22/23 Organ Program Book - Oct, Christopher Houlihan

Houlihan

gather in this space for these concerts, the

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

are better when we stand together.

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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

Christopher Houlihan ORGAN

The organist Christopher Houlihan has established an international reputation as an “intelligently virtuoso musician” (Gramophone), hailed for his “glowing, miraculously lifeaffirming performances” (Los Angeles Times).

Houlihan has performed at Disney Concert Hall with principal brass of the Los Angeles Philharmonic; the Kimmel Center in Philadelphia, and at the Kennedy Center in Washington, D.C. The Los Angeles Times raved about his Disney

Hall debut, proclaiming, "Houlihan is the next big organ talent." He has been featured as organ soloist with the Hartford Symphony, Columbus (GA) Symphony, Waterbury Symphony (CT), and the Boston Chamber Orchestra.

Christopher Houlihan has appeared in recital at celebrated venues across North America and Europe including the Cathedral of Notre-Dame de Paris, Glasgow Cathedral in Scotland, and San Francisco’s Grace Cathedral and Davies Symphony Hall. His “Vierne2012” tour attracted international attention and critical acclaim for his performances Louis Vierne’s six organ symphonies in six major North American cities. The Los

Angeles Times called his performance there “a major surprise of the summer, a true revelation.” He has been featured at numerous conventions of the American Guild of Organists and the Organ Historical Society. In 2017 he performed the closing concert of the AGO Southeast Regional Convention in Jacksonville, Florida, where he presented the world premiere of Hannah Lash’s Ludus. In 2018, Houlihan was a featured recitalist at the AGO’s national convention in Kansas City, and presented six all-Bach lecture-recitals at the Bay Chamber Concerts Summer Series in Camden, ME. January and February 2022 took him on a west coast tour, including recitals in Las Vegas, San Diego, and Los Angeles.

In 2017, he released “Christopher Houlihan plays Bach” (Azica). Recorded at Trinity College, the CD was praised by The Whole Note as “playful, celebratory and sparkling with color” and by American RecordGuide which stated, “there’s no denying Houlihan’s extraordinary

achievement.” Houlihan has also released two CDs on the Towerhill Records label.

Christopher Houlihan is the John Rose College Organist-and-Directorship Distinguished Chair of Chapel Music at Trinity College in Hartford, Connecticut. He was previously artist-in-residence at Trinity, as well as Director of Music and Organist at the Church of the Holy Apostles in Manhattan.

In addition to his studies at Trinity College, Houlihan studied with the Grammy Award-winning organist Paul Jacobs at The Juilliard School, where he earned a master's degree, and with JeanBaptiste Robin at the French National Regional Conservatory in Versailles.

More information is at ChristopherHoulihan.com.

Christopher Houlihan is represented in North America exclusively by Phillip Truckenbrod Concert Artists, LLC.

THANK YOU TO OUR GENEROUS SPONSORS

Major Funding for this performance is provided by:

Shirley Spade, in memory of Gerald Spade

Walter and Karen Pridham Charitable Fund

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, Margaret C. Winston, 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.

Photography and video are not permitted during the performance. Please take and share photos at the end of the concert. Thank you!

Tuesday, October 25, 2022

Overture Concert Organ Series | Program No. 2

Christopher Houlihan, Organ

JOHANN SEBASTIAN BACH (1685-1750)

Prelude and Fugue in A minor, BWV 543

ROBERT EDWARD SMITH (B. 1946)

An Introduction to the King of Instruments: Variations on an American Folk Tune

GREG ZELEK, NARRATOR

FRANZ LISZT (1811-1886)

Fantasy and Fugue on “Ad nos, ad salutarem undam”

Moderato — Allegro — Vivace Adagio — Allegro deciso Fuga: Allegretto con moto

Please

program

Program Notes

OCTOBER 25, 2022 Program Notes by J. Michael Allsen

We welcome organist

Christopher Houlihan for this second concert of our organ series. He opens with one of the most frequently-played works by Bach, the Prelude and Fugue in A minor, BWV 543. Robert Edward Smith’s AnIntroductiontotheKing ofInstruments will be an enjoyable “guided tour” of the Overture Concert Organ...narrated by our own Greg Zelek. Mr. Houlihan concludes with Franz Liszt’s monumental Fantasy and Fugue on “Ad nos, ad salutarem undam.”

Johann Sebastian Bach (1685-1750) Prelude and Fugue in A minor, BWV 543

Bach’s earliest professional position, at age 17, was in Weimar, at the court of Duke Johann Ernst III. Bach later described his position as a “court musician,” but the court records actually describe him as a “lackey”—low-ranking musicians were apparently also expected to perform more menial work. It is probably not

surprising that Bach left Weimar after only six months to take a much more attractive position as a church organist in Arnstadt, where he worked from 1703-07. After serving in a second organ position in Mühlhausen (170708), he was lured back to Weimar. The court organist, Johann Effler, had finished extensive renovations to the organ in the Duke’s chapel, but his health was failing. Knowing Bach’s growing reputation as an organ virtuoso and as an expert on organ construction, Effler invited Bach to Weimar to inspect the instrument and play an inaugural recital for the Duke in June of 1708. Bach was immediately offered the position of court organist. (Don’t worry: the ailing Johann Effler was able to retire comfortably, with his full salary!) By July 1708, Bach was in Weimar, where he would remain until 1717, eventually serving as Konzertmeister (music director).

In his early years at Weimar, Bach concentrated primarily on keyboard works: many of the 48 preludes and fugues later published as The Well-Tempered Clavier were written there, as were all but three of the 46 Lutheran chorale preludes published in his Orgelbüchlein. The Preludeand Fuguein A minor also comes from this productive period. One of the prime influences on this work—and on many of his early organ works—was the style of his acknowledged master, Dieterich Buxtehude. In 1705, the 20-year-old Bach took a leave from his church position in Arnstadt to walk 280 miles to Lübeck, where he hoped to study with Buxtehude—the only truly long journey Bach ever made. Though he was not exactly AWOL from Arnstadt, his employers complained that Bach

had requested a four-week leave, but stayed away for “about four times that long.” Just how much he actually studied with Buxtehude is unclear, but several of his organ works over the next few years—including the masterful PreludeandFuguein A minor heard here—clearly show his admiration for Buxtehude’s music.

The Prelude begins with a winding, subtly chromatic line in the manuals, eventually joined by a long-held pedal. The pedals and manuals then begin to explore the opening material together, all the way through to a dramatic conclusion. The Fugue is set in 6/8, lending a dancing quality to this intensely complex work. In the opening, the fugue subject is presented four times, lastly by the pedals. The fugue includes some long, chromatic episodes—typically passages without the fugue’s opening subject, though Bach subtly manages to work in fragments of this theme. The ending is dramatic: the writing for the manuals fades away, leaving the pedals exposed for a final showy passage. The work ends with a brilliant flourish from the manuals.

Robert Edward Smith (b. 1946) An Introduction to the King of Instruments: Variations on an American Folk Tune Composer, harpsichordist, and church musician Robert Edward Smith joined the faculty of Trinity College (Hartford, CT) in 1979 and served as composer-in-residence there. He also taught at the Hartt School of Music from 1995-2011. As a composer, Smith has written music for vocal and instrumental ensembles of all sizes ranging from unaccompanied

viola to symphony orchestra, as well as the 2011 chamber opera A Place of Beauty, on the life of art collector and philanthropist Isabella Stewart Gardner. His published music includes many sacred choral pieces and works for organ. As a harpsichordist, Smith holds the distinction of being the first person since the 18th century to perform in public the complete harpsichord literature of François Couperin. He was also a working church musician for nearly 50 years. Smith currently lives in Boston and devotes himself to composition. He composed the work heard here in 1978, and notes that:

˝The variations were composed on commission from Michael Nemo, who was the founder of Towerhill Records. He wanted to produce a recording that illustrated to the listener what sounds a welldesigned pipe organ could produce, taking as his model Britten’s Young Person’s Guide to the Orchestra. The commission was specifically for the recording, and would feature John Rose as organist playing the organ at Saint Joseph’s Cathedral in Hartford, CT.

Mr. Rose performed it live at Trinity College Chapel in Hartford after the recording was made.”

This is one of a few works by Smith that draw upon the rich heritage of early American hymnody. In this case, it is the tune Pisgah. This melody, attributed to J.C. Lowry (possibly Joseph C. Lowery), which first appeared in the shape-note collection The KentuckyHarmony in 1816. “Shape-note” or “Sacred Harp” music is a uniquely American tradition, beginning in the late 18th

century. Four-part hymns, anthems, and “fuging tunes” were printed in a notation in which variously-shaped noteheads represented solfege syllables. This music often has a rough-edged, sturdy beauty, and many of these tunes survive in modern hymnals. In the case of Pisgah, it is usually paired with the 18th-century Isaac Watts hymn When I Can Read My Title Clear. In describing the variations, Smith writes:

˝Each variation features a particular rank of pipes: principals, flutes, reeds, mixtures, etc., each of which is introduced by the narrator. After the last variation, the work ends with a rondeau, which repeats the order of ranks presented in the variations, but without the vocal introduction. The rondeau ends with its theme played above the hymn tune as a sort of hymn descant.”

Franz Liszt (1811-1886)

Fantasy and Fugue on “Ad nos, ad salutarem undam”

Franz Liszt was the preeminent piano virtuoso of the 19th century, and the model for many pianists to follow. He was also an imaginative and groundbreaking composer, but as a young man, he was so much in demand as a soloist that he was allowed little time to develop his composing skills. Liszt’s concert tours in the 1830s and 1840s were nothing short of sensational—contemporaries used the term “Lisztomania” to describe the frenzy surrounding his playing. He

performed hundreds of concerts to packed houses throughout Europe, and produced for the most part compositions that focused on his own technical showmanship, rather than musical content. It was not until he settled in Weimar in 1848, taking a secure and stable job as music director to the Weimar court, that Liszt’s music took a turn away from these showy pieces.

In 1848, Liszt attended the premiere of Giacomo Meyerbeer’s huge, five-act grand opera Le prophète in Paris and was deeply impressed. Le prophète, set against the background of Dutch religious upheaval in the early 16th century, is based upon the life of the Anabaptist leader John of Leiden. John was able to establish a religious state in the city of Münster, proclaiming himself “King of New Jerusalem,” before his eventual downfall and death by torture. Liszt studied Meyerbeer’s score closely, and in 1849-50 completed a set of three IllustrationsduProphète for solo piano. Virtuoso transcriptions of music from popular operas were nothing new at the time—Liszt himself had written dozens of them in previous years—but the IllustrationsduProphète were built on another scale. This set, lasting nearly 40 minutes in total, very freely adapts Meyerbeer’s music, sometimes reordering and fragmenting themes to make new musical connections. In the winter of 1850, he completed what was essentially a fourth Illustration from the opera, his FantasyandFugue on “Ad nos,adsalutaremundam”—this

one written not for piano but rather for organ. Liszt became interested in the organ during in his Weimar years, at least partly inspired by a deep reverence for Bach—who had of course held the same the same job as Liszt in Weimar 135 years earlier. The Fantasy andFugue was the first of some 45 works for organ Liszt would compose over the next 20 years. However, though Liszt was a phenomenal pianist, he was less skilled as an organist; in particular, he never seems to have mastered the pedals. The work was premiered by one of his students, Alexander Winterperger, as part of the dedication of a new organ in Merseberg Cathedral, on September 26, 1855.

The Fantasy and Fugue is an enormous virtuoso work, sprawling over some 765 measures, and lasting nearly half an hour. In the opera, the chorale Ad nos, ad salutarem undam (Come to us, to the wavesofsalvation) is sung by a trio of sinister Anabaptist priests, who will eventually have a hand in John of Leiden’s destruction. It appears in the opera’s first act, as the priests recruit peasants to start a religious rebellion. Meyerbeer apparently found the

melody in a 17th-century hymnal. Liszt’s FantasyandFugue is laid out in three large sections, opening with a brief and dissonant introduction, before he introduces the rather creepy chorale melody. After a mysterious, atmospheric transition, Liszt begins a long, free development of this theme. After the music reaches a roaring climax, there is another quiet transition into the second large section (Adagio). This opens with a simple, unadorned statement of the melody, and moves through six calm variations. This section closes with an agitated and highly dissonant passage—Liszt makes extensive use of the whole-tone scale here—that leads into the Fugue. In keeping with the dimensions of the Fantasy,theFugue is massive, some eight minutes long. This was the first time Liszt used a fully-developed fugue in his works, though he uses a thoroughly unorthodox version of this traditional form. The piece ends with a colossal, fiercely triumphant statement of the chorale. program notes ©2022 by J. Michael Allsen

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 $135,000 is needed to reach this goal!

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.

“Madison is so blessed to have the Madison Symphony Orchestra’s ‘Mighty Klais’ in Overture Hall. It is a complex, wonderful

and

wish all future generations to experience the pure joy in sound that it can produce.”

–Nicholas and Elaine Mischler Tutti Donors

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

In memory of Ruth and Frederick Dobbratz Great Principal 8’

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

Lau and Bea Christensen Great Principal 16’ – C² 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

Patricia Brady and Robert Smith

Solo French Horn 8’ – B2

Capitol Lakes

Swell Fugara 4’ – D3

Friends of the Overture Concert Organ in honor of Reynold Peterson Great Trompete 8’ – G3

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 memory of Jack Hicks Great Principal 8’ – C3

Anders Yocom and Ann Yocom Engelman Solo Principal 8’ – A²

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

Johannes Klais Orgelbau — Bonn, Germany 2004 • 72 Ranks

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

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

10

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

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

Divide

FRIENDS OF THE OVERTURE CONCERT ORGAN

We gratefully acknowledge the Friends of the Overture Concert Organ for their support of Overture Concert Organ programming & production for the 2022-2023 Season. This list includes current members as of October 15, 2022.

HONORARY LIFETIME MEMBERS

Diane Endres Ballweg Bruce & Suzanne Case Samuel C. Hutchison W. Jerome Frautschi & Pleasant T. Rowland

CURATOR CIRCLE

$1000 & above

Carla & Fernando Alvarado Jeff & Beth Bauer Chuck Bauer & Chuck Beckwith James & Diane Baxter Barbara & Norman Berven Dr. Annette Beyer-Mears

Stephen Caldwell & Judith Werner Martha & Charles Casey Lau & Bea Christensen Mike & Quinn Christensen Audrey Dybdahl John & Christine Gauder Jane Hamblen & Robert F. Lemanske Darko & Judy Kalan Myrna Larson Doug & Norma Madsen Christine & Jeff Molzahn Vicki & Marv Nonn Reynold V. Peterson Walter & Karen Pridham

Charitable Fund William & Rhonda Rushing Kay Schwichtenberg & Herman Baumann Lise R. Skofronick

Dennis & Judy Skogen Gerald & Shirley Spade William Steffenhagen Dr. Condon & Mary Vander Ark Willis & Heijia Wheeler Heidi Wilde & Kennedy Gilchrist

J. S. BACH SOCIETY

$650–$999

Dorothy & Ellsworth Brown Janet & Scott Cabot Jerome Ebert & Joye Ebert Kuehn Timothy & Renée Farley Eric & Amanda Frailing Paul Fritsch & Jim Hartman George Gay Joel & Jacquie Greiner Terry Haller Bruce & Ruth Marion Charles McLimans & Dr. Richard Merrion Joseph Meara & Karen Rebholz Barbara Melchert

David Myers David & Barbara Parminter Faith Portier Eileen M. Smith David Willow

Two Anonymous Friends

GREAT $300–$649

Lyle J. Anderson David & Ruth Arnold Ellis & Susan Bauman David & Karen Benton

Daniel & Stacey Bormann Blake Doss

Crystal Enslin Paul & Dolores Gohdes Mary Ann Harr Grinde Betty & Edward Hasselkus

Walter & Barbara Herrod Paul & Lynne Jacobsen

Maryanne & Bob Julian Alisa Kemnitz

Howard Kidd & Margaret Murphy Chris & Marge Kleinhenz Larry M. Kneeland Richard & Claire Kotenbeutel Margaret Lescrenier

Ann & David Martin

Joan & Doug Maynard Genevieve Murtaugh William E. Petig Ron Rosner & Ronnie Hess Wilton Sanders & Sue Milch Mary Beth Schmalz & Urban Wemmerlöv Georgia Shambes Andrew Stevens Sue & David Stone James Uppena Ann Wallace Leonard & Paula Werner M.J. Wiseman Susan & Rolf Wulfsberg

SWELL

$150–$299

Leigh Barker Cheesebro Edward & Lisa Binkley

OF THE OVERTURE CONCERT ORGAN

Mary & Ken Buroker

Dr. Larry & Mary Kay Burton

Judith & William Busse

Evonna Cheetham

Dennis & Lynn Christensen

Louie Cornelius & Pris Boroniec Elizabeth Fadell

Bobbi & Jim Reynolds Michael George & Susan Gardels Oliver & Sharon Goldsmith

Tiffany Highstrom

James & Cindy Hoyt

Dan & Janet Johnson

James & Joan Johnston

Noël Marie & Steven Klapper Margaret & Paul Miller Sue Poullette Sarah Pozdell

Curt & Jane Smith Deb Tetzlaff

Tom & Dianne Totten Harry Tschopik

John & Shelly Van Note

Jane & Sarah Voichick

John & Janine Wardale Sally Wellman

James & Jody Werlein Carolyn White Jeffrey Williamson

Four Anonymous Friends

CHOIR

$85-$149

Carolyn Aradine Christine K. Beatty Candace & Phill Bloedow

Joyce Bringe Lynn Burke Stephanie & Darren Bush

Ann Campbell

James Conway & Katherine Trace John Daane Eve & Carl Degen

Paul DiMusto & Molly Oberdoerster

Paula & Bob Dinndorf

David Dodd & John Pearson

David Dohler

Paula K. Doyle John & Deidre Dunn

Marilyn Ebben Jean Taylor Erickson

Joanna Kramer Fanney

Douglas & Carol Fast Emily & Milton Ford

Thomas H. Garver

Joan Gilbertson

Pauline Gilbertson & Peter Medley

Fr. C. Lee & Edith M. Gilbertson

William & Sharon Goehring

Bob & Bevi Haimerl Susan & Bennette Harris Cheryl Heiliger

Doreen & Greg Jensen

Conrad & Susan Jostad Bob Klassy Miki & Ivan Knezevic Laurie & Gus Knitt

Tom Kurtz

Jim Larkee Sally Leong

Gary Lewis & Ken Sosinski

Ann Lindsey & Charles Snowdon

Richard & Marcia Olson

Bonnie Orvick

Peter & Leslie Overton

Patricia Paska

Ernest J. Peterson

Cyrena & Lee Pondrom

Lori & Jack Poulson

Paula L. Primm

Randall & Deb Raasch

Don & Roz Rahn Kathleen A. Roberg Sarah Rose

Steven & Lennie Saffian

Dennis & Janice Schattschneider

Gary & Barbara Schultz

Sandy Shepherd Thomas & Myrt Sieger Christine & Ron Sorkness Cheri J. Teal

Stephen Thompson Judy & Nick Topitzes Colleen & Tim Tucker

Ellen M. Twing

Teresa Venker

Dorothy Wheeler

Dorothy Whiting

Wade W. & Shelley D. Whitmus Derrith Wieman & Todd Clark

Royce Williams & Judith Siegfried Anders Yocom & Ann Yocom Engelman

Two Anonymous Friends

FRIEND $35-$84

GGinger Anderle & Pat Behling Sheryll Anderson

Roland Berns & Telise Johnsen Bob & Bonnie Block Dorothy Blotz Kathleen Borner Waltraud Brinkmann Gregory J. Buchberger Catherine Buege

Barbara Constans & Deb Rohde Bonnie & Marc Conway Douglas & Claudia Craemer-Meihsner

Lucy Dechene, Ph.D.

Ann & Philip Dettwiler

Larry & Kathy Dickerson

Charlotte J. Dillabough Frank & Jaqueline DiNatale Albert & Ann Ellingboe

Elizabeth Enright

Jim Esmoil

Sandra Fike

Elena Filatova

Donna B. Fox

Kenneth & Molly Gage Jill Gaskell

Barbara Grajewski & Michael Slupski

Sam Gratz

Marjorie Gray

Ed & Gloria Grys Andrew Halbach Christina Hull Nancy & Kirk Jolliffe Barbara Kell Juliana Kellenberger

Marc Vitale & Darcy Kind

Jeffrey & Marisa Krosschell Linda Krueger Ed & Julie Lehr

Steve & Karen Limbach

David MacMillan

David & Joan Milke

Wendy Miller

Kathryn Morrison

Don & Krista Nelson

Ron & Joanna Nief

Ron & Jan Opelt

Phillip & Karen Paulson Virginia Porter & Ronald Niece Sherry Reames

Warren & Dorothy Rebholz Edwin Reid

John & Rachel Rothschild Cora Rund

John & Susan Schauf Lynn & Tom Schmidt Dorothy I. Schroeder David & Gail Schultz Bassam Shakhashiri Terrell & Mary Smith Reeves Smith & Glenna Carter Steve Somerson & Helena Tsotsis

Alice Spencer Martin Stachnik

Kenneth Stancer

Robert & Barbara Stanley Howard & Margaret Talcott Pamela Tobey Thomas Tuttle

Fred & Gail Tyszka Patricia Vanderhoef Barbara Vogel

Sandra & Aric Waldman

Ron & Lavonne Welling

Rebecca & Marvin Wiegand Bill & Jackie Wineke

Eight Anonymous Friends

We have made every effort to ensure the accuracy of this list. If you believe an error has been made, please contact our development department at (608) 257-3734.

APRIL

18 TUE. 7:30 PM

“

alcée chriss

First-Prize Winner of many international organ competitions, organ virtuoso Alcée Chriss will delight our audience with a program that includes a few of his own transcriptions. Come experience Mr. Chriss’ arrangements of movements of Rachmaninoff’s Symphonic Dances and Franck’s Symphony in D minor . Mr. Chriss will also showcase his versatility as both a classical and jazz performer, with his own arrangement of Bill Evans’ Waltz for Debby , among others. — Greg Zelek, Principal Organist & Elaine and Nicholas Mischler Curator of the Overture Concert Organ

“

Chriss won the 2017 Canadian International Organ Competition, but this is not the usual competitionwinner playing. He plays with clarity, imagination, musicality, virtuosity, and yes, personality. Delcamp, American Record Guide

. . . Tuesday’s Overture Concert Organ performance featuring organist Greg Zelek and cellist Thomas Mesa, two Juilliard buddies who put on the most enjoyable concert I have ever encountered.

Bill Wineke, Channel 3000

greg zelek & thomas mesa

After our first performance together back in 2019 and a solo performance of Dvořák’s Cello Concerto with the MSO, Thomas Mesa returns as we collaborate once again in a program of organ and cello music. Mr. Mesa and I will both perform works by women composers, such as Nadia Boulanger’s gorgeous Trois Pièces , as well as a solo cello work written for him by Spanish composer Andrea Casarrubios. We will close this exciting evening with a commissioned work written for the two of us, Daniel Ficarri’s Sonata in C minor for Organ and Cello , which was inspired by our first performance at Overture Hall. You won’t want to miss the world premiere of this incredible piece! — GZ

Greg Zelek, Organ Thomas Mesa, Cello

PRESENTING SPONSOR William Steffenhagen

MAJOR SPONSOR Jane Hamblen and Robert F. Lemanske

MASSENET | BOULANGER | CASARRUBIOS BACH | FICARRI

madisonsymphony.org/zelekmesa

BOËLY

| FRANCK | REGER

ADDITIONAL SPONSOR Elaine and Nicholas Mischler

Chriss, Organ

The textures shimmer like pure gold in bright light, dancing in every conceivable rhythm. They have to be heard to be believed.

Washington Post

enchanted piano

personal favorite

Whatever the Naughton twins play, the results are always impeccable and their personalities delightful as well. They are bringing a two piano rarity to us by Max Bruch. Márquez’s Danzón No. 2 will leave you dancing in the aisles and Tchaikovsky’s final symphony has always been a personal favorite of mine. — John DeMain, Music Director

John DeMain, Conducting Christina and Michelle Naughton, Piano Duo

Arturo Márquez, Danzón No. 2 Max Bruch, Concerto for Two Pianos and Orchestra Pyotr Ilyich Tchaikovsky, Symphony No. 6 in B minor, Pathétique

artists,

programs subject to change.

MAJOR SPONSORS

15 Audrey Dybdahl, in memory of Philip Dybdahl

Kidd and Margaret Murphy

and Kato

and Tom Pyle

Family Charitable Trust

ADDITIONAL SPONSORS

Dr. Thomas and Leslie France Melinda V. Heinritz, in memory of her mother, Lynda Kay Vogler

Briesen & Roper, s.c.

Arts Board

BOARD AND ADMINISTRATION

FRIENDS OF THE OVERTURE CONCERT ORGAN BOARD OF DIRECTORS, 2022–2023

OFFICERS

Robert Lemanske

President

David Willow Secretary-Treasurer

Jim Baxter

Past President

DIRECTORS

Fernando Alvarado Barbara Berven Ellsworth Brown Janet Cabot

Eric Frailing Mary Ann Harr Grinde Ellen Larson David Parminter Rhonda Rushing Eileen Smith William Stefenhagen Teri Venker

ADVISORS

Diane Ballweg Marian Bolz John Gauder Terry Haller Gary Lewis Elaine Mischler Vicki Nonn Reynold Peterson Anders Yocom

EX OFFICIO

Greg Zelek, Organ Curator

MADISON SYMPHONY ORCHESTRA, INC. ADMINISTRATION

Robert Reed Executive Director

Ann Bowen General Manager

Alexis Carreon

Office & Personnel Manager

Jennifer Goldberg Orchestra Librarian

Lisa Kjentvet

Director of Education & Community Engagement

TBA

Education & Community Engagement Manager

Casey Oelkers Director of Development

Leah Schultz Manager of Individual Giving Aleeh Schwoerer

Manager of Grants & Sponsorships

Peter Rodgers Director of Marketing

Amanda Dill Marketing/Communications Manager

Lindsey Meekhof

Audience Experience Manager

Greg Zelek

Overture Concert Organ Curator/Principal Organist

Madison Youth Choirs

A

Symphony Christmas

Madison Symphony and Opera favorite, Adriana Zabala, joins UW–Madison Alumnus and Broadway star, Nate Stampley, for this season’s Christmas concert. Our traditional partnerships with Madison Youth Choirs, Mt. Zion Gospel Choir and our own Madison Symphony Chorus will continue as we officially kick off the Madison holiday season. — John DeMain, Music Director

John DeMain, Conducting

Adriana Zabala, Mezzo-soprano

MAJOR SPONSORS

American Printing

BMO Harris Bank

Nathaniel Stampley

Nathaniel Stampley, Baritone Madison Symphony Chorus, Beverly Taylor, Director Madison Youth Choirs, Michael Ross, Artistic Director

Mount Zion Gospel Choir, Tamera and Leotha Stanley, Directors

Fiore Companies, Inc. Richard and Pamela Reese, in memory of Maurice and Arlene Reese

Judith and Nick Topitzes

An Anonymous Friend

ADDITIONAL SPONSORS

Flad Architects

Hooper Foundation Reinhart, Boerner, van Deuren, s.c. Wisconsin Arts BoardMt. Zion Gospel Choir

Love great music. Find it here. Dates, artists, and programs subject to change.

Adriana Zabala

towering piano & virtuosity

Yefim Bronfman could clearly climb any mountain of piano literature on his own, but being his climbing partners on this Mt. Everest of concertos will make for an incomparable performance of Rachmaninoff’s towering opus. A first MSO performance of Schubert’s exuberant third symphony, and a first performance of Bartók’s suite from his ballet will challenge our fine orchestra to a fiery display of orchestral virtuosity.

John

Conducting

MAJOR SPONSORS

ADDITIONAL SPONSORS

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.

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

MEMBERSHIP DONATION FORM

GREG ZELEK DEBUT ALBUM

“I am very excited to release my debut album on the Overture Concert Organ as the Curator and Principal Organist of the Madison Symphony Orchestra in Madison, WI. The album consists of a wide range of repertoire, with some pieces that have rarely been recorded, such as Weaver’s  Fantasia  and Florence Price’s  Suite . I also share my interpretations of more standard organ works like the two Bach Fugues and Franck’s  Grand Pièce Symphonique , as well as my arrangement of a famous work not often heard on the organ, Debussy’s  Clair de Lune . I couldn’t imagine recording my first album without reflecting back on my Cuban heritage with my

arrangement of Lecuona’s  Malagueña . I hope that you enjoy all of these dynamic works that demonstrate the versatility and grandeur of the Overture Concert Organ.”

Greg Zelek

This recording was made possible by a generous gift from John and Christine Gauder. Greg Zelek is the Madison Symphony Orchestra’s Principal Organist and the Elaine and Nicholas Mischler Curator of the Overture Concert Organ. Album photos and design by Peter Rodgers. © 2022 Madison Symphony Orchestra Inc.

Greg Zelek at Overture Hall available for purchase at Madison Symphony Orchestra concert events in the lobby at Overture Center for the Arts. For more information visit madisonsymphony.org/zelekalbum