Festival with Nirvana in 1992, prevalence in Grosse Pointe Blank in 1997, and a cover of “Gone Daddy Gone” by Gnarls Barkley [Cee Lo x Danger Mouse] on their platinum St. Elsewhere in 2006. Violent Femmes has proven to be a singular cultural artifact as it continues to be the perfect companion piece to teenage angst and pubescent aspirations.

Some of Violent Femmes’s contemporaries may have shifted tens of millions of units, received constant rotation on MTV, picked up Grammy Awards, and sold more shirts at Hot Topic, but few (if any) made an album as prescient, potent, and powerful from top-to-bottom as Violent Femmes. The master recordings may have been lost for over three decades, but the band will play it once again in its entirety on tour in 2023.

If you haven’t seen them since high school or college, bring your kids and their friends, because Violent Femmes are just as daring, dangerous, and dynamic as ever. You know high school still sucks, but Violent Femmes rule.

—Rick Florino, February 2023

MILWAUKEE SYMPHONY ORCHESTRA 29
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Friday, October 6, 2023 at 7:30 pm

Saturday, October 7, 2023 at 7:30 pm

Sunday, October 8, 2023 at 2:30 pm

ALLEN-BRADLEY HALL

John Morris Russell, conductor

Tatiana “LadyMay” Mayfield, vocalist

Marcus Roberts Trio

Marcus Roberts, piano

Roland Guerin, bass

Jason Marsalis, percussion

GEORGE GERSHWIN

Cuban Overture

GEORGE GERSHWIN/arr. Nelson Riddle

Vocal Set with Tatiana Mayfield

“‘S Wonderful”

“The Man I Love”

“Fascinating Rhythm”

Tatiana Mayfield, vocalist

GEORGE GERSHWIN/arr. Sol Berkowitz

“Promenade - Walking the Dog” from The Real McCoy

GEORGE GERSHWIN/arr. R.R. Bennett

Porgy and Bess, A Symphonic Picture

PROGRAM CONTINUED ON PAGE 34

MILWAUKEE SYMPHONY ORCHESTRA 31
IN TERMISSION

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Rhapsody in Blue

Marcus Roberts, piano

Roland Guerin, bass

Jason Marsalis, percussion

This weekend’s media sponsor is WISCONSIN PUBLIC RADIO

The length of this concert is approximately 2 hours. All programs are subject to change.

Milwaukee Symphony Orchestra can be heard on Telarc, Koss Classics, Pro Arte, AVIE, and Vox/Turnabout recordings. MSO Classics recordings (digital only) available at mso.org.

34 MILWAUKEE SYMPHONY ORCHESTRA
GEORGE GERSHWIN/arr. Don Rose Girl Crazy Overture GEORGE GERSHWIN/arr. Marcus Roberts Trio

Guest Artist Biographies

JOHN MORRIS RUSSELL

A master of American musical style, John Morris Russell has devoted himself to redefining the American orchestral experience. In his 13th season as conductor of the Cincinnati Pops Orchestra, the wide range and diversity of his work as a conductor, collaborator, and educator continues to reinvigorate the musical scene throughout Cincinnati and across the continent. As music director of the Hilton Head Symphony Orchestra in South Carolina, Russell leads the classical subscription series as well as the prestigious Hilton Head International Piano Competition. In his ninth season as principal pops conductor of the Buffalo Philharmonic, Russell has also worked as a guest conductor with many of the most distinguished orchestras in North America.

With the Cincinnati Pops, Russell leads performances at historic Music Hall, concerts throughout the region, as well as domestic and international tours — including Florida in 2014 and China/ Taiwan in 2017. His visionary leadership at The Pops created the “American Originals Project” which has garnered both critical and popular acclaim in two landmark recordings: American Originals (the music of Stephen Foster) and American Originals 1918 (a tribute to the dawn of the jazz age) for which he was awarded a Grammy nomination for “Best Classical Compendium.” In 2020, the American Originals Project continued with King Records and the Cincinnati Sound with Late Night with David Letterman musical director Paul Shaffer, celebrating the beginnings of bluegrass, country, rockabilly, soul, and funk immortalized in recordings produced in the Queen City. Russell is also instrumental in the continuing development of the Cincinnati Symphony Orchestra’s wildly successful Classical Roots initiative, which he helped create nearly two decades ago to celebrate African American musical traditions.

The Hilton Head Symphony Orchestra has enjoyed unprecedented artistic growth under John Morris Russell’s leadership since 2011; concert attendance has blossomed and the orchestra has doubled its number of concerts.

Russell earned degrees from the University of Southern California, Los Angeles, and Williams College in Massachusetts and has studied at the Guildhall School of Music and Drama in London, the Cleveland Institute of Music, the Aspen Music Festival in Colorado, and the Pierre Monteux School for Conductors in Hancock, Maine.

MILWAUKEE SYMPHONY ORCHESTRA 35

Guest Artist Biographies

TATIANA “LADYMAY” MAYFIELD

Tatiana “LadyMay” Mayfield is a jazz/soul vocalist, musician, composer, and educator from Fort Worth, Texas. LadyMay has performed in various venues and festivals throughout the U.S. and abroad, which have earned her rave reviews from listeners and musicians in addition to numerous awards. In 2023, LadyMay was named as an awardee for the “Next Jazz Legacy” program created by NEA Jazz Master Terri Lyne Carrington in partnership with the Berklee Institute of Jazz and Gender Justice and New Music USA with funding from the Mellon Foundation. Through this program, she will be mentored by pianist/vocalist/composer Patrice Rushen and jazz/soul harpist/composer Brandee Younger. Other highlights of her career include performing with the legendary Cincinnati Pops Orchestra, having a number one song on the UK Soul Chart, performing and teaching in Zhuhai, China, and being the first woman and African American person to receive a Master of Music in jazz composition from the University of Texas in Arlington. LadyMay has recorded three albums, From All Directions (2009), A Portrait Of LadyMay (2012), and The Next Chapter (2018). She has also provided vocals in various styles for several artists’ albums, television shows, and films. As an educator, Mayfield will join the faculty in the Lamont School of Music at the University of Denver in Denver, Colorado, as the assistant professor of contemporary popular music in the fall of 2023. She has also taught at the University of Texas at Arlington (Arlington, TX), University of North Texas (Denton, TX), and Dallas College-Cedar Valley Campus (Lancaster, TX).

MARCUS ROBERTS

Pianist Marcus Roberts is known throughout the world for his many contributions to the field of jazz music and his commitment to integrating jazz and classical music to create something wholly new. Roberts has been often hailed as “the genius of the modern piano.” He grew up in Jacksonville, Florida, where his mother’s gospel singing became the foundation for his musical style. He had his first piano lessons at the Florida School for the Deaf and Blind and studied classical piano at Florida State University. His life and work have been featured on the CBS television show 60 Minutes.

Roberts’s critically-acclaimed legacy of recorded music reflects his tremendous artistic versatility and his unique approach to jazz performance. In addition to his renown as a performer, Roberts is an accomplished composer and arranger. He has had numerous commissions, including his most recent piano concerto, commissioned by the great Seiji Ozawa and the Saito Kinen Orchestra. Roberts has performed his groundbreaking arrangement of Rhapsody in Blue countless times over the past 25 years and each version is completely different.

Roberts holds several honorary doctoral degrees and is a professor of music at Florida State University and a distinguished professor of music at Bard College.

36 MILWAUKEE SYMPHONY ORCHESTRA

Guest Artist Biographies

ROLAND GUERIN

Roland Guerin is influenced by a wide range of musical styles, from jazz and blues to American folk and zydeco. His playing has a strong country groove with a relaxed feeling of swing. Guerin’s extensive recorded legacy includes several recordings of his own work as well as numerous recordings with other artists, including Marcus Roberts’s Grammy-nominated Portraits in Blue and the Blind Boys of Alabama’s Grammy-winning Down in New Orleans

JASON MARSALIS

Jason Marsalis has held the drum chair in the Marcus Roberts Trio for more than 25 years and is a founding member of Roberts’s Modern Jazz Generation band. Marsalis is widely regarded as one of the greatest drummers of his generation. His musical intellect and technical skill combined with a brilliant thematic, groove-based drum style has been a critical part of the sound and philosophy of Marcus Roberts’s bands for many years.

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37
38 MILWAUKEE SYMPHONY ORCHESTRA

JOSEFOWICZ & BOLÉRO

Friday, October 20, 2023 at 11:15 am

Saturday, October 21, 2023 at 7:30 pm

Sunday, October 22, 2023 at 2:30 pm

ALLEN-BRADLEY HALL

Matthias Pintscher, conductor

Leila Josefowicz, violin

CLAUDE DEBUSSY

Prélude à l’après-midi d’un faune [Prelude to the Afternoon of a Faun]

MATTHIAS PINTSCHER

Assonanza

IN TERMISSION

CLAUDE DEBUSSY

Leila Josefowicz, violin

“Ibéria,” No. 2 from Images pour orchestre

I. Par les rues et par les chemins [Through Streets and Lanes]

II. Les parfums de la nuit [The Fragrances of the Night]

III. Le matin d’un jour de fête [Morning of a Feast-Day]

MAURICE RAVEL

Boléro

The 2023.24 Classics Series is presented by the UNITED PERFORMING ARTS FUND and ROCKWELL AUTOMATION.

The length of this concert is approximately 1 hour and 50 minutes.

Milwaukee Symphony Orchestra can be heard on Telarc, Koss Classics, Pro Arte, AVIE, and Vox/Turnabout recordings. MSO Classics recordings (digital only) available at mso.org.

MILWAUKEE SYMPHONY ORCHESTRA 39

Guest Artist Biographies

MATTHIAS PINTSCHER

Matthias Pintscher is the newly appointed music director of the Kansas City Symphony, effective from the 2024.25 season. He has just concluded a successful decade-long tenure as the music director of the Ensemble Intercontemporain, the iconic Parisian contemporary ensemble founded by Pierre Boulez and winner of the 2022 Polar Prize. During his stewardship, Pintscher led this most adventurous institution in the creation of dozens of world premieres by cutting edge composers from all over the world and took the ensemble on tours around the globe – to Asia and North America, and throughout Europe to all the major festivals and concert halls.

The 2023.24 season will be Pintscher’s fourth year as creative partner at the Cincinnati Symphony, where he will conduct a new work by inti figgis-vizueta, as well as an immersive video-concert of Olivier Messiaen’s Des canyons aux étoiles. He will also tour with the Junge Deutsche Philharmonie where he is artist in residence. As guest conductor, he returns to the RAI Milano Musica, Orchestre de Chambre de Paris, NDR Hamburg, Indianapolis Symphony, Milwaukee Symphony, Barcelona Symphony, Lahti Symphony, Deutsche Kammerphilharmonie Bremen, La Scala, and Berlin’s Boulez Ensemble. Pintscher has conducted several opera productions for the Berliner Staatsoper, Wiener Staatsoper, and the Théatre du Châtelet in Paris. He returns to the Berliner Staatsoper in 2024 for Beat Furrer’s Violetter Schnee.

Pintscher is also well known as a composer, and his works appear frequently on the programs of major symphony orchestras throughout the world. In August 2021, he was the focus of the Suntory Hall Summer Festival – a weeklong celebration of his works with the Tokyo Symphony Orchestra as well as a residency by the EIC with symphonic and chamber music performances. His third violin concerto, Assonanza, written for Leila Josefowicz, was premiered in January 2022 with the Cincinnati Symphony.

40 MILWAUKEE SYMPHONY ORCHESTRA

Guest Artist Biographies

LEILA JOSEFOWICZ

Leila Josefowicz’s passionate advocacy of contemporary music for the violin is reflected in her diverse programs and enthusiasm for performing new works. A favorite of living composers, Josefowicz has premiered many concertos, including those by Colin Matthews, Luca Francesconi, John Adams, and Esa-Pekka Salonen, all written specially for her.

Artist-in-residence of the Iceland Symphony Orchestra for the 2023.24 season, Josefowicz will perform Helen Grime’s Violin Concerto with Daniel Bjarnason and Bartók’s Violin Concerto No. 2 with Eva Ollikainen, as well as present a solo recital at Harpa Hall. Elsewhere, Josefowicz’s season includes engagements with Die Deutsche Kammerphilharmonie Bremen, Musikkollegium Winterthur, London Philharmonic Orchestra, and the Lahti, Milwaukee, Taipei, and Antwerp symphony orchestras. Josefowicz also presents the world premiere of Jüri Reinvere’s Concerto for Violin and Harp alongside Trina Struble and The Cleveland Orchestra, and tours Germany and Austria with Junge Deutsche Philharmonie with concerts Berlin, Vienna, and Dresden.

Josefowicz enjoyed a close working relationship with the late Oliver Knussen, performing various concerti, including his violin concerto, together over 30 times. Other premieres have included Matthias Pintscher’s Assonanza with the Cincinnati Symphony Orchestra, John Adam’s Scheherazade.2 with the New York Philharmonic, Luca Francesconi’s Duende – The Dark Notes with the Swedish Radio Symphony Orchestra and Steven Mackey’s Beautiful Passing with the BBC Philharmonic.

Together with John Novacek, with whom she has enjoyed a close collaboration since 1985, Josefowicz has performed recitals at world-renowned venues such as New York’s Zankel Hall and Park Avenue Armory, Washington DC’s Kennedy Center and Library of Congress, and London’s Wigmore Hall, as well as in Reykjavik, Trento, Bilbao, and Chicago. This season, their collaboration continues with recitals in California, appearing at Festival Mozaic, UC Santa Barbara, San Francisco Performances, and the Los Angeles Philharmonic’s Colburn Celebrity Recital series. Josefowicz has released several recordings, notably for Deutsche Grammophon, Philips/ Universal, and Warner Classics and was featured on Touch Press’s acclaimed iPad app, The Orchestra. Her latest recording, released in 2019, features Bernd Alois Zimmermann’s Violin Concerto with Finnish Radio Symphony Orchestra conducted by Hannu Lintu. She has previously received nominations for Grammy Awards for her recordings of Scheherazade.2 with the St. Louis Symphony conducted by David Robertson, and Esa-Pekka Salonen’s Violin Concerto with Finnish Radio Symphony Orchestra conducted by the composer.

In recognition of her outstanding achievement and excellence in music, she won the 2018 Avery Fisher Prize and was awarded a prestigious MacArthur Fellowship in 2008, joining prominent scientists, writers, and musicians who have made unique contributions to contemporary life.

MILWAUKEE SYMPHONY ORCHESTRA 41

Program notes by Elaine Schmidt

CLAUDE DEBUSSY

Born 22 August 1862; Saint-Germain-en-Laye, France

Died 25 March 1918; Paris, France

Prélude à l’après-midi d’un faune, L. 86 [Prelude to the Afternoon of a Faun]

First performance: 22 December 1894; Paris, France

Last MSO performance: 26 February 2017; Edo de Waart, conductor

Instrumentation: 3 flutes; 2 oboes; English horn; 2 clarinets; 2 bassoons; 4 horns; crotales; 2 harps; strings

Approximate duration: 10 minutes

Although the world thinks of Claude Debussy as one of the great Impressionist composers, he wanted nothing to do with that term. It came, in part, from the French artists, painters such as Claude Monet, who were more interested in capturing subtle variations in the play of light on the subjects they were painting — impressions of those sujects — than on making smooth brush strokes and perfect likenesses of their subjects. “Impressionist” was applied to Debussy’s work in a mocking review of his piece, Impression, soleil levant (Impression, Sunrise). But today, the term is applied to French composers of Debussy’s era who employed slowly shifting harmonies and unique textures and timbres created by unusual pairings of instruments — two qualities you will hear quite clearly in his Prélude à l’après-midi d’un faun (Prelude to the Afternoon of a Faun), the symphonic poem that opens today’s concert.

Debussy’s inspiration for this piece was a poem by the same name, written by French poet and critic Stéphane Mallarmé, whose Tuesday evening soirées Debussy began attending at age 25. Other guests at these soirées were a rather heady crowd, including Monet, the sculptor Auguste Rodin, and the writer Marcel Proust, among others. Debussy was a great fan of Mallarmé, and particularly of the epic 1876 poem for which he named this piece nearly 20 years later.

Mallarmé’s poem was a dreamy telling of the story of a faun (a mythical creature that is half man and half goat) who takes a nap in a forest, awakens, and struggles to remember the pleasant dream he had about two lovely nymphs. He is eventually lulled back to sleep by the warmth of the day and completes his dream. Mallarmé’s poem is highly sensual, yet also quite intellectual and still very ambiguous, if you can imagine that combination.

Debussy created a musical illustration of the poem, which begins with a famously free, dreamy flute solo. He said of the piece that he sought to evoke “the successive scenes in which the longings and desires of the faun pass in the heat of the afternoon.”

42 MILWAUKEE SYMPHONY ORCHESTRA

MATTHIAS PINTSCHER

Born 29 January 1971; Marl, Germany

Assonanza

First performance: 28 January 2022; Cincinnati, United States

Last MSO performance: MSO Premiere

Instrumentation: 2 flutes (2nd doubling on piccolo); oboe (doubling on English horn); 2 clarinets; bass clarinet; bassoon; contrabassoon; 2 horns; 2 trumpets; trombone; percussion (bass drum, bongo drum, crotales, glockenspiel, guiro, log drum, marimba, metal wind chimes, sandpaper blocks, side drum, spring coil, suspended cymbals, tam tam, tubular bells, tuned gongs, vibraphone, waterphone); strings

Approximate duration: 28 minutes

In March 2023, German-born conductor and composer Matthias Pintscher was announced as the fifth music director of the Kansas City Symphony, with a five-year, initial term beginning with the 2024.25 season. The announcement grabbed the attention of the music world, in great part because he was offered the job after spending just a few days with the orchestra as a guest conductor — he first stepped in front of the orchestra on a Wednesday this past March and was offered the job on the following Monday.

But Pintscher wears two hats as a musician, the other as a well-respected, sought-after composer, who also teaches composition at Juilliard. When violinist Leila Josefowicz, with whom Pintscher had worked for a decade, asked Pintscher to write a violin concerto for her, he declined. He has said in interviews that he admires her and her ability to do everything entirely “in the moment,” making a fresh take on the same piece several concerts in a row, but he felt that after writing two violin concertos in a ten-year period, he simply didn’t have enough material left in him to write a third. He was also getting calls from orchestras requesting a third concerto, but he was declining those requests as well.

Then COVID-19 hit and shut down the world. Josefowicz called Pintscher and proposed that since he was sitting at home like everyone else, he could maybe write her a solo piece, which he was delighted to do, calling the project “a lifesaver.” Josefowicz live-streamed the premiere of the piece, entitled La Linea Evocative, calling Pintscher afterward and asking if he thought he now had enough material to write a concerto.

“She tricked me,” he said in an interview for the Cincinnati Symphony Orchestra, but then acknowledged that she was right. He explained that the piece is a “resonance chamber around the soloist,” so that the orchestra “forms an acoustical space that she walks through, sending out signals, colors, timbres, and gestures.” He explained that the piece gives her a great deal of spontaneity within certain parameters, which suits her in-the-moment style of playing quite well.

MILWAUKEE SYMPHONY ORCHESTRA 43

CLAUDE DEBUSSY

Born 22 August 1862; Saint-Germain-en-Laye, France

Died 25 March 1918; Paris, France

“Ibéria,” No. 2 from Images pour orchestre

First performance: 20 February 1910; Paris, France

Last MSO performance: 6 October 2012; Olari Elts, conductor

Instrumentation: 3 flutes (3rd doubling on 2nd piccolo); piccolo; 2 oboes; English horn; 3 clarinets; 3 bassoons; contrabassoon; 4 horns; 3 trumpets; 3 trombones; tuba; timpani; percussion (castanets, chimes, snare drum, tambourine, xylophone); 2 harps; celeste; strings

Approximate duration: 20 minutes

Claude Debussy wrote the first set of Images, a collection of three piano pieces, between 1901 and 1905. In it he used music to depict places or ideas outside the world of music, which is a textbook definition of what we call program music, or programmatic music. He wrote the second book in 1907 and told his publisher that he was writing another Images series, this time for two pianos. He worked on the third set of Images from 1905 through 1912, changing his mind about the instrumentation along the way and turning them into pieces for orchestra (Images pour orchestre).

Debussy was an extremely visual person. His writings give us an idea of how important visual art and scenic beauty were in music. He wrote, “I like pictures almost as much as music,” and believed that music “can centralize variations of color and light within a single picture — a truth generally ignored, obvious as it is,” and defined music as being “made up of colors and rhythms.” That mindset, combined with the vividly descriptive titles of the pieces within the Images series, help to create very evocative music for listeners.

Each of the three sets of the Images series is referred to as a triptych — a term borrowed from the art world, where it refers to works of art in three panels, often hinged together. With his Images pour orchestre, Debussy gave us a triptych within a triptych by way of the three pieces included the second movement, which he titled “Ibéria” for the southern-European region of the same name, calling the set Images oubliée (Forgotten Images).

Listen to what Debussy called “the colors and rhythms” of Images pour orchestre with your imagination as much as with your ears and see where it takes you.

44 MILWAUKEE SYMPHONY ORCHESTRA

MAURICE RAVEL

Born 7 March 1875; Ciboure, France

Died 28 December 1937; Paris, France

Boléro

Composed: 1928

First performance: 22 November 1928; Paris, France

Last MSO performance: 6 October 2019; Jun Märkl, conductor

Instrumentation: 2 flutes (2nd doubling on 2nd piccolo); piccolo; 2 oboes (2nd doubling on oboe d’amore); English horn; 2 clarinets (2nd doubling on E-flat clarinet); bass clarinet; 2 bassoons; contrabassoon; 4 horns; 4 trumpets; 3 trombones; tuba; timpani; percussion (bass drum, cymbals, snare drum, tam tam); harp; celeste; sopranino saxophone; soprano saxophone; tenor saxophone; strings

Approximate duration: 13 minutes

Like his colleague and countryman Claude Debussy, French composer Maurice Ravel was often referred to during his career as an Impressionist composer. Ravel and Debussy, along with other “Impressionist” composers, rejected the designation. The term “Impressionist” came from the world of visual art and was a convenient crossover term for composers who were rejecting what they saw as the excesses of the Late Romantic composers in favor or slowly shifting harmonies and instrumental timbres blended to create unique “colors” of sound and shimmering effects.

Written in 1928, Boléro was one the last works Ravel completed. He wrote it to fulfill a commission from Russian dancer and actress Ida Rubenstein. She wanted an orchestration of six piano pieces by Isaac Albéniz, but the pieces had already been arranged by another composer, which put them under copyright restrictions. Ravel decided to orchestrate one of his own works instead, but then changed his mind and decided to write a new piece and to base it on the Spanish dance form known as the boléro.

Ravel was vacationing in southwestern France when he played a simple theme on the piano and asked a friend if he thought it had “an insistent quality.” Ravel explained that he was going to try and repeat the theme several times, without developing it in any way, but to gradually increasing the number of players as the piece progressed.

A much-publicized flap between Ravel and conductor Arturo Toscanini over the conductor’s tempo in a performance of Boléro, along with some very successful early performances and recordings of the piece, propelled it into popular culture. It was used in the 1934 motion picture Boléro, and in the 1979 romantic comedy 10, and was heard during the 1984 Olympics thanks to skaters Torvill and Dean. It was heard again at the torch-lighting ceremony of the 2020 Tokyo Olympics. Ironically, Ravel saw Boléro as the least important piece he had written.

MILWAUKEE SYMPHONY ORCHESTRA 45
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BRING TONIGHT UP AN OCTAVE

Visit Saint Kate for a pre-show dinner at ARIA, then come back for drinks and a stroll through our art galleries.

Or, just stay the night. Either way, the fun doesn't have to end after curtain close.

139 EAST KILBOURN AVENUE | SAINTKATEARTS.COM

October 13, 2023 at 7:30pm

October 15, 2023 at 2:30pm

Uihlein Hall, Marcus Performing Arts Center

florentineopera.org

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Garden works with artists, educators, students, and our community to create, support, and share experiences at the intersection of art, nature, and culture

MILWAUKEE SYMPHONY ORCHESTRA 51
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MSO Endowment/Musical Legacy

VISIONARIES

Commitments of $1,000,000 and above

Jane Bradley Pettit

Charles and Marie Caestecker

Concertmaster Chair

Herzfeld Foundation

Krause Family Principal Horn Chair

Phyllis and Harleth Pubanz

Gertrude M. Puelicher Education Fund

Stein Family Foundation

Principal Pops Conductor Chair

Polly and Bill Van Dyke Music Director Chair

PHILANTHROPISTS

Commitments of $500,000 and above

Donald B. Abert Principal Bass Chair

Mr. Richard Blomquist

Patrice L. (Patti) Bringe

Margaret and Roy Butter

Principal Flute Chair

Donald and Judy Christl

Fred Fuller Trumpet Chair

Andrea and Woodrow Leung

Principal Second Violin Chair and Fred Fuller

Dorothea C. Mayer Principal Cello Chair

Milwaukee Symphony Orchestra League Principal Oboe Chair

Northwestern Mutual Foundation

Melitta S. Pick Endowed Piano Chair

Walter L. Robb Family

Principal Trumpet Chair

Robert T. Rolfs Foundation

Michael and Jeanne Schmitz President and Executive Director Chair

Gertrude Elser and John Edward Schroeder Guest Artist Fund

Walter Schroeder Foundation

Principal Harp Chair

Muriel C. and John D. Silbar Family

Principal Bassoon Chair

Marjorie Tiefenthaler

Principal Trombone Chair

Richard O. and Judith A. Wagner Family Principal Viola Chair

BENEFACTORS

Commitments of $100,000 and above

Four Anonymous Donors

Patty and Jay Baker Fund for Guest Artists

Mr. and Mrs. Frederick J.O. Blachly

Philip Blank English Horn Chair in memoriam to John Martin and his favorite cousin, Beatrice Blank

Judith and Stanton Bluestone

Estate of Lloyd Broehm

Louise Cattoi, in memory of David and Angela Cattoi

Lynn Chappy Salon Series

Terry J. Dorr and Michael Holloway

Elizabeth Elser Doolittle Charitable Trust

Franklyn Esenberg

Principal Clarinet Chair

David L. Harrison Endowment

for Music Education

Estate of Sally Hennen

Karen Hung and Robert Coletti

Richard M. Kimball

Bass Trombone Chair

William Randolph Hearst Foundation

Judith A. Keyes MSOL Docent Fund

Charles A. Krause

Donald and JoAnne Krause Music

Education Endowment Fund

Martin J. Krebs

Co-Principal Trumpet Chair

Charles and Barbara Lund

Marcus Corporation Foundation

Guest Artist Fund

Andy Nunemaker French Horn Chair

John and Elizabeth Ogden

Gordana and Milan Racic

The Erika Richman

MSO-MYSO Reading Workshop Fund

Pat and Allen Rieselbach

Friends of Janet F. Ruggeri Assistant

Principal Viola Chair

Allison M. & Dale R. Smith

Percussion Fund

Estate of Walter S. Smolenski, Jr.

Bert L. & Patricia S. Steigleder

Charitable Trust

Donald B. and Ruth P. Taylor

Assistant Principal Clarinet Chair

Mrs. William D. Vogel

Barbara and Ted Wiley

Jack Winter Guest Artist Fund

Fern L. Young Endowment Fund for Guest Artists

MUSICAL LEGACY SOCIETY

The Musical Legacy Society recognizes and appreciates the individuals who have made a planned gift to the MSO. The MSO invites you to join these generous donors who have remembered the Orchestra in their estate plans.

Nine Anonymous Donors

George R. Affeldt

Mr. and Mrs. Charles W. Aring, Jr.

Dana and Gail Atkins

Robert Balderson

Adam Bauman

Priscilla and Anthony Beadell

Mr. F. L. Bidinger

Dr. Philip and Beatrice Blank

Mr. Richard Blomquist

Judith and Stanton Bluestone

Patrice L. (Patti) Bringe

Jean S. Britt

Laurette Broehm

Neil Brooks

Anthony and Vicki Cecalupo

Lynn Chappy

Ellen & Joe Checota

Donald and Judy Christl

Jo Ann Corrao

Lois Ellen Debbink

Mary Ann Delzer

Julie Doneis

Terry Dorr and Michael Holloway

Donn Dresselhuys

Beth and Ted Durant

Rosemarie Eierman

Franklyn Esenberg

John and Sue Esser

JoAnn Falletta

Donald L. Feinsilver, M.D.

Frank and Pauline Fichtner

Susie and Robert Fono

Ruth and John Fredericks

Mr. and Mrs. E. G. Goldsmith

Brett Goodman

Roberta Gordon

Marta P. and Doyne M. Haas

Ms. Jean I. Hamann

Ms. Sybille Hamilton

Kristin A. Hansen

David L. Harrison

Judy Harrison

Cheryl H. and Roy L. Hauswirth

Harold W. Heard

Cliff Heise

Sidney and Suzanne Herszenson

Dr. and Mrs. Samuel Hoke

Glenda Holm

Jean and Charles Holmburg

Karen Hung and Robert Coletti

Myra Huth

William and Janet Isbister

Lee and Barbara Jacobi

Leon and Betsy Janssen

Marilyn W. John

Faith L. Johnson

Mary G. Johnson

Bill and Char Johnson

Jayne J. Jordan

Judy and Gary Jorgensen

Debra Jupka

James A. and Robin S. Kasch

Howard Kaspin

James H. Keyes

Judith A. Keyes

Richard and Sarah Kimball

Ronald J. and Catherine Klokner

Mary Krall

JoAnne and Donald Krause

Martin J. and Alice Krebs

Ronald and Vicki Krizek

Cynthia Krueger-Prost

Susan Kurtz

Steven E. Landfried

Mr. Bruce R. Laning

Victor Larson

Arthur and Nancy Laskin

Tom and Lise Lawson

Andrea and Woodrow Leung

Mr. Robert D. Lidicker

Mr. and Mrs. John B. Liebenstein

Drs. John and Theresa Liu

Dr. John and Kristie Malone

Dana and Jeff Marks

Steven and Mary Rose Marinkovich

Ms. Kathleen Marquardt

JoAnne Matchette

Rita T. and James C. McDonald

Patricia and James McGavock

Nancy McGiveran

52 MILWAUKEE SYMPHONY ORCHESTRA

Musical Legacy/Annual Fund

Nancy McKinley-Ehlinger

Mrs. Christel U. Mildenberg

Christian and Kate Mitchell

Joan Moeller

Ms. Melodi Muehlbauer

Robert Mulcahy

Kathleen M. Murphy

Andy Nunemaker

Diana and Gerald Ogren

Lynn and Lawrence Olsen

Mr. and Mrs. Philip W. Orth

Lygere Panagopoulos

Jamshed and Deborah Patel

Gerald T. and Carol K. Petersen

Mr. and Mrs. Ronald R. Poe

Julie Quinlan Brame and Jason Brame

Ms. Harvian Raasch-Hooten

Gordana and Milan Racic

Christine Radiske and Herbert Quigley

Steve and Susan Ragatz

Catherine A. Regner

Ms. Monica D. Reida

Pat and David Rierson

Pat and Allen Rieselbach

Dr. Thomas and Mary Roberts

Gayle G. Rosemann and Paul E. McElwee

Roger B. Ruggeri and Andrea K. Wagoner

Nina Sarenac

Mary B. Schley in recognition of David L. Schley

Dr. Robert and Patty Schmidt

Michael J. and Jeanne E. Schmitz

James and Kathleen Scholler Charitable Fund

James Schultz and Donna Menzer

Mason Sherwood and Mark Franke

Margles Singleton

Lois Bernard and William Small

Dale and Allison Smith

Susan G. Stein

John Stewig and Richard Bradley

Dr. Robert A. and Kathleen Sullo

Terry Burko and David Taggart

Lois Tetzlaff

E. Charlotte Theis

David Tolan

Thora Vervoren

Dr. Richard O. and Judith A. Wagner

Veronica Wallace-Kraemer

Michael Walton

Brian A. Warnecke

Earl Wasserman

Alice Weiss

Sally Wells

Carol and James Wiensch

Floyd Woldt

Sandra and Ross Workman

Marion Youngquist

For more information on becoming a Musical Legacy Society member, please contact the Development Office at 414.226.7891.

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 August 30, 2023.

CONDUCTOR CIRCLE

$100,000 and above

Ellen & Joe Checota

Mr. and Mrs. George C. Kaiser

Donald and JoAnne Krause

Marty Krebs

Sheldon and Marianne Lubar

Charitable Fund of the Lubar Family Foundation

Michael Schmitz

Julia and David Uihlein

$50,000 and above

Laura and Mike Arnow

Anthony and Vicki Cecalupo

Drs. Alan and Carol Pohl

Mr. and Mrs. Donald S. Wilson

$25,000 and above

One Anonymous Donor

Elaine Burke

Bobbi and Jim Caraway

Mr. and Mrs. Franklyn Esenberg

Mrs. Susan G. Gebhardt

Doug and Jane Hagerman

Judy and Gary Jorgensen

Judith A. Keyes

Robert and Gail Korb

Dr. Brent and Susan Martin

Drs. George and Christine Sosnovsky

Charitable Trust

Drs. Robert Taylor and Janice McFarland Taylor

Thora Vervoren

$15,000 and above

Two Anonymous Donors

Dr. Rita Bakalars

Marilyn and John Breidster

Mary and Terry Briscoe

Mary and James Connelly

Dr. Deborah and Jeff Costakos

Mrs. Alyce Coyne Katayama

Barbara and Harry L. Drake

George E. Forish, Jr.

Roberta Gordon

Drs. Carla and Robert Hay

Jewish Community Foundation

Eileen and Howard Dubner

Donor Advised Fund

Charles and Barbara Lund

Maureen McCabe

William and Marian Nasgovitz

Paul Nausieda and Evonne Winston

Lois and Richard Pauls

Pat Rieselbach

Allison M. and Dale R. Smith

John Stewig and Richard Bradley

Susi and Dick Stoll

Mr. and Mrs. Thomas R. Tiffany

Haruki Toyama

$10,000 and above

Four Anonymous Donors

Keith and Kate Brewer

Ara and Valerie Cherchian

Jennifer Dirks

Bruce T. Faure M.D.

Mary Lou M. Findley

Greater Milwaukee Foundation

Bernard J. and Marie E. Weiss Fund

Judith J. Goetz

Kim and Nancy Graff

Stephanie and Steve Hancock

Katherine Hauser

Ms. Charlotte Hayslett

Mr. and Mrs. Eric E. Hobbs

Dr. and Mrs. Samuel Hoke

Barbara Karol

Christine Krueger

Geraldine Lash

Mr. Peter L. Mahler

Keith Mardak and Mary Vandenberg

Mark and Donna Metzendorf

Dr. Mary Ellen Mitchanis

Christian and Kate Mitchell

Bob and Barbara Monnat

Patrick and Mary Murphy

Andy Nunemaker

Brian and Maura Packham

Julie Peay

Leslie and Aaron Plamann

Christine Radiske and Herbert Quigley

Lynn and Craig Schmutzer

Brian M. Schwellinger

Sara and Jay Schwister

Nancy and Greg Smith

Tracy S. Wang, MD

Diana J. Wood

Herbert Zien and Elizabeth Levins

PRINCIPAL CIRCLE

$5,000 and above

Five Anonymous Donors

Fred and Kay Austermann

Thomas Bagwell and Michelle Hiebert

Robert Balderson

Clair and Mary Baum

Donna and Donald Baumgartner

Natalie Beckwith

Lois Bernard

William and Barbara Boles

Suzy and John Brennan

Roger Byhardt

Chris and Katie Callen

Donald and Judy Christl

Sandra and Russell Dagon

Karen Dobbs and Chris DeNardis

Mrs. William T. Dicus

Joanne Doehler

Beth and Ted Durant

Dr. Eric Durant and Scott Swickard

Jacquelyn and Dalibor Drummer

Dr. and Mrs. Harry A. Easom

MILWAUKEE SYMPHONY ORCHESTRA 53

Annual Fund

Elizabeth and Herodotos Ellinas

Dr. Donald Feinsilver and Jo Ann Corrao

Paul and Connie Flagg

Stan and Janet Fox

Elizabeth and William Genne

Richard and Ellen Glaisner

Alison Graf and Richard Schreiner

Margarete and David Harvey

James and Crystal Hegge

Ms. Mary E. Henke

Mark and Judy Hibbard

Lee and Barbara Jacobi

Leon and Betsy Janssen

Jayne J. Jordan

Anthony and Susan Krausen

Alysandra and David Lal

Peter and Kathleen Lillegren

Wayne and Kristine Lueders

Gerald and Elaine Mainman

Dr. Ann H. and Mr. Michael J. McDonald

Genie and David Meissner

Mr. and Mrs. George Meyer

Judith Fitzgerald Miller

William J. Murgas

Mr. and Ms. Bruce Myers

Mark Niehaus

Barbara and Layton Olsen

Elaine Pagedas

Ellen Rohwer Pappas and Timothy Pappas

Sharon R. Petrie

Dr. and Mrs. Richard A. Pierce-Ruhland

Jim and Fran Proulx

Jerome Randall and Mary Hauser

Dr. Donna Recht and Dr. Robert Newby

Dr. Marcia J.S. Richards

Steve and Fran Richman

Pat and David Rierson

Roger Ritzow

Dr. Thomas and Mary Roberts

Gayle G. Rosemann and Paul E. McElwee

Richard Eli Schoen

Mr. Thomas P. Schweda

Carlton Stansbury

Loretto and Dick Steinmetz

Jim Strey

Kathleen and Frank Thometz

John and Karen Tomashek

Mrs. James Urdan

Gary and Cynthia Vasques

Jim Ward

Nora and Jude Werra

Jessica R. Wirth

$3,500 and above

Two Anonymous Donors

Dr. Philip and the spirit of Beatrice Blank

Virginia Bolger

Professor David and Diane Buck

Mr. David E. Cadle

Ms. Nancy A. Desjardins

Stephen and Bernadine Graff

Virginia Hall

Judith and David Hecker

Drs. Margie Boyles and Stephen Hinkle

Barbara Hunt

David and Mel Johnson

Olof Jonsdottir and Thorsteinn Skulason

Dr. and Mrs. Kim

Benedict and Lee Kordus

Calvin and Lynn Kozlowski

Stanley Kritzik

Norm and Judy Lasca

Dr. Joseph and Amy Leung

Rusti and Steve Moffic

Christopher Mullins and Kay Bokowy

Mr. and Mrs. Joel Needlman

Dr. and Mrs. R. Nikolaus Schmidt

Elaine Schueler

James Schultz and Donna Menzer

Roger and Judy Smith

Sue and Boo Smith

James and Catherine Startt

Ian and Ellen Szczygielski

Gile and Linda Tojek

Corinthia Van Orsdol and Donald Petersen

Mr. and Mrs. Francis Wasielewski

Janet Wilgus

Wilfred Wollner

Carol and Richard Wythes

Sandra Zingler

Leo Zoeller

ORCHESTRA CIRCLE

$2,500 and above

Marlene and Bert Bilsky

Scott Bolens and Elizabeth Forman

Jean Britt

Mr. and Mrs. Stephen L. Chernof

Jack Douthitt and Michelle Zimmer

Jo Ann and Dale Frederickson

Kurt and Rosemary Glaisner

Natalia and Patrick Goris

Jean and Thomas Harbeck Family Foundation

Robert Hey

Mr. and Mrs. Bernard C. Hlavac

Charles and Jean Holmburg

Howard and Susan Hopwood

Deane and Vicky Jaeger

Jewish Community Foundation Dorothy and Merton Rotter Donor Advised Fund

Matthew and Kathryn Kamm

Megumi Kanda Hemann and Dietrich Hemann

Lynn and Tom Kassouf

Kolaga Family Charitable Trust

Jane and Tom Lacy

Mary E. Lacy

Frank Loo and Sally Long

Dr. and Mrs. Debesh Mazumdar

Mark and Carol Mitchell

William and Laverne Mueller

Jamshed and Deborah Patel

Raymond and Janice Perry

David J. Peterson

Kathryn Koenen Potos

Susan Riedel

Ann Rosenthal and Benson Massey

Dottie Rotter

Judy and Tom Schmid

Rev. Doug and Marilyn Schoen

Ms. Betty Jean Schuett

Paul and Frances Seifert

Greg and Marybeth Shuppe

Mrs. George R. Slater

Dr. and Mrs. C. John Snyder

John and Anne Thomas

Nancy Vrabec and Alastair Boake

Larry and Adrienne Waters

Ann and Joseph Wenzler

Floyd Woldt

Jim and Sandy Wrangell

$1,500 and above

Six Anonymous Donors

Donald and Jantina Adriano

Ruth Agrusa

Dr. Joan Arvedson

Richard and Sara Aster

Paul Barkhaus

Margaret and Bruce Barr

Jacqlynn Behnke

Richard Bergman

Elliot and Karen Berman

Roger Bialcik

Dr. and Mrs. Squat Botley

Cheri and Tom Briscoe

Marcia P. Brooks and Edward J. Hammond

James Brown and Ann Brophy

Karen and Harry Carlson

Teri Carpenter

Tim and Kathleen Carr

Edith Christian

Mr. and Mrs. Thomas F. Christie

Lynda and Tom Curl

Larry and Eileen Dean

Paul Dekker

Mr. and Mrs. Thomas Dougherty

Sigrid Dynek and Barry Axelrood

Donald Elliott

Signe and Gerald Emmerich, Jr.

Shirley Erwin

Joseph and Joan Fall

Robert and Kristin Fewel

Mr. and Mrs. A. William Finke

Robert Gardenier and Lori Morse Gardenier

Kimberly Gerber

Jane K. Gertler

Colette Goldammer

Ralph and Cherie Gorenstein

James and Sarah Gramentine

Mr. and Mrs. James Grigg

Greater Milwaukee Foundation

Leesley B. and Joan J. Hardy

Donna and Tony Meyer Fund

Randall J. and Judith F. Hake

Family Foundation

Amber Halvorson

Leila and Joe Hanson

Terry Huebner

Barbara Hunteman

Robert S. Jakubiak

Maja Jurisic and Don Fraker

Dr. Bruce and Anna Kaufman

Dr. Jack and Myrna Kaufman

54 MILWAUKEE SYMPHONY ORCHESTRA

Annual Fund/Corporate & Foundation

Brian and Mary Lou Kennedy

Mr. and Mrs. F. Michael Kluiber

Julilly Kohler

Milton and Carol Kuyers

Maritza and Mario Laguna

Larry and Mary LeBlanc

Mr. and Mrs. Mark Levy

Bruce and Elizabeth Loder

Kathleen Lovelace

Stephen and Jane Lukowicz

Dr. John and Kristie Malone

Guy and Mary Jo McDonald

Mr. and Mrs. Dean Mehlberg

Gregory and Susan Milleville

Richard and Isabel Muirhead

Jean A. Novy

Laurie Ocepek

Lynn and Lawrence Olsen

Susan M. Otto

Dr. and Mrs. James T. Paloucek

Gerald T. and Carol K. Petersen

Cathy P. Procton

Francis J. Randall

Philip Reifenberg

Drs. Walter and Lisa Rich

Lysbeth and James Reiskytl

Dr. and Mrs. David Y. Rosenzweig

Mr. Thomas Schneider

Lawrence and Katherine Schnuck

Kristin Shebesta

Dr. and Mrs. Kevin R. Siebenlist

Margles Singleton

Richard and Sheryl Smith

Leonard Sobczak

Joan Spector

Kathy and Salvatore Spicuzza

Mr. James Stanke

Joan Thompson

Mr. Stephen Thompson

Sara Toenes

Drs. Steven and Denise Trinkl

Mike and Peg Uihlein

Mr. and Mrs. Lynn F. Unkefer

James Van Ess

Michael Walton

Robert and Lana Wiese

Rolland and Sharon Wilson

Prati and Norm Wojtal

Lee and Carol Wolcott

Mr. William Zeidler

$1,000 and above

Three Anonymous Donors

Drs. Helmut and Sandra Ammon

Sue and Louie Andrew

Betty Arndt

James and Nora Barry

Mr. James M. Baumgartner

Jack Beatty

Mr. and Mrs. Ronald Beckman

Dianne and David Benner

Mrs. Kristine Best

Mr. Lawrence Bialcik

Karen and Geoffrey Bilda

Lynn and John Binder

Robert Borch and Linda Wickstrom

Lois and Robert Brazner

Dr. and Mrs. James D. Buck

Barbara and Dr. Henry Burko

Tom Buthod

Ms. Trish Calvy

Ms. Margaret R. Cary

David and Oksana Carlson

Ms. Carol A. Carpenter

Dr. Curtis and Jean Carter

Mr. and Mrs. Richard J. Cecil

B. Lauren and Margaret Charous

Margaret Cieslak-Etlicher

Ellen Debbink

Mrs. Linda DeBruin

Ms. Kristine Demski

Thomas C. Dill

Madison Dohmen

Gloria and Peter Drenzek

Mary Ann Dude

Tom Durkin and Joan Robotham

Tina Eickermann

Jill and George Fahr

Barbara and Richard Frank

Anne and Dean Fitzgerald

Gerald Gensch and Ellen Conley

Pearl Mary Goetsch

Greater Milwaukee Foundation

Dresselhuys Family Fund

Jay Kay Foundation Fund

Douglas and Margaret Ann Haag

Karleen Haberichter

Dale and Sara Harmelink

Charles W. Helscher

Jean and John Henderson

Jenny and Bob Hillis

Jeanne and Conrad Holling

Laura and James Holtz

Mr. and Mrs. James H. Hunter III

Kathryn and Alan Janicek

Amy S. Jensen

Faith L. Johnson

Rose and Dale Kaser

Robert and Dorothy King

Joseph W. Kmoch

Julie and Michael Koss

Dr. and Mrs. John Krezoski

Katherine and Ian Lambert

David and Deborah Lenz

Matt and Patty Linn

Ann Loder

Richard and Roberta London

Stephen and Judy Maersch

Mr. Peter Mamerow

Dr. Daniel and Constance McCarty

Jennifer McClure

Joni and Joe McDevitt

Theodore and Kelsey Perlick Molinari

Christine Mortensen

David and Gail Nelson

Douglas E. Peterson

William and Cynthia Prost

Mr. and Thomas Quadracci

Seth Rawson

Werner and Carol Richheimer

Dan and Anna Robbins

Kevin Ronnie and Karen Campbell

Allen and Millie Salomon

Keri Sarajian and Rick Stratton

Wilbert and Genevieve Schauer

Foundation

Mark and Deborah Schwallie

Bob and Sally Schwarz

Fred and Ruth Schwertfeger

Scott Silet

Susan Skudlarczyk

Mr. Reeves E. Smith

Ken and Dee Stein

Bonnie L. Steindorf

Sally Swetnam

David Taggart and Terry Burko

Rebecca and Robert Tenges

Tim and Bonnie Tesch

Dean and Katherine Thome

Jacquelyn and Way Thompson

Mr. and Mrs. James S. Tidey

Constance U’Ren

Ruth A. Way

Henry J. Wellner and James Cook

Jerome and Bonnie Welz

Robert and Barbara Whealon

A. James White

Linda and Dan Wilhelms

Ron and Alice Winkler

Frank and Inge Wintersberger

Melinda and Thomas Wolf

Daryl and Bonnie Wunrow

Gertrude and Richard Zauner

CORPORATE & FOUNDATION

The Milwaukee Symphony Orchestra truly values the generosity of musicloving patrons in the concert hall and throughout the community. We especially thank our Corporate and Foundation contributors for investing their time and support to this treasure. We gratefully acknowledge contributions from:

$1,000,000 and above

United Performing Arts Fund

$250,000 and above

Argosy Foundation

The Lynde and Harry Bradley

Foundation

Laskin Family Foundation

$100,000 and above

Herzfeld Foundation

Rockwell Automation

We Energies Foundation

$50,000 and above

Bader Philanthropies, Inc.

Greater Milwaukee Foundation

Milwaukee Symphony

Orchestra Fund

Melitta S. and Joan M. Pick

Charitable Trust

$25,000 and above

Anonymous

Chase Family Foundation

Greater Milwaukee Foundation

Gertrude Elser and John Edward

Schroeder Fund

Helen and Jeanette Oberndorfer

MILWAUKEE SYMPHONY ORCHESTRA 55

Corporate & Foundation/Matching Gifts/Tributes

Fund

Norman and Lucy Cohn Family Fund

Johnson Controls

Krause Family Foundation

Milwaukee County Arts Fund

(CAMPAC)

Old National Bank

R.D. and Linda Peters Foundation

Schoenleber Foundation, Inc.

Wisconsin Department of Tourism

$15,000 and above

A.O. Smith Foundation, Inc.

Bert L. & Patricia S. Steigleder

Charitable Trust

Frank L. Weyenberg Charitable Trust

Komatsu Mining Corp Foundation

National Endowment for the Arts

U.S. Bank

Wisconsin Arts Board

$10,000 and above

Brewers Community Foundation

Charles D. Ortgiesen Foundation

The Cudahy Foundation

Greater Milwaukee Foundation

David C. Scott Foundation

William A. and Mary M Bonfield, Jr.

Fund

Ellsworth Corporation

General Mills Foundation

Jane Bradley Pettit Foundation

Northwestern Mutual

Ralph Evinrude Foundation

William and Janice Godfrey

Family Foundation

Wispact Foundation

$5,000 and above

ANON Charitable Trust

Brico Fund

Frieda and William Hunt Memorial

Gene and Ruth Posner Foundation, Inc.

Greater Milwaukee Foundation

Roxy and Bud Heyse Fund/Journal

Fund

Julian Family Foundation

Milwaukee Arts Board

Rite-Hite Corporate Foundation

Schwartz Foundation

$2,500 and above

Camille A. Lonstorf Trust

Dean Family Foundation

Greater Milwaukee Foundation

ELM II Fund

Henry C., Eva M., Robert H.

and Jack J. Gillo Charitable Fund

Margaret Heminway Wells Fund

Hamparian Family Foundation

Hydrite Chemical Co.

Richard G. Jacobus Family Foundation

Theodore W. Batterman Family

Foundation

$1,000 and above

Albert J. & Flora H. Ellinger Foundation

Anthony Petullo Foundation, Inc.

Clare M. Peters Charitable Trust

Delta Dental

Einhorn Family Foundation

Greater Milwaukee Foundation

Cottrell Balding Fund

Del Chambers Fund

Eleanor N. Wilson Fund

George and Christine Sosnovsky

Fund

Irene Edelstein Memorial Fund

Mildred L. Roehr & Herbert W. Roehr

Fund

Joan and Fred Brengel Family

Foundation, Inc.

Townsend Foundation

Usinger Foundation

$500 and above

Anonymous Bell Foundation

Greater Milwaukee Foundation

Carrie Taylor & Nettie Taylor

Robinson Memorial Fund

Nancy E. Hack Fund

Robert C. Archer Designated Fund

Loyal D. Grinker

Steinway Piano Gallery of Milwaukee

MATCHING GIFTS

The Milwaukee Symphony Orchestra gratefully acknowledges the following corporations and foundations who match their employees’ contributions to the Annual Fund.

Abbott Laboratories

Aurora Health Care

Benevity Community Impact Fund

BMO Harris Bank

Bucyrus Foundation, Inc.

Carrier Matching Gift Program

Caterpillar Foundation

Dominion Foundation

Eaton Corporation

GE Foundation

Give Lively

Google

Humana

Johnson Controls Foundation

Kohl’s Corp.

Northwestern Mutual

Reader’s Digest Foundation

Ross Gives Back

Stifel

Thrivent Financial

The Travelers Insurance Co.

U.S. Bank

United Way of Greater Milwaukee

and Waukesha County

Wisconsin Energy Corporation

GOLDEN NOTE PARTNERS

The MSO gratefully acknowledges the following organizations for their gifts of product or services:

Becker Design

Belle Fiori – Official Event Florist of the MSO

Patrice Bringe

The Capital Grille

Central Standard Craft Distillery

Downer Avenue Wine & Spirits

Drury Hotels

Encore Playbills

GO Riteway Transportation Group

Godfrey & Kahn, S.C.

Hilton Milwaukee City Center and Milwaukee ChopHouse

Kohler Co.

Marcus Hotels & Resorts

Marcus Corporation

Ogletree Deakins

Saint Kate – The Arts Hotel –Official Hotel of the MSO

Darwin Sanders

Sojourner Family Peace Center

Steinway Piano Gallery of Milwaukee

Studio Gear – Official Event Partner of the MSO

Thomas and Mary Wacker

THE MARQUEE CIRCLE

The Milwaukee Symphony Orchestra proudly partners with the following members of the 2022.23 Marquee Circle. We thank these generous partners of our annual corporate subscription program for their charitable contributions and for connecting their corporate communities with the MSO.

Ellsworth Corporation

Hupy and Abraham, S.C.

Port Washington State Bank

Walker Forge, Inc.

TRIBUTES

In honor of Laura and Michael Arnow’s wedding anniversary

Kathleen D. Ryan

In memory of J. Mark Baker

Laura Petrie Anderson

Juliana Fortune

Mr. Jim Gettel

Kathleen and Charles Marn

Milwaukee Chamber Choir

In memory of Dennis and Barbara Benjamin

Marie Zelmer

In honor of Warren and Wendy

Blumenthal’s 50th wedding anniversary

Laurie Schweizer

In honor of Joe and Ellen Checota, and, Andy Nunemaker and Lee

Weeks

James Stadler

In memory of Reverend Michael

Joseph Hammer

David L. Harrison, Jr.

In memory of Thomas Hausman

Jane Hausman and William G. Finley

56 MILWAUKEE
ORCHESTRA
SYMPHONY

Tributes

In memory of Nancy and Arthur

Laskin

Joan J. Hardy

In memory of Dr. Keith Austin Larson

Austin Larson

Rev. Curtis A. Larson

Suzanne Zinsel

In honor of Robert Meldman

Drs. Alan and Carol Pohl

In memory of Helen Oberkirsch

Francine Cervasio

In memory of Mary G. Peterson

David J. Peterson

Gretchen Saunders

In memory of David Reber

James and Charmaine LaBelle

Gretchen Saunders

Marie and Gary Zellmer

In memory of I. Carl Romer

Beulah Romer Erickson

In memory of Elaine Saller

Theresa Klug

In memory of John Sawchuk

Daniel Sawchuk

In memory of Debra Schaefer

Karen Copper

In honor of Patrick Schley

Imogene Schley

In memory of Michael C. Schnier

Pamela Mueller

Julie Hartman

Mike Park

In honor of Bob Schuppel

Sarah Cauwels

In memory of Lynne Soto

Paul Trotter

In memory of Betty Stasson

Barbara and Dr. Henry Burko

In memory of Edie Bonness Tomsyck

Kamaile Anderwald

Beth Bonness

Maureen Bonness

Timothy Dykstal

Patty Giuffre

Mrs. Robert Gross

Chris Lambach

Robert Mueller

Guy Tomsyck

In honor of Fischer & Catherine Van Handel

Ellen Hruzek

In honor of Tom Varney

Stanley Kokotiuk

In memory of Gerald Wetter

Deborah and Gerald Wetter

In honor of Peter Wicklund and Ruby

Shemanski

Ms. Linda Jenewein

In memory of Anne T. White

A. James White

MILWAUKEE SYMPHONY ORCHESTRA 57
Name a seat in Allen-Bradley Hall at the Bradley Symphony Center to memorialize your contribution, celebrate a loved one, give a unique gift, or honor a memory. Your gift will serve as a visible, lasting way to show your support of the Milwaukee Symphony Orchestra. Visit mso.org/seat_sponsorship to learn more, or contact the MSO Advancement department: 414.226.7891 | donations@mso.org Leave Your Legacy w Name a Seat x

MSO Board of Directors

OFFICERS

Susan Martin, Chair

Andy Nunemaker, Immediate Past Chair

David Uihlein, Honorary Co-Chair

Julia Uihlein, Honorary Co-Chair

Gregory Smith, Secretary; Chair, Governance Committee

Patrick Murphy, Treasurer; Chair, Finance Committee

EX OFFICIO DIRECTORS

Douglas M. Hagerman, Chair, Chairman’s Council

Ken-David Masur, Music Director, Polly and Bill Van Dyke Music Director Chair

Mark Niehaus, President & Executive Director, Michael and Jeanne Schmitz Chair

EXECUTIVE COMMITTEE

Susan Martin, Chair

Andy Nunemaker, Immediate Past Chair

Douglas M. Hagerman Chair, Chair’s Council

Eric E. Hobbs

Robert Klieger, Chair, Players’ Council

Patrick Murphy, Treasurer; Chair, Finance Committee

Mark Niehaus, President & Executive Director, Michael and Jeanne Schmitz Chair

Maura Packham, Chair, Equity, Diversity, & Inclusion (EDI) Task Force

Michael J. Schmitz

Gregory Smith, Secretary; Chair, Governance Committee

Dick Stoll

Haruki Toyama, Chair, Artistic Direction Committee

ELECTED DIRECTORS

Kate Brewer

Jeff Costakos

Jennifer Dirks

Steve Hancock, Chair, Education Committee

Charlotte Hayslett

Alyce Coyne Katayama

Peter Mahler, Chair, Grand Future Committee

Mark A. Metzendorf, Chair, Advancement Committee

Christian Mitchell

Robert B. Monnat

Leslie Plamann, Chair, Audit Committee

Craig A. Schmutzer

Jay E. Schwister, Chair, Retirement Plan Committee

Dale R. Smith

Pam Stampen

Herb Zien, Chair, Facilities Management Committee

DESIGNATED DIRECTORS City

Sachin Chheda

Pegge Sytkowski, Chair, Marketing & Advocacy Committee

Francis Wasielewski County

Fiesha Lynn Bell

Chris Layden

Garren Randolph

MUSICIAN DIRECTORS

Robert Klieger, Chair, Players’ Council

Ilana Setapen, Player-at-Large

CHAIR’S COUNCIL

Douglas M. Hagerman, Chair

Chris Abele

Richard S. Bibler

Charles Boyle

Roberta Caraway

M. Judith Christl

Mary Connelly

Donn R. Dresselhuys

Eileen G. Dubner

Franklyn Esenberg

Marta P. Haas

Jean Holmburg

Barbara Hunt

Leon P. Janssen

Judy Jorgensen

James A. Kasch

Lee Walther Kordus

Michael J. Koss

JoAnne Krause

Martin J. Krebs

Keith Mardak

James G. Rasche

Stephen E. Richman

Michael J. Schmitz, Immediate Past Chair

Joan Steele Stein

Linda Tojek

Joan R. Urdan

Larry Waters

Kathleen A. Wilson

MSO ENDOWMENT & FOUNDATION TRUSTEES

Bruce Laning, Trustee Chairman

Amy Croen

Steven Etze

Douglas M. Hagerman

Bartholomew Reute

David Uihlein

PAST CHAIRS

Andy Nunemaker (2014-2020)

Douglas M. Hagerman (2011-2014)

Chris Abele (2004-2011)

Judy Jorgensen (2002-2004)

Stephen E. Richman (2000-2002)

Stanton J. Bluestone* (1998-2000)

Allen N. Rieselbach* (1995-1998)

Edwin P. Wiley* (1993-1995)

Michael J. Schmitz (1990-1993)

Orren J. Bradley* (1988-1990)

Russell W. Britt* (1986-1988)

James H. Keyes (1984-1986)

Richard S. Bibler (1982-1984)

John K. MacIver* (1980-1982)

Donn R. Dresselhuys (1978-1980)

Harrold J. McComas* (1976-1978)

Laflin C. Jones* (1974-1976)

Robert S. Zigman* (1972-1974)

Charles A. Krause* (1970-1972)

Donald B. Abert* (1968-1970)

Erhard H. Buettner* (1966-1968)

Clifford Randall* (1964-1966)

John Ogden* (1962-1964)

Stanley Williams* (1959-1962)

* deceased

58 MILWAUKEE SYMPHONY ORCHESTRA

MSO 2023.24 Administration

EXECUTIVE

Mark Niehaus, President & Executive Director, Michael and Jeanne Schmitz Chair

Bret Dorhout, Vice President of Artistic Planning

Tom Lindow, Vice President & Chief Financial Officer

Monica K. Meyer, Vice President of Advancement

Kathryn Reinardy, Vice President of Marketing & Communications

Rick Snow, Vice President of Facilities & Building Operations

Terrell Pierce, Vice President of Orchestra Operations

Marquita Edwards, Director of Community Engagement

Cynthia Moore, Human Resources, Diversity & Inclusion Manager

Michele Fitzgerald, Executive Assistant & Board Liaison

ADVANCEMENT

Michael Rossetto, Senior Director of Advancement & Major Gifts

William Loder, Director of Advancement

Maggie Seer, Director of Institutional Giving

Maddy Corson, Campaign Coordinator

Kathryn Hausman, Individual Giving Manager, Research & Discovery

Elise McArdle, Grant Writer

Tracy Migon, Development Systems Manager

Leah Peavler, Institutional Giving Manager

Lindsey Ruenger, Donor Stewardship & Engagement Manager

Emma Zei, Annual Fund Manager

EDUCATION & COMMUNITY ENGAGEMENT

Rebecca Whitney, Director of Education

Courtney Buvid, Education Manager

FINANCE

Cathy O’Loughlin, Controller

Jenny Beier, Senior Accountant

Alexa Aldridge, Staff Accountant

MARKETING

Erin Kogler, Director of Communications

Lizzy Cichowski, Senior Marketing Manager

Adam Cohen, Patron Systems Manager

David Jensen, Communications Coordinator

Zachary-John Reinardy, Lead Designer

Kerry Tomaszewski, Communications Manager

BOX OFFICE

Luther Gray, Director of Ticket Operations & Group Sales

Al Bartosik, Box Office Manager

Marie Holtyn, Box Office Supervisor

Adam Klarner, Patron Services Asssistant

BOX OFFICE ASSISTANTS

Rora Sanders, Tifani Ziemba

OPERATIONS

Françoise Moquin, Director of Orchestra Personnel

Kayla Aftahi, Operations Coordinator

Constance Aguocha, Assistant Personnel Manager

Paul Beck, Principal Librarian, Anonymous Donor, Principal Librarian Chair

Matthew Geise, Assistant Librarian & Media Archivist

Kelsey Padron, Artistic Coordinator

Paolo Scarabel, Stage Technician & Deck Supervisor

Emily Wacker Schultz, Artistic Associate

Jeremy Tusz, Audio & Video Producer

Tristan Wallace, Technical Manager & Live Audio Supervisor

Christina Williams, Chorus Manager

FACILITIES & EVENT SERVICES

Patrick G. H. Schley, Director of Event Services

Travis Byrd, Facilities Manager

Sam Hushek, Events & Volunteer Manager

Lisa Klimczak, House Manager

David Kotlewski, House Manager

Zed Waeltz, Senior House Manager

FRONT OF HOUSE STAFF

Anthony Andronczyk, Ky Catlett, Fatima Gomez, Eliana Kiltz, Roger Kocher, Klaire Maduscha, Brennan Martinez, Max McGraw, Cynthia Nord, Ashley Patin, Steve Pfisterer, Amy Rook, Anne Sempos, Michael Stebbins, Elliot White, Heather Whitmill

MILWAUKEE SYMPHONY ORCHESTRA 59

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

We’re for raising our community up.

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

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

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