JUNE — JULY 2023
Volume 41 No. 6
15 June 2 - 4 — Pops
Uptown Nights
19 June 9 - 11 — Classics
Jupiter & Serenade
27 June 16 - 17 — Classics
Mahler’s Resurrection Symphony
37 June 20 — Special Joshua Bell
Sponsored by Ellen & Joe Checota
43 June 23 - 25 — Film
Marvel Studios’ Black Panther
49 June 30 - July 1 — Film
Jaws
5 Orchestra Roster
7 Music Director
8 Music Director Laureate
9 Resident Conductor
11 Milwaukee Symphony Chorus
58 Gala Individuals / MSO Endowment
59 Musical Legacy / Annual Fund
62 Bravo / Gala Corporate / Corporate & Foundation
63 Matching Gifts / Golden Note / The Marquee Circle / Tributes
67 MSO Board of Directors
68 MSO Administration
This program is produced and published by ENCORE PLAYBILLS. To advertise in any of the following programs:
• Milwaukee Symphony Orchestra
• Florentine Opera
• Milwaukee Ballet
• Marcus Performing Arts Center Broadway Series
• Skylight Music Theatre
• Milwaukee Repertory Theater
• Sharon Lynne Wilson Center please contact: Scott Howland at 414.469.7779 scott.encore@att.net
MILWAUKEE SYMPHONY ORCHESTRA
212 West Wisconsin Avenue Milwaukee, Wisconsin 53203 414.291.6010 | mso.org
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@MilwSymphOrch
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The Milwaukee Symphony Orchestra, led by Music Director Ken-David Masur, is among the finest orchestras in the nation and the largest cultural institution in Wisconsin. Since its inception in 1959, the MSO has found innovative ways to give music a home in the region, develop music appreciation and talent among area youth, and raise the national reputation of Milwaukee.
The MSO’s full-time professional musicians perform over 135 classics, pops, family, education, and community concerts each season in venues throughout the state. A pioneer among American orchestras, the MSO has performed world and American premieres of works by John Adams, Roberto Sierra, Phillip Glass, Geoffrey Gordon, Marc Neikrug, and Matthias Pintscher, as well as garnered national recognition as the first American orchestra to offer live recordings on iTunes. Now in its 51st season, the orchestra’s nationally syndicated radio broadcast series, the longest consecutive-running series of any U.S. orchestra, is heard annually by more than two million listeners on 147 subscriber stations in 38 of the top 100 markets.
In January of 2021, the MSO completed a years-long project to restore and renovate a former movie palace in the heart of downtown Milwaukee. The Bradley Symphony Center officially opened to audiences in October 2021. This project has sparked a renewal on West Wisconsin Avenue and continues to be a catalyst in the community.
The MSO’s standard of excellence extends beyond the concert hall and into the community, reaching more than 40,000 children and their families through its Arts in Community Education (ACE) program, Youth and Teen concerts, Family Series, and Meet the Music pre-concert talks. Celebrating its 33rd year, the nationally-recognized ACE program integrates arts education across all subjects and disciplines, providing opportunities for students when budget cuts may eliminate arts programing. The program provides lesson plans and supporting materials, classroom visits from MSO musician ensembles and artists from local organizations, and an MSO concert tailored to each grade level. This season, more than 5,800 students and 500 teachers and faculty are expected participate in ACE both in person and in a virtual format.
KEN-DAVID MASUR
Music Director
Polly and Bill Van Dyke
Music Director Chair
EDO DE WAART
Music Director Laureate
YANIV DINUR
Resident Conductor
CHERYL FRAZES HILL
Chorus Director
Margaret Hawkins Chorus Director Chair
TIMOTHY J. BENSON
Assistant Chorus Director
FIRST VIOLINS
Ilana Setapen, Acting Concertmaster, Charles and Marie Caestecker
Concertmaster Chair
Jeanyi Kim, Acting Associate Concertmaster (2nd Chair)
Alexanders Ayers, Acting Assistant Concertmaster
Yuka Kadota
Ji-Yeon Lee**
Dylana Leung
Allison Lovera
Lijia Phang
Margot Schwartz*
Alejandra Switala**
Yuanhui Fiona Zheng
SECOND VIOLINS
Jennifer Startt, Principal, Andrea and Woodrow Leung Second Violin Chair
Timothy Klabunde, Assistant Principal
John Bian, Assistant Principal (3rd Chair)
Glenn Asch
Lisa Johnson Fuller
Paul Hauer
Hyewon Kim
Shengnan Li*
Laurie Shawger
Mary Terranova
VIOLAS
Robert Levine, Principal, Richard O. and Judith A. Wagner Family Principal Viola Chair
Samantha Rodriguez, Acting Assistant Principal, Friends of Janet F. Ruggeri
Viola Chair
Alejandro Duque, Acting Assistant Principal (3rd Chair)
Elizabeth Breslin
Nathan Hackett
Erin H. Pipal
Helen Reich
CELLOS
Susan Babini, Principal, Dorothea C. Mayer Cello Chair
Nicholas Mariscal, Assistant Principal
Scott Tisdel, Associate Principal Emeritus
Madeleine Kabat
Peter Szczepanek
Peter J. Thomas
Adrien Zitoun
BASSES
Jon McCullough-Benner, Principal, Donald B. Abert Bass Chair
Andrew Raciti, Associate Principal
Nash Tomey, Assistant Principal (3rd Chair)
Brittany Conrad
Peter Hatch
Paris Myers
HARP
Julia Coronelli, Principal, Walter Schroeder Harp Chair
FLUTES
Sonora Slocum, Principal, Margaret and Roy Butter Flute Chair
Heather Zinninger, Assistant Principal
Jennifer Bouton Schaub
PICCOLO
Jennifer Bouton Schaub
OBOES
Katherine Young Steele, Principal, Milwaukee Symphony League Oboe Chair
Kevin Pearl, Assistant Principal
Margaret Butler
ENGLISH HORN
Margaret Butler, Philip and Beatrice Blank English Horn Chair in memoriam to John Martin
CLARINETS
Todd Levy, Principal, Franklyn Esenberg Clarinet Chair
Benjamin Adler, Assistant Principal, Donald and Ruth P. Taylor Assistant Principal Clarinet Chair
Taylor Eiffert
E FLAT CLARINET
Benjamin Adler
BASS CLARINET
Taylor Eiffert
BASSOONS
Catherine Van Handel, Principal, Muriel C. and John D. Silbar Family Bassoon Chair
Rudi Heinrich, Assistant Principal
Beth W. Giacobassi
CONTRABASSOON
Beth W. Giacobassi
HORNS
Matthew Annin, Principal, Krause Family French Horn Chair
Krystof Pipal, Associate Principal
Dietrich Hemann, Andy Nunemaker French Horn Chair
Darcy Hamlin
Kelsey Williams**
TRUMPETS
Matthew Ernst, Principal, Walter L. Robb Family Trumpet Chair
David Cohen, Associate Principal, Martin J. Krebs Associate Principal
Trumpet Chair
Alan Campbell, Fred Fuller
Trumpet Chair
TROMBONES
Megumi Kanda, Principal, Marjorie Tiefenthaler
Trombone Chair
Kirk Ferguson, Assistant Principal
BASS TROMBONE
John Thevenet, Richard M. Kimball Bass Trombone Chair
TUBA
Robyn Black, Principal
TIMPANI
Dean Borghesani, Principal
Chris Riggs, Assistant Principal
PERCUSSION
Robert Klieger, Principal
Chris Riggs
PIANO
Melitta S. Pick Endowed Piano Chair
PERSONNEL MANAGERS
Françoise Moquin, Director of Orchestra Personnel
Constance Aguocha, Assistant Personnel Manager
LIBRARIAN
Paul Beck, Principal Librarian, Anonymous Donor, Principal Librarian Chair
PRODUCTION
Tristan Wallace, Technical Manager & Live Audio Supervisor
Paolo Scarabel, Stage Technician & Deck Supervisor
* Leave of Absence 2022.23 Season
** Acting member of the Milwaukee Symphony Orchestra 2022.23 Season
Hailed as “fearless, bold, and a life-force” (San Diego UnionTribune) and “a brilliant and commanding conductor with unmistakable charisma” (Leipzig Volkszeitung), Ken-David Masur is music director of the Milwaukee Symphony Orchestra. In 2022.23, Masur leads a range of programs with the Milwaukee Symphony, where his programming throughout the season explores the natural world and its relationship to humanity. He also continues the second year of an MSO artistic partnership with pianist Aaron Diehl and leads choral and symphonic works including Mendelssohn’s Elijah and Mahler’s Symphony No. 2. As principal conductor of the Civic Orchestra of Chicago, Masur leads concerts throughout the season, including an annual Bach Marathon. Other engagements include subscription weeks with the Nashville and Omaha symphony orchestras, and a return to Poland’s Wrocław Philharmonic.
In 2021.22, Masur made debuts with the San Francisco Symphony, the Minnesota Orchestra, and the Baltimore Symphony Orchestra, and led performances with the Rochester Philharmonic and the Kristiansand Symphony Orchestra. Following the gala opening of the Bradley Symphony Center, highlights of the MSO season included a semi-staged production of Peer Gynt. In the summer of 2022, Masur debuted at the Pacific Music Festival in Sapporo, Japan, leading three programs with the Festival Orchestra, including members of the Berlin and Vienna philharmonics, and another concert with the Sapporo Symphony. He debuted at Classical Tahoe in three programs that were broadcast on PBS and led the Boston Symphony Orchestra, Yo-Yo Ma, Itzhak Perlman, Branford Marsalis, and James Taylor at Tanglewood in a celebration of the composer John Williams.
Masur has conducted distinguished orchestras around the world, including the Chicago Symphony Orchestra, the Los Angeles Philharmonic, l’Orchestre National de France, the Yomiuri Nippon Symphony, the Orchestre National du Capitole de Toulouse, the National Philharmonic of Russia, and orchestras throughout the United States, France, Germany, Korea, Japan, and Scandinavia.
Previously, Masur was associate conductor of the Boston Symphony Orchestra, where he led numerous concerts, at Symphony Hall and at Tanglewood, of new and standard works featuring guest artists such as Renée Fleming, Dawn Upshaw, Emanuel Ax, Garrick Ohlsson, Joshua Bell, Louis Lortie, Kirill Gerstein, Nikolai Lugansky, and others. For eight years, Masur served as principal guest conductor of the Munich Symphony, and has also served as associate conductor of the San Diego Symphony and as resident conductor of the San Antonio Symphony.
Music education and working with the next generation of young artists are of major importance to Masur. In addition to his work with the Civic Orchestra of Chicago, he has led orchestras and masterclasses at Tokyo Bunka Kaikan Chamber Orchestra, University of Wisconsin-Milwaukee’s Peck School of the Arts, New England Conservatory, Boston University, Boston Conservatory, the Tanglewood Music Center Orchestra, and at other leading universities and conservatories throughout the world.
Masur is passionate about the growth, encouragement, and application of contemporary music and has conducted and commissioned dozens of new works, many of which have premiered at the Chelsea Music Festival, an annual summer music festival in New York City founded and directed by Masur and his wife, pianist Melinda Lee Masur. The Festival seeks to engage audiences with its ground-breaking collaborations between the performing, visual, and culinary arts, and has been praised by The New York Times as a “gem of a series.”
Throughout his long and illustrious career, renowned Dutch conductor Edo de Waart has held a multitude of posts with orchestras around the world, including music directorships with Rotterdam Philharmonic Orchestra, San Francisco Symphony, the Minnesota Orchestra, Netherlands Radio Philharmonic Orchestra, Hong Kong Philharmonic, Antwerp Symphony, New Zealand Symphony, and Sydney Symphony Orchestra, and a chief conductorship with De Nederlandse Opera and Santa Fe Opera. Edo de Waart is principal guest conductor of San Diego Symphony, conductor laureate of both Antwerp Symphony Orchestra and Netherlands Radio Philharmonic Orchestra and music director laureate of Milwaukee Symphony Orchestra.
Edo de Waart kicks off the 2022.23 season by returning to Sydney Symphony Orchestra with three performances in the newly renovated Sydney Opera House. Further engagements include Milwaukee, San Diego, Dallas, Fort Worth, and Antwerp symphony orchestras, and a special recording project of Rachmaninoff’s Piano Concerto No. 2 and Grieg’s Concerto for Piano with Royal Scottish National Orchestra and regular collaborator Joyce Yang.
As an opera conductor, Edo de Waart has enjoyed success in a large and varied repertoire in many of the world’s greatest opera houses. He has conducted at Bayreuth, Salzburg Festival, Royal Opera House, Covent Garden, Grand Théâtre de Genève, Opéra Bastille, Santa Fe Opera, and the Metropolitan Opera. With the aim of bringing opera to broader audiences where concert halls prevent full staging, he has, as music director in Milwaukee, Antwerp, and Hong Kong, often conducted semi-staged and opera in concert performances.
A renowned orchestral trainer, he has been involved with projects working with talented young players at the Juilliard and Colburn schools and the Music Academy of the West in Santa Barbara. Edo de Waart’s extensive catalogue encompasses releases for Philips, Virgin, EMI, Telarc, and RCA. Recent recordings include Henderickx’s Symphony No. 1 and Oboe Concerto, Mahler’s Symphony No. 1, and Elgar’s Dream of Gerontius, all with Royal Flemish Philharmonic.
Beginning his career as an assistant conductor to Leonard Bernstein at New York Philharmonic, Edo de Waart then returned to Holland where he was appointed assistant conductor to Bernard Haitink at the Royal Concertgebouw Orchestra. Edo de Waart has received a number of awards for his musical achievements, including becoming a Knight in the Order of the Netherlands Lion and an Honorary Officer in the General Division of the Order of Australia. He is also an honorary fellow of the Hong Kong Academy for Performing Arts.
Winner of the 2019 Sir Georg Solti Conducting Fellow Award, Yaniv Dinur is the resident conductor of the Milwaukee Symphony Orchestra and music director of the New Bedford Symphony Orchestra. He is lauded for his insightful interpretations and unique ability to connect with concertgoers of all ages and backgrounds, from season subscribers to symphony newcomers.
Dinur conducts more than 50 concerts per season with the Milwaukee Symphony and was named by the Milwaukee Business Journal as one of the city’s most impressive young leaders currently making a positive difference in Milwaukee. In New Bedford, he has brought star soloists such as Yefim Bronfman, Pinchas Zukerman, Karen Gomyo, and Vadim Gluzman to play with the orchestra. Under his leadership, the New Bedford Symphony has been nationally recognized for its bold, engaging programming and artistic quality, leading to the League of American Orchestras selecting the orchestra to perform at the 2021 League Conference.
Dinur’s recent and upcoming guest conducting highlights include subscription debuts with the symphonies of San Diego, Edmonton, Tulsa, Sarasota, Fort Worth, and Orchestra Haydn in Italy. He made his conducting debut at the age of 19 with the National Symphony Orchestra of Ireland, which led to multiple return engagements. Since then, he has conducted orchestras around the world, including the Israel Philharmonic, Jerusalem Symphony, Houston Symphony, Louisiana Philharmonic, Detroit Symphony, New World Symphony, San Antonio Symphony, Portugal Symphony, Sofia Festival Orchestra/Bulgaria, State Orchestra of St. Petersburg, Torino Philharmonic, and the National Arts Centre Orchestra in Ottawa.
An accomplished pianist, Dinur made his concerto debut with the Milwaukee Symphony in 2019, playing and conducting Mozart’s D Minor Concerto. He received critical acclaim for his “fluid, beautifully executed piano passages” and “deeply musical playing” (Milwaukee Journal Sentinel).
Born in Jerusalem, Dinur began studying the piano at the age of six with his aunt, Olga Shachar, and later with Prof. Alexander Tamir, Tatiana Alexanderov, Mark Dukelsky, and Edna Golandsky. He studied conducting in Israel with Dr. Evgeny Zirlin and Prof. Mendi Rodan, and holds a Doctorate in Orchestral Conducting from the University of Michigan School of Music, Theatre & Dance, where he was a student of Prof. Kenneth Kiesler.
The Milwaukee Symphony Chorus, founded in 1976, is known and respected as one of the finest choruses in the country. Under the direction of Dr. Cheryl Frazes Hill, the 2022.23 chorus season with the MSO includes works by Brahms, the beloved Holiday Pops concert, Handel’s Messiah, Mendelssohn’s grand oratorio Elijah, the ethereal finale of Holst’s The Planets, and Mahler’s magnificent Symphony No. 2, known as the “Resurrection” Symphony.
The 150-member volunteer chorus has been praised by reviewers for “technical agility,” “remarkable ensemble cohesion,” and “tremendous clarity.” In addition to performances with the MSO, the chorus has appeared on public television and recorded performances for radio stations throughout the country. The chorus has performed a cappella concerts to sold-out audiences and has made guest appearances with other performing arts groups including Present Music, Milwaukee Ballet, and the Chicago Symphony Orchestra. The chorus has also made appearances at suburban Chicago’s famed Ravinia Festival.
The Margaret Hawkins Chorus Director Chair was funded by a chorus-led campaign in 2006 in honor of the founding choral director, Margaret Hawkins, during the ensemble’s 30th anniversary season.
Comprised of teachers, lawyers, students, doctors, musicians, homemakers, and more, each of its members brings not only musical quality, but a sheer love of music to their task. “We have the best seats in the house,” one member said, a sentiment echoed throughout the membership. Please visit mso.org/chorus for more information on becoming a part of the Milwaukee Symphony Chorus.
Barbara A. Ahlf
Laura Albright-Wengler
* James B. Anello
u Thomas R. Bagwell
Barbara Barth Czarkowski
Mary Ann Beatty
Marshall Beckman
Zachary Beeksma
Maria Cornelia Beilke
Yacob Bennett
* JoAnn Berk
Edward Blumenthal
u Scott Bolens
Robert Bortman
Neil R. Brooks
Michelle Budny
Ellen N. Burmeister
Gabrielle Campbell
Gerardo Carcar
Elise Cismesia
Ian Clark
Sarah M. Cook
Amanda Coplan
Sarah Culhane
Colin Destache
Becky Diesler
Rebeca A. Dishaw
Megan Kathleen
Dixson
Kimberly Duncan
Rachel Dutler
u James Edgar
Marlene K. Ego
Joe Ehlinger
Hannah Ellison
Jay Endres
Amanda Swygard
Fairchild
Michael Faust
Sarah N. Ferreira
Catherine Fettig
Carly Marie Fitzgerald
Marty Foral
Robert Friebus
Karen Frink
Maria Fuller
James T. Gallup
Kara Grajkowski
Charyl Granatella
Virginia D. Grossman
Ashley Gutting
* Mark R. Hagner
Eric W. Hanrehan
Beth Harenda
u Karen Heins
Mary Catherine Helgren
Kurt Hellermann
Sara E. Herrick
Eric Hickson
Michelle Hiebert
Rae-Myra Hilliard
Laura Hochmuth
Amy Hudson
Matthew Hunt
Stan Husi
u Tina Itson
• Christine Jameson
Paula J. Jeske
Andrew Johnson
John Jorgensen
Heidi L. Kastern
u Michelle Beschta Klotz
Robert Anton Knier
Jill Kortebein
Kaleigh Kozak-Lichtman
u Joseph M. Krechel
Harry Krueger
Rick Landin
Jana Larson
Cheryl Frazes Hill, chorus director
Timothy J. Benson, assistant director
Christina Williams, chorus manager
Kayoko Miyazawa, rehearsal pianist
Darwin J. Sanders, language/diction coach
Alexandra Lerch-Gagg
Noah Liermann
Robert Lochhead
Kristine Lorbeske
Sarah Magid
Grace Majewski
Joy Mast
Saige Matson
Justin J. Maurer
Kathryn McGinn
Kathleen Ortman Miller
Megan Miller
Victor Montañez Cruz
• Marjorie Moon
Bailey Moorhead
Jennifer Mueller
Matthew Neu
Kristin Nikkel
Jason Niles
Mary Beth Norton
Alice Nuteson
Thomas Ohlgren
Robert Paddock
Molly Pagryzinski
R. Scott Pierce
u Jessica E. Pihart
Olivia Pogodzinski
Gabriel Poulson
Kaitlin Quigley
* Jason Reuschlein
James Reynolds
Marc Charles Ricard
Amanda Robison
Carlos Rojo
Vivian Romano
Bridget Sampson
James Sampson
Darwin J. Sanders
John T. Schilling
Sarah Schmeiser
Rand C. Schmidt
u Allison Schnier
Trinny Schumann
Bob Schuppel
Matthew Seider
Bennett Shebesta
u Hannah Sheppard
David Siegworth
Kristen M. Singer
u Bruce Soto
Joel P. Spiess
* Todd Stacey
u Donald E. Stettler
Amanda D. Steven
Scott Stieg
* Donna Stresing
Ashley Ellen Suresh
Dean-Yar Tigrani
Clare Urbanski
Jessica Wagner
Barbara Wanless
Tess Weinkauf
Emma Mingesz Weiss
Michael Werni
Erin Weyers
Grant Wheeler
Christina Williams
Emilie Williams
Kathleen Wojcik-May
Kevin R. Woller
Maureen Woyci
* Jamie M. Yu
Stephanie Zimmer
u Section Leader
6 Mentor
• Librarian
Dr. Cheryl Frazes Hill is now in her sixth season as director of the Milwaukee Symphony Chorus. In addition to her role in Milwaukee, she is the associate conductor of the Chicago Symphony Chorus. Frazes Hill is Professor Emeritus at Roosevelt University’s Chicago College of Performing Arts, where she served for 20 years as director of choral activities. During the 2022.23 season, Frazes Hill will prepare the Milwaukee Symphony Chorus for classical performances of Brahms’s Gesang der Parzen, Schicksalslied, and Academic Festival Overture, Mendelssohn’s Elijah, Holst’s The Planets, and Mahler’s Resurrection Symphony.
In her role as the Chicago Symphony Chorus associate conductor, she has prepared the chorus for Maestros Boulez, Barenboim, Levine, Mehta, Tilson Thomas, Conlon, Alsop, and many others. She most recently prepared the Chicago Symphony Chorus for performances of Ravel’s Daphnis and Chloe, conducted by Esa-Pekka Salonen. Recordings of Frazes Hill’s chorus preparations on the Chicago Symphony Orchestra label include Beethoven, A tribute to Daniel Barenboim and Chicago Symphony Chorus: A 50th anniversary Celebration.
Under her direction, the Roosevelt University choruses have been featured in prestigious and diverse events, including appearances at national and regional music conferences, and performances with professional orchestras including the Chicago Symphony Orchestra, Chicago Sinfonietta, the Civic Orchestra of Chicago, and the Illinois Philharmonic. The Roosevelt Conservatory Chorus received enthusiastic reviews for their American premiere of Jacob Ter Velduis’s Mountaintop. Other recent performances have included the internationally acclaimed production of Defiant Requiem and appearances with The Rolling Stones during a recent United States concert tour.
Frazes Hill received her Doctorate in Conducting and her Master of Music degree from Northwestern University and two undergraduate degrees from the University of Illinois. An accomplished vocalist, she is a featured soloist, nominated for a Grammy Award in the CBS Masterworks release Mozart, Music for Basset Horns. An award-winning conductor/educator, Frazes Hill has received the ACDA Harold Decker Conducting Award, the Commendation of Excellence in Teaching from the Golden Apple Foundation, the Illinois Governor’s Award, Roosevelt University’s Presidential Award for Social Justice, the Northwestern University Alumni Merit Award, and the Outstanding Teaching Award from the University of Chicago, among many others.
Frazes Hill’s newly released book, Margaret Hillis: Unsung Pioneer, a biography of the famed female conductor, is available on Amazon and in bookstores and is currently a finalist for a Midwest Book Award.. She is nationally published on topics of her research in music education and choral conducting. Frazes Hill is a frequent guest conductor and guest speaker, most recently featured with conductor Marin Alsop at Ravinia Festival’s Breaking Barriers: Women on the Podium.
there are field trips. And yes, we try to ditch the
Friday, June 2, 2023 at 7:30 pm
Saturday, June 3, 2023 at 7:30 pm
Sunday, June 4, 2023 at 2:30 pm
ALLEN-BRADLEY HALL
Byron Stripling, conductor
Carmen Bradford, vocalist
Leo Manzari, dancer
Richard Thompson, drum set
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 on iTunes and at mso.org. MSO Binaural recordings (digital only) available at mso.org.
With a contagious smile and captivating charm, conductor, trumpet virtuoso, singer, and actor Byron Stripling has ignited audiences across the globe. In 2020, Stripling was named principal pops conductor of the Pittsburgh Symphony Orchestra, and his baton has led countless orchestras throughout the United States and Canada. As a soloist with the Boston Pops Orchestra, Stripling has performed frequently under the baton of Keith Lockhart, as well as being the featured soloist on the PBS television special Evening at Pops with conductors John Williams and Lockhart. Currently, Stripling serves as artistic director and conductor of the highly acclaimed Columbus Jazz Orchestra.
Television viewers have enjoyed his work as soloist on the worldwide telecast of The Grammy Awards. Millions have heard his trumpet and voice on television commercials, TV theme songs including 20/20 and CNN, and soundtracks of movies. In addition to multiple recordings with his quintet, work with artists from Tony Bennett to Whitney Houston, his prolific recording career includes hundreds of albums with the greatest pop, Broadway, soul, and jazz artists of all time.
Stripling earned his stripes as lead trumpeter and soloist with the Count Basie Orchestra. He has also played and recorded extensively with the bands of Dizzy Gillespie, Woody Herman, Dave Brubeck, Lionel Hampton, Clark Terry, Louis Bellson, and Buck Clayton in addition to Jazz at Lincoln Center Orchestra, Carnegie Hall Jazz Band, and GRP All-Star Big Band.
Stripling is devoted to giving back and supports several philanthropic organizations, including The United Way, Homelessness Advocate, and The Community Shelter Board. He also enjoys sharing the power of music through seminars and masterclasses.
Stripling was educated at the Eastman School of Music in Rochester, New York, and the Interlochen Arts Academy in Interlochen, Michigan. A resident of Ohio, Stripling lives in the country with his wife, Alexis, a former dancer, writer, and poet, and their beautiful daughters.
Born in Austin, Texas, and raised in Altadena, California, Grammy nominee Carmen Bradford grew up with music in her home and in her heart. It was only natural that Bradford would follow in the footsteps of her great family legacy, being the daughter of legendary trumpeter and composer Bobby Bradford and worldrenowned vocalist and composer Melba Joyce. Her grandfather Melvin Moore sang with Lucky Millender and Dizzy Gillespie’s Big Band in the 1940s and sang with the Ink Spots, making Bradford the third generation of incredible musicians. She has carved out a place in music history for herself and is playing an integral role in this uniquely American art form called jazz.
Bradford was discovered and hired by William “Count” Basie and was the featured vocalist in the legendary Count Basie Orchestra for nine years. She has since performed and/or recorded with: Wynton Marsalis, Shelly Berg, John Clayton, Nancy Wilson, Doc Severinsen, Tony Bennett, James Brown, Patti Austin, Byron Stripling, Dori Caymmi, George Benson, Lena Horne, Frank Sinatra, Joe Williams, DIVA Jazz Orchestra, the National Symphony, Rochester Philharmonic, the Jazz at
Lincoln Center Orchestra, the Clayton-Hamilton Jazz Orchestra, The Dani Felber Big Band, Dallas Symphony, Oklahoma Symphony, Vancouver Philharmonic, and countless artists around the world.
Bradford’s love of teaching has been recognized by the San Francisco Conservatory of Music, and the new Roots, Jazz, and American Music (RJAM Program) has welcomed her with open arms. Bradford is the resident professor of jazz voice and director of vocal jazz studies.
Originally from Washington D.C., Leo Manzari is a Lucille Lortel Award nominated tap dancer, headlining in various productions, including touring and Off-Broadway productions of Maurice Hines is Tappin’ Thru Life, and featured guest artist on So You Think You Can Dance, the Kennedy Center’s 50th Inaugural Celebration of JFK and A Tribute to Marvin Gaye, Dorrance Dance’s Nutcracker Suite, The Mo’nique Show, The Kate TV, TEDMED, PBS News Hour, Jerry Lewis Telethon, and ABC’s The View. Manzari was also featured as a solo tap dancer in Hozier’s music video “Almost (Sweet Music),” and guest starred with Anderson Paak’s band The Free Nationals for various virtual events. Now residing in Los Angeles, California, Manzari currently headlines alongside Byron Stripling and Grammy nominated Jazz vocalist, Carmen Bradford, collaborating with multiple pops orchestras around the world, including The Winnipeg Orchestra, The Florida Orchestra, Pittsburgh Symphony Orchestra, and The Philly POPS. Other credentials include a recurring role in season 6 of Showtime’s television show Homeland, and lead writer and vocalist of his own original music which can be found via his website leomanzari. com and Instagram @leomanzari.
Drummer Rich Thompson has been in demand as a top call drummer in Rochester for the past 25 years. Besides serving as the drum set instructor at the Eastman School of Music since the fall of 1996, Thompson has toured, performed, and recorded with the “who’s who” of jazz greats including pianist James Williams (Art Blakey and the Jazz Messengers), the Count Basie Orchestra, Tito Puente, Frank Foster, the Byron Stripling Quartet, saxophonist Rich Perry, the Bill Dobbins Trio, Harold Danko, Marion McPartland, Trio East (which includes Clay Jenkins and Jeff Campbell), trumpeter Snooky Young, guitarist Gene Bertoncini, Carl Fontana, Phil Woods, Joe Pass, and a host of others too numerous to mention.
Thompson has been touring this country and abroad with the Byron Stripling Quartet for the past five years. His album, Trio Generations, was released in May of 2012 on Origin Records. It was included on the long list for two Grammys. In 2016, Thompson recorded Have Trumpet Will Swing with the Bryon Stripling Quartet, and in 2017, I Believe in You by the group Triocity was released.
Thompson performs regularly with numerous symphonies in the U.S. and Canada, the world renowned “Jazz Cruise,” and clubs throughout the U.S. and Europe with the Byron Stripling Quartet. Thompson has written four drum set books published by Kendor Music USA and Advance/Schott Music-Germany.
Friday, June 9, 2023 at 11:15 am
Saturday, June 10, 2023 at 7:30 pm
Sunday, June 11, 2023 at 2:30 pm
ALLEN-BRADLEY HALL
Edo de Waart, conductor
Matthew Annin, horn
JOHANNES BRAHMS
Serenade No. 2 in A major, Opus 16
I. Allegro moderato
II. Scherzo: Vivace
III. Adagio non troppo
IV. Quasi menuetto
V. Rondo: Allegro
RICHARD STRAUSS
Concerto No. 1 in E-flat major for Horn and Orchestra, Opus 11
I. Allegro
II. Andante
III. Allegro
Matthew Annin, horn
WOLFGANG AMADEUS MOZART
Symphony No. 41 in C major, K. 551, “Jupiter”
I. Allegro vivace
II. Andante cantabile
III. Allegretto
IV. Molto allegro
This weekend’s concerts are dedicated to the memory of PEG AND HARRY BRADLEY
by JULIA AND DAVID UIHLEIN.The 2022.23 Classics Series is presented by the UNITED PERFORMING ARTS FUND.
The length of this concert is approximately 1 hour and 45 minutes.
Milwaukee Symphony Orchestra can be heard on Telarc, Koss Classics, Pro Arte, AVIE, and Vox/Turnabout recordings. MSO Classics recordings (digital only) available at mso.org. recordings. MSO Classics recordings (digital only) available on iTunes and at mso.org. MSO Binaural recordings (digital only) available at mso.org.
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Matthew Annin has held the position of principal horn of the Milwaukee Symphony Orchestra since 2011. He also regularly performs with the Grand Teton Music Festival. Before joining the Milwaukee Symphony, Annin was a member of the Cincinnati Symphony Orchestra, the Rochester Philharmonic Orchestra, the Louisville Orchestra, as well as the Peninsula Music Festival. He has also performed with the San Francisco Symphony, the Saint Louis Symphony, Buffalo Philharmonic, Chautauqua Symphony, Chicago’s Music of the Baroque, the Grant Park Orchestra, and the Calgary Philharmonic Orchestra. Annin has enjoyed presenting masterclasses at UW-Madison, UW-Milwaukee, and Lawrence University in Wisconsin. As a soloist, he has appeared on several occasions with the Milwaukee Symphony Orchestra under the direction of Edo de Waart, Francesco Lecce-Chong, and KenDavid Masur, and also as guest soloist with the Milwaukee Youth Symphony Orchestra. Annin performs exclusively on Kortesmaki horns, instruments artfully crafted by Michigan horn maker Karl Hill.
Born 7 May 1833; Hamburg, Germany
Died 3 April 1897; Vienna, Austria
Serenade No. 2 in A major, Opus 16
Composed: 1859
First performance: 10 February 1860; Hamburg, Germany
Last MSO performance: February 1997; Neal Gittleman, conductor
Instrumentation: 2 flutes; piccolo; 2 oboes; 2 clarinets; 2 bassoons; 2 horns; violas; cellos; contrabasses
Approximate duration: 29 minutes
Composer Johannes Brahms saw himself as the musical successor to Beethoven, particularly in the symphonic tradition. It was not the proximity of Brahms’s birth (1833) to Beethoven’s death (1827) that engendered these feelings, nor was it a matter of Brahms taking an inflated view of himself. When Brahms was still in his early 20s, he played some of his music for composer and music critic Robert Schumann, who famously wrote that Brahms was, “the heir to Beethoven,” launching the young man into the limelight and terrifying him with that expectation.
The notion of being Beethoven’s musical successor was rather daunting to Brahms for many years — for perfectly understandable reasons. Beethoven had completely redefined the idea of symphonic form and composition as a craft over the course of his nine symphonies. Imagine being asked to pick up where Beethoven had left off with his Symphony No. 9. The idea was so overwhelming to Brahms that he wrote in a letter to a conductor who was a friend his, “I shall never write a symphony! You can’t have any idea what it is like to hear such a great giant marching behind you!” He was already 40 years old when he wrote that letter.
Brahms began writing a symphony in 1854, but gave up on the idea and turned the piece into a sonata for two pianos before scrapping that idea in favor of turning it into a piano concerto. The concerto received a decidedly negative reaction at its premiere, which featured Brahms as the soloist. The following year, he began musical sketches for another symphony, one that would take him about 20 years to complete — 20 years of agonizing over whether he was up to the task. But the 20 years it took Brahms to complete his Symphony No. 1 were not filled with procrastination. Among the many pieces he wrote during this time were his serenades for orchestra, opus numbers 11 and 16. He was employed as a court musician in Detmold at the time, where he had access to an orchestra.
The first of the two serenades sounds a bit bland, in the context of what we know Brahms would go on to compose, but the second is much more in keeping with the orchestral colors and artful phrase structures of Brahms’s later orchestral writing. Brahms omitted violins from the orchestra for this piece, giving it a dark, warm, almost throaty sound and a rather moody feel at times.
Brahms sent the completed second serenade to Robert Schumann’s widow, the piano virtuoso and composer Clara Wieck Schumann, with whom he shared a devoted, complex relationship. She loved it, which gave him the confidence to put it before the public.
Born 11 June 1864; Munich, Germany
Died 8 September 1949; Garmisch-Partenkirchen, West Germany
Concerto No. 1 in E-flat major for Horn and Orchestra, Opus 11
Composed: 1882-83
First performance: 4 March 1885; Meiningen, Germany
Last MSO performance: May 1996; Marin Alsop, conductor; William Barnewitz, horn
Instrumentation: 2 flutes; 2 oboes; 2 clarinets; 2 bassoons; 2 horns; 2 trumpets; timpani; strings
Approximate duration: 16 minutes
When the great German composer Richard Strauss penned his Concerto No. 1 for horn and orchestra, he was not yet the towering musical figure that he would become. In fact, he was just 18 and had recently entered university to study philosophy. So how, you might ask, did a teenaged philosophy student come to write a concerto that would still be a staple in the horn repertoire, and one of the best-known pieces of that repertoire, more than a century later? He did it, in part, by following a bit of advice that fiction writers often offer today: write what you know.
Although Strauss, who had begun composing at age six, was not a virtuoso horn player, his father, Franz, was one of the preeminent horn virtuosi in Europe. The Strauss household had been filled with the sounds of the elder Strauss warming up and practicing throughout Richard’s life. Not only did he understand the range and capabilities of the instrument by the time he wrote this concerto, but he also understood its possibilities. Add to that the fact that even at 18, Strauss was a wonderful melodist, and you begin to see how the enduring concerto came to be. In addition to growing up with phenomenal horn playing in his ears and possessing musical inclinations at a young age, Strauss grew up in a household of great means. His mother, whose maiden name was Pschorr, was the heiress to some of the Hacker-Pschorr brewing fortune. As a result, Strauss received music lessons and exposure to musical performances from an early age. Throughout this piece, one hears an unmistakable, youthful exuberance. For instance, Strauss offers listeners exactly one orchestral chord before launching the solo horn into a ringing, unaccompanied fanfare, which is then revisited and reworked throughout the piece. Additionally, he built the concerto of three linked movements that flow so gracefully into a whole that it can take listeners a few beats to realize that they’ve been ushered into a new movement.
Strauss would come to be seen as a musical successor to Franz Liszt and Richard Wagner and would define the tone poem genre with his Till Eulenspiegel, Don Juan, and An Alpine Symphony. He would also create operas that remain an essential part of today’s opera repertoire. But in this early concerto, listeners can hear influences of Felix Mendelssohn, as well as reminders of the music of Mozart, whom Strauss viewed with great reverence. In fact, Strauss commented numerous times that Mozart’s “Jupiter” symphony, which also appears on this evening’s program, was one of his favorite pieces of music.
Born 27 January 1756; Salzburg, Austria
Died 5 December 1791; Vienna, Austria
Symphony No. 41, K. 551, “Jupiter”
Composed: 1788
First performance: Unknown
Last MSO performance: April 2016; Courtney Lewis, conductor
Instrumentation: flute; 2 oboes; 2 bassoons; 2 horns; 2 trumpets; timpani; strings
Approximate duration: 31 minutes
The world remembers Wolfgang Amadeus Mozart as an astonishing child prodigy, who toured Europe as a young boy, performing with his older sister, Maria Anna (Nannerl) Mozart. Although he matured into a brilliant musician whose music is still heard with awe today, he never received the sort of praise or adulation as an adult that he had as a child. He traveled Europe as a young man, searching for work, but found none. He worked for a time in his hometown of Salzburg, Austria, but found it a stifling cultural backwater after his travels. He eventually moved to Vienna, where he was certain he could make a fine living as a freelance musician. That did not work out at all as he planned.
Although he created musical masterpieces in Vienna, including his opera The Magic Flute, his Requiem, and his Symphony No. 41, “Jupiter” — his longest and by far most intense symphony — along with many others, he struggled to support his wife and their six children, only two of whom survived to adulthood. Although we know a great deal about the creation of much of his music, his last three symphonies, No. 39, No. 40, and No. 41, “Jupiter,” present questions historians have not yet been able to answer.
Mozart wrote the three symphonies, each built of four movements in the late-Classical style, in just six to nine weeks, depending on which historical account you read. During that same time, he was moving his family to a new apartment, grieving the loss of his infant daughter, writing several other pieces, and scrambling to stave off financial disaster. One question about the symphonies haunts historians: why did Mozart, on the brink of financial disaster, write three such consuming works without any promise of payment for them?
History does not tell us with certainty if Mozart heard any of the three symphonies in the three years between their completion and his death. Some historians think he may have heard one of them, and some will say it was likely No. 40. We also don’t know who dubbed Mozart’s final symphony “Jupiter.” His younger surviving son, Franz Xavier Wolfgang Mozart, believed it was Johann Peter Salomon, who wrote an early biography of Mozart, while many historians believe it was British music publisher Johann Baptist Cramer.
What we do know is that these symphonies are still hailed as works of great genius. We also know that Richard Strauss, whose Horn Concerto No. 1 appears on this evening’s program, was an ardent fan of Mozart and often said that Symphony No. 41, “Jupiter,” was among his favorite pieces of music. Even today, more than 230 years after it was written, “Jupiter,” comes across the footlights as an inventive, expressive, contrast-filled, and completely engrossing work of musical genius.
Laurie Shawger joined the second violin section of the Milwaukee Symphony Orchestra in 1989. She grew up in Pennsylvania and earned her Bachelor and Master of Music degrees at The Juilliard School in New York. Ms. Shawger has participated in the MSO’s Arts in Community Education (ACE) program, a nationally recognized in-school education initiative, and the Lullaby Project, a collaboration between the MSO and the Sojourner Family Peace Center. The beauty of music is the power of human connection through the creative expression of the broad range of our experiences of love, loss, and rebounding joy. Ms. Shawger is thankful for the many years of being a part of the MSO and for the MSO’s vital role in our community’s cultural landscape.
Friday, June 16, 2023 at 7:30 pm
Saturday, June 17, 2023 at 7:30 pm
ALLEN-BRADLEY HALL
Ken-David Masur, conductor
Jessica Rivera, soprano
Anna Larsson, mezzo-soprano
Milwaukee Symphony Chorus
Cheryl Frazes Hill, director
Symphony No. 2 in C minor, “Resurrection”
I. Allegro maestoso
Silent Pause
II. Andante con moto
III. In ruhig fließender Bewegung
IV. Urlicht: Sehr feierlich aber schlicht
V. Im Tempo des Scherzos
Jessica Rivera, soprano
Anna Larsson, mezzo-soprano
Milwaukee Symphony Chorus
This weekend’s concerts are dedicated to the memory of POLLY AND BILL VAN DYKE by JULIA AND DAVID UIHLEIN.
The 2022.23 Classics Series is presented by the UNITED PERFORMING ARTS FUND.
The length of this concert is approximately 1 hour and 30 minutes with no intermission.
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.
Possessing a voice praised by the San Francisco Chronicle for its “effortless precision and tonal luster,” Grammy Award-winning soprano Jessica Rivera is one of the most creatively inspired vocal artists performing before the public today. The intelligence, dimension, and spirituality with which she infuses her performances on great international stages has garnered Rivera unique artistic collaborations with many of today’s most celebrated composers, including John Adams, Osvaldo Golijov, and Gabriela Lena Frank, and has brought her together with such esteemed conductors as Gustavo Dudamel, Sir Simon Rattle, Esa-Pekka Salonen, Robert Spano, and Michael Tilson Thomas.
A champion of new music, Rivera recently gave the world premiere of Nico Muhly’s The Right of Your Senses, commissioned by the Los Angeles Philharmonic and performed at Walt Disney Concert Hall. A major voice in the rich culture of Latin American music and composers, Rivera recently performed in Antonio Lysy’s Te Amo Argentina with Arizona Friends of Chamber Music and premiered Gabriela Lena Frank’s Conquest Requiem with the Houston Symphony and Chorus. During the 2021.22 season, Rivera and guitarist Sharon Isbin embarked on a multi-city U.S. tour with a program of Spanish art songs, a project the duo debuted during the 2019 Aspen Music Festival.
Recent orchestral highlights include Golijov’s La Pasión según San Marcos in her debut with the Minnesota Orchestra, Gabriela Lena Frank’s La Centinela y la Paloma with the Aspen Philharmonic Orchestra, and Esa-Pekka Salonen’s Five Images After Sappho with the Colorado Symphony, among many others. Her performance of John Harbison’s Requiem with the Nashville Symphony and Chorus under Giancarlo Guerrero was recorded and released on the Naxos label in October 2018. Her third release for Urtext, an Homage to Victoria de los Angeles, was released in 2022.
Rivera has worked closely with John Adams throughout her career and received international praise for the world premiere of A Flowering Tree, singing the role of Kumudha. Rivera made her European operatic debut as Kitty Oppenheimer in Peter Sellars’s production of Adams’s Doctor Atomic with the Netherlands Opera, a role that also served for her debuts at the Lyric Opera of Chicago, Finnish National Opera, and Teatro de la Maestranza. She joined the roster of the Metropolitan Opera for its new production of Doctor Atomic under the direction of Alan Gilbert.
Rivera serves on the vocal faculty at Miami University in Oxford, OH. www.jessicarivera.com
Anna Larsson graduated from the University College of Opera in Stockholm in 1996. Her international debut followed immediately in Mahler Symphony No. 2 with the Berliner Philharmonic Orchestra and Claudio Abbado, and her opera debut as Erda in Wagner’s Das Rheingold at the Deutsche Staatsoper Berlin, conducted by Daniel Barenboim.
Among her many roles are Kundry in Wagner’s Parsifal, Herodias in Massenet’s Hérodiade, Erda in Wagner’s Siegfried and Fricka in Die Walküre, Delilah in Saint-Saëns’s Samson and Delilah, and Genevieve in Debussy’s Pelleas et Mélisande at theatres including Teatro alla Scala, Vienna State Opera, Bayerische Staatsoper, Salzburg and Aix-en-Provence festivals, the Opéra de Paris, the Royal Opera House in London, Teatro Maggio Musicale in Florence, La Monnaie Brussels, Palau des Arts Valencia, Royal Opera Copenhagen, Finnish National Opera, and the Swedish Royal Opera.
In concert, Larsson is internationally renowned as a consummate interpreter of Gustav Mahler’s works. She regularly sings with the world’s great orchestras including the Berlin Philharmonic, Lucerne Festival Orchestra, New York Philharmonic, Vienna Philharmonic, Chicago Symphony, London Symphony, and London Philharmonic orchestras. She has sung with illustrious conductors including Esa-Pekka Salonen, Daniel Harding, Sir Simon Rattle, Sir Antonio Pappano, Gustavo Dudamel, Alan Gilbert, and Nikolaus Harnoncourt. In December 2010, Larsson was appointed Court Singer by King Carl XVI Gustaf of Sweden, and in 2011, she opened her own concert house, Vattnäs Concert Bam.
Recent engagements have included Erda with Barenboim for the Deutsche Staatsoper with the London Philharmonic Orchestra, Klytemnestra (Elektra) for Deutsche Oper Berlin, Zia Principessa (Suor Angelica) for Malmö Opera, Royal Swedish Opera, and Den Norske Opera, Erda (Siegfried) for Musikhuset Esbjerg, and Waltraute (Gotterdammerung) at MUPA Bupdaest. On the concert platform, recent appearances have included Wesendoncklieder with the Barcelona Symphony Orchestra, Das Lied von der Erde for the Ludwigsburger Schlossfestspiele, Mahler’s Symphony No. 2 and Beethoven’s Mass in C with the LA Philharmonic, and Maher’s Symphony No. 2 with the Singapore Symphony Orchestra, the Orchestre National de Lyon, and with the Orchestra of Teatro alla Scala.
In 2022.23, Larsson returns to the operatic stage as Klytemnestra (Elektra) for Den Norske Opera. On the concert platform, Larsson sings Das Lied von der Erde with Lucerne Symphony Orchestra and for the NOVA Chamber Music Series Utah, Mahler’s Symphony No. 3 for Orquesta Sinfónica de Castilla y León, Sao Paulo State Symphony, and Utah Symphony, Mahler’s Symphony No. 2 on tour with the Rotterdam Philharmonic Orchestra and the Milwaukee Symphony Orchestra, and Verdi’s Requiem with the Trondheim Symphony Orchestra.
Born 7 July 1860; Kaliště, Czech Republic
Died 18 May 1911; Vienna, Austria
Symphony No. 2 in C minor, “Resurrection”
First performance: 13 December 1895; Berlin, Germany
Last MSO performance: June 2011; Edo de Waart, conductor; Twyla Robinson, soprano; Kelley O’Connor, mezzo-soprano
Instrumentation: 4 flutes (1st, 2nd, 3rd, and 4th doubling on piccolo); 4 oboes (3rd and 4th doubling on English horn); 4 clarinets (3rd doubling on bass clarinet, 4th doubling on 2nd E-flat clarinet); E-flat clarinet; 4 bassoons (3rd and 4th doubling on contrabassoon); 9 horns; 6 trumpets; 4 trombones; tuba; 2 timpani; percussion (bass drum, chimes, cymbals, glockenspiel, snare drum, suspended cymbals, tam tam, triangle); 2 harps; organ; strings
Approximate duration: 1 hour and 20 minutes
Gustav Mahler’s monumental Symphony No. 2, “Resurrection,” touches something universal in listeners: loss, longing, and the contemplation of death. Some of the reason for the emotions it elicits in listeners clearly lies in his use of melodic and harmonic language and his choice of texts. But his own emotional state as he stopped working on the piece and then returned to it, completing it seven years after he began, is undoubtedly at the heart of the piece’s expressive power.
Although we remember Mahler as the composer of nine completed symphonies, some incomparable Lieder, and of course, his orchestral song cycle, Das Lied von der Erde (The Song of the Earth), he was much better known during his career as one of the most respected conductors of his day than as a composer. The fact that composing was secondary to conducting in his musical life gives some explanation for the span of seven years it took him to write his Symphony No. 2, but does not provide the entire picture.
Mahler began this piece in 1888 as he was working on completing his Symphony No. 1. He completed the single-movement tone poem that would eventually become the first movement of his Symphony No. 2 by the end of the year, but couldn’t decide if he should incorporate the tone poem into the new symphony or not. He also wrote a bit of the second movement, but that’s where he paused.
In 1889, Mahler’s personal world began to crumble. His father died in February, followed by one of his sisters in September, and his mother in October. Reeling from the enormity of those losses, Mahler had to take on the role of parent to his four younger siblings. All of this occurred as he was suffering multiple painful and debilitating health issues himself. To cap off the year, Mahler’s Symphony No. 1 premiered in November in Budapest. It was not at all well received.
Mahler did, of course, return to his Symphony No. 2, but did not complete it until 1894. In it, he calls for a large orchestra, a chorus, and two vocal soloists: a soprano and a mezzo-soprano. He explores the theme of death in this piece as he would in varying degrees with each of his symphonies.
The first movement, which is dramatic and distinctly funereal in character, is contrasted by a simple second movement that resembles a Ländler folk dance. Mahler asked for a long pause after the first movement to soften the contrast between the two movements.
The third movement is a setting of a German folk song from Des Knaben Wunderhorn (The Youth’s Magic Horn), a book of German folk poems and songs that Mahler loved and that inspired a number of his pieces. The song depicts St. Anthony of Padua’s sermon to the fishes. The fourth movement, “Urlicht” (Primal Light), is exquisite in its simplicity. Mahler’s marking for the movement reads “very solemn but simple.”
Mahler described his inspiration for the piece’s final movement, saying, “It flashed on me like lightning, and everything became clear in my mind!” That lightning strike occurred when Mahler heard a hymn that was based on a German poem at the funeral of conductor Hans von Bülow. Mahler said, “It was the flash that all creative artists wait for.”
Mahler’s music was generally not well received during his lifetime. It was not until after World War II, and thanks to the efforts of conductors Leonard Bernstein, Bruno Walter, and a few others, that orchestras began playing Mahler’s works. Today those works are pillars of the orchestral repertoire, and Mahler is hailed as a brilliant composer and an essential link between the Romantic and Modern musical eras.
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Tuesday, June 20, 2023 at 7:30 pm
ALLEN-BRADLEY HALL
Ken-David Masur, conductor
Joshua Bell, violin
ANTONÍN DVOŘÁK
Symphony No. 8 in G major, Opus 88
I. Allegro con brio
II. Adagio
III. Allegretto grazioso
IV. Allegro ma non troppo
ERNEST CHAUSSON
Poème for Violin and Orchestra, Opus 25
Joshua Bell, violin
MAX BRUCH
Concerto No. 1 in G minor for Violin and Orchestra, Opus 26
I. Vorspiel: Allegro moderato
II. Adagio
III. Finale: Allegro energico
Joshua Bell, violin
This evening’s performance is sponsored by ELLEN & JOE CHECOTA
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.
With a career spanning almost four decades, Grammy Awardwinning violinist Joshua Bell is one of the most celebrated artists of his era. Having performed with virtually every major orchestra in the world, Bell continues to maintain engagements as soloist, recitalist, chamber musician, conductor, and music director of the Academy of St Martin in the Fields.
Born in Bloomington, Indiana, Bell began the violin at age four, and at age 12, began studies with his mentor, Josef Gingold. At age 14, Bell debuted with Riccardo Muti and the Philadelphia Orchestra, and made his Carnegie Hall debut at age 17 with the St. Louis Symphony. At age 18, Bell signed with his first label, London Decca, and received the Avery Fisher Career Grant. In the years following, Bell has been named 2010 Instrumentalist of the Year by Musical America, a 2007 “Young Global Leader” by the World Economic Forum, nominated for six Grammy Awards, and received the 2007 Avery Fisher Prize. He has also received the 2003 Indiana Governor’s Arts Award and a Distinguished Alumni Service Award in 1991 from the Jacobs School of Music. In 2000, he was named an Indiana Living Legend.
Bell has performed for three American presidents and the justices of the Supreme Court of the United States. He participated in former president Barack Obama’s Committee on the Arts and Humanities’ first cultural mission to Cuba, joining Cuban and American musicians on a 2017 Live from Lincoln Center Emmy nominated PBS special, Joshua Bell: Seasons of Cuba, celebrating renewed cultural diplomacy between Cuba and the United States.
Joshua Bell appears by arrangement with Park Avenue Artists (www.parkavenueartists.com) and Primo Artists (www.primoartists.com). Bell records exclusively with Sony Classical - a MASTERWORKS label.
Born: 8 September 1841; Nelahozeves, Austria
Died: 1 May 1904; Prague, Czech Republic
Symphony No. 8 in G major, Opus 88
Composed: 1889
First performance: 2 February 1890; Prague, Czech Republic
Last MSO performance: March 2023; Jonathon Heyward, conductor
Instrumentation: 2 flutes (2nd doubling piccolo); 2 oboes (2nd doubling English horn); 2 clarinets; 2 bassoons; 4 horns; 2 trumpets; 3 trombones; tuba; timpani; strings
Approximate duration: 34 minutes
For the sake of clarity, it’s worth pointing out that we are about hear the eighth of the nine symphonies written by Czech composer Antonín Dvořák, which was originally published as his Symphony No. 4. If you find yourself a bit confused as to the numbering of Dvořák’s symphonies, join the club. He wrote his symphonies over the course of about 30 years, but they were not published in any logical order. His first four symphonies were not published during his lifetime. Although the last five of his symphonies were published during his lifetime, they were published in the in the following order: 6, 7, 5, 8, 9, but bearing the numbers 1,2, 3, 4, 5, respectively. A definitive edition of Dvořák’s works was published in the middle of the 20th century, putting all nine symphonies in chronological order and numbering them accordingly. But earlier publications, complete with their rather whimsical numbering, existed in orchestra, conservatory, and university libraries, as well as on recordings, for many years. Some still exist today, as does some confusion as to which number refers to which symphony.
Dvořák wrote his Symphony No. 8 in 1889 at his beloved summer home in Bohemia. He worked on it from late August through early November and conducted its premiere in Prague on February 2, 1890. The Boston Symphony performed the U.S. premiere of the piece in 1892, which is important because the majority of Dvořák’s music was not heard outside what is now the Czech Republic until well into the 20th century. Even in his homeland, Dvořák did not receive much recognition for his music until rather late in his career. The fact that his music was published in the first place is credited to German composer Johannes Brahms, to whom Dvořák sent some of his scores. Brahms was so impressed with the music that he put Dvořák in touch with his publisher, Simrock. Not only did Simrock publish some of Dvořák’s music immediately, but the publishing house drew up a first-option contract for any of the composer’s future works. Simrock did not publish this symphony, although they did offer Dvořák a paltry sum for the rights to do so. It was eventually published by Novello in London and has often been called his “English” symphony, having nothing to do with the music, nor where it was written, but because of the British publisher.
The first two movements of the symphony are somewhat mercurial in temperament, vacillating between major and minor passages, and creating bright expressions of joy contrasted with decidedly darker passages. The third movement features a lovely, gently poignant folk dance, followed by a fourth movement that opens with a trumpet fanfare before delivering elegant, yet sunny, music and a wonderfully rousing finale. This piece has been called the most original, intimate, and bucolic of Dvořák’s symphonies, and many hear it as a depiction of the Bohemian countryside he loved so dearly.
Born: 20 January 1855; Paris, France
Died: 10 June 1899; Limay, France
Poème for Violin and Orchestra, Opus 25
Composed: 1896
First performance: 27 December 1896; Nancy, France
Last MSO performance: April 2014; Rossen Milanov, conductor; Frank Almond, violin
Instrumentation: 2 flutes; 2 oboes; 2 clarinets; 2 bassoons; 4 horns; 2 trumpets; 3 trombones; tuba; timpani; harp; strings
Approximate duration: 16 minutes
French composer Ernest Chausson dutifully followed his father’s wishes and studied law, rather than following his heart and studying music — at least for a while. Living in Paris, he became a lawyer in 1877, the same year he wrote his first piece of music. Chausson had displayed an interest in music from a young age, along with a sensitive, nervous disposition that led to periods of depression when he was an adult. Some historians have conjectured that the nervousness stemmed from what we would call “helicopter parents” today. After losing their two older sons, they became extremely protective of young Ernest. Chausson’s parents were also quite wealthy, which allowed him to explore his creative interests after he finished his legal training.
Living on family money, Chausson dabbled in visual art and literature before immersing himself in music. He studied with prominent French composers, including Jules Massenet and César Franck, at the Paris Conservatoire. He also traveled to Bayreuth to hear the music of Richard Wagner. Once back in Paris, Chausson began writing music in earnest, became secretary of the French National Society of Music, and hosted a salon that drew some of the most prominent performers and composers of the day. Composer Claude Debussy became an ardent supporter of Chausson’s music, even after the two had a personal falling-out.
Unfortunately, Chausson’s deep anxiety about the quality of his works and his struggles with depression haunted him throughout his adult life. Some biographers have conjectured that his death, caused by the bicycle he was riding crashing into a brick wall, was suicide. Despite his struggles with mental illness, Chausson built a glowing reputation as a composer, creating music that was seen as inventive, charming, and distinctive, yet still containing the reserved character that was a hallmark of French music.
Among the relatively few pieces Chausson wrote in his 22-year career are vocal music, piano pieces, a symphonic poem, a lyric drama, and even an opera in Richard Wagner’s leitmotif style. But his most popular, enduring piece remains his Poème for violin and orchestra, written in 1896 while he was vacationing in Florence, Italy. He wrote it at the request of virtuoso violinist Eugène-Auguste Ysaÿe (known at the time as “The King of the Violin”). Ysaÿe’s “premiere” of the piece consisted of his sightreading it at a party in Spain. Even in such circumstances, the piece made such an impression that Ysaÿe had to play three encores of it. The single-movement Poème is built of gorgeous lyrical, expressive, sometimes-moody violin lines, and the double-stops (two notes played at once) for which Ysaÿe was famous — and which he added to the piece after receiving it from Chausson.
Born: 6 January 1838; Cologne, Germany
Died: 2 October 1920; Berlin-Friedenau, Germany
Concerto No. 1 in G minor for Violin and Orchestra, Opus 26
Composed: 1866
First performance: 7 January 1868; Bremen, Germany
Last MSO performance: October 2021; Ken-David Masur, conductor; Frank Almond, violin
Instrumentation: 2 flutes; 2 oboes; 2 clarinets; 2 bassoons; 4 horns; 2 trumpets; timpani; strings
Approximate duration: 24 minutes
Max Bruch, a highly regarded German composer of the Romantic era, is not one of the “three Bs” of classical music (Bach, Beethoven, and Brahms). Even so, his Violin Concerto No. 1 holds a distinction one might justifiably assume belongs to a concerto by a household-name composer: the concerto remains such a favorite of violinists and audiences that it is one of today’s most frequently performed violin concertos. It has been called “the world’s most popular violin concerto,” which smacks of hyperbole while still speaking to the piece’s tremendous popularity. Violinists often refer to it simply as “the Bruch,” as though the composer’s other two violin concertos and his Scottish Fantasy for violin and orchestra don’t exist. The popularity of this concerto began during Bruch’s lifetime. One of his sons recalled Bruch’s exasperation at receiving an invitation to conduct yet another performance of the concerto. Bruch apparently blurted, “The g-minor concerto again! I couldn’t bear to hear it even once more! My friends, play the second concerto, or the Scottish Fantasy for once!” Bruch would likely be delighted to know that his Scottish Fantasy is quite popular today.
Bruch was well educated and had a conversational command of several languages, including English, which served him well during his years conducting the Liverpool Philharmonic Society. He was very highly regarded in his day, both as a composer and conductor, and held several prestigious conducting posts in Germany before taking the Liverpool post late in his career. He and Johannes Brahms were friends, which made it rather difficult for Bruch when Brahms’s music and reputation continually overshadowed his own. At a time in which the classical world was divided between those who favored the conservative music of Brahms and those who favored the more modern sounds of Franz Liszt, Bruch stood firmly in the Brahms camp.
Bruch wrote more than 200 pieces, including several operas, choral music, vocal pieces, and chamber music. Despite its undisputed popularity, writing his Violin Concerto No. 1 was difficult for Bruch. He began working on it in 1864 and wrote to a friend more than a year later, saying it was not progressing quickly and that he was not sure he could write a concerto. Bruch withdrew the concerto immediately after its 1866 premiere and began working on it again. He would say later that he rewrote the piece at least six times before the 1868 performance of its final version. Alongside this concerto and the Scottish Fantasy, Bruch’s other tremendously popular piece is his lyrical Kol Nidre for cello and orchestra. It is based on a bit of Jewish liturgical music given to him by a member of a choir he directed. The piece’s expressive beauty led to a mistaken belief that the German Lutheran composer was of Jewish descent and resulted in a ban on his music in Germany during the Nazi era.
Friday, June 23, 2023 at 7:30 pm
Saturday, June 24, 2023 at 7:30 pm
Sunday, June 25, 2023 at 2:30 pm
ALLEN-BRADLEY HALL
Yaniv Dinur, conductor
Massamba Diop, percussion
FEATURE FILM WITH ORCHESTRA
There will be one intermisssion
This weekend’s media sponsor is WISCONSIN PUBLIC RADIO.
Today’s performance lasts approximately 2 hours and 45 minutes, including a 20 minute intermission. The performance is a presentation of the complete film Black Panther with a live performance of the film’s entire score. Out of respect for the musicians and your fellow audience members, please remain seated until the conclusion of the end credits.
Starring
CHADWICK BOSEMAN
MICHAEL B. JORDAN
LUPITA NYONG’O
DANAI GURIRA
MARTIN FREEMAN
DANIEL KALUUYA
LETITIA WRIGHT
WINSTON DUKE with ANGELA BASSETT with FOREST WHITAKER and ANDY SERKIS
Music by LUDWIG GÖRANSSON
Executive Producers
LOUIS D’ESPOSITO
VICTORIA ALONSO
NATE MOORE
JEFFREY CHERNOV
STAN LEE
Produced by KEVIN FEIGE, p.g.a.
Written by RYAN COOGLER & JOE ROBERT COLE
Directed by RYAN COOGLER
This film is rated PG-13
Original Score Album available on MARVEL MUSIC / HOLLYWOOD RECORDS at Disneymusicemporium.com
Presentation licensed by Disney Concerts in association with Marvel Studios, All rights reserved. ©2021 MARVEL.
Massamba Diop is one the most renowned masters of the tama, a “talking drum” from Senegal, known for its abilities to replicate the sounds of human speech. Before the advent of telephones and radio, it was the tama that announced important events and sent messages between villages. Recognizing the central role talking drums play in African cultures, composer Ludwig Göransson decided to put it and Diop front-and-center of his Grammy® and Oscar®-winning score for Marvel’s Black Panther. In 2021, Diop collaborated with the LA Philharmonic to bring Black Panther to the stage, premiering Black Panther in Concert at the Hollywood Bowl. Diop continues to tour with the show worldwide. To date, he has appeared as its featured soloist for over 50 performances in over 20 cities and four continents. Diop also contributed to the score of Black Panther: Wakanda Forever, and appeared on-screen in the film’s opening scenes.
But by the time of Black Panter, Diop was already a seasoned figure on the world music scene. He first came into the limelight as lead percussionist and founding member of Daande Lenol (The Voice of the People), the band of Senegalese superstar Baaba Maal, receiving a Grammy® nomination for their album Firin’ in Fouta. Diop has gone on to record and perform with music greats like James Brown, Mumford & Sons, Carlos Santana, Herbie Hancock, Afro-Celt Sound System, and Carlinhos Brown. He also appeared on Peter Gabriel’s landmark release “Passion,” which won a Grammy, and he has made several appearances with Playing for Change’s “Songs around the World.” Diop is a Remo Percussion endorsed artist, and in 2016 he helped design and launch the Tamani Talking Drum, the first mass-produced tama available to the public.
In 1993, Diop and percussionist Tony Vacca co-founded the Senegal-America project, a grassroots cultural exchange program sponsoring various educational, healthcare, and artistic initiatives on both continents. Diop and Vacca tour the northeast United States each year with a variety of performances and school programs, from their Northampton, Massachusetts, base. Other regular collaborators include Surabhi Ensemble in Chicago, Walo Walo in Portland, Oregon, and Total Rhythm in San Francisco. He currently calls Columbus, Ohio, home.
Ludwig Göransson is a Swedish film composer and record producer who has earned extensive global recognition in both the recording and motion picture industries, having received an Academy Award®, two Emmy® Awards, and three Grammy® Awards, amongst a variety of other nominations. Göransson has written scores for acclaimed films like Black Panther, Creed I and II, Fruitvale Station, Tenet, and most recently, Black Panther: Wakanda Forever, in addition to his TV composer credits, including beloved shows such as Community, The Mandalorian, and New Girl. His work on Black Panther: Wakanda Forever earned him an Academy Award® nomination for co-writing the soundtrack’s lead single “Lift Me Up,” which also marked Rihanna’s much-hyped return to solo music and debuted at #2 on the Billboard Hot 100. Upcoming, Göransson composed the score for Christopher Nolan’s highly anticipated film Oppenheimer, set to be released July 21. As a songwriter, Göransson is best known for his longtime work with Childish Gambino, including co-writing and co-producing 2018’s “This Is America,” which went on to win Grammy® Awards for Record and Song of the Year (the first rap song to achieve this). He has also collaborated with Travis Scott, Alicia Keys, Vampire Weekend, and Adele, among others, earning a Grammy® nomination for Album of the Year for his work on the latter’s critically acclaimed 30
Friday, June 30, 2023 at 7:30 pm
Saturday, July 1, 2023 at 7:30 pm
ALLEN-BRADLEY HALL
Yaniv Dinur, conductor
ROBERT SHAW
RICHARD DREYFUSS
Co-starring LORRAINE GARY
MURRAY HAMILTON
A ZANUCK/BROWN PRODUCTION
Screenplay by PETER BENCHLEY and CARL GOTTLIEB
Based on the novel by PETER BENCHLEY
Music by JOHN WILLIAMS
Directed by STEVEN SPIELBERG
Produced by RICHARD D. ZANUCK and DAVID BROWN
A UNIVERSAL PICTURE
The length of performance is approximately 2 hours and 40 minutes with one 20-minute intermission.
Tonight’s program is a presentation of the complete film Jaws with a live performance of the film’s entire score, including music played by the orchestra during and after the end credits. Out of respect for the musicians and your fellow audience members, please remain seated until the conclusion of the music.
Jaws is a trademark and copyright of Universal Studios. Licensed by Universal Studios. All Rights Reserved.
Jaws ©1975 now available on Blu Ray/DVD
Jaws in Concert produced by Film Concerts Live!, a joint venture of IMG Artists, LLC and The Gorfaine/Schwartz Agency, Inc.
Producers: Steven A. Linder and Jamie Richardson
Director of Operations: Rob Stogsdill
Production Manager: Sophie Greaves
Production Assistant: Katherine Miron
Worldwide Representation: IMG Artists, LLC
Technical Director: Mike Runice
Music Composed by John Williams
Music Preparation: Jo Ann Kane Music Service
Film Preparation for Concert Performance: Ramiro Belgardt
Technical Consultant: Laura Gibson
Sound Remixing for Concert Performance: Chace Audio by Deluxe
The score for Jaws has been adapted for live concert performance.
With special thanks to:
Universal Pictures, Amblin Entertainment, Steven Spielberg, John Williams, Michael Silver, Patrick Koors, Tammy Olsen, Lawrence Liu, Thomas Schroder, Tanya Perra, Chris Herzberger, Noah Bergman, Jason Jackowski, Shayne Mifsud, Darice Murphy, Mike Matessino, Mark Graham and the musicians and staff of the Milwaukee Symphony Orchestra.
This weekend’s media sponsor is WISCONSIN PUBLIC RADIO.
In a career spanning more than six decades, John Williams has become one of America’s most accomplished and successful composers for film and the concert stage. He remains one of our nation’s most distinguished and contributive musical voices. He has composed the music for more than 100 films, including all nine Star Wars films, the first three Harry Potter films, Schindler’s List, E.T. the Extra-Terrestrial, Jaws, Jurassic Park, Saving Private Ryan, Lincoln, Close Encounters of the Third Kind, Superman, and the Indiana Jones films. He served as music director of the Boston Pops Orchestra for 14 seasons and remains their laureate conductor. He has composed numerous works for the concert stage including two symphonies and more than a dozen concertos commissioned by some of America’s most prominent orchestras. He has received five Academy Awards and 53 Oscar nominations, seven British Academy Awards, 25 Grammys, four Golden Globes, and five Emmys. His other honors include the Kennedy Center Honors, the National Medal of Arts, an honorary KBE from Queen Elizabeth II, the Life Achievement Award from the American Film Institute, Spain’s Princess of Asturias Award for the Arts, and the Gold Medal from the UK’s prestigious Royal Philharmonic Society.
When I first saw Jaws, I didn’t quite fully realize what a wonderful opportunity it presented for the orchestra to play a very personal role in the accumulated effect of the film. Steven Spielberg and I had reservations about the “thump-thump” motif of the principle musical theme. But it was fun and it seemed to have worked.
It’s thrilling for both Steven and me to realize that this unique film still captures the imagination of viewers after so many years, and that audiences now can enjoy the movie live in concert, accompanied by a magnificent orchestra like the Milwaukee Symphony Orchestra.
This is the greatest possible reward for the joyous and fun-filled task of making Jaws.
Every school offers your child an education, but not every education offers the returns you want for your son or daughter. Home to innovative curricula and master teachers who truly know, value, support, and challenge their students, The Prairie School isn’t just one of the finest private, independent schools in the country, it’s a community whose mission it is to grow better, together.
Prairie is an aspirational school for aspirational families – committed to doing inspirational work that develops leaders in every field. If this sounds like the place for your family, come for a tour to see how TPS helps students become more mindful, respectful, and curious about the world around them.
The Milwaukee Symphony Orchestra thanks our individual donors for their generous support of the 2022 MSO Annual Gala.
Mrs. Susan Arensmeier
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For more information on becoming a Musical Legacy Society member, please contact the Development Office at 414.226.7891.
The Milwaukee Symphony Orchestra truly values the music lovers in the concert hall and we thank our contributors to the Annual Fund for investing their time and support to this treasure. We gratefully acknowledge the contributions to the Annual Fund as of March 1, 2023.
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Lynn and Tom Kassouf
Jane and Tom Lacy
Mary E. Lacy
Frank Loo and Sally Long
Dr. and Mrs. Debesh Mazumdar
Guy and Mary Jo McDonald
Mark and Carol Mitchell
William and Laverne Mueller
Raymond and Janice Perry
David J. Peterson
Kathryn Koenen Potos
Barbara Recht
Susan Riedel
Ann Rosenthal and Benson Massey
Dottie Rotter
Judy and Tom Schmid
Rev. Doug and Marilyn Schoen
Paul and Frances Seifert
Greg and Marybeth Shuppe
Mrs. George R. Slater
Roger and Judy Smith
Dr. and Mrs. C. John Snyder
Jim Strey
John and Anne Thomas
Larry and Adrienne Waters
Ann and Joseph Wenzler
$1,500 and above
Seven Anonymous Donors
Jantina and Donald Adriano
Ruth Agrusa
Dr. Joan Arvedson
Richard and Sara Aster
Margaret and Bruce Barr
Jacqlynn Behnke
Richard Bergman
Elliot and Karen Berman
Mrs. Kristine Best
Roger Bialcik
Virginia Bolger
Dr. and Mrs. Squat Botley
Cheri and Tom Briscoe
Marcia P. Brooks and Edward J. Hammond
Ms. Dori Brown
James Brown and Ann Brophy
Barbara and Dr. Henry Burko
Karen and Harry Carlson
Teri Carpenter
Edith Christian
Mr. and Mrs. Thomas F. Christie
Lynda and Tom Curl
Paul Dekker
Mr. and Mrs. Thomas Dougherty
Art and Rhonda Downey
Sigrid Dynek and Barry Axelrood
Signe and Gerald Emmerich, Jr.
Shirley Erwin
Joseph and Joan Fall
Mr. and Mrs. A. William Finke
Kimberly Gerber
Jane K. Gertler
Colette Goldammer
James and Sarah Gramentine
Greater Milwaukee Foundation
Donna and Tony Meyer Fund
Randall J. and Judith F. Hake Family Foundation
Amber Halvorson
Leila and Joe Hanson
Judith and David Hecker
Robert Hey
Terry Huebner
Barbara Hunteman
Robert S. Jakubiak
Maja Jurisic and Don Fraker
Dr. Bruce and Anna Kaufman
Dr. Jack and Myrna Kaufman
Mr. and Mrs. F. Michael Kluiber
Julilly Kohler
Milton and Carol Kuyers
Maritza and Mario Laguna
Drs. Kaye and Prakash Laud
Larry and Mary LeBlanc
Mr. and Mrs. Mark Levy
Bruce and Elizabeth Loder
Kathleen Lovelace
Dr. John and Kristie Malone
Mr. and Mrs. Dean Mehlberg
Gregory and Susan Milleville
Richard and Isabel Muirhead
Jean A. Novy
Laurie Ocepek
Lynn and Lawrence Olsen
Susan M. Otto
Dr. David Paris
Jamshed and Deborah Patel
Gerald T. and Carol K. Petersen
Cathy P. Procton
Philip Reifenberg
Drs. Walter and Lisa Rich
Emily and Mike Robertson
Dr. and Mrs. David Y. Rosenzweig
Margaret Ruscetta
Lawrence and Katherine Schnuck
Ms. Betty Jean Schuett
Dr. and Mrs. Kevin R. Siebenlist
Margles Singleton
Richard and Sheryl Smith
Leonard Sobczak
Joan Spector
Kathy and Salvatore Spicuzza
Mr. James Stanke
Jeff and Jody Steren
Ian and Ellen Szczygielski
Joan Thompson
Mr. Stephen Thompson
R. James and Jean Tobin
Sara Toenes
Mike and Peg Uihlein
Mr. and Mrs. Lynn F. Unkefer
James Van Ess
Lauren Vollrath
Nancy Vrabec and Alastair Boake
Michael Walton
Rolland and Sharon Wilson
John Winter
Prati and Norm Wojtal
Lee and Carol Wolcott
Jim and Sandy Wrangell
Mr. William Zeidler
$1,000 and above
Two Anonymous Donors
Drs. Helmut and Sandra Ammon
Betty Arndt
Paul Barkhaus
Steven Barney
James and Nora Barry
Mr. James M. Baumgartner
Jack Beatty
Mr. and Mrs. Ronald Beckman
Fiesha Lynn Bell
Dianne and David Benner
Mr. Lawrence Bialcik
Karen and Geoffrey Bilda
Robert Borch and Linda Wickstrom
Karen and Russell Brooker
Dr. and Mrs. James D. Buck
Tom Buthod
Ms. Trish Calvy
David and Oksana Carlson
Ms. Carol A. Carpenter
Tim and Kathleen Carr
Dr. Curtis and Jean Carter
Mr. and Mrs. Richard J. Cecil
Mr. John Chain
B. Lauren and Margaret Charous
Margaret Cieslak-Etlicher
Nicole and Jack Cook
Glen and Karen Copper
Ellen Debbink
Mrs. Linda DeBruin
Ms. Kristine Demski
Thomas C. Dill
Madison Dohmen
Gloria and Peter Drenzek
Don and Nora Dreske
Mary Ann Dude
Thomas Durkin and Joan Robotham
Tina Eickermann
Mr. Donald Elliott
Jill and George Fahr
Anne and Dean Fitzgerald
Stan and Janet Fox
Pearl Mary Goetsch
Ralph and Cherie Gorenstein
Greater Milwaukee Foundation
Dresselhuys Family Fund
Jay Kay Foundation Fund
Mr. and Mrs. James Grigg
Douglas and Margaret Ann Haag
Dale and Sara Harmelink
Charles W. Helscher
Jean and John Henderson
Dr. Sidney and Suzanne Herszenson
Jenny and Bob Hillis
Jeanne and Conrad Holling
Laura and James Holtz
Mr. Jeffrey L. Hosler
Mr. and Mrs. James H. Hunter III
Kathryn and Alan Janicek
Amy S. Jensen
Faith L. Johnson
Mary and Charles Kamps
Eileen Kehoe and Bud Reinhold
Patrick and Jane Keily
Jane Kivlin and Thomas Kelly
Robert and Dorothy King
Joseph W. Kmoch
Jonathan and Willette Knopp
Julie and Michael Koss
Dr. and Mrs. John Krezoski
Dale and Barbara Lenz
John and Janice Liebenstein
Matt and Patty Linn
Ann Loder
Bruce and Elizabeth Loder
Richard and Roberta London
Stephen and Jane Lukowicz
Joan Maas
Stephen and Judy Maersch
Mike and Jamy Malatesta
Mr. Peter Mamerow
Sara and Nathan Manning
Jennifer McClure
Joan McCracken
Joni and Joe McDevitt
Debra and Jeffrey Metz
Christel Mildenberg
Theodore and Kelsey Perlick Molinari
Christine Mortensen
Molly Mulroy
David and Gail Nelson
Dr. and Mrs. James T. Paloucek
Douglas E. Peterson
Mr. and Thomas Quadracci
Francis J. Randall
Seth Rawson
Lysbeth and James Reiskytl
Roberta and David Remstad
Karen and Paul Rice
Werner and Carol Richheimer
Dan and Anna Robbins
Kevin Ronnie and Karen Campbell
Russell and Emily Sagmoen
Allen and Millie Salomon
Keri Sarajian and Rick Stratton
Wilbert and Genevieve Schauer Foundation
Martin Schreiber
Lois and Stephen Schreiter
Donald and Judith Schultz
Phil Schumacher and Pauline Beck
Mark and Deborah Schwallie
Bob and Sally Schwarz
Fred and Ruth Schwertfeger
Scott Silet
Susan Skudlarczyk
Barbara and Everett Smith
Mr. Reeves E. Smith
Ken and Dee Stein
Bonnie L. Steindorf
Ann Stevens
Sally Swetnam
David Taggart and Terry Burko
Rebecca and Robert Tenges
Tim and Bonnie Tesch
Dean and Katherine Thome
Mr. and Mrs. James S. Tidey
Drs. Steven and Denise Trinkl
Constance U’Ren
Ruth A. Way
Henry J. Wellner and James Cook
Jerome and Bonnie Welz
Robert and Barbara Whealon
A. James White
Robert and Lana Wiese
Mr. and Mrs. James Wigdale
Linda and Dan Wilhelms
Ron and Alice Winkler
Frank and Inge Wintersberger
Daryl and Bonnie Wunrow
Gertrude and Richard Zauner
BRAVO
The Milwaukee Symphony Orchestra is grateful for the members of Bravo, our young professionals donor membership program. Thank you for making an impact on the MSO and broader community through your support and engagement.
Britt Blackwelder
Danielle Boyke
Ashley Brinkman
Elizabeth and Robert Draper
Matt and Victoria Haas
Dan and Krista Hettinger
Matthew and Alicia Hunt
Tina Itson
Benjamin Ivey
Kaleigh Kozak
Jacob Magnusson
TJ and Kelsey Molinari
Esteé Tanel O’Connor and Walter Zoller
Jessica and Paul Pihart
Monica D. Reida
Sarah E. Rieger
Monica Rynders
Russell and Emily Sagmoen
Cyreia Sandlin
Michael Schaner
Allison Schnier
Brian Schwellinger
Megan Sorenson
GALA CORPORATE
The Milwaukee Symphony Orchestra thanks our Corporate Sponsors for their generous support of the 2022 Annual Gala.
Baird Private Wealth Management
BMO Harris Bank
CD Smith Construction Services
Ernst & Young, LLP
FIS Global
Godfrey & Kahn, S.C.
Johnson Controls, Inc.
Kahler Slater
Kujawa Enterprises, Inc.
ManpowerGroup
Marietta Investment Partners
Northern Trust
Northwestern Mutual
Old National Bank
PricewaterhouseCoopers LLP
Quarles
Rite-Hite
Rockwell Automation
U.S. Bank
We Energies Foundation
CORPORATE & FOUNDATION
The Milwaukee Symphony Orchestra truly values the generosity of musicloving patrons in the concert hall and throughout the community. We especially thank our Corporate and Foundation contributors for investing their time and support to this treasure. We gratefully acknowledge contributions from:
$1,000,000 and above
United Performing Arts Fund
$250,000 and above
Argosy Foundation
The Lynde and Harry Bradley
Foundation
Laskin Family Foundation
$100,000 and above
Herzfeld Foundation
Rockwell Automation
$50,000 and above
Bader Philanthropies, Inc.
Greater Milwaukee Foundation
Milwaukee Symphony Orchestra Fund
Johnson Controls
Melitta S. and Joan M. Pick Charitable Trust
U.S. Department of Homeland Security
$25,000 and above
Anonymous
Chase Family Foundation
Greater Milwaukee Foundation
Gertrude Elser and John Edward Schroeder Fund
Helen and Jeanette Oberndorfer Fund
Norman and Lucy Cohn Family Fund
Krause Family Foundation
Milwaukee County Arts Fund (CAMPAC)
Old National Bank
R.D. and Linda Peters Foundation
Schoenleber Foundation, Inc.
U.S. Bank
WEC Energy Group
Wisconsin Department of Tourism
$15,000 and above
A.O. Smith Foundation, Inc.
Bert L. & Patricia S. Steigleder Charitable Trust
Gladys E. Gores Charitable Foundation
Kahler Slater
Komatsu Mining Corp Foundation
National Endowment for the Arts
Wisconsin Arts Board
$10,000 and above
BMO Harris Bank
Brewers Community Foundation
Charles D. Ortgiesen Foundation
The Cudahy Foundation
Greater Milwaukee Foundation
David C. Scott Foundation
William A. and Mary M Bonfield, Jr. Fund
Ellsworth Corporation
Jane Bradley Pettit Foundation
Northwestern Mutual
Ralph Evinrude Foundation
William and Janice Godfrey Family Foundation
Wispact Foudation
$5,000 and above
ANON Charitable Trust
Gene and Ruth Posner Foundation, Inc.
General Mills Foundation
Greater Milwaukee Foundation
Roxy and Bud Heyse Fund/Journal Fund
Julian Family Foundation
MGIC Investment Corporation
Milwaukee Arts Board
Schwartz Foundation
$2,500 and above
Brico Fund
Camille A. Lonstorf Trust
Dean Family Foundation
Enterprise Holdings
Greater Milwaukee Foundation
David Wells Household
ELM II Fund
Henry C., Eva M., Robert H. and Jack J. Gillo Charitable Fund
Margaret Heminway Wells Fund
Hamparian Family Foundation
Hydrite Chemical Co.
Richard G. Jacobus Family Foundation
Theodore W. Batterman Family Foundation
$1,000 and above
Albert J. & Flora H. Ellinger Foundation
Anthony Petullo Foundation, Inc.
Clare M. Peters Charitable Trust
Delta Dental
Einhorn Family Foundation
Ellis Family Charitable Fund
FIS Global
Foley & Lardner LLP
Greater Milwaukee Foundation
Bechthold Family Fund
Cottrell Balding Fund
Del Chambers Fund
Eleanor N. Wilson Fund
George and Christine Sosnovsky Fund
Irene Edelstein Memorial Fund
Mildred L. Roehr & Herbert W. Roehr Fund
Joan and Fred Brengel Family Foundation, Inc.
Townsend Foundation
Usinger Foundation
$500 and above
Anonymous
AmazonSmile Foundation
Bell Foundation
Greater Milwaukee Foundation
Carrie Taylor and Nettie Taylor
Robinson Memorial Fund
Nancy E. Hack Fund
Robert C. Archer Designated Fund
Steinway Piano Gallery of Milwaukee
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
BMO Harris Bank
Bucyrus Foundation, Inc.
Dominion Foundation
Eaton Corporation
Fiduciary Partners
GE Foundation
Google Intel Foundation
Johnson Controls Foundation
Kohl’s Corp.
Northwestern Mutual
Reader’s Digest Foundation
Rexnord Foundation Matching Gift
Thrivent Financial
U.S. Bank
United Way of Greater Atlanta
United Way of Metropolitan Chicago
Wisconsin Energy Corporation
GOLDEN NOTE PARTNERS
The MSO gratefully acknowledges the following organizations for their gifts of product or services:
88Nine Radio Milwaukee
Becker Design
Belle Fiori – Official Event Florist of the MSO
The Capital Grille
Central Standard Craft Distillery
Coakley Bros. Co.
Colectivo Coffee
Downer Avenue Wine & Spirits
Drury Hotels
Encore Playbills
Exceptional Events
GO Riteway Transportation Group
Godfrey & Kahn, S.C.
Hilton Milwaukee City Center and Milwaukee ChopHouse Kohler Co.
Marcus Hotels & Resorts
Milwaukee Journal Sentinel
Ogletree Deakins
Saint Kate – The Arts Hotel –Official Hotel of the MSO
Sojourner Family Peace Center
Steinway Piano Gallery of Milwaukee
Studio Gear – Official Event Partner of the MSO
Thomas and Mary Wacker
Wisconsin Public Radio
THE 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
In memory of Mary Ann
Abrahamson
Linda Budlow
Suzanne and Roger Chernik
Patricia Drumm
Ms. Katie A. Heil
In memory Dorothy Aring
Mary and James Connelly
Scott Coonen and Anitamarie Zingale
Mr. and Mrs. Richard Frank
Molly Fritz
LFF Foundation
Lee and Susie Jennings
Daniel Petry
Michael and Jeanne Schmitz
Vera Wilson
In memory of J. Mark Baker
Juliana Fortune
Kathleen and Charles Marn
In memory of Mark Barr
Colleen Bergen
Brenda Kaplan
Vashti and Luke Lozier
Robert and Hanna McDermott
In memory of Dennis and Barbara
Benjamin
Marie Zelmer
In memory of Stan Bluestone
Stephen and Frances Richman
In memory of David A. Blumberg
David and Sherry Blumberg
Lucy Cooper
Naomi and Reuben Eisenstein
Gary Engle
Kelsi Gard
Raul Gomez
Mark Lukoff
Richard and Mary Lux
Jay and Barbara Miller
Suzanne Millett
Drs. Alan and Carol Pohl
Howard and Judy Tolkan
David Weissman and Miriam Schechter
Norma Zehner
Margaret Zickuhr
In memory of Dr. Charles Brindis
Calvin Bruce
In honor of Richard Cecil
Barbara Cecil
In honor of Ellen Checota’s 80th birthday
Donna and Donald Baumgartner
Ms. Katie A. Heil
Jodi Peck
Dr. James and Dorothy Stadler
Mr. and Mrs. L. William Teweles
Jodi Peck and Les Weil
In memory of Wayne Cook
Greg and Julie Bradisse
Art and Rena Thomas Bumgardner
James Collier and Bette Jean Vanderburg
Anne DeLeo
Anne DeLeo and Patrick Curley
Jim and Marlene Gauger
Mary Ann Goodman
Mr. and Mrs. Michael Hauer
Dave and Debbie Holmes
Richard Kruse
David Kuehn
Tom and Judy Kurtin
Ms. Clare Leslie
Ms. Lynn M. Lucius and Mr. Richard Taylor
Patricia Marek
Mr. Ehud Moscovitz and Ms. Shelley London
Susan Mrnik
Daniel Petry
Al Schefsky
Bernice Smaida
Kathy Stokebrand Spore and Keith Spore
Winifred and Arthur Thrall
Jennifer, Gabe, Susie and Lisa Vulpas
In memory of Russ Dagon
Joanne Bauer
Mary Bell
Paulette Berkich
Michael and Catherine Borschel
Dr. and Mrs. Squat Botley
Terry Burko and David Taggart
Chris and Katie Callen
Donald Chappie
Steve Cohen
Stephen Colburn
Eric and Lynn Delzer
Beth Giacobassi
Phillip Harvey
Lee and Barbara Jacobi
Ms. Mary Jirovec
Hal and Jean Kacanek
Joe Kutchera
Paul Mehlenbeck
Hannah Pearson
Michael Poytinger
Kyle Pyne
Beth Rees
Ms. Helen Reich
Roger B. Ruggeri and Andrea K. Wagoner
Dean and Martha Sayles
Dr. and Mrs. Mark A. Schrager
Robert Schultz
Gary and Jan Small
Karen P. Smith and Donald Haack
Gwen Tushaus
Mark Ulmer
Linda Unkefer
Shawn Verdoni
Anne de Vroome Kamerling
Gary Wagner
Carl Welle
Michael Welsh
Lynn and Roger White
Mr. and Mrs. Steve Whitney
In memory of Ellen Debbink
Mr. Andrew C. Debbink
In memory of James DeLeeuw
Bob and Barbara Whealon
In memory of Nicholas C. De Leo, M.D.
Nicholas and Maurine De Leo
In Memory of Don Devona
Ms. Joan Maas
In honor of Neil Dinesen on his 90th birthday
Mr. James M. Green
In honor of Carlotta Durand
Carla Durand
In memory of Lois Ehlert
Patricia and Richard Ehlert
In memory of Alan I. Ettinger
Ms. Suzy B. Ettinger and Ms. Sally B. Waters
In honor of Mr. John T. Evans
Dr. James and Dorothy Stadler
In honor of the 60th Wedding
Anniversary of Joanne and Ed
Filmanowicz
Mrs. James Urdan
In memory of Anne Fitzgerald
Michael and Jeanne Schmitz
Mrs. James Urdan
Bob and Barbara Whealon
In memory of Matt Flaig
Trinidad Torres
In memory of Florence and Glen
Fraser
Lisa Gilvary
In memory of Charles Gorham
Michael Schmitz
Bob and Barbara Whealon
In memory of Doyne Haas
Ellenbecker Investment Group, Inc.
Carolyn Berry
Terry Burko and David Taggart
John Cabaniss
Donald and Judy Christl
Mary and James Connelly
Howard and Eileen Dubner
Leon and Betsy Janssen
Christel Mildenberg
Robin and Todd Naughton
David Roemer
Linda and Gile Tojek
Carol and James Wiensch
In honor of Marilyn Hagerman
Michael and Marilyn Hagerman
In honor of Dr. Cheryl Frazes Hill
Mary Helgren
In honor of William R. and Charlotte
S. Johnson
Bill and Char Johnson
In honor of Alyce Katayama
Steven and Buffy Duback
In memory of Janie Klug
Bob and Barbara Whealon
In memory of Mary Knudten
Clair and Mary Baum
In memory of Patricia Knuth
Jennifer Jesse
In memory of Nancy and Arthur
Laskin
Joan J. Hardy
In memory of Dr. Keith Austin Larson
Austin Larson
Rev. Curtis A. Larson
Suzanne Zinsel
In memory of Susan Loris
Anonymous
Terry Burko and David Taggart
Mark and Susan Cohen
James and Charmaine LaBelle
Kathleen and Charles Marn
Nellie Martens Murphy
Daniel Petry
Kathryn and ZJ Reinardy
Susi and Dick Stoll
The Tomashek Family
Mrs. James Urdan
In memory of Susan Loris from the MSO League Past Presidents
Mark and Susan Cohen
Mary Connelly
Judy Christl
Anne DeLeo and Patrick Curl
Eileen Dubner
Marta Haas
Jean Holmburg
Barbara Hunt
JoAnne Krause
Kathryn and Zachary-John Reinardy
Maggie Stoeffel
The Tomashek Family
Linda Tojek
Linda and Lynn Unkefer
Mrs. James Urdan
In honor of Peter Mahler’s birthday
Linda Gorens-Levey and Michael Levey
In recognition of Susan Martin’s service on the MSO Board
James Berkes and Mary Beth Pieprzyca Berkes
Ms. Caroline Ham
In honor of Robert Meldman
Drs. Alan and Carol Pohl
In memory of Michael McCabe
Sharon Adams
Fred and Kay Austermann
Gary Balcerzak and Thomas Ewing
George and Patricia Barger
Carolyn Bellin
James and Helen Benton
Joyce and Carl Budde
Elizabeth Ladu Carrier
John Cefalu
Sharon Chudy
Charles and Stephanie Cruse
Anne Davis
Sandra Degeorge
Beth and Ted Durant
Dr. and Mrs. Brenton Field
Bill and Kari Foote
Sharon Gardner
James and Jenny Gettel
Joseph Grafwallner
Susan Gramling
Kathyrn Hall
Mrs. and Mrs. Michael Hauer
Betsy Head
Donald and Marian Heinz
Jeffrey and Susan Heyen
Christine Hill
Jacquelyn Holland
Ms. Sally D. Holt
Dave and Anne Hynek
Cynthia E Jensen
Ms. Anne Kebisek
Dorothy Kerr
Linda Krause
Dr. Michael J. Krco
Mordecai Lee
Mary and Earl Lillydahl
Beth Logan
Chuck and Linda Malone
Eric Master
Jeffrey McCabe
Dennis McEvoy
Catherine and Patrick McGinn
Cynthia Michalak
Mary Michalak
Michelle Murphy
Jean Palkert
Ildiko Poliner
David Raday
Ellen Redeker and Steven Harvey
Patrick and Noreen Regan
Karol Rehm
Mary Jane Reichart
Lauri Rollings
Mr. Darren Schacht
Carl and Barbara Schwartz
James and Mary Jo Sebern
Carole and Kevin Shafer
Karen Spinti and James Hempel
John Suchorski
Mike and Barbara Sweeney
Gary and Susan Tatsak
Bonnie Thomson
Taylor Tinmouth
Marybeth Trampe
Robert and Joanne Vandenbusch
Elizabeth Vogel
Kathy Wagner
William and Christine Walker
Diane W. Wirth
Barbara Wollermann
In honor of the Milwaukee Symphony Orchestra Musicians
Dennis and Patricia DuBoux
Patricia Rieselbach
In honor of Andy Nunemaker with wishes for many happy years in his new home
Mrs. James Urdan
In honor of Brian Packham’s Milwaukee Premiere
Bob Bronzo
In memory of Mary G. Peterson
David J. Peterson
Gretchen Saunders
In honor of Adrienne Pollack-Sender on her milestone birthday
Mrs. James Urdan
In memory of David Reber
James and Charmaine LaBelle
Gretchen Saunders
Marie and Gary Zellmer
In memory of Allen Rieselbach
Mr. and Mrs. Anthony w. Asmuth, III
Richard and Sara Aster
Margery Becker
Richard and Kay Bibler
Dr. Philip and the spirit of Beatrice
Blank
Bruce and Melissa Block
Mark and Sharon Cameli
Mary and James Connelly
Valeria Downey
Dr. Howard and Eileen Dubner
Thomas Florsheim
Susan Freeman and Richard Kahn
G. Frederic and Elizabeth Friedman
Judith Goetz
Joan J. Hardy
Benedict and Lee Kordus
Norm and Judy Lasca
Jim and Mary LaVelle
Mr. and Mrs. Shelby Lozoff
Ann MacIver
Mr. and Mrs. Robert C. Mandel
Frederick Muth
Stephen and Frances Richman
Pat and David Rierson
Michael Schmitz
Michael and Jane Simpson
Nicole Teweles
Gile and Linda Tojek
Joan and the Spirit of Jim Urdan, Jennifer, Jon, and Jeff
Elizabeth Walcott
In honor of the wedding of Tracy
Rogers and Tom Tavolier
John and Catherine Crichton
In memory of I. Carl Romer
Beulah Romer Erickson
In memory of John Sawchuk
Daniel Sawchuk
In memory of Debra Schaefer
Karen Copper
In honor of Gonzalez Schlenker
Francisco Schlenker
In honor of Bob Schuppel
Sarah Cauwels
In honor of Thomas L. Smallwood
David and Julia Uihlein
In memory of Thomas St. John
Bobbi and Jim Caraway
In memory of Jim Tobin
Bobbi and Jim Caraway
Mary Em Kirn
Norm and Judy Lasca
In memory of Edie Bonness Tomsyck
Kamaile Anderwald
Maureen Bonness
Timothy Dykstal
Patty Giuffre
Mrs. Robert Gross
Chris Lambach
Robert Mueller
Guy Tomsyck
In honor of David Uihlein and Julia A. Uihlein
Mrs. James Urdan
In honor of Polly & Bill Van Dyke
Anonymous
In honor of Tom Varney
Stanley Kokotiuk
In memory of Judy Wagner
Terry Burko and David Taggart
Imy Schley
In memory of Donald R. Whitaker
Dr. Marcia JS Richards
In honor of Peter Wicklund and Ruby Shemanski
Ms. Linda Jenewein
In memory of Anne T. White
A. James White
Susan Martin, Chair
Andy Nunemaker, Immediate Past Chair
David Uihlein, Honorary Co-Chair
Julia Uihlein, Honorary Co-Chair
Gregory Smith, Secretary
Patrick Murphy, Treasurer; Chair, Finance Committee
Douglas M. Hagerman, Chair, Chairman’s Council
Ken-David Masur, Music Director, Polly and Bill Van Dyke Music Director Chair
Mark Niehaus, President & Executive Director, Michael and Jeanne Schmitz Chair
Susan Martin, Chair
Andy Nunemaker, Immediate Past Chair
Douglas M. Hagerman Chair, Chairman’s Council
Eric E. Hobbs
Robert Klieger, Chair, Players’ Council
Patrick Murphy, Treasurer; Chair, Finance Committee
Mark Niehaus, President & Executive Director, Michael and Jeanne Schmitz Chair
Maura Packham, Chair, Equity, Diversity, & Inclusion (EDI) Task Force
Michael J. Schmitz
Gregory Smith, Secretary, Chair, Governance Committee
Dick Stoll, Chair, Marketing & Advocacy Committee
Haruki Toyama, Chair, Artistic Direction Committee
Kate Brewer
Jeff Costakos
Jennifer Dirks
Steve Hancock
Charlotte Hayslett
Alyce Coyne Katayama
Peter Mahler, Chair, Grand Future Committee
Mark A. Metzendorf, Chair, Advancement Committee
Christian Mitchell
Robert B. Monnat
Leslie Plamann, Chair, Audit Committee
Craig A. Schmutzer
Jay E. Schwister, Chair, Retirement Plan Committee
Dale R. Smith
Herb Zien, Chair, Facilities Management Committee
City
Sachin Chheda
Pegge Sytkowski
Francis Wasielewski
County
Fiesha Lynn Bell
Chris Layden
Garren Randolph
MUSICIAN DIRECTORS
Robert Klieger, Chair, Players’ Council
Ilana Setapen, Player-at-Large
CHAIR’S COUNCIL
Douglas M. Hagerman, Chair
Chris Abele
Richard S. Bibler
Charles Boyle
Roberta Caraway
M. Judith Christl
Mary Connelly
Donn R. Dresselhuys
Eileen G. Dubner
Franklyn Esenberg
Marta P. Haas
Jean Holmburg
Barbara Hunt
Leon P. Janssen
Angela G. Johnston
Judy Jorgensen
James A. Kasch
Lee Walther Kordus
Michael J. Koss
JoAnne Krause
Martin J. Krebs
Keith Mardak
James G. Rasche
Stephen E. Richman
Michael J. Schmitz
Thomas L. Smallwood*
Joan Steele Stein
Linda Tojek
Joan R. Urdan
Larry Waters
Kathleen A. Wilson
MSO ENDOWMENT & FOUNDATION TRUSTEES
Bruce Laning, Trustee Chairman, Endowment & Foundation
Amy Croen, Endowment & Foundation
Steven Etzel, Endowment & Foundation
Douglas M. Hagerman, Endowment & Foundation Bartholomew Reuter, Endowment & Foundation
David Uihlein, Foundation
PAST CHAIRMEN
Andy Nunemaker (2014-2020)
Douglas M. Hagerman (2011-2014)
Chris Abele (2004-2011)
Judy Jorgensen (2002-2004)
Stephen E. Richman (2000-2002)
Stanton J. Bluestone* (1998-2000)
Allen N. Rieselbach* (1995-1998)
Edwin P. Wiley* (1993-1995)
Michael J. Schmitz (1990-1993)
Orren J. Bradley* (1988-1990)
Russell W. Britt* (1986-1988)
James H. Keyes (1984-1986)
Richard S. Bibler (1982-1984)
John K. MacIver* (1980-1982)
Donn R. Dresselhuys (1978-1980)
Harrold J. McComas* (1976-1978)
Laflin C. Jones* (1974-1976)
Robert S. Zigman* (1972-1974)
Charles A. Krause* (1970-1972)
Donald B. Abert* (1968-1970)
Erhard H. Buettner* (1966-1968)
Clifford Randall* (1964-1966)
John Ogden* (1962-1964)
Stanley Williams* (1959-1962)
* deceased
Mark Niehaus, President & Executive Director, Michael and Jeanne Schmitz Chair
Bret Dorhout, Vice President of Artistic Planning
Tom Lindow, Vice President & Chief Financial Officer
Monica K. Meyer, Vice President of Advancement
Kathryn Reinardy, Vice President of Marketing & Communications
Rick Snow, Vice President of Facilities & Building Operations
Cynthia Moore, Human Resources, Diversity & Inclusion Manager
Michele Fitzgerald, Executive Assistant & Board Liaison
Michael Rossetto, Senior Director of Advancement & Major Gifts
William Loder, Director of Advancement
Maggie Seer, Director of Institutional Giving
Kathryn Hausman, Individual Giving Manager
Krista Hettinger, Individual Giving Manager
Elise McArdle, Grant Writer
Tracy Migon, Development Systems Manager
Lindsey Ruenger, Donor Stewardship & Engagement Manager
Emma Zei, Advancement Coordinator
EDUCATION & COMMUNITY ENGAGEMENT
Rebecca Whitney, Director of Education
Hannah Esch, Senior Education & Engagement Manager
Courtney Buvid, Education Coordinator
Cathy O’Loughlin, Controller
Jenny Beier, Senior Accountant
Alexa Aldridge, Staff Accountant
Erin Kogler, Director of Communications
Marcella Morrow, Director of Marketing
Lizzy Cichowski, Marketing Manager
Adam Cohen, Patron Systems Manager
David Jensen, Marketing & Communications Coordinator
Zachary-John Reinardy, Lead Designer
Kerry Tomaszewski, Communications Manager
Luther Gray, Director of Ticket Operations & Group Sales
Al Bartosik, Box Office Manager
John Hallman, Patron Services Assistant
Marie Holtyn, Box Office Supervisor
Emma Eckes, Christine McElligott, Lily Nyman, Rora Sanders, Tifani Ziemba
Françoise Moquin, Director of Orchestra Personnel
Terrell Pierce, Director of Operations
Kayla Aftahi, Operations Coordinator
Constance Aguocha, Assistant Personnel Manager
Paul Beck, Principal Librarian, Anonymous Donor, Principal Librarian Chair
Kelsey Padron, Artistic Coordinator
Paolo Scarabel, Stage Technician & Deck Supervisor
Emily Wacker Schultz, Artistic Associate
Jeremy Tusz, Audio & Video Producer
Tristan Wallace, Technical Manager & Live Audio Supervisor
Christina Williams, Chorus Manager
FACILITIES & EVENT SERVICES
Patrick G. H. Schley, Director of Event Services
Travis Byrd, Facilities Coordinator
Sam Hushek, Events & Volunteer Manager
Lisa Klimczak, House Manager
David Kotlewski, House Manager
Zed Waeltz, Senior House Manager
Anthony Andronczyk, Ky Catlett, Eliana Kiltz, Roger Kocher, Luke Maillefer, Brennan Martinez, Cynthia Nord, Ashley Patin, Steve Pfisterer, Carlos Rojo, Amy Rook, Amelia Schaetzke, Anne Sempos, Michael Stebbins, Jack Waeltz, Elliot White, Heather Whitmill
Together, we are expanding human possibility in our communities –helping nurture the next generation of builders, makers and innovators.
