La Crosse Symphony 2017 Program Book

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Contents

In Case of Emergency

5 The 20/30 Club 6 President’s Message 7 Board of Directors & Staff 8 Orchestra Members 9 Educational Programs 12 Alexander Platt

85 86 87 92 93 94

13 Biography 17 October 21 Concert 27 November 18 Concert 35 December 15 & 16 Concert 41 January 20

Welcome

43 Valentine Ball 47 March 17 Concert 56 Play it Forward 57 Conductor Wannabe 58 Percussion Project 60 April 14 Driftless Concert 63 May 5 Concert 74 June 9 Concert 80 LSO Contributors

• Nov. 18, 2017

Please locate the exit nearest your seat. If an emergency should develop, move quickly and carefully to that exit when directed by the ushers or Stage Manager.

Wheelchairs Wheelchair locations are available on the main floor and lower balcony at the Viterbo University Fine Arts Center.

Please call the Symphony Office if you would like further information or a wheelchair location: 783-2121.

Please..

Turn off cell phones or leave them in your car. No smoking, food, or drinks are allowed in the theatre at Viterbo. Taking pictures or using recording equipment is prohibited.

In-Kind Gifts Corporate Partners Memorials/Legacy Society Guest Artist Society Endowment Heim Legacy

Welcome Letter

Rising Stars Concerto Competition

Season Sponsors

www.facebook.com/lacrossesymphony www.facebook.com/lacrossesymphony

to the 2017-18 Season

Concert Dates: • Oct. 21, 2017 • Dec. 15 & 16, 2017 • Jan. 20, 2018 (Rising Stars Concerto Competition) • March 15, 2018 (Symphony for Youth) • March 17, 2018 • May 5, 2018 • June 9, 2018

Thank you for supporting the Arts!

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LSO Office Hours & Ticket Info The LSO office is open from 8:00 a.m. to 5:00 p.m., Monday through Friday, and is located at 201 Main Street, Suite 230, La Crosse, WI 54601. Our offices are housed within the US Bank building in downtown La Crosse. Tickets are sold for all concerts at the Viterbo University EAST Box office on the nights of the performances starting at 5:30 p.m. For your convenience, you can reach the LSO office through the following:

Voice: (608) 783-2121 Fax: (608) 783-3121 E-mail: accountant@lacrossesymphony.org Website: www.lacrossesymphony.org Facebook: www.facebook.com/lacrossesymphony Twitter: www.twitter.com/laxsymphony

Bravo!

The La Crosse Symphony Orchestra extends SPECIAL THANKS to

for our office space at 201 Main St., Suite 230, La Crosse, WI 54601

Website - Check it Out! Meridian created and maintains the La Crosse Symphony Orchestra’s website as a generous donation. Find information about concerts, Symphony events, musicians, and educational opportunities. Use the site to place ticket orders, volunteer, or make contributions to the LSO. Take a look at www.lacrossesymphony.org.

Large Format Printing

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Posters, Feather Flags, Banners, Retractable Banners, Tradeshow Displays, Canvas Prints, Tablecloths, & Directors Chairs

Jackson Plaza – La Crosse

608.784.2110 You’ll love us even more!

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La Crosse Symphony 20/30 Club The 20/30 Club is designed to reach out to those between the ages of 18 to 39 who may not regularly have the opportunity to attend a symphony concert. The 20/30 Club members are eligible to receive $10 best available seats to La Crosse Symphony Orchestra concerts located at the Viterbo Fine Arts Center. *Some restrictions may apply.

HOW DOES THE 20/30 CLUB WORK? Simply sign up on our website lacrossesymphony.org for The 20/30 Club, and we’ll send you the coupon code to use online to receive the discount. No membership fees, no rush lines – just world-class music at an extremely affordable price.

ONCE YOU RECEIVE YOUR COUPON CODE… Pick any regular LSO concert.

Choose your seats and enter the coupon code at checkout. Bring your ID to will-call the day of the concert to get your tickets. Enjoy live world-class music! Repeat this process as many times as you like throughout the entire season. Join The 20/30 Club now!

Post-Concert

RECEPTION Everyone is welcome!

Please join our conductor and guest artists after each concert for coffee in the Fine Arts Lobby area.

COFFEE PROVIDED BY

If you have any questions contact LSO Executive Director,

Tracy Gaskin

tracyf@lacrossesymphony.org. www.lacrossesymphony.org

608.783.2121 ext. 2 www.facebook.com/lacrossesymphony

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Welcome to the 120th season of the La Crosse Symphony Orchestra. As I start my first year as President of the LSO, I cannot help but reflect on the progress we have made over the last decade. Notable progress has been made in several regards.

These would include musically, artistically, financially and community integration. In my opinion, one area that stands out the most is integrating the community into the LSO and reciprocally integrating the LSO into the community. This is a two-way street. Several programs reflect this movement toward collaboration. A few that stand out are the Play it Forward initiative, the revised format of the Conductor Wannabe campaign and the Percussion Project.

JAY JAEHNKE Board President of the La Crosse Symphony Orchestra

The Play It Forward initiative involves individuals contributing unused instruments which are reconditioned and loaned to children at the Boys & Girls Clubs of Greater La Crosse. The LSO provides free lessons to those kids. Collaboration…

Three years ago the format of the Conductor Wannabe campaign was changed. Rather than just raising funds for the LSO, we asked each Wannabe to pick a nonprofit to receive half of the monies raised by that individual Wannabe conductor.

Collaboration…

This past June, we kicked off our Percussion Project. For roughly the past 20 years, the LSO has borrowed its percussion instruments from Onalaska High School. Over time these instruments, through regular use by the LSO, Onalaska High School and La Crosse Area Youth Symphony, needed to be replaced. These three organizations formed a committee to assess their collective needs and embarked on a $60,000 campaign to replace and add additional percussion instruments. About three months later, we had obtained our goal and beyond.

Collaboration…

Collaboration… it’s not just a buzz word at the LSO. Collaboration fosters community, synergies and efficiency. Plus, it just feels good. Do you have ideas on further collaboration?

I would love to hear from you.

Now sit back, relax and enjoy the

Passion.

Jay Jaehnke Jay Jaehnke LSO Board President

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Administrative Staff The mission of the Symphony is “to provide excellent symphonic music for the pleasure of the public in the tri-state region, educate people of all ages in the symphonic repertoire and tradition, and encourage student and professional musicians to develop and share their musical talents and skills.”

Tracy Gaskin EXECUTIVE DIRECTOR

Board of Directors 2017-18 President-JAY JAEHNKE JAY JAEHNKE, CFP, CPA, Vice President/Investments at Stifel Nicolaus. Jay works with business owners, professionals and retirees to build and manage their wealth.

“I wanted to serve on the LSO board because of my passion for music and desire to serve the community in ways that involve both my interests and talents.”

Jan Henry FINANCE & OPERATIONS MANAGER

Vice President-JENNIFER KLOEHN JENNIFER KLOEHN Sales Director, The Waterfront Restaurant “I am excited to be part to the LSO Board. Attending the symphony has always been a magical experience for me...

Inspiring, meaningful, and a treat for the senses. The richness of the sound, the physical movement, intense interaction between the audience, conductor and musicians speaks to the emotional experience that is the symphony. The La Crosse Symphony plays an important role in our vibrant and growing community and I am dedicated to helping it continue to flourish.”

Sean Dostal OPERATIONS & PERSONNEL MANAGER

Treasurer-RANDY VAN ROOYEN RANDY VAN ROOYEN, CFA Vice President – Investments at Trust Point, Inc. Randy helps lead the Investment Management Group at Trust Point and works with families, corporations and charitable organizations on their respective investment managers needs. “ It is an honor to serve on the LSO Board, to work with a group of passionate community volunteers interested in advancing the tradition and culture the LSO brings to our community through all of their educational programs and performances.”

Aaron Lewis PRODUCER/EQUIPMENT MANAGER

Artistic Staff

Secretary-MARILYN ARNDT MARILYN ARNDT retired from the La Crosse School District in 2011, after a 37-year career as a teacher.

“Music has always been a strong interest for me as a student when I was growing up and continuing throughout my entire life. Serving on the Symphony Board is a way for me to stay connected to one of my passions and to serve the community in support of making the arts available to others and making the arts an important part of the La Crosse region culture.”

PAST PRESIDENT Ken Riley EXECUTIVE MEMBERS AT LARGE

Greg Brickl Jane Rada

BOARD OF DIRECTORS Jan Brock Lu Cagin Eric Erickson Diane Foust Nancy Gerrard Bill Koutsky Steve Michaels Annette Mikat Joan Parke

Eva Marie Restel Janet Roth Connie Smith ORCHESTRA REPRESENTATIVE

Sean Dostal BOARD EMERITUS

Mary Ann Gschwind Dick Record David Reedy

Thank you to our office volunteers Char Lebakken and Art & Kathy Ingalls

Alexander Platt MUSIC DIRECTOR Arlys Whitaker PROGRAM NOTES Wes Luke CONCERTMASTER Brett Huus RECORDING ENGINEER Chad Gilbeck IT SPECIALIST Larry Frohmader HEAD USHER INTERNS Brianna Berg Amanda DeBoer McKenna Fell Emmalee Kick Taylor Klokow

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Orchestra Members Violin 1 Section sponsored by Larry & Carolyn Furlong Char Lebakken

Concertmaster: *Wes Luke Associate Concertmaster: Michelle Elliott Assistant Concertmaster: Eric Bate Lauren Cooper Kristina Gullion Anne Judisch Brad Lebakken Amy Lindstrom

Violin 2

*Mark Wamma Molly Breitlow Nicole Cody Eden Ehm Nori Hadley Kris Jenkins Linda Lebakken David Phipps Margit Speckeen Carole Schoonover Rolf Wulfsberg

Viola

Section sponsored by Becky Post & David Maddocks

*Sean Dostal **Luke Hubbard **Mikko Utevsky Elizabeth Becker Paul Price-Brenner Éva Tibbetts John Vettel

Cello

Section sponsored by Brinker Family Foundation & Anonymous Connie Arneson

*Kyle Price **Seung Jin Cha **Jonathan Hodges Kathy Boarman Theresa Drake Cindy Johnson

Bass

Co-acting Principals: *Blake Bonde *Eric Solberg Michael Eastwood Doug Nelson

Flute/Piccolo Section sponsored by Tom & Charmaine Uphaus

*Carol Hester Barbara Tristano Bethany Gonella

Oboe

Section sponsored by Charles & Lu Cagin & Alex & Jackie Vaver

*MaryBeth Hensel Gregory Baker Tim Shows

Clarinet

*Michael Chesher

French Horn Acting Principal: *Sarah Gillespie Kelly Heidel Dafydd Bevil Spencer Koscik Tammy Bartz

Trumpet

Section sponsored by Richard & Lizbeth Reynertson Richard & Joan Marchiando Charles & Shirley Haas

*Laura Chesher John Cord Patrick Gonsalves

Trombone

Section sponsored by Bob & Janet Roth

*Joseph Greer George Von Arx Jesus Arellano

Tuba

*Mike Forbes

Harp

*Elinor Niemisto

Piano/Celeste *Pamela Kelly

Bass Clarinet Timpani *Kristy Femal

*Tammy Fisher

Bassoon

Percussion

Section sponsored by Bob & Janet Roth

*Dan Breining Harry Hindson Jeff Copp

Section sponsored by Burleigh and Mary Jane Randolph

*Richard MacDonald James Knutson

*-Principal Players

**-Associate Principals LOA-Leave of Absence

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Educational Programs ANNUAL STRING SCHOLARSHIPS: On Saturday, June 17, 2017, auditions were held to award twelve (12) scholarships for area string players. One of the twelve scholarships will be awarded to a violin student who participates in the After School Violin Lessons at the Boys and Girls Club. These scholarships are awarded on the students’ merit, potential progress, and perceived goals and desires.

THE SCHOLARSHIP INCLUDES THE FOLLOWING: •

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Twenty lessons with an LSO musician with one-half tuition covered Tuition towards membership with the La Crosse Youth Symphony Orchestra Two complimentary season tickets

CONGRATULATIONS TO OUR RECIPIENTS: Cierra Butler, Agnes Falter, Dominic Falter, John Falter, Sam Lakmann, Megan Lynch, Delia Mortell, Nathan Olson, Noah Stigeler, Nate Terpstra, Arista Whitson

STRING SCHOLARSHIP PROGRAM SPONSOR: Bill Koutsky Norene A. Smith Memorial

STRING SCHOLARSHIPS: Johnson Block Cindi & Deak Swanson Diane Foust & Jim Nelson Marilyn & Jerry Arndt Two Educational Sponsorships in honor of Amy Mills Three Educational Sponsorships provided by the Norene A. Smith Memorial Joan & George Parke Ron & Jane Rada Thomas & Charmaine Uphaus

SYMPHONY FOR YOUTH This well-established program is implemented by the musicians, staff, and volunteers of the LSO. It is the only project of its kind in the La Crosse area and is truly unique! The La Crosse Symphony for Youth program has been enriching the musical experience of over 2,500 students annually. The www.facebook.com/lacrossesymphony

concert is geared towards students in third through fifth grades. These concerts act as an introduction to the full orchestra experience for our area youth.

There are three performances, scheduled for March 15, 2018 at 11 a.m., 12:15 p.m., and 1:30 p.m.

Invitations to music teachers and homeschool parents across the area have already been sent; reservations are being taken. Teachers and parents have been informed about the theme and repertoire.

It is our hope that these concerts will inspire a love of orchestral music and the development of a future audience for our wonderful La Crosse Symphony Orchestra!!! The youth are our future!!

PROGRAM FOR SYMPHONY FOR YOUTH 2018 CONCERT: Mozart: First Movement from “Eine Kleine Nachtmusik” Saint-Saëns: “The Carnival of the Animals,” with Ben Smith and Victor Spaeth, pianos

MAJOR SPONSORS: Ronald McDonald House Charities of Western Wisconsin and Southeastern Minnesota

ADDITIONAL SUPPORT: BNSF Foundation, Xcel Energy Foundation, Herb Kohl Charities, La Crosse Community Foundation & the Ella F. Ambrosius Fund and US Bank Foundation Media Sponsor: WXOWChannel 19

Additional educational programs are found on pages: 41 & 56

“Music is the universal language of mankind.”

Henry Wadsworth Longfellow

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Western Wisconsin and Southeastern Minnesota

Bringing enjoyment and music education to over 3,000 students a year...

Symphony for Youth SUCCESS IN SOCIETY:

Music is the fabric of our society, and music can shape abilities and character. Students in band or orchestra are less likely to abuse substances over their lifetime. Musical education can greatly contribute to children’s intellectual development as well.

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Dear friends, Welcome to the 2017-18 season of the La Crosse Symphony Orchestra. From the opening strains of Brahms’ Second Symphony to the jubilant final chords of one of the other great Second Symphonies of all time, that of Sergei Rachmaninov, it’s going to be another magnificent year. Indeed, Passion is our Symphony theme this season: from music expressing the surging passions of life, to music expressing another kind of passion -- more like a universal force, that cannot be conveyed in words but rather is that divine, ineffable spirit that makes us come back to the concert hall again and again, to experience the singular magic of live performance. From beloved popular masterworks like Nights in the Gardens of Spain and Rhapsody in Blue, to monumental concertos played by international soloists, to the celebration of the solo artistry of principal players from our own LSO family -- the 2017-18 season of symphonic grandeur truly has it all.

Through your support, and through the devoted work of our board, staff, wonderful musicians and volunteers, we’re able to ascend greater and greater musical heights, as we continue our amazing journey together. Once again, this season will be full of gorgeous music, and soloists whose work will leave you breathless. Ultimately the quality of the music we produce is a reflection of this great community in our Coulee Region, and the values we all share. I just feel so privileged to bring all of this music to you, and I look forward to seeing you at all our concerts -- and also just simply around town, as I get to know this beautiful place more and more.

Here’s to another glorious season, and to your steadfast support of the LSO! Musically yours,

Alexander Platt Alexander Platt LSO Music Director

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Alexander Platt’s Biography ALEXANDER PLATT is in constant demand as an American conductor and music director, holding four concurrent posts in the Hudson River Valley and the Upper Midwest. He is Music Director of the La Crosse Symphony Orchestra, the Wisconsin Philharmonic Orchestra, and he recently retired from the Marion Philharmonic in Indiana, after 21 years in the post. He spends his summers in Woodstock, New York as Music Director of the Maverick Concerts, which just celebrated its centenary as the oldest summer chamber-music festival in America. He also recently concluded twelve seasons as Resident Conductor and Music Advisor of Chicago Opera Theater (2001-12). At COT he led the Chicago premieres of Britten’s DEATH IN VENICE, John Adams’ NIXON IN CHINA, Dmitri Shostakovich’s MOSCOW PARADISE and Britten’s A MIDSUMMER NIGHT’S DREAM; the world premiere of the Tony Kushner/Maurice Sendak version of Hans Krasa’s BRUNDIBAR; the double-bill of Schoenberg’s ERWARTUNG and Bartok’s BLUEBEARD’S CASTLE with Samuel Ramey and Nancy Gustafson, and the world-premiere recording of Kurka’s THE GOOD SOLDIER SCHWEIK -- all to consistently high acclaim in the major papers of Chicago and New York. Prior to this he spent twelve years as Music Director of the Racine Symphony Orchestra, three seasons as Principal Conductor of the Boca Raton Symphonia, and two years as Apprentice Conductor of the Minnesota Orchestra, the Saint Paul Chamber Orchestra and the Minnesota Opera, conducting Colin Graham’s production of MADAMA BUTTERFLY.

A graduate of Yale College, King’s College Cambridge (where he was a British Marshall Scholar) and conducting fellowships at both Aspen and Tanglewood, he has guest-conducted the Brooklyn Philharmonic, the Illinois Philharmonic, the Freiburg Philharmonic in Germany, the Aalborg Symphony in Denmark, the Scottish Chamber Orchestra, the Wisconsin Chamber Orchestra, the City of London Sinfonia, Camerata Chicago, the Banff Festival, the Aldeburgh Festival, and the Houston, Charlotte, Columbus and Indianapolis Symphonies. In 2013 he made his debut at the Ravinia Festival, the summer home of the Chicago Symphony Orchestra, to high praise in the Chicago Tribune. He has recorded for Minnesota Public Radio, National Public Radio, the South-West German Radio and the BBC, and his Cedille Records disc with Rachel Barton of Max Bruch’s Scottish Fantasy is still often heard on radio stations across America.

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THE LA CROSSE SYMPHONY ORCHESTRA COUPON BOOK A special thank you to our Coupon Book Sponsors!

Whether you buy a book to support the LSO or not, please thank these local businesses through your patronage; we ask our symphony patrons to support the establishments that support us.

All proceeds benefit the LA CROSSE SYMPHONY ORCHESTRA 14

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All coupons are

BUY 1 GET 1 FREE!

La Crosse Youth Symphony

OVER $700 VALUE*

La Crosse Symphony Orchestra Coupon Book Sponsors

only $50

(*if you maxed out every coupon, at all the maximum amounts)

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The VIENNA WHERE: DATE & TIME:

BOYS CHOIR

A Concert of Sacred Music P

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SAINT JOSEPH THE WORKMAN CATHEDRAL – 530 Main Street, La Crosse, WI MONDAY, NOVEMBER 20, 2017 – 7:00 PM

TICKET SALES: Tickets are available for purchase at the

Viterbo Box Office, 929 Jackson Street, La Crosse, WI Monday through Friday 11:00 am to 5:00 pm or at

$40 Seating in front quarter of Cathedral pews $30 Seating in rear three quarters of Cathedral pews

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Photo © Lukas Beck

NEWS IS A PROUD SUPPORTER OF

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October 21, 2017 | 7:30 pm

Lofty Heights Overture to Der FreischĂźtz, Op. 77 Carl Maria von Weber (1786 - 1826) Violin Concerto No. 1 in A minor, Op. 99 Dimitri Shostakovich (1906 - 1975)

I. Nocturne; Adagio II. Scherzo; Allegro non troppo III. Passacaglia; Andante IV. Burlesca; Allegro con brio

Yevgeny Kutik, violin INTERMISSION Symphony No. 2 in D Major, Op. 73 Johannes Brahms (1833 - 1897) I. II. III. IV.

Allegro non troppo Adagio non troppo Allegretto grazioso (quasi andantino) Allegro con spirito

Thank you to our October Concert Sponsor

Thank you to our Season Sponsors

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OCTOBER GUEST ARTIST Yevgeny Kutik violin

With a “dark-hued tone and razor-sharp technique” (The New York Times), Russian-American violinist Yevgeny Kutik has captivated audiences worldwide with an old-world sound that communicates a modern intellect. Praised for his technical precision and virtuosity, he is also lauded for his poetic and imaginative interpretations of both standard works and newly composed repertoire.

A native of Minsk, Belarus, Kutik began violin studies with his mother, Alla Zernitskaya, and immigrated to the US with his family at the age of five. An advocate for the Jewish Federations of North America, the organization that assisted his family in coming to the US, he regularly speaks and performs across the country to promote the assistance of refugees from around the world. Kutik’s discography includes Words Fail (Marquis Classics 2016), Music from the Suitcase (Marquis Classics 2014), and Sounds of Defiance (Marquis Classics 2012).

Yevgeny Kutik made his major orchestral debut in 2003 with Keith Lockhart and The Boston Pops as the First Prize recipient of the Boston Symphony Orchestra Young Artists Competition. In 2006, he was awarded the Salon de Virtuosi Grant as well as the Tanglewood Music Center Jules Reiner Violin Prize. Committed to fostering creative relationships with living composers, Kutik has performed premieres of works by Timo Andres, Michael Gandolfi, Ron Ford, Sheila Silver, and George Tsontakis, and has also been involved in the performances of new and rarely played works by Kati Agócs, Joseph Schwantner, Nico Muhly, and Donald Martino.

Kutik holds a bachelor’s degree from Boston University and a master’s degree from the New England Conservatory and currently resides in Boston.

Kutik’s violin was crafted in Italy in 1915 by Stefano Scarampella. LSO For more information, please visit

yevgenykutik.com

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OCTOBER PROGRAM NOTES

Lofty Heights

Overture to Der Freischütz, Op. 77 at the Paris Opéra-Comique in 2011.

Carl Maria von Weber (b. near Lübeck, Germany, November 18, Carl Maria von Weber was born the year of Mozart’s The Marriage 1786; d. London, June 5, 1826) of Figaro premiere; he studied composition with Michael Haydn - a WORLD PREMIERE: fine composer in his own right, and June 18, 1821 brother of composer Franz Joseph Berlin Haydn. Weber immediately showed The Schauspielhaus Berlin The overture calls for two flutes, two great promise writing his first opera oboes, two clarinets, two bassoons, four at the age of fourteen. Like Mozart, horns, two trumpets, three trombones, he excelled both as a composer and timpani, and strings. Performance time performer, and was one of the most brilliant pianists of his day. is approximately ten minutes.

Weber began his opera Der Freischütz in 1817 and completed the work in 1821. The first performance was given on June 18, 1821, in Berlin. Der Freischütz (translated from the German to “the free-shooter” or “the marksman”) is a mainstay of romantic opera, and a precursor of German nationalism in music. The opera was inspired by German folk song, a German legend, and takes place in a German forest; with this effort, Weber strongly influenced Wagner. Today Der Freischütz is rarely staged except in Germany, but its overture remains one of Weber’s most popular orchestral works, according to Harold C. Schonberg in The Lives of the Great Composers.

Shortly after its premiere, Der Freischütz went “global.” By 1830 it had been presented in nine languages and, before 1850, it had been staged in Cape Town, Sydney, and Rio de Janeiro. On March 7, 1838, soprano Jenny Lind made her operatic debut as Agathe at the Royal Swedish Opera.

Amazingly, the only performance anywhere of Der Freischütz by the Italian opera conductor, Arturo Toscanini, was in Buenos Aires, according to Harvey Sachs in Toscanini, Musician of Conscience. A version in French - with recitatives was prepared by Hector Berlioz for a production at the Paris Opera in 1841; interestingly, this account was revived

Weber was also an important opera conductor. He directed opera houses in Prague and later Dresden where he had been summoned by the king of Saxony late in 1817 to establish a German opera house. Wagner, conducting at Dresden several years later, picked up many of Weber’s leadership and opera house / opera orchestra management ideas. At that point, Weber wrote Der Freichütz making him the founder of Romantic German opera. He died at the age of 41 contributing a tremendous amount of music to the piano literature and to music in general. 

Carl Maria von Weber RECORDING Schubert: Symphony No. 9 & Weber: Der Freischütz Overture Franz Schubert (Composer) Carl Maria von Weber (Composer) Wilhelm Furtwangler (Conductor) Berlin Philharmonic (Orchestra) BOOKS Carl Maria von Weber, 2nd Edition

by John Warrack

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Violin Concerto No. 1 in A minor, Op. 99 Dimitri Shostakovich (b. St. Petersburg, September 25, 1906, d.

Moscow, August 9, 1975) Yevgeny Kutik, violin WORLD PREMIERE: October 29, 1955 Leningrad Leningrad Philharmonic conducted by Yevgeny Mravinsky David Oistrakh, violin I. Nocturne; Adagio II. Scherzo; Allegro non troppo III. Passacaglia; Andante IV. Burlesca; Allegro con brio The concerto is scored for solo violin, three flutes (3rd doubling piccolo), three oboes, English horn, three clarinets (3rd doubling bass clarinet), two bassoons, contrabassoon, four horns, tuba, timpani, tambourine, tam-tam, xylophone, celesta, two harps, and strings. Performance time is 36 minutes.

The first musical child of the Russian Revolution - according to Harold C. Schonberg in his The Lives of the Great Composers - was Dmitri Dmitriyevich Shostakovich. He displayed significant musical talent after beginning piano lessons with his mother at the age of nine.

Thus, in 1919, at thirteen, Shostakovich entered the Petrograd (Leningrad) Conservatory, headed by Alexander Glazunov (his composition teacher).

His Violin Concerto No. 1 in A minor, Opus 99, was originally written in 1947–48, however, the composer and its dedicatee, David Oistrakh, worked on a number of revisions.

The resulting First Violin Concerto is a major contribution to the violin concerto repertoire and was premiered with Oistrakh and the Leningrad Philharmonic under Yevgeny Mravinsky on October 29, 1955.

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WHAT TO LISTEN FOR The Nocturne begins with an orchestral interlude followed by the solo violin, adding rhythmic and melodic motifs. The violin continues with a pianissimo, and by the time it reaches its first dynamic peak, all of the substantial melodic and rhythmic information have been presented.

The second movement is a diabolic scherzo; the violin becomes wildly virtuosic, providing an upbeat tempo and rhythmic interaction. A complex movement, the mechanical feel of the pulse demonstrates the fireworks for the soloist.

The Passacaglia reinstates the melody which the brass plays in a lengthy introduction followed by expressive solo playing. The movement ends in a long cadenza starting peacefully, but leads into the Burlesque finale, the fourth movement. In addition to virtuosic solo work, this last movement features orchestral accompaniment reminiscent of Shostakovich’s orchestral works.

THE VIOLIN VIBRATO The word “vibrato” refers to the oscillating motion of the musician’s left wrist with the finger stopping the note on the fingerboard of the violin. No string-player’s technique is complete without it, according to Grove’s Dictionary of Music and Musicians – Third Edition. The rolling finger movement shortens and lengthens the vibrating portion of the string, thus producing pitches slightly higher and lower than the main pitch.

It makes the violin sing and sparkle!

Isaac Stern, violin virtuoso, writes: “The speed and width of the vibrato should always be controlled so as to indicate whatever the musical mood needs.”

In Stern’s book, My First 79 Years, he reports the vibrato is the hardest technical discipline to teach because it involves several dissimilar motions.

Vibrato has been known to string instrument players for over three centuries; in fact, its use has been traced as far back as 1636, according

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to Grove’s Dictionary. Leopold Mozart (a master violin teacher and the father of Wolfgang Amadeus Mozart) wrote in 1756, “Nature herself suggested it to man.” It is the voice box, the larynx, the vocal cords of any string player. Geminiani in his “The Art of Violin Playing, 1751” gives a short description of the vibrato calling it “the shake,” which apparently was a well-established practice by that time. 

I. II. III.

IV.

Allegro non troppo Adagio non troppo Allegretto grazioso (quasi andantino) Allegro con spirito

The symphony is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, and strings. Performance time is approximately 40 minutes.

The premiere was given in Vienna on December 30, 1877 by the Vienna Philharmonic under the direction of Hans Richter. The performance was a resounding success and the third movement had to be encored!

Dmitri Shostakovich SUGGESTED RECORDING Shostakovich: Violin Concerto, Op. 99; Cello Concerto, Op. 107 Original recording remastered Dmitri Shostakovich (Composer) David Oistrakh (Violinist) Mstislav Rostropovich (Cellist) Ormandy / Philadelphia Orchestra Mitropoulos / New York Philharmonic (Orchestra) BOOK(S) Dimitri Shostakovich - The Life and Background of a Soviet Composer, Nov. 4, 2008

By Victor Ilyich Seroff Testimony: The Memoirs of Dimitri Shostakovich, 1992

By Solomon Volkov Dimitri Shostakovich: The Man and His Work, June 13, 2008

By Ivan Martynov and T. Guralsky INTERMISSION Symphony No.2 in D Major, Op. 73 Johannes Brahms (b. Hamburg, May 7, 1833; d. Vienna, April 3, 1897) WORLD PREMIERE: December 30, 1877 Vienna Vienna Philharmonic conducted by Hans Richter

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Interestingly, the only German composer in Wagner’s lifetime who was big enough to stand with him on more or less an equal footing was Johannes Brahms. Yet they are opposites. Wagner is the revolutionary, spearheading the future. Brahms is the classicist who dealt with abstract forms and never composed an opera, writes Harold C. Schonberg in The Lives of Great Composers. As such, Johannes Brahms was last in a long line of German symphonists, according to Grove’s Dictionary of Music and Musicians, Third Edition.

Wagner was to exert enormous influence on the future. However, with Brahms, the symphony – as handed down by Beethoven, Mendelssohn, and Schumann – came to an end, continues Schonberg in The Lives of Great Composers. Brahms, like Bach, summed up an epoch, although some of his textures and harmonies find a faint echo in Arnold Schoenberg.

Yet, he also had something to say to future generations. Between Wagner and Brahms there was a grudging admiration, although they were the leaders of opposed schools and had little to do with each other.

The composer Robert Schumann recognized young Brahms’ extraordinary talent and brought him to the attention of leading musicians of the mid-nineteenth century explains

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Louise Cuyler in The Symphony. All four of Brahms’ symphonies are splendid, major works; they crown the symphonic writing of the nineteenth century.

A musically precocious child who at six was discovered to have perfect pitch, continues Harold C. Schonberg, Brahms began performing in public on the pianoforte well before his tenth birthday. As a youngster, he had a fine piano, music theory, and composition teacher named Eduard Marxsen.

WHAT TO LISTEN FOR Within months after the long-awaited premiere of his First Symphony, Brahms produced another one – his second symphony. All Brahms’ symphonies, including this one, stem from Classical models: each work has four movements arranged in the traditional form (fast, slow, scherzo, and a massive fourth movement and finale). This symphony has a positive, joyful, and upbeat feeling to it, yet has the fullness and bigness that Brahms produces, along with syncopation, too.

The first movement begins with a passage by the horns, followed by a rising line in the violins. Later, listen to the three trombones followed again by the horns and richly harmonized passages for trombones and tuba. But the winds – flutes, oboes, clarinets and bassoons - have gorgeous lines as well.

Then a solo horn is featured, one of the most beautiful parts of the symphony.

While the second and third movements are as attractive with lots of passages highlighting the horns, the last movement starts with the expectation of excitement! Timpani rolls lead into virtuosic playing by the strings following by visible clarinet and brass lines including a trombone/tuba chorale.

The principal theme of the finale is based on material from the opening movement while the great brass section leads to the home stretch! In fact, that very last set of measures is stunning!

Johannes Brahms RECORDING Symphony No. 2; Schumann: Symphony No. 2 Johannes Brahms (Composer) Robert Schumann (Composer) Herbert von Karajan (Conductor) Berlin Philharmonic (Orchestra) VIDEO https://search.aol.com/aol/video?q=br ahms+symphony+no.2+youtube&s_ it=video-ans&sfVid=true&videoId=7 54697586D83DA4E75FD7546975 86D83DA4E75FD&v_t=comsearch &page=3&oreq=98a797445c27429 780cafef7dd475c1a&s_chn=prt_bon Symphony No. 2 (with excellent commentary by Maestro Bernstein) Johannes Brahms (Composer) Leonard Bernstein (Conductor) Vienna Philharmonic (Orchestra) Vienna Musikvereinssall (Venue)

A SINCERE

THANK YOU TO THE

VITERBO FINE ARTS STAFF. MICHAEL A. RANSCHT Director JEN A. ROBERDEAU Director of Audience Services and Fine Arts Marketing MARCIA BRENDUM Box Office Coordinator ALYSON L. DAHLQUIST Administrative Assistant DANITA DOERRE Scheduling Assistant BETH FRANKLIN Arts Education Coordinator JACK D. HAMILTON Facility Technical Director DOUG WILKEN Event Operations Coordinator/ Audio Specialist BRIDGET MISCH Event Operations Coordinator

BOOK(S) Johannes Brahms: A Biography (Paperback) – December 7, 1999

by Jan Swafford LSO

FAX: 608/796-3736



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The La Crosse Symphony Orchestra would like to extend a special thanks to the Candlewood Suites of La Crosse for providing gracious accommodations to our Music Director.

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2017-18 Season

Resolve Through Sharing is proud to support its program director, and principal oboist of the La Crosse Symphony Orchestra, Mary Beth Hensel.

Enriching lives in the La Crosse community and beyond by • Providing training and programming to ensure excellence in bereavement care throughout hospitals worldwide.

• Honoring cultural practices and beliefs when caring for the dying and the bereaved.

• Supporting the holistic needs of grieving families during one’s most vulnerable moments.

Resolve Through Sharing is a department of Gundersen Medical Foundation.

To learn more or make a contribution, visit https://www.gundersenhealth.org/rts-give/

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Information. Inspiration.

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wpr.org Wisconsin and the World.

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CONCERT PREVIEW

Did you know that wherever you are in Wisconsin you can hear a great orchestra?

WITH MAESTRO ALEXANDER PLATT

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Learn about what inspired the composers at the

6:45 - 7:15 p.m.

Viterbo Dance Studio

VISIT:

to learn where to find wonderful music ... any time!

Maestro Alexander Platt will present a light and informative concert presentation regarding the composers and their music — what inspired the composers, historical perspective and what to listen for at each concert.

Sponsored by

BILL KOUTSKY

Supporting Wisconsin Orchestras

Music touches the heart

From a simple tune to the richest harmony, music expresses emotion in ways that can resonate with all of us.

We’re proud to salute La Crosse Symphony. wellsfargo.com © 2017 Wells Fargo Bank, N.A. All rights reserved. IHA-21285

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HAVE AN INTSRUMENT YOU’RE NOT USING ANYMORE?

We know children who would love the opportunity to learn how to play an instrument, but don’t have the means to purchase one. Please See page 56 to learn how YOU can make a difference in their lives.

A more creative approach to caring Gundersen has one of the best cancer programs in the area, offering cutting-edge treatment to help patients get better. But sometimes, what a young woman needs to feel better is to forget she has cancer—for a little while at least—and instead enjoy laughing and being goofy with her sister.

At Gundersen, we made that happen.

Finding a more creative approach to caring is just one of the many ways we practice Love + Medicine.

GUNDERSENHEALTH.ORG/LOVE+MEDICINE

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2017-18 Season

November 18, 2017 | 7:30 pm

Sketches of Spain España Emmanuel Chabrier (1841 - 1894) Symphony in G minor Édouard Lalo (1823 - 1892) I. II. III. IV.

Andante - Allegro non troppo Vivace Adagio Allegro

Nights in the Gardens of Spain Manuel de Falla (1876 - 1946) I. II. III.

En el Generalife (In the Generalife) Danza lejana (A Distant Dance) En los jardines de la Sierra de Córdoba (In the Gardens of the Sierra de Córdoba)

Gabriela Martinez, piano INTERMISSION Capriccio Español, Op. 34 Nikolai Rimsky-Korsakov (1844 - 1908) I. Alborada II. Variazioni III. Alborada IV. Scena e canto gitano V. Fandango asturiano

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Thank you to our Season Sponsors

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NOVEMBER GUEST ARTIST

Gabriela Martinez Piano

Versatile, daring and insightful, Venezuelan pianist Gabriela Martinez is establishing a reputation on both the national and international stages for the lyricism of her playing, her compelling interpretations, and her elegant stage presence.

In November 2016, Delos released Ms. Martinez’s debut solo album, Amplified Soul, which features a wide-ranging program including works by Beethoven, Rachmaninoff, and Szymanowski.

She also pays homage to acclaimed composers Mason Bates and Dan Visconti, whose title selection, Amplified Soul, was written for her. Ms. Martinez collaborated with Grammy Award-winning producer David Frost on the recording.

Since making her orchestral debut at age 7, Ms Martinez has played with numerous distinguished organizations including the San Francisco, Chicago, Houston, New Jersey, Tucson, Delaware, Jacksonville, West Michigan, Pacific, and Fort Worth symphonies; the Boulder, Wisconsin, National and Buffalo Philharmonic Orchestras; Germany’s Stuttgarter Philharmoniker, MDR Rundfunkorchester, and Nurnberger Philharmoniker; Canada’s Victoria Symphony Orchestra; the Costa Rica National Symphony and the Simon Bolivar Symphony Orchestra in Venezuela.

Ms. Martinez has performed at such esteemed venues as New York City’s Carnegie Hall, Avery Fisher Hall, and Alice Tully Hall; Canada’s Glenn Gould Studio; Salzburg’s Grosses Festspielhaus; Dresden’s Semperoper; Copenhagen’s Tivoli Gardens; and Paris’s Palace of Versailles. As a chamber musician, she regularly performs in recitals and festivals. Her festival credits include the Mostly Mozart, Ravinia, and Rockport festivals in the United States; Italy’s Festival dei Due Mondi (Spoleto); Switzerland’s Verbier Festival; the Festival de Radio France et Montpellier; and Japan’s Tokyo International Music Festival.

Her wide-ranging career includes world premieres of new music, live performance broadcasts, and interviews on TV and radio. Her performances have been featured on National Public Radio, CNN, PBS, 60 Minutes, ABC, From the Top, Radio France, WQXR and WNYC (New York), MDR Kultur and Deutsche Welle (Germany), NHK (Japan), RAI (Italy), and on numerous television and radio stations in Venezuela.

For more information, please visit

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Ms. Martinez was the First Prize winner of the Anton G. Rubinstein International Piano Competition in Dresden, and a semifinalist at the 12th Van Cliburn International Piano Competition, where she also received the Jury Discretionary Award. She began her piano studies in Caracas with her mother, Alicia Gaggioni, and attended The Juilliard School, where she earned her Bachelor and Master of Music degrees as a full scholarship student of Yoheved Kaplinsky.

Ms. Martinez was a fellow of Carnegie Hall’s The Academy, and a member of Ensemble Connect (formerly known as Ensemble ACJW), while concurrently working on her doctoral studies with Marco Antonio de Almeida in Halle, Germany. LSO

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NOVEMBER PROGRAM NOTES España Emmanuel Chabrier (b. Ambert, France, January 18, 1841; d. Paris, September 13, 1894) The work is scored for three flutes (third flute playing piccolo), two oboes, two clarinets, four bassoons, four horns, two trumpets, two cornets, three trombones, tuba, timpani, bass drum, cymbals, tambourine, triangle, two harps, and strings. The performance lasts 8 minutes.

España, rhapsody for orchestra (French: España, rapsodie pour orchestre or Rapsodie España), is the most famous orchestral composition

by French composer Emmanuel Chabrier. Written in 1883 after a trip to Spain, it was dedicated to Charles Lamoureux, who conducted the first public performance on November 4, 1883, at the Théâtre du Château d’Eau for the Société des Nouveaux Concerts in Paris.

Chabrier was born in Central France, according to The Dictionary of Composers. Taking his first piano lessons at age six, two of his early teachers were Spanish which may have been instrumental in his lifelong interest in the music of Spain. His family moved to Paris when Chabrier was 18; he studied for his law degree and entered the Ministry of the Interior as a junior clerk.

While he remained a civil servant for eighteen years, Chabrier devoted a great deal of time to music. Taking additional piano lessons, he also developed his composing talents.

Although Chabrier worked on this piece as a piano duet while still a civil servant, it evolved into a work for full orchestra becoming España in October 1883. Well-liked by the critics at its first performance, the piece sealed Chabrier’s fame overnight and, at the age of 40, he devoted himself entirely to music.

Sketches of Spain WHAT TO LISTEN FOR After a short guitar-like introduction, the first theme appears low on muted trumpets, and recurs four times during the piece. This is followed by a flowing second theme (bassoons, horns, cellos).

The bassoons introduce another idea after which instrumental sections take up a dialogue with another highly rhythmic theme. Following a return to the first theme, yet another flowing melody in the upper strings leads to a climax only broken by a march-like theme on trombones. Instrumental and thematic variants lead the piece to its ecstatic and joyous conclusion.

Emmanuel Chabrier RECORDING Gounod: Faust - Ballet Music; Chabrier: España; Thomas: Mignon1990 Seiji Ozawa (Conductor) Boston Symphony Orchestra (Orchestra) VIDEO https://search.aol.com/aol video?q=espana+by+chabrier&s_ it=video-ans&sfVid=true&videoId=5B AF624F822186AB19715BAF624F82 2186AB1971&v_t=comsearch&page= 2&oreq=63a70df7a410422d94b2b0bf 70a073e9&s_chn=prt_bon CHABRIER: ESPANA Jesus Lopez Cobos (Conductor) Orquestra Sinfonica Simon Bolivar de Venezuela (Orchestra) Symphony in G minor Édouard-Victoire-Antoine Lalo (b. Lille, France, January 27, 1823; d. Paris, April 22, 1892)

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The work is scored for two flutes, two oboes, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani and strings. The performance lasts 28 minutes.

I. Andante - Allegro non troppo II. Vivace III. Adagio IV. Allegro Composed in 1885-1886, the symphony was premiered on February 7, 1887, in Paris at the Concerts Lamoureux under Charles Lamoureux.

After the full score was published, a four hand piano version was created. Édouard-Victoire-Antoine Lalo was of Spanish origin although born in northernmost France. His family was Spanish, yet had lived in France for quite some time, according to The Dictionary of Composers, edited

by Charles Osborne. Lalo’s Spanish roots are present in the melodies and orchestration writes Grove’s Dictionary of Music and Musicians.

Lalo studied violin and cello at the local conservatoire, reports Grove’s Dictionary of Music and Musicians. Interestingly, his cello teacher had played in Vienna under Beethoven’s conductorship.

Beginning at age 16, Lalo continued his violin training with Habeneck, a French violinist and professor at the Paris Conservatoire, and took additional composition study.

Lalo is well known for his Symphonie Espagnole for Violin and Orchestra, but he also wrote operas and ballets. Even as he composed pieces specifically for the violin and the cello, his Symphony in G minor was known for “crossing German procedures with the piquant distinctiveness of his melodies and scoring” as The Dictionary of Composers, edited by Charles Osborne states.

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Lalo became a member of the Legion of Honor and later died in Paris in 1892, leaving several unfinished works. Yet, his style is notable for strong melodies and colorful orchestration, with a rather Germanic solidity. In fact, his real claim to fame was his ability to synthesize the best of the French and German traditions, reads The Dictionary of Composers.

WHAT TO LISTEN FOR Lalo’s symphony was called one of the “happiest” of French symphonies in a 1925 article in The Musical Quarterly.

While a 1961 criticism of the first major recording by Sir Thomas Beecham in 1959 found the work lacking the sparkle and melodic charm of Lalo’s popular Symphonie Espagnole, a later review found the second movement to be “wonderfully scored.”

Yet another reviewer writes that the Symphony opens with a beautiful melody played softly by the orchestra and flows into the brooding main theme. The melody is explored with a secondary lyrical theme and concludes with a bold restatement of the brooding phrase.

A march-like melody is followed by the Adagio opening with a dark melody that develops into a theme dominating the movement. The somber tune returns, and the music fades away.

The Finale is a danceable melody punctuated by a chord to add emphasis.

Another theme provides a warm romantic exploration by the orchestra.

Earlier melodies briefly return and the music closes with the formidable chords played at the beginning.

Édouard Lalo RECORDING Franck: Symphony in D minor; Lalo: Symphony in G minor; Fauré: Pavane Import Sir Thomas Beecham (Conductor) French National Radio Orchestra 30

Nights in the Gardens of Spain Manuel de Falla (b. Cadiz, November 23, 1876; d. Alta Gracia, November 14, 1946)

Gabriela Martinez piano I. En el Generalife In the Generalife II. Danza lejana A Distant Dance III. En los jardines de la Sierra de Córdoba In the Gardens of the Sierra de Córdoba The score calls for piano, three flutes and piccolo, two oboes and English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones and tuba, timpani, cymbals, triangle, celesta, harp, and strings. Performance time is approximately 22 minutes.

The first performance was given on April 9, 1916, at Madrid’s Teatro Real, with the Orquesta Sinfónica de Madrid conducted by Enrique Fernández Arbós, and soloist José Cubiles. Falla began this work as a set of nocturnes for solo piano in 1909, but on the suggestion of the pianist Ricardo Viñes, he turned the nocturnes into a piece for piano and orchestra. Completing it in 1915, he dedicated it to Viñes.

The work illustrates three gardens – including the first – which are jasmine-scented grounds surrounding the Alhambra. The second garden, unidentified, depicts an exotic dance, while the third garden is in the Sierra de Córdoba.

Nights in the Gardens of Spain (Spanish: Noches en los jardines de España), reflects the Hispano-Arabic past of this region (Al-Andalus).

Senior Music Critic for the New York Times, Harold C. Schoenberg writes in his book The Lives of Great Composers, that while Falla’s output was small, everything he composed was jewel-like in its workmanship.

The output of Spanish composers Albeniz and Granados was carried on by de Falla, although he provides a special individual flavor in his music.

Even as his music has a Spanish flavor,

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it is all filtered through a Frenchderived atmosphere.

According to The Dictionary of Composers, Falla began piano lessons that led to his first adolescent compositions. Moving to Paris where he lived for seven years, de Falla became friends with Debussy, Dukas, Ravel, Stravinsky, and Albeniz. Falla’s colleagues’ enthusiasm for his early works encouraged him to begin composition on Nights in the Gardens of Spain. Returning to Spain at the outbreak of World War One, he finished the work. Relocating again, this time to Argentina where he lived the remainder of his life, his reputation still remains secure as the foremost Spanish composer of his time.

WHAT TO LISTEN FOR This work features the piano and orchestra and exploits a piano technique abounding in arpeggios and harp-like effects. Yet, Nights in the Gardens of Spain uses national elements in a most sophisticated, concert-hall manner and is a popular repertory piece for pianists. Not only is this piece charmingly evocative of Spain, but it is also the work of an extremely skilled composer with a subtle ear for color and absolute precision in technique!

Manuel de Falla VIDEO(S) https://www.youtube.com/ watch?v=pgy0d2lJv9M Part 1: Alicia de Larrocha, piano Nights in the Gardens of Spain -RIP (Descansa en paz) Montreal Symphony Orchestra (Orchestra) Charles Dutoit (Conductor) https://www.youtube.com/ watch?v=ZaDi9mB1qFg Part 2: Alicia de Larrocha (Piano) Nights in the Gardens of Spain, RIP (Descansa en paz): 2017-18 Season

Montreal Symphony Orchestra (Orchestra) Charles Dutoit (Conductor)

Called the “Grand Old Man of Russian Music,” Nikolai RimskyKorsakov, who authored a famous book on orchestration, taught RECORDING(S) many up-and-coming composers as Rachmaninoff: Rhapsody on a music professor at the St. Petersburg Theme of Paganini / Falla: Nights Conservatory. His students include in the Gardens of Spain / Chopin: Stravinsky, Prokofiev, Liadov, Andante Spianato & Grande…1997 Glazunov, and Ippolitov-Ivanov. The Original recording remastered La Crosse Symphony patrons have Arthur Rubenstein (Piano) already heard or soon will hear several Enrique Jorda (Conductor) works by these composers. The St. San Francisco Symphony Orchestra Petersburg Conservatory represented (Orchestra) the Russian national school. When Rimsky-Korsakov died, the great age Falla: Nights in the Gardens of Spain of Russian music died with him and / The Three Cornered Hat / Import a new one was to begin two years Alicia De Larrocha (Piano) later, when Stravinsky’s Firebird was Sergiu Comissiona (Conductor) performed (La Crosse Symphony L’Orchestre De La Suisse Romande Orchestra patrons heard this in the (Orchestra) 2016-17 subscription concert season).

BOOK On Music and Musicians

by Manuel De Falla INTERMISSION Capriccio Español, Op. 34 Nikolai Rimsky-Korsakov: (b. Novgorod, March 18, 1844; d. St. Petersburg June 21, 1908) I. II. III. IV. V.

Alborada Variazioni Alborada Scena e canto gitano Fandango asturiano

The work is scored for piccolo, two flutes, two oboes (second oboe doubling on English Horn), two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, timpani, triangle, side drum, bass drum, cymbals, tambourine, castanets, harp, and strings. The performance takes approximately 16 minutes.

Literally Capriccio on Spanish Themes, this exciting piece written in 1887 is a five movement orchestral suite, based on Spanish folk melodies. RimskyKorsakov originally intended to create the work for a solo violin with orchestra, but decided that a purely orchestral composition would do greater justice to the lively melodies. Besides, he wrote so well for each instrument.

According to music critic and journalist Harold C. Schoenberg, “Rimsky-Korsakov opened up a delightful new world and his works are scored with brilliance and resource; he was a master of orchestral color.”

Karl Haas notes in Inside Music, “There is a brilliance and inexorable rightness in his choice of instruments, making it virtually impossible for us to hear his compositions in any other way. Moreover, this work is as Spanish-sounding as the creations of any native Spaniard.”

Rachmaninov also wrote about Rimsky-Korsakov’s orchestral sound, “In Rimsky-Korsakov’s scores there is never the slightest doubt about what the music is meant to convey. When the sun is high, all instruments shine with an almost fiery glare. He was a great master of orchestral sound-painting and one can still learn from him.”

WHAT TO LISTEN FOR The piece is lauded for its orchestration featuring a large percussion section and many special techniques. Most interesting is in the fourth movement when the violinists, violists, and cellists are asked to imitate guitars. The work has five movements:

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1. The first movement, Alborada, is a festive and exciting dance, typically from traditional asturian music to celebrate the rising of the sun. The traditional music of Galicia and Asturias, located along Spain’s north-west Atlantic coast, are highly distinctive folk styles. The movement features the clarinet with two solos, and later a solo violin like the clarinet.

2. The second movement, Variazioni, begins with a melody in the horn section. Variations of this melody are then repeated by other instruments and sections of the orchestra.

3. The third movement, Alborada, presents the same asturian dance as the first movement. The two are nearly identical, in fact, except that this movement has a different instrumentation and key.

4. The fourth movement, Scena e canto gitano (“Scene and gypsy song”) opens with five cadenzas — first by the horns and trumpets, then solo violin, flute, clarinet, and harp — played over rolls on various percussion instruments. It is then followed by a dance in triple time leading attacca into the final movement.

5. The fifth and final movement, Fandango asturiano, is also an energetic dance from the Asturias region of northern Spain. The piece ends with an even more rousing statement of the Alborada theme.

Rimsky-Korsakov writes in his autobiography: “The Capriccio is a brilliant composition for the orchestra. The change of timbres, the felicitous choice of melodic designs and figuration patterns, exactly suiting each kind of instrument, brief virtuoso cadenzas for instruments solo, and the rhythm of the percussion instruments constitute here the very essence of the composition and not necessarily, orchestration. The Spanish themes of dance character, furnished me with rich material for putting in use multiform orchestral effects. The Capriccio is undoubtedly a purely external piece, but vividly brilliant for all that.”

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RECORDING Rimsky-Korsakov: Scheherazade / Capriccio Espagnol Leonard Bernstein (Conductor) New York Philharmonic (Orchestra)

Nikolai Rimsky-Korsakov

BOOK Principles of Orchestration (Dover Books on Music - June 1, 1964)

by Nikolai Rimsky-Korsakov LSO

VIDEO https://search.aol.com/aol/video?s_ it=sb-top&s_chn=prt_bon&v_t=co msearch&q=Rimsky+Korsakov+ca priccio+espagnol+ Rafael Frühbeck de Burgos (Conductor) Deutsche Radio Symphony Orchestra (Orchestra)

10 reasons why we need 1 2 3 4

To celebrate.

To play.

To entertain us.

To perform better.

5 6 7

When we grieve.

When we’re happy.

To help us appreciate diversity and share our common humanity.

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music. . .

To educate us.

To support and maintain a valued art form.

For music’s sake.

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December 15 and 16, 2017

A Christmas Homecoming

GUEST ARTISTS:

La Crosse Symphony Orchestra Caroline Worra, Soprano La Crosse BoyChoir La Crosse Area Youth Symphony Orchestra (LYSO) Nigel Hess: A Christmas Overture Nigel Hess (b. 1953) Johann Strauss II: Mein Herr Marquis from DIE FLEDERMAUS Johann Strauss II (1825 - 1899) Franz Lehár: Vilja-Lied from THE MERRY WIDOW Franz Lehár (1870 - 1948) Chip Davis/Custer: Stille Nacht Louis F. “Chip” Davis, Jr. (b. 1947) Frederick Delius: Sleigh Ride (Winter Nacht) Frederick Delius (1862 - 1934) Rodgers: My Favorite Things/Do Re Mi from THE SOUND OF MUSIC Richard Charles Rodgers (1902 - 1979) César Franck: Panis Angelicus César Franck (1822 - 1890) Bach/Gounod: Ave Maria Johann Sebastian Bach (1685 - 1750); Charles Gounod (1818 - 1893) Johann Strauss II: Overture from DIE FLEDERMAUS Johann Strauss II (1825-1899) INTERMISSION

Arr. Krogstad: Medley from FROZEN I. Do You Want to Build a Snowman?

II. For the First Time In Forever III. Frozen Heart IV. In Summer V. Let It Go Tchaikovsky: The Nutcracker Suite, No. 1, Op. 71a Peter Ilich Tchaikovsky (1840 - 1893) I. Miniature Overture II. Danses caractéristiques a. Marche b. Dance of the Sugar Plum Fairy c. Russian Dance (Trepak) d. Arabian Dance e. Chinese Dance f. Reed Flutes III. Waltz of the Flowers LSO and LYSO Side-by-Side Finnegan: A Christmas Sing-Along John Finnegan (b. 1926)

Thank you to our december Concert Sponsors

Thank you to our Season Sponsors

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DECEMBER GUEST ARTISTS

caroline worra soprano

Caroline Worra has been hailed by Opera News as “one of the finest singing actresses around.” She has sung over 75 different operatic roles including more than 20 World, American, and Regional Premieres. She was internationally acclaimed for her performances of Jenny in The Mines of Sulphur, Grammy nominated CD for Best Opera Recording, and as the title role for The Greater Good; Passion of Boule de Suif, Opera News and New York Times pick for one of the top classical CDs of the year. Her third full opera recording, Glory Denied, was released by Albany Records and was a Washington Post and Opera News pick for one of the top CDs of the year. Her fourth full opera CD, Amleto by Franco Faccio, was recorded live by Naxos. For Caroline’s portrayal of Regina Geltrude, she was reviewed (2017) by Voix des Arts as “singing with emotional directness and white hot charisma” and “exerting a prodigious histrionic presence even in the context of an audio recording.” Caroline Onalaska High School Alumni.

To learn more about her visit carolineworra.com

LA CROSSE YOUTH SYMPHONY ORCHESTRA The La Crosse Area Youth Symphony Orchestras provide outstanding opportunities for youth to grow as musicians, to develop leadership, teamwork, and problem-solving skills, and to enhance the cultural environments of their communities.

In 1967 Frank J. Italiano brought a group of young musicians together. In 1969, the La Crosse Youth Symphony Society became incorporated. The La Crosse Youth Symphony has grown and changed over the years, but it still has the same purpose today as it did then: to give the youth of the area a way to gain valuable musical experience, to obtain different insights into the techniques of their particular instrument from a faculty of professional musicians and teachers, and finally, to give our youth the enjoyment of performing in an orchestra and an appreciation of the arts - whether as a performer, a future teacher or an avid audience participant. To learn more about the LYSO visit lyso.org

LA CROSSE BOYCHOIR Daniel Johnson-Wilmot, professor of music at Viterbo University, founded the La Crosse BoyChoir on 01 October 1974 with the sanction of Viterbo University and the Franciscan Sisters of Perpetual Adoration, with the intention of bringing the centuries-old tradition of European boys’ choral music to La Crosse, Wisconsin. The La Crosse BoyChoir incorporated on 25 April 1975 with an independent, volunteer board of directors governing the organization.

There have been four conductors in the history of the La Crosse BoyChoir: Daniel Johnson-Wilmot (1974-2003), John M. Popke (2003-2004), Judy Stafslien (2004-2014), and Peter Bosgraaf (2014-present).

Choristers range from ages 7-14 and attend the many home, private, and public schools in more than 12 communities of the Seven Rivers Region and sing in one of our ensembles named after famous American composers.

To learn more about the La Crosse BoyChoir visit lacrosseboychoir.com

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DECEMBER PROGRAM NOTES Nigel Hess: A Christmas Overture Nigel Hess (b. July 22, 1953, Weston-super-Mare, Somerset, United Kingdom)

A Christmas Homecoming April 5, 1874 at the Theater an der Wien in Vienna and has been part of the regular repertoire ever since. The operettas of Johann Strauss, Jr., were not only all the rage at the dance halls and theaters but, surprisingly, were also the envy of his good friend and fellow citizen of Vienna, the inimitable Johannes Brahms!

Franz Lehár: Vilja-Lied from THE MERRY WIDOW Franz Lehár (b. April 30, 1870, Nigel Hess Komárom, Hungary; d. Oct. A C h r i s t m a s O v e r t u re w a s 24, 1948, Bad Ischl, Austria) commissioned by John Rutter and premièred by the Royal Philharmonic Orchestra at the Royal Albert Hall. Nigel Hess studied music at Cambridge University and has since worked extensively as a composer and conductor in television, theatre, film and the concert hall. He was invited Franz Lehár to arrange and direct the music for Her Majesty the Queen’s private The Merry Widow is an operetta by 90th birthday celebration at Windsor the Austro-Hungarian composer Franz Castle, and has recently received Lehár. The librettists, Viktor Léon and an Honorary Fellowship from St. Leo Stein, based the story – concerning Catharine’s College, Cambridge. Hess a rich widow, and her countrymen’s is the great nephew of British pianist attempt to keep her money in the principality by finding her the right Dame Myra Hess. husband – on an 1861 comedy play.

Johann Strauss II: Mein Herr The operetta has enjoyed extraordinary Marquis from DIE FLEDERMAUS international success since its 1905 Johann Strauss II (b. October 25, premiere in Vienna and continues to 1825, Vienna, Austria; d. June 3, be frequently revived and recorded.

1899, Vienna, Austria) Chip Davis/Custer: Stille Nacht Louis F. “Chip” Davis, Jr. (b.

September 5, 1947, Hamler, Ohio)

by Chip Davis – aka Louis F. Davis.

Davis, a graduate from the University of Michigan’s School of Music, founded Mannheim Steamroller in 1974 to showcase his interest in fusing modern popular and classical techniques. Mannheim Steamroller released Mannheim Steamroller Christmas in 1984. With this, Davis is credited with revolutionizing the “traditional” sounds of Christmas. The group’s subsequent Christmas music albums have sold tens of millions of copies and become among the most popular recordings in that genre.

Chip Davis’ arrangement of Stille Nacht was adapted for orchestra and concert use by Calvin Custer. This is one of Mannheim Steamroller’s most popular carols and its unique effects of this Christmas standard make it an ideal centerpiece for the Holidays. Davis was awarded his 19th Gold Record in 2010. The Recording Industry Association of America has also awarded Davis four MultiPlatinum and eight Platinum records.

Frederick Delius: Sleigh Ride (Winter Nacht) Frederick Delius (b. Jan. 29, 1862, United Kingdom; d. June 10, 1934, France)

Frederick Delius

Johann Strauss II Die Fledermaus (The Bat) is an operetta with music composed by Chip Davis Johann Strauss II and created from a libretto that was translated into This work was published and presented German by Karl Haffner and Richard by Mannheim Steamroller, the Genée. The operetta premièred on organization and musical group created

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A beautiful piece, Winter Night or “Sleigh Ride,” is the second of three small tone poems by Frederick Delius.

Everyone will be in the mood for the Holidays with the jaunty tune riding on a gently galloping rhythm, complete with sleigh bells. The British conductor Sir Thomas Beecham took the original works, edited, and re-scored them for their premiere in 1949.

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Rodgers: My Favorite Things/ Do Re Mi from THE SOUND OF MUSIC Richard Charles Rodgers (b.

Arverne, New York, June 28, 1902; d.

New York City, Dec. 30, 1979)

setting was prepared by César Franck.

May the Bread of Angels Become bread for mankind; The Bread of Heaven puts All foreshadowings to an end; Oh, thing miraculous! The body of the Lord will nourish the poor, the servile, and the humble. You God, Three And One, we beseech; That You visit us, As we worship You. By Your ways, lead us where we are heading, to the light that You inhabitest. Amen.

Bach/Gounod: Ave Maria Johann Sebastian Bach (b. Eisenach, Germany, March 21, 1685; d.

Richard Rodgers, an American Leipzig, July 28, 1750 composer of more than 900 songs and Charles Gounod (b. Paris, June 17, 43 Broadway musicals, also composed 1818; d. Paris, October 17, 1893) music for films and television. He is best known for his songwriting partnerships with the lyricists Lorenz Hart and Oscar Hammerstein II. His compositions have had a significant impact on popular music up to the present day, with an enduring broad appeal. Rodgers was the first person to win what are considered the top Johann Sebastian Bach show business awards in television, recording, movies and Broadway—an Emmy, a Grammy, an Oscar, and a The Ave Maria by Bach/Gounod is a Tony—now known collectively as an popular and much-recorded setting EGOT. He has also won a Pulitzer of the Latin text Ave Maria, originally Prize. Rodgers collaborated with published in 1853 as Méditation sur le Hammerstein to create the songs for Premier Prélude de Piano de J. S. Bach.

The piece consists of a melody by the The Sound of Music.

French Romantic composer Charles Gounod that he superimposed over César Franck: Panis Angelicus César Franck (b. Liège, Belgium, an only very slightly changed version December 10, 1822; d. Paris, of the Prelude No. 1 in C major, BWV 846, from Book I of J.S. Bach’s The November 8, 1890) Well-Tempered Clavier, written 137 years earlier.

Richard Rodgers

César Franck Panis angelicus, Latin for “Bread of Angels,” is the penultimate strophe of the hymn “Sacris solemniis” written

by Saint Thomas Aquinas for the Feast of Corpus Christi as part of a complete liturgy of the feast. The text was set as a motet by several renaissance composers, while a romantic era

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Charles Gounod

Nothing says “Vienna!” like Johann Strauss, Jr.’s, operetta Die Fledermaus. Memorable tunes, one following another, have made it an audience favorite since its première at Vienna’s Theater an der Wien on April 5, 1874. One of its sources is a French play, the plot of which involves the traditional dinner and festivities celebrated in French-speaking countries on both Christmas and New Year’s Eve. The play was translated into German and eventually ended up in Strauss’ hands where he molded it into the sparkling stage work it is. The work as a whole – plot as well as score – is a masterpiece, the finest product of the Viennese operetta school, and a cornucopia of fresh, witty, pointed, memorable melody.

INTERMISSION Arr. Krogstad: Medley from FROZEN

I. Do You Want to Build

a Snowman?

II. For the First Time

In Forever III. Frozen Heart IV. In Summer V. Let It Go

The Disney movie, Frozen, was a 2014 Academy Award Winner for Best Animated Feature and Best Original Song. The critically acclaimed song “Let It Go” also earned the Grammy Award for Best Song Written for Visual Media, and the Critics’ Choice Award for Best Song. It was nominated for the Golden Globe Award for Best Original Song.

J Strauss II: Overture from DIE FLEDERMAUS Johann Strauss II (b. October 25, 1825, Vienna, Austria; d. June 3, 1899, Vienna, Austria)

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Tchaikovsky: The Nutcracker Suite, No. 1, Op. 71a Pyotr Ilyich Tchaikovsky (b.

Kamsko-Votinsk, May 7, 1840; d. St. Petersburg, Oct. 25, 1893)

Peter Ilich Tchaikovsky The Nutcracker is a two-act ballet, originally choreographed by Marius Petipa and Lev Ivanov with a score

by Pyotr Ilyich Tchaikovsky (op. 71).

The libretto is adapted from E. T. A. Hoffmann’s story “The Nutcracker and the Mouse King,” by way of Alexandre Dumas’ adapted story, “The Nutcracker.”

It was given its premiere at the Mariinsky Theatre in Saint Petersburg on Sunday, December 18, 1892.

The Nutcracker contains some of Tchaikovsky’s most memorable tunes.

One novelty in Tchaikovsky’s original score was the use of the celesta, a new keyboard instrument Tchaikovsky had discovered in Paris. He wanted it for the character of the Sugar Plum Fairy to characterize her because of its “heavenly sweet sound.”

Tchaikovsky selected eight of the numbers from the ballet forming The Nutcracker Suite, Op. 71a, intended for concert performance. The suite was first performed, under the composer’s direction, in 1892, at an assembly of the St. Petersburg branch of the Musical Society and instantly became famous. In fact, according to Toscanini, Musician of Conscience by Harvey Sachs, the young conductor, Arturo Toscanini, gave his first fulllength symphony concert on March 19, 1896, and included this suite from the four-year-old Nutcracker ballet. This work, now a standard on the concert stage - was featured in

Join us for a Sing-a-long

Disney’s Fantasia. Yet, The Nutcracker Suite should not be mistaken for the complete ballet.

I. Miniature Overture II. Danses Caractéristiques a. Marche b. Dance of the Sugar Plum Fairy c. Russian Dance (Trepak) d. Arabian Dance e. Chinese Dance f. Reed Flutes III. Waltz of the Flowers ORCHESTRAS, BOYCHOIR and SOPRANO Finnegan: A Christmas Sing-Along John Finnegan (b. 1926) A traditional Christmas Singalong for Orchestra and Audience, singing this is a delightful way to start the Holiday season. With all the Holiday carols many of us remember learning in our childhood, the sing-along is sure to be enjoyable when harmonizing with everyone. Join in the merriment because a copy of the words of this singalong is provided!!

• Jingle Bells • Joy to the World • It Came Upon the Midnight Clear • Hark! The Herald Angels Sing • Silent Night • Away in a Manger • Deck the Halls • O Come, All Ye Faithful LSO

Join us for a year of outstanding theatre!

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W S U P P O R T I N G

A R T I S T S

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S U P P O R T I N G

T H E

A R T S

here words fail, music speaks.

- Hans Christian Andersen

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Announcing...

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The 19th Annual RISING STARS CONCERTO C O M P E T I T I O N

PLEASE JOIN US! ATTENDANCE IS FREE!!

Saturday, January 20, 2018 at 3:30 p.m. in the Recital Hall at Viterbo University All high school students 14-18 years of age are eligible to compete for cash prizes. One pianist and one instrumentalist will be selected to perform at the March 17, 2018 concert.

Application, repertoire list, competition rules & entry deadline are available at:

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You are invited to the 28th Annual Sponsored by Wells Fargo, Wells Fargo Advisors and Interstate Roofing

The Black & White Masquerade Ball SATURDAY, FEBRUARY 10, 2018 The Cargill Room at Riverside Center South 332 Front Street South, La Crosse The Waterfront Ballroom $115 per person

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501(C)3 | Eleven Organizations | www.ufah.org

THANK YOU

for making a difference in our community IN 2016 YOU CONTRIBUTED $101,933 By making one gift to UFAH you are supporting the events and programs of 11 non-profit organizations La Crosse Community Theatre La Crosse Girlchoir La Crosse Historical Society La Crosse Symphony Orchestra Mississippi Valley Archaeology Center Pump House Regional Arts Center

Coulee Chordsmen Great River Festival of Arts La Crosse Area Youth Symphony Orchestras La Crosse BoyChoir La Crosse Chamber Chorale

Donation Leaders Agropur Ingredients Chris and Vicki Born Bosshard Parke Ltd. Thomas and Jan Brock Cleary-Kumm Foundation, Inc. Dahl Family Foundation Dairyland Power Cooperative The Elmwood Foundation, Inc. First Supply LLC Barbara and Donald Frank Charitable Fund Sue Anne Gelatt Foundation Gundersen Health System The Helen Trane Hood Charitable Trust Wayne J. Hood, Jr.

Tara Johnson and Tim Padesky The George and Sharon Kerckhove Family Fund Kwik Trip, Inc. La Crosse Tribune Jeans Day La Crosse Community Foundation: Norman L. Gillette, Sr. Family Fund Dr. David L. & Sacia B. Morris Family Foundation Dr. Scott and Mary Rathgaber Brian and Karen Rude Russell and Vera Smith Foundation The Paul E. Stry Foundation Mary Jo and Shawn Werner

In-Kind Leaders

David and Judy Bouffleur Brice Cohey Consulting

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2017-18 Season

March 17, 2018 | 7:30 pm

American Visions

ASH for Orchestra Michael Torke (b. 1961)

Concerto Movements with Rising Stars Winner(s) INTERMISSION

Symphony No. 9 in E minor, Op. 95, “From the New World” Antonín Dvořák (1841 - 1904)

I. II. III. IV.

Adagio—Allegro molto Largo Molto vivace Allegro con fuoco

Thank you to our March Concert Sponsor

Thank you to our Season Sponsors

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MARCH PROGRAM NOTES

American Visions

ASH for Orchestra Torke writes about his work, “The Michael Torke (b. Milwaukee, orchestration does not seek color for September 22, 1961) its own sake, as decoration is not a high priority, but the instruments World Premier, February 3, 1989 combine and double each other to Ordway Center; St. Paul, Minnesota create an insistent ensemble from St. Paul Chamber Orchestra beginning to end. Only occasionally, conducted by John Adams as in the middle section, do three woodwind instruments play alone for a short while to break the inertia of the ensemble forging its course together.”

20C: Color Music Michael Torke (Composer) David Zinman (Conductor) Baltimore Symphony Orchestra (Orchestra)

His best-known work is probably Javelin, which he composed in 1994, commissioned by the Atlanta Committee for the Olympics in conjunction with the 1996 Summer Olympics and, concurrently, in celebration of the Atlanta Symphony Michael Torke Orchestra’s 50th anniversary season.

Another work was commissioned by the The score calls for one flute, two oboes, Walt Disney Company and its CEO, clarinet, two bassoons, three horns, one Michael Eisner, for the New York trumpet, timpani, synthesizer, and strings.

P h i l h a r m o n i c’s Mi l l e n n i u m Performance time is fifteen minutes.

Celebration. Named Four Seasons, it Michael Torke is an American is an oratorio for chorus and orchestra composer who writes music influenced celebrating various aspects of the by jazz and minimalism. Torke was year. Torke was also commissioned born in Milwaukee, Wisconsin, to help Chicago honor the centennial studied at the Eastman School of of Daniel Burnham’s 1909 Plan of Music with Joseph Schwantner and Chicago; he produced a work entitled Christopher Rouse, and continued his Plans that was performed at the Grant Park Music Festival in June 2009. training at Yale University.

INTERMISSION

His opera Pop’pea, a rock opera version of Monteverdi’s L’incoronazione di Poppea, was commissioned by the Théâtre du Châtelet in Paris and premiered there on May 29, 2012.

More recently, Torke’s Concerto for Orchestra was commissioned and recorded by the Royal Liverpool Philharmonic in 2014. Upcoming Torke associates pitches and chords projects include two new ballets for with specific colors and has often the Milwaukee Ballet. named his pieces for those colors and the moods they evoke. Ash RECORDINGS was commissioned by the St. Paul https://www.amazon.com/20CChamber Orchestra and premiered Color-Music-Michael-Torke/dp/ on February 3, 1989, in St. Paul, B0091Q81N2/ref=sr_1_4?s=musi conducted by John Adams. As Mr. c&ie=UTF8&qid=1492549318& sr=1-4&keywords=Michael+Torke According to the music publisher Boosey & Hawkes, Torke’s music spans virtually every genre, including opera, orchestra, chamber ensembles, and solo works. In fact, he is a widely choreographed composer with danceworks by Peter Martins for New York City Ballet among others.

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READINGS www.michaeltorke.com Concerto Movements with Rising Stars Winner(s)

Symphony No. 9 in E minor, Op. 95, “From the New World” Antonín Leopold Dvořák (b.

Nelahozeves, September 8, 1841; d.

Prague, May 1, 1904) World premiere: December 16, 1893 Carnegie Hall, New York City Philharmonic Society of New York Anton Seidl, conductor I. II. III. iV.

Adagio—Allegro molto Largo Molto vivace Allegro con fuoco

Antonín Dvořák The score calls for two flutes (second doubling piccolo), two oboes, one English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, one tuba, timpani, triangle, cymbals, and strings. Performance time is forty minutes.

The symphony was commissioned by the Philharmonic Society of New York, and premiered on December 16, 1893, at Carnegie Hall in a concert conducted

by Anton Seidl. Immediately, the

2017-18 Season

work was an outstanding success; even a young Toscanini gave his first performance of the piece in Turin, Italy, when it was barely five years old reads Toscanini, Musician of Conscience, a book by Harvey Sachs. The New World became one of the greatest public triumphs of Dvořák’s career and is now one of the most famous in the entire symphonic literature.

Antonin Dvořák is without question the greatest of Czech composers and his contribution to the literature of both symphonic and chamber music ranks alongside that of most commanding 19th century masters.

Dvořák was – with Smetana and Janácek – one of the three principal composers of the Czech nationalist movement, and was the one who achieved the greatest international prominence. Charles Osborne notes in his The Dictionary of Composers, that Dvořák’s work radiates a cheerfulness tempered by musical discipline that recalls Haydn, Schubert, and Tschaikovsky. Yet, Brahms was the composer closest to Dvořák.

At the age of 12, Dvořák started lessons on the piano, organ, and viola. He also learned harmony, figured bass, and German. He spent the 1860s as an orchestral player – viola – in the Czech National Opera Orchestra conducted by no less than Smetana, and participated in the premier of the Bartered Bride under the composer.

While Dvořák also attended as many performances of Wagner operas as possible, he still composed symphonies along with two string quartets.

Leaving the opera-orchestra life, he continued his career as a church organist in Prague allowing him more time to compose. At this point he had already won the Austrian State Prize four times – thanks in part to Brahms, his good friend.

Brahms’s friendship with Antonin Dvořák, is a relationship that is unparalleled in music history. In 1877, Brahms was so impressed at Dvořák’s ability that he arranged for Dvořák’s work to be given to his own publisher,

served as a three-month retreat for him, continues the New York Times.

He played the St. Wenceslaus Church organ (it remains in rickety operation) at early Mass. He fished in the Turkey River near Spillville, and roamed the Dvořák’s prior success in Prague countryside listening to the unfamiliar constituted at best a provincial songbirds and jotting down their achievement; it was crucial that he be songs. Dvorak was both awed and accepted internationally – and that is saddened by the vast, lonely spaces around him. precisely what Brahms provided.

Simrock. Simrock not only accepted Dvořák’s Moravian Duets, Op. 20, but commissioned what was to become one of Dvořák’s most enduringly popular works, the Slavonic Dances, Op. 46.

In 1891 he received an invitation to head the recently founded New York National Conservatory of Music.

During this time in New York City, Dvořák instructed those students who later became the teachers of George Gershwin, Harold Arlen, Aaron Copland and Duke Ellington. To all the La Crosse Symphony patrons, remember that the works performed by the La Crosse Symphony and Mary Carewe, soprano, during a concert in the 2016-17 season, were songs by Harold Arlen and George Gershwin.

Clearly, Dvořák indirectly influenced a great deal of strictly “American” music.

He remained in the United States for the next three years and composed this work, his cello concerto, and two string quartets. In addition, Dvořák led the Exposition Orchestra (the Chicago Symphony Orchestra augmented to 114 players) in a performance of his Eighth Symphony on a special Bohemian Day concert at the World’s Columbian Exposition on August 12, 1893. Since he was in the Midwest summering in Spillville, Iowa, he included this stop in Chicago during his train trip back to New York City from Iowa.

Interestingly for us living here in the Coulee Region, Dvořák lived in Spillville, Iowa, during the summer of 1893 where his chamber works were actually composed. The New York Times writes that he came to the rolling green hills of northeast Iowa to find the camaraderie of his Czech countrymen who had immigrated to Iowa.

Upon his return to Prague, he became Director of the Prague Conservatory; still, he always remembered his period in Iowa. For instance, the idea for his opera, Rusalka, may have stemmed from the Iowan water nymph he encountered by accident as she bathed in the Turkey River! All this music would have been written with or without America, but it would have sounded nowhere near the same.

Most importantly, Dvořák never forgot that he owed his dramatic universal rise to Brahms’s interest.

Throughout Dvořák‘s sojourn in America (during which time the “New World” Symphony was written), Brahms took the remarkable step of serving as copy editor and proofreader for Dvořák’s submissions to Simrock in order to facilitate their timely publication. In fact, the “New World” Symphony was published promptly in 1893 before its world premiere in New York. Dvořák said it was hard to understand why Brahms would “take on the very tedious job of proofreading,” and continued, “I don’t believe there is another musician of his stature in the whole world who would do such a thing.”

Fueled with the spirit of Hungarian folk music, Dvořák honored Brahms by orchestrating the last five of Brahms’ Hungarian Dances performed by the La Crosse Symphony earlier this season.

WHAT TO LISTEN FOR Dvořák was one of the greatest masters of instrumentation, whether we point to his smaller works of chamber music or to his orchestral compositions, Dvořák, the butcher’s son from small- writes Grove’s Dictionary of Music and town Bohemia, loved Spillville, which Musicians, Third Edition. This is not

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only an exciting piece for audiences – ‘absolute music’ – but it is also exciting for the musicians to play. The work is well written for every instrument, and there is nothing like watching and listening to it in person or on a video!

teacher. It is the best known theme in the piece and “the famous solo is played by the poignantly beautiful, deep-throated- tone-color of the English horn” as described by Karl Haas in his book, Inside Music.

Louis Cuyler in The Symphony, explains that the French horns have the stately original theme in the first movement. That horn theme is initially heard in its complete form in the key of E-flat minor, a halfstep below the overriding key of E minor; the sidestep that rectifies the movement to its proper key adds an element of psychological uplift. The ensuing themes are also evocative: a dance-tune (introduced by flute and oboe) curiously reminiscent of “Turkey in the Straw” and another that evokes, for many, the spiritual “Swing Low, Sweet Chariot. “

The third movement, the Scherzo, allows one to imagine Dvorak thinking back about his experiences with ritual songs of the Indians – all of which he actually saw and heard in New York at a Buffalo Bill’s Wild West touring show well before summering in Iowa. In fact, the “New World” Symphony was composed in New York City and on its way to be published, far ahead of the Spillville experience.

The last movement “Allegro con fuoco” starts with a brilliant flourish of the full orchestra and a new theme is presented in the horns and trumpets.

Throughout the movement, all the The English horn solo in the Largo – themes from the entire symphony second – movement is said to emulate are recalled while the virtuoso strings, the voice of Dvorak’s pupil Harry T. woodwinds, brass, and timpanist get Burleigh, who sang plantation songs a real workout … fast and furious! and Stephen Foster favorites to his There is plenty here that is Brahms-

Be Creative.

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like; nonetheless, Dvořák’s finale also reminds us of its composer’s early infatuation with Wagner. Just listen to it fade away in conclusion.

VIDEO https://search.aol.com/aol/video?q =Dvorak+New+World+Symphony &s_it=video-ans&sfVid=true&video Id=730A58316634D6C2AC58730A 58316634D6C2AC58&s_chn=prt_ bon&v_t=comsearch Symphony No. 9, “From the New World” Lorin Maazel, conductor New York Philharmonic I. II. III. IV.

Adagio—Allegro molto Largo Molto vivace Allegro con fuoco

RECORDING Dvorak: Symphony No. 8 Dvorak: Symphony No. 9, “From the New World” George Szell, conductor Cleveland Orchestra

I. Adagio—Allegro molto II. Largo III. Molto vivace IV. Allegro con fuoco BOOKS(S) Dvořák

by Hans-Hubert Schönzeler (Marion Boyars) Dvořák and his World edited by Michael (Princeton)

Beckerman

Dvořák in America 1892-1895 edited by John C. Tibbetts (Amadeus)

Hanson & Associates

New Worlds of Dvořák: Searching in America for the Composer’s Inner Life edited by Michael Beckerman (Norton) LSO

A private wealth advisory practice of Ameriprise Financial Services, Inc. 500 2nd Street South, Ste 101 LaCrosse, WI 54601 608.783.2639 craig.m.hanson@ampf.com hansonprivatewealth.com

Ameriprise Financial Services, Inc. Member FINRA and SIPC. © 2016 Ameriprise Financial, Inc. All rights reserved. (9/16)

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In perfect harmony...

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For information about benefit administration services, contact us at 715.841.2000. umr.com © 2014 United HealthCare Services, Inc. 0814 No part of this document may be reproduced without permission.

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The La Crosse Branch of Wells Fargo Advisors is pleased to sponsor the La Crosse Symphony Orchestra The La Crosse Branch of Wells Fargo Advisors 2 Copeland Ave., Ste. 101 La Crosse, WI 54603 Direct: 608-788-9800 wellsfargoadvisors.com Mark A. Dahlke, CFP® Branch Manager

Neuman-Fortun Investment Group

Lance Paulson, AAMS® Vice President – Investments

Robin Swartz Associate Vice President – Investments

Edward S. Neuman Senior Vice President – Investment Officer

Christopher Grode First Vice President – Investments

Daniel Radtke Senior Vice President – Investments

Joshua C. Fortun, AAMS® Financial Consultant

Mike D. Stuhr Financial Advisor

Investment and Insurance Products: NOT FDIC Insured NO Bank Guarantee MAY Lose Value Wells Fargo Advisors, LLC, Member SIPC, is a registered broker-dealer and a separate non-bank affiliate of Wells Fargo & Company. © 2013 Wells Fargo Advisors, LLC. All rights reserved. 0715_03774 [74127-v4] A1701 (1513001_462143)

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Enjoy music in your shower with Moxie.

THE SHOWERHEAD + WIRELESS SPEAKER FROM KOHLER.

106 CAMERON AVENUE, LA CROSSE, WI | 1SUPPLY.COM/120 | SINCE 1897 608-519-5414 | GERHARDSSTORE.COM

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2017-18 Season

2017 CONDUCTOR WANNABES The Conductor Wannabe format changed in the spirit of collaboration, we asked each of the seven candidates to choose a non-profit organization that would receive ½ of the money they each raised during the campaign. Each “vote” was $2.00 – one dollar going to the LSO and the other dollar going to the candidates’ chosen charity. The LSO is proud to collaborate with such wonderful organizations that are truly needed in our community.

The La Crosse Symphony Orchestra would like to CONGRATULATE, THANK & CELEBRATE...

This year marks the 21st anniversary of the Conductor Wannabe Campaign.

Including this campaign, all wannabes have raised a total of $602,893 dollars!

The Conductor Wannabes this year were: Andrew Bakkum representing Big Brothers Big Sisters of the 7 Rivers Region, Eric Erickson representing Boys and Girls Club of Greater La Crosse – the Fine Arts Program, Jaime Greenfield representing the Boys and Girls Club of Greater La Crosse, Debra Lash representing Downtown Main Street and Hunger Task Force and Michelle Skemp representing Aquinas Catholic Schools.

An awesome group of conductor wannabes from 2017.

For almost 5 1/2 weeks, these five amazing candidates and their chosen charities mailed THOUSANDS of letters, talked to hundreds of people and hosted more fundraiser events than any other group of wannabes in the history of the competition.

I am happy to announce that the winner of the competition was Jaime Greenfield! Jaime’s grandfather was Maestro Frank Italiano the LSO’s conductor 50 years ago. Jaime raised $18,374 so the Boys and Girls Club receive half of that amount $9,187!

The runner-up of the competition was Eric Erickson! Eric raised $11,362 so the Boys and Girls Club receive half of that amount $5,681 for their Fine Arts Program! www.facebook.com/lacrossesymphony

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the

PERCUSSION

project

A joint venture that is helping three Coulee Region music organizations.

THANKS TO THE GENEROUS CONTRIBUTIONS OF MANY PEOPLE, the Percussion Project – a collaboration of the La Crosse Symphony Orchestra, the La Crosse Youth Symphony Orchestra and Onalaska High School instrumental music department – HAS BEEN COMPLETED. New instruments have been purchased and have arrived at their new home at Onalaska High School. The 5-octave marimba will arrive in November. Both the Symphony and the Youth Symphony look forward to sharing these new instruments.

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La Crosse Youth Symphony Orchestra

Glockenspiel James Munn-In memory of Sallie Munn, percussionist Bass Drum w/Stand 36” La Crosse Kiwanis Foundation Kathy Davig Mary Jo Werner Howard & Nancy Mills Concert Snare Drum Rich MacDonald Cymbals 18,” 19” Artisan, 16” Suspended, 17” Brilliant, 18” Orchestral, 18” Artisan Brilliant The Abellera’s & The Morris Family Foundation 17” French Cymbal Kurt & Jeanne Hulse Bongo, Conga, Tumba, Quinto, Stands and Cases The La Crosse Community Foundation Chimes & Chimes Stand Tam Tams/32” Gongs & Case Tam Tams/40” Gongs, Case & Stand Glockenspiel Stand Snare Drum Case & Stand Concert Field Drum, Case & Stand Set Xylophone Vibraphone Cymbals-Hardware & Crash Cradle Suspended Cymbals Stand Cymbal Stands & Bags Cymbal Straps Crotales Box Mallets Marimba MAJOR DONORS Barry Blomquist & Eva Dahl Scott Mathy Jay & Dawn Jaehnke Lyche Family Harvey Bertrand & Suzanne Tanner-Bertrand Matthew Runde Rotary Club of La Crosse Valley View

Onalaska High School Band

Thomas & Jan Brock William Koutsky Anonymous ADDITIONAL SUPPORT Anonymous (10) Dave & Jean Burgess, and sons Alex & Greg, OHS Band alumni Marilyn & Jerry Arndt Connie & George Smith Joan & Richard Marchiando Xcel Energy Dr. David & Sandra Riley, Drs. Kasandra & Derek Riley* *donation toward marimba Jared & Carley Schaffner Dennis Ryan Allan & Carla Townsend Dave & Janice Solie Family Todd & Eva Marie Restel* *donation towards marimba Aurel & Sue Mailath Jan & Ron Rada Brad & Sue Price Craig & Mary Bartos Altra Federal Credit Union Tom & Trudy Kennedy Dale & Karen Montgomery William Neil William & Kathy O’Driscoll Michael White Fred & Jean Skemp Dick & Mary Jean Sartz David Yao & Julia Wang Margaret O’Meara Kearns Family Kermit Newcomer Fleis Insurance Chuck & LuAnn Roth Dan & Judy Brady James & Nancy Terman James & Sheri Schneider Pat & Joe Heim Paul & Suzanne Weibel Rich & Dorothy Lenard Geoff & Diane Klos Jeanne Connelly Matthew Hanson & Laura Marchiando James Knutson

John & Mary Dudley Dr. Robert & Yvonne Caplan Reed Music Studios Jacob Trannel Foundation Heidi Blanke Onalaska American Legion Post 336 Barbara Rice Maureen Sullivan Barb & Larry Dalton Dawson & Jackie Strutt Gary & Cathy Walth Jerry & Cathryn Yushta Fred & Ruth Kurtz* *donation toward chimes Lorraine McIlraith John Hopkins Kent Ellickson Steve & Deb Michaels Woodbury & Anne Ransom Leah Dietrich Merle Gustafson Tom & Holly Gorman Cameron & Carlene Roberts Larry Shingleton Richard & Lily Data Karen Hellman Marc & Liz Ranger Michael & Regina Kilbey Becky Post & David Maddocks Richard & Pamela Strauss Kim & Denise Linton Nancy Borgen Elizabeth Brock-Jones Katharine Brock Pat & Dick Spencer David Mailath-OHS Percussion Class of 2000 Alan Robertson Gerald & Charlotte Kann Drs. Mike & Becky Ledocq Harry & Jean Hindson Charles & Shirley Haas Don & Lynette Wilhelm Lu Ann Gerber Sibyl Floyd Kiwanis Club Rick & Mary Schlicht Angie Hendrikson Daniel Schiffer

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April 14, 2018 | 8:00 pm

Italian Serenade THE DRIFTLESS CHAMBER CONCERT At the historic Temple Theatre, Viroqua Antonio Vivaldi: Concerto for Strings “Alla Rustica�

Luigi Boccherini: Cello Concerto No.9 in B flat major

KYLE PRICE, cello Jean Sibelius: Romance in C Pyotr Tchaikovsky: Serenade for Strings in C Major

Italy -- whether a motherland to the 18th-century masters Vivaldi and Boccherini, or a refuge for rest and inspiration for Tchaikovsky and Sibelius -- sets the stage for the LSO's return to beautiful Viroqua and the acoustic gem of the charming Temple Theatre. Kyle Price, the Orchestra's newly-minted Principal Cello, makes a well-earned star turn in Boccherini's masterpiece. And after Sibelius' haunting little album-leaf, the concert will end with one of the immortal works of the string-orchestra repertoire, Tchaikovsky's "Serenade for Strings"! Make it an evening and enjoy Viroqua's wonderful restaurants beforehand.

Thank you to our APRIL Concert Sponsors Dr. Michael White

Thank you to our Season Sponsors

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Ron DuCharme, Gabriel Hicks, Valerie Lee and Ray C. Ping are proud to support The La Crosse Symphony Orchestra Ron DuCharme, CFP® Vice President - Investments 608-791-9210 305 Fifth Avenue South LaCrosse, WI 54601

Valerie Lee Senior Vice President - Investments 608-791-9220 305 Fifth Avenue South LaCrosse, WI 54601

Gabriel Hicks, CFP® Financial Advisor 608-779-8022 591 Theatre Road Onalaska, WI 54650

Ray C. Ping Financial Advisor 608-791-9281 305 Fifth Avenue South LaCrosse, WI 54601

Wells Fargo Advisors is a trade name used by Wells Fargo Clearing Services, LLC, Member SIPC, a registered broker-dealer and non-bank affiliate of Wells Fargo & Company.

CAR #1016-00969

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S&S Cycle is proud to support the La Crosse Symphony Orchestra

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2017-18 Season

May 5, 2017 | 7:30 pm

Music from the Movies The Fabulous Seventies Richard Strauss: Thus Sprach Zarathustra from 2001: A SPACE ODYSSEY (1864 - 1949) Richard Wagner: Ride of the Valkyries from APOCALYPSE NOW (1813 - 1883) Nino Rota: Music from THE GODFATHER (1911 - 1979) Francis Albert Lai: “Where Do I Begin” from LOVE STORY (b. 1932) Conti/Lowden: Highlights from ROCKY William “Bill” Conti (b. 1942) George Gershwin: Rhapsody in Blue from Woody Allen’s MANHATTAN (1898 - 1937)

Andrew Russo, piano INTERMISSION John Williams (b. 1932)

Theme from SUPERMAN Music from CLOSE ENCOUNTERS OF THE THIRD KIND Theme from ET Suite from STAR WARS

Thank you to our MAY Concert Sponsor George & Connie Smith Thank you to the La Crosse Community Foundation and the Margaret Forseth Burgess Music Fund for sponsoring guest artist, Andrew Russo

Thank you to our Season Sponsors

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Take your career to the next octave.

lhicareers.com Proud Sponsor of the La Crosse Symphony Orchestra Š 2017 Logistics Health Incorporated (LHI). All rights reserved

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2017-18 Season

MAY GUEST ARTIST

Andrew Russo piano Andrew C. Russo is known for the diversity of his interests and experiences, whether it be Business, Music or Politics.

A native of Syracuse, NY, Russo is a graduate of The Juilliard School, and pursued post-graduate studies in Leipzig and Paris with pianist/alternative pedagogue Frederic Chiu. Andrew’s early career was spent as an advocate of American composers and American music. He has performed in many of the world’s cultural capitals – Paris, London, Moscow, Rome, Brussels, Tokyo, New York, Los Angeles, Chicago, Buenos Aires, etc.

His appearance as a finalist in the 2001 Van Cliburn International Piano Competition drew attention, when he became the first pianist to perform a significant work using alternative techniques requiring the inside and

frame of the piano as well as the keys. He was featured in Peter Rosen’s internationally broadcast documentary “Playing of the Edge” not long after the competition and profiled in NY Times writer James Barron’s book, “The Making of a Steinway Concert Grand”.

New York. The unorthodox nature of Mr. Russo’s candidacy drew statewide attention, with a profile appearing in the New York Times and coverage from outlets such as The National Review and Capitol Tonight.

With twelve commercial recordings to his credit, the highlight of Andrew’s recording career was a 2007 Grammy nomination for his Black Box Records release of music by John Corigliano. His video of Jacob TV’s “The Body of Your Dreams” has become a popular draw on You Tube and was broadcast on Dutch television. Andrew’s most recent recording on Naxos featured new works of Aaron Kernis, including Three Flavors for piano and orchestra - commissioned by Russo and premiered with David Alan Miller leading the Albany Symphony Orchestra.

Currently, Andrew Russo is a Financial Consultant in the Syracuse (NY) market as well as an Adjunct Instructor of Finance at Le Moyne College’s Madden School of Business. His work in the financial world includes the founding the Prufrock Ventures, which specializes in late-stage investments in disruptive preIPO technology companies. Prufrock has invested in companies such as Twitter, Square, Lending Club, Pinterest, Lyft and Bloom Energy among others.

He lives in Skaneateles, NY with his wife Natalia and their children Andrei and Mila. LSO

In 2010, Andrew Russo was nominated to run for New York State Senate representing Central

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MAY PROGRAM NOTES Richard Strauss: Thus Sprach Zarathustra - 2001: A Space Odyssey (b. Munich, Germany, June 11, 1864; d. Garmisch-Partenkirchen, Germany, September 8, 1949)

Richard Strauss 2001: A Space Odyssey is a 1968 epic science-fiction film produced and directed by Stanley Kubrick. In 1991, the movie was deemed “culturally, historically, or aesthetically significant” by the United States Library of Congress and selected for preservation in the National Film Registry.

The film, notable for its innovative use of classical music taken from an existing commercial recording, makes use of Richard Strauss’ Also sprach Zarathustra. Also sprach Zarathustra, Op. 30, is a tone poem by Richard Strauss, composed in 1896, and inspired by Friedrich Nietzsche’s philosophical novel of the same name. The composer conducted its first performance on November 27, 1896 in Frankfurt and the work has been part of the classical orchestral repertoire since its first performance.

The initial fanfare – entitled “Sunrise” in the composer’s program notes – became particularly well-known after its use in 2001: A Space Odyssey.

“The music begins in the depths of darkness, with a low rumble in string basses, contrabassoon, organ, and bass drum. Then comes the sunrise, as four trumpets intone the ‘Nature’ theme:

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Music from the Movies The Fabulous Seventies a simple three-note rising figure.

The day breaks with a tremendous C major cadence,” writes Jonathan D. Kramer in “Listen to the Music.”

Valhalla. The familiar tune is carried by the orchestra, while, above it, the Valkyries greet each other and sing their battle-cry.

The film’s producer Stanley Kubrick said, “However good our best film composers may be, they are not a Beethoven, a Mozart or a Brahms. Why use music which is less good when there is such a multitude of great orchestral music available from the past and from our own time? When you are editing a film, it’s very helpful to be able to try out different pieces of music to see how they work with the scene. Well, with a little more care and thought, these temporary tracks can become the final score.”

The Ride is associated with the film Apocalypse Now where the 1/9 Air Cavalry regiment plays the piece of music on helicoptermounted loudspeakers during their assault on a Vietnamese village as psychological warfare and to motivate their own troops. Directed

by Francis Ford Coppola, the film stars were Martin Sheen, Marlon Brando, and Robert Duvall.

Richard Wagner: Ride of the Valkyries from Apocalypse Now (b. Leipzig, Germany, May 22, 1813; d. Venice, Italy, February, 13, 1883)

Nino Rota: Music from The Godfather (b. Milan, Italy, December 3, 1911; d.

Rome, Italy, April 10, 1979)

Richard Wagner

Nino Rota

The Ride of the Valkyries (German: Walkürenritt or Ritt der Walküren) is the beginning of Act III of Die Walküre, the second of the four operas by Richard Wagner that constitute Der Ring des Nibelungen.

The American Film Institute ranked Rota’s score for The Godfather No. 5 on their list of the greatest film scores.

Giovanni “Nino” Rota was an Italian composer, pianist, conductor and academic. He is best known for his film scores including the first two films of Francis Ford Coppola’s Godfather trilogy, receiving the Academy Award for Best Original Score for The Godfather Part II (1974).

The main theme of the Ride, the leitmotif labelled “Walkürenritt,” was first written by Wagner in July 1851. In the Walküre opera, the Ride begins in the Prelude to the Third Act, building up successive layers of accompaniment until the curtain rises to reveal a mountain peak where eight Valkyrie sisters of Brünnhilde have gathered in preparation for the transportation of fallen heroes to

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After watching the Godfather with the unforgettable score which clearly was composed to heighten the suspense in the story, one notices the use of foreboding themes throughout providing dark, looming, yet elegant,

2017-18 Season

music. There are many haunting melodies in the score which help us remember the movie.

Moreover, it made use of additional background music that was played during the gangster era making the film more authentic and giving it an Italian feel. Rota related to the film’s situations and characters by using the music to highlight its core aspects, which are believed to be “tradition, love, and fear.”

During his long career, Rota also was an extraordinarily prolific composer of film scores for Federico Fellini and Luchino Visconti. As a youth, he entered the Milan Conservatory and then graduated in composition in 1930 from the Santa Cecilia Academy in Rome. According to Toscanini, Musician of Conscience by Harvey Sachs, Arturo Toscanini encouraged Rota to accept a scholarship for composition study - with Rosario Scalero - to the Curtis Institute of Music in Philadelphia where he also studied conducting with Fritz Reiner (who later became music director of the Chicago Symphony).

In his entry on Rota in the 1988 edition of The Concise Baker’s Biographical Dictionary of Composers and Musicians, music scholar Nicholas Slonimsky described Rota as “brilliant” with his most durable compositions being music for the cinema.

Francis Albert Lai: “Where Do I Begin” from Love Story (b. Nice, France, April 26, 1932)

Francis Albert Lai (Where Do I Begin?) Love Story is a song published in 1970, with music

by Francis Lai, lyrics by Carl Sigman, and arrangement for orchestra by Steven Gold. The song was first

introduced as an instrumental theme in the 1970 film Love Story starring Ryan O’Neal and Ali McGraw. The main song in the film, (Where Do I Begin?) Love Story, was a major success. The soundtrack album went to No. 2 in the Billboard album charts; the film’s theme was a hit single with lyrics written for traditional pop singer Andy Williams.

Francis Albert Lai, a native of France, got his start as an orchestra musician and accompanist. In a career spanning forty years, Lai also wrote music for television programs. He composed music for over one hundred films while writing more than six hundred songs.

Love Story, a 1970 American romantic drama film, was written

by Erich Segal. A tragedy, the film is considered one of the most romantic by the American Film Institute (No. 9 on the list). A line from the film has entered popular culture: Love means never having to say you’re sorry.

The film was nominated for seven 1971 Academy Awards, winning one: Best Music, Original Score — Francis Lai. The National Academy of Recording Arts and Sciences honored him with a gold record certification for the album, Love Story. He also won a Golden Globe Award for best original score for Love Story.

Francis Albert Lai

Avildsen reports the budget for the music was only $25,000, and that was for everything: the composer’s fee, the musicians’ fees, recording studio rent, and to buy the tape on which the soundtrack was to be recorded.

Yet, the main theme song, Gonna Fly Now, made it to No. 1 on the Billboard magazine’s Hot 100 list for one week (from July 2 to July 8, 1977) and the American Film Institute placed it 58th on its AFI’s “100 Years ... 100 Songs.”

The song (whose lyrics are only 30 words long) became part of American popular culture after main character Rocky Balboa, as part of his daily training regimen, runs up the 72 stone steps leading to the entrance of the Philadelphia Museum of Art and raises his arms in a victory pose, while the song plays.

George Gershwin: Rhapsody in Blue from Woody Allen’s Manhattan (b. Brooklyn, New York, September 26, 1898; d. Los Angeles, California, July 11, 1937)

George Gershwin

Conti/Lowden: Highlights from Rocky William “Bill” Conti (b. April 13, 1942)

Manhattan is a 1979 American romantic comedy film directed

by Woody Allen and produced

by Charles H. Joffe. The film features music composed by George Gershwin, including Rhapsody in Blue. Ironically, a portion of the first movement of Mozart’s Symphony No. 40 is also heard.

Bill Conti

Rhapsody in Blue is a 1924 musical composition by American composer George Gershwin for solo piano and jazz band, which combines elements of classical music with jazz-influenced effects. Commissioned by bandleader Paul Whiteman, the composition was orchestrated several times by Ferde Grofé (who later wrote The Grand

The musical score for Rocky - a 1976 American sports drama film directed

by John G. Avildsen and both written by and starring Sylvester Stallone - was composed by William “Bill” Conti and arranged for orchestra by Bob Lowden. Written economically,

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Canyon Suite). The piece received its premiere on February 12, 1924, in New York City, by Whiteman and his band with Gershwin playing the piano.

The editors of the Cambridge Music Handbooks opined that Rhapsody in Blue (1924) established Gershwin’s reputation as a serious composer and has since become one of the most popular of all American concert works. Gershwin had agreed that Ferde Grofé, Whiteman’s pianist and chief arranger, was the key figure in enabling the piece to be successful.

After the premiere, Grofé made new orchestrations of the score in 1926 and 1942, each time for larger orchestras. Since the mid-20th century, the 1942 version has become a staple of the concert repertoire.

It was this version that Toscanini conducted as he initiated his 194243 NBC radio concert season with jazz clarinetist Benny Goodman and the young American piano virtuoso Earl Wild, writes Harvey Sachs in Toscanini, Musician of Conscience.

In 2001, the United States Library of Congress deemed the film, Manhattan, “culturally significant” and selected it for preservation in the National Film Registry. Often considered one of Allen’s best films, it ranks 46th on AFI’s “100 Years ... 100 Laughs” list and 63rd on Bravo’s “100 Funniest Movies.”

WHAT TO LISTEN FOR The opening of Rhapsody in Blue is written as a clarinet trill followed by a legato 17-note rising diatonic scale. During the first rehearsal, Whiteman’s virtuoso clarinetist, Ross Gorman, rendered the upper portion of the scale as a captivating (and fully trombone-like) glissando. Gershwin heard it and insisted that it be repeated in the performance. An American Heritage columnist called it the “famous opening clarinet glissando ... that has become as familiar as the start of Beethoven’s Fifth.”

Interestingly, clarinetists produce the effect by primarily using the tongue and throat muscles to change the

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resonance of the oral cavity, thus controlling the continuously rising pitch. Many players also gradually open the left-hand tone-holes on the clarinet during the passage from the last concert F (or earlier if possible, thus employing the right hand as well) to the top B. This effect has now become standard performance practice for the work.

INTERMISSION John Williams (b. Floral Park, New York, February 8, 1932)

has moved a little further ahead to Prokofiev, Bartok, and Stravinsky for stylistic inspiration.”

In an interview Williams recalls: “The symphonic film score was such a surprising success that it may have reminded people who had temporarily forgotten how much an orchestra can contribute to a film. People really didn’t think anymore of using a symphony for film. So it might have been a gentle reminder that the orchestra is a fabulous tool, and always has been, and still is very much with us. There is nothing yet invented that delivers the emotional impact that it can.”

Interestingly, Alfred Hitchcock whose Family Plot Williams scored - taught Williams valuable lessons about how to lay music into a film.

John Williams

Williams “alludes to compositions

by Beethoven, Bruckner, Copland, Theme from SUPERMAN Mahler, Schubert, Strauss, Music from Tchaikovsky, and Wagner to present CLOSE ENCOUNTERS a sound-world that is as familiar OF THE THIRD KIND as possible,” while using the styles Theme from ET Suite from of Ligeti, Lutoslawski, Stravinsky, STAR WARS Penderecki, or Shostakovitch for the opposite purpose of “alienation John Towner Williams is an American or agitation” writes Moormann in composer, conductor, and pianist. Spielberg-Variationen: Die Filmmusik With a career spanning over six von John Williams (Baden-Baden, decades, he has worked on many Germany: Nomos, 2010), p. 775. of the highest-grossing films of all time, including the Star Wars series, Williams was expected to deliver Close Encounters of the Third Kind, scores at lightning speed, and the Superman, and E.T. the Extra- extreme demands on his time suggest Terrestrial. These are some of his that he might use familiar music as a most beloved and unforgettable works model simply to increase the speed of featuring music from a selection of the production. For the first Star Wars best films in cinema history. film he had a mere six weeks to score about 90 minutes of music, which is In 2005, the American Film Institute a daunting task even with the help of chose Williams’ score to Star Wars professional orchestrators. as the greatest American film score of all time. Yet, the film scores of John WHAT TO LISTEN FOR Williams often remind us of works by The Superman music features other composers. Williams’ film music individual themes or leitmotifs for is often likened to works by Copland, each person, and each Superman Dvorák, Hanson, Holst, Richard movie carried some of the same Strauss, Stravinsky, and Wagner, but original music by Williams. A this list is not exhaustive. In Stephen leitmotif is a melody associated with a Holden’s words, “Instead of creating particular character or story element appropriations of Rachmaninov, in any mode of drama in which music Mahler and Strauss, Mr. Williams is employed, such as an opera, ballet,

To give a donation or become a sponsor please call 608.783.2121 or visit our website at www.lacrossesymphony.org 2017-18 Season www.lacrossesymphony.org

or film. One of the clearest examples appears in John Williams’s score to Superman, whose memorable “Love Theme” is seemingly derived from Richard Strauss’s Tod und Verklärung (Death and Transfiguration).

Close Encounters of the Third Kind is memorable just for the “encounter” theme; something about the “encounter” is so innocent. Moreover, there is a passage of “When You Wish Upon A Star” from Pinocchio (1940) woven into the music.

E.T. the Extra-Terrestrial features music ostensibly taken from Stravinsky’s Rite of Spring. Indeed, music derived from Stravinsky’s Rite frequently serves to signify danger in Williams’s scores. We also hear references to Hanson’s “Romantic” Symphony No. 2, Third Movement, in the iconic bicycle chase scene.

Additionally, the main theme from E.T. appears to be based on an important motive from the final movement of Dvorák’s Fourth Piano Trio (“Dumky”), op. 90. Interestingly, Williams, a highly trained pianist himself, typically alters the rhythm and meter of the borrowed material although the pitch pattern nearly matches that of its source.

For instance, as the droid C-3PO wanders off on the barren, desert planet of Tatooine, we hear music that sounds like the introduction of Part II (“The Sacrifice”) from the Rite of Spring.

Hickman, a reviewer, also writes that in one of the following scenes, R2D2 (the other droid), is intercepted by Jawas (dwarflike people native to Tatooine), whose theme we soon hear in the trumpets. This “Jawa theme” is the close cousin to a passage from “Mars, the Bringer of War” from Holst’s The Planets.

Star Wars often is credited as heralding the beginning of a revival of grand symphonic scores in the late 1970s. One technique used in the Star Wars films - as well as others - is a technique called the leitmotif discussed above. It is commonly used in modern film scoring as a device for mentally anchoring certain parts of a film to the soundtrack. Of chief importance for a leitmotif is that it must be strong enough for a listener to latch onto while being flexible enough to undergo variation and development.

Williams has won five Academy Awards, four Golden Globe Awards, seven British Academy Film Awards, and 23 Grammy Awards. With 50 Academy Award nominations, Williams is the second mostnominated individual, after Walt Disney. The soundtrack to Star Wars is preserved by the Library of Congress in the National Recording Registry, for being “culturally, historically, or aesthetically significant.”

Star Wars is an American epic space-opera franchise, centered on a film series created by George Lucas.

It depicts the adventures of various characters “a long time ago in a galaxy far, far away.” The music of the Star Wars franchise is composed and produced in conjunction with John Williams attended the University the development of the feature films of California, Los Angeles (UCLA), and studied privately with the Italian within the franchise. composer Mario CastelnuovoWilliams’ scores for the Star Wars Tedesco. He then moved to New York seven saga films count among the City entering The Juilliard School most widely known and popular studying piano with Rosina Lhévinne. contributions to modern film music.

The scores utilize an eclectic variety Returning to Los Angeles he began of musical styles, with several obvious working as a session musician and nods to Holst (The Planets), Walton, a studio pianist, most notably for Prokofiev, and Stravinsky (The Rite of composer Henry Mancini on the Peter Gunn soundtrack. He broke through Spring) in the score to Star Wars. to win his first Academy Award for his

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film score in the 1971 film Fiddler on the Roof.

Besides film music, Williams’s numerous works include a horn concerto for the Chicago Symphony Orchestra’s Dale Clevenger, a trumpet concerto for the Cleveland Orchestra’s Michael Sachs, and a bassoon concerto for the New York Philharmonic’s Judith LeClair.

Williams succeeded Arthur Fiedler as the Boston Pops Orchestra’s Principal Conductor in 1980 and was followed

by Keith Lockhart. Williams is now the Pops’ Laureate Conductor, thus maintaining his affiliation with its parent, the Boston Symphony Orchestra (BSO). LSO

Bravo!

The La Crosse Symphony Orchestra extends special thanks to

for taking care of our many special needs throughout the season.

Bravo!

The La Crosse Symphony Orchestra extends special thanks to

for providing wonderful volunteers throughout the season!

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June 9, 2018 | 7:30 pm

High Passion Double Concerto for Oboe and Violin in C minor, BWV 1060 Johann Sebastian Bach (1685 - 1750) I. Allegro II. Largo ovvero Adagio III. Allegro

Mary Beth Hensel, oboe Wes Luke, violin Procession of the Sardar from Caucasian Sketches Mikhail Ippolitov-Ivanov (1859 - 1935) Procession of the Nobles from Mlada Nikolai Rimsky-Korsakov (1844 - 1908) INTERMISSION Symphony No. 2 in E minor, Op. 27 Sergei Vasilievich Rachmaninov (1873 - 1943) I. Largo. Allegro moderato II. Allegro molto. Meno mosso. Allegro molto.

III. Adagio IV. Allegro vivace

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JUNE GUEST ARTIST

Wes Luke violin

Wes Luke is a violinist, conductor, and educator. He currently serves as the Concertmaster and Assistant Conductor of the La Crosse (WI) Symphony Orchestra and as a section violinist in the Madison (WI) Symphony Orchestra and the Wisconsin Chamber Orchestra. He is also the Principle Second Violinist of the Dubuque (IA) Symphony Orchestra, regularly plays in the Wisconsin Philharmonic, and has led both ensembles as Concertmaster.

In recent seasons he has appeared as a concerto soloist with the UW-Platteville Symphony Orchestra and the LaCrosse Symphony Orchestra.

A frequent recitalist, he performs regularly with the critically-acclaimed Mosaic Chamber Players and is the recently-appointed first violinist of the Ancora String Quartet. Both groups are based in Madison, WI. He is also a violinist with the Kipperton String Quartet, which has served as quartet-in-residence at UW-Platteville and is based in Dubuque, IA. He has performed at music festivals in the U.S., Canada, Germany, and Japan, and in the summer of ‘16 was a visiting artist at the Galena (IL), Green Lake (WI), and Caroga Lake (NY) music festivals.

He is currently on the teaching faculties of the University of Dubuque, Loras College, Divine Word College, and Beloit College. He holds degrees from the New England Conservatory of Music in Boston, MA, where he studied under Boston Symphony Concertmaster Malcolm Lowe, and the University of Wisconsin- Madison, under Felicia Moye. His principle early studies were with Suzuki Viola School author Doris Preucil.

JUNE GUEST ARTIST

Mary Beth Hensel oboe

Mary Beth Hensel proudly celebrates her 30th season with the La Crosse Symphony Orchestra (LSO). During her tenure with the LSO, she has held both the principal oboe and English horn positions and has made numerous solo appearances with the orchestra on both instruments.

Passionately committed to the arts and the Coulee Region in which she has lived most of her life, Ms. Hensel continues to be an active freelance artist in the tristate area in addition to maintaining a highly sought after private studio. She performs regularly for Viterbo University productions and makes frequent solo appearances with the La Crosse Chamber Chorale and at the Cathedral of St. Joseph the Workman. She is a member and co-founder of Bluffside Consort – a chamber music trio – and a member of the choirs at the Cathedral and the Shrine of Our Lady of Guadalupe, serving as a cantor at both churches.

In addition to being an accomplished musical artist, Ms. Hensel is the Director of Resolve Through Sharing (RTS), a program of the Gundersen Medical Foundation.

Created and founded at Gundersen in 1981, RTS continues to be recognized as the leader in providing gold standard bereavement training to healthcare professionals around the world.

Ms. Hensel earned her degree in music performance from the Juilliard School in 1988.

She received her MBA from Viterbo University in 2015. www.facebook.com/lacrossesymphony

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JUNE PROGRAM NOTES

Procession of the Sardar from Caucasian Sketches Mikhail Ippolitov-Ivanov (b.

Gatchina, Russia, Nov. 19, 1859; d. Moscow, Russia, Jan. 28, 1935)

Allegro Largo ovvero Adagio Allegro

related material are delivered by the oboe and solo violin. The Adagio second movement shows serenity of the main theme introduced by the oboe and followed by the violin. The strings are subdued in their accompaniment in this gentle movement, but in the finale they recapture a more integral role. Lastly, the music is busy and bright, with a sense of energetic playfulness. The soloists are presented with challenging and colorful writing.

Mikhail Ippolitov-Ivanov

Johann Sebastian Bach

RECORDING https://www.amazon.com/BachConcerto-Sinfonia-OratorioVivaldi/dp/B00000E2Q0/ ref=sr_1_fkmr1_2?s=music&ie=U TF8&qid=1492982197&sr=1-2-fk mr1&keywords=Johann+Sebastian +Bach+Double+Concerto+for+Ob oe+and+Violin%2C+BWV+1060

Double Concerto for Oboe and Violin in C minor, BWV 1060 Johann Sebastian Bach (b. Eisenach, Germany, March 21, 1685; d.

Leipzig, Germany, July 28, 1750) I. II. III.

The work is scored for violin and oboe, strings, and harpsichord at some point between 1730 and 1745. The piece was first published in 1848.

Performance time is fourteen minutes.

Though the manuscript to this concerto was lost, a reconstruction of it was made possible because Johann Sebastian Bach had also arranged it as the Concerto for Two Harpsichords and Orchestra in C minor (BWV 1060). The score survived and served as a model for reconstruction of this, the original.

For over two centuries, the Bach Family produced one respected musician after another, writes Harold C. Schonberg in The Lives of the Great Composers. J. S. Bach was, perhaps, the most stupendously gifted figure in the history of music as well as the Bach lineage.

WHAT TO LISTEN FOR The Concerto for Oboe and Violin in C minor is in three movements, with the opening Allegro ushering in a sense of joy in its rhythmic vibrancy and thematic catchiness.

The striking main theme is introduced by the string orchestra, but the upbeat second subject and 76

High Passion

Bach: Concerto in C minor BWV 1060; Adagio (Sinfonia from the Easter Oratorio, Pt. II) Johann Sebastian Bach (Composer) Heinz Holliger (Conductor, Performer) VIDEO https://search.aol.com/aol/video?q =Johann+Sebastian+Bach+Double +Concerto+for+Oboe+and+Violin %2C+BWV+1060&s_it=video-an s&sfVid=true&videoId=533DC 2C4C10E47CDD9E1533DC2C 4C10E47CDD9E1&s_chn=prt_ bon&v_t=comsearch

The score calls for three flutes and piccolo, two oboes and English horn, two clarinets, two bassoons, four horns, four trumpets, three trombones, tuba, timpani, percussion (bass drum, cymbal, snare drum, tambourine, triangle), harp, and strings. The approximate length is four minutes.

Ippolitov-Ivanov graduated from the St. Petersburg Conservatory in 1882, a composition pupil of Rimsky-Korsakov. From 1893 to 1924, Ippolitov-Ivanov was professor and director of the Moscow Conservatory. With the exception of his orchestral suite Caucasian Sketches (Kavkazskiye Eskizi, 1894), which includes “Procession of the Sardar,” his music is rarely heard today.

J. S. BACH - Concerto for Oboe & Violin, BWV 1060 NIKOLAUS HARNONCOURT BOOK Johann Sebastian Bach: The Learned Musician (Paperback – September 17, 2001)

by Christoph Wolff

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2017-18 Season

Procession of the Nobles from Mlada Nikolai Rimsky-Korsakov (b.

Novgorod, March 18, 1844; d. St. Petersburg June 21, 1908)

Nikolai Rimsky-Korsakov The score calls for three flutes and piccolo, two oboes and English horn, three clarinets and bass clarinet, three bassoons and contrabassoon, six horns, three trumpets, three trombones, tuba, timpani, percussion (bass drum, cymbal, snare drum, tambourine, triangle), three harps, and strings. The approximate length is four minutes.

Rimsky-Korsakov’s opera, Mlada, is no longer performed; the only familiar music from it is the “Procession of the Nobles,” the orchestral introduction to Act II. The music begins with a rousing brass fanfare, followed by noble tune for strings full of lots of exciting color.

INTERMISSION Symphony No. 2 in E minor, Op. 27 Sergei Vasilievich Rachmaninov (b. Oneg, April 1, 1873; d. Beverly Hills, March 28, 1943) World Premiere, February 8, 1908 St. Petersburg Sergei Rachmaninov, conductor

Sergei Rachmaninov

The score calls for three flutes (including piccolo), three oboes (including English horn), two clarinets, bass clarinet, two bassoons, four horns, three trumpets, three trombones, tuba, timpani, bass drum, cymbals, glockenspiel, snare drum, and strings. Performance time is sixty minutes (uncut).

I. II.

III. IV.

Largo. Allegro moderato Allegro molto.

Meno mosso.

Allegro molto.

Adagio Allegro vivace

Symphony No. 2 in E minor, Op. 27 was written in 1906–07 with the composer conducting the premier in Saint Petersburg on February 8, 1908. The score is dedicated to Sergei Taneyev, a pupil of Tchaikovsky’s.

Sergei Rachmaninov, a Russian pianist, composer, and conductor of the late-Romantic period, wrote many compositions that rank among the most popular in the classical repertoire. Born into a musical family, he enrolled in the Moscow Conservatory as a piano student. However, his youthful works impressed Tchaikovsky so much that he steered Rachmaninov’s education toward composition, in addition to piano.

At the time his Symphony No. 2 was composed, Rachmaninov had already concluded two successful seasons as the conductor of the Imperial Opera at the Bolshoi Theatre in Moscow. Later, Rachmaninov and his family left Russia and, in 1935, ultimately arrived in New York City where his lengthy piano concert tours caused his output as composer to diminish. Still, he performed and conducted a great deal of his own music in orchestra concerts, piano recitals, and concerto solos.

Rachmaninov also recorded much of his own piano works with orchestra. In 1942, he moved to California. One month before his

death from advanced melanoma, he acquired American citizenship altering the official spelling of his name to read “Rachmaninoff” changing the “v” to “ff.”

WHAT TO LISTEN FOR The orchestration throughout is lush and impassioned – think of walking along the California beach in the evening as the waves roll ashore! This is Rachmaninov’s best loved purely orchestral work, and is large, full, brooding, and romantic.

The first movement begins slowly, developing the main theme followed by an English horn solo.

The next section is stormy with solo passages by the clarinet, bass clarinet, and violin. It transitions to a loud, abrupt finale. The second movement opens with a horn solo and a lively pattern in the violins; it’s exciting! This is followed with yet another beautiful, sumptuous melody as only Tchaikovsky or Rachmaninov could do. The central trio section begins with a sudden loud chord, followed by counterpoint and fugal writing; the movement ends softly.

This third movement is remembered for its passionate theme complete with soaring horns. This melody is then taken up by the violins and then a clarinet solo which is stunning.

The second part of the movement is based on the initial symphonic theme, leading to another emotional highpoint. After a transition back to the opening music in the horns, the central melody of the movement is restated. The movement concludes with tranquility, fading away in the strings.

The final movement begins with a fanfare-like theme, leading into a march-like interlude played by woodwinds. After the return of the first refrain, the music transitions directly into a massive, broad melody played by strings and then

brass, especially the low brass! After dying down to pianissimo, the third movement is briefly recalled, an ebb and flow. Following this, the first section introduces new melodic ideas, while revolving around a descending scale.

VIDEO https://search.aol.com/aol/video?q =Rachmaninoff+Symphony+No.+2 &v_t=comsearch&page=5&oreq=5 d675b87f71d4d30b9d436631f0a6 2fd&s_chn=prt_bon

Rachmaninoff: Symphony No. 2 This brings the symphony to Evgeny Svetlanov, conductor a close with another fixture of Rachmaninov’s large-scale works, https://search.aol.com/aol/video?q the characteristic four-note rhythm =Rachmaninoff+Symphony+No.+2 &s_chn=prt_bon&v_t=comsearch ending – his “signature” …

RACH-MAN-I-NOV. Rachmaninoff: Symphony No. 2 Sir Antonio “Tony” Pappano, conductor

RECORDING Rachmaninoff: Symphony No. 2 David Zinman (Conductor) Baltimore Symphony Orchestra (Orchestra) BOOK https://www.amazon.com/ Sergei-Rachmaninoff-LifetimeMusic-Bertensson-ebook/dp/ B06Y42TG9P/ref=sr_1_2?ie=UTF8 &qid=1492652404&sr=82&keywo rds=Book+Rachmaninoff Sergei Rachmaninoff: A Lifetime in Music (Apr 7, 2017)

by Sergei Bertensson LSO

https://search.aol.com/aol/video ?q=rachmaninoff+symphony+2 &s_it=video-ans&sfVid=true&vid eoId=CACD5A409EF42DDEDA 1FCACD5A409EF42DDEDA1F &s_chn=prt_bon&v_t=comsearch Rachmaninoff: Symphony No.2 Radio Filharmonisch Orkest

Bistro Taste the local, seasonal flavors of our community at Hackberry’s Bistro— featuring fast and full-service breakfast and lunch daily, and a soup and salad bar.

La Crosse’s community-owned Open daily grocery store featuring local and organic produce, made-from-scratch 8 am–4 pm deli, in-house bakery, full-service meat and seafood, and more.

Open daily 7 am–10 pm

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Downtown La Crosse, WI 315 5th Avenue South 608-784-5798 • www.pfc.coop

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Thank you

to our 2016-2017 Contributors Thank you to these benefactors whose gifts were received by the LSO between Sept. 1, 2016 and Aug. 31, 2017

Virtuoso Society $5,000 and Greater Anonymous (2) Brickl Bros.

Eva Dahl & Barry Blomquist Dahl Family Foundation Ruth M. Dalton, M.D. Fund Elmwood Foundation, Inc. Financial & Investment Management Group First Supply, LLC/ Gerhards Kitchen & Bath Store Robert & Eleanor Franke Foundation Gerrard Hoeschler Realtors/ Nancy Gerrard & Rick Staff Gundersen Health System Pat & Joe Heim Interstate Roofing Jay & Dawn Jaehnke David & Patricia Ludington Lyche Family Marie Lokken Family Memorial Scott Mathy James Munn Oral Surgery Clinic of La Crosse, Ltd. Dick Record Ronald Mc Donald House Charities of Western Wisconsin & Southeastern Minnesota S&S Cycle-George & Connie Smith Norene A. Smith Trust United Fund for the Arts and Humanities, Inc. Marvin & Michelle Wanders Wells Fargo/Wells Fargo Advisors

Cresendo Society $2,500 to $4,999 A.L.M. Charities, Inc. BNSF Railway Foundation Tom & Jan Brock Charles & Lu Cagin La Crosse Community Foundation U.S. Bank Foundation Wells Fargo Advisors Michael White David Lee & Jane Wood Xcel Energy Foundation

Fortissimo Society $1,000 to $2,499 Anonymous (2) Mario & Fe Abellera Burt & Norma Altman Ella F. Ambrosius Fund of the La Crosse Community Foundation Jamie Bakkum-Gamez Harvey Bertrand & Suzanne Tanner- Bertrand The Court Above Main 80

Anna Beth Culver Barbara & Donald Frank Charitable Fund Daniel Gelatt Sue Anne Gelatt Foundation James & Jeannie Groskreutz Dr. Sigurd Gundersen, Jr. Stephen & Catherine Kinyon Jennifer Kirsch La Crosse Kiwanis Foundation, Inc. Herb Kohl Philanthropies Bill Koutsky William & Stephanie Krueger La Crosse Jean’s Day Richard & Joan Marchiando Mayo Foundation for Medical Education & Research Annette Mikat Sacia Morris Kermit Newcomer Maureen & Mike Norris Bob & Janet Roth Matthew Runde Tom Skogen Richard & Carolyn Smith Russell and Vera Smith Educational, Medical, and Charitable Foundation, Inc. Valley View Rotary Club

Grazioso Society $500 to $999 Anonymous (3) Jerry & Marilyn Arndt John Bolstad Brinker Family Foundation Dave & Jean Burgess and Alex & Greg Cleary-Kumm Foundation Eric Erickson First Supply, LLC Jim Nelson & Diane Foust Larry & Carolyn Furlong Sigurd & Jean Ann Gundersen Kenneth & Virginia Horth Kurt & Jeanne Hulse Richard & Dorothy Lenard Jeffrey & Patricia Lokken Rich MacDonald Becky Post & David Maddocks James & Rebecca Naugler Wayne & Sandra Oliver Pearl Street Brewery Galen & Marianne Pittman Ron & Jane Rada Burleigh & Mary Jane Randolph David Reedy Richard & Lisbeth Reynertson Dennis & Sharon Ryan

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George & Connie Smith Richard & Pamela Strauss Alex & Jackie Vaver Xcel Energy

Vivace Society $250 to $499 Anonymous (2) Byron Annis Curt & Leslie Bakkum Richard & Tammy Bartz Jerry & Caroline Benser Heather Christensen Dr. Robert & Maureen Freedland Great River Festival of Arts John Cochran & Margaret Grenisen Charles & Shirley Haas Johnson Block & Co., Inc. Ornelle Jorgensen James & Jennifer Kleven Fred & Ruth Kurtz Roger & Jo Kwong John & Barb Leinfelder Harold E. Lemke Fund Little Caesars Aurel & Sue Mailath Moen, Sheehan, Meyer, LTD Howard & Nancy Mills Dale & Karen Montgomery Cheri Olson & Doug Nelson Florence Overgard Joan Parke Todd & Eva Marie Restel Dick & Mary Jean Sartz Jared & Carley Schaffner Fred & Jean Skemp Solie Family Maureen Sullivan Deak & Cindi Swanson Rev. Allan & Carla Townsend Randy Van Rooyen & Kelly Nowicki-Van Rooyen Frank & Ruth Vierling Stephen & Katherine Webster Eric & Vicki Wheeler

Allegro Society $100 to $249 Anonymous (8) 4 Sisters Catering on 4th, Inc. Altra Federal Credit Union Dan & Kris Ames Aquinas Catholic Schools Jason & Kelley Bahr Bakalars Sausage Company, Inc. Craig & Mary Bartos Lillian Bell William & Cindy Berg Anthony Binsfeld 2017-18 Season

Thank you

to our 2016-2017 Contributors Thank you to these benefactors whose gifts were received by the LSO between Sept. 1, 2016 and Aug. 31, 2017

Margaret Birchler Stanley Bissen Heidi Blanke Bluffside Paul & Kathy Boarman Regina Boarman Jerome & Patricia Boge Nancy Borgen Borton Construction Dan & Judy Brady Stephanie Brookman Mitchell Bublitz Wendy Butler Chuck & Carla Callies Kevin & Mary Ann Campbell Dr. Robert & Yvonne Caplan Citizen’s State Bank Leo & Ann Clark Jeanne Connelly John & Lisa Conzemius Tim Cox Shirley Cvikota Barb & Larry Dalton Kathy Davig Jerry Den-Boer Dublin Square Irish Pub John & Mary Dudley Susan & Timothy Durtsche Richard & Jean Ellis Mari Erickson Terri Erickson-Harper Fayze’s Restaurant Feyen’s Arcade Pumping Service Vera Fish Fleis Insurance Agency Nancy Flottmeyer Fox Hollow Golf Course Franciscan Health Care Auxillary Dan Franzini Alan & Laurie Ann Frohmader Michael & Gretchen Geary Fred & Stephanie Genz Gillette & Associates, LLC Peter Grabow Roger & Charlotte Grant Thomas Grau David & Kirsten Greenfield Jaime & Karl Greenfield Thomas Greylak Mary Ann Gschwind Hale, Skemp, Hanson, Skemp & Sleik Tom Harper Harter’s Quick Clean Up Service Natalie Hartigan Fred & Sue Heuer Steven & Diane Holmay Home Maintenance Experts Scott & Sue Horne Howes Diamond Jewelers Peter & Susan Hughes

Art & Kathy Ingalls George Italiano Lenore Italiano Maria Italiano Paul & Susan Italiano Dr. Kevin & Mary Beth Jaeger Clare & Shari Jarvis Dennis & Barbara Jochman Timothy & Regina Johnson Mark & Sharon Jolivette Msgr. Steven Kachel Audrey Kader James & Karen Kearns Karen Keil John Kelly Tom & Trudy Kennedy Shaan Khan Diane Kimball Kish & Sons Electric, Inc. Geoff & Diane Klos Ruth Ann Knapp Knight Barry Title James Knutson Tim Kolek Jeffrey & Paula Kroes Joe & Barb Kruse Kwik Trip, Inc. La Crosse Mayo Family Medicine Residency Jean Latham Kim Lenth Diane J. Lindesmith Alex & Becky Lueck Arlene Lueck Randolph Lyden Mike & Carol Mader Matthew Hanson & Laura Marchiando Vicki Markussen Bob & Mary Mathy Jim McCormick Sandra & Dick McCormick Patrick McGuire Lorraine McIlraith Janine Merkitch Steve & Deb Michaels Paul Molling John Monson Robin Moses William Neil Heather Nolte Andrew & Joanne Nordeen William & Katherine O’Driscoll Steve O’Malley Margaret O’Meara Onalaska American Legion Post 336 Erik Onsrud Michael & Laurie Parsons Elsie Patterson Drs. Mark & Sandra Perpich Eve Platt

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Pleasoning Gourmet Seasoning James Poehling Justin Pretasky Brad & Sue Price Gary & Teresa Pulvermacher Radisson Hotel Marc & Elizabeth Ranger Lee Rasch Reed Music Studios Dave Kampa & Donna Reichwein Barbara Rice Michael & Susan Richards Cameron & Carlene Roberts Alan Robertson Dana & Jonella Rodemacher Roland & Betty Roskos Bill Roth Chuck & LuAnn Roth Brian Rotty Dave & Kial Rushlow Paul & Barbara Rusterholz Thomas Sahlstrom Patricia Schmid James & Sheri Schneider Roz Schnick Barb Schultz Seven Rivers Mechanical, LLC Joseph & Michelle Skemp Robert Skemp Harold & Wanda Swanson Dr. James & Nancy Terman Martin & Karol Smith Mary Stanek Paul & Jane Steingraeber Dawson & Jackie Strutt Mark Tallman Dick & Marcia Thompson Tom Tiggelaar Andrew & Kara Tomashek Jacob Trannel Foundation Vendi Advertising Agency Vendini Jean Villhauer Kathleen Wagner Gary & Cathy Walth David Yao & Julia Wang Paul & Suzanne Weibel M. Joyce Weise Shawn & Mary Jo Werner Rick & Robin Wilson Justin Wise Mary Zaky Robert Zeman

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to our 2016-2017 Contributors Thank you to these benefactors whose gifts were received by the LSO between Sept. 1, 2016 and Aug. 31, 2017

Dolce Society $25-$99 Anonymous (30) Michael Ablan Esq. Carol Abrahamzon Timothy & Amanda Acklin Constance Arneson Richard & Joan Artman Arnold & Donna Asp Laurie Logan & Alice Bachop Bagniefski Heating & AC Paul & Gwen Bahr Carole Baumgardner Dorothy Baumgartner Dillon Bean Sr. Rita Marie Bechel Linda Bechly Rebecca Benzing Gary & Linda Berg Jim Berg Sam Servais & Katie Berkedal Jerry Berns James & Margaret Binash Martha Binn Chris & Anne Blaylock Brenen Boarman Margaret Boarman Thane & Michelle Boge Gregory & Beth Bonney David & Teresa Booth Richard & Jean Bottleberghe Kerstin Boudreau Greg Brickl Jeanna Briggs Harald & Andrea Bringsjord Katharine Brock Elizabeth Brock-Jones Roger Thornton & Dyanne Brudos Sharon Bryant Madalene Buelow Kara Burgos Kathy Burgos Carla Burkhardt Jim & Mary Busch Al & Laurie Bushek Keith & Barb Bushwell Yolanda Carita Susie Carlson James Carroll Catholic Charities Adoption Services Mark & Minda Chamberlain Kenna Christians Roger Christians Dave & Carlynn Clements Darryle & Marv Clott Sheila Connors Jan Contreras Fr. Robert Cook Carissa Cooraough Melissa Copps Coulee Bank Coulee Region Insurance & Financial, Inc. 82

Coulee Signs & Welding, Inc. Jan Crandall Thomas & Marla Cunningham Greg & Kathy Curti Andrew & Jamie Dahl Earlamae Dahlby Richard & Lily Data Marv Davis Law Office, LLC Harold & Mary Davitz DeBoer Pest Control Sharon DeCicco JoAnn DeClute Marissa Dickinson Leah Dietrich Michael & Laurie Dolan The Dress Ervin & Debra Dukatz Renee Dunn John Dunnum Christopher & Diana Durall Bill & Megan Eddy Heidi Eglash Mike Ehrsam Kent Ellickson Don & Nancy Ellingson Kari & Stephen Ellison Sally Emerson Eric & Lynette Ender Michele Engh David & JoAnn English Ramon & Connie Erickson Katherine Erlandson Doug & Sharon Erler Larry Lebiecki & Anita Evans Ron & Rae Evenson Fire Protection Specialists-Bangor, WI Bonny Fish Floating Gardens, LLC Erin & Greg Flottmeyer Stephen & Annette Flottmeyer Donald & Helen Flynn Harry Foust Jim Fowler Stephanie Fraase Carl & Eenie Francksen Lori Freit-Hammes Marla French Anita Froegel Marie Fryer Jim & Jan Gallagher Terry & Stephanie Gauger George’s Ringside LuAnn Gerber Christina Gerdes Dave & Abbie Gerzema Barbara & Mark Gibson Timothy & Marjorie Gillespie Tom & Holly Gorman Richard Granum Rita Granum

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Patrick & Carolyn Graves Erik & Kate Greenfield Pam Gresens Vicki Gress Molly Griffith Merle Gustafson Dr. Matthew & Traci Guzzo Jack & Ann Haase Jean Haefner Nicki Jo Hager Richard Hall Chuck & Cheryl Hanson Gretchen Harkness Douglas & Judith Harpenau Kelly Harwick Alice & Mary Haugen Jim & Kim Hawthorne Stacie Heberlein Herb & Barb Heili Karen Hellman Alison Hemker Edward & Nancy Hengel Barbara Herlitzka Paul & Joyce Herlitzke Lisa Herr Edwin & Nancy Hill James Hill Harry & Jean Hindson Tari Hoeft Jodie & Ernie Hoffman Russ & Kathleen Holman Shirley Holman John Hopkins Thomas & Cheryl Horvath Pat & Kathy Houlihan Christopher Huiras Allan & Kathleen Johnson D.R. Johnson & Associates James & Vicky Johnson Kathi & David Johnson Michael & Denise Kachel Rock & Mary Kaiser Susan Kammel Tina Kampschroer Gerald & Charlotte Kann Liz Karbula Ann Kathan Kenneth & Linda Kempf Tom & Ilene Kernozek Ruth Kielley Michael & Regina Kilbey Josh & Elissa Kinstler King Street Kitchen L. Michael Klug Ralph Knudson & Nancy Heerens- Knudson Mary Koblitz Scott Koenen & Katie Rowan- Koenen Catherine Kolkmeier William & Janelle Kowalski 2017-18 Season

Thank you

to our 2016-2017 Contributors Thank you to these benefactors whose gifts were received by the LSO between Sept. 1, 2016 and Aug. 31, 2017

Anthony Krueger Joe Krien Jon Krzykowski Jim Kube Paul & Khris Kuck John & Jackie Kuhl David & Karen Lange Herb Lanzel Jason & Kelley Larsen Bill LaRue Roger & Pat LaRue Kraig Lassig Drs. Mike & Becky LeDocq Glenda Lee Larry & Donna Lee Joe & Susan Leinfelder Thomas Leis Stephen & Cindy Lenser Nick & Margaret Lichter Kim & Denise Linton Alan Louis Beverly Mach David Mailath Stephen Mann Dave Matelski Wendy & Mark Mattison Kim Mauss Kay Mazza Mike & Ruth McCabe Patricia McCormick Debra McCoy Patricia Mertens Steve & Stacey Meyer Roger & Lynn Meyer Jim Michelson John Streyle & Dr. Christine Miller Kurt & Mary Mueller Patrick & Teresa Mullaney Sherrill Munson Vinay Naik Randy Nelson Patricia Larson Nestor Eleanor Neth Tom & Agnes Neumeister Cyndy Niesen Amy Noel Laurie Noelke Sam Nulton Jerri Olson Ronald & Kristine Olson Judy Osborne Beata Ostrovsky Rob & Deb Palmberg Nick Passe Patricia Paulson Steve & Marian Pavela Ray & Ilene Pavelko John & Terri Pedace Mark Cleghorn & Susanne Pedretti Dennis & Lois Peterson

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William Story Dr. Richard & Ruth Strand Tom & Michele Strange Strupp Trucking, Inc. Cat Stuntebeck Richard & Janice Stuntebeck Thomas Svec Kathryn Swanson Jenny Tempelis Steve Thicke Amanda Tisher Buros Three Sixty Real Estate Solutions Tlustosch Law Office, LLC Tracy & Roxie Tobin Kate Tomten Mark & Shanon Torgerud Thomas Uphaus Mary & Ron Veglahn Autumn Wagner Colleen Walsh Bruce & Pam Walters Kurt & Linda Weaver Bradley Weber Traci Weber Teresa Westrich Dorothy Wetterlin Wettstein’s Samantha White Teri Wildt Dean & Cheri Wilhelm Don & Lynette Wilhelm Tamara Woods Dean & Susan Wunderlich Elaine Yager Yield Pro Agronomy, LLC Todd & Anne Young Mark & Deb Daehn Zellmer

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Bravo!

To our generous and thoughtful patrons who donated their concert tickets for re-sale in 2016-2017 Burt & Norma Altman Garry & Sandra Andersen Paul & Barb Bjornstad Jan Contreras Sandra Deneen Marvin Ehm Don & Nancy Ellingson Dr. Robert & Maureen Freedland Larry & Carolyn Furlong Maxine Garvalia David & Nancy Goode William & Kathleen Gresens James & Jeannie Groskreutz John, Donna, & Tom Hansen Barb & Herb Heili Ken & Barb Herlitzka Mark & Sharon Jolivette Kenneth & Linda Kempf Catherine Kinyon Ralph Knudson & Nancy Heerens-Knudson

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to our 2016-2017 IN-KIND DONATIONS 4 Sisters Wine & Tapas Anonymous (5) Aquinas High School Beautycounter Dr. Suzanne Tanner-Bertrand & Harvey Bertrand Kay & Roger Bjorge Blue Moon Restaurant Boot Hill Pub Brickl Bros.

Burger Fusion Buzzard Billy's Cabin Coffee Candlewood Suites Carlos O'Kelley's Castaway’s Celebrations on the River at Shenanigans Central States Warehouse Charmant Hotel Children's Museum of La Crosse Commonweal Theatre Company Contour Clinic Coulee Golf Bowl Court Above Main Creative Heirlooms Crescent Jewelers Crescent Printing Co. Culligan Water of La Crosse Dahl Automotive Jamie & Andrew Dahl Edward Davig Kathy Davig Digicopy Drugan's Dublin Square E&C endlessly and constantly Elkhart Lake's Road America Forever Young Fox Hollow Golf Course FSPA Funk Gander Mountain Chad Gilbeck Gloria Jean’s Coffee Great Clips Great Harvest Bread Company

Pat and Joe Heim Holiday Inn Hotel and Suites of La Crosse Houghton's Jackson Street Pub Howie's Innovative Graphics, LLC-Renee Chrz J Company Java Vino James J. Hill House Ruth Ann Knapp Kate's Pizza Amore Kickapoo Coffee Kraus-Anderson Realty Company Bob Krueger Fred and Ruth Kurtz La Crosse Area Youth Symphony La Crosse Chamber Chorale La Crosse Community Theatre La Crosse Dance Centre La Crosse Media Group La Crosse Tribune Le Chateau Leithold Music Live Well Chiropractic and Wellness Local Lupus Alliance Lovechild LSO Board of Directors Madison Symphony Orchestra Map the Xperience Mary Cody's Restaurant & Maggie's Lounge Mathy Construction Meridian Corp.

Metropolitan Salon & Day Spa Midwest Family Broadcasting La Crosse Mind and Spine, LLC Minnesota Marine Art Museum Minnesota Orchestra Misty's Dance Unlimited Monet Floral Noelke Distributors Northland Golf & Ski Oktoberfest USA Onalaska High School Outdoor Recreation Alliance Panera Bread

www.facebook.com/lacrossesymphony

Pearl Soda Fountain Pearl St. Brewery Pet Me Scratch Me Pickerman's Piggy’s Restaurant Alexander Platt Progreba Restaurant Pump House Heather Quackenboss Radisson Hotel Ravinia Dick Record David Reedy Eva Marie & Todd Restel Ken Riley & Jay Lokken Bob and Janet Roth Shenanigans Signature Massage Simple Pleasures / Christina Farrell George & Connie Smith Sue Kolve’s Salon & Spa Sullivan's Supper Club Taste of India The Old Crow The Prescription Center The Waterfront Restaurant and Tavern Three Rivers Lodge Tom Sawyer's Ultimate Salon and Spa University of Wisconsin-La Crosse UW-La Crosse Department of Theatre Arts Valentine Ball Committee Valley Dental Valley High Golf Club Viterbo University Wedding Tree Weddings by Nancy Wettstein’s Willow Boutique Winona State University WKBT-News 8 WLSU-88.9 WXOW-News 19

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Thank you

to our 2017-2018 CORPORATE SPONSORS

CONCERT SPONSORS October 21

November 18

THE VALENTINE BALL 2018: Major Sponsors:

SYMPHONY FOR YOUTH MEDIA SPONSOR:

Wells Fargo / Wells Fargo Advisors Interstate Roofing

• WXOW – Channel 19

VALENTINE BALL PRINTING:

Coulee Region Women Greens Coulee Life La Crosse Radio Group La Crosse Tribune Link Magazine La Crosse Visitor Magazine Midwest Family Broadcasting WKBT – NewsChannel 8 WLSU – 88.9 WXOW – Channel 19

Digicopy

PRE-CONCERT SPONSORSHIP:

December 15 & 16

Bill Koutsky

March 17

RISING STARS CONCERTO COMPETITION:

May 5

RISING STARS COMPETITION PRIZE MONIES:

Dick Record

George & Connie Smith June 9

GUEST ARTIST SOCIETY: Jane Wood & David Lee Dick Record Lu & Charles Cagin Margaret Forseth Burgess Music Fund James Munn Burt & Norma Altman Pat & Joe Heim Harvey Bertrand & Suzanne Tanner Bertrand Todd & Eva Marie Restel George & Connie Smith Ken Riley & Jay Lokken Rick & Carolyn Smith

SPONSOR A SECTION: Larry and Carolyn Furlong-violin 1 Char Lebakken-violin 1 Beck Post and David Maddocks-viola Anonymous-cello Connie Arneson-cello Brinker Family Foundation-cello Tom & Charmaine Uphaus-flute Charles and Lu Cagin-oboe Alex and Jackie Vaver-oboe Charles and Shirley Hass-trumpet Richard & Joan Marchiando-trumpet Richard and Lizbeth Reynertson- trumpet Bob & Janet Roth-trombone & bassoon Burleigh & Mary Jane Randolph- percussion

APRIL 14 DRIFTLESS CONCERT: Dr. Michael White

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Jane Saline Memorial – 1st place instrumental $2,000 Anna Beth Culver – 1st place piano $2,000 Jan and Tom Brock – 2nd place instrumental $1,000 Jay and Dawn Jaehnke – 2nd place piano $1,000 John Bolstad – 3rd place instrumental $500 Jean Ann and Sigurd Gundersen III – 3rd place Piano $500

STRING SCHOLARSHIP PROGRAM SPONSOR: Bill Koutsky Norene A. Smith Memorial

STRING SCHOLARSHIPS: Diane Foust & Jim Nelson (BGC scholarship) Deak & Cindi Swanson Jane & Ron Rada Marilyn & Jerry Arndt Jane & Ron Rada Tom & Charmaine Uphaus 2 Educational Sponsorships in honor of Amy Mills 3 Educational Sponsorships Norene A. Smith Memorial

SYMPHONY FOR YOUTH CONCERT: Major Sponsor: Ronald McDonald House Charities of Western Wisconsin and Southeastern Minnesota

ADDITIONAL SUPPORT: Xcel Energy La Crosse Community Foundation BNSF Foundation Herb Kohl Charities USBank

www.lacrossesymphony.org

ADVERTISING:

CONDUCTOR ACCOMMODATIONS: Candlewood Suites

GUEST ARTISTS’ ACCOMMODATIONS: Holiday Inn Hotel and Suites of La Crosse

INSTRUMENTS AND REHEARSAL SPACE: UW-La Crosse Onalaska High School Viterbo University Liethold Music Winona State University

LSO OFFICE SPACE: Kraus-Anderson Realty Company

STORAGE SPACE: Central States Warehouse

CONCERT BOUQUETS: Monet Floral

EVENING OUT COUPON BOOK: Digicopy Midwest Family Broadcasting

MUSICIANS BOTTLED WATER: Culligan Water of La Crosse

POST-CONCERT RECEPTIONS: Gloria Jean’s Coffee

E-NEWSLETTER SPONSOR: Wells Fargo Advisors

WEB SITE PRODUCTION & MAINTENANCE: Meridian

2017-18 Season

2016-2017 MEMORIAL AND HONORARY GIFTS IN MEMORY OF SALLIE MUNN, PERCUSSIONIST James Munn IN MEMORY OF ESTHER HAYES Fran Rybarik Leah Reimann Diane Midland Pamela Radosen IN MEMORY OF MARIE NEWSTROM Mary Ann Gschwind IN MEMORY OF NORMA ANDERSON Al & Julia Saterbak IN MEMORY OF FRANK ITALIANO Eugene Gassere IN MEMORY OF ANDY FRIES Karen Fries IN MEMORY OF WALTER & MARY DRENDEL Kathryn Keppel IN MEMORY OF H. “CLAY” LA BREC Burt & Judy Spangler

MUSICAL LEGACY SOCIETY

IN HONOR OF WILMA VERRETTE William Verrette

BENEFACTORS WHO HAVE PLANNED BEQUESTS TO THE LSO:

IN HONOR OF DR. DAVID MORRIS Jeffrey Kessler

John Bolstad Barbara & Herb Heili Fred & Ruth Kurtz The Marie Lokken Family Donna & Wayne Loveland Carol & Michael Mader Dick Record David Reedy Janet & Robert Roth Tom Skogen Carolyn & Richard Smith Donald & Nancy Smith

IN HONOR OF ANN WENZEL Gretchen Kelly

Please consider donating to the LSO

IN MEMORY OF TYLER ELSEN Cindy Elsen IN MEMORY OF EVE HODOUS Bert Hodous IN MEMORY OF GLEN KARBULA Christine Bright

www.facebook.com/lacrossesymphony

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2017–18 Viterbo University Fine Arts Center

7

All Tickets On Sale

Box Office 608-796-3100 • www.viterbo.edu/tickets Moscow Festival Ballet’s Giselle

The King’s Singers Jersey Boys

facebook.com/ViterboFAC

@ViterboFAC

@viterbofac

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“For me, art, and especially music, exist to elevate us as far as possible above everyday existence.”

– Gabriel Fauré

Proud Supporter of the

La Crosse Symphony Orchestra

Jeff Lokken

Jason Sobolik

Darcy McCallson

Lucas Schwaller

CFP® - Wealth Manager

CFP® - Financial Planner

CFP® - Financial Planner

CES® - Trust Officer

1837 E. Main Street, Onalaska, WI 54650 | 608.779.0300 | www.fimg.net | www.fimgtrust.net

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www.lacrossesymphony.org

2017-18 Season

Inclusion of such high quality guest artists are possible with the generous support of our Guest Artist Society.

Join the Society today with your

$2,000 donation & receive the following benefits:

• Name in the program book as a guest artist season sponsor • Meet and Greets with the artists for society members • Signed copies of the guest artist’s CD (when available) • CD recordings of each concert – archival purposes only • Input into future season’s guest artists • Receptions and private concerts with the artists

CURRENT GUEST ARTIST SOCIETY MEMBERS

Jane Wood & David Lee, Dick Record, Lu & Charles Cagin, Margaret Forseth Burgess Music Fund, Dr. James Munn, Burt & Norma Altman, Pat & Joe Heim, Connie and George Smith, Rick & Carolyn Smith Ken Riley and Jay Lokken, Eva Marie & Todd Restel, Harvey Bertrand & Dr. Suzanne Tanner-Bertrand 92

www.lacrossesymphony.org

2017-18 Season

Thank you!

Because of the following endowment donors... $250,000 LEADERSHIP CIRCLE ANONYMOUS CHARLES & SUE GELATT WEBER FAMILY FOUNDATION

$100,000 CONDUCTOR’S CIRCLE HANSEN FAMILY FOUNDATION DAVID & BARBARA SKOGEN

$25,000 Principal’s Circle $4,999 or under-Friends Circle -------------------------------Anonymous (2) In memory of vicki bigley Joe & pat heim Dick record

$10,000 Artist’s circle Ellyn ash In memory of randolph baier Barry blomquist & eva dahl Ruth m. Dalton, m.D. Dr. Sigurd gundersen, jr.

Ken riley & jay lokken The marie lokken family memorial John & linda lyche Richard & joan marchiando Ernie & sally micek Tom & amy strom

$5,000 Patron’s circle Anonymous Jerry & marilyn arndt John bolstad Anna beth culver Andrew & jamie dahl Terry rindfleisch & linda hirsh Drs. John & kerrie moore James munn David reedy Bob & janet roth In memory of jack schwem George & connie smith Dr. Michael & carolyn white

Jesus arellano Elizabeth becker Kathy boarman Nancy borgen Lori carlson Michael & laura chesher Mark & jeanne connelly Timothy cox In memory of Lucy davidson Nancy & don ellingson Tracy gaskin Tammy fisher David & susan foran Mike forbes Franciscan sisters of Perpetual adoration Mary funk David & abigail gerzema Mark glasel Bethany gonella David & nancy goode Steve groth Mary ann gschwind

Sigurd gundersen iii & Jean ann gundersen Charles & shirley haas Nori hadley Jean hammons Natalie hartigan Charlie & jan henry Mary beth hensel Carol hester Harry hindson Arthur & kathryn ingalls Jay & dawn jaehnke Dr. Julia johnson & Jackson jantzen Kris jenkins Cindy johnson Ornelle jorgensen Anne judisch Timothy kamps Gary & melissa klein Brian koh Greg & susan knorr Lewis & charlene lebakken

Bill & kay leonard Angelica lundberg Rich mac donald Conrad madson Randy mastin Kay mazza Lorraine mc ilraith David morrison Roy munderloh Doug nelson Elinor niemisto Tom & lori nigon Lance & sue paulson Sue radloff Melissa roby Amy scarborough Steve schani Tom schauer & Maureen sullivan Colleen shaw William & louise temte Dr. James & nancy terman Kristin thelander Robert & lynne trine Barbara tristano Randy van rooyen & Kelly nowicki-van rooyen Alex & jackie vaver Donald vinger Mark wamma Roger & carol ziff

If you’d like to learn more about how you can contribute to the Endowment Campaign, call

608.783.2121 Our Symphony will continue to thrive! www.facebook.com/lacrossesymphony

2017-18 Season

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2017-18 Season

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Prior to requesting a rollover from your employer sponsored retirement account to an Individual Retirement Account (IRA), you should consider whether the rollover is suitable for you. There may be important differences in features, costs, services, withdrawal options and other important aspects between your employer sponsored retirement account and an IRA. Securities sold, advisory services offered through CUNABrokerage Services, Inc. (CBSI), member FINRA/SIPC, a registered broker/dealer and investment advisor. CBSI is under contract with the financial institution to make securities available to members. Not NCUA/NCUSIF/FDIC insured, May Lose Value, No Financial Institution Guarantee. Not a deposit of any financial institution.

FR-1840204.1-0717-0819