THOMAS MESA APRIL 16, 2019
THAN K YO U TO O U R G EN ERO US S P O N SO R
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 Concert Organ. COVER PHOTOS: JIYANG CHEN (ZELEK); LISA-MARIE MAZZUCO (MESA)
G R EG ZEL EK, organ TH OM AS M ESA, cello TUESDAY, APRIL 16, 2019 | 7:30 p.m. OVERTURE HALL PROGRAM 7 Variations on “Bei Männern, welche Liebe fühlen” from Mozart’s Magic Flute, Wo0 46
Ludwig van Beethoven (1770–1827)
Claude Debussy (1862–1918)
Prelude from Cello Suite No. 2 in D minor, BWV 1008
Johann Sebastian Bach (1685–1750)
“Fiddle” Fugue in D minor, BWV 539
Pezzo capriccioso, Op. 62
Pyotr Ilyich Tchaikovsky (1840–1893)
– INTERMISSION – Symphony for Organ, No. 5, Op. 42 Toccata
Charles-Marie Widor (1844–1937)
Serenade from Schwanengesang, D. 957
Franz Schubert (1797–1828)
Cello Concerto No. 1 in C major, Hob VIIb:1 Moderato Adagio Allegro molto
M ADI SO N SYMP HO N Y.ORG 3
Joseph Haydn (1732–1809)
GREG ZELEK, organ
PHOTO CREDIT: PETER RODGERS
Praised as “extraordinary in the classical music world” (Jon Hornbacher, PBS Wisconsin Life), Greg Zelek (27) is the Principal Organist of the Madison Symphony Orchestra and Curator of the Overture Concert Organ Series. Since September 2017, Greg has proudly held the Wayne Curtis & Maybelle Slavens Hall and Francis Vincent & Lettie von Kalweit Dunnebacke Curatorship, which is endowed by anonymous friends of the Symphony. Greg concertizes with the Madison Symphony Orchestra and throughout the United States. In addition, Greg regularly performs with orchestras as both a soloist and professional ensemble member. Highlights of the 2018–2019 season included recitals at the Abingdon Arts Series in Virginia and Wingate University in North Carolina, as well as performances at venues in Fort Lauderdale, San Diego, Houston, and New York City. Greg was also be the featured organist with the Jacksonville Symphony in October. In 2017, he performed with the Florida Orchestra and was the featured guest soloist with the Ridgewood Symphony in 2016. Greg was the organist in the Metropolitan Opera’s 2014 production of Faust. He also performed twice that year with the New World Symphony, including in a performance of Lukas Foss’s Phorion conducted by Michael Tilson Thomas. In 2012, Greg played Strauss’s Alpine Symphony with the MET Orchestra in Carnegie Hall conducted by Semyon Bychkov and performed Poulenc’s Organ Concerto with the Miami Symphony Orchestra in 2011.
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 (where he was also awarded the “Bach Prize”). Greg was selected as a 2010 NFAA YoungArts Silver Medal Winner and was a prizewinner in the Albert Schweitzer Organ Festival. Most recently, Greg was the Audience Prize winner and finalist in the 2016 Longwood Gardens International 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. Before moving to Madison, Greg was most recently the Music Director and Organist at the Episcopal Church of St. Matthew and St. Timothy in New York City. A CubanAmerican and native Spanish speaker from Miami, FL, Greg became the Music Director and Organist of Corpus Christi Catholic Church in Miami at age 15, and has served as the summer organist for San Pedro Apostol Church in Ramales de la Victoria, Spain.
F R E E COM M U NIT Y HYM N SING Sat., May 4, 11:00 a.m.
Tradition. Community. Song. Bring your pipes, and your friends and family, to raise a joyful noise with the Overture Concert Organ. MSO Hymn Sings are free and open to the public. All ages are welcome, and no tickets or reservations are needed. Discover more: madisonsymphony.org/hymnsing The Hymn Sing will be led by Andrew Schaeffer, Director of Music at Luther Memorial Church.
Presented in partnership with Overture Center for the Arts. Support for all Overture Concert Organ Programs is provided by the Diane Endres Ballweg Fund.
THOMAS MESA, cello
PHOTO CREDIT: LISA-MARIE MAZZUCCO
The Cuban-American cellist Thomas Mesa has established himself as one of the most charismatic, innovative, and engaging performers of his generation. Mr. Mesa was the winner of the First Prize in the 2016 Sphinx Competition; the Thaviu Competition for String Performance (Chicago, 2013); The Astral Artists 2017 National Auditions; and the Alhambra Orchestra Concerto Competition. He has appeared as soloist with orchestras in the United States and Mexico, including the Los Angeles Philharmonic at the Hollywood Bowl, Santa Barbara Symphony, Southwest Florida Symphony Orchestra and the Cleveland Orchestra which received this rave review from the Cleveland Plain Dealer: “A listener with closed eyes would have been hard pressed to distinguish [Mesa’s] shapely, expressive performance from that of another gifted artist two or three times his age.” As a recitalist, appearances include the Mainly Mozart Festival, The Academy of Arts and Letters in NYC, Bargemusic, University of Miami’s Signature Series, Myra Hess Memorial Concert Series, Columbia University, Flagler Museum, Carnegie Hall, The U.S. Supreme Court, and universities nationwide. As a recording artist, Thomas was featured on the Grammy-nominated album, “Bonhoeffer,” with the multiple-Grammy-winning group The Crossing Choir. He has appeared with them as soloist at The Metropolitan Museum of Art in NYC, Longwood Gardens, The Winter Garden (broadcast on WNYC) and the Theological Seminary in New York City. Mr. Mesa and The Crossing also collaborated on the American premiere of “Astralis” for choir and solo cello by renowned composer Wolfgang Rihm and have more collaborations/premieres scheduled for future seasons. Other recording projects include the piano and cello works of Brahms, Beethoven, a whole album dedicated to the music of Debussy, and a special project in collaboration with PARMA Recordings in a “Call for Scores” that will bring together and record new works for solo cello and cello/piano. This project will include an album release concert at The DiMenna Center in New York City and the CD will be available on all commercial streaming platforms. As an ensemble musician, Mr. Mesa is touring with Orpheus Chamber Orchestra 6
and is the principal cellist of Sphinx Virtuosi who have played at almost every major venue across the United States. As a driving force in Sphinx Virtuosi, Thomas has been featured on tour in double concerti for the last couple years and in conjunction with the Sphinx Organization, Carnegie hall, and New World Symphony, has commissioned a solo concerto by Jessie Montgomery to be toured in 2020. He has toured with Itzhak Perlman both nationally and internationally and is the cellist of the St. Petersburg Piano Quartet, which has played sold-out concerts at numerous other venues across the U.S. He is a sought-after educator and has given masterclasses at institutions such as U.C. Berkeley, Boston Conservatory, Northwestern University, and DePaul University, and has held faculty positions at Sphinx Performance Academy, The Heifetz Institute’s PEG Program, Music Mountain Festival and School, Brooklyn Conservatory of Music, and the Montecito International Music Festival. Thomas Mesa received his Bachelor’s degree from the Juilliard School, Master’s degree from Northwestern University, and is a doctoral candidate at Manhattan School of Music. His principal teachers were Timothy Eddy, Julia Lichten, Hans Jorgen Jensen, Mark Churchill, Ross Harbaugh, and Wells Cunningham. He plays a cello made by Richard Tobin in 1820, which was used to record soundtracks for the first movies ever created.
Voices of Spring SATU R DAY MAY 11 , 2019 A PR EM I ER E VEN I N G WITH G R EG ZELEK
Champagne and hors d’oeuvres reception in the Overture Hall Lobby. Processional to Overture Hall Stage followed by a gourmet four-course dinner and music by MSO Principal Organist Greg Zelek and special guests. $125 per person ($75 tax-deductible). Space is limited. More information is available at: madisonsymphony.org/voices. 7
2019 | 2020 SEASON
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S OA R W I T H O U R
TO N E W H E I G H T S WED. SEPT 11, 2019
Stephen Layton, Conductor • Trinity College Choir of Cambridge
TUES. OCT 22, 2019
MICHAEL HEY & CHRISTIANA LIBERIS Michael Hey, Organ • Christiana Liberis, Violin Widor | Vitali | Bach | Elgar | Ravel | Kreisler
TUES. FEB 11, 2020
Hector Olivera, Organ Driffill | Franck | Bossi | Bach | Vierne | Mozart | Piazzola | Olivera
TUES. MAY 5, 2020
GREG ZELEK WITH BRASS & TIMPANI
Greg Zelek, Organ • John Aley, Trumpet • Matthew Onstad, Trumpet • Linda Kimball, Horn Mark Hetzler, Trombone • Josh Biere, Tuba • John Jutsum, Timpani Stamm | Rachmaninoff | Hillert | Gigout | DiLorenzo | Bach | Dinda | Weaver | Wagner | Guilmant
Explore... madisonsymphony.org/organ19-20 8
Programs, dates and artists subject to change. Photos: (Trinity Choir) Benjamin Ealovega; (Greg Zelek) Peter Rodgers
PROGRAM NOTES Ludwig van Beethoven (1770–1827) 7 Variations on Bei Männern, welche Liebe fühlen, from Mozart’s Die Zauberflöte Wo046 1
Johann Sebastian Bach (1685–1750) Prelude from Cello Suite No.2 in D minor, BWV 1008 3 The second of Bach’s set of six cello suites from ca. 1720 is a remarkable example of the genre. Written in a minor key, it constitutes an exceptionally dark and serious take on the dance culture of the French court, from which the religious and dramatic impulses of Lutheran Germany cannot be excluded as inspirational prompts in its creation.
Beethoven’s second set of cello and piano variations on a tune derived from Mozart’s Magic Flute was composed in 1801, five years after his previous Ein Mädchen oder Weibchen variations of 1796. In this set, Beethoven picks another simple folk-like tune, a duet between Pamina, who has just learned that Tamino loves her, and Papageno, who laments that he can’t even get a Friday-night date. Despite this difference in their amatory status, there is one thing they can both agree on in song, and that is that “Love sure is grand, isn’t it?”
The opening Prelude is homogenous in its texture of running 16th notes, from which a recurring habit of pausing on the second beat of the bar stands out as a distinctly sarabande-like feature. Its opening arpeggio spelling out the D minor triad sets out a pattern of similar arpeggiated approaches to this second-beat pause that will pervade the movement as a whole, building tension in waves of melodic and harmonic sequences that seek ever higher ground.
The original form of the duet — with each singer presenting the tune separately, then both singing together — is preserved in the variations that follow. Of course, when you are ‘covering’ a Mozart tune, the bar for wit and elegance is set rather high. So Beethoven is on his best behaviour here, combining the twin virtues of contrapuntal ingenuity and textural variety in the best Austrian tradition. Thus, while fulfilling the formal expectations of the genre — figural ornament, a variation in the minor mode, a lyrical adagio preceding a toe-tapping finale he makes sure that each variation is as different as possible from its neighbours, by giving each a distinct rhythmic and textural profile.
Johann Sebastian Bach “Fiddle” Fugue in D minor, BWV 539 4 Fugue in D Minor (“Fiddle”), BWV 539, dates from shortly after Bach’s Weimar stay — either from his tenure as court chapel master in Cöthen (1717–1723) or from his initial years as Cantor of the St. Thomas School in Leipzig (1723–1750). The Fugue is a keyboard transcription of the second movement of the Sonata in G Minor for Unaccompanied Violin, BWV 1001, a work completed in 1720. Bach also arranged the Fugue for lute (BWV 1000), and one can certainly understand why he returned to the music several times: based on a crisp, incisive Vivaldi-like theme, it has a relentless forward movement that makes it immensely compelling. The Fugue concludes with a short cadenza in a free style — a remnant of its violin origins.
Claude Debussy (1862–1918) Beau Soir 2 Claude Debussy’s Beau Soir (Beautiful Evening), one of his youthful works, represents a stage of orthodox romanticism, which later lessened with musical mastery. With poetic texts taken from a collection entitled Les aveux (Confessions) by Paul Bourget (1852–1935), a personal friend, Debussy depicts the poet’s desire to be happy and enjoy life on a gorgeous evening, even though death is inevitable.
Peter Ilych Tchaikovsky (1840–1893) Pezzo Capriccioso, Op.62 5 This work was composed in 1887, and was premiered in Moscow on Dec. 7, 1889. The soloist for this first performance, which was directed by Tchaikovsky himself, was Anatoly Brandukov. 9
Charles-Marie Widor (1844–1937) Symphony for Organ, No.5, Op.42: Toccata
The Pezzo Capriccioso is one of the works of his fertile years. Tchaikovsky composed it for his friend Anatoly Brandukov, who provided valuable advice on the work’s solo writing. Though it is often overshadowed in the cello repertoire by the somewhat larger Variations on a Rococo Theme, the Pezzo Capriccioso is an admirable work, allowing the soloist to display both emotional expression and virtuosity.
Charles-Marie Widor likely composed his Fifth Organ Symphony in 1878 and gave the first public performance of the work on October 19, 1879 at the Palais du Trocadéro in Paris. The most famous of his ten Organ Symphonies, it is the last movement of this work, the Toccata, that has made Widor famous among all classical music composers. With its intense and driving rhythm from beginning to end, this wholly original movement is performed regularly at weddings and ceremonies, and defined the toccata genre for the instrument as organists know it today.
Despite its title, which might seem to indicate a lightweight piece, the Pezzo Capriccioso begins with a dark, brooding passage in B minor, sung by the cello. This passionate mood fades away as the cello plays a more flowing theme above pizzicato strings. A brief cadenza ushers in a brief restatement of the opening material. One of the few truly “capricious” moments in the piece comes in the middle section, when the soloist plays lightning-fast figuration above a simple string background. An extended cadenza leads back to another return of the dramatic opening theme. The piece ends, however, with a brilliant coda — a return of the flashy texture of the middle section.
Franz Schubert (1797–1828) Serenade from Schwanengesang, D.957 6 Schubert’s immortal Serenade was written in 1826. It is one of the most beautiful and simple melodies ever written and it was originally composed as an alto solo and a chorus for male voices, but was afterwards re-arranged for female voices
Save the dates! F R E E FARM ERS’ MARKE T ORGAN CONCERTS June 29th, July 27th & August 31st at 11:00 a.m.
TH R E E SATU R DAYS TH I S SU M M E R
Step into the cool expanse of Overture Hall during the Dane County Farmers’ Market on the Capitol Square to enjoy the gift of beautiful music with the Madison Symphony Orchestra’s Overture Concert Organ. Bring your family and friends for a relaxing 45-minute free concert. No tickets or reservations are needed and all ages are welcome! madisonsymphony.org/summerorgan
Presented by the Madison Symphony Orchestra and Overture Center for the Arts. Media partner: Wisconsin State Journal and Madison.com. July concert sponsored by Gareth L. Steen, in memory of Arthur G. Bottinger. Support for all Overture Concert Organ Programs is provided by the Diane Endres Ballweg Fund.
It had apparently been quietly gathering dust in the private library of a Bohemian aristocratic family before being moved to the National Museum after World War II. The concerto finally had its 20th-century premiere on May 19, 1962, with cellist Milos Sadló and the Czechoslovak Radio Symphony Orchestra. It has since become one of the standard classical works for cello — standing alongside the D Major concerto Haydn composed in 1783.
only. One Sunday, during the summer of 1826, Schubert and friends were returning from Potzleinsdorf to the city, and while strolling through Wahring, he saw his old friend Tieze quietly napping at a table in the garden ‘Zum Biersack.’ A few moments later, the whole party was seated with a clinking of glasses and a drinking of beer. Tieze had a book lying open before him, and amid the general jollity and conversation, Schubert began to turn over the leaves. Suddenly he stopped, and rising from his chair, with his finger pointing to a well-known poem of Franz Grillparzer, he exclaimed: “Oh, such a beautiful melody has just now crept into my head! If I only had a sheet of music-paper!” One of the party came to his assistance and drew a few music lines on the back of a bill of fare. Schubert then, while a real German hubbub was going on all around him, wrote down that most beautiful melody.
The concerto is laid out in three movements, all of which are constructed in sonata form. The first movement (Moderato) begins with an orchestral ritornello—a section laying out the main ideas. The main theme here is a rhythmically lively melody heard in the opening bars, with a shorter, more lilting second idea. The solo cello picks up and decorates both ideas, with furher elaboration in the central development section, which spends a great deal of time in the minor. True to usual form, there is space for a long solo cadenza near the end.
Franz Joseph Haydn (1732–1809) Cello Concerto No. 1 in C major, Hob VIIb:1 7
The lovely Adagio seems to have that hard-to-define quality that 18th-century Germans and Austrians referred to as Empfindsamkeit (roughly “sensitivity” or “sentimentality”) — a kind of restrained, but very deep emotion. Here the cello enters on a single long-held note above a soft string background. There is brief hint of tragedy at the middle, but the movement returns to the quietly luminous music of the beginning to conclude. Again there is space for a short cadenza at the very end.
Though Haydn is best known as a composer of symphonies — 104 in all — he produced a vast number of works in other genres. Laboring for decades for the Esterházy family, Haydn produced a staggering number of operas, Masses, chamber works, and concertos that were performed at Esterházy residence in Eisenstadt, or at the magnificent palace of Esterhazá in Hungary. Concertos were always a great favorite, and they were usually designed to showcase a specific member of the Prince’s orchestra or one of the travelling soloists who performed there. Most of Haydn’s solo concertos date from the 1760s and 1770s, when he was building the orchestra into one of the finest ensembles in Europe, a group that included virtuoso players on every instrument.
The lively finale (Allegro molto) begins with an orchestral ritornello containing two main ideas: a bustling main theme and minorkey melody for contrast. The energy never slackens as the cello weaves flashy variants on these ideas, focusing in particular on the exuberant main theme.
The C Major cello concerto was lost for nearly two centuries. Haydn’s biographers long knew that he had written a C Major concerto: in about 1766, Haydn included it in a complete catalog of all works he could remember having written. In 1961, a Czech musicologist, Oldrich Pulkert, discovered a manuscript score, in the library of the National Museum in Prague.
Donald G. Gíslason, 2015 Dr. Anne Chicheportiche Donald G. Gíslason, 2017 4 From J.S. Bach Weimar Preludes and Fugues. Joan Lippincott, organ. G-49260. Notes by George B. Stauffer. (www.gothic-catalog.com) © 2008, Loft Recordings, LLC, All rights reserved. 5 J. Michael Allsen, 1997 6 Heinrich Kreissle von Hellborn, as translated by George Lowell Austin 7 J. Michael Allsen, 2010 1
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SEPT 27-29 FEB 14-16 LOVE, LUST & REDEMPTION ROMANTIC ENCOUNTER John DeMain, Conductor • Greg Zelek, Organ Wagner • Barber • Debussy • Dvořák
PINCHAS ZUKERMAN & AMANDA FORSYTH THE BRAHMS DOUBLE John DeMain, Conductor
Zukerman, Violin • Amanda Forsyth, Cello OCT 18-20 Pinchas Berlioz • Brahms • Copland RACHEL BARTON PINE PLAYS KHACHATURIAN MAR 6-8 THE MIRACLE John DeMain, Conductor • Rachel Barton Pine, Violin Prokofiev • Khachaturian • Shostakovich
NOV 8-10 JOYCE YANG PLAYS PROKOFIEV John DeMain, Conductor • Joyce Yang, Piano
HENNING KRAGGERUD PLAYS MENDELSSOHN KENNETH WOODS CONDUCTS Kenneth Woods, Guest Conductor Henning Kraggerud, Violin Haydn • Mendelssohn • Strauss
APR 3-5 DVOŘÁK REQUIEM DEC 13-15 John DeMain, Conductor A MADISON SYMPHONY CHRISTMAS Madison Symphony Chorus, Beverly Taylor, Director Kernis • Prokofiev • Schumann
John DeMain, Conductor Mackenzie Whitney, Tenor • Michelle Johnson, Soprano Madison Symphony Chorus, Beverly Taylor, Director Mount Zion Gospel Choir, Leotha and Tamera Stanley, Directors Madison Youth Choirs, Michael Ross, Artistic Director
JAN 19* BEYOND THE SCORE®
SERGEI PROKOFIEV, SYMPHONY NO. 5, PURE PROPAGANDA? John DeMain, Conductor A multimedia presentation starring American Players Theatre actors (James Ridge, Colleen Madden, Marcus Truschinski, and Tracy Arnold), visual projections and live musical examples! *This single performance is separate from the 2019–2020 subscription. Beyond the Score® is a production of the Chicago Symphony Orchestra. Gerard McBurney, Creative Director for Beyond the Score®
Ann Toomey, Soprano • Julie Miller, Mezzo-soprano Eric Barry, Tenor • Tyler Simpson, Bass-baritone
MAY 1-3 PIANO POWER John DeMain, Conductor Yefim Bronfman, Piano Weber • Stravinsky • Brahms
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m a d i s o n sy m p h o ny.o rg / 1 9 – 2 0 NBC15 • Madison Symphony Orchestra League • The Madison Concourse Hotel and Governor’s Club • Nedrebos Formalwear • American Printing Wisconsin State Journal and Madison.com • Madison Magazine • Wisconsin Public Radio • Wisconsin Public Television • Wisconsin Arts Board
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 Bordun 16 Tibia 8 Bordun 8 Viola da Gamba 8 Voix Celeste 8 Fugara 4 Transversflote 4 Quintflote 2-2/3 Octavflote 2 Terzflote 1-3/5 Plein jeu IV Basson 16 Trompette harmonique 8 Basson-Hautbois 8 Clairon harmonique 4 Tremulant CHOIR (enclosed) 4” wind Geigen Principal Suavial Rohrflote Gemshorn Unda maris Octave Viola Waldflote Quinte Terz Mixtura minor IV Clarine 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
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 15 General Pistons 10 General Toe Studs 8 Divisional Pistons 5 Pedal Divisional Toe Studs 5 Divisional 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
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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
Chuck Bauer and Chuck Beckwith Choir Clarinet 8’ – B² Nancy Becknell Solo French Horn 8’ – C¹ Ed and Lisa Binkley Pedal – Vox Balinae 64’ – C¹ 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 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 Larry and Jan Phelps Pedal – Subbass 16’ – C¹ Hans and Mary Lang Sollinger Swell Traversflöte 4’ – A² Harriet Thiele Statz Choir Gemshorn 8’ – A3 Anders Yocom and Ann Yocom Engelman Solo Principal 8’ – A²
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 STOP John and Christine Gauder Pedal Contra Bombarde 32’ Reynold V. Peterson Swell Basson 16’ Lise Skofronick Solo Harmonic Flute 8’ 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
A VISION FOR THE FUTURE of the 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, less than $237,000 is needed to reach this goal!
“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.
The cabinet containing the keyboards, pedals, and stops.
Tutti (Full Organ)
When all the stops are pulled out.
A grouping of stops.
A grouping of pipes.
Pipes that are visible.
Single pipes - Major
Pipes located in the organ chamber that are not visible.
Single pipes - Minor
Up to $999
General donation to the Organ Endowment Fund
Call the MSO office at (608) 257-3734 or email firstname.lastname@example.org to request an Adopt-a-Stop brochure. Visit madisonsymphony.org/adoptastop for additional information.
to live classical music is one of our great joys. The Madison “Listening Symphony Orchestra brings brilliant music to our ears and inspires our souls, whether in the concert hall or through community engagement programs. Our estate gift will help insure that this gorgeous music by our beloved symphony is available to all for generations to come.
Elaine and Nicholas Mischler
Photo by Amandalynn Jones
You can help preserve the MSO’s legacy of great music for future generations by 22 including the Symphony in your estate plans. Call (608) 257-3734 to learn more.
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 2018–2019 Season. HONORARY LIFETIME MEMBERS Diane Endres Ballweg Bruce & Suzanne Case Samuel C. Hutchison W. Jerome Frautschi & Pleasant T. Rowland CURATOR CIRCLE $1000 & above Jeff & Beth Bauer Barbara & Norman Berven Dorothy & Ellsworth Brown John & Christine Gauder Lynn Gilchrist Greg & Carol Griffin Jane Hamblen & Robert Lemanske Mike & Beth Hamerlik Mary Hay Bauer Jack & Beverly Hicks Myrna Larson Doug & Norma Madsen Gale Meyer Elaine & Nicholas Mischler Walter & Karen Pridham Gerald & Shirley Spade William Steffenhagen John & Carol Toussaint Ann Wallace J. S. BACH SOCIETY $550–$999 Carla & Fernando Alvarado Chuck Bauer & Chuck Beckwith James & Diane Baxter Dr. Annette Beyer-Mears Edward & Lisa Binkley Marian & Jack Bolz Anne W. Bolz Patricia Brady & Robert Smith Stephen Caldwell & Judith Werner
Alicia Castilla & Mark Zelek Dennis & Lynn Christensen Timothy & Renee Farley Paul Fritsch & Jim Hartman George Gay Terry Haller Kris S. Jarantoski Sharon Larson & Steven Landkamer David Myers Vicki & Marv Nonn Sandra L. Osborn Reynold V. Peterson John A. Rafoth William & Rhonda Rushing Lise R. Skofronick Dennis & Judy Skogen Thomas Rae Smith & Jennifer A. Younger Eileen Smith Shelagh Thomee Dr. Condon & Mary Vander Ark David Willow GREAT $300–$549 Association of Church Musicians Ellis & Sue Bauman Daniel & Stacey Bormann Marshall & Arlene Colburn Terry Esbeck James & Cindy Hoyt Darko & Judy Kalan Larry Kneeland Richard & Claire Kotenbeutel Joye Kuehn Frederick M. Langlois Connie Maxwell 23
Anne & David Nerenz Ron Rosner & Ronnie Hess Sue & David Stone Thomas E. Terry James Uppena Leonard & Paula Werner Jeffrey & Nancy Williamson SWELL $150–$299 David & Ruth Arnold Richard & Elizabeth Askey David & Karen Benton Lewis Bosworth Stan & Marylin Boyer Thomas & Joyce Bruckner Jane Eisner Jan Etnier The Rev. Paul Goddard Mary Ann Harr Grinde Tara & David Hunt Margaret A. Hutchinson Greg & Deborah Krauss Smith Gary E. Lewis Patricia McKinney-Lins Margaret & Paul Miller Casey & Eric Oelkers Ernest J. Peterson Gerald & Christine Popenhagen Don & Roz Rahn Herb & Barbara Saunders Harold & Marilyn Silvester Curt & Jane Smith Cheri Teal Russell & Karen Tomar James R. Tompson Nick & Judy Topitzes Tom & Dianne Totten Teri Venker Edward & Janice Vidruk Karl & Ellen Westlund
FRIENDS OF THE OVERTURE CONCERT ORGAN (continued) CHOIR $85–$149 Maurice Althaus Lyle J. Anderson Sheryll Anderson Emy Andrew Carolyn Aradine Sam & Joan Arneson Leigh Barker-Cheesebro Conrad & Marlys Bauman Sarah Best & Daniel Bjerre Peter & Elise Blanchard Lynn Bonneau Mary & Kenneth Buroker Janet Cabot Nigel M. de S. Cameron Jack & Julianne Carlson Evonna M. Cheetham Barbara Constans & Deb Rohde James Conway & Katherine Trace Paula & Bob Dinndorf Donalea Dinsmore David Dodd & John Pearson Paula Doyle Marilyn & Jim Ebben Jon & Crystal Enslin Elizabeth Fadell Jim & Linda Federhart Carol Fosshage Eric & Amanda Frailing Thomas H. Garver Pauline Gilbertson & Peter Medley Denise & Paul Green Ron Hahm & Anita Schulz Andrew Halbach Dr. Marc & Alice Hansen Arlene P. Hart Jack Holzhueter & Michael Bridgeman Paul & Lynne Jacobsen Janet & Daniel Johnson Conrad & Susan Jostad Maryanne & Robert Julian
Valerie & Andreas Kazamias Alisa Kemnitz Howard Kidd & Margaret Murphy Noël Marie & Steve Klapper Bob Klassy Chris & Marge Kleinhenz Miki & Ivan Knezevic Patricia Kokotailo & R. Lawrence DeRoo Keith & Mary Krinke Thomas & Carolyn Kurtz Ann Lacy Bill & Sally Lanz Bill & Fern Lawrence Charles Leadholm & Jeanne Parus Willis Long & Caleb Swartz Judy Lyons Wes & Tobey Marsceill Guy & Marilyn Martin David & Ann Martin Joseph Meara & Karen Rebholz Paul & Judith Moriarty Don & Krista Nelson Bonnie Orvick Rex Piercy & Lee Johnsen Tom Popp Sue Poullette Joanne & John Powles Randall & Deb Raasch Stanley & Zoe Richardson Sarah Rose Cora Rund Dennis & Janice Schattschneider Ron & Joanne Schmidt Gary & Barbara Schultz Georgia Shambes Mike & Jan Shucha William & Harriet Spira
Kenneth Stancer Sharon Stark & Peter D. Livingston Harry Tschopik III Fr. Michael & Patricia Vanderhoef Marc Vitale & Darcy Kind Sally Wellman & Gary Meyer Wade W. & Shelley D. Whitmus Derrith Wieman & Robert Clark Heidi Wilde & Kennedy Gilchrist Royce Williams & Judith Siegfried Bill & Jackie Wineke Anders Yocom & Ann Yocom Engelman Two Anonymous Friends FRIEND $35–$84 Roger & Jennifer Anderson Russell Attoe Karen Childs Baker Bruce Bengtson Bob & Bonnie Block Randy Bode Susan Camenga Martha Casey Donald Cleven Bonnie & Marc Conway Evelyn & Michael Dale Teresa Darcy Richard & Beverly Davidson Beverly Davison Donald J. DeBruin Lucy Dechene Bea & Gene Dewey Joel & Geraldine Diemer Jeffrey & Elizabeth Ekola Amanda Elfman John Englesby Elizabeth Enright
James Esmoil John & Peg Faludi Robert & Alice Fowler Donna B. Fox Francis & Glynis Friend Carolyn Fuerst Kenneth & Molly Gage Bob & Bevi Haimerl Edward Hellegers Walter & Barbara Herrod Nona Hill & Clark Johnson Charles R. Hilston Les & Susan Hoffman Debra Holmen Cheryl Holzhueter Ruth Hutchison Penny & Vern Jacobsen Evelyn Jennings Samuel B. Johnson Nancy Kerznar David Ketels Jan Ketzler Laurie & Gus Knitt Susan Kosharek
Joanna Kramer Fanney Andrew Kreigh Linda Krueger Steven E. Landfried Jim Larkee Alison Lindsay Mares Thomas F. Loftus Bradford E. Macfarlane William Mason & Duane Yahn Marlys Mittelstadt Joy A.E. Morgen Terry & Shirley Morrison Norman & Darlene Olson Philip R. Olson Ron & Janice Opelt Peter & Leslie Overton Phillip & Karen Paulson Warren & Dorothy Rebholz Claire M. Rider Mary Alice Rieder Morris Sadicario & Alice Kissling
Barbara & Donald Sanford Terry & Mary Schar Dorothy I. Schroeder Jaret Schroeder Marty Slager Steve Somerson & Helena Tsotsis Martin Stachnik Jo Thomley Thomas Tuttle Paul Ulrich John & Shelly Van Note Greg Wagner Sandra & Aric Waldman Ellis & Catharine Waller John & Janine Wardale Linda Warren Ron & Lavonne Welling James Werlein Bethel Zabell One Anonymous Friend
MADISON ORCHESTRA The ArtsSYMPHONY Enrich Our Lives
and Nourish Our Souls.
Enriches Our Community. WE PROUDLY SUPPORT THE MADISON SYMPHONY ORCHESTRA
ONE SOUTH PINCKNEY STREET SUITE 818 MADISON, WI 53703 ISTHMUSPARTNERSLLC.COM 25
Locally Owned & Operated For Over 30 Years
DESIGN, FRAMING & INSTALLATION
EXPERTS FOR HOME & OFFICE Mon-Wed, Fri: 9-6 • Thurs: 9-7 • Sat: 9-5 • Sun 12-4 1901 Monroe St., Madison, WI 53711 (free customer parking behind shop)
608.255.7330 • www.monroestreetframing.com 26 email@example.com
TICKETS & INFORMATION 2019–2020 ORGAN SUBSCRIPTIONS ON SALE NOW! Three easy ways to subscribe: PHONE Madison Symphony Orchestra Office (608) 257-3734
BY MAIL or IN-PERSON Madison Symphony Orchestra 222 W. Washington Ave. Suite 460 Madison, WI, 53703
ONLINE madisonsymphony.org/ organ19-20
SUBSCRIBE AND SAVE 25%! Subscribe to all four concerts for only $63. That’s a 25% savings off single ticket prices! Current subscribers, renew by June 6, 2019 to keep your seats, or to request a priorty seating change. Get the best seats before single tickets go on sale August 10, 2019! See page 8 of this program book or visit madisonsymphony.org/organ19-20 for information about the exciting programs planned for next season. Subscriber brochures will be available this month. Renewals and new subscriptions are available online now. GROUP SEATING Groups of 10 or more receive a 25% discount on tickets for organ performances! We will reserve the best available seats for your group at the time of your order. To place your order, call the MSO Office at (608) 257-3734 and ask for our Patron Services Manager, Aaron Krish. For more information, visit madisonsymphony.org/groups. 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 firstname.lastname@example.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. 27
PLAN YOUR VISIT We strive to make your entire concert experience an enjoyable one — and that experience begins long before you take your seat. Use our handy guides to help you plan your time and make the most of your experience with us. Find out more about Overture Center for the Arts, seating maps, restaurants, directions and parking. Discover more: madisonsymphony.org/planyourvisit
Restaurants The Overture Center for the Arts stands at center of downtown Madison, within easy walking distance of a wide variety of many shopping and dining options that make our city unique and enjoyable. Thank you to all of the restaurants who support us throughout the season.
W OODF I R E R O T ISSE RIE C O O K IN G Fr esh Fish | Steak | Outdoor Patio
4323 East Towne Blvd | 608-729-4980
d oo l i t t l es.c om A IL A B LE G IF T S AV
WISCONSIN’S WINE AT ITS PEAK 6000 RIVER ROAD | WAUNAKEE, WI 53597 DRUMLINRIDGEWINERY.COM | 608-849-WINE
Small Plates & Regional Wines
313 W Johnson St / 608.251.2111
e s t r e l lo n r e s tau ra n t . c o m
MEMBERSHIP ORDER FORM Discover the benefits of membership on the next page... Name 1: Phone:
Email: Name 2: 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)
Friends of the Overture Concert Organ membership gift (tax-deductible)
$1,000 Other Amount: $
CHOOSE YOUR PAYMENT METHOD Check enclosed, payable to Friends of the Overture Concert Organ Charge to:
Card # CVV Exp. Date Signature:
(3 digit Visa/MC, 4 digit AMEX) /
CALL: (608) 257-3734 ONLINE: madisonsymphony.org/ foco MAIL: Madison Symphony Orchestra 222 W. Washington Ave., Suite 460, Madison, WI 53703
BECOME A MEMBER!
Friends of the Overture Concert Organ (FOCO) play an important role in supporting organ programing. Their support helps us: • Bring you live performances by some of the best organists in the world • Produce a variety of free education and outreach programs including demonstrations and masterclasses • Tune and maintain the Overture Concert Organ
Custom benefits according to your interests
Invitation to a privately arranged organ experience
Private, reserved parking for organ concerts and events
Invitation to a special member appreciation event
Discover more about Friends of the Overture Concert Organ. Visit: madisonsymphony.org /foco
Two complimentary beverage vouchers
LE RC CI R Y TO ET RA CI
Ticket sales cover less than half the costs of producing a season. To become a Friend, simply add your gift on the order form on the previous page.
Invitations to all organ concert receptions
Recognition in MSO program books
Invitation to one organ concert reception
Advance invitation to Showcasing the Organ events
The Stoplist — special member communication
Recognition in organ concert program books
Benefits are available during the concert season which your gift supports.
Friends of the Overture Concert Organ Membership Levels and Benefits
$35 $85 $150 $300 $550 $1,000
You breathe deep with calm confidence. Enthusiasm is what waits around the corner of every new day. A glint in your eye, a bounce in your step these are the sweet rewards of keeping fit and being well. Feel the spirit of a close-knit community. Call today to learn more! 31
See the Crevoshay Collection and meet the artist: May 24 & 25 at Studio Jewelers
â€œApril,â€? Reticulated Giraffe brooch/pendant from the Crevoshay Endangered Species Collection