Reginald Mobley & Greg Zelek, Organ Program Book, Feb 2022

REGINALD MOBLEY & GREG ZELEK FEB 15

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TABLE OF CONTENTS Reginald Mobley Biography................................................ 4 Greg Zelek Biography............................................................ 7 Concert Sponsor...................................................................... 8 Program....................................................................................... 9 Program Notes.......................................................................... 12 Texts and Translations........................................................... 22 Adopt-a-Stop............................................................................. 28 Organ Specifications.............................................................. 31 Friends of the Overture Concert Organ......................... 33 Ticket Information................................................................... 43 Boards and Administration .................................................. 44

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 affirm that we are better when we stand together.

REGINALD MOBLEY | COUNTERTENOR

Particularly noted for his “shimmering voice, a voice which also allows lucid and pure levels” (BachTrack), countertenor Reginald Mobley is highly sought-after for baroque, classical and modern repertoire.

Reginald leads a very prolific career in the United States, where he resides. In March 2020, he became the first ever programming consultant for the Handel and Haydn Society following several years of leading H+H in his community engaging Every Voice concerts.

He is a regular guest with Cantata Collective, Musica Angelica, Agave Baroque, Charlotte Bach Akademie, Seraphic Fire, Quodlibet, Pacific Music Works, Bach Collegium San Diego, San

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Francisco Early Music Society, Philharmonia Baroque Orchestra, and others. Recent engagements have included concerts and recordings with organisations such as Opera Lafayette, Miller Theatre (Columbia University), Blue Heron in Boston, Chatham baroque in Pittsburgh, Washington Bach Consort. Most of the recordings are available online.

In Europe, his career is expanding; in the UK, he has toured with the Monteverdi Choir and English Baroque Soloists for the last five years, and continues to do so, and has performed with the Royal Scottish National Orchestra, Academy of Ancient Music and was due to make his debut with the City of Birmingham

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Symphony Orchestra in June 2022. He was also invited to perform with the OH! (Orkiestra Historycsna) in Poland and the Vienna Academy in Austria (Musikverein), gave a recital (with a Spiritual programme) at the Musée d’Orsay in Paris, toured with the Freiburger Barockorchester under Kristian Bezuidenhout, Balthasar Neumann Chor & Ensemble and the Bach Society in Stuttgart.

His recordings have been received with critical acclaim, including several Grammy nominations, most recently for his work on A Lad’s Love

with Brian Giebler on BRIDGE 9542 label, which has been nominated for a Grammy Award for Best Classical Solo Vocal Album. He has also been featured on several albums with the Monteverdi Choir and Sir John Eliot Gardiner, including a recording of Bach’s St Matthew Passion and Magnificat. His own projects include Peace In Our Time on Vgo Recordings label with frequent collaborators, Agave Baroque. He also looks forward to the release of American Originals with Agave Baroque, which celebrates the music of composers of colour.

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Benefits & Perks for Our Subscribers

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GREG ZELEK | ORGANIST

Praised as “extraordinary in the classical music world” (Jon Hornbacher, PBS Wisconsin Life), Greg Zelek is the Principal Organist of the Madison Symphony Orchestra and Curator of the Overture Concert Organ, where he oversees all of the MSO’s organ programming.

Since September 2017, Greg has proudly held the Elaine and Nicholas Mischler Curatorship.

In addition to concertizing throughout the United States, Greg regularly performs with orchestras as both a soloist and professional ensemble member, including the Florida Orchestra, Ridgewood Symphony, Jacksonville Symphony, MET Orchestra, and Miami Symphony

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Orchestra. In 2016, Greg was chosen by The Diapason magazine as one of the top “20 Under 30” organists, a feature which selects the most successful young artists in the field. He was the First Prize winner in the 2012 Rodgers North American Classical Organ Competition, the 2012 West Chester University Organ Competition, and the 2010 East Carolina University Organ Competition. A recipient of the inaugural Kovner Fellowship, Greg received his Bachelor’s and Master’s degrees, as well as an Artist Diploma, from the Juilliard School as a student of Paul Jacobs.

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THANK YOU TO OUR EXCLUSIVE SPONSOR for supporting this performance

William Steffenhagen

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

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

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

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

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Tuesday, February 15, 2022 Overture Concert Organ Series | Program No. 2

Reginald Mobley, Countertenor Greg Zelek, Organ TRADITIONAL SPIRITUAL, arr. Moses Hogan Deep River JOHANN SEBASTIAN BACH (1685-1750) Widerstehe doch der Sünde, BWV 54 Aria: Widerstehe doch der Sünde Fugue in A minor, BWV 543 GEORGE FRIDERICK HANDEL (1685-1759), Più non cura, from Il trionfo del Tempo e del Disinganno ART SONGS BY FLORENCE PRICE (1887-1953) AND HARRY T. BURLEIGH (1866-1949) Price, Because Burleigh, Jean Price, Sunset FRANZ LISZT (1811-1886), arr. Nigel Potts Liebestraum No.3 HENRY PURCELL (1659-1695) Music for a While continued on next page

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program continued

FLORENCE PRICE (1887-1953) Suite No.1 for Organ Fantasy Fughetta Air Toccato GEORGE GERSHWIN (1897-1936) Our Love Is Here To Stay WALLACE WILLIS (CA.1820-1880), arr. Harry T. Burleigh Steal Away

THOMAS A. DORSEY (1899-1993), arr. Zelek and Mobley Precious Lord, Take My Hand

Please Note: This program will be played without an intermission Texts & translations can be found on p. 22

Welcome to the MSO! Please turn off your electronic devices and cell phones for the duration of the concert.

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

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TUE.

MAR. 15 7:30 PM

ISABELLE DEMERS Known as the ‘diminutive dynamo’, Isabelle Demers will wow our audience with a program that will use just about every sound on our Mighty Klais. This concert of challenging transcriptions, beginning with Mendelssohn’s Overture to St. Paul and closing with movements of her own transcription of Stravinsky’s Petrushka, will demonstrate the versatility of our great instrument. Ms. Demers’ incredible virtuosity and nuanced interpretations will be on full display in this can’t-miss event!

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

Isabelle Demers, Organ Mendelssohn, Overture to “St. Paul” Davies, Solemn Melody Laurin, Sonata No. 1 Bach, Sinfonia from Cantata BWV 146 Alkan, Excerpts from Twelve Etudes for the Feet Stravinsky, Select Movements from Petrushka SPONSORS Walter & Karen Pridham Charitable Fund Skofronick Family Charitable Trust Friends of the Overture Concert Organ

“If the organ is the ‘king of instruments,’ then the king’s consort must be Isabelle Demers, one of North America’s most sought-after organists.”

– The Union

Dates, artists, and programs subject to change.

ALL TICKETS $ 20

madisonsymphony.org, the Overture Center Box Office or (608) 258-4141

DISCOVER DISCOVER MOREMORE madisonsymphony.org/ madisonsymphony.org/ mobley demers

PROGRAM NOTES FEBRUARY 15, 2022

Program Notes by J. Michael Allsen

In this concert, the Madison Symphony Orchestra’s principal organist, Greg Zelek, and countertenor Reginald Mobley perform a program including a diverse range of styles: from Baroque arias by Bach, Handel, and Purcell and organ works by Bach and Liszt, to Black spirituals, Gospel music, and George Gershwin. Also included are rarelyheard art songs and an organ work by pioneering African American composers Harry S. Burleigh and Florence Price.

Traditional Spiritual

Deep River (arr. Moses Hogan)

One of America’s first great homegrown musical traditions, the spiritual had its origins in the culture of enslaved Africans in the early 19th century. Spirituals, whether reflective “sorrow songs” or joyful “jubilees,” were informal hymns that often celebrated the afterlife that awaited after the bitterness and pain of slavery.

Many of these songs predate the Civil War, and were passed down through the oral tradition. In the later 19th century, the spiritual became the first of many Black musical styles that became part of the broader American culture.

They were first popularized by the famous Fisk Jubilee Singers and 12

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other Black performers, and were later collected and published by arrangers like Harry T. Burleigh.

Since the early 20th century, African American singers like Marian Anderson, Jessye Norman, and many others have also made it a tradition to incorporate spirituals into classical programs. One of the one of the most famous spirituals, Deep River, is first mentioned in print in 1867, but it certainly comes from before Emancipation. Like many of these songs, there are subtle shades of meaning: crossing the Jordan River is a metaphor for crossing into the next life, but for enslaved Blacks of the early 19th century, freedom often met crossing a real body of water, the Ohio or Mississippi, into a free state, or the Great Lakes or St. Lawrence into Canada.

Johann Sebastian Bach (1685-1750) Widerstehe doch der Sünde, BWV 54 and Fugue in A minor, BWV 543

The great majority of Bach’s sacred cantatas were written in the 1720s, during his first few years working as a church musician in Leipzig. However, he also composed cantatas for most of his earlier postings. His cantata for solo alto, Widerstehe doch der Sünde (Stand firm against sin), which was

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composed while he was working the ducal court of Weimar in 1708-17. Bach served as organist, and after 1714, as the court’s music director, a position whose duties included producing a new cantata each month to be sung in the court chapel. Most of his church cantatas were written for a specific Sunday or holiday within the church year, and Widerstehe doch der Sünde has usually been dated to 1714 or 1715, either for the third Sunday in Lent or Trinity Sunday. However, more recent biographers have suggested that was composed a year or more before 1714, and that this piece—an encouragement to avoid the traps of sin—was not tied to a particular part of the church year. The brief libretto comes from a set of cantata texts published in 1711, by the poet Georg Christian Lehms.

Written originally for alto voice and a small string ensemble with continuo, the cantata is played here with organ accompaniment.

The opening aria begins with a striking dissonance: probably a pointed musical reference to the “poisons of sin” described in the text. Like most contemporary arias, is set in da capo form: two contrasting musical sections, and a concluding repeat of the opening section that allows for ornamentation by the soloist.

Here the opening section is rather relaxed, while the second section, with its reference to Satan is more tense.

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Salon Piano Series presents

Drew Petersen Sat. · Mar. 5, 2022 · 7:30 PM

John O’Conor Sat. · Apr. 23, 2022 · 7:30 PM

Bill Charlap Sat. · May 21, 2022 · 7:30 PM Sun. · May 22, 2022 · 2:00 PM

Sara Daneshpour Sat. · Jun. 11, 2022 · 7:30 PM Programs at SalonPianoSeries.org

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

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The Fugue in A minor also dates from Bach’s years in Weimar.

Bach is of course recognized today as the great Baroque master of the fugue. This is certainly a masterful example, written by a young Bach, but it also imitates the style of his own acknowledged master, Dieterich Buxtehude. In 1705, the 20-year-old Bach took a leave from his church position in Arnstadt to walk 250 miles to Lübeck, where he hoped to study with Buxtehude—the only truly long journey Bach ever made. Though he was not exactly AWOL from Arnstadt, his employers complained that Bach had requested a fourweek leave, but stayed away for “about four times that long.” Just how much he actually studied with Buxtehude is unclear, but several of his organ works over the next few years clearly show his admiration for Buxtehude’s music. The Fugue in A minor is set in 6/8, lending a dancing quality to this intensely complex work. In the opening, the fugue subject is presented four times, lastly by the pedals. The fugue includes some long, chromatic episodes—typically passages without the fugue’s opening subject, though Bach subtly manages to work in fragments of this theme. The ending is dramatic: the writing for the manuals fades away, leaving the pedals exposed for a final showy passage. The work ends with a brilliant flourish from the manuals.

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George Friderick Handel (1685-1759)

Più non cura, from Il trionfo del Tempo e del Disinganno

Handel is of course forever linked with the oratorio: the great series of English oratorios he began writing in the 1730s, particularly Messiah of 1741, remain some of his most oftenperformed works. However his first oratorio, Il trionfo del Tempo e del Disinganno (The Triumph of Time and Disillusionment), was composed long before these famous English works. Handel had written his first Italian operas while working in Hamburg, and in the fall of 1706, the 21-year old composer travelled to Italy. After producing his opera Rodrigo in Florence, he moved on to Rome by the end of 1706, and spent the next two years there. Italian opera was at the time banned in Rome, but its place was taken by large-scale productions of Italian oratorios. The oratorio, essentially an unstaged sacred opera, had originated as a form in Rome a century earlier.

Handel wrote two oratorios in Rome, Il trionfo in early 1707, and La Resurrezione (The Resurrection) in April 1708. The most important Roman sponsors of music were the wealthy cardinals, who maintained large musical establishments, and competed in mounting lavish performances. Il trionfo was performed in the palace of Cardinal Pietro Ottoboni, one of Rome’s leading patrons. Leading

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the orchestra was Archangelo Corelli, Rome’s greatest violinist, and an important composer in his own right. Handel and Corelli reportedly clashed at rehearsals, when Corelli claimed not to understand the music of the overture, which was in the French style. Handel eventually wrote a new, more Italianate overture, with a showy violin part for Corelli. (The phrase “When in Rome, do as the Romans do.” was already ancient in 1707, and clearly applied here!)

Cardinal Benedetto Pamphili wrote the libretto, an allegory with a Christian message. The characters are Belleza (Beauty), Piacere (Pleasure), Tempo (Time), and Disinganno (usually translated as “Disillusionment,” but perhaps better understood as “Undeceived.”) Belleza is initially seduced by Piacere, and Tempo and Disinganno patiently reason with her to resist. Belezza eventually rejects the attractions of Piacere to begin a life of penitence and prayer. The roles of Piacere (soprano) and Disinganno (alto) were probably intended for male castrati, but they are typically performed today by countertenor or female voice. The da capo aria Più non cura (No longer does he care) is sung by Disinganno to Belleza in Act II, a gentle, pastoral song of persuasion. Handel was clearly fond of this early oratorio, and reworked it for performances in England decades later: first in 1737, still in Italian, and again in 1757, as The Triumph of Time and Truth. madisonsymphony.org

Florence Price (1887-1953) Because and Sunset

Harry T. Burleigh (1866-1949) Jean

This program includes three works

by Florence Price, beginning with two of her art songs. Price was born Florence Smith in Little Rock, Arkansas, into a well-respected family. (Her father was the only Black dentist in this strictly segregated city.) She studied at the New England Conservatory of Music, graduating in 1906. She then taught music for several years in Atlanta and Little Rock, but following a lynching in Little Rock in 1927, her family resettled in Chicago, where she would spend the rest of her life. It was in Chicago that Price finally began to have success as a composer.

However, she struggled financially, particularly after she divorced her abusive husband in 1931, leaving her single mother to two daughters. Price wrote advertising jingles and popular songs under a pen name and played organ in silent movie theaters to pay the bills, but her classical compositions began to attract attention. This culminated in 1932, when her Symphony No.1 was performed by the Chicago Symphony Orchestra—the first work by an African American woman to be played by a major orchestra.

Though her music continued to be played and championed by star performers like Marian Anderson, she struggled to make ends meet throughout her life. Interest in Price’s music has increased

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dramatically following the 2009 discovery of a collection of some 200 of her pieces, including many previously lost works.

Price wrote for the solo voice throughout her life, both settings of spirituals and original art songs.

The art songs heard here, Because and Sunset, come from a collection published by Richard Heard in 2015 that includes 44 of her art songs and spiritual arrangements, nearly all of them published for the first time. The solemn Because sets a 1905 poem (originally titled Compassion) of Paul Laurence Dunbar, widely considered to be America’s first influential Black poet. Like many of her settings of noted Black poets like Dunbar and Langston Hughes, this music emulates the sound of the spiritual in its simple, unadorned melody, and in the striking “blue note” near the end. It is a truly effective setting of this poem of unrequited love. Little is known of the poet Odessa P. Elder, who wrote Sunset. Price gave this highly romantic text—wistful memories of an unnamed “golden town” inspired by a beautiful sunset—an appropriately romantic setting.

Born a generation before Price, Harry T. Burleigh was a pioneer in fusing Black musical styles, particularly the spiritual, and Western classical music. He studied with Antonín Dvořák in the 1890s, when the Bohemian composer was in the United States, teaching at the National Conservatory in New York City.

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It was Burleigh who introduced Dvořák to the spiritual, an influence on Dvořák’s well-known “New World” Symphony. Burleigh had a successful career as a singer, but was particularly well-known for his published arrangements of spirituals: arrangements that brought this style into the homes and churches of thousands of Americans of all races. Burleigh was also a composer in his own right, writing well over 200 compositions, most of them art songs. His Jean was published in 1903, with a dedication to Mrs. James (Ellin Prince) Speyer, a New York philanthropist noted for her work to help Black women and children. Jean would be one of Burleigh’s greatest successes. In 1916, a writer in the New York Age, one of America’s leading AfricanAmerican newspapers, called it “one of the most popular songs ever heard from the concert stage.”

Jean is a thoroughly romantic setting of a sentimental poem by Frank L. Stanton.

Franz Liszt (1811-1886)

Liebestraum No.3 (arr. Nigel Potts)

Franz Liszt was the preeminent piano virtuoso of the 19th century, and the model for many pianists to follow. He was also an imaginative and groundbreaking composer, but as a young man, he was so much in demand as a soloist that he was allowed little time to develop his composing skills. Liszt’s concert tours in the 1830s and 1840s were

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nothing short of phenomenal— contemporaries used the term “Lisztomania” to describe the frenzy surrounding his playing. He performed hundreds of concerts to packed houses throughout Europe, and produced for the most part compositions that focused on his own technical showmanship, rather than musical content. It was not until he settled in Weimar in 1848, taking a secure and stable job as music director to the Weimar court, that Liszt’s music takes a turn away from these showy pieces. Among other experiments, he began to explore the idea of program music: works that tell a story or which are based upon poems, paintings, or other nonmusical inspirations. Most famous are a series of symphonic poems written in Weimar, but he also wrote programmatic works for piano. In 1850, he published an innovative set of three piano works titled Liebesträume (Dreams of Love). Each of these works is based upon a poem, and each represents an aspect of love: exalted love in No.1, erotic love in No.2, and mature, unconditional love in No.3. Liebestraum No.3, the most popular of the three, was inspired by Hermann Ferdinand Freilgrath’s O lieb, so lang du lieben kannst! The poem’s opening stanza, repeated as a refrain, translates as: “O love, love as long as you can! / O love, love as long as you will! / The time will come, the time will come, / when you will stand grieving at the grave.”

Liszt’s interpretation of this poem opens with a lyrical melody

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supported by gentle keyboard figures. The middle section begins in the same way, but moves into more agitated music. After a dreamy cadenza, Liszt returns to a meditative and sad version the opening music, and ends with a wistful coda.

Henry Purcell (1659-1695) Music for a While

Henry Purcell was the most important English composer of theatrical music prior to the 20th century. Englishlanguage opera had a relatively brief heyday in the later 17th century, after the Restoration of the royalty, and before English tastes turned to lavish and pompous Italian opera.

Purcell’s Dido and Aeneas is well-known, and still performed today, but he also produced vocal and instrumental pieces for masques and incidental music for dozens of stage plays in the flourishing theatrical scene of the Restoration period.

Much of his incidental music was published posthumously, including the aria Music for a While, which appeared in 1702 in the second volume of a collection titled Orpheus Britannicus—its title a tribute to Purcell, the “British Orpheus.”

Purcell wrote the aria for a 1792 revival of the play Oedipus by John Dryden and Nathaniel Lee. Oedipus, based loosely upon the Sophocles tragedy, included some spectacular

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staging effects, and Purcell’s music was an integral part of these scenes. Music for a While, originally divided among several singers, appeared in the opening of Act III, a scene where the soothsayer Tiresias summons a pack of ghosts from Hell, including the ghost of Oedipus’s father, the murdered Laius. (Alecto, who is mentioned in the aria, is a terrifying Fury who, like Medusa, has snakes for hair.)

The ghosts are commanded to stay still and listen to an aria that testifies to music’s power to “all your cares beguile.”

The aria is built over a ground bass—an ominous repeating figure that supports the vocal line throughout. Purcell includes some dramatic wordpainting: winding, chromatic music representing the ghosts’ “eternal bands” and a vivid picture of the snakes dropping from Alecto’s head!

Florence Price (1887-1953) Suite No.1 for Organ

Though it is not clear if she had had any formal training on organ while in Little Rock, Florence Price studied organ at the New England Conservatory, and played frequently in Boston as an organ accompanist and soloist. After graduation, she briefly worked as a church organist at the Unitarian Church in Nantick, Massachusetts, but it is unclear whether or not she ever had a regular church

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position after this. However, after moving to Chicago in 1927, Price studied in the American Conservatory of Music’s newlyestablished school of Theatre Orchestra Playing, and worked frequently as a theatre organist for the next few years. She was part of the Chicago Club of Women Organists, and she frequently performed at the club’s concerts, often presenting her own music. The premiere of her Suite No.1 was likely at one of these programs, on April 6, 1942, at Chicago’s Grace Episcopal Church. Like most of her nearly two dozen works for organ, the Suite No.1 was never published during her lifetime, and appeared in print only in 1993. One of her largest organ works, it is set in four movements. The Fantasy opens with a blues-flavored flourish, heard several times, between sometimes startlingly chromatic passages. Though she does not directly quote any spiritual tunes in the last three movements, many of Price’s melodies sound very much like spirituals. This is clearly the case with the subject of the second movement, Fughetta. The Air’s relaxed theme, played above a chromatic accompaniment, resembles a traditional spiritual “sorrow song.” The closing movement, Toccato, is tied together by repeated statements of a dancelike “jubilee”-style main theme that alternates with other equally lively ideas.

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George Gershwin (1897-1936) Our Love Is Here To Stay

Many of the songs of George Gershwin, written for Broadway and the movies, have become “standards” of American popular song. Gershwin’s witty and expressive music often provided a counterpoint to the equally witty and expressive lyrics of his brother Ira. Our Love Is Here To Stay was actually their very last collaboration, though sadly it was a posthumous one.

George completed the chorus of the song shortly before his death on July 11, 1937. Ira later wrote lyrics, and with the help of their friend Oscar Levant, reconstructed the introductory verse. Our Love Is Here To Stay appeared in the largely-forgotten 1938 movie musical The Goldwyn Follies, but then reappeared as the title music for the classic An American in Paris (1951).

Emancipation, working in Britt Willis’s cotton fields, until shortly before the Civil War, when Wallace and his wife were sent to work at the Spencer Academy, an Indian (and later freedmen) school. They remained at the school in the years after the Civil War. The Spencer Academy’s supervisor, Alexander Reid, heard a performance of spirituals by the Fisk Jubilee Singers in 1871, and sent them a few of Willis’s songs, including Steal Away and Swing Low, Sweet Chariot. The Jubilee Singers immediately made them part of their repertoire, and popularized them on their tours of the United States and Europe. Like many spirituals, Steal Away is about hope for redemption after death, but also had coded meanings: “stealing away” out of sight of slaveowners for religious and other meetings, or even escaping to freedom by way of the Underground Railroad.

Wallace Willis (ca.1820-1880)

Steal Away (arr. Harry T. Burleigh)

Many spirituals are anonymous, but Steal Away is credited to Wallace Willis, a biracial (Black/ Choctaw) musician born into slavery in Mississippi. Willis’s owner, Britt Willis, was also half Choctaw, and was forced to leave Mississippi by Andrew Jackson’s Indian Removal Act of 1830. Britt Willis and some 300 of his slaves walked the infamous “Trail of Tears” to Indian Territory (Oklahoma). Wallace Willis remained in enslavement until

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Thomas A. Dorsey (1899-1993)

Precious Lord, Take My Hand (arr.

Greg Zelek and Reginald Mobley)

Known as the “Father of Gospel Music,” Thomas A. Dorsey started his career in the early 1920s as a Blues pianist and composer, working the name of Georgia Tom. Dorsey experienced a religious revival in 1928 after a long period of deep depression. Though he continued to work as a Blues musician, he also begin to write religious songs that blended

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Blues with the spiritual and other Black traditions—the style eventually known as Black Gospel. This music was controversial in some quarters: for many churchgoing people, the Blues was the “Devil’s Music” and had no place in church. However, the new style caught on quickly and in the 1930s became the dominant form of music in the Black church. Dorsey was hired as music director at Chicago’s Pilgrim Baptist Church in 1930, a position he held for 50 years.

By 1932, Dorsey had set the Blues aside and devoted all of his time to the church and to

Gospel music. He founded the National Convention of Gospel Choirs and Choruses, which was devoted to spreading and teaching the new style. Dorsey’s best-known Gospel song, Precious Lord, Take my Hand, was written in 1932, when he was devastated by the deaths of his wife Nettie, who died in childbirth, and of their infant son a day later. The song, an emotional cry for comfort in a time of grief and loss, remains a standard at funerals today. program notes ©2022 by J. Michael Allsen

SAVE THE DATE!

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TUE.

MAY 20

GREG ZELEK, WITH THE DIAPASON BRASS AND TIMPANI

7:30 PM

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

The event will have me pulling out all the stops on our Overture Concert Organ to match the excitement and volume of my colleagues on stage!

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

– Jon Hornbacher, PBS Wisconsin Life

John Aley Trumpet

Matthew Onstad Trumpet

Mark Hetzler Trombone

Linda Kimball Horn

Joshua Biere Tuba

John Jutsum Timpani

— Greg Zelek

Greg Zelek, Organ Gigout, Grand Choeur Dialogue Rachmaninoff, Vocalise Elgar, Pomp and Circumstance DiLorenzo, Fire Dance Dinda, Nocturne J.S. Bach, Toccata and Fugue in D minor, BWV 565 Sullivan, The Lost Chord Guilmant, Final from Symphony No. 1 in D minor SPONSORS William Steffenhagen Elaine and Nicholas Mischler

Dates, artists, and programs subject to change.

ALL TICKETS $ 20

madisonsymphony.org, the Overture Center Box Office or (608) 258-4141

DISCOVER DISCOVER MORE MORE madisonsymphony.org/ madisonsymphony.org/ organbrass mobley

TEXTS AND TRANSLATIONS

Bach, Widerstehe doch der Sünde, BWV 54 Widerstehe doch der Sünde, sonst ergreifet dich ihr Gift.

Lass dich nicht den Satan blenden; denn die Gottes Ehre schänden, trifft ein Fluch, der tödlich ist.

Widerstehe doch der Sünde...

Stand firm against sin, lest its poison possess you.

Do not let Satan blind you, for to desecrate God’s honor meets with a curse, which leads to death.

Stand firm against sin...

Handel, Più non cura, from Il trionfo del Tempo e del Disinganno Più non cura valle oscura chi dal monte saggio vede sch’ella siede in basso orror.

E d’averla un giorno amata è così l’alma sdegnata che detesta il proprio error.

Più non cura...

No longer does he care for the dark valley, he who wisely sees from the mountaintop that it lies in deep gloom.

And thus the angry soul now detests its own error, having once loved it.

No longer does he care...

Purcell, Music for a While Music for a while shall all your cares beguile.

Wond’ring how your pains were eas’d and disdaining to be pleas’d till Alecto free the dead from their eternal bands, till the snakes drop from her head, and the whip from out her hands.

Music for a while shall all your cares beguile.

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2021 | 2022 SEASON

YOU MAY SAY I’M A DREAMER, BUT I’M NOT THE ONLY ONE JOHN LENNON “IMAGINE”

DREAM BIG. PRINT SMART. AMERICAN PRINTING COMPANY | 608.271.6544 info@americanprintingco.com | americanprintingco.com

Love can’t hide behind paper and pen.

MUSIC BY JERRY BOCK LYRICS BY SHELDON HARNICK

STARRING Susannah Biller, Emily Glick, Ben Edquist, Andrew Bidlack Alan Dunbar, Jeff Mattsey, Walker Stephenson, Robert A. Goderich DIRECTED BY Doug Scholz-Carlson CONDUCTED BY John DeMain FEATURING Madison Symphony Orchestra

FEBRUARY 18 & 20, 2022 CAPITOL THEATER Another day in the local perfume shop, circa 1930. Two clerks hate each other, not knowing that they are secret pen pals on their way to falling in love. Two other clerks are having an affair, but one of them is not playing by the rules. As fall gives way to winter, will love prevail?

With its charming score, witty lyrics, and sophisticated story, She Loves Me is the perfect romantic comedy. Brighten up winter with some happily-ever-after!

Sung in English with projected text | 608.258.4141 | madisonopera.org/SheLovesMe

EMBRACE YOUR PASSION FEEL IT LIVE

GIL SHAHAM PLAYS THE BEETHOVEN VIOLIN CONCERTO The first piece of this varied program, Rachmaninoff’s evocative and powerful score depicts Arnold Bocklin’s famous painting of an oarsman rowing a whiteclad figure across a dark expanse of water to the mysterious Isle of the Dead. The mood lightens when the Háry János Suite from Kodály’s comic Hungarian folk opera radiates exotic exuberance. Then the renowned Gil Shaham gives the crowning performance of the program when he breathes life and love into the Beethoven Violin Concerto.

MAR

11, 12 & 13

John DeMain, Conductor Gil Shaham, Violin

FRI 7:30 PM SAT 8:00 PM SUN 2:30 PM

Rachmaninoff, Isle of the Dead Kodály, Háry János Suite Beethoven, Violin Concerto in D major MAJOR SPONSORS The Madison Concourse Hotel & Governor’s Club Myrna Larson The Burish Group at UBS Audrey Dybdahl Marilyn and Jim Ebben David and Kato Perlman

ADDITIONAL SPONSORS DeWitt LLP Rodney Schreiner and Mark Blank Wisconsin Arts Board

“I was blown away by Gil Shaham. I’ve never seen a performance like that in my life!”

– MSO Subscriber

Dates, artists, and programs subject to change.

BUY TICKETS

$

20 -$ 98

madisonsymphony.org, the Overture Center Box Office or (608) 258-4141

DISCOVER MORE madisonsymphony.org/ shaham

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

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

To help ensure the instrument will continue to be heard by future generations, the MSO and Friends of the Overture Concert Organ are seeking an additional $500,000 for the organ endowment.

Currently, just $180,000 is needed to reach this goal!

16

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

–Nicholas and Elaine Mischler Tutti Donors

With a gift of $1,000 or more, you can adopt part of the Overture Concert Organ.

GIFT LEVEL

ADOPTION

DEFINITION

$250,000

Organ Console

The cabinet containing the keyboards, pedals, and stops.

$Adopted

Tutti (Full Organ)

When all the stops are pulled out.

$25,000

Division

A grouping of stops.

$10,000

Stop

A grouping of pipes.

$5,000

Façade pipes

Pipes that are visible.

$2,500

Single pipes - Major

Pipes located in the organ chamber that are not visible.

$1,000

Single pipes - Minor

Up to $999

General donation to the Organ Endowment Fund

Call the MSO office at (608) 257-3734 or email info@madisonsymphony.org to request an Adopt-a-Stop brochure. Visit madisonsymphony.org/adoptastop for additional information.

17

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

TUTTI Nicholas and Elaine Mischler

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

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

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

STOP John and Christine Gauder Pedal Contra Bombarde 32’

Reynold V. Peterson Swell Basson 16’

Lise Skofronick Solo Harmonic Flute 8’ John and Carol Toussaint Pedal Posaune 16’

Ann Wallace Solo French Horn 8’

An Anonymous Friend

FAÇADE PIPE Dr. Frederick W. Blancke Great Principal 16’ – F²

Daniel and Stacey Bormann in memory of Larry Shrode Great Principal 14’ – D²

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

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

Sandra L. Osborn Great Principal 16’ – C³

MAJOR PIPE Anne Bolz in honor of Greg Upward Solo Harmonic Flute 8’ – G³

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

Vicki and Marv Nonn Pedal Double Open 32’ – C¹

MINOR PIPE Fernando and Carla Alvarado Solo Principal 8’ – C³

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

Brian and Rozan Anderson Bassoon 16’ – A2

Chuck Bauer and Chuck Beckwith Choir Clarinet 8’ – B²

Nancy Becknell Solo French Horn 8’ – C¹

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2021 | 2022 SEASON

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

Capitol Lakes Swell Fugara 4’ – D3

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

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

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

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

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

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

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

Kris S. Jarantoski Swell Bordun 8’ – C³

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

Carolyn Kau and Chris Hinrichs Choir Suavial 8’ – C³

Gary Lewis Swell Basson–Hautbois 8’ – C³

Connie Maxwell Swell Basson–Hautbois 8’ – A³

Gale Meyer Solo French Horn 8’ – G1

Susanne M. Michler Swell Trompette Harmonique 8’ – C³

Stephen D. Morton Swell Bourdon 16’ – C¹

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

Larry and Jan Phelps Pedal – Subbass 16’ – C¹

Hans and Mary Lang Sollinger Swell Traversflöte 4’ – A²

Harriet Thiele Statz Choir Gemshorn 8’ – A3

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

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

madisonsymphony.org

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ORGAN SPECIFICATION Johannes Klais Orgelbau — Bonn, Germany 2004 • 72 Ranks GREAT 4-1/2” wind Principal Principal Offenflote Salicional Gedeckt Principal Rohrflote Quinte Octave Cornett V Mixtura mayor V Trompete Trompete

16 8 8 8 8 4 4 2-2/3 2

16 8

SWELL (enclosed) 4-1/2” wind 16 Bordun 8 Tibia 8 Bordun 8 Viola da Gamba 8 Voix Celeste 4 Fugara 4 Transversflote 2-2/3 Quintflote 2 Octavflote 1-3/5 Terzflote Plein jeu IV 16 Basson 8 Trompette harmonique 8 Basson-Hautbois 4 Clairon harmonique Tremulant CHOIR (enclosed) 4” wind Geigen Principal Suavial Rohrflote Gemshorn Unda maris Octave Viola Waldflote Quinte Terz Mixtura minor IV Clarinet Tremulant

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

SOLO (enclosed) 11” wind Principal Harmonic Flute Stentor Gamba Gamba Celeste Tuba Tuba French Horn PEDAL 5” wind Vox Balinae (Resultant) Double Open Untersatz Open Wood Violon (Gt) Bourdon (Sw) Subbass Octavbass Harmonic Flute (Solo) Stentor Gamba (Solo) Gedackt Octave Contra Bombarde Posaune Tuba (Solo) Trompete Clairon

ACCESSORIES General Pistons 15 General Toe Studs 10 Divisional Pistons 8 Pedal Divisional 5 Toe Studs Divisional 5 Cancel Pistons Sequencer Programmable Crescendo and Tutti

8 8 8 8 16 8 8

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

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

8 4 8 4 8 4 8 4 16 4

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

16 8 4 16 8 4 16 8 4 16

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

16 8 4 8 4 8 4 16

4

4

Pedal Divide

8

madisonsymphony.org

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SUBSCRIBE

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

HONORARY LIFETIME MEMBERS Diane Endres Ballweg Bruce & Suzanne Case Samuel C. Hutchison W. Jerome Frautschi & Pleasant T. Rowland CURATOR CIRCLE $1000 & above

Carla & Fernando Alvarado Jeff & Beth Bauer Chuck Bauer & Chuck Beckwith James & Diane Baxter Barbara & Norm Berven Dr. Annette Beyer-Mears Dorothy & Ellsworth Brown Martha & Charles Casey Lau & Bea Christensen Mike & Quinn Christensen John & Christine Gauder Jane Hamblen & Robert Lemanske Mike & Beth Hamerlik Darko & Judy Kalan Myrna Larson Doug & Norma Madsen Gale Meyer Elaine & Nicholas Mischler Christine & Jeff Molzahn Vicki & Marv Nonn Reynold V. Peterson Walter & Karen Pridham Charitable Fund William & Rhonda Rushing

madisonsymphony.org

Kay Schwichtenberg & Herman Baumann Lise Skofronick Thomas Rae Smith & Jennifer A. Younger Gerald & Shirley Spade William Steffenhagen John & Carol Toussaint Dr. Condon & Mary Vander Ark Willis & Heijia Wheeler J. S. BACH SOCIETY $650–$999

Dr. Robert & Jean-Margret Beech Janet & Scott Cabot Dennis & Lynn Christensen Audrey Dybdahl Jerome Ebert & Joye Ebert Kuehn Timothy & Renee Farley Eric & Amanda Frailing Paul Fritsch & Jim Hartman George Gay Joel & Jacquie Greiner Terry Haller Kris S. Jarantoski Connie Maxwell Joan & Doug Maynard Charles McLimans & Dr. Richard Merrion David Myers Anne & David Nerenz Sandra L. Osborn David & Barbara Parminter

Eileen M. Smith David Willow GREAT $300–$649

Carolyn Aradine David & Ruth Arnold Karen Childs Baker Ellis & Susan Bauman David & Karen Benton M. Lynn Bonneau Daniel & Stacey Bormann Marylin Boyer Patricia Brady & Robert Smith Thomas Bruckner Charles & Joanne Bunge Jane Eisner Crystal Enslin Paul & Dolores Gohdes Mary Ann Harr Grinde Betty & Edward Hasselkus Walter & Barbara Herrod James & Cindy Hoyt Maryanne & Bob Julian Howard Kidd & Margaret Murphy Chris & Marge Kleinhenz Larry M. Kneeland Richard & Claire Kotenbeutel Charles Leadholm & Jeanne Parus Ann & David Martin Genevieve Murtaugh Peter S. Pessoa William E. Petig

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FRIENDS OF THE OVERTURE CONCERT ORGAN (continued)

Ron Rosner & Ronnie Hess Wilton Sanders & Sue Milch Georgia Shambes Andrew Stevens Sue & David Stone James Uppena John & Shelly Van Note Ann Wallace Leonard & Paula Werner Derrith Wieman & Todd Clark Heidi Wilde & Kennedy Gilchrist Jeffrey & Nancy Williamson SWELL $150–$299

Lyle J. Anderson Leigh Barker Cheesebro Mary & Ken Buroker Rueben Buse Bonnie & Marc Conway James Conway & Katherine Trace Richard & Beverly Davidson Paula K. Doyle Elizabeth Fadell Charles Ford & Sharon James Fr. C. Lee & Edith M. Gilbertson Andrew Halbach Sherry & Jerry Johnson Dan & Janet Johnson James & Joan Johnston Noël & Steven Klapper Ken & Elaine Kosier Sally Leong Gary Lewis & Ken Sosinski Joan & Doug Maynard Bonnie McMullin-Lawton & Jack Lawton Margaret & Paul Miller Terry & Shirley Morrison

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William Muir & Bob Wright Ron & Jan Opelt Peter & Leslie Overton Sue Poullette Don & Roz Rahn Kathleen A. Roberg Cora Rund Dennis & Janice Schattschneider Ron & Joanne Schmidt Rev. Gregory B. Sims Curt & Jane Smith Patricia Smith Shirley & Richard Steiner Karen M. Stoebig Kate Ford Roberts & Jim Struve Cheri J. Teal Tom & Dianne Totten Harry Tschopik Teresa Venker Sally Wellman Carolyn White Rebecca & Marvin Wiegand Three Anonymous Friends CHOIR $85-$149 Roger & Jennifer Anderson Emy Andrew James Berger Jack Holzhueter & Michael Bridgeman Lynn Burke Dr. Larry & Mary Kay Burton Stephanie & Darren Bush Jack & Julianne Carlson Evonna Cheetham Louie Cornelius & Pris Boroniec John Daane Ronald & Jane Danis

Eve & Carl Degen Carla DiIorio David Dodd & John Pearson Dan & Carole Doeppers Jean Druckenmiller Marilyn Ebben Janine C. Edwards Amanda Elfman John Englesby Elizabeth Enright John & Will Erikson Jim Esmoil Susan & James Fiore Emily & Milton Ford Bobbi & Jim Reynolds Jill Gaskell Michael George & Susan Gardels Pauline Gilbertson & Peter Medley William & Sharon Goehring Barbara Grajewski & Michael Slupski Sam Gratz Bob & Bevi Haimerl Arlene P. Hart Cheryl Holzhueter Margaret & Paul Irwin Paul & Lynne Jacobsen Conrad & Susan Jostad Bob Klassy Miki & Ivan Knezevic Joanna Kramer Fanney Tom Kurtz Jim Larkee Margaret Lescrenier Alison Lindsay Mares Bruce & Ruth Marion Jan L. McCormick Maria Novak & Jory Keating Casey & Eric Oelkers

2021 | 2022 SEASON

Richard & Marcia Olson Bonnie Orvick Ernest J. Peterson Virginia Porter & Ronald Niece Jack & Lori Poulson Sarah Pozdell Claire M. Rider Sarah Rose Stanley & Zoe Richardson Steven & Lennie Saffian John & Susan Schauf Gary & Barbara Schultz Ron Hahm & Anita Schulz Sandy Shepherd Thomas & Myrt Sieger Hans & Mary Lang Sollinger Sharon Stark & Peter D. Livingston Helen Stone Leroy Stoner Emily & Robert Stribling Rob & Mary Stroud Stephen Thompson Ellen Twing Ed & Jan Vidruk Connie Von Der Heide John & Janine Wardale Linda Warren Ronald Weber Karl & Ellen Westlund Dorothy Whiting Wade W. & Shelley D. Whitmus John Wiley & Andrea Teresa Arenas Royce Williams & Judith Siegfried Mary Ann Willow Susan & Rolf Wulfsberg Anders Yocom & Ann Yocom Engelman Bethel Zabell Five Anonymous Friends

madisonsymphony.org

FRIEND $35-$84

Marty & John Ahlemeyer Ginger Anderle & Pat Behling David & Alice Anderman Louis & Sandra Arrington Priscilla & Alexander Arsove Russell Attoe Alan Beatty Christine K. Beatty Gordon & Ann Beaty Kathie Bennett Roland Berns & Telise Johnsen Edward & Lisa Binkley Bob & Bonnie Block Dorothy Blotz Edward and Phyllis Boyd Mary & Judith Braucht Marthea Fox Joyce Bringe John Butler David Callan Ann Campbell Gerald Campbell Dory & Ole Christensen Jane Considine Sally Corden Judy Cox-Henderson Judy Craig James & Edith Davison Donald J. De Bruin Lucy Dechene, Ph.D. Charlotte J. Dillabough Paul DiMusto & Molly Oberdoerster David Dohler Diane De Monaco Dowd Barbara Drake Ethel Dunn Julie & Constance Eckenwalder Eva Fels Eisenstein Susan & Joel Elfman

Phyllis Ermer Gwendolyn Ezell Robert Factor Douglas & Carol Fast Sandra Fike Carol Fosshage Donna B. Fox Tom Freitag Doug & Diann Fritsch Todd & Brenda Fritz Kenneth & Molly Gage Susan Gallagher Kristine Marie Gallagher Thomas H. Garver Joan Gilbertson John & Wilma Gillis Tom & Josie Gobel Mike Green Ed & Gloria Grys Gloria Gudmundson & Gene Musser Richard Guy Eileen Hanneman & Larry Sromovsky Susan & Bennette Harris Ellen J. Henningsen Charles R. Hilston Les & Susan Hoffman Roger & Glenda Hott Stan & Nancy Johnson Nancy & Kirk Jolliffe Fred & Diane Kamps Barbara Karlen Dean & Janet Kaul Becky Kelly & Dale Hughes Marc Vitale & Darcy Kind Laurie & Gus Knitt Mary & Keith Krinke Jeffrey & Marisa Krosschell Linda Krueger Don Lamb Keith & Janet Landers Bradley Larson Doug & Linda Larsson Steve & Karen Limbach

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David MacMillan Cheryl Mahaffay & Terry Peterson Anita Mahamed Beverly Mark & Two Rivers Friends Marilyn J. Martin Daniel Medenblik David & Joan Milke Robert & Lynnette Miller Susan Moen Kim Moreland Kathryn Morrison Joseph W.A. Myers Don & Krista Nelson Ron Nief Virginia Nitz John Brooks Noyd Corrine Nygren Kelly Olson Darlene Olson Phillip & Karen Paulson Edward D. Peterson

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Jerald & Dian Polly Lee & Cyrena Pondrom Paula L. Primm Kathleen Rasmussen Warren & Dorothy Rebholz Dave & Betty Reul Kathleen A. Roberg Jean Rogers William & Rhonda Rushing Mary Ellen Sabourin David Salsieder Dorothy I. Schroeder Renae Schroeder Jaret Schroeder David & Gail Schultz Joan Deming Andreas & Susanne Seeger Melvin Senne Marie & Glen Siferd Terrell Smith Reeves Smith Steve Somerson & Helena Tsotsis

Reginald & Maria Sprecher Nakkiah Stampfli Tom & Nancy Sundal Ulrika Swanson Howard & Margaret Talcott Margaret Mischler Taylor Donna & Chet Thomas Thomas Tuttle William & Margaret Unger Maria Vasys Hans & Sara von Treskow Richard Voorman John & Helga Vrany Greg Wagner & Fred Muci Sandra & Aric Waldman Ron & Lavonne Welling James & Jody Werlein Robert Wiese Suzy Wilkoff Kathleen Wilton Bill & Jackie Wineke Jeff Winkler Seven Anonymous Friends

2021 | 2022 SEASON

Live From Bradley Symphony Center: Milwaukee Symphony Orchestra

Now you can stream more of your favorite PBS shows including Masterpiece, Finding Your Roots, NOVA, Nature, Ken Burns and many more — online and in the PBS Video App with PBS Wisconsin Passport.

Learn how to sign up or activate your membership at pbswisconsin.org/passport.

music enhances life and deserves our continued “Orchestral support. I had the privilege to hire our Maestro John DeMain and every year I am enriched by the MSO’s exceptional music.

This quality of music must continue well beyond my life.

Beverly Simone

”

Photo by Todd Maughan

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

EMBRACE YOUR PASSION FEEL IT LIVE EMBRACE YOUR PASSION “Greenholtz’s FEEL IT LIVE

tone matched perfectly with the orchestra.

It was pure magic.”

– Matt Ambrosio, The Cap Times

APR

8, 9 & 10

FRI 7:30 PM SAT 8:00 PM SUN 2:30 PM

James Ehnes, Violin

MISSA SOLEMNIS Yes, Mozart was his inspiration, but Haydn was Beethoven’s teacher.

Concertmaster Naha Greenholtz performs the Violin Concerto in G major. A great work from the height of Beethoven’s composing career, the monumental Missa Solemnis is one of his supreme achievements and one of the most significant Latin Mass settings ever penned.

Sara Duchovnay, Soprano

Briana Hunter, Mezzo-soprano

Clay Hilley, Tenor

Kenneth Kellogg, Bass

John DeMain, Conductor Naha Greenholtz, Violin Madison Symphony Chorus Beverly Taylor, Director Haydn, Violin Concerto in G major Beethoven, Missa Solemnis EXCLUSIVE SPONSOR Rosemarie Blancke, in loving memory of Fred Blancke Dates, artists, and programs subject to change.

BUY TICKETS

$

20 -$ 98

madisonsymphony.org, the Overture Center Box Office or (608) 258-4141

DISCOVER MORE madisonsymphony.org/ missa

The best path forward PREEMINENT LEGAL REPRESENTATION For over a century, we have worked side-by-side with our clients to navigate the complex legal issues affecting their lives. We know the best counsel comes with a wide lens and the perspective to see all available options.

Together, we can chart the best path forward.

BOARDMANCLARK.COM

“Alexa, enable WPR.” Get more from your smart speaker

T I C K E T I N F O R M AT I O N ALL 2021–2022 SEASON ORGAN TICKETS ARE JUST $20!

Three easy ways to buy: PHONE Overture Center Box Office (608) 258-4141

IN-PERSON (and save the service fee!)

Overture Center Box Office 201 State Street

ONLINE madisonsymphony.org/organ

STUDENT RUSH TICKETS ARE $10!

On the same day of the performance, students may purchase up to two student rush tickets in person at the Overture Center Ticket Office, 201 State Street.

Students must present a valid student ID or claim student status for younger students to redeem student rush tickets.

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

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

Sat. 11:00 a.m. to 2:00 p.m.

Additional hours on Sunday event days.

#madisonsymphony

©2022 Madison Symphony Orchestra, Inc. Amanda Dill, Editor Email: adill@madisonsymphony.org All rights reserved. May not be produced in any manner, in whole or in part, without written permission from Peter Rodgers, Director of Marketing.

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

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B O A R D A N D A D M I N I S T R AT I O N

FRIENDS OF THE OVERTURE CONCERT ORGAN BOARD OF DIRECTORS, 2021–2022 OFFICERS Jim Baxter President Reynold Peterson Secretary-Treasurer Ellsworth Brown Past President DIRECTORS Fernando Alvarado Barbara Berven Katie Biegel Janet Cabot Eric Frailing Mary Ann Harr Grinde Ellen Larson Rob Lemanske David Parminter Rhonda Rushing Eileen Smith William Steffenhagen Teri Venker David Willow ADVISORS Diane Ballweg Marian Bolz John Gauder Terry Haller Gary Lewis Connie Maxwell Elaine Mischler Vicki Nonn Anders Yocom

MADISON SYMPHONY ORCHESTRA, INC. ADMINISTRATION TBA Executive Director Ann Bowen General Manager Alexis Carreon Office & Personnel Manager Kathryn Taylor Orchestra Librarian Kathryn Schwarzmann Director of Education & Community Engagement Lisa Kjentvet Education Assistant Casey Oelkers Director of Development Leah Schultz Manager of Individual Giving Aleeh Schwoerer Manager of Grants and Corporate Giving Peter Rodgers Director of Marketing Amanda Dill Marketing/Communications Specialist Aaron Krish Patron Services Manager Greg Zelek Overture Concert Organ Curator/Principal Organist

EX-OFFICIO Greg Zelek, Organ Curator

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2021 | 2022 SEASON

BECOME A FRIEND! Friends of the Overture Concert Organ (FOCO) play an important role in supporting the Madison Symphony Orchestra’s organ program. Their support helps us: • Bring you thrilling, live performances by some of the best organists in the world • P roduce a variety of free education and outreach programs including demonstrations and masterclasses • Tune and maintain the Overture Concert Organ

AC H

SO

GR

T EA

L

$100

$150

LE RC CI R TO Y ET RA CI

.B

CU

J. S

R

EL

OI

ND $35

SW

CH

IE

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

FR

Friends of the Overture Concert Organ Membership Levels and Benefits

$300

$650 $1,000

Recognition in organ concert program books Special member communications Invitation to Showcasing the Organ events

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

Ticket sales cover less than half the costs of producing a season.

To become a Friend, simply add your gife on the order form on the following page.

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

Invitation to FOCO Annual Meeting Recognition in MSO program books Two complimentary beverage vouchers* Advance opportunities to purchase single tickets Invitation to one organ post-concert reception Open invitation to all organ post-concert receptions Private, reserved parking for organ concerts and events* Invitation to a special member appreciation event Custom benefits according to your interests * NOTE: The parking benefit has a fair market value of $35. The beverage vouchers have a fair market value of $7.75 each..

Give Online: madisonsymphony.org/foco | Give By Phone: (680) 257-3734 Give By Mail: 222 W. Washington Ave. Suite 460, Madison, WI 53703

MEMBERSHIP ORDER FORM

Name 1: Cell Phone:

Home Phone:

Email: Name 2: Cell Phone:

Home Phone:

Email: Address: City:

State:

Zip:

Name as you would like it to appear in member listings: Anonymous

Please sign me up for emails Organ News

(check all that you would like to receive)

Symphony News

Friends of the Overture Concert Organ membership gift (tax-deductible)

$35

$100

$150

$300

$650

$1,000 Other Amount: $

CHOOSE YOUR PAYMENT METHOD Check enclosed, payable to Friends of the Overture Concert Organ Charge to: Visa

MasterCard

American Express

Card # CVV Exp. Date

(3 digit Visa/MC, 4 digit AMEX) /

(mo/year)

CALL: (608) 257-3734 ONLINE: madisonsymphony.org/ foco MAIL: Madison Symphony Orchestra 222 W. Washington Ave., Suite 460, Madison, WI 53703

Signature:

Thank you for your support!

Org-OB22:OS2

IN DE X OF ADVERTIS ERS 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.

American Printing......................................................................23

NBC15/WMTV..............................................................................2

Boardman & Clark LLP.............................................................40

PBS Wisconsin.............................................................................37

Farley's House Of Pianos .......................................................47

Stafford Rosenbaum LLP ......................................................5

Farley’s Salon Piano Series ...................................................13

Strictly Discs.................................................................................30

The Madison Concourse Hotel ............................................48

SupraNet Communications, Inc...........................................41

Madison Magazine.....................................................................32

Wisconsin Public Radio...........................................................42

Madison Opera............................................................................24

Wisconsin State Journal and Madison.com....................6

No Detail Too Small Farley’s House of Pianos is home to one of the nation’s only full-service piano restoration workshops.

Farley’s restoration experts have skillfully rebuilt pianos for over 45 years. Their attention to detail produces unsurpassed sound and beauty.

See and hear pianos at farleyspianos.com 6522 Seybold Road, Madison • 608.271.2626

madisonsymphony.org

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Special rate for Overture patrons: concoursehotel.com/specialrates/overture

Proud supporters of Madison’s Arts community.

1 W. Dayton St. • 800 356 8293 •concoursehotel.com