Jan/Feb 2026 Symphony Program Book by Madison Symphony Orchestra

MADISON SYMPHONY ORCHESTRA

222 W. Washington Ave., Suite 460

Madison, WI 53703

Madison Symphony Orchestra, Inc.

Heather Rose, Editor Email: hrose@madisonsymphony.org

For advertising information, contact: Heather Rose (608) 260-8680 x231 hrose@madisonsymphony.org

LAND ACKNOWLEDGMENT

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 Ho-Chunk land and a rm that we are better when we stand together.

MADISON SYMPHONY ORCHESTRA 2025-2026 MUSICIAN ROSTER

VIOLIN I

Naha Greenholtz

Concertmaster

William and Joyce Wartmann Chair

Suzanne Beia

Co-Concertmaster

Steinhauer Charitable Trust Chair

Leanne Kelso

Associate Concertmaster

George and Candy Gialamas Chair

Huy Luu

Associate Concertmaster

Olga Pomolova

Assistant Concertmaster

Endowed by an Anonymous Friend

Maynie Bradley

Annetta H. Rosser Chair

Kina Ono

Neil Gopal

Elspeth Stalter-Clouse

Tim Kamps

Jon Vriesacker

Katherine Floriano

Laura Burns

Paran Amirinazari

Alec Tonno

Naomi Schrank

VIOLIN II

Xavier Pleindoux

Principal

Dr. Stanley and Shirley Inhorn Chair

Hillary Hempel

Assistant Principal

Elyn L. Williams Chair

Peter Miliczky

Holly Wagner

Rolf Wulfsberg

Olga Draguieva

Kathryn Taylor

Wendy Buehl

Geri Nolden

Robin Ryan

Matthew Dahm

Wes Luke

Glen Kuenzi

Laura Mericle

VIOLA

Christopher Dozoryst

Principal

James F. Crow Chair

Katrin Talbot

Assistant Principal

Dove Family Chair

Diedre Buckley

Renata Hornik

Elisabeth Deussen

Judy Huang

Janse Vincent

Jennifer Paulson

Hanna Pederson

David Beytas

Melissa Snell

Charlie Alves

CELLO

Karl Lavine

Principal Reuhl Family Chair

Mark Bridges

Assistant Principal

Patricia Kokotailo & R. Lawrence

DeRoo Chair

Karen Cornelius

Knapp Family Chair

Lindsey Crabb

Jordan Allen

Margaret Townsend

Lisa Bressler

Derek Handley

Trace Johnson

Alex Chambers-Ozasky

BASS

David Scholl

Principal

Robert Rickman

Assistant Principal

Carl Davick

Tom Mohs Chair

Zachary Betz

Je Takaki

August Jirovec

Grace Heintz

Mike Hennessy

FLUTE

Stephanie Jutt

Principal

Terry Family Foundation Chair

Collin Stavinoha

Linda Pereksta

PICCOLO

Linda Pereksta

OBOE

Izumi Amemiya

Principal

Jim and Cathie Burgess Chair

Andrea Gross Hixon

ENGLISH HORN

Lindsay Flowers

CLARINET

JJ Koh

Principal

Barbara and Norman Berven Chair

Nancy Mackenzie

BASS CLARINET

Gregory Smith

BASSOON

Cynthia Cameron

Principal

Rozan and Brian Anderson Chair

Amanda Szczys

Carol Rosing

CONTRABASSOON

Carol Rosing

HORN

Emma Potter

Principal

Steve and Marianne Schlecht Chair

Michael Wright

Michael Szczys

William Muir

Dafydd Bevil, Assistant

TRUMPET

John Aley

Principal

Marilynn G. Thompson Chair

John Wagner

Matthew Onstad

TROMBONE

Joyce Messer

Principal

Fred and Mary Mohs Chair

Benjamin Skroch

BASS TROMBONE

Ben Zisook

TUBA

Joshua Biere

Principal

TIMPANI

John Jutsum

Principal

Eugenie Mayer Bolz Foundation Chair

PERCUSSION

Anthony DiSanza

Principal

JoAnn Six Plesko and E.J. Plesko Chair

Richard Morgan

Nicholas Bonaccio

HARP

Johanna Wienholts

Principal

Endowed by an Anonymous Friend

ORGAN

Gregory Zelek

Principal

The Elaine and Nicholas Mischler Curatorship

PIANO/CELESTE

Daniel Lyons

Principal

Stephen D. Morton Chair

Orchestra Committee

Mark Bridges, Chair

Lisa Bressler, Vice-Chair

Elspeth Stalter-Clouse, Secretary

David Scholl, Treasurer

John Wagner, Member-at-large

Librarian

Jennifer S. Goldberg

John and Carolyn Peterson Chair

Stage Manager

Benjamin Skroch

Personnel Manager

Alexis Carreon

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Christopher Taylor Plays Brahms

PROGRAM

John DeMain | Music Director

100th Season | Overture Hall | SubscriptionProgram No. 4

Kazem Abdullah, Guest Conductor

Christopher Taylor, Piano

GABRIELA LENA FRANK (B. 1972) Escaramuza

RICHARD STRAUSS (1864-1949)

Suite from Der Rosenkavalier Prelude (Act I)

Presentation of the Silver Rose (Act II) Baron Ochs’s Waltz (Act II) Ist ein Traum (Act III) Waltz (reprise)

Endowment support for the music library collection is the gift of John & Carolyn Peterson.

The Hamburg Steinway piano is the gift of Peter Livingston and Sharon Stark in memory of Magdalena Friedman.

INTERMISSION

JOHANNES BRAHMS (1833-1897)

Concerto for Piano and Orchestra No. 2 in B-ﬂat Major, Op. # 83 Allegro non troppo Allegro appassionato Andante Allegretto grazioso MR. TAYLOR

WELCOME TO THE MSO!

Please silence your electronic devices and cell phones for the duration of the concert. Photography and video are not permitted during the performance. You may take and share photos during applause. Thank you!

SCAN HERE

To access the digital program book for this concert!

WHERE FRIENDS AND MUSIC MEET!

ANNOUNCING THE 2026 PARTIES OF NOTE!

The nationally recognized Parties of Note 2026 season features sixteen exclusive experiences, from exploring the inner workings of a violin to discovering the depths of Lake Mendota. Enjoy returning favorites like an intimate tour of the Royal Thai Pavilion in Olbrich Park and a cruise through Lake Monona’s social history. Plus, new adventures await: go behind the scenes at Wisconsin Public Radio, wander a secret garden in downtown Madison, cook and dine with a local chef, and even trace your family roots. Each party is capped with a fun social hour.

JOIN MSOL TODAY!

In just a few weeks, members will receive their exclusive Parties of Note Passport with all the details and registration info. Use the QR code to join today and be among the ﬁrst to experience our exciting new season. All events have limited space, so being a member of MSOL allows you to be among the ﬁrst to register.

Whether you’re a lifelong symphony enthusiast, a newcomer to classical music, or simply looking for meaningful ways to connect, our events are designed for everyone. Each year, our unique gatherings bring together people of all backgrounds and ages. We invite you to discover the joy of music, build new friendships, and support the Madison Symphony Orchestra’s artistic, educational, and community programs. There’s something for everyone—don’t miss your chance to be part of these inspiring moments and have fun along the way.

PARTIES OF NOTE

For the love of music (and a great party)! madisonsymphony.org/ parties

KAZEM ABDULLAH

Guest

Conductor

Kazem Abdullah works internationally and excels at reaching newer and diverse audiences, conducting concerts and operas in a wide variety of styles and formats.

Cincinnati symphony orchestras. In addition to his symphony engagements, he recently conducted an opera Gala for the Concertgebouw in Amsterdam, the American premiere of Charles Wuorinen’s opera Brokeback Mountain, Tosca for Seattle Opera, and HänselundGretel for Cape Town Opera.

Abdullah currently lives in Nürnberg, Germany, and was the Generalmusikdirektor in Aachen, Germany, from 2012 to 2017. During his tenure in Aachen, in addition to reaching newer and diverse audiences through innovative programming, moving out of the concert hall, and experimenting with juxtapositions of styles in non-traditional concert formats, he also conducted over 25 operas. He collaborated with musicians such as Johannes Moser, Lise de la Salle, Angela Gheorghiu, Augustin Haedelich, and Midori.

Abdullah opened this season leading a new production of Anthony Davis’ X: The LifeandTimes of Malcolm X at the Metropolitan Opera, a production the New York Times called “an American classic.” Abdullah continues his season with debuts with the Naples Philharmonic, Kansas City Symphony, and North Carolina Symphony and return engagements with the Indianapolis Symphony and the Seattle Opera.

Abdullah has delivered resonant performances of masterworks new and old, and continues to champion American composers and artists while pursuing innovative, community-based concert design. Committed to expanding the American repertoire, Kazem has led the premieres of several signiﬁcant American operatic works including Rhiannon Gidden’s Omar, Gregory Spear’s Castor andPatience, and additional works by John Luther Adams, Caroline Shaw, Anthony Davis, George Lewis, Dai Fujikura, and Daniel Bernard Roumain.

On the podium, Abdullah is recognized by orchestras and audiences alike for his impressive conducting technique, thoughtful interpretations, innovative concert experiences and engaging presence. Among his recent orchestral credits are the Oregon, Indianapolis, Detroit, Pittsburgh, Atlanta, Seattle and

Prior to 2012, Abdullah led the Orquestra de São Paulo on its third United States coast-to-coast tour and the New World Symphony at the Ives In-Context Festival by special invitation from Michael Tilson Thomas. He also conducted the Tanglewood Music Center Orchestra in performances of Purcell’s DidoandAeneas in collaboration with the Mark Morris Dance Group. He was also an assistant conductor at the Metropolitan Opera, where he assisted and prepared over twenty operas, including DerRingdesNibelungen, Wozzeck, and Lulu. Abdullah has also guest conducted at companies such as the Atlanta Opera, Portland Opera, Detroit Opera,Opéra national de Lorraine and the Théâtre du Châtelet de Paris. Abdullah made his Metropolitan Opera debut in 2009, conducting Gluck’s OrfeoedEuridice.

Trained as a clarinetist, Abdullah has performed extensively as an orchestral musician, chamber musician, and soloist. He spent two seasons as a member of the New World Symphony and performed as a soloist with orchestras such as the Cincinnati Symphony Orchestra and the National Symphony Orchestra, as well as the chamber ensembles Trio Wanderer and the Auryn Quartet.

A dedicated educator, Abdullah has worked with student orchestras at the Interlochen Arts Center, the Oklahoma Arts Institute, die Höchschule für Musik Cologne Standort Aachen, the Juilliard School, the Cleveland Institute of Music, the Manhattan School of Music Germany, and the University of Stellenbosch in South Africa. He was awarded the Outstanding Young Alumnus Award by his alma mater, Cincinnati Conservatory of Music, where he worked with the students there and spoke at their commencement in 2015.

CHRISTOPHER TAYLOR

Washington’s Kennedy Center for the Performing Arts, the Ravinia and Aspen festivals, and dozens of other venues. In chamber settings, he has collaborated with many eminent musicians, including Robert McDu e and the Borromeo, Shanghai, Pro Arte, and Ying Quartets. His recordings have featured works by Liszt, Messiaen, and present-day Americans William Bolcom and Derek Bermel. Throughout his career Mr. Taylor has become known for undertaking memorable and unusual projects. Examples include: an upcoming tour in which he will perform, from memory, the complete transcriptions of Beethoven symphonies by Liszt; performances and lectures on the complete etudes of György Ligeti; and a series of performances of the Goldberg Variations on the unique double-manual Steinway piano in the collection of the University of Wisconsin. He has actively promoted the rediscovery and refurbishment of the latter instrument; in recent years he has also been building a reinvented and modernized version of it, a project that relies on his computer and engineering skills and was unveiled in a demonstration recital in 2016.

Numerous awards have confirmed Mr. Taylor’s high standing in the musical world. He was named an American Pianists’ Association Fellow for 2000, before which he received an Avery Fisher Career Grant in 1996 and the Bronze Medal in the 1993 Van Cliburn International Piano Competition. In 1990 he took first prize in the William Kapell International Piano Competition, and also became one of the first recipients of the Irving Gilmore Young Artists’ Award.

Hailed by critics as “frighteningly talented” ( The New York Times ) and “a great pianist” ( The Los Angeles Times ), Christopher Taylor has distinguished himself throughout his career as an innovative musician with a diverse array of talents and interests. He is known for a passionate advocacy of music written in the past 100 years — Messiaen, Ligeti, and Bolcom figure prominently in his performances — but his repertoire spans four centuries and includes the complete Beethoven sonatas, the Liszt Transcendental Etudes , Bach’s Goldberg Variations , and a multitude of other familiar masterworks. Whatever the genre or era of the composition, Mr. Taylor brings to it an active imagination and intellect coupled with heartfelt intensity and grace.

Mr. Taylor has concertized around the globe, with international tours taking him to Russia, Western Europe, East Asia, and the Carribean. At home in the U.S., he has appeared with such orchestras as the New York Philharmonic, Los Angeles Philharmonic, Detroit Symphony, and the Milwaukee Symphony. As a soloist he has performed in New York’s Carnegie and Alice Tully Halls, in

Mr. Taylor owes much of his success to several outstanding teachers, including Russell Sherman, Maria Curcio-Diamand, Francisco Aybar, and Julie Bees. In addition to his busy concert schedule, he currently serves as Paul Collins Associate Professor of Piano Performance at the University of Wisconsin in Madison. He pursues a variety of other interests, including: mathematics (he received a summa cum laude degree from Harvard University in this ﬁeld in 1992); philosophy (an article he coauthored with the leading scholar Daniel Dennett appears in the Oxford Free Will Handbook); computing; linguistics; and biking, which is his primary means of commuting. Mr. Taylor lives in Middleton, Wisconsin, with his wife and two daughters. Christopher Taylor is a Steinway artist.

Piano

NOTES

PROGRAM

JAN 23-24-25, 2026

J. Michael Allsen

program notes by

This midwinter program is led by guest conductor Kazem Abdullah. We open with a work by the remarkable Peruvian, Chinese, Lithuanian, and Jewish-American composer Gabriela Lena Frank. She has embraced all facets of her unique background in various works, but in Escaramuza (Skirmish) it is most clearly her mother’s Peruvian heritage: the work is based upon the precolombian kachampa dance of Peru, a celebration of the agility and strength of Inca warriors. Next is a showpiece for the orchestra, Richard Strauss’s Suitefrom DerRosenkavalier. We close with a magisterial work by Johannes Brahms, the PianoConcerto No. 2, a grand work of symphonic proportions.

Gabriela Lena Frank, whose music is being played for the ﬁrst time at these programs, is an extraordinary performer and composer, who draws upon her own unique multicultural heritage in her works.

Gabriela Lena Frank

Born: September 26, 1972, Berkeley, California.

Escaramuza

Composed: 2010.

Premiere: September 11, 2010, by the Huntsville (Alabama) Symphony Orchestra, Carlos Miguel Prieto conducting.

Previous MSO Performance: This is our ﬁrst performance of the work. Duration: 9:00.

Background

Frank’s musical work extends to teaching and mentoring young composers, and outreach to prisons, hospitals and local (Boonville, California) public schools.

Composer and pianist Gabriela Lena Frank was born in Berkeley, California, to a Peruvian Chinese mother and a Lithuanian Jewish father. She was born with a signiﬁcant hearing loss but has clearly overcome this in her career. Frank is widely known as a performer and received a Latin Grammy Award for one of her recordings. As a composer, she has written commissioned works for YoYo Ma, The King’s Singers, and several major orchestras. Frank has served as a Composer-in-Residence to the Houston Symphony Orchestra, the Detroit Symphony Orchestra, and the Philadelphia Orchestra. Frank often draws upon her own multicultural background, most frequently her mother’s Peruvian heritage, but also a wide variety of other cultures in her work: she has travelled widely throughout Latin America in search of musical inﬂuences. As she puts it, she decided early in her career that: “I wanted to, in a very general way, be as mestiza [a woman of mixed race] in my music as I was in my person: I’m multiracial, I’m multicultural, and I think that’s something deeply American.” A believer in community outreach, she founded the Gabriela Lena Frank Creative Academy of Music, at her home in Boonville, in northern California fostering young composers. Frank also volunteers to bring music into prisons and hospitals and has also worked extensively to enhance public school music programs in Booneville: an under-resourced rural school system with a large Latino population. Her lively Escaramuza, composed in 2010, was commissioned by the Huntsville Symphony Orchestra League.

What You’ll Hear

Her energetic Escaramuza (Skirmish)was inspired by a pre-Columbian Peruvian dance form still practiced today, celebrating Inca warriors.

Frank provides the following description:

Escaramuza, which signiﬁes “skirmish” in the Spanish language, is inspired by the kachampa music of Andean Perú. Celebrating the pre-Hispanic Inca warrior, the kachampa dance is executed by athletic men who convey a triumphant, even joyful, spirit. Inspired by the kachampa dances done with fast-snapping ropes that I’ve witnessed in Perú, especially in Paucartambo during the Virgen delaCarmen festival, I’ve created a brightly chiseled romp in an asymmetrical 7/8 rhythm that is launched after an extended bass drum solo. Through most of Escaramuza, no section of the ensemble is allowed to rest for long, maintaining the high energy typical of kachampas

Scored for percussion, piano, harp, and strings, Escaramuza is—true to Frank’s description—an athletic workout for every section. It opens with a fierce, asymmetrical solo from the bass drum: evoking the bomba drum of Andean folk music. Percussion and later pizzicato strings accentuate this solo, before the low strings introduce a ferocious ostinato (a repeating figure) supporting a forceful dialogue between the upper strings and percussion. After a sudden transition, there is a slightly more delicate and playful contrasting section, before the cellos and basses reestablish the ostinato. In the end the bass drum is left to finish the piece, fading into nothing.

LEARN MORE: Like many traditions of the indigenous Quechua people of the Peruvian Andes, the kachampa dance refers back to the time before the Spanish conquest The name Escaramuza itself often signifies the time of intertribal warfare prior to the arrival of the Spanish, when the

RICHARD STRAUSS

GABRIELA LENA FRANK

JOHANNES BRAHMS

entire Inca empire was unified under a single emperor. It is an energetic and joyful dance by young men celebrating the strength and athleticism of Inca warriors. Whether the dancers are dressed in traditional costume, which often includes masks mimicking the white faces and facial hair of Spanish soldiers, or in modern suits and ties, the dancers represent the Incan tradition that warriors must be well-dressed as a sign of dignity and pride. Part of the costume is a tasseled rope representing the whips carried in battle. The dance is accompanied by an ensemble of drums and wooden flutes.

DerRosenkavalier—which Richard Strauss referred to as his “Mozart opera”—was a light and amusing love story, very much in the comic tradition of Mozart. It was an enormous hit when it opened in 1910.

Richard Strauss

Born: June 11, 1864, Munich, Germany. Died: September 8, 1949, GarmischPartnerkirchen, Germany.

music is dominated by the 19th century Viennese waltz.

knew Octavian would eventually leave her for a younger woman, is left alone.

on symphonic style in the intervening decades.

What You’ll Hear

The Suite—likely the work of conductor Artur Rodzinski— is set in ﬁve interconnected sections, following the plot of the opera.

Johannes Brahms

Born: May 7, 1833, Hamburg, Germany. Died: April 3, 1897, Vienna, Austria.

Concerto for Piano and Orchestra No. 2 in B-ﬂat Major, Op. 83

Suite from Der Rosenkavalier

Composed: 1910.

Premiere: Der Rosenkavalier opened at the Dresden Court Opera on January 26, 1911. The Suite was created in 1944 and premiered by the New York Philharmonic on October 19, 1944.

Previous MSO Performances: The Madison Symphony Orchestra has performed the Suite on six previous occasions beginning in 1954, most recently in 2014.

Duration: 24:00.

Background

Though the opera itself is set in 18th century Vienna, its

After the 1905 premiere of his opera Salome, Strauss remarked: “Next time I shall write a Mozart opera.” His next opera, Elektra (1909), was hardly “Mozartean,” but in DerRosenkavalier, Strauss and his librettist, Hugo von Ho mannsthal, created a wonderful blend of drama and comedy that is clearly in the tradition of The Marriage of Figaro and DonGiovanni DerRosenkavalier (TheKnight of the Rose) is set in mid 18th-century Vienna, but the music is dominated by the lilting waltz rhythms of late 19th-century Vienna. The plot centers around the shifting romantic attachments of four characters: the Marschallin (a beautiful, but aging noblewoman), Octavian (a young count who is in love with her—a “pants role” sung by a woman), Baron Ochs von Lerchenau (a country bumpkin who isn’t quite as young as he thinks he is), and Sophie (a young woman, to whom Baron Ochs is engaged). As the opera begins, the Marschallin and Octavian are together, having spent the night in lovemaking. Octavian is forced to disguise himself as a chambermaid by the announced arrival of a guest, but the guest is not the Marschallin’s husband, as feared, but rather Baron Ochs. Ochs asks for the Marschallin’s help in courting Sophie, but while she isn’t looking, he makes a pass at the chambermaid, really Octavian in disguise. Octavian escapes, and in his absence, he is appointed as a Rosenkavalier, whose duty it is to carry the Baron’s love-token—a silver rose—to Sophie. When Octavian carries out his mission, he and Sophie fall immediately in love, and Sophie asks him to save her from marriage to Ochs. After several dozen more plot twists, Ochs is confounded, the young lovers are united, and the Marschallin, who

The opera was a huge hit, and publishers, some of them unscrupulous, began to extract and sell arrangements of its music almost as soon as it hit the stage. Strauss himself extracted a series of waltzes from the opera, and the suite heard here appeared in 1944. It seems to have been largely the work of conductor Artur Rodzinski of the New York Philharmonic, through Strauss allowed for its publication in 1945. The Suite begins with the opera’s orchestral Prelude—the big, turbulent love scene between the Marschallin and Octavian. The second section is music for the entrance of Octavian as the Rosenkavalier, and an arrangement of the initial love duet between Octavian and Sophie. After a brief moment of bluster when Baron Ochs realizes that his Rosenkavalier and his ﬁancée have fallen in love, there are a series of waltzes for the Baron, including a lyrical violin solo. The fourth section adapts the climactic Act III scene where the Marschallin sadly releases her hold on Octavian, and Octavian and Sophie sing a passionate love duet (“It is a dream, beyond belief, that we two are united forever.”). The Suite closes with a reprise of Baron Ochs’s waltz music and a short coda.

Brahms’s second piano concerto, written over 20 years after his ﬁrst, is a profound work that shows the inﬂuence of his careful work

Composed: Begun in 1878 and completed in July 1881.

Premiere: Brahms played the solo part at the ﬁrst performance, a private concert in Meiningen in October 1881, and was also the pianist for the public premiere, in Budapest, on November 9, 1881.

Previous MSO Performances:

Nine previous performances at these concerts have featured Gunnar Johansen (1955), Bela Szilagi (1962), Van Cliburn (1971), Alicia de Larrocha (1981), André Watts (1990), Garrick Ohlsson (2002), Philippe Bianconi (2013) and Emanuel Ax (2005 and 2018). Duration: 50:00.

Background

More than most 19th-century concertos, this work calls on the piano soloist to work as an equal partner with the orchestra in developing the composer’s thematic ideas.

When a 26-year-old Brahms premiered his first piano concerto in 1859, audience reactions ranged from indi erence to revulsion. While its failure seems to have been due as much to musical politics as the work itself, Brahms was in no hurry to return to writing piano concertos, and certainly stayed away from works as passionate and flashy as the first concerto. He wrote to the violinist Joseph Joachim: “A second will sound di erent.” Brahms was true to his word, but a second piano concerto was over 20 years

in coming. He began sketching the concerto in 1878, during a trip to Italy, and continued to work on it over the next three years. It was not until the summer of 1881, that Brahms—with tongue firmly in cheek—announced to his friend, Elisabeth von Herzogenberg: “I have written a tiny little piano concerto with a little wisp of a scherzo. It is in B-flat...” Brahms clearly understood that his “tiny little B-flat concerto” was the largest work in this genre since Beethoven’s “Emperor” concerto. Soon after its completion, Brahms and a colleague played a two-piano arrangement of the concerto for a small group of friends, including the influential critic Eduard Hanslick. The concerto’s reputation spread quickly, and Brahms was soon invited by Hans von Bülow to perform it with Bülow’s orchestra at Meiningen. After working out small details in this private performance, Brahms played the work at in a public concert at the Redoutensaal in Budapest. In contrast to the dismal reception given his first piano concerto, this work was very successful, almost immediately gaining acceptance as a part of the standard repertoire.

In the decades between 1859 and 1881, Brahms had become a self-confident and internationally acknowledged master of symphonic form. The sharp distinction between the first and second concertos is clear in this light. While his youthful D minor concerto had been a brilliant and somewhat autobiographical work, Brahms himself was aware of its shortcomings, most of which resulted from his inexperience in orchestration. In contrast, the B-flat concerto is a more mature and emotionally reserved work that makes skillful use of the orchestra. The work was composed directly after the completion of his second symphony, and the elements of his

mature symphonic style are heard in this concerto. Brahms even adds a fourth movement, expanding the typical three-movement concerto form to symphonic proportions. But his second piano concerto also presents special challenges for the soloist, above and beyond sheer endurance. The pianist must be sensitive to the equal role played by the orchestra in developing thematic material. While there are few outward displays of virtuosity, the soloist is also called upon to play passages in octaves and sixths, immense chords, and complex rhythms, often in partnership with the full orchestra.

What You’ll Hear

This concerto is set in four movements:

• A large opening movement in sonata form.

• A turbulent scherzo with a Major-key central episode.

• A lovely Andantemovement, with a prominent solo role for the cello.

• A vigorous and expansive closing rondo, that features virtuosic passages for the piano.

The concerto begins with a calm and digniﬁed theme played by solo horn, in dialogue with the soloist. After a brief cadenza, the main theme is reintroduced, now by full orchestra. The opening movement (Allegro non troppo) continues in a greatly expanded sonata form. Brahms’s formal model for this opening movement seems to have been the equally expansive opening of Beethoven’s “Emperor” concerto. The second movement (Allegro appassionato), Brahms’s “little wisp of a scherzo,” begins in

D minor, with a vigorous o beat ﬁgure in the piano. Aside from a jaunty Major-key central episode in D Major, the mood is turbulent throughout. Again, Brahms has expanded the form, inserting a great deal of thematic development into this normally clear-cut three-part form. After the stormy scherzo, Brahms places a gentle Andante. This movement opens with a solo cello presenting a quiet theme that is later picked up by the soloist in a tranquil and unhurried cadenza. (Brahms liked this theme enough that he later reworked it in a song: ImmerleiserwirdmeinSchlummer.) A central section is more agitated, with the piano taking a leading role, but the solo cello, now in dialogue with the piano, returns to round o the Andante. The ﬁnale (Allegrettograzioso), which contains the most dramatic and virtuosic music for the soloist, is set in rondo form. The recurring refrain begins with a forceful dotted motive in the piano. The rondo, typically the lightest of Classical forms—based upon the repeat of a main idea with contrasting ideas in between—is here expanded to massive proportions: anything less would be overbalanced by what has come before.

Complete program notes for the 2025-2026 season are available at madisonsymphony.org.

Madison Symphony Orchestra’s MSO at the Movies presents Indiana Jones and the Raiders of the Lost Ark™ Live in Concert featuring John Williams’ GRAMMY® Award-winning score performed live to the film led by conductor Kyle Knox at Overture Hall.

Williams has scored each Indy adventure, including the final installment of the iconic franchise, Indiana Jones and the Dial of Destiny . He has received multiple Academy Awards® and more than 50 Oscar® nominations. Williams is the Academy’s mostnominated living person to date and the second-most nominated person in the history of the Oscars®. He also received numerous British Academy Awards (BAFTA), GRAMMYs®, Golden Globes®, Emmys®, as well as several gold and platinum records.

Originally released in 1981 as a collaboration between George Lucas and Steven Spielberg, Raiders redefined the possibilities of adventure cinema and launched actor Harrison Ford to legendary status.

Indiana Jones is the classic hero in this adventure set in the 1930s which follows the quick-witted and determined archaeologist as he hunts for the Lost Ark of the Covenant. Often facing insurmountable odds, Indy always manages to succeed in the nick of time, joined by endearing companions and opposed by notorious villains.

With an impressive team of supporting actors including Karen Allen, John-Rhys Davies, Denholm Elliott, and Paul Freeman, combined with innovative special e ects techniques by Industrial Light & Magic, Raiders has captured the spirits of movie-goers for generations and continues to inspire adventures yet to come.

MAJOR PERFORMANCE SPONSORS

Madison Media Partners

Lake Ridge Bank

Zaia and Peleus Parker

Hooper Corporation

SINGLE TICKETS ON SALE

, the Overture Center Box O ce, or (608) 258-4141 Dates, artists, and programs subject to change.

Madlen Breckbill Johanna Wienholts Iva Ugrčić

Endow a Chair

A gift to the Madison Symphony Orchestra’s endowment can provide permanent and lasting support for a position in the orchestra, helping to ensure the MSO will continue to attract and retain top quality artistic talent.

Available* Chair Naming Opportunities: Music Director Principal Tuba, Bass Associate Concertmaster

Assistant Principal Bass Section Chair

Other opportunities and more information: madisonsymphony.org/endowment

For questions or to discuss a potential gift: Casey Oelkers, Director of Development, (608)257-3734

Make Music Your Business!

Each season, Madison-area businesses help the MSO share live, classical music with over 60,000 people by education programs and special events. Are you a corporate leader who values high quality arts and culture in our community?

Visit madisonsymphony.org/corporategiving to learn more about how your business can partner with the MSO and show your support for the arts.

Bring a loved one to the winter concert of our 23rd season! You will hear the beautiful sounds of strings and winds in Septets by Franz Berwald and Mikhail Glinka. This is the perfect way to stay warm during the bleak midwinter!

Sat. February 14, 2026 7:30 PM

First Congregational Church 1609 University Avenue, Madison

Tickets at the door: $25/$20

Rachel Barton Pine Returns

PROGRAM

John DeMain | Music Director

100th Season | Overture Hall | SubscriptionProgram No. 5

Tania Miller, Guest Conductor

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Rachel Barton Pine, Violin

FELIX MENDELSSOHN (1809-1847)

Overture to A Midsummer Night’s Dream, Op. 21

ERICH WOLFGANG KORNGOLD (1897-1957)

Concerto for Violin and Orchestra in D Major, Op.35

Moderato nobile

Romanze: Andante Allegro assai vivace

MS. BARTON PINE

INTERMISSION

CLAUDE DEBUSSY (1862-1918)

Prelude to The Afternoon of a Faun

IGOR STRAVINSKY (1882-1971)

Petrushka Suite (1947 version)

The Shrove-tide Fair

The Magician

Russian Dance

Petrushka

The Blackamoor

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The Ballerina

Valse

Shrove-tide Fair (Towards Evening)

Wet Nurses’ Dance

Peasant with Bear

Gypsies and a Rake-Vendor

Dance of the Coachmen

Masqueraders

The Scu e (Blackamoor and Petrushka)

The Death of Petrushka

Police and Juggler

The Vociferation of Petrushka’s Ghost

TANIA MILLER

Guest Conductor

Canadian Conductor Tania Miller has distinguished herself as a dynamic interpreter, musician, and innovator. On the podium, Maestra Miller projects authority, dynamism and sheer love of the experience of making music. As one critic put it, “she delivers calm intensity . . . expressive, colorful and full of life . . . her experience and charisma are audible.” Others call her performances “technically immaculate, vivid and stirring”.

Miller has conducted the KBS Symphony in Seoul, and the Virtuoso Chamber Orchestra at the World Orchestra Festival in Daegu, South Korea with concerts in Daegu, Hwaseong, and Seoul. She has appeared as a guest conductor in Canada, the United States and Europe with such orchestras as the Bern Symphony Orchestra, NFM Wroclåw Philharmonic, Toronto Symphony, Seattle Symphony, Chicago Symphony, Oregon Symphony, Chautauqua Symphony Orchestra, Ottawa’s National Arts Centre Orchestra, Orchestra Métropolitain de Montreal, Vancouver Symphony, Orchestre Symphonique de Quebec, Naples Philharmonic, Hartford Symphony, Madison Symphony, Calgary Philharmonic, Rhode Island Philharmonic, Louisiana Philharmonic and numerous others. Maestro Miller was Music Director of Canada’s Victoria Symphony for 14 years, and was named Music Director Emerita for her commitment to the orchestra and community. She has distinguished herself as a visionary leader and innovator with a deep commitment to contemporary repertoire and composers and has gained a national reputation as a highly e ective advocate and communicator for the arts.

Tania Miller is Artistic Director of the Brott Music Festival in Canada and the Artistic Director and Conductor of the National Academy Orchestra of Canada and of Brott Opera. Maestra Miller recently debuted with the National Symphony of Mexico and has upcoming concerts with the Xalapa Symphony of Mexico, the Janacek Philharmonic in Ostrava, Czech Republic, and Madison Symphony with recent concerts with the Eugene Symphony, Winnipeg Symphony and South Bend Symphony. Maestra Miller conducted Vancouver Opera’s production of Mozart’s Die Zauberﬂöte, and a 2024 concert with highly acclaimed soprano, Sondra Radvanovsky with Vancouver’s Opera West. Other recent debuts include the Warsaw Philharmonic, I Musici de Montreal, Baton Rouge Symphony and the New Haven Symphony.

Miller conducted Calgary Opera’s production of Lehar’s Merry Widow and numerous opera productions as Artistic Director of Michigan Opera Works and guest conductor of Opera McGill in Montreal. She was Assistant Conductor of the Carmel Bach Festival for four seasons, and Assistant and Associate Conductor of the Vancouver Symphony from 2000-04. She was Assistant Conductor of the Ban Summer Festival of the Arts opera production of Michael Daugherty’s Jackie O

Ms. Miller has a Doctorate and Master’s degree in Conducting from the University of Michigan. Maestro Miller received an Honorary Doctor of Laws degree from Royal Roads University, and an Honorary Fellowship Diploma from Canada’s Royal Conservatory of Music for her commitment to leadership in community and music education. She was recipient of the 2017 Friends of Canadian Music award from the Canadian League of Composers for her dedication to the performance of contemporary music.

part of the experience.

RACHEL BARTON PINE

Violin

The acclaimed American concert violinist Rachel Barton Pine thrills international audiences with her dazzling technique, lustrous tone, and emotional honesty. With an infectious joy in music-making and a passion for connecting historical research to performance, Pine transforms audiences’ experiences of classical music. She is a leading interpreter of the great classical masterworks and of important contemporary music.

Pine performs with the world’s foremost orchestras, including the Philadelphia Orchestra, the Royal Philharmonic Orchestra, Camerata Salzburg, and the Chicago, Vienna, and Detroit symphony orchestras. She has worked with renowned conductors that include Teddy Abrams, Marin Alsop, Daniel Barenboim, Semyon Bychkov, Neeme Järvi, Christoph Eschenbach, Erich Leinsdorf, Nicholas McGegan, Zubin Mehta, Tito Muñoz, and John Nelson. As a chamber musician, Pine has performed with Jonathan Gilad, Clive Greensmith, Paul Neubauer, Jory Vinikour, William Warﬁeld, Orion Weiss, and the Paciﬁca and Parker quartets.

Highlights of Pine’s 2024–25 season include the Chicago Symphony Orchestra premiere of José White’s Violin Concerto in F-sharp Minor with conductor Jonathan

Rush; a tour of Israel with the Tel Aviv Soloists Ensemble, performing Mendelssohn’s Violin Concerto; Lalo’s Symphonie Espagnole with the Puerto Rico Symphony Orchestra; the world premiere of Haralabos [Harry] Stafylakis’ Violin Concerto with the Winnipeg Symphony and conductor Daniel Raiskin; Billy Childs’ Violin Concerto No. 2 with the Rhode Island Philharmonic and conductor Radu Paponiu; and the French premiere of Earl Maneein’s violin concerto Dependent Arising with the Orchestre National de Bretagne and conductor Nicolas Ellis. Over the season, Pine will also perform concertos by Brahms and Sibelius, and music by Wynton Marsalis, Jessie Montgomery, and Mark O’Connor, among other living composers. As a chamber musician, Pine will appear in recitals in Chicago, Phoenix, Kalamazoo, Oklahoma City, Milwaukee, and Tel Aviv.

In September 2024, Cedille Records releases Pine’s new album, CorelliViolinSonatas, Op. 5, a two-disc set with the 12 sonatas for violin and continuo that constitute the Baroque composer’s opus 5. Pine performs on violin and viola d’amore, holding the violin against her chest, which history suggests is the way Corelli performed (rather than holding it on the collarbone, the way today’s baroque violinists usually do).

The di erent performance style resulted in subtle changes in tempos and timing because of the slightly di erent use of the left hand and of the bow arm. The approach led to a di erent tone compared to that of Pine’s 2007 recording of the third sonata with Trio Settecento, featuring John Mark Rozendaal and David Schrader, who join Pine again in the new recording. Rozendaal plays violoncello and viola da gamba and Schrader plays positive organ and harpsichord. Brandon Acker joins the trio on archlute, theorbo, and guitar. Pine improvised all her ornaments, using a historically informed approach.

DependentArising, Pine’s previous album on Cedille (2023), revealed surprising conﬂuences between classical and heavy metal music by pairing Shostakovich’s Violin Concerto No. 1 with Earl Maneein’s Dependent Arising, written for Pine and performed with the Royal Scottish National Orchestra and conductor Tito Muñoz. Pine’s recording of Malek Jandali’s ViolinConcertoNo 2, performed with the Vienna Symphony Orchestra and Marin Alsop, was also released in 2023 on Cedille. The previous year, the label released Violin Concertos by Black Composers Through the Centuries: 25thAnniversary Edition, featuring Pine’s new recording of Florence Price’s ViolinConcerto No. 2 with the Royal Scottish National

Orchestra and Jonathon Heyward, and reprisals of her 1997 recordings of masterworks by Joseph Bologne, Chevalier de Saint-Georges (1775), José White (1864), and Samuel Coleridge-Taylor (1899).

3.5 hours’ notice, she performed Prokoﬁev’s ViolinConcerto No. 1 at Ravinia with the Chicago Symphony Orchestra and Marin Alsop, replacing Midori, to critical acclaim.

The violinist has appeared on The TodayShow, CBS Sunday Morning, PBS NewsHour, PrairieHomeCompanion, NPR’s Tiny Desk and AllThingsConsidered, and PerformanceToday. She has been featured in The WallStreetJournal and The New York Times. She holds prizes from several of the world’s leading competitions, including a gold medal at the 1992 J.S. Bach International Violin Competition.

In the 2023-24 season, Pine joined the Los Angeles Philharmonic and Stéphane Denève at the Hollywood Bowl for a performance of Billy Childs’ ViolinConcerto No. 2, written specially for her. She also performed with the Royal Scottish National Orchestra, Phoenix Symphony, Mercury Chamber Orchestra, Toledo Symphony, National Symphony of Uruguay, and Minas Gerais Philharmonic. In recital, Pine appeared at the Kennedy Center, Ravinia Festival, and the Festival Internacional de Música de Guadalajara. Her early-music appearances included a performance with the Syracuse Orchestra and her daughter, Sylvia Pine; San Francisco Early Music Society with harpsichordist Jory Vinikour; and in Virginia with Trio Settecento.

Pine’s discography consists of over 40 recordings, including BluesDialogues, with a program of blues-inﬂuenced classical works by 20th- and 21st-century Black composers (Matthew Hagle on piano); DvořákandKhachaturianViolinConcertos (Teddy Abrams and the Royal Scottish National Orchestra); BrahmsandJoachimViolinConcertos (Carlos Kalmar and the Chicago Symphony Orchestra), and ElgarandBruch ViolinConcertos (Andrew Litton and the BBC Symphony Orchestra). Pine and Sir Neville Marriner’s Mozart:Complete ViolinConcertos, with the Academy of St Martin in the Fields, and her Bel Canto Paganini both charted at #3 on the classical charts. Testament: CompleteSonatasandPartitas for SoloViolin by JohannSebastianBach, and ViolinLullabies both debuted at #1.

Pine writes her own cadenzas and performs many of her own arrangements. With the publication of The RachelBartonPine Collection, she became the only living artist and ﬁrst woman in Carl Fischer’s Masters Collection series. During the pandemic, she performed the entire solo violin part of 24 di erent violin concertos, live and unaccompanied, for her weekly series “24 in 24: Concertos from the Inside.”

Pine frequently performs music by contemporary composers, including major works written for her by Billy Childs, Mohammed Fairouz, Marcus Goddard, Earl Maneein, Shawn E. Okpebholo, Daniel Bernard Roumain, José Serebrier, and Augusta Read Thomas. In addition to her career as a soloist, she is an avid performer of baroque, renaissance, and medieval music on baroque violin, viola d’amore, renaissance violin, and rebec.

Pine has also substituted for fellow soloists on short notice for a number of concerts. Most notably, in 2021, with just

An active philanthropist, Pine has led the Rachel Barton Pine Foundation for over two decades. Early in her career, she noticed that young people learning classical music seldom have the opportunity to study and perform music written by Black composers. Since 2001, Pine and her Foundation’s Music by Black Composers project have collected more than 900 works by over 450 Black composers from the 18th–21st centuries. Music by Black Composers curates free repertoire directories on its website and publishes print resources. In 2024 the project released ViolinVolumes2and3 for elementary-level students, the second installment in a series of pedagogical books of music exclusively by Black composers. The Rachel Barton Pine Foundation also assists young artists through its Instrument Loan Program and Grants for Education and Career. Pine has also served on the board of many non-proﬁts, including the Sphinx Organization.

She performs on the “ex-Bazzini, ex-Soldat” Joseph Guarnerius “del Gesù” (Cremona 1742), on lifetime loan from her anonymous patron.

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PROGRAM NOTES

20-21-22, 2026

FEB

J. Michael Allsen

program notes by

Guest conductor Tania Miller leads this program, titled “Playful Pursuits.” It opens with a decidedly playful overture by a very youthful Felix Mendelssohn. His A Midsummer Night‘s Dream captures the dancing fairies and other mischief of Shakespeare’s great comedy. Rachel Barton Pine, who was last with us in 2019, playing the Khachaturian Violin Concerto, makes a welcome return to Overture Hall, this time playing the Korngold Violin Concerto—a romantic, virtuoso work, crafted from several of the composer’s movie themes. Claude Debussy’s Impressionist masterpiece, Prelude to theAfternoon of a Faun, captures the ﬂeeting, lazy, and occasionally R-rated daydreams of the title character. We close with one of the great ballet scores of Igor Stravinsky, his groundbreaking ballet score Petrushka Here the title character is a tragic ﬁgure, one of three puppets brought to life by a magician.

When he was only 17 years old, Felix Mendelssohn “dreamed” this lively overture, inspired by one of Shakespeare’s greatest comedies.

Felix Mendelssohn

Born: February 3, 1809, Hamburg, Germany. Died: November 4, 1847, Leipzig, Germany.

Overture to A Midsummer Night’s Dream, Op. 21 Composed: Mendelssohn composed this work in 1826, when he was still a teenager.

Premiere: The overture was ﬁrst performed in the Prussian city of Stettin in October 1827.

Previous MSO Performance: 1944, 1973, 1977, and 2004. Duration: 13:00.

Background

Mendelssohn came by his fascination with A Midsummer Night’s Dream naturally: German romantics of the 19th century loved Shakespeare.

No playwright was as beloved by the romantics as Shakespeare: the intense character development and free dramatic form of Shakespeare’s works was a source of inspiration for dozens of composers. The Bard’s popularity was wildest in Germany, where his works were known through a translation published by August von Schlegel and Ludwig Tieck in 1801. (There is an old German witticism to the e ect that: “Shakespeare is best read in the original German.”) The 17-year-old Mendelssohn and his sister Fanny spent the summer of 1826 in the garden of their family’s home in Berlin, reading Shakespeare. Mendelssohn was impressed enough by his ﬁrst reading of EinSommernachtstraum that he decided almost immediately to write a piece that captured the play’s spirit. In early July he wrote to a friend: “I have grown accustomed to composing in our garden. Today or tomorrow, I am going to dream there A Midsummer’s Night’s Dream This is, however, an enormous audacity...” Audacious or not, he wrote the overture in just a few weeks—some of his most delightful and overtly programmatic music. He dedicated the Overture to the Prince of Prussia, and seventeen years later, at the request of the prince—by then King of Prussia—Mendelssohn provided several additional pieces of incidental music for the play. The incidental music, though written by a much more mature composer, perfectly matches the youthful vitality of the Overture

What You’ll Hear

Though it is set in a relatively conventional Sonata form, it is easy to hear Shakespeare’s plot in this work.

The Overture begins with a series of almost hesitant chords, as if fairies are shyly peeking around trees. The fairies themselves appear in a light string passage before the full orchestra enters joyfully, in a passage that sounds distinctly like the much later WeddingMarch There are the horns of Duke Theseus’s party, and a flowing Romantic theme for the various pairs of lovers, and finally a rustic dance, in which you can clearly hear the “hee-haws” representing the irrepressible Nick Bottom. The development focuses on the opening fairy music, becoming almost melancholy at the end before the familiar chords bring in a varied recapitulation of the main themes. The overture closes with a reverent version of the wedding music and a final statement of the mysterious chords. One point of interest in the orchestration is that Mendelssohn wrote a prominent part for a now-obsolete bass instrument, the serpent. When he resurrected the overture in 1842, he substituted the ophicleide. The part is played today on the tuba.

Most of the themes of this grand romantic violin concerto come from Korngold’s movie scores.

Erich Wolfgang Korngold

Born: May 29, 1897, Brno, Czechoslovakia. Died: November 29, 1957, Los Angeles, California.

CLAUDE DEBUSSY

FELIX MENDELSSOHN

ERICH WOLFGANG KORNGOLD

IGOR STRAVINSKY

Concerto for Violin and Orchestra in D Major, Op.35

Composed: Korngold completed his Violin Concerto in 1946, though most of it is nearly ten years older. The score is dedicated to Alma Mahler-Werfel, widow of Gustav Mahler, who had been Korngold’s childhood mentor. Premiere: February 15, 1947, with violinist Jascha Heifetz and the St. Louis Symphony Orchestra. Previous MSO Performances: 2105 (Daniel Hope, violin)

Duration: 24:00.

Background

Korngold was part of the wave of musicians who emigrated to the United States in the 1930s, fleeing and increasingly repressive and dangerous Europe—to the immense benefit of American musical life. Like many of his fellow émigrés, Korngold found work scoring Hollywood films.

Korngold, born in Bohemia but raised in Vienna, began composing as a child. His father, an influential music critic, was able give him access to the greatest musicians in Vienna, but young Korngold was clearly a prodigy, and at age nine, Gustav Mahler hailed him as a genius. Through the 1920s, he maintained a career as both a conductor and as a composer, and his 1920 opera Die tote Stadt (The Dead City”) was particularly successful. By the 1930s, life for a Jewish artist in Austria was becoming increasingly hazardous, and in 1934 he accepted an o er to come to Hollywood to work on a film score. He spent the rest of his life there, and would write nearly two dozen film scores, mostly for the Warner Brothers studio. Korngold’s bold, thoroughly romantic style made him a natural for swashbuckling Errol

Flynn adventures like CaptainBlood (1935), The Adventures of RobinHood (1938), and The Sea Hawk (1940). He returned increasingly to concert music after the war—he had in fact vowed never to write anything but ﬁlm scores until Hitler was defeated.

In early 2015, I was able to consult with John Waxman, son of Korngold’s Hollywood colleague Franz Waxman, and Kathrin Korngold Hubbard, Korngold’s granddaughter, on the complicated genesis of his most popular concert work, the Violin Concerto. I corresponded with Ms. Hubbard again in 2025. The two disagree on who initially suggested that Korngold write a violin concerto: John Waxman says it was his father, while Kathrin Korngold Hubbard asserts—certainly correctly—that it was Korngold’s father, Julius Korngold who made the suggestion after hearing the theme to Another Dawn. In any case, Korngold was at work on the piece in 1937-38. Kathrin Korngold Hubbard notes that in 1938 there was a “tryout” performance by violinist Robert Pollack, a family friend, who was not able to e ectively play this di cult piece. Disappointed by the performance, and tied up with work on Robin Hood, Korngold set the score aside. In 1945, with the war over, he set to work again on the concerto, when he began to rewrite it for the virtuoso Bronislaw Huberman. It would not be Huberman who performed it for the ﬁrst time, however, but Jascha Heifetz. According to John Waxman, this was the result of a dinner party at his father’s Hollywood home that included the Korngolds and Rudolph Polk and his wife. Polk—Heifetz’s manager, and a ﬁne violinist in his own right—asked Korngold why he had never written a violin concerto. The subject was quickly dropped, but later that evening, as the men and women went to separate rooms, Luzi Korngold revealed the story to Mrs. Polk. Polk phoned Korngold the very next day to request the score for Heifetz, and

Heifetz himself phoned Korngold the day after that, asking permission to play the work’s premiere. The two worked together on the ﬁnal version— at Heifetz’s insistence, making the concerto even more di cult! In her biography of Korngold, Luzi Korngold notes that when Huberman visited them afterwards, that the composer told him: “Huberman, I haven’t been unfaithful yet, I’m not engaged…but I have ﬂirted.” Huberman graciously o ered to play the concerto after Heifetz’s premiere—but died in 1947 before he could perform it. The world premiere concert in St. Louis in 1947 also included a virtuoso work written for Heifetz by Franz Waxman, the Carmen Fantasy. Regarding the concerto’s premiere, Korngold wrote:

“In spite of its demand for virtuosity in the ﬁnale, the work with its many melodic and lyric episodes was contemplated rather for a Caruso of the violin than for a Paganini. It is needless to say how delighted I am to have my concerto performed by Caruso and Paganini in one person: Jascha Heifetz.”

What You’ll Hear

This concerto is set in three movements:

• A broad opening movement in a variant of sonata form.

• A lyrical Andante.

• A fast-paced and sometimes humorous set a variations

Though it was written in the 1930s and 1940s, the Violin Concerto is a work of pure turn-of-thecentury Viennese romanticism. It also draws on themes from several of his film scores. The first movement’s ( Moderatonobile ) contemplative opening theme— heard first in the violin and

then in full orchestra—appeared in his 1937 score for Another Dawn A lighter transition leads to a lyrical second idea, a lush idea that appeared as a love theme in the film Juarez (1939). (It’s possible that in this case, the borrowing went the other direction—that this music may have been borrowed from the then-shelved violin concerto.)

After an extended solo cadenza in the middle, the movement ends with a rather free development of the two main ideas. The second movement ( Romanze:Andante ) continues in the same lyrical style. This movement shares much of its musical raw material with Korngold’s Oscar-winning score to AnthonyAdverse (1936). The violin introduces the main theme through a gauzy accompaniment of strings and harp. There are a few more playful moments, but the wistful mood is otherwise constant through this quiet movement. The finale ( Allegro assaivivace ) is a set of variations on a theme used in his score to The PrinceandthePauper (1937). There is a lot more “Paganini” than “Caruso” in this movement: this is mostly wry and lighthearted music that allows the violin to shine in brilliant technical passages, ending in a humorous coda.

This quiet work was thoroughly revolutionary for its time, and secured an international reputation for its composer.

Claude Debussy

Born: August 22, 1862, Saint-Germain-en-Laye, France. Died: March 25, 1918, Paris, France.

Prelude to The Afternoon of a Faun

Composed: 1892-94. Premiere: December 22, 1894, in Paris. Previous MSO Performances: We

have performed the work eight times at these programs between 1938 and 2019.

Duration: 18:00.

Those nymphs, I want to make them permanent.

So clear, their light ﬂesh-pink, it hovers on the atmosphere Oppressed by bushy sleeps. Was it a dream I loved?

- Mallarmé, The Afternoon of a Faun (translated by W. Austin)

Background

This work grew out of Debussy’s fascination with Symbolist poetry. It was originally written for a planned theatrical production of his friend Stéphane Mallarmé’s poem The Afternoon of a Faun.

So clear, their it a It was a a in which become of truths. was the in French poetry from the 1880s the turn of the and associated with many of the movement’s poets: and Mallarmé. often described their in musical that expresses what cannot be in words—and many of their poems as art songs, or, as in the case

in favor of a free and sometimes kaleidoscopic style, in which ﬂeeting images become symbols of deeper truths. Symbolism was the avant garde in French poetry from the 1880s through the turn of the century, and Debussy associated with many of the movement’s leading poets: Verlaine, Baudelaire, Valéry, and Mallarmé.

The Symbolists often described their poetry in musical terms—imagery that expresses what cannot be directly expressed in words—and Debussy responded by setting many of their poems as art songs, or, as in the case of his Prelude, using their works as inspiration for purely instrumental compositions. Stéphane Mallarmé was a particularly important contact for Debussy—he hosted weekly salóns at his home, inviting poets, artists, and musicians to present and argue over their latest works. Debussy was a regular at Mallarmé’s salóns in the 1890s, and their association led to the composition of Debussy’s most famous orchestral piece.

composer. Rather than setting this as a conventionally programmatic symphonic poem, Debussy tried to capture the ambience of Mallarmé’s poetry without really telling a story. Mallarmé, after hearing Debussy play the score on piano for the ﬁrst time, exclaimed: “I didn’t expect anything like this! The music prolongs the emotion of my poem and sets its scene more vividly than color.” Though critics generally—and predictably—disliked a piece as startlingly new and radical as the Prelude, audiences and musicians took to it quickly and it was being performed across Europe and in the United States within just a few years.

What You’ll Hear

The coda one ﬁnal reference faun in the horns, before the music their works as for instrumental Mallarmé was contact for hosted his and argue their latest works. was in famous but idea a

composer. Rather than this as a poem, tried capture the ambience of Mallarmé’s poetry without a story. after the score on for the ﬁrst time, exclaimed: “I didn’t expect like this! The music the poem and sets its scene more than color.” critics in but the music is never strident, and the remains transparent and colorful the whole work. as the seems the music of it is worth that he disliked the term as much as the

climactic moments in this central section, but the music is never strident, and the scoring remains transparent and colorful through the whole work. (As apt as the designation “Impressionistic” seems for the music of Debussy, it is worth noting that he disliked the term just as much as the “Impressionist” painters!) The coda presents one ﬁnal mysterious reference to the faun in the horns, before the music evaporates into silence.

Petrushka—the second of the groundbreaking ballets that Stravinsky wrote for the Ballets Russe—began as an informal exercise in composition designed to “refresh” him prior to beginning work on Rite ofSpring.

He had attended the Paris Conservatoire as a young man and in 1884 had won the Rome, the of from his “bohemian years”—he scratched out a in Paris as an and composer and absorbed all of these years he befriended many of the most musicians in ﬂirted with the music of Wagner and was a of Javanese

The composition of the Prélude á l’après-midi d’un faune marked a clear turning-point in the career of Claude Debussy. He had attended the Paris Conservatoire as a young man and in 1884 had won the prestigious Prix du Rome, the stamp of approval from the French musical establishment. In the late 1880s—what he later called his “bohemian years”—he scratched out a living in Paris as an accompanist and composer and absorbed all of the musical influences in the air. In these years he befriended many of the most forward-thinking musicians in Paris, flirted with the music of Wagner (even making two pilgrimages to Bayreuth), and was deeply impressed by a performance of Javanese gamelan music he heard at the Paris Exposition in 1889. One of the most important influences from around 1890 onwards was his association with the Symbolists. Just as Impressionist painters like Monet and Renoir were rejecting realism in favor of pure color and light, the Symbolist poets rejected rigid poetic forms and description

The work’s outer sections are dominated by repeats of the famous opening flute solo, but Debussy develops this idea in a radically unorthodox way.

Igor Stravinsky

It went through several di erent versions from the 1870s onwards, but Mallarmé’s lengthy poem The Afternoon of a Faun was nearly in its ﬁnal form in 1890, when he asked Debussy to provide music for a projected theatrical presentation of the work. Mallarmé’s poem is vaguely erotic throughout, with a faun free-associating on his encounters with various nymphs. Debussy’s Prelude, written between 1892 and 1894 was all that ever came of the theatrical presentation, though in 1912, Vaclav Nijinsky choreographed a ballet on Debussy’s Prelude for the Ballets Russe. (Nijinsky’s ballet went far beyond Debussy’s music and even Mallarmé’s poem in its frank sexuality—so much so that it shocked even a Parisian audience!) Debussy’s Prelude was a stunningly avant garde work for 1894, and more than any other piece, made Debussy an internationally known

It went several di erent versions from the 1870s but Mallarmé’s poem was in its ﬁnal form in when he asked music for theatrical of the work. Mallarmé’s poem is erotic with a faun on his encounters with various was ever came theatrical in 1912, Vaclav ballet on the Ballets Russe. ballet far music

On the the a conventional form: an him beginning ofSpring June Saint Russia. New York

On the surface, the Prelude has a conventional three-part form: an opening section that is repeated in varied form at the end, and a contrasting middle section. However, there is nothing conventional about the way that Debussy constructed the work. The main idea—perhaps representing the faun himself—is the familiar flute theme heard in the opening bars. Mallarmé jotted a brief poem about this melody on the first page of the manuscript score: “Sylvan of the first breath: if your flute succeeded in hearing all of the light, it would exhale Debussy.” This theme reappears some eight times in the course of the work, but it is never developed in a traditional way. Each time it shows up it ends—like one of the faun’s lazy thoughts—by spiraling o into new, unrelated ideas. The flute theme dominates the two outer sections, and the middle section presents a succession of contrasting ideas. There are a few

Born: June 17, 1882, Saint Petersburg, Russia. Died: April 6, 1971, New York City. Petrushka Suite (1947 version) 1910-11. In 1946, Stravinsky arranged a suite for concert performance and published it in 1947. It was ﬁrst performed by the Ballets Russe in Paris, on June 13, 1911.

Previous MSO Performances: 1971 and 1998.

Duration: 35:00.

1910-11. In arranged a suite for concert it in 1947. ﬁrst

“Only a straw-stu ed puppet, this modern hero!” - Wallace Fowlie

Background

Like its companion works Firebirdand RiteofSpring, Petrushkafrequently uses Russian folk tunes in its music.

opening section that is the and a middle there is conventional that the work. The main the faun the bars. Mallarmé a brief poem about this on the page of the score: of the ﬁrst breath: if your ﬂute succeeded in all of the it would exhale This theme reappears some times in the course of the but it is never in a traditional Each time it shows up it ends—like one of the faun’s o into new, unrelated outer and the section a succession of ideas. There are a in on June 1911. a straw-stu edofSpring

In 1911, the Parisian great of young Igor

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 beginning 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:

Before embarking on Rite of Spring, which would be a long and di cult task, I wanted to refresh myself by composing an orchestral piece in which the piano would play the most important part—a sort of Konzertstuck [concert piece]. In composing the music, I had in mind a distinct picture of a puppet, suddenly endowed with life, exasperating the patience of the orchestra with diabolical cascades of arpeggi... Having ﬁnished this bizarre piece, I struggled for hours, while walking beside Lake Geneva, to ﬁnd a title which would express in a word the character of my music and consequently the personality of this creature.

One day, I leapt for joy. I had indeed found my title— Petrushka, the immortal and unhappy hero of every fair... Soon afterwards, Diaghilev came to visit me in Clarens, where I was staying. He was much astonished when, instead of sketches of the Rite, I played him the piece Petrushka He was so much pleased with it that he would not leave it alone and began persuading me to develop the theme of the puppet’s su erings and make it into a whole ballet.

Stravinsky’s hero, Petrushka, is one of the stock characters of the puppet shows that were a feature of fairs in Russia. He is a close cousin to Harlequin/Arlecchino of the Commediadell’Arte—a vulgar, low-class clown—but here he takes on a tragic role. The scenario that Stravinsky and Diaghilev created is set at a Shrovetide fair (Mardi Gras or Carnival in our part of the world) in St. Petersburg, complete with dancing bears, masqueraders, and a puppet show. 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 characters, in which Petrushka is killed. At the close of the ballet, the Magician reassures everyone at the fair that Petrushka is merely a puppet, but Petrushka’s ghost appears to mock him. The ballet ends as the Showman ﬂees in terror.

Petrushka was a hit in Paris, and again a year later in England. Diaghilev took the Ballets Russe on an extensive tour of the United States in 1916. Petrushka 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 the music was, in fact, much less controversial in America that the fact that a black character, the Moor, killed the white Petrushka!) The ballet remained in the company’s repertoire until it was disbanded in 1929.

The score was published in 1912, and Petrushka was frequently played as a concert work. However, the fact that the ballet ended with a long, quiet episode, and the expanded orchestra required made it a problematic

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concert piece. In 1947, Stravinsky published a completely revised concert suite version of Petrushka, setting it for a standard orchestra, clarifying several problematic passages, and re-ordering the original four tableaux into seventeen movements, which are played without pauses. At least part of Stravinsky’s rationale seems to have been simply to renew his copyright on the piece. In any case, the suite works wonderfully as a concert piece.

What You’ll Hear

The 17 interconnected movements of the Petrushka Suite largely follow the plot of the ballet.

The opening and longest movement, The Shrove-tideFair, shows the whirl of activity at the fair. Stravinsky’s music is based upon at least one, and possibly several Russian folk tunes. The Magician is a sudden break in the excitement as people gather around to see the Magician bring his puppets to life with a flute. This section leads directly to the RussianDance, as the three puppets dance a wild trepak for the fairgoers. Petrushka 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 Blackamoor shows Petrushka’s rival lounging in his room, which is elegantly furnished. The Ballerina announces herself with a cornet fanfare and then dances a little mechanical solo for the Moor. The two then dance an insipid Valse together, to a pair of tunes that Stravinsky borrowed from the Viennese waltz composer Joseph Lanner. A jealous Petrushka bursts into the room, and struggles with the Moor briefly, before the Moor tosses him out the door.

At this point in the 1947 suite, Stravinsky brings together a

reminiscence of the opening music, Shrove-tideFair(TowardsEvening), and a series of dances drawn from the fourth of the ballet’s tableaux The Wet Nurses’ Dance is based on two Russian tunes, the first introduced by solo oboe, and the second by oboe, trumpet, and finally full orchestra. PeasantwithBear has the peasant characterized by shrill clarinet, and the bear by solo tuba. Gypsiesand a Rake-Vendor has a rather drunken merchant enter with two Romany girls—he tosses banknotes to the crowd and his girlfriends dance seductively. This is followed by a robust Dance of theCoachmen, which is also based on Russian folk material. The suite’s Masqueraders is a wild dance sequence that leads up to Petrushka’s death in the ballet. The music brings together a flurry of images—dancers dressed as a devil, a goat, and a pig taunt the crowd before everyone joins in a frenzied dance. Suddenly, everything stops for The Scu e, as the enraged Moor, sword drawn, chases Petrushka across the stage and, amidst chaotic music, strikes him dead. The Death of Petrushka presents fragments of Petrushka’s melody above tense string tremolos. In PoliceandJuggler, an o cious policeman—in the guise of a lugubrious bassoon solo—is summoned, but he is apparently satisfied by the Magician’s assurance that these Petrushka was only a puppet. In the final scene, The Vociferation of Petrushka’s Ghost, Petrushka’s ghost appears above the puppet theater (voiced by a pair of shrill muted piccolo trumpets) to taunt and threaten the Magician, who flees in terror.

Complete program notes for the 2025-2026 season are available at madisonsymphony.org.

Ax Plays Mozart

Strauss’ Till Eulenspiegel’s Merry Pranks is a mischievous tone poem that follows the antics of a legendary trickster. From daring escapades to clever pranks, the music captures Till’s irreverent spirit with virtuosic orchestral writing and humor.

Emanuel Ax returns to lend his mastery and lyricism to Mozart’s Piano Concerto No. 25 — a work ﬁlled with grandeur and elegance composed at the height of his creative genius. Grammy winning composer Gabriela Ortiz grew up steeped in the indigenous music of her native Mexico. Her Téenek channels the spirit of the Huasteca region of Mexico.

Respighi’s Pines of Rome is a symphonic masterpiece that paints a vivid portrait of Italy’s Eternal City through its famous pine trees — opening with a scene of children at play, and ending with a depiction of a Roman Army on the march. This work’s dramatic orchestration, including o stage brass and bird calls, creates a sensory experience like no other. You’ll feel energy, power, and sense of place in each piece of music at this concert.

PRESENTING SPONSOR

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MUSIC

RICHARD STRAUSS

Till Eulenspiegel’s Merry Pranks, Op. 28

WOLFGANG

AMADEUS MOZART

Piano Concerto No. 25 in C Major, K. 503

GABRIELA ORTIZ

Téenek – Invenciones de Territorio

OTTORINO RESPIGHI

Pines of Rome, P. 141

John DeMain, Conductor Emanuel Ax, Piano

Salon Piano Series

KATE LIU

SAT. NOV. 1 at 7:30 PM

Chopin

ADAM NEIMAN

SAT. JAN. 17 at 7:30 PM

Brahms, Prokoﬁev, Rachmaninoﬀ

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Concert: FEB. 28 at 7:30 PM

Instrument Demo: MAR. 1 at 3 PM

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ANGIE ZHANG

SAT. APR. 18 at 7:30 PM

Margaret Bonds, Clara Schumann, Beethoven

BILL CHARLAP

SAT. MAY 9 at 7:30 PM

SUN. MAY 10 at 2 PM

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The Joshua P. Gehl Family

Luke Gehl

Mark & Kathy Gehl

Mike & Pam Gehl

Michael George & Susan Gardels

Ari Georges

Shawn Gillen

Carl & Peggy Glassford

Mark & Catherine Isenberg

Karen Jeatran

Greg & Doreen Jensen

Aaron & Sarah Johnson

Dan & Janet Johnson

Doug & Kathy

Johnson

Heather Johnson

Theresa & Pell Johnson

Conrad & Susan Jostad

Robert & Barbara Justl

Kathy

Michelle & Christopher Kaebisch & Chuck Kamp

Corliss & Bill Karasov Keith

Mina Kato & Steve

Estelle Katz

Virginia Kaufman

Arlan Kay

William & Sharon Goehring

William & Sharon

Janice Golay

Joseph Kay

Marilyn Kay

Connie & Barry Golden

Robert & Dianne Gomez

Raj & Parvathi Gopal

Connie & Golden & Parvathi

Jane & Paul Graham

Anna Keld

Sherri Kelly Sherri & Jane Kent

Duane & JoAnn

Barker Cheesebro & Donna Beestman & Anderle

Mary Detra

Daniel & Lavonne Dettmers

Pat Behling & Ginger Anderle

Jeanne Behrend & Dan Fields

Jenna Behrman

Deb & John Belken

Ruth Benedict

Michael & Carla Di Iorio

Ulrike Dieterle

Paul DiMusto & Oberdoerster

Paul DiMusto & Molly Oberdoerster

Donalea Dinsmore

Dan & Carole

Dan & Carole Doeppers

Barbara Grajewski & Michael Slupski

David Gri eath & Catherine Loeb

Courtney Grimm

Diana Grove

Dale & Linda Gutman

Jennifer Haack

Kate Habrel

Magdalene Hagedorn

Ryan Hahn

Barbara & Michael Grimm Gutman Hahn

Raymond & Jane Kent Kexel

Melissa Keyes & Ingrid Rothe

Melissa & Rothe

Maureen Kind

Patricia M. King

Eric & Caroline Klemm

Marie Frances Klos

Peter & Emily Klug

Frances &

Daniel Knepper

Laurie & Gus Knitt

Donald Kometz

Bruce Bengtson

Karen Benson

Prentice Berge

Bruce Prentice

Kerry Berns & Joe Rossmeissl

Lynn & Cheryl Binnie

Lynn & Binnie

Ramsay Bittar

Meranda Dooley

Rosemary M. Dorney

Sue Dornfeld

Richard & Doris Dubielzig & Edward Dueppen

Rita E. Bogosh

Jonathan Boott

Cindy Borch

Katy Kenneth Edenhauser

Bob & Haimerl

Bob & Beverly Haimerl

Cleo Hall

Thomas & Vicki Hall

Craig & Gina Hallbauer

Jane Hallock & William Wolfort

Yvonne A. Bowen

Chris & Gretchen Brace

Steven Braithwait

Janet Brantmeier

Angela & Tom Breunig

Rita E. & Tom

Waltraud Brinkmann

Calvin Bruce & Cathy Caro-Bruce

Lou & Nancy Bruch

Gregory Buchberger

Ted & Judy Buenzli

Kevin & Tracey Buhr

Lynn Burke

Val & Tim Burland

Walter Burt & Deborah Cardinal

Julie Buss

Heather & Mark Butler

Ronald & Elizabeth Butler

Ann Campbell

Valerie Cappozzo

Alan & Ramona Ehrhardt

Ann Ellingboe

Rhea Emmer

William & Jill Emmons

Dave & Kathi Erickson

John & Joann Esser

Elizabeth Fadell

Linda Fahy

Jeanie Farmer

Paul Haskew & Nancy Kendrick

H. William & Susan Hausler

Cynthia Hawkinson

Dan Hayes

Gregg Heatley & Julie James

Jan & Maria Heide

Cheryl Heiliger

Steven & Kate Henderson

Ann Henne

Friedemarie & Thomas Farrar

Douglas & Carol Fast

Phillip & Deborah Ferris

Lorna Filippini & Clyde Paton

Alan & Cindy Finesilver

William Flader

Grace Fleming

John & Signe Frank

Raelene & LisaAnn Freitag

Janet & Byron Frenz

James Fromm

Barbara Furstenberg

Greg & Clare Gadient

Brian W. Heywood, M.D.

Diana Konkle

Mary Jo Kopecky

Daniel Jo

Douglas Kopp

Steven Koslov

Kevin & Theresa Kovach

Diane & Thomas Kramer

Michael G. Krejci

Scott & Cynthia Kuenzi

Michael G. & Kuenzi

Sheri & Jim

Sheri & Jim Kulling

Merilyn Kupferberg

Katherine Kvale & Thomas Schirz

Ann

Ann Lacy

Emma Lai & Marius Schradermeier

Paul Lambert & Anne Griep

Sherry & George Lang

and Johnson Families

Hietpas, Armstrong, and Johnson Families

Nona Hill & Clark Johnson

William & Sara Lee Hinckley

Les & Susan Ho man

Roger & Glenda Hott

William & Sara Lee & Glenda Hott Linda

Kent & Annette Hovie

Mandy Huber

Peter & Candace Huebner

Robert & Ellen Hull

Donald Huseby

Linda & Je Huttenburg

John & Karen Icke

Frank Iltis

Paul Lambert & Anne & &

Mary & Steve Langlie

Jim Larkee

Carl & Jerilyn Laurino

Carl & Laurino

Laurie Laz & Jim Hirsch

Richard & Lynn Leazer

Richard & Leazer

Sally Leong

Gary Lewis & Ken Sosinski

Lewis & Ken Sosinski

Nancy Lieg

Nancy

Steve Limbach & Karen Rinke

Bob & Lorenz

Bob & Sally Lorenz

Judith A. Louer

Dick & Cindy Lovell

Doug & Mary Loving

Dick & Lovell &

Kathy Luker

Nancy & Mark Mackenzie

Frank & Nancy Maersch

Mark & Linda Malkin

Chuck & Linda Malone

Richard & Rita Manning

Richard Margolis

Peter & Marjorie Marion

Jeanne Marshall

Kristin Martin & Lori Miller

Jim & Toni Mastrangelo

Edward Matkom

Paul Patenaude

Mitchell L. Patton

Phillip & Karen Paulson

John Pepple

Ernest J. Peterson

Roger & Linda Pettersen

Donna Jean Phelps & Thomas Phelps

Luke & Linda Plamann

Roger & Judy Plamann

Jacqui & John Shanda

Michael Shank & Carol Troyer-Shank

Sandy Shepherd

Daryl Sherman

Jackson Short

Christi & Pat Shortridge

Eve Siegel Beck

Thomas & Myrt Sieger

Nan Sievert

Liz Vowles

Greg Wagner & Fred Muci

Marty Wallace

Morris & Carolyn Waxler

Peggy & James Weber

Mary Webster

Steve & Pat Wehrley

Steven Wendor

David & Hannah Wessel

Bruce Matthews & Eileen Murphy

Gordon & Jan McChesney

Jan L. McCormick

Paul & Jane McGann

Cynthia McKenna

Bruce & Barbara McRitchie

Kate Meagher

Daniel & Laurel Medenblik

Christine & Russell Melland

Lori J. Merriam

Dale Meyer & Mary Seay

Mark Micek & Sarah Bahauddin

Stanley Michelstetter

Christine Miles

Susan Millar

Linda Miller

Margaret & Paul Miller

Mark Miller & Terry Sizer

Sharla Miller

Wendy Miller

Jerry & Maureen Minnick

Darlene & Charles Mistretta

Rolf & Judith Mjaanes

Douglas & Rosemary Moore

Jennifer Morgan

Terry Morrison

Gary & Carol Moseson

Bruce Muckerheide & Robert Olson

Craig & Karen Myers

Lynn Hallie Najem

Cheryl Namyst & Steve Konkol

Raymond Nashold

Jack & Carol Naughton

Mary & Susan Nelson

Deborah & Jim Neuman

Mary Lou Nord

Madeline & Tim Norris

Heidi & Tom Notbohm

Andrew Nowlan

Thomas & Barbara Oatman

Nicholas Olson

Richard & Marcia Olson

Richard & Mary Ann Olson

Thomas & Mary Ott

Elizabeth Palay

Pamela Palmer

James & Joan Parise

Barbara Park

Ann Pollock & James Coors

Diana Popowycz

Tom Popp

Sally & Jim Porter

Sarah Potts

Paula Primm

Mark E. Puda & Carol S. Johnston

Thomas & Janet Pugh

Randall & Deb Raasch

Donald & Roz Rahn

Kathryn Rasmussen

Loren & Margaret Rathert

Richard & Donna Reinardy

Drs. Joy & David Rice

Catherine Richard

Rick & Sara Richards

Bill & Joan Richner

Mark & Zoe Rickenbach

Diane Risley

Lorraine & Gary Roberts

Sara Roberts & Carolyn Carlson

Matt & Laura Roethe

Rosina Romano

Howard & Mirriam Rosen

Fred & Mary Ross

John Ross

Mildred J. Ross

Peggy Ross

John & Rachel Rothschild

Nathaniel Ruck

Robert & Nancy Rudd

Paul & Pam Rush

Janet Ruszala-Coughlin & Tim Coughlin

Dean Ryerson

Steven & Lennie Sa an

Paul Saganski

Beverly Sakofsky

Ruth M. Sanderson

Sinikka Santala & Gregory Schmidt

Dennis & Janice Schattschneider

Iva Hillegas Schatz

John & Susan Schauf

Dianne Schmidt

Thomas & Lynn Schmidt

Gerald Schneider

Beverly Schrag

Sandy & Joe Schulz

Ann & Gary Scott

Ann & Dayton Sederquist

Vicki Semo Scharfman

Patti & Mike Sensenbrenner

part of the experience.

Glen & Marie Siferd

Neal & Agnieszka Silbert

Sydnee Singer

Carolyn Sluder

J.R. & Patricia Smart

Derrick & Carrie Smith

Eileen M. Smith

Steve Somerson & Helena Tsotsis

Stephanie Sorensen

Keith Sperling

Gary & Jackie Splitter

Mary St. Claire

Robert & Barbara Stanley

Joanne Stark

Chuck Stathas

Gareth L. Steen

Franklin & Jennie Stein

Michael Stemper

Taylor Sto et

Jonathan & Jessica Storey

Eric & Emily James Strauss

Carol Strmiska

Rob & Mary Stroud

David & Shirley Susan

Steve & Lisa Sveum

Michael & Sarah Swanson

Matthew Sykes

Margaret Mischler Taylor

Mary & James Taylor

Pete & Ruthie Taylor

Cheri Teal

Howard & Elizabeth Teeter

Gerald & Priscilla Thain

Matthew Theiss

Glen Thio & Ka Her

Gary & Louise Thompson

Stephen Thompson

Anne Thurber & Yjan Gordon

Tom & Dianne Totten

Elizabeth Townsend & Daniel Shirley

Margaret Trepton

Judith A. Troia

Colleen & Tim Tucker

Mary Lou Tyne

Doris J. Van Houten

John & Shelly Van Note

The Veenendaal Family

Rebekah Verbeten

Elena Vetrina & Wallace Sherlock

Jan Vidruk

Angela Vitcenda & Jerry Norenberg

Karl & Ellen Westlund

Mary & Leo Wherley

Dorothy Whiting

Wade W. & Shelley D. Whitmus

Steven & Ellen Wickland

Nancy & Tripp Widder

Ernst & Connie Wiegeshaus

Candy Wilke

Eve Wilkie

Suzy Wilko

Bambi Wilson

Scott & Donna Wilson

Rick Wirch

Scott & Jane Wismans

Brad Wolbert & Rebecca Karo

Celeste Woodru & Bruce Fritz

Jon Woods

Nancy Woods

Joseph Wright

David Wuestenberg

Patricia Zastrow

Gretchen Zelle

Ron Zerofsky

Joan N. Zingale

41 Anonymous Friends

We also thank 121 donors for their contributions of $1 to $49.

* Total includes gifts supporting: MSO’s 2025-26 Annual Campaign; MSOL 2025-26 Events & General Support; 2025-26 Organ Concerts; Friends of the Overture Concert Organ’s 2025-26 Annual Campaign. MSOL and FOCO basic membership dues and fundraising event ticket purchases are not included. Giving thresholds listed here do not correspond to giving levels within speciﬁc campaigns included. We have made every e ort to ensure the accuracy of this list. If you have any questions or corrections, please contact our development department at (608) 257-3734.

Musician Feature

WENDY BUEHL

Violinist

I began playing with the Madison Symphony as a university student over ﬁfty years ago, during Roland Johnson’s tenure as music director. At that time, the orchestra was rehearsing and performing at the downtown MATC building (the former Madison Central High School), using rehearsal rooms in the basement and performing on the high school-sized stage in the auditorium. The performance space wasn’t even large enough to allow all of the string players to be seated on the stage. Some of us were seated in front of the curtains, positioned on wedge-shaped platforms that compensated for the fact that we were actually on slanted ramps leading down to exit doors! The rehearsal schedule included ﬁve rehearsals and two performances stretched over a threeweek period. One of the rehearsals was often set up for strings alone, with the time split between sectionals (each section working on its own) and group rehearsal time.

Making the move to the Oscar Mayer Theater was a vast improvement for the orchestra. Here was a stage capacious enough to accommodate all of the players and a seating area that invited a larger audience. Aesthetically, the Oscar Mayer looked and felt like a real theater. This venue also meant that the orchestra could perform with world-class solo artists. It was a thrill to share the stage with virtuosos like Itzhak Perlman and Alicia de Larrocha.

Maestro DeMain’s arrival as music director stimulated a number of changes that elevated the orchestra to a higher level. The abbreviated

rehearsal schedule, with all of the rehearsals and performances compressed into a seven day period, meant that the ﬁrst rehearsal would no longer be sight reading. It required that the musicians master their parts ahead of time in order to be prepared for a true rehearsal. At this time, more formal protocols were established for the length of rehearsals, the use of blind auditions, pay scales for players, overtime pay, excused absences, and rehearsal breaks. John also brought in up and coming young performers like Joshua Bell and Hilary Hahn, introducing Madison to the next generation of soloists. All of these changes, as well as John’s high expectations for the orchestra, lead to superior performances.

The transition to the Overture Center resulted in a huge leap for the orchestra. The amazing acoustics made it possible for the orchestra to play more nuanced dynamics and to achieve better balance between the sections. The size of the stage and the inclusion of the concert organ brought opportunities for an expansion of the orchestra’s repertoire, including the ability to perform with a larger chorus and larger brass and percussion sections. Overture Hall continues to be a treasure for Madison and a joy for performers.

From performing in a drab high school auditorium to experiencing the magniﬁcent stage of Overture Hall has been a remarkable journey for me and for the orchestra. But through all of the changes and transitions, the joy of making music with my fellow musicians in the Madison Symphony has been a highlight of my life!

La Crosse Symphony’s Midnight in Paris

BUSINESS, FOUNDATION AND GOVERNMENT DONORS

FOUNDATION AND

Madison Symphony

Madison Symphony League

The Madison Symphony Orchestra and our a liate organizations rely on generous donor fund the of our mission each year. We gratefully acknowledge all companies, foundations and government grants, sponsorships, contributions, and gifts-in-kind.

Madison our donor our that to Madison League, Concert are to of for their Orchestra of the Overture donations as of December of the

Organizations that have contributed to the Madison Symphony Orchestra, Madison Symphony League, and/or Concert Organ are listed according to the total amount of their supporting the Season*

$100,000 OR MORE

Madison Symphony Orchestra Foundation

Madison Symphony Orchestra League

WMTV 15 News

$50,000–$99,999

Pleasant T. Rowland Foundation

$25,000–$49,999

American Printing

Irving and Dorothy Levy Family Foundation, Inc.

The Madison Concourse Hotel & Governor’s Club

Madison Magazine

Madison Media Partners

$15,000–$24,999

Capitol Lakes

$10,000–$14,999

John J. Frautschi Family Foundation

Lake Ridge Bank

Kenneth A. Lattman Foundation, Inc.

Madison Gas & Electric Foundation, Inc.

Marriott Daughters Foundation

PBS Wisconsin

Richman & Richman LLC

University Research Park

U.S. Bank Foundation

$5,000–$9,999

$2,500–$4,999

Health

Group Health Cooperative of South Central Wisconsin

Kohls & Mackie, LLC

Madison Arts Commission

Midwest Patrol & Investigative LLC

Sta ord Rosenbaum LLP

$1,000–$2,499

Baird/The Woodford Group

BRAVA Magazine

Promega Corporation

Sold with Faith Real Estate, Restaino & Associates

Veridian Homes Foundation

An Foundation

An Anonymous Foundation

Boardman Clark Law Firm

Dane Arts, with additional funds from the Endres

Lakes Inc.

The Evjue Foundation, Inc.

Fiore Companies, Inc.

Fiore Inc.

National Endowment for the Arts

Nimick Foundation

Nimick Forbesway Foundation

Wisconsin Arts Board with additional funds from the State of Wisconsin and the National Endowment for the Arts

The charitable arm of the Frautschi and the

Dane County Arts, with additional funds from the Endres Mfg. Company Foundation, The Evjue Foundation, Inc., charitable arm of The Capital Times, the W. Jerome Frautschi Foundation, and the Pleasant T. Rowland Foundation

DeWitt LLP

Exact Sciences

Overture Concert Organ includes 2025-2026 Madison Orchestra 2025-2026 2025-2026 Education and Madison Orchestra Sunset 2025-2026 Annual event ticket are have made ensure the accuracy

The Capital Times Kids Fund

Capitol Bank

Times Kids Fund Bank

Festival Foods

Google

Herb Kohl Charities

Josiah Macy Jr. Foundation

Josiah Jr. Foundation

Thermo Fisher Inc.

Thermo Fisher Scientiﬁc, Inc.

UW Health & Unity Health Insurance

UP TO $999

Above the Bar Marketing

UW Health & Health Insurance the Bar

*Total includes donations that support 2025-2026 Madison Symphony Orchestra Concerts, 2025-2026 Organ Concerts, 2025-2026 Education and Community Engagement Programs; Madison Symphony Orchestra League’s 2025-2026 Events and Activities including Symphony at Sunset 2025; and Friends of the Overture Concert Organ’s 2025-2026 Annual Campaign. Fundraising event ticket purchases are not included. We have made every e ort to ensure the accuracy of this list. If you believe an error has been made, please contact our development department at (608) 257-3734.

Fields Auto Group

Fields Auto

Hooper Corporation

J.H. Findor & Son Inc.

Reinhart Boerner Van Deuren s.c.

s.c.

Robinson Fund

The Steven P. Robinson Family Fund

Sub-Zero Group, Inc.

Sub-Zero Inc.

SupraNet Communications, Inc.

SupraNet Inc.

von Briesen & Roper, s.c.

Briesen & s.c.

West Bend Insurance Company

Wisconsin Public Radio

Woodman’s Food Markets

Alliant Energy Foundation

Matching Gifts Program

Alliant Foundation Gifts

Ascendium Education Group

Badger Bus

Ascendium Education Bus

Bobbi Petersen

Bobbi Petersen Photography

Choles Floral

Costco Wholesale Corporation

Farley’s House of Pianos

Wholesale House of Pianos list. If you believe an error has made, contact our 257-3734.

GE Healthcare

Hartmeyer Ice Arena

Heid Music and Heid Music

Family Charitable Fund

PLANNED GIVING: THE STRADIVARIUS SOCIETY

The individuals listed below have informed the MSO that they have included gifts for the Symphony in their estate plans. If you have remembered the Symphony in your will, living trust, or have made other arrangements for a future gift, we would love to know so we can thank you! We honor all requests for anonymity. Contact Casey Oelkers at (608) 260-8680 x228 for more information.

Fernando & Carla Alvarado

Emy Andrew

Edwin & Ruth Sheldon

Dr. Beverly S. Simone

Martha Jenny

Lois M. Jones

Harry D. Sage

Joel Skornicka

Dennis Appleton & Jennifer Buxton

Judy Ashford

Diane Ballweg

Margaret B. Barker

Chuck Bauer & Chuck Beckwith

Dr. Annette Beyer-Mears

Rosemarie & Fred Blancke

Shaila & Tom Bolger

Michael K. Bridgeman

JoAnn Six

Mary Lang Sollinger

Sharon Stark & Peter D. Livingston

Gareth L. Steen

Jurate Stewart

John & Mary Storer

Shirley Jane Kaub

Helen B. Kayser

Patricia Koenecke

Teddy H. Kubly

Arno & Hazel Kurth

James V. Lathers

Chalma Smith

Marie Spec

Charlotte I. Spohn

Evelyn C. Steenbock

Harry Steenbock

Alexis Buchanan & James Baldwin

Scott & Janet Cabot

Clarence Cameron & Robert Lockhart

Martha & Charles Casey

Elizabeth A. Conklin

James Dahlberg & Elsebet Lund

Barbara & John DeMain

Robert Dinndorf

Audrey & Philip Dybdahl

Jim & Marilyn Ebben

Endo Family Trust

George Gay

Tyrone & Janet Greive

Terry Haller

Robert Horowitz & Susan B. King

Richard & Meg LaBrie

Steven Landfried

David Lauth & Lindsey Thomas

Ann Lindsey & Charles Snowdon

Claudia Berry Miran

Elaine & Nicholas Mischler

Stephen D. Morton

Margaret Murphy

Reynold V. Peterson

David & Kato Perlman

Judith Pierotti

Michael Pritzkow

John Rafoth

Gordon & Janet Renschler

Joy & David Rice

Joan & Kenneth Riggs

Harry & Karen Roth

Richard Tatman & Ellen Seuferer

Marilynn Thompson

Ann Wallace

Richard & Barbara Weaver

Carolyn & Ron White

John Wiley & Andrea Teresa Arenas

Mary Alice Wimmer

Helen L. Wineke

Ten Anonymous Friends

ESTATE GIFTS RECEIVED

Elizabeth S. Anderes

Donald W. Anderson

Helen Barnick

Norman Bassett

Nancy Becknell

DeEtte Beilfuss-Eager

Theo F. Bird

Marian & Jack Bolz

Kenneth Bussan

Margaret Christy

Frances Z. Cumbee

Teddy Derse

Dr. Leroy Ecklund

Mary J. Ferguson

Linda I. Garrity

Maxine A. Goold

Beatrice B. Hagen

Martin R. Hamlin

Sybil A. Hanks

Elizabeth Harris

Julian E. Harris

Jane Hilsenho

Carl M. Hudig

Dr. Stanley & Shirley Inhorn

Renata Laxova

Stella I. Leverson

Lila Lightfoot

Jan Markwart

Geraldine F. Mayer

Mr. & Mrs. Frederick W. Miller

Janet Nelson

Sandra L. Osborn

Elmer B. Ott

Ethel Max Parker

Josephine Ratner

Mrs. J. Barkley Rosser

Virginia Swingen

Gamber F. Tegtmeyer, Jr. & Audrey Tegtmeyer

Katherine Voight

William & Joyce Wartmann

Sally & Ben Washburn

Sybil Weinstein

Mr. & Mrs. J. Wesley Thompson

Glenn & Edna Wiechers

Elyn L. Williams

Margaret C. Winston

Jay Joseph Young

Two Anonymous Friends

A Legacy of Music

The Madison Symphony Orchestra is a grateful recipient and faithful steward of planned gifts from individuals who have remembered the Symphony in their estate plans. Through a planned gift, you can help preserve MSO’s legacy of great music for generations to come. All planned gifts qualify for Stradivarius Society recognition, and requests for anonymity will be honored.

Learn more madisonsymphony.org/stradivarius

“I have designated a gift for the Symphony in my will to help ensure the orchestra will have outstanding artistic leadership for generations to come.”

– Mary Alice Wimmer, Stradivarius Society Member

In honor of Mike Allsen

Gale Barber

In honor of Janneke C. Baske

Bruce and Barbara McRitchie

In honor of Barbara Berven

Janet Renschler

In honor of Ann Bowen

Scott and Janet Cabot

In honor of Barbara DeMain

Anonymous

In honor of John DeMain

Diane and Dominic DeMain

Pamela Ploetz and John Henderson

Anonymous

In honor of Tammy and Charles Hodulik

Steven and Lynn Hodulik

In honor of Jing “Connie” Li

Tom and Heidi Notbohm

In honor of Elliot Lesperance

Jennifer Vasam

In honor of the Madison Symphony Chorus

John Heaton

In honor of Elspeth Stalter-Clouse

Randall and Pamela Clouse

In honor of John Toussaint

Reynold V. Peterson

In honor of Carolyn White

Sharon M. Berkner

In honor of Laura White

Anonymous

In honor of Greg Zelek

Christine & Je Molzahn

Margy Wilko

Anonymous

In honor of Greg Zelek & Amanda Elfman

Suzy Wilko

In Greg Zelek & Amanda Elfman Wilko

In memory Aas

In memory of Paul Aas

Melodie Aas

Mary Dzick

Joe Aas and Nancy Morris

R. Patrick and Laura Morelli

TRIBUTES

The Madison Symphony Orchestra gratefully acknowledges the following donors for their contributions honoring family & friends, as of January 4, 2026. Tributes are recognized for one year following the gift date.

David Sherlock and Jennifer Gottwald

In memory of Bert Adams

Diane Adams

In memory of Norman C. Anderson

Peggy Anderson

In memory of Susan H. Axelrod

Jon P. Axelrod

In memory of Adolph and Eugenie Bolz

Cathy and Eric Wilson

In memory of Jack and Marian Bolz

Joan Bolz Cleary and Je Cleary

Cleo Hall & as 2026. one the

In memory of Marian Bolz

Samuel C. Hutchison

In memory of Barbara Ann Brown

Kirk Brown and Lori DiPrete Brown

Brian W. Heywood, M.D.

In memory of Jim & Betty Bruce

Samuel C. Hutchison

In memory of Stephen Caldwell

Judith Werner

In memory of Robert Carwithen

Samuel C. Hutchison

In memory of Wayne Chaplin

Gail Bergman

In memory of Jim Ebben

Marilyn Ebben

In memory of Jon S. Enslin

Crystal Enslin

In memory of Anita Healey

Valerie and Andreas Kazamias

Christine and Robert Reed

In memory of Perry Henderson

Elaine and Nicholas Mischler

Shirley Inhorn

David and Vicki Cary

Stanley Inhorn

Douglas Kopp

Rhea Emmer

Dave

Henry and Carol Ebert and Kathi Erickson

Jeanie Farmer

Robert and Linda Frautschy

Candice Gehl

In memory Stan and Inhorn

Stan and Shirley Inhorn

Harry and Linda

Harry and Linda Argue

Patricia Bernhardt

Ramsay Bittar

Tyrone and Janet Greive

Becky Dick and Janet Greive

William and Sara Lee Hinckley

William and Sara Lee

Stan and Nancy Johnson

Stan and Johnson

Valerie and Andreas Kazamias

Elaine and Nicholas Mischler

Ruth Sheldon, M.D.

Judith and Nick Topitzes

Donna and Roger Wetzel

Anonymous

In memory of Dr. Edith G. King

Samuel C. Hutchison

In memory of Helen Klibaner

Irwin Klibaner

In memory of John Komoroske

The Armstrong Family

Aurora BayCare Hospital X-Ray Team

Jeanne Behrend and Dan Fields

Jenna Behrman

Deb and John Belken

Karen Benson

Susie Berberet

Mark and Gayle Boerschinger

Rita E. Bogosh

Janet Brantmeier

Barbara and James Brueckner

Angela and Tom Breunig

Ted and Judy Buenzli

Mark and Rita E. and Tom and Buenzli

Valerie Cappozzo

Valerie

Richard and Carlson

Richard and Sandy Carlson

Colleen and David Anderson

Colleen Cleary and David Anderson

Mary and Jack Davison

Mary Detra

Maureen and James Drunasky

Curt and Michelle Gehl

David and Gloria Gehl

Donna Gehl

Jane Gehl and Todd Thiel

The Joshua P. Luke Gehl

Gehl Family

Mark and Kathy Gehl

Mike and Pam Gehl

Janet and Marc Gehl Vincent

Connie and Barry Golden

Diana Grove

Patricia Hable Zastrow

Craig and Gina Hallbauer

Sharon and Joel Haroldson

Cynthia Hawkinson

Ann Henne

The Hietpas Family

Kent and Annette Hovie

Mandy Huber

The Johnson Family

Robert and Barbara Justl

Peter and Emily Klug

Johnson and

Donald Kometz

Diana Konkle

Alan and Toots Krueger

The Lamers Family

Angie and Scott Lawrence

The Liebzeit Family

Alan and Toots Lamers and Scott Lawrence Liebzeit

Mary and Bill Lundstrom

Sue and Ray Lux

Sue and Lux

Jim and Toni Mastrangelo

Christine and Russell Melland

Cheryl Namyst and Steve Konkol

Marge and Carroll Pieper

Roger and Judy Plamann

Jim and Toni and and Carroll and Plamann

David and Jane Rahn

Rosina Romano

Jim and Kitty Rosenberger

Mildred K. Ross

Peggy Ross

Jim and Ross

Paul and Pam Rush

Beverly Sakofsky

Sandy and Joe Schulz

Ann and Dayton Sederquist

Mark and Diane Selz

Patti and Mike Sensenbrenner

Christi and Pat Shortridge

Mary St. Claire

James Strother

Steve and Lisa Sveum

Michael and Sarah Swanson

Mary and James Taylor

The Veenendaal Family

Peggy and James Weber

Mary and Leo Wherley

Ed and Bonnie Wilson

Four Anonymous Friends

In memory of Barbara Landau

Anonymous

In memory of Joan Lippincott

Samuel C. Hutchison

In memory of Dr. C.B. Martin, Jr.

Barbara C. Martin

In memory of Dr. Donald McDonald

Samuel C. Hutchison

In memory of Margaret ElizabethMcEvilly

Victoria Fine

In memory of Mary Mohs

Fred Mohs

In memory of Sandra Osborn

Samuel C. Hutchison

In memory of Lillian Porcaro

Alexis M. Carreon

In memory of Grace Potts

Sarah Potts

In memory of Maurice and Arlene Reese

Richard and Pamela Reese

In memory of Will Risley

Diane Risley

In memory of Judith Saganski Paul Saganski

In memory of Dr. Pearl Sanders

Valerie Shatavsky

In memory of Jennie Biel Sheskey

John and Twila Sheskey Charitable Fund

In memory of Durwin Smith

Valerie and Andreas Kazamias

In memory of Joan Marie Smith

Rozan and Brian Anderson

In memory of Chuck Snowdon

Ann Lindsey

In memory of John Lloyd Straughn

Susan Ramsey

In memory of Patricia D. Struck

Larry Bechler

In memory of Christina CuthbertStuart

The Stuart Family

In memory of Les Thimmig

Patricia Crowe

In memory of Carol and John Toussaint

Elaine and Nicholas Mischler

Piano Specialists

In memory of John Toussaint

Samuel C. Hutchison

Reynold V. Peterson

In memory of Nicki L. Towner

Zachary Goldberger and Erin Fouch

In memory of Daniel Van Eyck

Barbara J. Merz

In memory of Margaret C. Winston

Paul and Susan Erickson

In memory of Ed Young

Valerie and Andreas Kazamias

Elaine and Nicholas Mischler

In memory of Barbara Zanoni

Burwell Enterprises, LLC

Kelly Gwiazda

Kathy Hunter

Cheratee James

Jay Kennedy

Kylie Reinhart

Mary Schulz

Courtney Thomas

Julie Woodward

A young woman has died of unknown natural causes – or her mother that her husband murdered her. Shaken and resolute, her mother journey out the truth and deliver justice for her daughter.

Based on the real story of the 1897 Greenbrier Ghost, Everlasting Faint a true crime drama, a ghost and an all-American opera. Don’t miss Madison Opera’s rst world over composed Madison’s own Scott Gendel.

13 & 15, 2026 |

2026 IN

TRANSLATIONS is story, miss premiere in 30 years, by

WITH

Any upbeat music tonight may remind you of our community. This is purely a coincidence.

When it comes to senior living, Capitol Lakes simply has the right

“feel.”

Allegro. Giocoso. Vivace.

Not the expected adjectives to describe a senior living community, for sure. But if the terms fit, they fit. We invite you to see it (and feel it) for yourself at a personal tour. Call today.

CENTENNIAL ANNIVERSARY DONORS

We are deeply grateful to these donors who have made gifts or commitments for the Madison Symphony Orchestra’s Centennial Anniversary to support special projects, programs, or performances, as of December 18, 2025.

$100,000+ CENTENNIAL CHAMPIONS

Diane Ballweg

Joel and Kathryn Belaire

Norm and Barbara Berven

W. Jerome Frautschi

Myrna Larson

Pleasant T. Rowland Foundation

Judith and Nick Topitzes

$50,000 - $99,999

Madison Community Foundation

Madison Gas & Electric Foundation, Inc.

Peggy and Tom Pyle

$25,000 - $49,999

Jim and Susan Bakke

Lau and Bea Christensen

John J. Frautschi Family Foundation

Madison Symphony Orchestra League

Elaine and Nicholas Mischler

Kay Schwichtenberg and Herman Baumann

$10,000 - $24,999

Fernando and Carla Alvarado

Scott and Janet Cabot

Capitol Lakes

James Dahlberg and Elsebet Lund

Larry Hands and Karen Kendrick-Hands

John J. Frautschi Family Foundation, in honor of John DeMain

Marriott Daughters Foundation

Gary and Lynn Mecklenburg

David and Kato Perlman

Pamela Ploetz and John Henderson, in honor of John DeMain

Joe and Mary Ellyn Sensenbrenner

$5,000 - $9,999

Je rey and Angela Bartell

John W. Erickson

Paul and Susan Erickson, in memory of Margaret C. Winston

David Falk and JoAnne Robbins

David Flanders and Susan Ecroyd

Dr. Robert and Linda Graebner

Terry Haller

Kathleen Harker

Hooper Corporation

J.H. Findor & Son Inc.

Nancy Mohs

The Parker Family

Lynn Stegner

Peter and Leslie Overton

Reynold V. Peterson

Thomas E. Terry

Jim and Jessica Yehle

$2,500 - $4,999

Rozan and Brian Anderson

Rosemarie and Fred Blancke

BMO

Ellsworth and Dorothy Brown

Catherine Buege

Steven Ewer and Abigail Ochberg

Dr. Thomas and Leslie France

Kelly Family Foundation Inc.

Allan and Sandra Levin

Mark and Nancy Moore

Dennis and Karen Ne

Reynold V. Peterson

Cyrena and Lee Pondrom

Beth and Peter Rahko

Doug and Katie Reuhl

Richman & Richman LLC

Fredrick and Karen Schrank

Bassam Shakhashiri

Mary Lang Sollinger

Stark Company Realtors

Lynn Stathas

U.S. Bank Private Wealth Management

Jasper and JoAnne Vaccaro

UP TO $2,499

Adesys IT Specialists

Mike Allsen and Robin Hackman

Ellis and Susan Bauman

Michael Bridgeman and Jack Holzhueter

Capitol Bank

Doug and Sherry Caves

Cavi, Fortune & Associates

Dawn Crim and Elton Crim Jr.

Farley’s House of Pianos

Tyrone and Janet Greive

Jane Hamblen and Robert F. Lemanske

Brandon S. Hayes

Bob and Louise Jeanne

Valerie and Andreas Kazamias

David Lauth and Lindsey Thomas

Ann Lindsey

Linda and Michael Lovejoy

Charles McLimans and Dr. Richard Merrion

Stephen Morton and Rochelle Stillman

Jeanne Myers

Myron Pozniak and Kathleen Baus

Janet Renschler and Sandra Dolister

Orange Schroeder

Lise R. Skofronick

Sharon Stark

Carolyn White

IN-KIND

American Printing

BRAVA Magazine

Fiore Companies, Inc.

Madison Media Partners

Surroundings Events and Floral

WMTV 15 News

UNIVERSITY OPERA PRESENTS

MARCH 2026

TICKETS

Carol Rennebohm Auditorium – Music Hall

Musi c

A Gift of Music

Thank you for attending this Madison Symphony Orchestra concert!

Did you costs of present from allowing from al performa

know ticket sales cover less than half the presenting concert season? Contributions dedicated MSO patrons bridge this gap, people walks to experience thrilling live orchestral performances in Overture Hall. to Annual Fund today knowing you have helped share these magniﬁcent concerts with others in your community.

ten d ing t hi s chest r a con cert! d Stock

The Soldier’s Tale by Igor Stravinsky

Make a gift the MSO Fund to pride in View at 2026

An intimate beneﬁt concert where music, story, and insight converge.

giving levels and donate madisonsymphony.org/individual

WAYS G IV E

Check Credit Card

Donor Advised Fund QCD from your IRA

Appreciated Matching Gift from Employer TO Monthly sustaining gift

Notes & Narratives is Wisconsin Youth Symphony Orchestras’ signature beneﬁt concert experience, pairing a deep, engaging exploration of a single masterwork with a complete live performance, enriched by new context, collaboration, and perspective.

Featuring members of the Wisconsin Chamber Orchestra and Madison Symphony Orchestra, conducted by Kyle Knox, with special guests Kanopy Dance and narration by James Ridge, this year’s program brings Stravinsky’s The Soldier’s Tale vividly to life.

Sunday, April 19 | MYArts

Join fellow music lovers, arts patrons, and community leaders for an evening that invites you to listen more deeply and hear the music in a new way.

Learn more & reserve your seat: WYSOmusic.org/Notes-Narratives-2026

James Ridge, Narrator

Kyle Knox,Conductor

Robert E. Cleary, Choreographer

ENDOWMENT GIVING: THE CENTURY SOCIETY

We gratefully acknowledge our Century Society donors, who have made commitments of $100,000 or more to the Madison Symphony Orchestra’s endowment through outright or planned gifts, as of December 2025. Their gifts create a solid ﬁnancial foundation upon which the MSO can realize its vision to be a leader in classical music performance, education, community engagement, and artistic innovation for generations to come.

our Madison as of a upon which the MSO can a artistic come.

Please support our advertisers and let them know you saw their ad in the Madison Symphony Orchestra program book. Interested in advertising with us? Visit madisonsymphony.org/ads to learn more. 5 American Printing

Capitol Lakes

New Century madisonsymphony.org/endowment a of

Century Society members are always welcome. Visit madisonsymphony.org/endowment to learn more about endowment giving and view a full list of endowment donors.

Con vivo 39 Farley’s House Of Pianos

Farley’s Salon Piano Series

Fiore Companies

Lake Ridge Bank

Carla and Fernando Alvarado

Dennis Appleton and Jennifer Buxton

Diane Ballweg

Chuck Bauer and Chuck Beckwith

Barbara and Norman Berven

Dr. Annette Beyer-Mears

Rosemarie and Fred Blancke

Eugenie Mayer Bolz Family Foundation

Jim and Cathie Burgess

Martha and Charles Casey

Margaret Christy

Pat and Dan Cornwell

James F. Crow

James Dahlberg and Elsebet Lund

William and Alexandra Dove

The Evjue Foundation, Inc.

Linda I. Garrity

George Gay

George and Candy Gialamas

Tyrone and Janet Greive

Terry Haller

Carl M. Hudig

Dr. Stanley and Shirley Inhorn

Patricia Kokotailo and R. Lawrence DeRoo

Arno and Hazel Kurth

Myrna Larson

James Victor Lathers

Peter Livingston and Sharon Stark

Madison Symphony Orchestra League

Claudia Berry and David E. Miran

Nicholas and Elaine Mischler

David and Kato Perlman

John L. Peterson

Sheila Read

The Reuhl Family

Pleasant T. Rowland

Harry D. Sage

JoAnn Six

Gareth L. Steen

Harry and Evelyn C. Steenbock

Steinhauer Charitable Trust

Thomas E. Terry

Marilynn Thompson

Judith and Nick Topitzes

Katherine and Thomas Voight

William and Joyce Wartmann

Elyn L. Williams

Margaret C. Winston

Six Anonymous Friends

The Madison Concourse Hotel

Madison Opera

Madison Magazine

Madison Media Partners 27 Madison Gas & Electric Foundation, Inc. 27 Madison Veterinary Specialists 15 Oakwood Chamber Players

PBS Wisconsin 48 Supranet 43 University of Wisconsin Opera 35 Wisconsin Public Radio 44 Wisconsin Youth Symphony Orchestra 41 WMTV 15 News

OVERTURE HALL INFORMATION BOARDS & ADMINISTRATION

RESTROOMS

Women’s and men’s restrooms are located on each level of Overture. Family assist/gender inclusive restrooms, available to persons of any gender identity and expression, are available in the following areas:

• Lower-Level Rotunda: to the right of the stairway.

• First ﬂoor lobby / Overture Hall: near coat check.

• Second ﬂoor: Gallery 2—second door to the left o the elevators.

Amenities at gender-inclusive restrooms include:

• Lockable door to provide privacy for individual users

• Ample room for an assistant/family member, if needed

• Accessible sink, stool and urinal (ﬂoor level)

• Changing stations

• Power-assist doors (Level 1 restrooms only)

ACCESSIBILITY

Overture Center is fully accessible to persons with mobility, hearing, and visual impairments. Ushers are available at each concert to assist you. Wheelchair or transfer seating is available; please notify the Overture Center Box O ce when purchasing your ticket. If you require an assistive-listening device, please alert an usher at the concert. Braille programs are also available upon request. Please contact Heather at hrose@madisonsymphony.org at least three weeks prior to the concert you wish to attend.

GUEST CONSIDERATIONS

The musicians and your fellow audience members thank you!

• Please arrive early to ensure plenty of time to get through security and to be seated. If you arrive late, you will be seated during an appropriate break in the music at the discretion of the house sta . If you need to leave during the concert, please exit quietly and wait to be reseated by an usher at an appropriate break.

• Please feel free to take photos before and after the concert, and during intermission! Once the lights dim, please turn o all cell phones and electronic devices.

• Please do not wear perfumes, colognes or scented lotions as many people are allergic to these products.

• Smoking is not permitted anywhere in Overture Center for the Arts.

• The coat-check room is open when the weather dictates and closes 20 minutes after the performance ends.

• Food and beverages are available at bars and concession stands in the Overture Lobby. Beverages are allowed in Overture Hall, but please enjoy food in the lobby. Please unwrap cough drops and candies before the concert begins.

Please take note: We will adhere to all public health guidelines and cooperate with Overture Center for the Arts to ensure your safety. We invite you to visit madisonsymphony.org/health for more information on health and safety. Overture Center safety information can be found at overture.org/health

MADISON SYMPHONY ORCHESTRA INC. BOARD OF DIRECTORS, 2025-2026

OFFICERS

Michael Richman, Chair

Janet Cabot, Secretary

Doug Reuhl, Treasurer

Ellsworth Brown, Immediate Past Chair

Barbara Berven, Member-at-large

Oscar Mireles, Member-at-large

Derrick Smith, Member-at-large

Lynn Stathas, Member-at-large

Anna Trull, Member-at-large

DIRECTORS

Lynn Allen-Ho mann

Brian Anderson

Ruben Anthony

Barbara Berven

Rosemarie Blancke

Ellsworth Brown

Janet Cabot

Cecilia Carlsson

Bryan Chan

Elton Crim

James Dahlberg

Robert Dinndorf

Audrey Dybdahl

Marc Fink

Jane Hamblen

Paul Ho mann

Mooyoung Kim

Phillip La Susa

David Lauth

Robert Lemanske

Ann Lindsey

Marta Meyers

Oscar Mireles

Richard Morgan

Leslie Overton

Jon Parker

Lester Pines

Michael Richman

Sophia Rogers

Carole Schae er

John Sims

Derrick Smith

Lynn Stathas

Todd Stuart

Anna Trull

Jasper Vaccaro

Ellis Waller

Eric Wilcots

Michael Zorich

ADVISORS

Elliott Abramson

Michael Allsen

Carla Alvarado

Je rey Bauer

Ted Bilich

Camille Carter

Martha Casey

Laura Gallagher

Tyrone Greive

Michael Hobbs

Mark Huth

Stephanie Lee

José Madera

Joseph Meara

Gary Mecklenburg

Larry Midtbo

Abigail Ochberg

Greg Piefer

Cyrena Pondrom

Margaret Pyle

Jacqueline Rodman

Kay Schwichtenberg

Mary Lang Sollinger

Judith Topitzes

Carolyn White

Anders Yocom

Stephen Zanoni

LIFE DIRECTORS

Terry Haller

Valerie Kazamias

Elaine Mischler

Nicholas Mischler

Douglas Reuhl

HONORARY DIRECTORS

Jennifer Berne, President Madison College

Kathy Evers, FirstLady of the State of Wisconsin

Melissa Agard, DaneCountyExecutive

DIRECTORS EMERITUS

Helen Bakke

Wallace Douma

Fred Mohs

Stephen Morton

Beverly Simone

John Wiley

EX OFFICIO DIRECTORS

Rozan Anderson

Mark Bridges

Rose Heckenkamp-Busch

William Ste enhagen

EX OFFICIO ADVISORS

Dan Cavanagh

Daniel Davidson

Josh Biere

MADISON SYMPHONY ORCHESTRA FOUNDATION

INC. BOARD, 2025-2026

OFFICERS

Nicholas Mischler, President

Jon Parker, Vice President

Robert Reed, Secretary-Treasurer

DIRECTORS

Ellsworth Brown

Joanna Burish

Jill Friedow

Juan Gomez

Jane Hamblen

Nicholas Mischler

Jon Parker

Gregory Reed

Robert Reed

Douglas Reuhl

Michael Richman

MADISON SYMPHONY ORCHESTRA LEAGUE BOARD OF DIRECTORS, 2025–2026

OFFICERS

Rozan Anderson, President

Don Sanford, President-Elect

Ledell Zellers, Recording Secretary

Janet Renschler, Corresponding Secretary

Leslie Overton, Treasurer

Michael Richman, MSO Board Chair

Barbara Berven, Immediate Past President/ Nominations

Louise Jeanne, VP Administration

Jackie Judd, AVP Administration

Kathy Forde, VP Communications

Cathy Buege, AVP Communications

Kathy Forde, AnnualReport

Lori Poulson, VP Education (and Youth Docent Programs)

Jacqui Shanda, AVP Education

Judy Kalan, MusicDiscoveryTalks

Jessica Yehle, VPMembershipRecruitment & Retention

Michael Bridgeman, VPMembershipRecords

Lynn Stegner, VPSpecialProjects

Teressa Smith, AVP SpecialProjects

Don Sanford, Parties of Note 2024-2025

Jan Cibula, VPSocialActivities

Mary Lou Tyne, FallLuncheon

Rosemarie Blancke, SpringLuncheon/

Annual Meeting

Valerie Kazamias, Mid-winterLuncheon

Pat Bernhardt, Holiday Party

Jim Patch, Men’sBridge

Marilyn Ebben, Women’s & CouplesBridge

ADVISORS

Pat Bernhardt

Rosemarie Blancke

Janet Cabot

Marilyn Ebben

Valerie Kazamias

Fern Lawrence

Ann Lindsey

Linda Lovejoy

Elaine Mischler

Beth Rahko

Judith Topitzes

Carolyn White

Nancy Young

FRIENDS OF THE OVERTURE

CONCERT ORGAN BOARD OF DIRECTORS, 2025-2026

OFFICERS

William Ste enhagen, President

Charles McLimans, President-Elect

David Willow, Secretary-Treasurer

Robert Lemanske, Past-President

DIRECTORS

Herman Baumann

Janet Cabot

Quinn Christensen

Paula Doyle

Audrey Dybdahl

Mark Huth

Douglas McNeel

Margaret Murphy

Mary Ann Nanassy

David Parminter

Rhonda Rushing

Jennifer Younger

Be part of the experience.

ADVISORS

Fernando Alvarado

Diane Ballweg

Jim Baxter

Barbara Berven

Ellsworth Brown

John Gauder

Terry Haller

Ellen Larson Latimer

Gary Lewis

Elaine Mischler

Vicki Nonn

Reynold Peterson

Teri Venker

Anders Yocom

EX OFFICIO

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

MADISON SYMPHONY ORCHESTRA INC.

ADMINISTRATION

Robert Reed, Executive Director

David Gordon, Executive Assistant & Board Liaison

Ann Bowen, General Manager

Simon Arno, Receptionist & Administrative Assistant

Alexis Carreon, Personnel Manager

Jennifer Goldberg, Orchestra Librarian, John & Carolyn Petersen Chair

Lisa Kjentvet, Director of Education & Community Engagement

Katelyn Hanvey, Education & Community Engagement Manager

Casey Oelkers, Director of Development

Meranda Dooley, Manager of Individual Giving

Rachel Cherian, Manager of Grants & Sponsorships

Christopher Stager, Interim Marketing Director

Heather Rose, Marketing Communications Manager

Isabella Clinton, Audience Experience Manager

Emma Potter, Digital Marketing Manager

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