Isabelle Demers, Organ, March 2022

TABLE

As we gather in this space for

the Madison Symphony Orchestra acknowledges the Ho-Chunk Nation’s ancestral lands and celebrates the rich traditions, heritage, and culture that thrived long before our arrival. We respectfully recognize this Ho-Chunk land and affirm that we are better when we stand together.

ISABELLE DEMERS | ORGANIST

With playing described as having “bracing virtuosity” (Chicago Classical Review) and being “fearless and extraordinary” (Amarillo-Globe News), Isabelle Demers has enraptured critics, presenters, and audience members around the globe. Her 2010 recital for the International Society of Organbuilders-American Institute of Organbuilders convention “left the entire congress in an atmosphere of ‘Demers fever’.” That same year, her performance at the Washington D.C. national convention of the American Guild of Organists caused the standingroom-only audience to call her back to the stage five times.

She has appeared in recital throughout Europe, Oman, Australia, New Zealand, the United States, and Canada. Highlights include performances at the Maison Symphonique (Montreal, Québec), the Elbphilharmonie (Hamburg, Germany), City Hall (Stockholm, Sweden), the Forbidden City Concert Hall (Beijing, China), and St. Paul’s Cathedral and Westminster Abbey (London, UK).

Dr. Demers is in continual high demand by her colleagues as witnessed by performances for numerous regional and national conventions of the American Guild of Organists, the Institute of Organ Builders and International Society of Organbuilders, the Royal Canadian College of Organists, and the Organ Historical Society.

She has released three CD recordings on the Acis and Pro Organo labels. In 2018, she appeared as solo organ accompanist in an Acis recording of Maurice Duruflé’s Requiem with the Baylor University Choir, recorded at Duruflé’s church in Paris.

A native of Québec and a doctoral graduate of the Juilliard School, Dr. Demers is the Joyce Bowden Chair in Organ and Head of the Organ Program at Baylor University in Texas. Isabelle Demers is represented in North America exclusively by Phillip Truckenbrod Concert Artists, LLC.

THANK YOU TO OUR GENEROUS SPONSORS for supporting this performance

Walter & Karen Pridham Charitable Fund

Skofronick Family Charitable Trust

Friends of the Overture Concert Organ

The Overture Concert Organ is the gift of Pleasant T. Rowland.

Support for all Overture Concert Organ Programs is provided by the Diane Endres Ballweg Fund.

We wish to thank our other organ contributors, the Malmquist Family, two Anonymous Donors, and Friends of the Overture Concert Organ.

Greg Zelek is the Madison Symphony Orchestra’s Principal Organist and the Elaine and Nicholas Mischler Curator of the Overture Concert Organ.

Welcome to the MSO!

Please turn o your electronic devices and cell phones for the duration of the concert.

Wearing masks is required throughout the concert. Please be sure to position your mask properly over your nose. Photography and video are not permitted during the performance. Please take and share photos at the end of the concert. Thank you!

Tuesday, March 15, 2022

Overture Concert Organ Series | Program No. 3

Isabelle Demers, Organ

FELIX MENDELSSOHN (1809-1847)

Overture to “St. Paul” (arr. W. T. Best)

HENRY WALFORD DAVIES (1869-1941)

Solemn Melody (arr. John T. West)

RACHEL LAURIN (B. 1960)

Sonata No.1 for Organ, Op.91 Allegro agitato Berceuse Mariale Carillon-Toccata

INTERMISSION

JOHANN SEBASTIAN BACH (1685-1750) Sinfonia from Cantata No.146 (arr. Marcel Dupré)

CHARLES-VALENTIN ALKAN (1813-1888)

Excerpts from Twelve Etudes for the Feet Etude No.7 (Allegro)

Etude No.6 (Adagio)

Etude No.12 (Tempo giusto)

IGOR STRAVINSKY (1882-1971)

Three Movements from Petrushka (arr. Isabelle Demers) Russian Dance

Petrushka’s Room

The Shrove-tide Fair

PROGRAM NOTES

MARCH 15, 2022

Program Notes by J. Michael Allsen

Our third Organ Series concert features the dynamic Isabelle Demers in a program of six works. She begins with a transcription of Mendelssohn’s grand fugal overture to the oratorio St. Paul, and a well-known work by British composer Henry Walford Davies. The first half concludes with a new (2019) organ work by FrenchCanadian composer Rachel Laurin. After intermission, Demers plays a transcription of the fiery Sinfonia to Bach’s Cantata 146, and a set of showpieces for pedals by CharlesValentin Alkan. The finale is a set of excerpts from Stravinsky’s ballet Petrushka, transcribed by Demers.

Mendelssohn (1809-1847)

Overture to

“St. Paul” (arr. W. T. Best)

In 1829, Mendelssohn conducted Bach’s St. Matthew Passion at a concert of the Berlin Singakademie. The old cliché about Bach being “forgotten” in 1829 is not really true, but he was certainly not as famous as his contemporary, Handel, and his sacred vocal works were rarely performed. The St. Matthew Passion had not in fact been performed since Bach’s death in 1750. It is clear, however, that Mendelssohn’s revival of the Passion and of Bach’s sacred

cantatas helped to spark a renewed interest in Bach’s music that continues today. His interest in Bach, and in the oratorios of Handel, also had a profound impact on Mendelssohn the composer. When he completed his own first oratorio, St. Paul, in 1836, it was full of homages to Bach, including his use of Lutheran chorales to mark major divisions in the story. Though it was commissioned in 1832, Mendelssohn did not begin work on St. Paul until 1834, finally completing it a year and a half later. The oratorio had a successful German premiere in Düsseldorf on May 22, 1836, and it was heard in English translation in London in 1837. It remained popular in Germany, England, and America throughout the late 19th and early 20th centuries. Its libretto, largely by Lutheran pastor and Mendelssohn family friend Julius Schubring, begins with the martyrdom of St. Stephen. It then dramatizes the major events of the saint’s life: the conversion of Saul (thereafter known as Paul), his missions, and his martyrdom in Rome.

Though it is overshadowed today by his second oratorio, Elijah (1846), St. Paul is a fine dramatic work. It begins with

Felix

a striking overture, heard here in a transcription by the 19thcentury English organist William Thomas Best. The main theme of the overture is one of the most familiar Lutheran hymn-tunes, Wachet auf (Sleepers Wake), written by Philipp Nicolai in about 1599. This chorale reappears later in the oratorio, most notably at one of the great moments of the drama: Saul’s sudden blindness and the miraculous restoration of his sight. In the overture, the melody appears as a kind of prelude, before Mendelssohn launches into a stern, minor-key fugue. (Best was a master of pedal technique, and his arrangement of the fugue includes some flashy writing for the feet.) Fragments of the chorale are worked into the texture, emerging more clearly near the end, after a triumphant shift to A Major.

Salon Piano Series presents

Sat. · Apr. 23, 2022 · 7:30 PM

Sat. · May 21, 2022 · 7:30 PM

Sun. · May 22, 2022 · 2:00 PM

British organist and composer Henry Walford Davies studied at the Royal College of Music, before embarking on a long and successful career. In 1898 he began a 25-year tenure as organist and choir director at London’s Temple Church, where he gained a national reputation as a soloist and teacher. After a few years of university teaching, Davies took up a position in 1927 at St. George’s Chapel, Windsor—the home church of the British royal family. (Davies

Sat. · Jun. 11, 2022 · 7:30 PM

Programs at SalonPianoSeries.org

All concerts are held at Farley’s House of Pianos 6522 Seybold Rd.

Henry Walford Davies (1869-1941) Solemn Melody (arr. John T. West)

Sara Daneshpour

John O’Conor

Bill Charlap

had been knighted in 1922.) At the same time, he also became well-known for his musical radio broadcasts on the BBC. In 1936, Davies succeeded Edward Elgar as Master of the King’s Music, the highest musical appointment granted by British royalty: roughly equivalent in status to the Poet Laureate. His most famous work, Solemn Melody, was composed in 1908 as a work for organ and string orchestra, but it is heard most frequently in arrangements for solo organ. The version heard here was published in 2004 by the American organist John West. Its main theme is a broad,

dignified, and distinctly “Englishsounding” melody, heard once unadorned, and then in a grand, fully-harmonized variation.

Rachel Laurin (b. 1960) Sonata No.1 for Organ, Op.91

Like Isabelle Demers, Rachel Laurin was born in Québec. After studies at the Conservatoire de musique du Québec à Montréal, she took a position as organist at the Oratoire Saint-Joseph du MontRoyal, Montreál—the famous basilica that stands at the highest point in the city—and later became an improvisation

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instructor at the Conservatoire.

Laurin maintains a busy, international career as a soloist, and is a prolific composer: she has written hundreds of works for organ and other solo instruments, voice, choir, and orchestra. Her Sonata No.1 was commissioned by Robert Holmes from Vancouver, British Columbia in memory of his wife Maureen who died in 2017. It was completed in 2019, and Laurin played its premiere in Halifax, Nova Scotia, on July 11, 2019, at a festival of the Royal Canadian College of Organists.

Laurin provides the following description of the Sonata No.1 : “The three movements describe the states of mind that one lives through after having been informed of a grave illness. The first movement, Allegroagitato , expresses fear, revulsion, hope and confusion. The second [Berceusemariale (MarianLullaby)], o ers some respite which leads to the sense of serenity, acceptance, and abandon of a child in its mother’s arms. Finally, the CarillonToccata is a celebration of life, both as lived here and to come, including an expression of the exuberance felt by one’s soul, liberated from a su ering body.

“Robert Holmes had suggested that the Ave Maria associated with the village of Lourdes (France) be included in the Berceuse , hence the Mariale

(Marian) in the title of the movement. He had also requested that the Gregorian hymn SalveRegina appear in a brilliant toccata to close the Sonata . This was indeed done but, in addition and as a surprise for Mr. Holmes, the composer also introduced the principal motive from Louis Vierne’s CarillondeLongpont when she found out that this work had been played as the recessional piece at the couple’s wedding.”

Johann Sebastian Bach (1685-1750)

Sinfonia from Cantata No.146 (arr. Marcel Dupré)

Bach did not invent the Lutheran church cantata, a multimovement setting of sacred texts, but his cantatas are the finest examples of the form. Though he composed cantatas throughout his career, the great bulk of them were written during his first few years in Leipzig, where he arrived in 1723 to take the position of Kantor at the Thomaskirche—the head church musician in the city. Among many other duties, Bach was expected to produce a cantata every week. The cantata was viewed as an important addition to both the selected Bible verse and the hymn of the day, and Bach’s texts are often drawn from these sources, as well as sacred librettos assembled by Lutheran pastors and Bach

himself. In his first years at the Thomaskirche, Bach composed no less than five annual cycles of cantatas, mostly newlycomposed: each cycle including some 60 works, one appropriate to each Sunday of the Church Year, and special cantatas for Christmas, and the main feasts of Advent and Lent. Of these 300 works, nearly 200 survive.

This vast body of music is represented here by the Sinfonia from the cantata Wir müssen durchvielTrübsal , BWV 146 (We must pass through great sadness ). Bach composed this work in either 1726 or 1728, for the third Sunday after Easter. It

begins with a sizeable Sinfonia scored for flute, two oboes d’amore, tenor oboe, organ, strings, and basso continuo. Bach frequently recycled his own music, and this Sinfonia shares most of its music with the first movement of his slightly later harpsichord concerto in D minor, BWV 1052. (Both of these works were based upon a now-lost violin concerto by Bach.) The Sinfonia is heard here in an arrangement for solo organ published in 1941 by the eminent French organist Marcel Dupré (1886-1971). Dupré was particularly devoted to Bach, and published a complete

edition of Bach’s solo organ works that is still widely used today. He also published several arrangements like this one.

The Sinfonia begins with a fierce ritornello : a phrase that reoccurs throughout the piece as a kind of musical touchstone interspersed with virtuoso passages for the organ. The ferocious forward movement of this piece relaxes only once near the middle for a brief cadenza. It ends with a final statement of the ritornello .

fascinated with the pedal piano: a now largely-forgotten instrument that added a pedalboard and additional bass strings to a standard piano. He wrote many works for this instrument, including the etudes heard here. Though Alkan did perform more regularly in the 1870s, he otherwise remained a kind of hermit, devoting increasing amounts of his time to studying and translating the Hebrew Talmud.

The son of a music teacher in the Jewish quarter of Paris, CharlesValentin Alkan was certainly among Paris’s most phenomenally talented—and enigmatic—musicians in the 19th century. An amazing prodigy as a child, Alkan made his public debut on violin at age 7, and, after enrolling at the Paris Conservatoire, won its prestigious first prize in piano at age 10. He also won the Conservatoire’s first prize in organ at age 21. As a young man, Alkan was widely known as a piano virtuoso, and recognized as the peer of Liszt and Chopin. When he was about 35, however, Alkan became a recluse, emerging from his apartment in Paris occasionally—sometimes at intervals of several years—to perform at small private recitals. He continued to compose, and became

Anyone who as ever taken a lesson on an instrument knows what an etude is: a piece that is used to work on a specific aspect of playing or a particular technical skill. These are usually fairly pedestrian pieces, never intended to be heard outside of the studio. But Alkan’s piano etudes are fully-realized works of considerable virtuosity. His Three Grand Etudes (1838), Twelve EtudesinMajor Keys (1848), and Twelve Etudes in Major Keys (1857), remained some of his best-known works, and are regularly performed as concert pieces. His last set of etudes was published in about 1869. Its full title translated as Twelve Etudes for Organ or Pedal Piano for theFeetAlone. These are adventurous and experimental works composed at a time when most writing for pedals was fairly cautious. The Etudes are certainly useful in teaching: Marcel Dupré called them “the complete and indispensable foundation of pedal technique.” But they are also performed, as they are here, as concert works.

Charles-Valentin Alkan (1813-1888)

Excerpts from Twelve Etudes for the Feet

Etude No.7 (Allegro) is a true virtuoso showpiece: aggressive chromatic lines, eventually played in thirds, alternating with threeand four-voice chords. There is a more gentle contrasting section in flowing triplets, a melody in the right foot supported by a countermelody in the left. The closing section combines the two ideas. Etude No.6 (Adagio) is more lyrical, with a melancholy and songlike main theme. There is a more passionate middle section before the main idea returns, now elaborately decorated. The etude ends with a short cadenza, and a final, haunting reference to the main theme. The capstone of the set, EtudeNo.12(Tempo giusto), is a chaconne, based upon a two-measure idea heard at the beginning. This pattern is played 40 times, as the basis for increasingly flashy variations that explore a host of textures and techniques, before ending in a grand upward flourish that covers the entire pedalboard.

Igor Stravinsky (1882-1971)

Three Movements from Petrushka (arr. Isabelle Demers)

In 1911, the Parisian public expected great things of young Igor Stravinsky. There was an ongoing craze for Russian music and ballet, fueled by the shrewd impresario Serge Diaghilev, who had brought Stravinsky to Paris two years earlier. Stravinsky’s Firebird (1909)—his first ballet score

for Diaghilev’s dance company, the Ballets Russe—had been an enormous success, and by 1911, he was already well into work on the revolutionary score for Rite of Spring. According to his autobiography, his second work for the Ballet Russe, Petrushka, began as a sort of compositional “co ee break” between Firebird and Rite of Spring Petrushka was a hit in Paris, when it premiered on June, 11, 1911, and again a year later in England. Diaghilev took the Ballets Russe on an extensive tour of the United States in 1916. This was the first exposure to Stravinsky’s music for audiences in New York City, Chicago, Milwaukee, Los Angeles, and many other American cities. Though some audience members (and many critics) were bewildered by this “ultramodern” score, Petrushka was generally well-received on this side of the Atlantic. (It’s a sad commentary on our country at this time to note that its music was actually much less controversial in America than the fact that a black character, the Moor, won out over the white Petrushka!)

Stravinsky’s title character, Petrushka, is one of the stock characters of the puppet shows that were a feature of fairs in Russia, who takes takes on a tragic role. The scenario that Stravinsky and Diaghilev created is set at a Shrove-tide fair (Mardi Gras or Carnival in our part of the world) in St. Petersburg. The puppets— Petrushka, the Ballerina, and the

Blackamoor—suddenly come to life. The ballet, which was partly done in pantomime, is a tragic love triangle between these three characters, in which Petrushka is killed by the Moor. At the close of the ballet, the Showman reassures everyone at the fair that Petrushka is merely a puppet, but when he is alone, Petrushka’s ghost appears to make fun of him. The ballet ends as the Showman flees in terror.

Isabelle Demers plays three of her transcriptions from Stravinsky’s score, beginning with the Russian Dance. This is the opening appearance of the three puppets, who dance a wild Russian trepak

for the fairgoers. Petrushka’sRoom shows this miserable puppet in his miserable cell, cursing and mooning over the Ballerina, who eventually pays him a visit, and dances briefly with him, before leaving him alone. The Shrove-tide Fair is the ballet’s opening scene. It shows the whirl of activity at the fair, as people gather around to see the Showman bring his puppets to life with a flute. Stravinsky’s music is based upon at least one, and possibly several Russian folk tunes.

program notes ©2022 by J. Michael Allsen

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BY JACQUES OFFENBACH

APRIL 29 & MAY 1, 2022 OVERTURE HALL

Orpheus and Eurydice are unhappily married, so she is delighted to die and go to the Underworld with Pluto. When Public Opinion demands that Orpheus rescue her, he seeks the assistance of Jupiter, who is having his own trouble with rebellious gods who are bored of Mt. Olympus. Everyone soon decides to go down to Hades to have fun.

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A VISION FOR THE FUTURE of the OVERTURE CONCERT ORGAN of the

In 2004, Pleasant T. Rowland gave the magnificent Overture Concert Organ as a gift to the Madison Symphony Orchestra. Lead gifts of $1 million from Diane Endres Ballweg and $500,000 from an anonymous donor established the Organ Endowment Fund, a permanent fund which helps support Overture Concert Organ programming and care of the instrument.

To help ensure the instrument will continue to be heard by future generations, the MSO and Friends of the Overture Concert Organ are seeking an additional $500,000 for the organ endowment. Currently, just $180,000 is needed to reach this goal!

“Madison is so blessed to have the Madison Symphony Orchestra’s ‘Mighty Klais’ in Overture Hall. It is a complex, wonderful instrument, and we wish all future generations to experience the pure joy in sound that it can produce.”

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Organ Console

Tutti (Full Organ) Division Stop Façade pipes Single pipes - Major Single pipes - Minor

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The cabinet containing the keyboards, pedals, and stops. When all the stops are pulled out. A grouping of stops. A grouping of pipes. Pipes that are visible. Pipes located in the organ chamber that are not visible. Up to $999General donation to the Organ Endowment Fund

Thank you to these generous donors for their gifts of $1,000 or more to the Madison Symphony Orchestra’s Overture Concert Organ Endowment Fund. Donors who have chosen to adopt individual parts of the organ are listed with their individual adoptions.

TUTTI

Nicholas and Elaine Mischler

DIVISION

Friends of the Overture Concert Organ in honor of Samuel C. Hutchison Great Division

Gamber F. Tegtmeyer, Jr., in memory of Audrey Tegtmeyer Swell Division

Friends of the Overture Concert Organ in honor of Gregory C. Zelek in celebration of his Golden Birthday Solo Division

STOP

John and Christine Gauder Pedal Contra Bombarde 32’

Reynold V. Peterson Swell Basson 16’

Lise Skofronick

Solo Harmonic Flute 8’

John and Carol Toussaint Pedal Posaune 16’

Ann Wallace

Solo French Horn 8’

An Anonymous Friend

FAÇADE PIPE

Dr. Frederick W. Blancke

Great Principal 16’ – F²

Daniel and Stacey Bormann in memory of Larry Shrode Great Principal 16’ – D²

Thomas A. Farrell in honor of Ann Farrell Great Principal 16’ – A³

Jane Hamblen and Robert F. Lemanske Great Principal 16’ – B¹

Sandra L. Osborn Great Principal 16’ – C³

MAJOR PIPE

Anne Bolz

in honor of Greg Upward Solo Harmonic Flute 8’ – G³

In Memory of Lila Smith Lightfoot Solo Tuba 16’ – C¹

Vicki and Marv Nonn

Pedal Double Open 32’ – C¹

Barbara and Richard Schnell

Solo French Horn 8’ – D1

Barbara and Richard Schnell Solo French Horn 8’ – E1

MINOR PIPE

Fernando and Carla Alvarado

Solo Principal 8’ – C³

Fernando and Carla Alvarado in honor of Nicholas and Elaine Mischler Swell Quintflöte 2 2/3’ – F¹

Brian and Rozan Anderson Bassoon 16’ – A2

Chuck Bauer and Chuck Beckwith Choir Clarinet 8’ – B²

Nancy Becknell Solo French Horn 8’ – C¹

Ed and Lisa Binkley Pedal – Vox Balinae 64’ – C¹

Capitol Lakes Swell Fugara 4’ – D3

Friends of the Overture Concert Organ 2015-2016 Board of Directors in honor of Elaine Mischler Choir Clarinet 8’ – B-Flat¹

Friends of the Overture Concert Organ 2019-2020 Board of Directors in honor of Ellsworth Brown Solo Harmonic Flute 8’ – E³

Paul Fritsch and Jim Hartman Solo French Horn 8’ – A3

Paul Fritsch and Jim Hartman in honor of Karissa Fritsch Solo French Horn 8’ – F4

Paul Fritsch and Jim Hartman in honor of Bethany Hart Solo Harmonic Flute 8’ – B3

Paul Fritsch and Jim Hartman in honor of Paige Kramer Solo French Horn 8’ – G2

Dr. Robert and Linda Graebner Great Principal 8’ – C¹

Kris S. Jarantoski Swell Bordun 8’ – C³

Darko and Judy Kalan in honor of Samuel C. Hutchison Swell Basson–Hautbois 8’ – C¹

Carolyn Kau and Chris Hinrichs Choir Suavial 8’ – C³

Gary Lewis

Swell Basson–Hautbois 8’ – C³

Connie Maxwell Swell Basson–Hautbois 8’ – A³

Gale Meyer

Solo French Horn 8’ – G1

Susanne M. Michler Swell Trompette Harmonique 8’ – C³

Stephen D. Morton Swell Bourdon 16’ – C¹

Casey, Eric, Dylan, and Kendall Oelkers in honor of Walter & Barbara Herrod's 50th Anniversary Solo Harmonic Flute 8' - G2

Larry and Jan Phelps Pedal – Subbass 16’ – C¹

Hans and Mary Lang Sollinger Swell Traversflöte 4’ – A²

Harriet Thiele Statz Choir Gemshorn 8’ – A3

Two Friends in honor of Jack Hicks Great Principal 8’ – C3

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ORGAN SPECIFICATION

Johannes Klais Orgelbau — Bonn, Germany 2004 • 72 Ranks

GREAT 4-1/2” wind Principal Principal Offenflote Salicional Gedeckt Principal Rohrflote Quinte Octave Cornett V Mixtura mayor V Trompete Trompete

SWELL (enclosed) 4-1/2” wind Bordun Tibia Bordun Viola da Gamba Voix Celeste Fugara Transversflote Quintflote Octavflote Terzflote Plein jeu IV Basson Trompette harmonique Basson-Hautbois Clairon harmonique Tremulant

CHOIR (enclosed) 4” wind Geigen Principal Suavial Rohrflote Gemshorn Unda maris Octave Viola Waldflote Quinte Terz Mixtura minor IV Clarinet Tremulant

16 8 8 8 8 4 4 2-2/3 2 16 8 16 8 8 8 8 4 4 2-2/3 2 1-3/5 16 8 8 4 16 8 8 8 8 4 4 2 2-2/3 1-3/5 8

SOLO (enclosed) 11” wind Principal Harmonic Flute Stentor Gamba Gamba Celeste Tuba Tuba French Horn PEDAL 5” wind

Vox Balinae (Resultant) Double Open Untersatz Open Wood Violon (Gt) Bourdon (Sw) Subbass Octavbass Harmonic Flute (Solo) Stentor Gamba (Solo) Gedackt Octave Contra Bombarde Posaune Tuba (Solo) Trompete Clairon

ACCESSORIES

15 10 8 5 5

General Pistons General Toe Studs Divisional Pistons Pedal Divisional Toe Studs Divisional Cancel Pistons Sequencer Programmable Crescendo and Tutti

8 8 8 8 16 8 8 64 32 32 16 16 16 16 8 8 8 8 4 32 16 16 8 4

COUPLERS

Gt to Ped Gt to Ped Sw to Ped Sw to Ped Ch to Ped Ch to Ped Solo to Ped Solo to Ped Sw to Sw Sw Unison Off Sw to Sw

Sw to Gt Sw to Gt Sw to Gt Ch to Gt Ch to Gt Ch to Gt Solo to Gt Solo to Gt Solo to Gt Gt to Gt Gt Unison Off Gt to Gt

Sw to Ch Sw to Ch Sw to Ch Solo to Sw Solo to Sw Solo to Ch Solo to Ch Ch to Ch Ch Unison Off Ch to Ch

Pedal Divide

8 4 8 4 8 4 8 4 16 4 16 8 4 16 8 4 16 8 4 16 4 16 8 4 8 4 8 4 16 4

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We gratefully acknowledge the Friends of the Overture Concert Organ for their support of Overture Concert Organ programming & production for the 2021-2022 Season. This list includes current members as of January 31, 2022.

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Chris & Marge Kleinhenz

Larry M. Kneeland

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Georgia Shambes

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John & Shelly Van Note Ann Wallace

Leonard & Paula Werner

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SWELL

$150–$299

Lyle J. Anderson

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Mary & Ken Buroker

Rueben Buse

Bonnie & Marc Conway

James Conway & Katherine Trace

Richard & Beverly Davidson Paula K. Doyle

Elizabeth Fadell

Charles Ford & Sharon James Fr. C. Lee & Edith M. Gilbertson

Andrew Halbach

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Dan & Janet Johnson

James & Joan Johnston

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Ken & Elaine Kosier

Sally Leong

Gary Lewis & Ken Sosinski

Joan & Doug Maynard

Bonnie McMullin-Lawton & Jack Lawton

Margaret & Paul Miller

Terry & Shirley Morrison

William Muir & Bob Wright

Ron & Jan Opelt

Peter & Leslie Overton

Sue Poullette

Don & Roz Rahn

Kathleen A. Roberg Cora Rund

Dennis & Janice Schattschneider Ron & Joanne Schmidt Rev. Gregory B. Sims Curt & Jane Smith

Patricia Smith

Shirley & Richard Steiner Karen M. Stoebig

Kate Ford Roberts & Jim Struve Cheri J. Teal Tom & Dianne Totten

Harry Tschopik

Teresa Venker

Sally Wellman

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CHOIR

$85-$149

Roger & Jennifer Anderson Emy Andrew

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FRIEND

$35-$84

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Richard Guy Eileen Hanneman & Larry Sromovsky

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Kelly Olson Darlene Olson

Phillip & Karen Paulson

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Greg Wagner & Fred Muci

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Bill & Jackie Wineke

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Seven Anonymous Friends

“

I love the excitement of live Symphony performances, since I enjoy watching as well as listening to the music. I have been so impressed by the consistently high-quality performances of our own musicians and by the stellar guest artists we are able to attract. I have named the Madison Symphony Orchestra as a beneficiary of my IRA to help ensure the continuation of live classical music in Madison.”

Ann Wallace

You can help preserve the MSO’s legacy of great music for future generations by including the Symphony in your estate plans. Call (608)257-3734 to learn more.

Photo by Todd Maughan

GREG ZELEK, WITH THE DIAPASON BRASS AND TIMPANI

In my first of many collaborations with fellow Madison musicians, I am excited to perform alongside The Diapason Brass quintet and timpani in a concert that will pair our Mighty Klais with some of the loudest instruments in the orchestra. This program of music written for a variety of pairings will include Gigout’s Grand Choeur Dialogue, a transcription of Rachmanino ’s famous Vocalise, and an arrangement of Bach’s famous Toccata and Fugue in D minor for organ and timpani. Audiences will enjoy the expressive and fluid partnership of MSO’s Principal Trumpet, John Aley, and the newly appointed trumpet professor at UW LaCrosse, Matthew Onstad; the warm sounds of MSO’s Principal Horn, Linda Kimball; the creative flair of UW Madison’s trombone professor, Mark Hetzler; the thrilling facility of MSO’s Principal Tuba, Josh Biere; and the thunderous rhythm of MSO’s Principal Timpani, John Jutsum. The event will have me pulling out all the stops on our Overture Concert Organ to match the excitement and volume of my colleagues on stage!

— Greg Zelek, Principal Organist and Elaine and Nicholas Mischler Curator of the Overture Concert Organ

Greg Zelek, Organ

Gigout, Grand Choeur Dialogue

Rachmanino , Vocalise Elgar, Pomp and Circumstance

DiLorenzo, Fire Dance Dinda, Nocturne

J.S. Bach, Toccata and Fugue in D minor, BWV 565 Sullivan, The Lost Chord

Guilmant, Final from Symphony No. 1 in D minor

SPONSORS

William Ste enhagen

Elaine and Nicholas Mischler

DISCOVER

DISCOVER

John Aley

Trumpet

Mark Hetzler Trombone

Matthew Onstad Trumpet

Linda Kimball Horn

John Jutsum Timpani

Joshua Biere Tuba

“Zelek is quite extraordinary in the classical music world.”

– Jon Hornbacher, PBS Wisconsin Life

The best path forward

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HIS GREATEST HITS

An all-Beethoven concert for the ages, charged with the energy and invention of the master’s Heroic Period and the spectacular pianism of a towering artist of magisterial interpretive and technical prowess. John DeMain, Conductor Garrick Ohlsson, Piano Beethoven, Egmont Overture Beethoven, Piano Concerto No. 5 inE-flat major, “Emperor” Beethoven, Symphony No. 5 in C minor

The Burish Group proudly supports Madison Symphony Orchestra

As a firm providing wealth management services to clients, UBS Financial Services Inc. offers investment advisory services in its capacity as an SEC-registered investment adviser and brokerage services in its capacity as an SECregistered broker-dealer. Investment advisory services and brokerage services are separate and distinct, differ in material ways and are governed by different laws and separate arrangements. It is important that you understand the ways in which we conduct business, and that you carefully read the agreements and disclosures that we provide to you about the products or services we offer. For more information, please review client relationship summary provided at ubs.com/relationshipsummary, or ask your UBS Financial Advisor for a copy. © UBS 2022. All rights reserved. UBS Financial Services Inc. is a subsidiary of UBS AG. Member FINRA/SIPC. VIP_02172022-1 Exp.: 02/28/2023

the power of working together

The MGE Foundation is proud to sponsor the Madison Symphony Orchestra.

“Alexa, enable WPR.”

TICKET INFORMATION

ALL 2021–2022 SEASON ORGAN TICKETS ARE JUST $20!

Three easy ways to buy:

PHONE

Overture Center Box O ce (608) 258-4141

IN-PERSON (and save the service fee!) Overture Center Box O ce 201 State Street

STUDENT RUSH TICKETS ARE $10!

ONLINE madisonsymphony.org/organ

On the same day of the performance, students may purchase up to two student rush tickets in person at the Overture Center Ticket O ce, 201 State Street. Students must present a valid student ID or claim student status for younger students to redeem student rush tickets.

CONTACT

Madison Symphony Orchestra

Administrative O ce 222 W. Washington Ave. Suite 460 Madison, WI 53703 Subscriptions/Info: (608) 257-3734 info@madisonsymphony.org

Overture Center Box O ce 201 State St. Single Tickets: (608) 258-4141 Ticket O ce Hours: Mon. – Fri., 11:00 a.m. to 5:30 p.m. Sat. 11:00 a.m. to 2:00 p.m.

Additional hours on Sunday event days.

©2022 Madison Symphony Orchestra, Inc.

Amanda Dill, Editor Email: adill@madisonsymphony.org

All rights reserved. May not be produced in any manner, in whole or in part, without written permission from Peter Rodgers, Director of Marketing.

For advertising information, contact: Peter Rodgers (608) 260-8680 x226.

FRIENDS OF THE OVERTURE CONCERT ORGAN BOARD OF DIRECTORS, 2021–2022

OFFICERS

Jim Baxter

President

Reynold Peterson Secretary-Treasurer Ellsworth Brown Past President

DIRECTORS

Fernando Alvarado

Barbara Berven

Katie Biegel Janet Cabot

Eric Frailing

Mary Ann Harr Grinde

Ellen Larson

Rob Lemanske

David Parminter

Rhonda Rushing Eileen Smith

William Ste enhagen

Teri Venker

David Willow

ADVISORS

Diane Ballweg

Marian Bolz

John Gauder

Terry Haller

Gary Lewis

Connie Maxwell Elaine Mischler

Vicki Nonn

Anders Yocom

EX-OFFICIO

Greg Zelek, Organ Curator

MADISON SYMPHONY ORCHESTRA, INC. ADMINISTRATION

TBA

Executive Director Ann Bowen General Manager

Alexis Carreon O ce&Personnel Manager

Kathryn Taylor OrchestraLibrarian

Kathryn Schwarzmann Director of Education & Community Engagement

Lisa Kjentvet EducationAssistant Casey Oelkers Director of Development Leah Schultz Manager of Individual Giving Aleeh Schwoerer Manager of Grantsand Corporate Giving

Peter Rodgers Director of Marketing

Amanda Dill Marketing/Communications Specialist

Aaron Krish Patron Services Manager

Greg Zelek

Overture Concert Organ Curator/Principal Organist

BECOME A FRIEND!

Friends of the Overture Concert Organ (FOCO) play an important role in supporting the Madison Symphony Orchestra’s organ program. Their support helps us:

• Bring you thrilling, live performances by some of the best organists in the world

• Produce a variety of free education and outreach programs including demonstrations and masterclasses

• Tune and maintain the Overture Concert Organ

Friends of the Overture Concert Organ Membership Levels and Benefits

Benefits are available during the concert season which your gift supports.

Member benefits are subject to change. We will monitor and follow health guidelines and Overture Center for the Arts requirements continually throughout the season.

Ticket sales cover less than half the costs of producing a season. To become a Friend, simply add your gife on the order form on the following page.

Discover more about Friends of the Overture Concert Organ at madisonsymphony.org/foco

FRIEND CHOIR SWELL GREAT

CURATORCIRCLEJ.S.BACHSOCIETY

$35$100$150$300$650$1,000

Recognition in organ concert program books

Special member communications

Invitation to Showcasing the Organ events

Invitation to FOCO Annual Meeting Recognition in MSO program books

Two complimentary beverage vouchers* Advance opportunities to purchase single tickets

Invitation to one organ post-concert reception

Open invitation to all organ post-concert receptions

Private, reserved parking for organ concerts and events*

Invitation to a special member appreciation event

Custom benefits according to your interests

* NOTE: The parking benefit has a fair market value of $35. The beverage vouchers have a fair market value of $7.75 each..