April 2024 Organ Program Book

April 19

Greg Zelek With the UW-Madison Wind Ensemble Scott Teeple, Director

LAND ACKNOWLEDGEMENT

As we gather in this space for these concerts, 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 HoChunk land and affirm that we are better when we stand together.

Sharing creative experiences together

thank you TO OUR GENEROUS SPONSORS for supporting these performances

PRESENTING SPONSOR

Lau and Bea Christensen

MAJOR SPONSORS

Kay Schwichtenberg and Herman Baumann

Skofronick Family Charitable Trust

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 off 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!

Friday, April 19, 2024 | 7:30 p.m.

Overture Concert Organ Series | Subscription Program No. 4

Greg Zelek, Organ

Scott Teeple, Director

Andrew Macrossie, Soprano Saxophone

UW-Madison Wind Ensemble

RICHARD WAGNER (1813-1882)

Elsa’s Procession to the Cathedral from Lohengrin (arr. John R. Bourgeois)

MR. ZELEK

UW-Madison Wind Ensemble

LOUIS VIERNE (1870-1937)

Carillon de Westminster, Op. 54, No. 6

MR. ZELEK

MICHAEL DAUGHERTY (B. 1954)

Bells for Stokowski

MR. ZELEK

UW-MADISON WIND ENSEMBLE

ENNIO MORRICONE (1928-2020)

Gabriel’s Oboe (adapted by Greg Zelek and Andrew Macrossie)

MR. MACROSSIE

MR. ZELEK

DUDLEY BUCK (1839-1909)

Concert Variations on “The Star-Spangled Banner”

MR. ZELEK

RICHARD STRAUSS (1864-1949)

Feierlicher Einzug

MR. ZELEK

UW-MADISON WIND ENSEMBLE

GIOACCHINO ROSSINI (1792-1868)

Finale from Overture Overture to “Guillaume Tell” (adapted by Greg Zelek and Scott Teeple)

MR. ZELEK

UW-MADISON WIND ENSEMBLE

This program will be performed without an intermission.

UW-MADISON WIND ENSEMBLE

FLUTE

Alice Alford

Sydney Kostelac

Timothy Mullins

Kyra O'Malley

OBOE

Max Beardsley

Amanda Givens

Sophie Reader

Kathryn Twist

CLARINET

Joshua Baker

Emilie Bertram

William Brzycki

Janice Chung

Skye Elzaurdia

Zachary George

Kira Hoffman

Quinn Johnson

Mihir Manna

Caroline Miller

BASSOON

Hannah Ball

Michael Ellenbecker

Shannon Finn

Marc Vallon

SAXOPHONE

Joshua Baker

Hannah Gardner

Valerie Hogberg

Andrew Macrossie

Daniel Ripp

TRUMPET

Christian McLaughlin

Katherine Schmit

Vivian Steinke

Jesse Wolf

HORN

William Beimers

Trevor Healy

Annabelle Melus

Erin Steege

TROMBONE

Alexandra Dotson

Philip Machkovech

Sofia Stutesman

EUPHONIUM

Keegan Brown

Kevin Friermood

TUBA

Turner Gray

Eireann Murphy

PERCUSSION

Josh Dieter

Ravlin Frantz

Joshua Graham

Kendal Schreiber

Spencer Venancio

STRING BASS

Braedon Krisko

HARP

Sophia Speece

PIANO, CELESTE, HARPSICHORD

Sonja Driskill

ANTIPHONAL TRUMPETS OFF STAGE

John Aley

Josh Brooks

Dan Cross

Jean Laurenz

John Wagner

Reilly Wagner

Scott Teeple serves as a professor of music, director of bands, and chair of the conducting area at the University of Wisconsin-Madison. In this role, he conducts the wind ensemble, teaches graduate conducting, and oversees all aspects of the UW–Madison Band program.

Mr. Teeple is in demand as a clinician and guest conductor. He is regularly invited to guest conduct throughout the United States, Asia, and Europe. In addition he is in demand as a teacher, serving as a

clinician at conducting symposia around the country.

Under his leadership, the ensembles at UW–Madison have toured, recorded, and participated in numerous commissions. Most recently, the UW–Madison Wind Ensemble performed the world premiere of Angélica Negrón's "blooming artifacts." The UW–Madison Wind Ensemble has been invited to give performances at the College Band Directors National Association, the Wisconsin School Music

Scott Teeple DIRECTOR

Association, and Carnegie Hall, and has toured throughout the Midwest. His ensembles and graduate conducting students have collaborated with internationally renowned artists, including Eugene Corporon, Craig Kirchhoff, Michael Mulcahy, Marianne Ploger, H. Robert Reynolds, John DeMain, and Edo de Waart. Before his appointment at the University of Wisconsin–Madison, Mr. Teeple served on the faculty at the University of Wisconsin–Stevens Point and the University of Michigan–Ann Arbor. He has served on the executive board of the Wisconsin Music Educators' Association and the Arts Alliance Executive Board and is president-elect of the North Central Region of the College Band Directors National Association. He is past president of the Big Ten Band Directors Association.

Mr. Teeple received degrees in Music Education and Conducting from the University of Michigan, where he studied with H. Robert Reynolds. He is a member of the College Band Directors National Association, the National Association for Music Education, and the World Association of Symphonic Bands and Ensembles. In 2024, his national peers inducted him into the American Bandmasters Association. He is the recipient of the UW–Madison Edna Weicher's Award. Other honors include membership in Phi Mu Alpha, Kappa Kappa Psi, Pi Kappa Lambda, and Phi Eta Sigma.

Praised as “extraordinary in the classical music world” (Jon Hornbacher, PBS Wisconsin Life) and a “musical star” (Bill Wineke, Channel 3000), Greg Zelek is the Principal Organist of the Madison Symphony Orchestra and Curator of the Overture Concert Organ, where he oversees all of the MSO’s organ programming. Since September 2017, Greg has proudly held the Elaine and Nicholas Mischler Curatorship.

In addition to concertizing throughout the United States, Greg regularly performs with orchestras as both a soloist and professional ensemble member, including the MET Orchestra, Jacksonville Symphony, Florida Orchestra, New World Symphony, Ridgewood Symphony, Miami Symphony, and Madison Symphony. He regularly performs as a soloist around the country, including venues such as the Metropolitan

Greg Zelek ORGAN

Museum of Art, Jacoby Symphony Hall with the Jacksonville Symphony, and St. John’s Abbey in Collegeville, MN, among others.

In 2016, Greg was chosen by The Diapason magazine as one of the top “20 Under 30” organists, a feature which selects the most successful young artists in the field. He was the First Prize winner in the 2012 Rodgers North American Classical Organ Competition, 2012 West Chester University Organ Competition, and the 2010 East Carolina University Organ Competition. A recipient of the inaugural Kovner Fellowship, Greg received his Bachelor’s and Master’s degrees, as well as an Artist Diploma, from the Juilliard School as a student of Paul Jacobs. Greg, who is Cuban-American and a native Spanish speaker, grew up in Miami, Florida. For more information on upcoming performances, please visit www.gregzelek.com

Program Notes

APRIL 19, 2024

Program Notes by

J. Michael Allsen

This innovative program brings together Greg Zelek and the Overture Concert Organ together with the UW-Madison Wind Ensemble, directed by Scott Teeple. They open by joining forces on a well-known excerpt from Wagner’s Lohengrin. Mr. Zelek then plays a virtuoso solo work by Louis Vierne. The largest piece on the program is Bells for Stokowski by American composer Michael Daugherty: challenging and colorful music composed in 2001 for the centennial of the Philadelphia Orchestra. Some movie music is next, as saxophonist Andrew Macrossie and Zelek play the lyrical Gabriel’s Oboe by Ennio Morricone, followed by an organ work, a flashy set of variations on The Star-Spangled Banner by 19th-century American composer Dudley Buck. To close, we have the stirring Feierliche Einzug (Solemn Entry) by Richard Strauss, and the fiery “battle music” from the end of Rossini’s overture to Guillaume Tell.

Richard Wagner (1813-1882)

Elsa’s Procession to the Cathedral from Lohengrin (arr. John R. Bourgeois) Lohengrin was based upon an anonymous medieval German epic and poems by the knight Wolfram von Eschenbach (d.1220). Richard Wagner conceived of the opera in 1845 while he was in the spa city of Marienbad, convalescing from a case of nervous exhaustion. (As conductor of the Dresden Opera, he had just

staged the premiere of his Tannhäuser, which had met with a fairly disappointing response.)

Wagner finished the opera in 1848, and presented a concert version of Act I in Dresden that year. But the planned premiere in Dresden never happened—Wagner took part in the abortive revolution in Dresden in 1848 and had to flee to Switzerland to avoid arrest. Lohengrin was finally produced at Weimar in 1850, under the direction of Franz Liszt.

Lohengrin centers on the passionate—and eventually tragic—love affair between Elsa, a disinherited princess, and a mysterious knight—later revealed as Lohengrin, the son of Parsifal, leader of the Knights of the Grail. Lohengrin appears to defend Elsa from a wrongful accusation of murder. She agrees to marry her champion, on the condition that she never ask his name or origin. Their wedding is a joyous event, but under a spell cast by the evil Ortrud, she eventually demands to know her husband’s name. Only bad things can come of this, and Elsa eventually dies, leaving Lohengrin to leave in a boat drawn by a dove. One of the opera’s grandest moments is Elsa’s Procession to the Cathedral from Act II—heard here in an arrangement for wind ensemble and organ by bandleader and arranger John R. Bourgeois, who joined the United States Marine Band in Washington, DC (“The President’s Own”) as a hornist in 1956, and was director of the Marine Band from 1979 until his retirement on 1996. Over 40 years, Col. Bourgeois performed for every American president from Eisenhower to Clinton. His arrangement of the unhurried wedding processional begins delicately in the woodwinds, and brasses are added gradually, with horns introducing a stately new motive. The organ is reserved for the stirring ending, where the brass hammer out the motive that Wagner uses to represent the “forbidden question”—foreshadowing the tragedy to come, in the midst of this grand celebration.

Louis Vierne (1870-1937)

Carillon de Westminster, Op. 54, No. 6

Though he was born nearly blind, Louis Vierne was able to study at the Paris Conservatory, where he became one of Cesár Franck’s disciples. At age 22, he became assistant organist to the distinguished Charles-Marie Widor at the Parisian church of Sainte-Supplice, and in 1900 Vierne became principal organist at Notre Dame Cathedral, a position he held until his death in 1937. The famed Aristide Cavaillé-Coll had rebuilt Notre Dame’s organ in the 1860s, but it was in poor repair by the turn of the century, and Vierne worked throughout his career to support its renovation, even undertaking American tours to raise funds. Vierne was a fine composer and a phenomenal improviser, but his vision problems made getting his music down on paper increasingly difficult, and he would eventually write most of his works using Braille. Despite this, he published over 60 opus numbers during his lifetime—primarily organ and piano music, but also several choral and orchestral pieces.

His Carillon de Westminster (“Bells of Westminster”) was published in 1927, as the last of six pieces in his third suite of “fantasies” for organ. The work is dedicated to Henry Willis, a member of a distinguished multigenerational family of English organ builders, who was then at work on a renovation of the great organ of Westminster Abbey. It is based upon the famous “Westminster chimes” played from the Westminster Palace clock tower. The piece begins quietly, with a delicate filigree woven around the four pitches of the chimes. Anyone who has ever been around an old chiming clock is used to hearing these four pitches in a familiar eight-note pattern, and while that pattern does appear a few times, Vierne also uses other patterns of the four pitches as well. As the piece nears its end, the texture becomes denser and more forceful.

Michael Daugherty (b. 1954)

Bells for Stokowski

Iowa-born Michael Daugherty started his musical career as a pianist for a local television station and later played in a funk band with his brothers. He studied jazz piano at North Texas State University before turning to studies in composition at the Manhattan School of Music, IRCAM, and Yale University, and with György Ligeti in Hamburg. Daugherty currently teaches composition at the University of Michigan. His credits are impressive, including awards and fellowships from the Fulbright Foundation and the National Endowment for the Arts. One of the most frequently-commissioned American composers working today, his works have been commissioned and/or performed by groups such as the Kronos Quartet, the Netherlands Wind Ensemble, Summit Brass, and dozens of the world’s great orchestras. Daugherty’s eclectic music is rooted in American popular culture, and he has drawn inspiration from such widely diverse sources as Las Vegas lounge music (Le Tombeau de Liberace), American cultural icons (Sing Sing: J. Edgar Hoover, Paul Robeson Told Me, Fifteen: Symphonic Fantasy on the Art of Andy Warhol, and several works inspired by Elvis Presley), and even Superman™ comic books (the Metropolis Symphony)

His third symphony, Philadelphia Stories, was commissioned by the Philadelphia Orchestra in celebration of its centennial, and it was premiered in Philadelphia on November 15, 2001. Daugherty then received a commission from a consortium of universities to transform the symphony’s third and largest movement, Bells for Stokowski, into a work for wind ensemble. This was first played by the University of Michigan Symphonic Band on October 2, 2002. The composer provides the following note:

“Bells for Stokowski is a tribute to one of the most influential and controversial conductors of the 20th century. Born in London,

Leopold Stokowski (1882-1977) began his career as an organist. Moving to America, Stokowski was fired from his organ post at St. Bartholomew’s Church in New York in 1908, after he concluded a service with Stars and Stripes Forever. As maestro of the Philadelphia Orchestra (1912-36) he became known for his brilliant interpretations of classical music, his enthusiasm for new concert music, and for taking risks by constantly pushing the envelope of what was acceptable in the concert hall.

“In Bells for Stokowski, I imagine Stokowski in Philadelphia visiting the Liberty Bell at sunrise, and listening to all the bells of the city resonate. The composition begins with two percussionists, placed on opposite ends of the stage, performing stereophonically on identical ringing percussion instruments such as chimes, crotales, sleigh bells, bell trees, and various non-pitched metals. A saxophone quartet introduces an original theme that I have composed in the style of Bach. This baroque fantasy is modulated in my musical language through a series of tonal and atonal variations. Later in this composition I also introduce my own “transcription” of Bach’s C Major Prelude from The Well-Tempered Klavier.

“In keeping with Stokowski’s musical vision, I look simultaneously to the past and the future of American concert music. I utilize multiple musical canons, polyrhythms, and counterpoints to achieve a complex timbral layering throughout Bells for Stokowski. With unusual orchestrations and an alternation between chamber and tutti configurations, I recreate the musical effect of Stokowski’s experimental seating rearrangements. In the coda I evoke the famous ‘Stokowski sound,’ by making the symphonic band resound like an enormous, rumbling Gothic organ.”

This is challenging music, with constantlychanging tone colors and textures. The forward motion slows briefly in a central interlude when

harp and double reeds introduce Daugherty’s take on the well-known C Major Prelude. However, the furious intensity quickly returns in further variations, leading to a forceful final passage underlaid by the organ.

Ennio Morricone (1928-2020)

Gabriel’s Oboe (adapted by Greg Zelek and Andrew Macrossie)

The late Italian master Ennio Morricone wrote over 450 scores for television and film. He truly hit his stride as a film composer in the 1960s, working primarily with Italian directors, but also writing scores for Hollywood. Perhaps his best-known works are the scores he wrote for a series of groundbreaking Westerns in the 1960s. These films, like The Good, the Bad, and the Ugly (1968), mostly directed by Italians and other Europeans, reworked the well-worn style of the Hollywood Western. Often known as “Spaghetti Westerns,” they were much more grittily realistic and violent than their Hollywood predecessors. Like many film composers, Morricone was a musical chameleon, able to channel a huge variety of musical styles appropriate to the setting and action on the screen.

In 1986, Morricone scored The Mission, Roland Joffé’s dark historical drama set in 18th-century Paraguay. His music for the film was nominated for an Academy Award, and won the Golden Globe for Best Score that year. In the film, Father Gabriel (Jeremy Irons) has been sent to the Paraguayan jungle to convert the local Guaraní people to Catholicism, following an earlier attempt by a priest who had been killed by the Indians. He manages to earn the trust of the Guaraní not by preaching, but by playing his oboe for them. The film’s main theme, Gabriel’s Oboe, was written for this dramatic moment: a long, expressive melody spun out over a simple background. It is heard here in an arrangement for solo alto saxophone and organ.

Dudley Buck (1839-1909)

Concert Variations on “The Star-Spangled Banner”

Though his name is rarely heard today, Dudley Buck was among America’s most prominent musicians in the late 19th century. Born in Hartford, Connecticut, he attended Trinity College in Hartford. Like most American classical musicians at the time, he moved to Europe to complete his musical training, studying in Leipzig, Dresden and Paris.

Returning to America in 1862, Buck began a successful career as an organist, composer, and writer on musical topics. He toured extensively, and held positions in Chicago and Boston, before settling in Brooklyn, where he held the prestigious post of music director at Trinity Church for nearly 25 years. Buck was successful as a composer, writing a pair of operas, a symphony, several oratorios and cantatas, organ works, and a large number of pieces for church choirs. But his most popular pieces were a series of grand patriotic works, beginning in 1866 with Concert Variations on “The StarSpangled Banner” for organ. In 1876, he wrote a huge cantata, The Centennial Meditation for Columbia, for the U.S. Centennial celebrations held in Philadelphia on July 4. He followed that with another cantata, Columbus (1877) and his most often-played orchestra work, the Festival Overture on the American National Air.

In 1866, when Buck composed his Concert Variations, The Star-Spangled Banner was not yet America’s official national anthem—that didn’t happen until 1931. But by the time of the Civil War, it was already recognized as our most important patriotic song. Buck begins by laying out the theme in a straightforward way, though with a few unexpected harmonic twists. He follows with four variations: the first dominated by a winding pedal line, the second transforming the melody into a dancing triplet line, and the third a fierce pedal solo. The fourth variation is a rather spooky minor-key version with startlingly

chromatic harmonies. Buck wraps up with a grand fugal transformation of the theme and a forceful final version of the Banner.

Richard Strauss (1864-1949)

Feierlicher Einzug (arr. Max Reger/ Johannes Koch)

The Knights of Saint John were founded as a knightly order in Jerusalem in the 11th century, during the First Crusade. Also known as the Knights Hospitaller, they erected a hospital in Jerusalem, and eventually built hospitals across Europe. Like their more famous cohorts, the Knights Templar, the Hospitallers were also an elite fighting force, and their stronghold on the island of Rhodes in the eastern Mediterranean withstood attacks from the Ottoman Turks until the early 16th century. Relocating to Malta, they continued to defy the Turks, but in 1798 they were finally defeated by Napoleon. Thereafter, the Knights of Saint John concentrated on their original purpose, giving aid to the poor and sick. By 1909, when the Knights commissioned Richard Strauss to write a work for one of their induction ceremonies, the organization was a fraternal order widely respected for charitable work. The full title of the work Strauss wrote for them is Feierlicher Einzug der Ritter des Johanniter-Ordens (Solemn Entry of the Knights of the Order of Saint John). This short but thrilling piece was Strauss’s only work for brass ensemble, scored originally for 15(!) trumpets, four horns, four trombones, two tubas, and timpani. A few years later, organist and composer Max Reger published a version for solo organ. In 1976, Johannes Koch built upon Reger’s arrangement to create the nowfairly-standard version heard tonight: for four trumpets, four trombones, two tubas, timpani, and organ. The piece opens with a fanfare figure that descends from the high brass to involve the full ensemble. The middle section is based upon a pair of dignified processional themes, before the fanfare returns in a stirring, fortissimo ending.

Gioacchino Rossini (1792-1868)

Finale from Overture to “Guillaume Tell” Just whether or not there was a real William Tell is uncertain, but Switzerland’s greatest folk hero was mentioned in writing for the first time in the 15th century. By that time, most of his legend was complete: Tell was a 14th-century Swiss crossbowman who was forced to shoot an apple from his son’s head as punishment for disrespecting the tyrannical governor. He later led a revolution against the Hapsburgs who had conquered his homeland. Rossini’s Guillaume Tell is based upon an 1804 play by Friedrich Schiller, where the Swiss hero became a more universal Romantic hero and a symbol of freedom from oppression.

By the time he completed Guillaume Tell in 1829, Rossini was, without a doubt, the most popular opera composer in Europe. But for a whole host of reasons—personal, medical, and political—he retired from opera composition after Guillaume Tell, very nearly his final large-scale work. (Only the grand sacred Stabat Mater of 1841 was yet to come, though in the last few years of his life, he returned to composition, producing over a hundred small pieces he referred to as the “sins of my old age.”) Guillaume Tell was something new for

the great master of Italian comic opera—a Romantic grand opera, set in the French style. Though he had written several earlier serious operas, William Tell is unique in the depth of its characters and the grandeur of its plot. It is also Rossini’s longest work: if performed without cuts—as it almost never is today—it lasts over four hours! Its first production in Paris was a success every bit as huge as the opera itself.

The overtures to Rossini’s operas are unfailingly good music, and many have survived as concert works, some after their operas have been forgotten. Like its opera, the overture to William Tell is longer and more profound than its predecessors: more like a programmatic symphonic poem than the usual brilliant and breezy opener—though at this program, we’re going to cut to the chase…literally! The pastoral calm is shattered by a trumpet call, and busy, galloping music. Rossini’s intent was to show the summoning of the Swiss people to rise up against tyranny, and their eventual victory…but this music also has connections (for those of us of a certain age...) to another great freedom fighter of radio and television!

program notes ©2024 by J. Michael Allsen

Save the Dates: 24/25 Organ Season

Celebrate the 20th Anniversary of the Overture Concert Organ with us!

Thursday, October 3, 2024

Paul Jacobs, Organ

Thursday, November 21, 2024

Lyyra Choir

Greg Zelek, Organ

Tuesday, February 25, 2025

Limmie Pulliam, Tenor

Greg Zelek, Organ

Friday, April 19, 2024

An Empire Brass Celebration

Greg Zelek, Organ

More information: madisonsymphony.org/organ

ENSURING A BRIGHT FUTURE for the OVERTURE CONCERT ORGAN

The Overture Concert Organ, built by Orgelbau Klais in Bonn, Germany, is owned by the Madison Symphony Orchestra. The Organ Endowment Fund, a component of the Madison Symphony Orchestra’s Endowment, provides a permanent source of support for organ programming and care of the instrument.

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 Elaine and Nicholas Mischler established the Organ Endowment Fund. Since then, additional gifts totaling over $600,000 have been given through the Friends of the Overture Concert Organ’s Adopt-a-Stop naming program.

“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.”

–Nicholas and Elaine Mischler Organ Endowment Donors

With a gift of $1,000 or more to the Madison Symphony Orchestra’s Organ Endowment Fund, you can “adopt” part of the organ in your own name or in the name of a loved one. Your name will be included in our Adopt-A-Stop donor list, and you’ll even receive an adoption certificate!

All gifts help to ensure a bright future for the Overture Concert Organ.

GIFT LEVELADOPTION

$AdoptedOrgan Console

$AdoptedTutti (Full Organ)

DEFINITION

The cabinet containing the keyboards, pedals, and stops.

When all the stops are pulled out.

$25,000 Division A grouping of stops.

$10,000 Stop A grouping of pipes.

$5,000 Façade pipes Pipes that are visible.

$2,500 Single pipes - Major Pipes located in the organ chamber that are not visible.

$1,000 Single pipes - Minor

Up to $999General donation, not eligible for Adopt-a-Stop naming

Visit madisonsymphony.org/adoptastop for more information. To discuss a potential gift, please contact Casey Oelkers at (608) 257-3734 or coelkers@madisonsymphony.org.

ADOPT-A-STOP

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.

ORGAN CONSOLE

Catherine Burgess, in memory of Jim Burgess

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’ Principal C4

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

In Memory of Jennie Biel Sheskey and Biel Orchestra, The John and Twila Sheskey Charitable Fund

Great Principal 16’ – B2

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

Reynold V. Peterson

Choir Unda Maris 8’ – A3

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

FRIENDS OF THE OVERTURE CONCERT ORGAN

We gratefully acknowledge the Friends of the Overture Concert Organ for their support of Overture Concert Organ programming and production for the 2023-2024 Season. This list includes current members as of April 15, 2024.

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

Chuck Bauer & Chuck Beckwith

Jeff & Beth Bauer

James & Diane Baxter

Barbara & Norman Berven

Dr. Annette Beyer-Mears

Stephen Caldwell & Judith Werner

Martha & Charles Casey

Lau & Bea Christensen

Mike & Quinn Christensen

Robert & Penelope Coffin

Audrey Dybdahl

John & Christine Gauder

George Gay

Jane Hamblen & Robert F. Lemanske

Susan S. Harris

Darko & Judy Kalan

Myrna Larson

Doug & Norma Madsen

Elaine & Nicholas Mischler

Vicki & Marv Nonn

Reynold V. Peterson

Walter & Karen Pridham Charitable Fund

William & Rhonda Rushing

Barbara & Richard Schnell

Kay Schwichtenberg & Herman Baumann

John & Twila Sheskey Charitable Fund

Lise R. Skofronick

Thomas Rae Smith & Jennifer A. Younger

Gerald & Shirley Spade

William Steffenhagen

Dr. Condon & Mary Vander Ark

Willis & Heijia Wheeler

Heidi Wilde & Kennedy Gilchrist

One Anonymous Friend

J. S. BACH SOCIETY

$650–$999

Dr. Robert Beech & Jean-Margret Merrell-Beech

Patricia Brady & Robert Smith

Janet & Scott Cabot

Dennis & Lynn Christensen

Jerome Ebert & Joye Ebert Kuehn

Timothy & Renée Farley

Paul Fritsch & Jim Hartman

Joel & Jacquie Greiner

Terry Haller

Kris S. Jarantoski

Joan & Doug Maynard

Charles McLimans & Dr. Richard Merrion

Joseph Meara & Karen Rebholz

David Myers

Faith & Russ Portier

Jeffrey Williamson

David Willow

Two Anonymous Friends

GREAT

$300–$649

Lyle J. Anderson

Karen Baker

Ellis & Susan Bauman

David & Karen Benton

Julia Bolz

Daniel & Stacey Bormann

Dorothy & Ellsworth Brown

Thomas Bruckner

Charles & Joanne Bunge

Mary & Ken Buroker

Louis Cornelius & Pris Boroniec

Blake Doss

Crystal Enslin

Bobbi Foutch-Reynolds & Jim Reynolds

Mary Ann Harr Grinde

Betty & Edward Hasselkus

Walter & Barbara Herrod

Jack Holzhueter & Michael Bridgeman

James & Cindy Hoyt

FRIENDS OF THE OVERTURE CONCERT ORGAN

Mark Huth, MD

Maryanne & Bob Julian

Chris & Marge Kleinhenz

Larry M. Kneeland

Richard & Claire Kotenbeutel

Peggy Lescrenier

Bruce & Ruth Marion

Michael Mills

Genevieve Murtaugh

David Parminter

William E. Petig

Sue Poullette

Lori & Jack Poulson

Ron Rosner & Ronnie Hess

Wilton Sanders & Sue Milch

Carol & Dean Schroeder

Andrew & Erika Stevens

Karen M. Stoebig

Martha Taylor & Gary Antoniewicz

Harry Tschopik

James Uppena

Ed & Jan Vidruk

Ann Wallace

Sally Wellman

Leonard & Paula Werner

Susan & Rolf Wulfsberg

Roger & Janet Zimmerman

SWELL

$150–$299

Carolyn Aradine

Leigh Barker Cheesebro

Dr. Larry & Mary Kay Burton

James Conway & Katherine Trace

John Daane

John & Deidre Dunn

Elizabeth Fadell

Donna B. Fox

Douglas Fritsch

Jill Gaskell

Michael George & Susan Gardels

Pauline Gilbertson & Peter Medley

William & Sharon Goehring

Sharon Goldsmith

Allan G. Hins

Roger & Glenda Hott

Dan & Janet Johnson

Joan Johnston

Sally Leong

Doug Knudson & Judith Lyons

Bonnie McMullin-Lawton & Jack Lawton

Margaret & Paul Miller

Patricia Paska

Gerald & Christine Popenhagen

Steven & Lennie Saffian

Sandy Shepherd

Thomas & Myrt Sieger

Eileen M. Smith

Curt & Jane Smith

Ken Sosinski & Gary E. Lewis

Alice Spencer

Kenneth Spielman

David Stone

Cheri J. Teal

Tom & Dianne Totten

Ellen M. Twing

John & Shelly Van Note

John & Janine Wardale

Karl & Ellen Westlund

Carolyn White

Two Anonymous Friends

CHOIR

$85-$149

Emy Andrew

Gale Barber

Christine K. Beatty

C. Edward & Lisa S. Binkley

Sally & Mike Corry

Marthea Fox

Joyce Bringe

Evonna Cheetham

Dory & Ole Christensen

Eve & Carl Degen

Paul DiMusto & Molly Oberdoerster

Paula & Bob Dinndorf

David Dodd & John Pearson

Paula K. Doyle

Marilyn Ebben

Joanna Kramer Fanney

Douglas & Carol Fast

Fr. C. Lee & Edith M. Gilbertson

Barbara Grajewski & Michael Slupski

Bob & Bevi Haimerl

Margaret & Paul Irwin

Karen Jeatran

Greg & Doreen Jensen

Jerome & Dee Dee Jones

Conrad & Susan Jostad

Charles & Susan Kernats

Bob Klassy

Ivan Knezevic

Doug Knudson

Ann Kruger

Tom Kurtz

Jim Larkee

David MacMillan

Ann & David Martin

Kathryn Morrison

Ann & David Moyer

Bruce Matthews & Eileen Murphy

Casey & Eric Oelkers

Bonnie Orvick

Peter & Leslie Overton

Ernest J. Peterson

Tom Pierce

Rex Piercy & Lee Johnsen

Deacon Michael & Jenna Pipitone

Paula L. Primm

Sherry Reames

Sarah Rose

John & Rachel Rothschild

Sinikka Santala & Gregory Schmidt

Dennis & Janice Schattschneider

Tom & Lynn Schmidt

Chris & Ronald Sorkness

Gareth L. Steen

Kate Roberts & Jim Struve

Colleen & Tim Tucker

Teresa Venker

Dorothy Whiting

Wade W. & Shelley D. Whitmus

Rebecca & Marvin Wiegand

Bill & Jackie Wineke

Anders Yocom & Ann Yocom Engelman

Seven Anonymous Friends

FRIEND

$35-$84

Ginger Anderle & Pat Behling

David & Ruth Arnold

Louis & Sandra Arrington

Bruce Bengtson

Bob & Bonnie Block

Dorothy Blotz

Jonathan Boott

Kathleen Borner

Waltraud Brinkmann

Margaret Bubon

Gregory J. Buchberger

Catherine Buege

Lynn Burke

Dory & Ole Christensen

Barbara Constans & Deb Rohde

Bonnie & Marc Conway

Lucy Dechene, Ph.D.

Ann & Philip Dettwiler

Charlotte J. Dillabough

Barbara Drake

Albert & Ann Ellingboe

Elizabeth Enright

Anne Epstein

Jim Esmoil

Joann & John Esser

Emily & Milton Ford

Kenneth & Molly Gage

Sam Gratz

Marjorie K. Gray

Ed & Gloria Grys

Andrew Halbach

Vicki Hansell

Arlene P. Hart

Kathy Hoch

Les & Susan Hoffman

Christina Hull

Don Hynek

Sharon Johnson

Marilyn Kay

Barbara Kell

Melissa Keyes & Ingrid Rothe

Laurie & Gus Knitt

Noël Marie & Steven Klapper

Linda Krueger

Mary & Steve Langlie

Ellen Larson Latimer & Dakota Latimer

Ed & Julie Lehr

Steve & Karen Limbach

Judith A. Louer

Cheryl Mahaffay

Jan L. McCormick

Daniel Medenblik

David & Joan Milke

Wendy Miller

Don & Krista Nelson

Darlene M. Olson

Phillip & Karen Paulson

Virginia Porter & Ronald Niece

Randall & Deb Raasch

Don & Roz Rahn

Kathleen Rasmussen

Dorothy Rebholz

Robert A. Reed

Mark & Zoe Rickenbach

Cora Rund

Barbara & Donald Sanford

John & Susan Schauf

David & Gail Schultz

Roger & Kathleen Schultz

Margaret Schuster

Reeves Smith & Glenna Carter

Terrell & Mary Smith

Mike Sowa

Bart & Daniela Sponseller

Rob & Mary Stroud

Steve Somerson & Helena Tsotsis

Howard & Margaret Talcott

Deborah Tetzlaff

Elliott Valentine & Katelyn French

Patricia Vanderhoef

Greg Wagner & Fred Muci

Kathryn Woodson

Twelve Anonymous Friends

We have made every effort to ensure the accuracy of this list. If you have any questions about the list, please contact the MSO's development department at (608) 257-3734.

Moncayo | Ponce | Revueltas

MSO & Mariachi Los Camperos

Cinco de Mayo served as an inspirational springboard for this unique concert celebrating Mexican music and heritage. The concert opens with José Pablo Moncayo’s Huapango, a lively and joyful tribute to the popular music of the Mexican state of Veracruz. Then, I am excited to welcome Mexican pianist Jorge Federico Osorio as he makes his MSO debut performing Manuel Ponce’s romantic Piano Concerto No. 1 Silvestre Revueltas is one of the giants among Mexican composers, and I am very excited to introduce to you his suite from the movie La Noche de Los Mayas, featuring a multimedia presentation of Mayan art. And finally, a great mariachi ensemble Mariachi Los Camperos will play selections of Mexican songs with the Madison Symphony. A truly unique concert designed to lift your spirits and bring my 30th anniversary celebration to a rousing and joyful finale.

– John DeMain, Music Director

MAJOR SPONSORS: Madison Media Partners, Irving & Dorothy Levy Family Foundation, Inc., Carla and Fernando Alvarado, Joe and Mary Ellyn Sensenbrenner

ADDITIONAL SPONSORS: Patricia Brady and Robert Smith, The Burish Group at UBS, DeWitt LLP, Mary Lang Sollinger, Wisconsin Arts Board

JOHN DEMAIN, Conductor

JORGE FEDERICO OSORIO, Piano MARIACHI LOS CAMPEROS music

José Pablo Moncayo, Huapango

Manuel Ponce, Piano Concerto No. 1 “Romantico”

Silvestre Revueltas, Suite from La Noche de los Mayas (The Night of the Maya), compiled by José Yves Limantour selections by

Mariachi Los Camperos and the Madison Symphony Orchestra

BOARD AND ADMINISTRATION

FRIENDS OF THE OVERTURE CONCERT ORGAN BOARD OF DIRECTORS, 2023–2024 OFFICERS

Robert Lemanske

President

David Willow Secretary-Treasurer

William Steffenhagen President-Elect DIRECTORS

Beth Bauer

Barbara Berven

Janet Cabot

Quinn Christensen

Audrey Dybdahl

Mary Ann Harr Grinde

Mark Huth

Ellen Larson Latimer

Charles McLimans

Doug McNeel

David Parminter

Rhonda Rushing

Eileen Smith

Jennifer Younger

ADVISORS

Fernando Alvarado

Diane Ballweg

James Baxter

Ellsworth Brown

John Gauder

Terry Haller

Gary Lewis

Elaine Mischler

Vicki Nonn

Reynold Peterson

Teri Venker

Anders Yocom

EX OFFICIO

Greg Zelek, Elaine & Nicholas Mischler Curator, Overture Concert Organ

MADISON SYMPHONY ORCHESTRA, INC. ADMINISTRATION

Robert Reed, Executive Director

David Gordon, Executive Assistant & Board Liaison

Ann Bowen, General Manager

Alexis Carreon, Office & Personnel Manager

Jennifer Goldberg, Orchestra Librarian

Lisa Kjentvet, Director of Education & Community Engagement

Katelyn Hanvey, Education & Community Engagement Manager

Casey Oelkers, Director of Development

Meranda Dooley, Manager of Individual Giving

Emmett Sauchuck, Manager of Grants & Sponsorships

Yumian Cui, Data & Analytics Manager

Peter Rodgers, Director of Marketing

Amanda Dill, Marketing/ Communications Manager

Lindsey Meekhof, Audience Experience Manager

Greg Zelek, Elaine & Nicholas Mischler Curator, Overture Concert Organ

Become A Friend!

Friends of the Overture Concert Organ (FOCO) play an important role in supporting the Madison Symphony Orchestra’s Overture Concert Organ programming. FOCO helps the Symphony:

• B ring you live performances by some of the best organists in the world

• Produce a variety of free education and outreach programs to benefit our community

• Tune and maintain the Overture Concert Organ

Become a member and show your support for this unique aspect of the MSO! Memberships begin at $35.

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

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*

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

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

Learn more and buy tickets: madisonsymphony.org/voices to benefit Organ Endowment Fund