November 2023 Organ Program Book: Ken Cowan by Madison Symphony Orchestra

23 | 24 s e a s o n

Ken Cowan November 11

Table of Contents Contact the Symphony.............................................. 3 Concert Sponsors........................................................ 4 Program......................................................................... 5 Ken Cowan Biography............................................... 6 Program Notes ............................................................ 10 Adopt-a-Stop............................................................... 18 Organ Specifications.................................................. 20 Friends of the Overture Concert Organ ................ 21 Board and Administration ....................................... 25

LAND ACKNOWLEDGEMENT

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

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Contact

Madison Symphony Orchestra

Overture Center Box Office

222 W. Washington Ave., Suite 460 Madison, WI 53703 Phone (608) 257-3734 Fax (608) 280-6192 info@madisonsymphony.org

201 State St. Single Tickets: (608) 258-4141

©2023, 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.

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thank you TO OUR GENEROUS SPONSORS for supporting these performances

MAJOR FUNDING PROVIDED BY

Shirley Spade, in memory of Gerald Spade Jane Hamblen and Robert F. Lemanske Friends of the Overture Concert Organ

The Overture Concert Organ is the gift of Pleasant T. Rowland. Support for all Overture Concert Organ Programs is provided by the Diane Endres Ballweg Fund. We wish to thank our other organ contributors, the Malmquist Family, Margaret C. Winston, and Friends of the Overture Concert Organ. Greg Zelek is the Madison Symphony Orchestra’s Principal Organist and the Elaine and Nicholas Mischler Curator of the Overture Concert Organ.

WELCOME TO THE MSO!

Please turn off your electronic devices and cell phones for the duration of the concert. Photography and video are not permitted during the performance. Please take and share photos at the end of the concert. Thank you!

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Saturday, November 11, 2023 | 7:30 p.m. Overture Concert Organ Series | Subscription Program No. 2

Ken Cowan, Organ CHARLES-MARIE WIDOR (1844-1937) Symphony No. 6 in G minor, Op. 42, No. 2 1. Allegro EDWARD ELGAR (1857-1934) Sonata in G, Op. 28 3. Andante tranquilo 4. Presto (Comodo) RACHEL LAURIN (1960-2023) Poème symphonique pour le temps de l’Avent, Op. 69 GEORGE THALBEN-BALL (1896-1987) Variations on a Theme of Paganini INTERMISSION JOHANN SEBASTIAN BACH (1685-1750) Prelude and Fugue in E minor, BWV 548 (Wedge) GUNNAR IDENSTAM (B. 1961) Scherzo II (Yoik) from Cathedral Music WILLIAM GRANT STILL (1895-1978) Reverie FRANZ LISZT (1811-1886), ARR. KEN COWAN Mephisto Waltz. No. 1 (The Dance in the Village Inn)

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KEN COWAN ORGAN

Regarded as one of North America’s finest concert organists and praised for his dazzling artistry, impeccable technique, and imaginative programming by audiences and critics alike, Ken Cowan maintains a rigorous performing schedule that takes him to major concert venues in America, Canada, Europe, and Asia. Recent feature performances have included appearances at Verizon Hall in Philadelphia with the Philadelphia Orchestra, Berlin Philharmonie, Davies Symphony Hall in San Francisco, Vienna Konzerthaus, Maison Symphonique in Montreal, St. Paul’s Cathedral in London and Walt Disney Concert Hall. In addition, Mr. Cowan has been a featured artist in recent years at national conventions of the American Guild of Organists in Los Angeles, Minneapolis and Houston. He has performed at many regional conventions of the AGO and has been featured at several conventions of 6

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the Organ Historical Society and the Royal Canadian College of Organists. Numerous critically acclaimed compact disc recordings by Mr. Cowan are available. Most recent, serving as organ accompanist, is Maurice Duruflé: Complete Choral Works (Signum Records), recorded with Robert Simpson and the Houston Chamber Choir, for which the Houston Chamber Choir was awarded a GRAMMY award in 2020 for Best Choral Recording; Dynamic Duo, (Pro Organo), featuring Mr. Cowan and Bradley Welch in a program of original works and transcriptions for duo organists, performed on the monumental Casavant organ at Broadway Baptist Church in Fort Worth, TX; Ken Cowan plays The Great Organ (Pro Organo), recorded on the newlyrestored organ at the Cathedral of St. John the Divine, New York City; Works of Franz Liszt (JAV), recorded on the Michael Quimby organ at First Baptist church in

Jackson Mississippi; and Ken Cowan Plays Romantic Masterworks (Raven), recorded on the 110-rank Schoenstein organ at First Plymouth Congregational Church in Lincoln, Nebraska. Mr. Cowan also joined organist Justin Bischof in the 1999 worldpremiere recording of American composer Aaron Miller’s Double Concerto for organ, recorded with the Zurich Symphony Orchestra on the Kleuker organ in the Tonhalle, Zurich, Switzerland (Ethereal Recordings). Many of Mr. Cowan’s recordings and live performances have been regularly featured on the nationally distributed radio show PIPEDREAMS from American Public Media. A native of Thorold, Ontario, Canada, Mr. Cowan received the Master’s degree and Artist Diploma from the Yale Institute of Sacred Music, studying organ with Thomas Murray. Prior to attending Yale, he graduated with a Bachelor of Music

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degree from the Curtis Institute of Music in Philadelphia where he studied with John Weaver. Following initial studies with his father, David, his principal teacher during his high school years was James Bigham, Music Director at Holy Trinity Lutheran Church, in Buffalo, NY. In 2012 Mr. Cowan joined the keyboard faculty of the Shepherd School of Music at Rice University, where he is Professor of Organ and head of the organ program. He is additionally Organist and Artist-in-Residence at Palmer Memorial Episcopal Church in Houston, TX. Previous positions have included Associate Professor of Organ at Westminster Choir College of Rider University in Princeton, NJ, where he was awarded the 2008 Rider University Distinguished Teaching Award, and Associate Organist and Artist in Residence at Saint Bartholomew’s Church in New York City.

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february

20 TUE 7:30 PM

Chelsea Chen I was fortunate enough to perform at Coral Ridge Presbyterian Church in Florida back in 2016 through an invite from Chelsea Chen. A fellow Madisonian who winters in Florida (I now understand why!) was in attendance and recommended my name to my predecessor here in Madison, Sam Hutchison. Well, the rest is history, and I am excited to invite Chelsea Chen back to Overture Hall to delight us with a program featuring some of the most captivating standards of the organ repertoire. You won’t want to miss Ms. Chen’s spectacular playing and engaging stage presence that will keep us warm during this chillier month.

CHELSEA CHEN, Organ

music Louis Vierne, Finale from Symphony No. 6 Maurice Duruflé, Prélude et Fugue sur le nom d’Alain J.S. Bach, Prelude and Fugue in D Major, BWV 532 John Weaver, Sine Nomine

– Greg Zelek

MAJOR SPONSOR: Walter and Karen Pridham Charitable Fund ADDITIONAL SPONSORS: John and Twila Sheskey Charitable Fund

ALL TICKETS $25-$35

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

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april

Greg Zelek –

19 FRI 7:30 PM

with the uw madison wind ensemble It gives me great pleasure to welcome the UW–Madison Wind Ensemble and their conductor, Scott Teeple, to our organ series in what I hope is one of many future collaborations. Pairing the forces of our Klais with the full band will blow you away in this electrifying program. With large ensemble works such as Grainger’s Irish Tune from County Derry (“Danny Boy”), as well as intimate works like Morricone’s Gabriel’s Oboe arranged for organ and saxophone featuring a soloist from the ensemble, I cannot think of a more powerful way to close out the 23/24 season! – Greg Zelek PRESENTING SPONSOR: Lau and Bea Christensen MAJOR SPONSORS: Kay Schwichtenberg and Herman Baumann Skofronick Family Charitable Trust

ALL TICKETS $25-$35

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

SCOTT TEEPLE, UW–Madison Director of Bands GREG ZELEK, Organ

music James M. Stephenson, Fanfare and March Louis Vierne, Carillon de Westminster Richard Wagner, Elsa’s Procession to the Cathedral Dudley Buck, Concert Variations on “The Star-Spangled Banner” Ennio Morricone, Gabriel’s Oboe Michael Daugherty, Bells for Stokowski Richard Strauss, Feierlicher Einzug Percy Grainger, Irish Tune from County Derry

Program Notes NOVEMBER 11, 2023 Program Notes by J. Michael Allsen

We welcome the distinguished soloist Ken Cowan for the second concert of this season’s organ series. He and his wife, violinist Lisa Shihoten, performed on this series in 2017. After opening with a familiar work by Widor, he presents part of a sonata by Widor’s British contemporary Edward Elgar. Rounding out the first half are a profound work by Rachel Laurin based upon plainchant and an impressive showpiece for pedals by George Thalben-Ball. The second half opens with music by Bach, his enormous Prelude and Fugue in E minor. Next are a pair of smaller pieces: a spirited work by Swedish composer Gunnar Idenstram, and a quiet, reflective piece by William Grant Still. To close, Mr. Cowan presents his version of a stunning virtuoso piano work by Liszt, the Mephisto Waltz No. 1.

Charles-Marie Widor (1844-1937) Symphony No. 6 in G minor, Op. 42, No. 2 - movement 1, Allegro

Charles-Marie Widor had a long career as one of France’s greatest organists, beginning with his appointment at age 25 as organist at the church of Saint-Sulpice in Paris, a position he would hold for some 64 years. In 1890, he also succeeded César Franck as organ professor at the Paris Conservatory, where he would be a powerful influence over the next generation of French organists and organ composers. As a composer, Widor wrote four operas and a host of works for orchestra, chorus, and chamber ensemble, but it is his organ works that are known today. Particularly

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popular are his ten symphonies for solo organ. These are large multimovement works designed to exploit the vast range of timbres available on a new generation of large organs, pioneered in the 19th century by organ builder Aristide Cavaillé-Coll. The organ Widor played at Saint-Sulpice, rebuilt by Cavaillé-Coll in 1862, is widely considered to be the builder’s masterpiece. Widor’s Symphony No.6 is one of four organ symphonies he published in 1879 as his Op 42. Widor played its premiere on August 24, 1878, at the inauguration of a magnificent new Cavaillé-Coll instrument installed in the Palais de Trocadero, a Paris concert hall. Its opening Allegro is among his more frequently-played works today. It opens with a thundering chorale theme that serves as the basis for a free set of variations. Widor’s dense, sometimes intensely chromatic counterpoint throughout testifies to his devoted study of J. S. Bach.

Edward Elgar (1857-1934) Sonata in G, Op. 28

The great British composer Edward Elgar was the son of a church organist, and eventually succeeded his father as organist at Saint George’s Catholic Church in Worcester. Many of his closest friends and colleagues served as organists at England’s great cathedrals, including William Done, Hugh Blair, and Ivor Atkins at Worcester, and George Robertson Sinclair at Hereford. (Sinclair—together with his bulldog Dan!—was among the close friends Elgar would celebrate in his 1899 Enigma Variations.) However, Elgar wrote only a few works for organ, and the Sonata in G heard here is certainly the most substantial of them. (What is sometimes known as the Sonata No. 2, was actually an arrangement by Ivor Atkins of a suite Elgar had written for brass band in 1930.) Elgar composed the work in 1895 for Hugh Blair, possibly for the dedication of a new organ at Worcester Cathedral. This enormous instrument, designed by Robert Hope-Jones, was actually a combination of two large organs already in the church, and Elgar’s sonata was designed for the vast range of stops it had available. Blair’s premiere of the work on July 8, 1895 was

disappointing: a friend of the composer wrote that he had “made a terrible mess of poor Elgar’s sonata.” Though there were rumors that Blair was drunk at the time, the quality of the performance probably had more to do with the fact Elgar had sent him the score for this very challenging piece only four days before the performance! The Sonata in G is laid out in four movements, the last two of which are played here. The slow movement (Andante tranquillo) has a lovely, flowing main theme, that sounds like an elder sibling to the famous Nimrod movement in the Enigma Variations. (The Andante tranquillo theme comes from an earlier sketch for a cello piece titled Dreams.) There is a brief hint of tragedy in the middle of the movement, before the hushed theme returns. The final movement (Presto (Comodo)) is set in sonata form, beginning with a restless main theme. The contrasting idea is marchlike, but reserved. At the beginning of the development section, Elgar brings back the third movement’s main theme. This melody reappears at the end, after the recapitulation, as an introduction to the forceful coda.

Rachel Laurin (1960-2023)

Poème symphonique pour le temps de l’Avent, Op. 69

Rachel Laurin died earlier this year, on August 12, a few days after her 62nd birthday, following a long battle with cancer. One of Canada’s leading organists and composers, she was born in Québec. After studies at the Conservatoire de musique du Québec à Montréal, she took a position as organist at the Oratoire Saint-Joseph du Mont-Royal, Montreál—the famous basilica which stands at the highest point in the city—and she later became an improvisation instructor at the Conservatoire. Laurin maintained a busy, international career as a soloist, and was a prolific composer: she wrote hundreds of works for organ and other solo instruments, voice, choir, and orchestra. Laurin composed the Poème symphonique pour le temps de l’Avent (Tone Poem for the Advent Season) in 2013, for organist Isabelle

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Demers. (Demers played a memorable concert, including another work by Laurin, in Overture Hall in March 2022.) Demers premiered the Poème symphonique on December 1, 2013, on the newly-installed organ in the concert hall of Québec’s Palais Montcalm. The work is based upon the Latin plainchant hymn Creator (or Conditor) alme siderum from the Vespers service for the first Sunday in Advent. The Poème symphonique is a free set of variations on this melody, and Laurin also works in references to a Kyrie chant associated with Advent. However, the piece has deeper significance: throughout the score Laurin included cues that show it to be a spiritual journey. It begins with a delicate texture she calls “World of Stars.” After a powerful transition based upon the hymn, the texture thins for a quiet version of the Kyrie: a supplicative part of the Mass that is labeled “Our Pleas.” This grows more intense in a passage called “The Universal Sin,” and breaks into angular music identified as “Satan’s Snare” and a fierce passage for pedals for “A World of Sickness.” There is a turbulent battle, labelled “Power, Divine Glory,” continuing through “Our Prayers.” The texture thins for a quiet, almost dancelike version of the hymn (“Virginal Shrine, Victim Without Stain” and “By an Act of Love, to Cure Our Ills”). Here Laurin is quoting a setting of Conditor alme siderum by the early 15th-century composer Guillaume Du Fay. The “World of Stars” of the opening returns, and there is a statement of the Kyrie (“Our Prayers” and “Great Judge of All: Defend Us From Our Foes”) The bold climactic section that follows, labeled “Power, Honor, Praise and Glory” is meant to represent the verse: Come in thy holy might, we pray; Redeemer us for eternal day From ev’ry pow’r of darkness, when Thou judgest all the sons of men. The piece closes with a hushed version of the opening “World of Stars” music, now marked “Amen. From Age to Age, Eternally.” The journey ends with a luminous C Major chord: “In Heaven, and Among Mortals.”

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George Thalben-Ball (1896-1987) Variations on a Theme of Paganini

There is a long tradition of virtuosos writing their own music: works that exploit their specialized knowledge of their instrument, and their own technical and expressive abilities. The tradition predates the early 19th-century violinist Niccolò Paganini (1782-1840), but it was Paganini who set the mold for many virtuosos to follow. Most of his music was composed to display his own impressive technique, including the ironicallynamed 24 Caprices for Solo Violin he published in 1819. “Caprice” implies a fairly lightweight bit of music, but there is nothing light or easy about these pieces, which employ an astonishing battery of virtuoso violin techniques. The last and most famous of them all, No.24, included a theme and a dozen increasingly awe-inspiring variation. Paganini’s simple theme became a kind of musical touchstone for the idea of virtuosity, and since the early 19th century, Chopin, Brahms, Ysaÿe, Rachmaninoff and dozens of other composers have used its theme the basis for their own virtuoso works. The Australian-born organist George ThalbenBall traveled to London at age 14 to study at the Royal College of Music, and spent the rest of his career in Britain. In 1923, he became organist of London’s Temple Church, a position he held until his retirement in the early 1980s. In 1949, he was additionally appointed organist of the City of Birmingham and Birmingham University. ThalbenBall was a well-known virtuoso with phenomenal technical abilities. His contribution to the Paganini Variations tradition dates from 1962. Its ten variations, played entirely on the pedals, are, true to the tradition, increasingly impressive: calling for wildly rapid figures, glissandos, and for two-, three-, four- and (in the astonishing Variation 10) six(!)-part harmony.

Johann Sebastian Bach (1685-1750) Prelude and Fugue in E minor, BWV 548 (Wedge)

In 1723, Bach arrived in Leipzig to become Kantor at the Thomaskirche: a challenging position that

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involved not only leading the music at Leipzig’s central church, but supervising the music at all of the city’s main churches, and teaching the boys at the city’s choir school. Bach threw himself into the position with tremendous vigor, most notably completing five annual cycles of cantatas for the Thomaskirche, some 300 works in all. By 1728, however, his enthusiasm for the weekly grind of work as Thomaskantor seems to have faded. That year, he became the director of the Leipzig collegium musicum, a group of amateur musicians who gave informal concerts in one of the city’s coffee houses. Bach clearly relished the chance to return to secular music-making, and he devoted much of his compositional energy to this group, writing new works, and adapting pieces he had written during his earlier jobs at Cöthen and Weimar. At the same time, he also became more active as a recitalist. Though he was not employed specifically as an organist in Leipzig, Bach already had a reputation as one of Germany’s great organ virtuosos, and he occasionally played out-of-town concerts through the rest of his career. Though they are not well-documented, he probably gave public organ recitals in Leipzig as well, most likely on the relatively new organ at the Paulinerkirche. At least some of the masterful organ works he wrote late in his career, including the truly impressive Prelude and Fugue in E minor, composed sometime between 1727 and 1732, may have been written with these public concerts in mind. The massive Prelude is laid out in a way that resembles contemporary concerto movements: it begins with a stern passage that serves as a ritornello: an idea that is repeated several times during the course of the moment, both to tie the piece together and to serve as a springboard for new, contrasting ideas. The equally massive Fugue, some 231 measures long, is Bach’s longest fugue, and certainly one of his most spectacular essays in this form. Its subject gave this fugue its nickname. Heard unaccompanied at the beginning of the fugue, the subject begins on the note E, and the theme that follows expands gradually above and below that pitch, creating a kind of musical

“wedge.” After exploring this subject thoroughly in fugal style, Bach inserts a huge episode (a section of a fugue where the subject is not present): freeform and flashy passages that resemble an improvised toccata. The ending is largely an identical repeat of the opening section.

Gunnar Idenstam (b. 1961)

Scherzo II (Yoik) from Cathedral Music

The Swedish organist, composer, and folk musician Gunnar Idenstam channels a wide variety of influences in his work, from music by Bach and Dupré, to classic 1970s Rock, Heavy Metal, and Pop (he has collaborated with ABBA’s Benny Anderssen), New Age music, and folk styles from throughout Sweden. Mr. Cowan presents a selection from Idenstam’s 17-movement Cathedral Music, composed in 1995-96. The Scherzo heard here is based upon a musical tradition of the Sámi, an indigenous people who live in the tundra that stretches across of the northern reaches of Norway, Sweden, Finland, and the Kola Peninsula in northwest Russia. (Idenstam was born in this far northern part of Sweden.) The yoik is an ancient Sámi song form: freeform, often improvised, and usually wordless. For the Sámi, a yoik is a deeply meaningful expression of a soul: of a person, an animal, a tree, or any part of the environment. Ancestors can be addressed through a yoik, and each Sámi child receives his or her own yoik. Idenstam’s Scherzo is a sometimes playful piece that he describes as follows: “[It] is based on a song (yoik) from Lapland, accompanied by lively triplet figures and New Age harmonies. The rhythm is gradually shifted from 6/8 time to popular waltz time and then back to 6/8 time.”

William Grant Still (1895-1978) Reverie

William Grant Still, who would eventually be known as the “Dean of African-American composers,” was born in a small town in Mississippi. He studied music at Wilburforce University in Ohio, but had to withdraw in order to earn a living. Still worked as an arranger for the early blues composer W. C. Handy, and was Love great music. Find it here.

eventually able to enroll at Oberlin College, though his college study was again cut short, this time by service in the Navy during World War I. After the war, Handy invited him to New York City, where he spent the next several years earning his living as an arranger: writing music for Handy and other popular singers and bands, and doing orchestrations for Broadway shows. Still’s breakthrough work in what he referred to as “serious music” was his Afro-American Symphony, a work that incorporated the blues, spirituals and other Black musical idioms. With its October 1931 premiere by the Rochester Philharmonic Orchestra, it became the first work by a Black composer to be programmed by a major American orchestra. In 1934, Still relocated to Los Angeles, where he would spend the rest of his life. He worked occasionally scoring music for Hollywood and, later, television, and had a successful career working as an independent composer. Still left behind an impressive musical legacy of concert music: five operas, four ballets, five symphonies, eight symphonic poems, and a host of smaller works for orchestra, chamber ensembles, chorus, and solo voice. His Reverie, written in 1962 for a commission by the American Guild of Organists, is one of only two works Still wrote for organ. It is a brief and introspective work, whose main theme subtly evokes the feel of a Black spiritual.

Franz Liszt (1811-1886)

Mephisto Waltz. No. 1 (The Dance in the Village Inn), arr. Ken Cowan

Franz Liszt was the preeminent piano virtuoso of the 19th century. He was also an imaginative and ground-breaking composer, but as a young man, he was so much in demand as a soloist that he had little time to develop his composing skills. Liszt’s concert tours in the 1830s and 1840s were 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 m a d i s o n s y m p h o n y. o r g / 2 3 - 2 4 o r g a n

in Weimar in 1848, taking a secure and stable job as music director to the Weimar court, that Liszt’s music took a turn away from these showy pieces. 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. Like many Romantic artists, Liszt was fascinated with the legend of Faust, most familiar in Germany in the versions by Goethe and Nikolaus Lenau. This is the dark story of the scholar Faust, who makes a deal with the Devil (Mephistofeles), exchanging his soul for universal knowledge and the pleasures of the world. Between 1856 and 1861, Liszt sketched out an orchestral piece, Two Episodes from Lenau’s Faust, at the same time producing a solo piano version of the second part, Dance in the Village Inn. He

published this piano piece in 1862 as the first of four Mephisto Waltzes he would write over the next 20 years, The Mephisto Waltz No. 1, heard here in an adaptation for organ by Mr. Cowan, depicts the part of the story where Faust and Mephistofeles walk into an inn. Mephistofeles picks up a fiddle and begins to play a dance tune, bewitching the people in the inn, including Gretchen, who is then seduced by Faust. This is no typical lilting and pretty 19th-century waltz, but a series of fierce, aggressive dances that show the Devil whipping the customers at the inn into a frenzy. In the middle there are a couple of slower, seductive episodes, (marked expressivo amoroso) before Liszt returns to the wild character off the opening. At the very end there is a mysterious episode that shows Faust leading the innocent Gretchen away, before the piece ends in a ferocious coda. program notes ©2023 by J. Michael Allsen

VOICES OF SPRING SATURDAY, MAY 18, 2024 SAVE THE DATE!

Learn more: madisonsymphony.org/voices

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november

17 FRI 7:30 PM 18 SAT 8:00 PM 19 SUN 2:30 PM

Symphony Gems Mozart | Schumann | Dawson November brings two great staples of the symphonic repertoire, Mozart’s “Haffner” Symphony in our first performances in over twenty years, and another all-time favorite of mine, Schumann’s Piano Concerto. I am so looking forward to welcoming back the brilliant pianist Jonathan Biss who has a special affinity for this concerto. It is also with great excitement that we will perform William Dawson’s Negro Folk Symphony for the first time. This work, which was greeted with great acclaim when it was premiered under the baton of Leopold Stokowski in 1934, was all but forgotten until recently, and has been heralded as a masterpiece. Using folk melodies and spirituals as its thematic source, the work is colorfully orchestrated and an absolute delight to listen to. I wanted to perform this work with the orchestra the minute I first heard it and so look forward to sharing it with you.

JOHN DEMAIN, Conductor JONATHAN BISS, Piano

music Wolfgang Amadeus Mozart, Symphony No. 35 in D Major, K. 385 “Haffner ” Robert Schumann, Piano Concerto in A minor, Op. 54 William Levi Dawson, Negro Folk Symphony

– John DeMain, Music Director PRESENTING SPONSOR: Myrna Larson, in memory of James F. Crow MAJOR SPONSORS: Madison Gas & Electric Foundation, Inc., David and Kato Perlman ADDITIONAL SPONSORS: Godfrey & Kahn, S.C., Ronald J. and Janet E. Johnson, Prairie Trust, Sharon Stark, in memory of Peter Livingston, Wisconsin Arts Board

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ALL TICKETS $15-$102

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

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ENSURING A BRIGHT FUTURE for the OVERTURE CONCERT ORGAN

The Overture Concert Organ, built by Orgelbau Klais in Bonn, Germany, is owned by the Madison Symphony Orchestra. The Organ Endowment Fund, a component of the Madison Symphony Orchestra’s Endowment, provides a permanent source of support for organ programming and care of the instrument. In 2004, Pleasant T. Rowland gave the magnificent Overture Concert Organ as a gift to the Madison Symphony Orchestra. Lead gifts of $1 million from Diane Endres Ballweg and $500,000 from Elaine and Nicholas Mischler established the Organ Endowment Fund. Since then, additional gifts totaling over $600,000 have been given through the Friends of the Overture Concert Organ’s Adopt-a-Stop naming program.

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

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

GIFT LEVEL

ADOPTION

DEFINITION

$Adopted

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

$1,000

Single pipes - Minor

Up to $999

General donation, not eligible for Adopt-a-Stop naming

Pipes located in the organ chamber that are not visible.

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

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

ORGAN CONSOLE

FAÇADE PIPE

Catherine Burgess, in memory of Jim Burgess

Dr. Frederick W. Blancke

TUTTI Nicholas and Elaine Mischler

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

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

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

STOP In memory of Ruth and Frederick Dobbratz Great Principal 8’ Principal C4

John and Christine Gauder Pedal Contra Bombarde 32’

Reynold V. Peterson Swell Basson 16’

Lise Skofronick Solo Harmonic Flute 8’

John and Carol Toussaint Pedal Posaune 16’

Ann Wallace Solo French Horn 8’

An Anonymous Friend

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Great Principal 16’ – F2

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

Lau and Bea Christensen Great Principal 16’ – C2 Thomas A. Farrell in honor of Ann Farrell Great Principal 16’ – A3

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

Sandra L. Osborn Great Principal 16’ – C3

In Memory of Jennie Biel Sheskey and Biel Orchestra, The John and Twila Sheskey Charitable Fund Great Principal 16’ – B2

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

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

Vicki and Marv Nonn Pedal Double Open 32’ – C1

Barbara and Richard Schnell Solo French Horn 8’ – D1

Barbara and Richard Schnell Solo French Horn 8’ – E1

Paul Fritsch and Jim Hartman in honor of Paige Kramer

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

Solo French Horn 8’ – G2

Dr. Robert and Linda Graebner

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

Brian and Rozan Anderson

Great Principal 8’ – C1

Kris S. Jarantoski Swell Bordun 8’ – C3

Darko and Judy Kalan in honor of Samuel C. Hutchison

Bassoon 16’ – A2

Chuck Bauer and Chuck Beckwith Choir Clarinet 8’ – B2

Swell Basson–Hautbois 8’ – C1

Carolyn Kau and Chris Hinrichs Choir Suavial 8’ – C3

Nancy Becknell Solo French Horn 8’ – C1

Gary Lewis Swell Basson–Hautbois 8’ – C3

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

Patricia Brady and Robert Smith Solo French Horn 8’ – B2

Connie Maxwell Swell Basson–Hautbois 8’ – A3

Gale Meyer Solo French Horn 8’ – G1

Capitol Lakes Swell Fugara 4’ – D

Susanne M. Michler

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

Swell Trompette Harmonique 8’ – C3

Stephen D. Morton Swell Bourdon 16’ – C1

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

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

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’ – B

Love great music. Find it here.

Larry and Jan Phelps Pedal – Subbass 16’ – C1

Hans and Mary Lang Sollinger Swell Traversflöte 4’ – A2

Harriet Thiele Statz Choir Gemshorn 8’ – A3

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

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

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ORGAN SPECIFICATION Johannes Klais Orgelbau — Bonn, Germany 2004 • 72 Ranks GREAT 4-1/2” wind Principal Principal Offenflote Salicional Gedeckt Principal Rohrflote Quinte Octave Cornett V Mixtura mayor V Trompete Trompete SWELL (enclosed) 4-1/2” wind Bordun Tibia Bordun Viola da Gamba Voix Celeste Fugara Transversflote Quintflote Octavflote Terzflote Plein jeu IV Basson Trompette harmonique Basson-Hautbois Clairon harmonique Tremulant CHOIR (enclosed) 4” wind Geigen Principal Suavial Rohrflote Gemshorn Unda maris Octave Viola Waldflote Quinte Terz Mixtura minor IV Clarinet Tremulant

embrace music

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

16 8

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

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

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

8 8 8 8 16 8 8

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

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

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

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

Pedal Divide

FRIENDS OF THE OVERTURE CONCERT ORGAN We gratefully acknowledge the Friends of the Overture Concert Organ for their support of Overture Concert Organ programming and production for the 2023-2024 Season. This list includes current members as of November 3, 2023.

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

CURATOR CIRCLE $1000 & above Carla & Fernando Alvarado Chuck Bauer & Chuck Beckwith Jeff & Beth Bauer James & Diane Baxter Barbara & Norman Berven Dr. Annette Beyer-Mears Stephen Caldwell & Judith Werner Martha & Charles Casey Lau & Bea Christensen Mike & Quinn Christensen Robert & Penelope Coffin Audrey Dybdahl John & Christine Gauder George Gay Jane Hamblen & Robert F. Lemanske Susan S. Harris Darko & Judy Kalan Myrna Larson Doug & Norma Madsen Elaine & Nicholas Mischler Vicki & Marv Nonn

Love great music. Find it here.

Reynold V. Peterson Walter & Karen Pridham Charitable Fund William & Rhonda Rushing Kay Schwichtenberg & Herman Baumann John & Twila Sheskey Charitable Fund Lise R. Skofronick Thomas Rae Smith & Jennifer A. Younger Gerald & Shirley Spade William Steffenhagen Dr. Condon & Mary Vander Ark Willis & Heijia Wheeler Heidi Wilde & Kennedy Gilchrist One Anonymous Friend

J. S. BACH SOCIETY $650–$999 Janet & Scott Cabot Dennis & Lynn Christensen Jerome Ebert & Joye Ebert Kuehn Timothy & Renée Farley Paul Fritsch & Jim Hartman Joel & Jacquie Greiner Terry Haller Joan & Doug Maynard Charles McLimans & Dr. Richard Merrion Joseph Meara & Karen Rebholz David Myers

Faith & Russ Portier Jeffrey Williamson David Willow One Anonymous Friend

GREAT $300–$649 Lyle J. Anderson Karen Baker Ellis & Susan Bauman David & Karen Benton Julia Bolz Jack Holzhueter & Michael Bridgeman Dorothy & Ellsworth Brown Mary & Ken Buroker Louis Cornelius & Pris Boroniec Blake Doss Crystal Enslin Bobbi Foutch-Reynolds & Jim Reynolds Mary Ann Harr Grinde Betty & Edward Hasselkus Walter & Barbara Herrod James & Cindy Hoyt Mark Huth, MD Maryanne & Bob Julian Chris & Marge Kleinhenz Larry M. Kneeland Richard & Claire Kotenbeutel Peggy Lescrenier Bruce & Ruth Marion Michael Mills

m a d i s o n s y m p h o n y. o r g / 2 3 - 2 4 o r g a n

FRIENDS OF THE OVERTURE CONCERT ORGAN (continued)

Genevieve Murtaugh David Parminter William E. Petig Sue Poullette Lori & Jack Poulson Ron Rosner & Ronnie Hess Wilton Sanders & Sue Milch Andrew & Erika Stevens Karen M. Stoebig Martha Taylor & Gary Antoniewicz Harry Tschopik James Uppena Ann Wallace Sally Wellman Leonard & Paula Werner Susan & Rolf Wulfsberg Roger & Janet Zimmerman

SWELL $150–$299 Carolyn Aradine Leigh Barker Cheesebro Dr. Larry & Mary Kay Burton James Conway & Katherine Trace John Daane John & Deidre Dunn Elizabeth Fadell Donna B. Fox Douglas Fritsch Jill Gaskell Michael George & Susan Gardels Pauline Gilbertson & Peter Medley William & Sharon Goehring Sharon Goldsmith Dan & Janet Johnson Joan Johnston

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Sally Leong Doug Knudson & Judith Lyons Margaret & Paul Miller Patricia Paska Steven & Lennie Saffian Sandy Shepherd Thomas & Myrt Sieger Eileen M. Smith Curt & Jane Smith Alice Spencer Kenneth Spielman David Stone Cheri J. Teal Tom & Dianne Totten Ellen M. Twing John & Shelly Van Note John & Janine Wardale Karl & Ellen Westlund Carolyn White One Anonymous Friend

CHOIR $85-$149 Emy Andrew Gale Barber Christine K. Beatty C. Edward & Lisa S. Binkley Marthea Fox Joyce Bringe Evonna Cheetham Sally & Mike Corry Eve & Carl Degen Paul DiMusto & Molly Oberdoerster Paula & Bob Dinndorf David Dodd & John Pearson Paula K. Doyle Marilyn Ebben

Joanna Kramer Fanney Douglas & Carol Fast Fr. C. Lee & Edith M. Gilbertson Barbara Grajewski & Michael Slupski Bob & Bevi Haimerl Margaret & Paul Irwin Greg & Doreen Jensen Jerome & Dee Dee Jones Conrad & Susan Jostad Charles & Susan Kernats Bob Klassy Miki & Ivan Knezevic Doug Knudson Ann Kruger Tom Kurtz Jim Larkee David MacMillan Bruce Matthews & Eileen Murphy Ann & David Martin Kathryn Morrison Ann & David Moyer Casey & Eric Oelkers Bonnie Orvick Peter & Leslie Overton Ernest J. Peterson Tom Pierce Rex Piercy & Lee Johnsen Deacon Michael & Jenna Pipitone Paula L. Primm Sherry Reames Sarah Rose John & Rachel Rothschild Dennis & Janice Schattschneider Tom & Lynn Schmidt Chris & Ronald Sorkness Gareth L. Steen Kate Roberts & Jim Struve

Colleen & Tim Tucker Teresa Venker Dorothy Whiting Wade W. & Shelley D. Whitmus Rebecca & Marvin Wiegand Bill & Jackie Wineke Anders Yocom & Ann Yocom Engelman Five Anonymous Friends

FRIEND $35-$84 Ginger Anderle & Pat Behling David & Ruth Arnold Louis & Sandra Arrington Bruce Bengtson Bob & Bonnie Block Dorothy Blotz Jonathan Boott Kathleen Borner Waltraud Brinkmann Margaret Bubon Catherine Buege Dory & Ole Christensen Barbara Constans & Deb Rohde Bonnie & Marc Conway Lucy Dechene, Ph.D. Ann & Philip Dettwiler Charlotte J. Dillabough Barbara Drake Albert & Ann Ellingboe Elizabeth Enright Anne Epstein Jim Esmoil Joann & John Esser Kenneth & Molly Gage Sam Gratz Marjorie K. Gray

Love great music. Find it here.

Ed & Gloria Grys Andrew Halbach Vicki Hansell Kathy Hoch Christina Hull Don Hynek Sharon Johnson Marilyn Kay Barbara Kell Melissa Keyes & Ingrid Rothe Noël Marie & Steven Klapper Linda Krueger Ellen Larson Latimer & Dakota Latimer Ed & Julie Lehr Steve & Karen Limbach Cheryl Mahaffay Jan L. McCormick Daniel Medenblik David & Joan Milke Wendy Miller Don & Krista Nelson Darlene M. Olson Phillip & Karen Paulson Virginia Porter & Ronald Niece Randall & Deb Raasch Kathleen Rasmussen Dorothy Rebholz Robert A. Reed Mark & Zoe Rickenbach Cora Rund John & Susan Schauf David & Gail Schultz Roger & Kathleen Schultz Margaret Schuster Reeves Smith & Glenna Carter Terrell & Mary Smith Steve Somerson & Helena Tsotsis

Howard & Margaret Talcott Deborah Tetzlaff Patricia Vanderhoef Greg Wagner & Fred Muci Nine Anonymous Friends We have made every effort to ensure the accuracy of this list. If you have any questions about the list, please contact the MSO's development department at (608) 257-3734.

m a d i s o n s y m p h o n y. o r g / 2 3 - 2 4 o r g a n

december

1 FRI 7:30 PM 2 SAT 8:00 PM 3 SUN 2:30 PM

A Madison Symphony Christmas Our traditional and beloved Christmas concert returns in all of its aural and visual splendor, with our own Madison Symphony Chorus, The Madison Youth Choirs, and the Mt. Zion Gospel Choir. Joining us will be soprano Evelyn Saavedra, who recently starred in our Voices of Spring organ gala, bringing to us a voice of great beauty and a charming personality as well. Those of you who attended Madison Opera’s 2021 Opera in the Park will remember Limmie Pulliam’s show stopping performance of Puccini’s Nessun dorma. This remarkable tenor will join us as well, for a perfect way to start the holiday season. – John DeMain, Music Director MAJOR SPONSORS: American Printing, Fiore Companies, Inc., Richard and Pamela Reese, in memory of Maurice and Arlene Reese, An Anonymous Friend, BMO, Peggy and Tom Pyle, Judith and Nick Topitzes ADDITIONAL SPONSORS: Flad Architects, Reinhart Boerner Van Deuren s.c., Wisconsin Arts Board

JOHN DEMAIN, Conductor EVELYN SAAVEDRA, Soprano LIMMIE PULLIAM, Tenor MADISON SYMPHONY CHORUS, Beverly Taylor, Director MOUNT ZION GOSPEL CHOIR, Tamera and Leotha Stanley, Directors MADISON YOUTH CHOIRS, Michael Ross, Artistic Director

ALL TICKETS $15-$102

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

BOARD AND ADMINISTRATION FRIENDS OF THE OVERTURE CONCERT ORGAN BOARD OF DIRECTORS, 2023–2024 OFFICERS Robert Lemanske President David Willow Secretary-Treasurer William Steffenhagen President-Elect

DIRECTORS Beth Bauer Barbara Berven Janet Cabot Quinn Christensen Audrey Dybdahl Mary Ann Harr Grinde Mark Huth Ellen Larson Latimer Charles McLimans Doug McNeel David Parminter Rhonda Rushing Eileen Smith Jennifer Younger

ADVISORS Fernando Alvarado Diane Ballweg James Baxter Ellsworth Brown John Gauder Terry Haller Gary Lewis Elaine Mischler Vicki Nonn Reynold Peterson Teri Venker Anders Yocom

MADISON SYMPHONY ORCHESTRA, INC. ADMINISTRATION Robert Reed, Executive Director David Gordon, Executive Assistant & Board Liaison Ann Bowen, General Manager Alexis Carreon, Office & Personnel Manager Jennifer Goldberg, Orchestra Librarian Lisa Kjentvet, Director of Education & Community Engagement Katelyn Hanvey, Education & Community Engagement Manager Casey Oelkers, Director of Development Leah Schultz, Manager of Individual Giving Emmett Sauchuck, Manager of Grants & Sponsorships Yumian Cui, Data & Analytics Manager Peter Rodgers, Director of Marketing Amanda Dill, Marketing/ Communications Manager Lindsey Meekhof, Audience Experience Manager Greg Zelek, Overture Concert Organ Curator/Principal Organist

EX OFFICIO Greg Zelek, Organ Curator

Love great music. Find it here.

m a d i s o n s y m p h o n y. o r g / 2 3 - 2 4 o r g a n

Become A Friend! Friends of the Overture Concert Organ (FOCO) play an important role in supporting the Madison Symphony Orchestra’s Overture Concert Organ programming. FOCO helps the Symphony: • Bring you live performances by some of the best organists in the world • Produce a variety of free education and outreach programs to benefit our community • Tune and maintain the Overture Concert Organ Become a member and show your support for this unique aspect of the MSO! Memberships begin at $35.

AC H

GR L

T EA

$100

$150

LE RC CI R TO Y ET RA CI

J. S

ND $35

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

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* 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: (608) 257-3734 Give By Mail: 222 W. Washington Ave. Suite 460, Madison, WI 53703

MEMBERSHIP DONATION FORM Name 1: Cell Phone:

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

Please sign me up for emails (check all that you would like to receive) Organ News

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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

ONLINE: madisonsymphony.org/ foco

Friends of the Overture Concert Organ Charge to: Visa

MasterCard

American Express

Card # CVV Exp. Date

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

CALL: (608) 257-3734

(mo/year)

MAIL: Madison Symphony Orchestra 222 W. Washington Ave., Suite 460, Madison, WI 53703

Signature:

Thank you for your support! Org-OB24:OS2

Free Community Carol Sing Bring your pipes, and your friends and family, to raise a joyful noise with the Overture Concert Organ! Always a fan favorite, the Carol Sing will get everyone in the mood for Christmas. Join Madison Symphony Orchestra Principal Organist Greg Zelek and special guest Mark Hetzler, Trombone, for this wonderful event that is sure to delight audiences of all ages. MSO Carol Sings are free and open to the public. All ages are welcome, and no tickets or reservations are needed. Each event takes place in Overture Hall and lasts 45 minutes to one hour.

SATURDAY, DECEMBER 2 11:00 AM GREG ZELEK, Organ MARK HETZLER, Trombone

Discover more: madisonsymphony.org/carolsing