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LAND ACKNOWLEDGMENT
As we gather in this space for these concerts, the Madison Symphony Orchestra acknowledges the HoChunk Nation’s ancestral lands and celebrates the rich traditions, heritage, and culture that thrived long before our arrival. We respectfully recognize this Ho-Chunk land and a rm that we are better when we stand together.
thank you
to our generous sponsors for supporting this performance
MAJOR SPONSORS
Barbara and Norman Berven
Walter and Karen Pridham Charitable Fund
Kay Schwichtenberg and Herman Baumann
ADDITIONAL SPONSOR
Kathleen Harker
SPONSORS PROGRAM
Overture Concert Organ Series
SubscriptionProgram No. 1
Thursday, October 2, 2025 | 7:30 pm
Greg Zelek, Organ
UW-Madison Concert Choir, Dr. Mariana Farah, Conductor
LOUIS VIERNE
Kyrie from Messe Solennelle, Op. 16
CONCERT CHOIR AND MR. ZELEK
PHILIP WILBY
If Ye Love Me
CONCERT CHOIR AND MR. ZELEK
MORTEN LAURIDSEN
Veni Sancte Spiritus from Lux Aeterna
CONCERT CHOIR AND MR. ZELEK
W.H. MONK
Abide with Me, arr. John Bertalot
CONCERT CHOIR AND MR. ZELEK
LÉON BOËLLMANN
Suite gothique, Op. 25
I. Introduction-Choral
II. Menuet gothique
III. Prière à Notre-Dame
IV. Toccata
MR. ZELEK
ĒRIKS EŠENVALDS
Trinity Te Deum
CONCERT CHOIR, UW-MADISON MUSICIANS AND MR. ZELEK
SAMUEL BARBER
Sure on this Shining Night
CONCERT CHOIR AND MR. ZELEK
BRAZILIAN SONGS:
DANIEL RUFINO AFONSO JR.
Siriri
CONCERT CHOIR
ZEQUINHA DE ABREU
Tico-Tico no fubá (arr. Greg Zelek)
MR. ZELEK
DANIEL RUFINO AFONSO JR.
Fui no Itororó
CONCERT CHOIR AND MR. ZELEK
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.
Texts and Translations for this program can be found on pages 11-12.
OCT ,2 2025
UW-MADISON CHOIR ROSTER
SOPRANOS
Avery Brutosky
Lillian Doyle
Emma Hatch
Rachel Heikkinen
Chayze Hoefler
Isabella Krynicka
Mylana Lunde
Ruby Montgomery
Eva Perez
Victoria Petrina
Haley Street
ALTOS
Monica Bertrand
Ella Briggs
Dani Ewing
Lily Garbelman
Lydia Jewell
Rach Misner
Zoe Nickchen
Maya Nirmal
Ella Olson
Nadia Talbi
Grace Walters
Shuhan Xu
TENORS
Eric Frels
Doran Goldman
Abie Harris
Charles Hilario
Dylan Jamner
Matthew Jordan
Nathan Le
Peter Linabery
Adrian Sieck
Kendall Terhaar
Emmit Thom
AlessioTranchell
UW-MADISON MUSICIANS
John Wagner, trumpet I
Jesse Wolf, trumpet II
Ryan Valdivia, trumpetIII
Jocelyn Edgar, tromboneI
Margaret Cremers, tromboneII
Sofia Stutesman, tromboneIII
Fiona Hunt, harp
Anna Desfor, percussion
BASSES
Wyatt Bjugstad
Ben Bossman
Alex Cook
Austin Demerath
Andrew Dirkse
Sheel Gupta
Simon Haines
Eric Hanna
Benjamin Hanson
Gherig Lachenmaier
Eric Luebke
Aimon Van Houten
Arlo White
Jonathan York
WELCOME TO THE MSO!
Please silence your electronic devices and cell phones for the duration of the concert. Photography and video are not permitted during the performance. You may take and share photos during applause. Thank you!
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MARIANA FARAH Director
Dr. Mariana Farah is the Director of Choral Studies at the Mead Witter School of Music where she conducts the UW–Madison Concert Choir, teaches courses in graduate choral conducting, and oversees all aspects of a comprehensive choral program. Prior to her appointment at UW–Madison, Dr. Farah served as the Associate Director of Choral Activities at the University of Kansas.
Born in Brazil, Dr. Farah received her Bachelor of Music from the Universidade Estadual de Campinas, Master’s Degree from the University of Iowa, and her DMA from the University of Missouri-Kansas City. Her choirs have successfully performed at the Missouri, Kansas, and Wisconsin Music Educators Association conventions and at the 2008 and 2018 Southwestern ACDA conferences. Under her leadership the UW–Madison Concert Choir has proudly been selected to perform at the 2025 ACDA National Conference in Dallas, TX. In
addition to appearances at music conferences, the Concert Choir and the UW–Madison Treble Choir were both finalists for the 2025 American Prize for Best Choral Performance in the large collegiate choir category.
Farah’s research focuses on Brazilian choral music, particularly the acappella choral works of Ernani Aguiar (b. 1950). Her edition of Aguiar’s Três Motetinos No. 2 has been published by Earthsongs, and she expects to introduce more of his music to the United States through performances, recordings, editions, and future publications of his unknown choral literature. In addition to her work at UW–Madison, Dr. Farah maintains an active schedule as a clinician for festivals in Brazil and in the U.S., where she is often sought out for her expertise in Brazilian choral music. She has presented at several conferences for the National Association for Music Education, the American Choral Directors Association, and the National Collegiate Choral Organization. Recent engagements include appearances as a conductor at the 2025 WSMA High School State Honors Choir, 2024 Badger Honor Choir Conference, 2023 European Tour with the Wisconsin All Stars of Music, 2022 Colorado University Madrigal Festival, 2022 UW–Madison Summer Music Clinic, 2019 Northwest Kansas Music Educators Association High School Honor Choir, the 2018 Southwestern ACDA conference, 2016 & 2014 Kansas Music Educators Association Convention, and the 2014 Idaho All State Treble Choir.
Dr. Farah is currently a board member of the National Collegiate Choral Organization, and the R&R Chair for College and University for the ACDA Midwestern Division. She proudly served as the President Elect (2018-2020) and R&R Chair for Ethnic and Multicultural Perspectives (2014-2018) for the ACDA Southwestern Division.
GREG ZELEK Organ
Praised as “extraordinary in the classical music world” (Jon Hornbacher, PBS Wisconsin Life) and a “musical star” (Bill Wineke, Channel 3000), Greg Zelek is the Principal Organist of the Madison Symphony Orchestra and Curator of the Overture Concert Organ. In this role, Greg performs and oversees all of the MSO’s organ programming. The MSO Organ Series regularly attracts over one thousand ticketed audience members for each of Zelek’s creatively curated and performed concerts. Since September 2017, Greg has proudly held the Elaine and Nicholas Mischler Curatorship.
In addition to his unique position in Madison, Zelek is the Curator of the J.F. Bryan Concert Organ Series for the Jacksonville Symphony and the new Northrop Organist at the University of Minnesota.
Zelek also performs frequently as a soloist throughout the United States. Always playing his solo programs from memory, Zelek has played and premiered many of the large works of the organ canon, as well as new works that showcase the versatility of the instrument. Alongside various orchestras, Greg has performed the organ concertos of Barber, Poulenc, Rheinberger, and Jongen. Greg has also been the organist for works such as Mahler’s 8th Symphony , Janáček’s Glagolitic Mass , Saint-Saëns’s Organ Symphony , Strauss’s Alpine Symphony , Respighi’s Pines of Rome , Foss’s Phorion , and Gounod’s Faust Zelek is known for his inventive programming and collaborations. He has performed a classical and gospel concert with countertenor Reginald Mobley, arranged and commissioned works for cello and organ with cellist Thomas Mesa, performed in a LatinAmerican concert with a Cuban band from Miami, FL, and collaborated with electronic trombonist Mark Hetzler, in a concert featuring new music for organ, trombone, and percussion. He has also performed with the Canadian Brass in his continued role as Visiting Guest Artist at St. John’s Abbey in Collegeville, MN.
In 2016, Greg was chosen by The Diapason magazine as one of the top “20 Under 30” organists and has won prizes in numerous organ competitions. Zelek released a recording on the Overture Concert Organ in the Fall of 2022. A recipient of the inaugural Kovner Fellowship, he received his Bachelor’s and Master’s degrees, as well as an Artist Diploma, from the Juilliard School as a student of Paul Jacobs. Greg, who is CubanAmerican and a native Spanish speaker, grew up in Miami, FL and resides in Madison, WI with his wife and daughter.
17-19
Primal Light
This concert opens with a fresh take on the story of resurrection with lush layers of colorful sound evoking a cinematic feel. Resurrexit by Mason Bates will take you on a mystical pilgrimage with shimmering exotic tonalities that give way to contemplation and dramatic stirrings of rebirth. César Franck’s Symphonic Variations is a masterpiece of collaboration between piano and orchestra celebrating the interplay of poetic musical voices. Christopher Taylor’s virtuosic artistry is a perfect fit for this intimate and lyrical work. Gustav Mahler’s Symphony No. 2 is one of the most profound and transformative works ever. Written over six years, it journeys from a somber funeral march to a luminous vision of resurrection and renewal. Mahler once described this symphony as “my whole life in one work.” Themes of struggle, hope, and transcendence will bring us to a glorious reassurance of light in our lives.
PRESENTING SPONSOR
Rosemarie and Fred Blancke
MAJOR SPONSORS
Marilyn Ebben, in memory of Jim Ebben
Larry and Jan Phelps
Martha and Charles Casey
Robert and Linda Graebner
ADDITIONAL SPONSORS
Margaret Murphy , in memory of Howard Kidd
Rodney Schreiner and Mark Blank
Wisconsin Arts Board
SINGLE TICKETS ON SALE ($22-$125) madisonsymphony.org, the Overture Center Box O ce, or (608) 258-4141
Dates, artists, and programs subject to change.
John DeMain, Conductor
Christopher Taylor, Piano
Jeni Houser, Soprano
Emily Fons, Mezzo-Soprano
Madison Symphony Chorus, Beverly Taylor, Director
MUSIC
MASON BATES
Resurrexit
CÉSAR FRANCK Symphonic Variations, M. 46
GUSTAV MAHLER Symphony No. 2 in C minor, “Resurrection”
PROGRAM NOTES
Michael Allsen
OCT 2, 2025 program notes by J.
In our opening program, we welcome the UW – Madison Concert Choir and its director, Dr. Mariana Farah, to the stage for an evening of music for chorus and organ. We start with music in the great French organ tradition, written by Notre-Dame de Paris organist Louis Vierne, the Kyrie from his Messe solennelle Next is an anthem by British composer Philip Wilby, If Ye Love Me , and the bright VeniSancteSpiritus by American Morten Lauridsen. After an inspiring setting of the familiar hymn AbideWithMe , Mr. Zelek takes a solo turn with the Boëllmann Suitegothique We are joined by eight instrumentalists— all of them music students at the University—for the festive Trinity Te Deum by Latvian composer Ēriks Ešenvalds. Samuel Barber’s SureOnThisShiningNight is a gorgeous picture of a fine summer night, brightly illuminated by stars. We close with a set of three lively works from Mariana Farah’s native Brazil, the last of which, Fui no Itororó , was commissioned and premiered by the Concert Choir.
Louis Vierne (1870-1937)
Kyrie from Messe solennelle, Op. 16
Though he was born nearly blind, Louis Vierne was able to study at the Paris Conservatory, where he became a devoted disciple of César Franck. At age 22, he became assistant organist to Charles-Marie Widor at the Parisian church of Saint-Sulpice, and in 1900 Vierne became principal organist at Notre-Dame de Paris, a position he held until his death in 1937. Vierne in fact died on the cathedral’s organ bench. On June 2, 1937, he was playing what was scheduled to be his final public recital at Notre-Dame, to an audience of 3000. He had just finished one of his own works and was getting ready to play an improvisation on a theme that had been submitted by
a member of the audience, when he suddenly lost consciousness and died, victim of a heart attack or massive stroke. Vierne was a fine composer and a phenomenal improviser, but his vision problems made getting his music down on paper increasingly difficult, and he would eventually write most of his works using Braille. Despite this, his catalog includes over 60 opus numbers published during his lifetime—primarily organ and piano music, but also several choral and orchestral pieces. One ongoing concern for Vierne was the state of Notre-Dame’s enormous organ. The famed builder Aristide Cavaillé-Coll had rebuilt the cathedral’s organ in the 1860s, but it was in poor repair by the turn of the century, and Vierne worked throughout his career to support its renovation, even undertaking American tours to raise funds. [ Note: After several renovations by Vierne and his successors, Notre-Dame’s organ was completely rebuilt in 1992. The organ, described by the group Friends of Notre-Dame de Paris as the “largest organ in France,” suffered only relatively minor damage during the disastrous 2019 fire. It underwent a thorough cleaning and restoration, and it was reinstalled in time for the formal reopening ceremony of Notre-Dame de Paris in December 2024.]
Vierne’s Messesolennelle(Solemn Mass) from 1900 is his only choral setting of the Latin mass. This was written for Saint-Sulpice, though by the time it premiered in December 1901, Vierne had already moved on to Notre-Dame. Its original scoring was designed to exploit the possibilities of two organs at Saint-Sulpice—a large organ in the eastern choir area, played by Vierne and an even larger one above the west entrance played by Widor. After a powerful organ passage, the chorus’s first entrance in strict imitation sets up an appropriately
solemn tone. The central Christe eleison , opening with a long passage for the tenors, is lighter in character, but works its way back to the original mood during a long, intense, chromatic passage.
Philip Wilby
(b. 1949)
If Ye Love Me
Philip Wilby is a British organist, composer, organist, and choir director. He spent most of his career teaching at the University of Leeds. Though he is renowned for his sacred choral music, he is equally famous for his compositions for the British brass band. When Wilby set the Biblical text (John 14: 15-17) If Ye Love Me , he was treading ground familiar to generations of British choristers from Thomas Tallis’s anthem setting on this text, certainly among the best-known pieces of 16th-century Anglican music. However, unlike Tallis, Wilby continues the text to conclude with the Lord’s gentle words of assurance in verse 18: “I will not leave you comfortless. I will come to you.” His 1992 setting, for SSATB choir and organ, is in a calm, serene style that rises to a subdued climax on the overlapping phrases of “E’en the Spirit.”
Morten Lauridsen
(b. 1943)
Veni, Sancte Spiritus from Lux Aeterna
Morten Lauridsen, who has taught at the University of Southern California since 1967, has written in all genres, but his choral compositions are among the most often-performed vocal works by any American composer. His 1994 motet O magnummysterium , an ethereal setting of the text of a medieval Latin Christmas chant, has become particularly popular. His closely contemporary Lux Aeterna was written in 1997 for the Los Angeles Master Chorale.
LOUIS VIERNE
SAMUEL BARBER
WH MONK
ĒRIKS EŠENVALDS
DANIEL AFONSO
This work, originally scored for chorus and a small orchestra, brings together five Latin texts that share the metaphor of light (lux). The fourth movement, Veni SancteSpiritus , is a 13th-century Pentecost sequence attributed to Stephen Langton, the Archbishop of Canterbury. Sequences became a semiofficial part of the mass in the late middle ages: long, rhymed poems that were chanted to complement the Proper Alleluia of the day. In the 16th century, the reforming Council of Trent purged all but five of the hundreds of sequences that had accumulated in the Latin liturgy over the preceding centuries. (The well-known Diesirae from the Mass for the Dead is one of the five survivors, as is VeniSancte Spiritus .) In working with this joyful and lengthy text, Lauridsen sets aside his usual austerity, in favor of a straightforward setting in lilting triple meter that rises to a peak on the final line, daperenne gaudium (grant us eternal joy).
William H. Monk (1823-1889)
Abide with Me, arr. John Bertalot
The text for this popular Protestant hymn was written by the Scottish clergyman Henry Francis Lyte (1793–1847), reportedly as he lay dying from tuberculosis. The tune, usually known as Eventide, was composed in 1861 by the English choral conductor and publisher William H. Monk, for his collection HymnsAncientandModern. (Monk, on finding that Lyte’s expressive hymn text had no tune associated with it, reportedly wrote and harmonized Eventide in the space of about ten minutes!) The setting heard here was arranged by English organist John Bertalot (b.1953). It moves through four increasingly densely-scored verses to emerge in a triumphant fifth verse with a soaring soprano descant.
Léon Boëllmann
(1862-1897)
Suite gothique, Op.25
Organist Léon Boëllmann left his native Alsace at age nine to study at Paris’s École Niedermeyer, a school dedicated to training church musicians. While there, he studied with Gustave Lefèvre and became a protégé of organist Eugène Gigout, who eventually adopted Boëllmann as his son. After Boëllmann graduated, he became assistant organist, and eventually cantor and principal organist at the Parisian church of St Vincent-de-Paul. He spent the rest of his tragically brief career there though also taught at the school of organ-playing founded by Gigout. Boëllmann died at age 35, probably of tuberculosis. He was quite prolific in this short time, managing to publish some 150 works. The most popular of these today is his Suitegothique (1895). Boëllmann composed this work for the inauguration of a relatively small new organ in the 13th-century gothic church of Notre-Dame de Dijon: an amazingly colorful work, considering the limited palette of stops he had to work with. It opens with the Introduction –Choral , varied repetitions of a stern chorale theme. There is little that sounds identifiably “gothic” in the Menuetgothique , a sprightly and quick-footed version of this 18th-century dance. The third movement, Prière à Notre-Dame (Prayer to OurLady) was inspired by the “Black Virgin” of Dijon, a wooden sculpture of the Virgin Mary dating to the 11th century. This is quiet, meditative music with an unhurried cantabile melody. There is a more active middle section before a return of the opening mood. The closing Toccata is a dark, turbulent work, whose repeating main theme is laid out on the pedalboard, under an intense line from the manuals.
Nevertheless, Boëllmann manages to end the work with a thundering C Major chord. [Note: I can’t help mentioning a pop culture reference: the rather creepy Toccata was used extensively as background music in the 1980s animated series The Smurfs !]
Ēriks Ešenvalds (b. 1977)
Trinity Te Deum
Latvian composer Ēriks Ešenvalds initially studied in his native country and sang as a tenor in the acclaimed Latvian State Choir from 2002-2011. In 2011-2013, he was in England, for a fellowship at Trinity College, Cambridge. Ešenvalds is currently head of the composition department of the Latvian Academy of Music. The Te Deum laudamus (We praise Thee, O God) is certainly among the oldest of Latin hymns, dating to at least the fifth century. It is traditionally sung to mark coronations, military victories, or other moments of great public celebration. In Britain, the Te Deum has been sung in English since the 16th-century English Reformation. Ešenvalds wrote his Trinity Te Deum during his fellowship years at Cambridge, for the installation of Sir Gregory Winter as Master of Trinity College on October 10, 2012. In keeping with the festive nature of this text and the event, Ešenvalds adds trumpets, trombones, percussion, and harp to the scoring. Trinity Te Deum begins with a rousing brass fanfare, and a long opening section that comes to a peak of emotion at the words Holy, Holy, Holy: Lord God of Sabaoth At WhenThoutook’stuponThee to deliverMan, there is a distinct change, as women’s voices sing in lilting rhythm above a simple harp accompaniment. The music grows inexorably in power, until a short passage for the organ leads to a glorious reprise of the fanfare and Holy, Holy, Holy.
Samuel Barber (1910-1981)
Sure On This Shining Night
The late 1930s and early 1940s were heady times for a young Samuel Barber. He was successful with a series of great orchestral works that earned him international renown: his Symphony No. 1 (1936), the Adagio for Strings (1936), the ViolinConcerto (1939), and his two orchestral Essays (1937 and 1942). Barber composed art songs throughout his career, and this period also saw the publication of one of his most popular collections, his FourSongs, Op.13 (1938). The third in this collection— and possibly the most popular of Barber’s songs— is SureOnThisShiningNight, setting a poem by his friend James Agee (1909-1955). Barber later set part of a lengthy prose-poem by Agee in one of his finest works, Knoxville: Summer of 1915 (1947), for soprano and orchestra. The poem Sure On This Shining Night is an optimistic picture of a glorious starlit summer night. Barber responded with music of what his biographer Barbara Heyman has called “seamless lyricism.” Barber himself arranged the choral version heard here in 1961.
Daniel Rufino
Afonso Jr. (b. 1968)
Siriri
We close with a set of three Brazilian songs, framed by a couple of folk songs arranged by renowned Brazilian-American choral director and composer Daniel Rufino Afonso. Afonso was trained in his native Rio de Janeiro and at the University of Missouri, Kansas City, and the University of Iowa. He is currently a professor of music at California State University, Stanislaus. In 2001, he founded the Modesto Symphony Chorus, a group that he still conducts today. His Siriri is an a capella arrangement of a rather silly traditional Brazilian children’s song, acantigaderoda. As Afonso notes:
Cantigas de roda (literally, “songs of [a] circle”) are folk songs that are normally sung by young children while playing and dancing in circles. These are songs we hear even before we learn to speak, as most parents sing these simple and short tunes to their children as lullabies or as a way to play and interact with them. As a game, these songs are performed by children in a circle formation, almost always holding hands and going around together. Some songs have specific movements or “choreographies” that require that the children go in and out of the circle, make funny movements or gestures, point at each other, and choose who will get in or out of the circle next, etc.”
In the case of Siriri, Siriri is a boy who seems to be ignoring the seductive invitations of the local girls. He admits that his previous attempt at a love a air led him to an ugly old woman with one leg… and he certainly doesn’t want that to happen again! It was composed for the Gay Men’s Chorus of Los Angeles in 2005, as one of several pieces that they commissioned for a planned tour of South America. According to Afonso, the humor of this song being sung by a group of gay men should be obvious. He created the SATB version heard here for one of his own choirs a few years later. Percussion dominates in this lively, cheerful setting: drums, body percussion (claps and thigh slaps), and the percussive quality of the voices themselves.
Zequinha de Abreu
(1880-1935)
Tico-Tico no fubá (arr. Greg Zelek)
Tico-Tico nofubá, written by Zequinha de Abreu in 1917, is a choro, a Brazilian popular style of the 19th and early 20th centuries. Like many Brazilian forms the choro is a blend: its roots include
both Western dances like the polka, mazurka and the Spanish-Cuban habanera, and West African drum rhythms. The Portuguese lyrics which were added in the 1930s, translate as The Sparrowinthe Cornmeal, were a lighthearted and largely nonsensical complaint about a bird that refuses to stay away from the granary. The song was introduced to North America by organist Ethel Smith in a 1937 movie, and sheet music for her version promptly sold over two million copies. Tico-Tico again became a hit in the 1940s with recordings by the Andrews Sisters and the “Brazilian Bombshell” Carmen Miranda. It is played here in a fun arrangement by our own Greg Zelek. True to choro form, Tico-Tico nofubá has several contrasting sections, which o ers some showy moments for Mr. Zelek and the Overture Concert Organ.
Daniel Rufino Afonso Jr.
Fui no Itororó
Afonso’s Fui no Itororó (I went to Itororó) was commissioned by the UW-Madison Concert Choir and its conductor, Mariana Farah, and premiered by them in 2025 at the American Choral Directors’ Association meeting in Dallas. The composer provides the following note:
Fui noItororó is one of the best known and most beloved Brazilian children’s songs, with its origin dating back to the 19th century. The word itororó sometimes also written as tororó comes from the Tupi language, ytororoma or “water springs.” The Tupis were one of the largest groups of native peoples in Brazil before colonization. Originally from the Amazon region, they migrated south and gradually occupied most of the Atlantic coastal region of Brazil. That is perhaps the reason why there are several places in
Brazil named Itororó , which causes some confusion about the origin of the song. But the most commonly accepted story about its origin refers to the Fonte doitororó(Itororó fountain) in the city of Santos in the southeastern state of São Paulo as the place mentioned in the lyrics. They are often performed together, but there are actually three different folk songs combined here: Fui noItororó,Ficarás souzinha(You’regoing to bealone) and Tira o seu pezinho (Take your little foot off). These songs are often performed by children while playing and dancing in circles.
Kyrie eleison. Lord have mercy upon us. Christe eleison. Christ have mercy upon us. Kyrieeleison. Lord have mercy upon us.
Wilby, If Ye Love Me
If ye love me, keep my commandments. And I will pray the Father, and he shall give you another Comforter, that he may abide with you forever; e’en the Spirit of truth. And ye know Him, for He dwelleth with you and shall be in you. I will not leave you comfortless. I will come to you.
John 14: 15-18
Lauridsen, Veni,SancteSpiritus from Lux Aeterna VeniSancteSpiritus Come, Holy Spirit, et emittecaelitus and send down from heaven lucistuaeradium. the ray of your light.
Venipaterpauperum, Come, father of the poor, venidatormunerum, come, giver of gifts, venilumencordium. come, light of the hearts.
Consolatoroptime, Best of consolers, dulcishospesanime, sweet host of the soul, dulcerefrigerium sweet refresher.
Inlaborerequies, Rest in work, inaestutemperies, cooling in heat, infletusolacium comfort in crying.
O luxbeatissima, O most blessed light, replecordisintima fill the innermost hearts tuorumfidelium of your faithful.
Sinetuonumine Without your power nihil est inhomine, there is nothing in humankind; nihil est innoxium nothing innocent.
Lava quod est sordidum, Cleaning what is dirty, rigaquod est aridum, watering what is dry, sanaquod est saucium. healing what is wounded.
Flectequod est rigidum, Bending what is rigid, fove quod est frigidum, heating what is cold, regequod est devium leading what has gone astray.
Datuisfidelibus Grant to your faithful in te confidentibus who trust in you, sacrumseptenarium your sevenfold holy gift.
Davirtutismeritum, Grant us the reward of virtue, dasalutisexitum, grant us final salvation, daperennegaudium grant us eternal joy.
attr. to Stephen Langton, archbishop of Canterbury (13th cen.)
William H. Monk, Abide with Me, arr. John Bertalot 1) Abide with me: fast falls the eventide; the darkness deepens; Lord, with me abide. When other helpers fail and comforts flee, Help of the helpless, O abide with me.
2) Swift to its close ebbs out life’s little day; earth’s joys grow dim, its glories pass away. Change and decay in all around I see. O Thou who changest not, abide with me.
3) I need Thy presence every passing hour. What but Thy grace can foil the tempter’s power? Who like Thyself my guide and strength can be? Through cloud and sunshine, O abide with me.
4) I fear no foe with Thee at hand to bless, ills have no weight, and tears no bitterness. Where is death’s sting? Where, grave, thy victory? I triumph still, if Thou abide with me.
5) Hold Thou Thy cross before my closing eyes. Shine through the gloom and point me to the skies. Heaven’s morning breaks and earth’s vain shadows flee; in life, in death, O Lord, abide with me.
Henry Francis Lyte
Ešenvalds, Trinity Te Deum
We praise Thee, O God: we acknowledge Thee to be the Lord. All the earth doth worship Thee: the Father everlasting.
To Thee all Angels cry aloud: the heavens and all the Powers therein.
To Thee Cherubim and Seraphim: continually do cry, Holy, Holy, Holy: Lord God of Sabaoth; Heaven and earth are full of Thy Majesty: of Thy glory. The glorious company of the Apostles: praise Thee.
The goodly fellowship of the Prophets: praise Thee.
The noble army of Martyrs: praise Thee.
The holy Church throughout all the world: doth acknowledge Thee; The Father: of an infinite Majesty; Thine honourable, true: and only Son; Also the Holy Ghost: the Comforter.
Thou art the King of glory: O Christ.
Thou art the everlasting: Son of the Father.
When Thou took’st upon Thee to deliver Man: Thou didst not abhor the Virgin’s womb. When thou hadst overcome the sharpness of death: Thou didst open the kingdom of heaven to all believers. Thou sittest at the right hand of God: in the glory of the Father. We believe that thou shalt come: to be our Judge.
We therefore pray Thee, help Thy servants: whom thou hast redeemed with Thy precious blood. Make them to be numbered with Thy Saints: in glory everlasting.
Holy, Holy, Holy!
The Book of Common Prayer
Barber, Sure On This Shining Night
Sure on this shining night of star made shadows round, kindness must watch for me this side the ground.
The late year lies down the north. all is healed, all is health. High summer holds the earth. Hearts all whole.
Sure on this shining night I weep for wonder wand’ring far alone of shadows on the stars, on this shining night.
James Agee
Afonso, Siriri
Come here, oh Siriri.
The girls are calling you, but you don’t want to come! They call… you don’t come!
Siriri, hi, my Siriri!
It’s only, only me, it is from Maceió, I found the old woman with only one leg! Watch out, the old woman! Hi, come here!
Siriri, come here, Siriri. Siriri, what’s going on?
Maria is calling, and you don’t go to her!
Traditional Brazilian children’s song
Afonso, Fui no Itororó
I went to Itororó to drink some water, but I didn’t find it. Instead, I found a beautiful brunette, whom I left in Itororó. Enjoy, my people, fdor one night is nothing.
If you don’t sleep now, you’ll sleep at dawn. Oh, little Maria, oh, little Maria, Come into this circle, or you’ll be left alone!
Alone I won’t stay, nor will I ever be! Because I have Mariana to be my partner!
Oh, put your little foot here, your little foot right next to mine. Oh, put your little foot here, your little foot right next to mine. And then don’t go saying that you regretted it.
Traditional Brazilian children’s songs
WELCOME TO THE MSO!
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SPONSORS
thank you
to our generous sponsors for supporting this performance
MAJOR SPONSORS
Jane Hamblen and Robert F. Lemanske
Skofronick Family Charitable Trust
PROGRAM
Overture Concert Organ Series
SubscriptionProgram No. 2
Tuesday, November 18, 2025 | 7:30 pm
Greg Zelek, Organ
Caleb Hudson, Trumpet
GIOVANNI BATTISTA MARTINI
Toccata in D Major for Trumpet and Organ (arr. Michael Rondeau)
MR. HUDSON AND MR. ZELEK
CLAUDE BOLLING
Rag-Polka from Toot Suite
MR. HUDSON AND MR. ZELEK
SIGFRID KARG-ELERT
Marche triomphale “Nun danket alle Gott”
MR. HUDSON AND MR. ZELEK
REMY LE BOUEF
Vignette No. 20
MR. HUDSON AND MR. ZELEK
CALEB HUDSON
That They Will Know from Nothing Less
MR. HUDSON AND MR. ZELEK
JOHANN SEBASTIAN BACH
Allegro from Keyboard Concerto in D Major, BWV 972
Adagio from Keyboard Concerto in D minor, BWV 974
Badinerie from Orchestral Suite No. 2 in B minor, BWV 1067
(These three pieces are played as a set.)
MR. HUDSON AND MR. ZELEK
CRAIG SELLAR LANG
Fanfare, Op. 85
THOMAS ARNE
Flute Solo
CRAIG SELLAR LANG
Tuba Tune, Op. 15
MR. ZELEK
OSKAR LINDBERG
Gammal fäbodpsalm från Dalarna
MR. HUDSON AND MR. ZELEK
VINCE GUARALDI
Thanksgiving Theme (arr. Greg Zelek)
JOHANN SEBASTIAN BACH
Nun danket alle Gott from Cantata No. 79 (arr. Virgil Fox)
MR. ZELEK
BÉLA BARTÓK
Romanian Folk Dances
Jocul cu bata
Braul
Pe loc
Buciumeana
Poarga Romaneasca
Maruntel
MR. HUDSON AND MR. ZELEK
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.
NOV ,18 2025
CALEB HUDSON Trumpet
Uniting virtuosity and musical sensitivity, Caleb Hudson has carved out a unique space in the world of classical trumpet. A long-standing member of the esteemed Canadian Brass for over a decade, he has captivated international audiences. Caleb, a native of Lexington, Kentucky, earned both his Bachelor and Master of Music degrees from the Juilliard School. The New York Times has praised his artistry as “brilliantly stylish.”
In March 2024 Hudson releases his debut solo album “Nothing Less,” a testament to the art of ensemble-driven dialogue. Featuring a distinct blend of solo trumpet, violin, cello, flute, and clarinet, the music allows virtuosity and collaboration to intermingle seamlessly. The album introduces fresh compositions by Remy Le Boeuf, Kyle Athayde, and Caleb Hudson himself, while also o ering innovative takes on classics by Corelli and Philip Glass.
Caleb is acclaimed for his renditions of Bach’s Brandenburg Concerto No. 2, which he performs on both the modern piccolo trumpet and the historical baroque trumpet. This expertise has enabled solo engagements with renowned ensembles such as the Philadelphia Orchestra, Orpheus Chamber Orchestra, Orchestra of St. Luke’s, Trinity Baroque Orchestra, Handel and Haydn Society, and Philharmonia Baroque.
Caleb co-founded “Triple Cortado,” an innovative trio featuring Canadian Brass trombonist Achilles Liarmakopoulos and virtuosic pianist Ahmed Alom. This reimagined piano trio explores a diverse range of new compositions and arrangements, pushing the boundaries of brass chamber music.
Beyond performance, Caleb is deeply committed to expanding the brass repertoire. A prolific arranger and composer, his works are often performed by Canadian Brass. His original composition, “White Rose Elegy,” debuted at Lincoln Center, performed by the New York Philharmonic Principal Brass.
Caleb’s contributions also extend to educational literature; he was the recording artist for the groundbreaking Suzuki Trumpet School, Volume I. He credits his artistic growth to mentors such as Richard Byrd, Vincent DiMartino, Ken Larson, Raymond Mase, Mark Gould, and John Thiessen. Currently, Caleb serves as the Associate Professor of Trumpet at the Butler School of Music at the University of Texas at Austin. He has previously taught at the University of North Texas and Colorado State University, where his students have achieved professional success in both academic and performance realms. Deeply grateful for the opportunities and insights his musical journey has provided, Caleb is committed to nurturing the next generation of musicians.
Rooted in a deep faith in Christ, Caleb resides in Texas with his wife, Amanda, and their three children.
PROGRAM NOTES
Michael Allsen
NOV 18, 2025 program notes by J.
Our second organ series program pairs Greg Zelek and the Overture Concert Organ with trumpeter Caleb Hudson. Mr. Hudson is a member of the acclaimed Canadian Brass, and teaches at the University of Texas at Austin. As always, this is a wide-ranging program, including classic works for solo organ, new pieces written for and by our soloist, a little bit of jazz, and an imaginary Bach trumpet concerto!
Giovanni Battista Martini (1706-1784)
Toccata in D Major for Trumpet and Organ (arr. Michael Rondeau)
Giovanni Battista Martini, an organist, composer, writer, musical antiquarian, and teacher, was among the most learned musicians of 18th-century Italy. Padre Martini, who took vows as a Franciscan when he was a teenager, was clearly a beloved figure in his native Bologna, and he was admired by musicians all across Europe for his erudition and teaching. In the summer of 1770, a 14-year-old Mozart spent several weeks studying counterpoint with Martini, whose abilities and personality Mozart continued to praise for the rest of his life, writing years later about him that “I never cease to grieve that I am far away from that one person in the world whom I love, revere and esteem most of all.” Martini wrote one of the first comprehensive histories of music, and also published influential collection of counterpoint examples. As a composer, Martini wrote primarily sacred vocal works, but also several symphonies and sinfonias, and over 100 works for organ. This brilliant version of one of Martini’s organ Toccatas was popularized in 1960 in a recording by legendary French trumpeter, Maurice André. The arrangement played here is by Canadian trumpeter Michael Rondeau.
Claude Bolling (1930-2020)
Rag-Polka from Toot Suite
Claude Bolling, sometimes known as the “French Gershwin,” had a long and successful career in his native France. Bolling was a renowned jazz pianist and bandleader and also wrote scores for over 100 films. However, his greatest international success was a series of popular “crossover” recordings in which he blended jazz and classical styles. These began in 1975, with the Suite for Flute and Jazz Piano —a collaboration between Bolling and the great French flutist JeanPierre Rampal. Bolling went on to collaborate and record with several other Classical artists in succeeding years. Including the Toot Suite (1980), written originally for trumpeter Maurice André and Bolling’s jazz trio. It was not only a true virtuoso display for André—the trumpet plays nearly every measure of this demanding 20-minute piece—but it is also a technical challenge: it calls for five different trumpets in the course of six movements. The B-flat cornet lends a distinctly old-fashioned “concert in the park” sound to the third movement, Rag-Polka Here, the cornet weaves its way through increasingly flashy variations on the syncopated main theme and a sinuous, chromatic countertheme… and the organist gets to play some flashy bits of his own!
Sigfrid Karg-Elert (1877-1933)
Marche triomphale “Nun danket alle Gott”
Born the youngest of twelve children, in a small city in Germany’s Black Forest, the precocious Sigfrid Karg-Elert was fortunate when his family moved to Leipzig when he was age 5. The young boy studied piano and organ, and eventually came to the attention of composer Emil
von Reznicek, who arranged a scholarship that allowed KargElert to study at the Leipzig Conservatory, where he would eventually teach music theory and composition. By the time he died, after an extended illness, KargElert’s music was little regarded, even in his native Germany. His best-known piece—the Marche triomphale“Nundanketalle Gott”—refers to a 17th-century Lutheran chorale tune (familiar in English as Now Thank We All OurGod). However, he treats the melody very freely in this bravura 5-minute work—you’ll often be hard-pressed to find the hymn tune, even if you’ve sung it many times! The first six pitches are there in the opening fanfare, and other fragments show up as well. But overall, this is a grand and joyful showpiece for the solo organ.
Remy Le Bouef
(b. 1986)
Vignette No. 20
New York City-based saxophonist Remy Le Bouef is one of the leading voices in jazz today. He has worked extensively as a band leader and sideman, collaborating with groups as diverse as Wynton Marsalis’s Jazz at Lincoln Center, Orchestra, HAIM, and Le Bouef Brothers (an experimental ensemble with his identical twin brother Pascal). Le Boeuf is an Assistant Professor and Director of Jazz and Commercial Music Studies at the University of Denver’s Lamont School of Music. He provides the following note on his Vignette No. 20 :
When Caleb Hudson approached me to write something for his ensemble, I was in the midst of exploring a particular creative process involving writing short linear compositions on the saxophone that I call “vignettes.” While most are writ ten for solo saxophone,
JOHANN SEBASTIAN BACH
BÉLA BARTÓK
OSCAR LINDBERG
REMY LE BOEUF
CLAUDE BOLLING
Nos. 20 and 21 were written specifically for Caleb’s ensemble. I enjoyed starting with a linear concept and then expanding it to more voices, as if I were taking a Bach Cello Suite and expanding the implied voices within it to fit a chamber quintet. The pitch bends and pristine melodies of Vignette No. 20 showcase Caleb’s delicacy and his penchant for beauty.
Vignette No. 20 was recorded by Hudson on his 2025 album Nothing Less . It was scored for an ensemble of trumpet, flute, clarinet, violin, and cello, here adapted for organ. In the original version, the trumpet line blossoms forth from a haze of string harmonics. The background playing, always gentle, sometimes picks up the trumpet’s melody, and sometimes provides an inobtrusive accompaniment.
Caleb
Hudson (b. 1988)
That They Will Know from Nothing Less Hudson provides the following note on his Nothing Less:
Taking inspiration from the Old Testament story of Elijah, this composition of mine was recorded on the 2024 album of the same name. The four movements— Still Small Voice (divine whisper amidst despair), Prophets of Baal (frenetic dances of futility), That They Will Know (Elijah’s heartfelt plea), and Covenant (spiritual renewal and transformation)—each depicts a pivotal moment in Elijah’s story.
The accompaniment—originally for flute, bass clarinet, violin and cello—is here adapted for organ. That They Will Know begins with a strong, lyrical trumpet statement—Elijah himself—above
a chattering accompaniment. The accompaniment eventually joins the trumpet in character, and the piece closes in a mood of quiet exaltation.
Johann Sebastian Bach (1685-1750)
Allegro from Keyboard
Concerto in D Major, BWV 972
Adagio from Keyboard
Concerto in D minor, BWV 974
Badinerie from Orchestral
Suite No. 2 in B minor, BWV 1067
Bach never wrote a concerto for solo trumpet, but that hasn’t stopped Hudson and Zelek from constructing one from three movements that Bach wrote early in his career. [Note: If anyone is thinking about getting all huffy about “authenticity,” I hasten to point out that the first two movements were in fact “borrowed” by young Bach himself from a pair of already existing Italian concertos…] One of Bach’s first important posts was as court organist at Weimar (1708-1717), where he established an international reputation as a virtuoso keyboard player. While there, he wrote almost two dozen keyboard arrangements of music by other German and Italian composers, including some 16 “keyboard concertos” written between 1713 and 1716—transcriptions for solo keyboard (organ or harpsichord) of orchestral concertos by other composers. Just why Bach did this is unclear, though it’s possible that these represented studies in concerto composition. And if you’re going to steal, steal from the best; Bach’s transcriptions include a few German concertos, one by his friend Georg Philipp Telemann, and no fewer than three by his patron Duke Johann Ernst of Saxe-Weimar. (It’s never
a bad idea to suck up to the boss!) However, the great majority of these works are by Italians, primarily by the preeminent concerto composer of the day, Antonio Vivaldi, and by the Venetian brothers Alessandro and Benedetto Marcello. Vivaldi’s concertos were widely circulated and emulated in his day, and it was he who established many of the standard operating procedures followed by his contemporaries Bach, Handel, and Telemann in their concertos. Perhaps the most influential Vivaldi concertos are the twelve works published in 1711 as L’estro armonico, Op. 3 The collection, which is equally divided between concertos for one, two, and four solo violins, was immensely popular and influential in Germany. The most famous debtor to L’estro armonico was Bach, who arranged three of Vivaldi’s Op. 3 concertos as keyboard concertos: BWV 972 is based upon Vivaldi’s solo violin concerto Op. 3, No 9 Its opening Allegro begins with a rather stately ritornello —a passage that repeats a few times in this short moment to tie it together. Between ritornelli , there are brilliant solo passages. The Adagio that follows was lifted from the Oboe Concerto by Alessandro Marcello, a passionate movement in the style of an operatic lament. For the third movement, Hudson and Zelek have borrowed the closing movement of the OrchestralSuite No. 2, BWV 1067 , probably written by Bach for his next post at the court of Cöthen (1717-1723). In contrast to the Italian style heard in the first two movements, BWV 1067 is distinctly French in style. The final movement, featuring a brilliant solo flute part in the original, is one of several popular French court dances dances of the period, a lighthearted and quickfooted Badinerie (from the French badiner : “to jest” or “to banter”).
Craig Sellar Lang
(1891-1971)
Fanfare, Op. 85
Tuba Tune, Op. 15
Thomas Arne (1710-1778)
Flute Solo
Next is a set of three British works for solo organ, beginning with a brilliant Fanfare by Craig Sellar Lang. Born in New Zealand, Lang spent his entire career in England. He was trained at Clifton College in Bristol, London’s Royal College of Music, and the University of Durham. He later taught at Clifton College and Christ’s Hospital School in West Sussex. Lang is perhaps best known to organists as the author of several educational collections and training works, though he was an accomplished composer of sacred and concert works throughout his career. His bravura Fanfare is a relatively late work, from the 1950s.
Thomas Arne was one of the finest theatrical composers of 18thcentury Britain. Though George Frideric Handel and others ruled the lofty realms of Italian opera, Arne’s specialty was musical theater in English: masques, pantomimes, burlesques, odes, incidental music for dozens of stage plays, and later Englishlanguage operas and oratorios. He also had some success as a keyboard composer. His playful FluteSolo features a highly ornamented melody played on the Flute stop.
This set closes with Lang’s Tuba Tune, which he first published in 1929, and which remains one of his most popular works nearly a century later. He wrote this with the chapel organ of Christ’s Hospital School in mind: an instrument that reportedly had a remarkably resonant and powerful rank of Tuba pipes. The piece starts with a lively 12/8 tune in the highest manual. A
slightly less active middle section contains some interesting harmonic twists, before a reprise of the opening music.
Oskar Lindberg (1887-1955)
Gammal fäbodpsalm från Dalarna
Swedish composer, organist, and teacher Oskar Lindberg trained at the Swedish national Academy of music, and taught harmony classes there for well over 30 years. He was probably most impactful as a church musician, however. In 1939, Lindberg published a new edition of the Church of Sweden’s hymnbook, including many of his own works. He was born in the rural village of Gagnef in the Dalarna region of Sweden, and remain connected to the folk music of Dalarna throughout his life, frequently channeling folk tunes that he had grown up with or collected in his compositions. His best-known piece, Gammal fäbodpsalm från Dalarna (Old Folkhymn from Dalarna) comes from 1936, when Lindberg first heard this tune at a worship meeting in Gagnef. In the version played here, the trumpet plays the beautifully simple tune, and the organ plays Lindberg’s calm, impressionistic accompaniment.
Vince Guaraldi (1928-1976)
Thanksgiving Theme (arr. Greg Zelek)
Johann Sebastian Bach
Nun danket alle Gott from Cantata No. 79 (arr. Virgil Fox)
Given the season, it’s perfectly appropriate to include a couple of Thanksgiving-themed organ works on this program, Pianist and composer Vince Guaraldi was already a well-known jazz soloist and band leader in 1963,
when producer Lee Mendelson approached him about writing a score for an upcoming documentary about the wildly successful Peanuts comic strip by Charles Schultz. Guaraldi responded with a tune called Linus and Lucy that he played to Mendlelson by phone. Guaraldi got the gig, and would write scores for twelve Peanuts television specials beginning in 1965 with A CharlieBrownChristmas [Note: I distinctly remember watching this on my grandparents’ brand new color TV—at least as impressive to seven-year-old me as the special itself was!] Guaraldi’s scores lent an aspect of sophistication and coolness to the Peanuts gang. In 1973, he wrote a score for A CharlieBrownThanksgiving , now including a jazz quintet with trumpet and trombone, and a much broader musical palette that included funk and fusion-style jazz. Guaraldi’s Thanksgiving Theme , which appears at several points in the story, is a fast, breezy improvisatory jazz waltz with backing from an electronic organ.
Next is an arrangement by the American organist and showman Virgil Fox (1912-1980). Fox had a well-deserved reputation as an organ virtuoso and was the longtime organist at New York City’s Riverside Church. In the 1960s and 1970s Fox popularized the music of Bach in a series of “Heavy Organ” concerts, staged with groovy, psychedelic light shows. His version of Nundanket alle Gott is based upon the fourth movement of Bach’s cantata Gott derHerr istist SonnundSchild , BWV 79 This was written for an October 31, 1724 Reformation Festival Sunday at Thomaskirche in Leipzig. Unlike the Marche triomphale , there’s no problem hearing the chorale tune in this case, which is laid out in phrases interlaced with lively orchestral passages. (In fact, Bach may have intended for the
congregation to join the chorus in singing the chorale.)
Béla Bartók (1881-1945)
Romanian Folk Dances
Bartók spent much of his early career as a folksong collector, travelling the back roads of Romania, Transylvania, and his native Hungary with primitive recording equipment and music manuscript paper, often working with his friend and colleague Zoltan Kodály. Bartók and Kodály both published editions and books based on their research, and in both cases the music they collected had a profound influence on their own compositions. In the years before and during the first world war, Bartók published dozens of songs and piano pieces—the latter mostly intended for piano students—based on folk material. The concentrated little suite known as the Romanian Folk Dances was published in 1915 for piano, but he had collected most of the tunes upon which it was based in 1910 and 1912, during visits to Romanian communities living in Eastern Hungary. In the hyper-nationalistic period at the beginning of the Great War, Bartók and Kodály were actually drafted to continue their collecting as a patriotic duty, collecting songs from Hungarian soldiers. Bartók’s interests were broader, however and he continued to publish and arrange music from across eastern Europe, sometimes raising the ire of Hungarian nationalists. When he published the RomanianFolkDances he was bitterly attacked by critics in Budapest for “abandoning the music of Hungary.” These sour notes aside, this set of vivacious musical miniatures remains one of Bartók’s most popular early works.
This is a suite of seven short dances: some of them lasting well under a minute. Joculcu bata
(DanceWithSticks) is a strident Transylvanian dance tune with strongly accented rhythms. Braul (SashDance) is a quirky dance begun by the accompaninent, and picked up by both players. Peloc means “In one spot”—an intricate stamping dance done in place: here carried by solo trumpet above a mysterious drone, before coming to an inconclusive end. Buciumeana(HornDance) is a more lyrical Transylvanian melody that passes from the solo line to the organ. PoargaRomaneasca (RomanianPolka) is a vigorous tune that accompanies a traditional children’s game—a much more rhythmically intricate a air than the more familiar German and Polish polkas. This leads seamlessly into the final two dances, a pair of tiny movements titled Maruntel (QuickDance). The music moves continually faster until a seemingly exhausted collapse.
ENSURING A BRIGHT FUTURE for the OVERTURE CONCERT ORGAN
Honor the Madison Symphony Orchestra’s 100th Anniversary by making a gift to the Organ Endowment Fund!
As we celebrate the MSO’s 100th Anniversary, the MSO and Friends of the Overture Concert Organ invite you to support the Organ Endowment Fund through our Adopt-a-Stop naming program. The Overture Concert Organ is one of the Madison Symphony Orchestra’s most precious assets, and our Organ Endowment Fund provides a permanent source of long-term support for organ programming and care of the instrument.
With an endowment gift of $1,000 or more, you can “adopt” part of the organ and make a lasting impact. Your gift will help to ensure a bright future for our magnificent Overture Concert Organ!
$25,000Division
$10,000 Stop
$5,000Façade pipe
$2,500 Single pipe - Major
$1,000 Single pipe - Minor
Up to $999General donation
madisonsymphony.org/adoptastop
Contact: Casey Oelkers, Director of Development, (608) 257-3734
Adopt-a-Stop gifts do not quality for Friends of the Overture Concert Organ (FOCO) annual membership benefits.
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 as part of the Adopt-a-Stop program. Donors who have chosen to adopt individual parts of the organ are listed with their individual adoptions.
ORGAN CONSOLE
Catherine Burgess, in memory of Jim Burgess
TUTTI
Nicholas and Elaine Mischler
DIVISION
Friends of the Overture Concert Organ
in honor of Samuel C. Hutchison
Great Division
Gamber F. Tegtmeyer, Jr., in memory of Audrey Tegtmeyer
Swell Division
Friends of the Overture Concert Organ
in honor of Gregory C. Zelek in celebration of his Golden
Birthday
Solo Division
STOP
In memory of Ruth and Frederick Dobbratz
Great Principal 8’
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’
Susan and Rolf Wulfsberg
Great Gedeckt 8’
An Anonymous Friend
FAÇADE PIPE
Dr. Frederick W. Blancke
Great Principal 16’ – F2
Daniel and Stacey Bormann in memory of Larry Shrode
Great Principal 16’ – D2
Lau and Bea Christensen
Great Principal 16’ – C2
John and Michele Erikson
Great Principal 16’ - E1
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
Peter and Leslie Overton
Great Principal 16’ - E2
Reynold Peterson in memory of John Toussaint
Great Principal 16’ - D-Sharp2
Rhonda and Bill Rushing
Great Principal 16’ - C#2
In Memory of Jennie Biel Sheskey and Biel Orchestra, The John and Twila Sheskey Charitable Fund
Great Principal 16’ – B2
MAJOR PIPE
Anne Bolz in honor of Greg Upward
Solo Harmonic Flute 8’ – G3
In Memory of Lila Smith Lightfoot
Solo Tuba 16’ – C1
Vicki and Marv Nonn
Pedal Double Open 32’ – C1
Reynold V. Peterson
Choir Unda Maris 8’ – A3
Barbara and Richard Schnell
Solo French Horn 8’ – D1
Barbara and Richard Schnell
Solo French Horn 8’ – E1
Dave Willow in honor of Mary Ann Willow
Swell Basson-Hautbois 8’ - A2
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
Swell Basson 16’ – A2
Chuck Bauer and Chuck Beckwith
Choir Clarinet 8’ – B2
Nancy Becknell
Solo French Horn 8’ – C1
Ed and Lisa Binkley
Pedal – Vox Balinae 64’ – C1
Patricia Brady and Robert Smith
Solo French Horn 8’ – B2
Mary Kay Burton
Choir Waldflote 2’ - B1
Capitol Lakes
Swell Fugara 4’ – D3
Crystal Enslin in memory of Jon S. Enslin
Swell Basson-Hautbois 8’ - D2
Friends of the Overture Concert Organ in honor of Reynold Peterson
Great Trompete 8’ – G3
Friends of the Overture Concert Organ
2015-2016 Board of Directors in honor of Elaine Mischler
Choir Clarinet 8’ – B-Flat1
Friends of the Overture Concert Organ 2019-2020 Board of Directors in honor of Ellsworth Brown
Solo Harmonic Flute 8’ – E3
Paul Fritsch and Jim Hartman
Solo French Horn 8’ – A3
Paul Fritsch and Jim Hartman in honor of Karissa Fritsch
Solo French Horn 8’ – F4
Paul Fritsch and Jim Hartman in honor of Bethany Hart
Solo Harmonic Flute 8’ – B3
Paul Fritsch and Jim Hartman in honor of Paige Kramer
Solo French Horn 8’ – G2
Dr. Robert and Linda Graebner Great Principal 8’ – C1
Betsy and Bezalel Haimson Swell Basson-Hautbois 8’ - B1
Kris S. Jarantoski
Swell Bordun 8’ – C3
Darko and Judy Kalan in honor of Samuel C. Hutchison Swell Basson–Hautbois 8’ – C1
Carolyn Kau and Chris Hinrichs Choir Suavial 8’ – C3
Gary Lewis
Swell Basson–Hautbois 8’ – C3
Connie Maxwell
Swell Basson–Hautbois 8’ – A3
Gale Meyer
Solo French Horn 8’ – G1
Susanne M. Michler
Swell Trompette
Harmonique 8’ – C3
Stephen D. Morton
Swell Bourdon 16’ – C1
Casey, Eric, Dylan, and Kendall Oelkers in honor of Walter & Barbara Herrod's 50th Anniversary
Solo Harmonic Flute 8' - G2
Larry and Jan Phelps
Pedal – Subbass 16’ – C1
Hans and Mary Lang Sollinger Swell Traversflöte 4’ – A2
Harriet Thiele Statz Choir Gemshorn 8’ – A3
Two Friends in memory of Jack Hicks
Great Principal 8’ – C3
Anders Yocom and Ann Yocom
Engelman
Solo Principal 8’ – A2
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
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
General Toe Studs
Divisional Pistons
Pedal Divisional
Toe Studs
Divisional
Cancel Pistons
Sequencer
Programmable
Crescendo and Tutti
to Ped
to Ped
to Ped
to Ped
to Ped
to Ped
to Ped Solo to Ped
Sw to Sw
Sw Unison Off
Sw to Sw
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
Sw to Ch
Sw to Ch
Sw to Ch
Solo to Sw
Solo to Sw Solo to Ch
to Ch
to Ch
Unison Off
to Ch
FRIENDS OF THE OVERTURE CONCERT ORGAN
We gratefully acknowledge the Friends of the Overture Concert Organ for their support of Overture Concert Organ programming for the 2025-26 Season. This list includes current members as of September 15, 2025.
HONORARY
LIFETIME MEMBERS
W. Jerome Frautschi
& Pleasant T. Rowland
Diane Endres Ballweg
Bruce & Suzanne Case
Samuel C. Hutchison
CURATOR CIRCLE
$1000 & above
Carla & Fernando Alvarado
Chuck Bauer & Chuck Beckwith
James & Diane Baxter
Barbara & Norman Berven
Dr. Annette Beyer-Mears
Patricia Brady & Robert Smith
Martha Casey
Richard Cashwell
Lau & Bea Christensen
Mike & Quinn Christensen
Dennis & Lynn Christensen
John & Christine Gauder
George Gay
Jane Hamblen
& Robert F. Lemanske
Kathleen Harker
Susan S. Harris
Mark Huth, MD
Darko & Judy Kalan
Myrna Larson
Doug & Norma Madsen
Kathlyn Maldegen
Joan & Doug Maynard
Charles McLimans
& Dr. Richard Merrion
Bonnie McMullin-Lawton
& Jack Lawton
Elaine & Nicholas Mischler
Genevieve Murtaugh
Vicki & Marv Nonn
Peter & Leslie Overton
Reynold V. Peterson
Walter & Karen Pridham
Charitable Fund
Bill & Rhonda Rushing
Kay Schwichtenberg & Herman Baumann
Lise R. Skofronick
Shirley Spade
William Ste enhagen
Dr. Condon & Mary Vander Ark
Judith Werner
Susan & Rolf Wulfsberg
Jennifer Younger & Thomas Rae Smith
One Anonymous Friend
J. S. BACH SOCIETY
$650–$999
Martha Taylor & Gary Antoniewicz
David & Karen Benton
Daniel & Stacey Bormann
Janet & Scott Cabot
Timothy & Renée Farley
Joel & Jacquie Greiner
John & Karla Groenenboom
Terry Haller
Walter & Barbara Herrod
James & Cindy Hoyt
Kris S. Jarantoski
Maryanne & Bob Julian
Ann & David Martin
Robert McCalla & Laurie Beardsley
Joseph Meara & Karen Rebholz
David Myers
Faith & Russ Portier
Ron Rosner & Ronnie Hess
Harry Tschopik
James J. Uppena
John & Janine Wardale
Leonard & Paula Werner
Faye Pauli Whitaker
Dave Willow
Anders Yocom & Ann Yocom Engelman
One Anonymous Friend GREAT $300–$649
Lyle J. Anderson
Ellis & Susan Bauman
Julia Bolz
Jack Holzhueter & Michael Bridgeman
Mary & Ken Buroker
Dr. Larry & Mary Kay Burton
Mike Byrne & Roberta Carrier
Louis Cornelius & Pris Boroniec
Paula K. Doyle
John & Deidre Dunn
Crystal Enslin
Jan Etnier
Bobbi Foutch-Reynolds & Jim Reynolds
Donna B. Fox
Paul Fritsch & Jim Hartman
Vicki & Alan Hamstra
Betty & Edward Hasselkus
Chris & Marge Kleinhenz
Larry M. Kneeland
Richard & Claire Kotenbeutel
Charles Leadholm & Jeanne Parus
Peggy Lescrenier
Bruce & Ruth Marion
Casey & Eric Oelkers
David Parminter
Patricia Paska
William E. Petig
Sue Poullette
Kathryn Richardson
Orange Schroeder
Mark C. Shults & Nancy Vedder-Shults
Andrew & Erika Stevens
Karen M. Stoebig
Karla Stoebig
David Stone
Ellen M. Twing
Ann Wallace
Sally Wellman
Jim Werlein & Jody Pringle
Derrith Wieman & Todd Clark
Je rey Williamson
One Anonymous Friend
SWELL
$150–$299
Carolyn Aradine
Leigh Barker Cheesebro
Charles & Joanne Bunge
Jim Conway & Kathy Trace
Bonnie & Marc Conway
Steve & Shirley Crocker
John Daane
Douglas J. Deboer
Paula & Bob Dinndorf
Donalea Dinsmore
Marilyn Ebben
Alan & Ramona Ehrhardt
Ann Ellingboe
Elizabeth Fadell
Douglas & Carol Fast
Michael George & Susan Gardels
Fr. C. Lee & Edith M. Gilbertson
William & Sharon Goehring
Bob & Beverly Haimerl
Peter & Candace Huebner
Margaret & Paul Irwin
Greg & Doreen Jensen
Dan & Janet Johnson
Jerome & Dee Dee Jones
Judy Lyons & Doug Knudson
Gary Lewis & Ken Sosinski
Bruce Matthews & Eileen Murphy
Margaret & Paul Miller
Gerald & Christine Popenhagen
Randall & Deb Raasch
John & Rachel Rothschild
Steven & Lennie Sa an
Thomas & Lynn Schmidt
Sandy Shepherd
Eileen M. Smith
Curt & Jane Smith
Reeves Smith & Glenna Carter
Gareth L. Steen
Judy & Nick Topitzes
Tom & Dianne Totten
Colleen & Tim Tucker
John & Shelly Van Note
Carolyn White
One Anonymous Friend
CHOIR
$100-$149
Christine K. Beatty
Bruce Bengtson
Jonathan Boott
Waltraud Brinkmann
Barbara Constans & Deb Rohde
John & Joann Esser
Alan & Kathy Garant
Jill Gaskell
Lynn Burke
Barbara Grajewski & Michael Slupski
Dr. & Mrs. Frank Greer
Conrad & Susan Jostad
Marilyn Kay
Valerie & Andreas Kazamias
Marc Vitale & Darcy Kind
Noël Marie & Steven Klapper
Miki & Ivan Knezevic
Jim Larkee
Sally Leong
Steven Limbach
& Karen Rinke
Dick & Cindy Lovell
Chuck & Linda Malone
Jan L. McCormick
Wendy Miller
Ann & David Moyer
Ron & Jan Opelt
Ernest J. Peterson
Kathleen Rasmussen
Sherry Reames
Richard & Donna Reinardy
Mark & Zoe Rickenbach
Anonymous
Sinikka Santala & Gregory Schmidt
Dennis & Janice
Schattschneider
John & Susan Schauf
Chris & Ronald Sorkness
Rob & Mary Stroud
Teri Venker
Jan Vidruk
Steven Wendor
Karl & Ellen Westlund
Dorothy Whiting
Wade W. & Shelley D. Whitmus
Suzy Wilko
Four Anonymous Friends
FRIEND
$35-$99
Tammy & Gary Albrecht
David & Ruth Arnold
Bob & Bonnie Block
Dorothy Blotz
Kathleen Boord
Kathleen Borner
Mary Brewer
Dorothy & Ellsworth Brown
Walter Burt
Dory & Ole Christensen
Joan & Scott Cramer
Nancy & Russell Dean
Lucy Dechene, Ph.D.
Eve & Carl Degen
Paul DiMusto & Molly Oberdoerster
Frank & Jacqueline DiNatale
Barbara Drake
Kathy England
Elizabeth Enright
Jim Esmoil
Emily & Milton Ford
Kenneth & Molly Gage
Sam Gratz
Marjorie K. Gray
Susan Gruber
Ed & Gloria Grys
Andrew E. Halbach
Kathy Hoch
Dale Hughes
Christina Hull
Teresa Hutson
Joe Johnson
Sharon Johnson
Melissa Keyes & Ingrid Rothe
Benjamin & Victoria Korab
Michael Krejci
Linda Krueger
Ed & Julie Lehr
David & Joan Milke
Douglas & Rosemary Moore
Don & Krista Nelson
Darlene M. Olson
Dr. Zorba Paster
& Penny Paster
Phillip & Karen Paulson
Carol Pfei er
Mark E. Puda
& Carol S. Johnston
Christine & Robert Reed
Lindsay & Skip Resenhoeft
Ray & Debi Robey
Cora Rund
Iva Hillegas Schatz
Jaret & Emily Schroeder
David & Gail Schultz
James & Diane Scorgie
Jacqui & John Shanda
Terrell & Mary Smith
Steve Somerson
& Helena Tsotsis
Nakkiah Stampfli
& Tanner Schaefer
Robert & Barbara Stanley
Kim Stege
Cheri J. Teal
Barbara Uehling
Greg Wagner & Fred Muci
Joyce Wells
Bill & Jackie Wineke
Celeste Woodru & Bruce Fritz
Ten Anonymous Friends
We have made every e ort to ensure the accuracy of this list. If you have any questions or corrections, please contact the MSO’s development department at (608) 257-3734.
Board of Directors and Administrative Sta
FRIENDS OF THE OVERTURE CONCERT ORGAN BOARD OF DIRECTORS, 2025-2026
OFFICERS
William Ste enhagen, President
Charles McLimans, President-Elect
David Willow, Secretary-Treasurer
Robert Lemanske, Past-President
DIRECTORS
Herman Baumann
Janet Cabot
Quinn Christensen
Paula Doyle
Audrey Dybdahl
Mark Huth
Douglas McNeel
Margaret Murphy
Mary Ann Nanassy
David Parminter
Rhonda Rushing
Jennifer Younger
ADVISORS
Fernando Alvarado
Diane Ballweg
Jim Baxter
Barbara Berven
Ellsworth Brown
John Gauder
Terry Haller
Ellen Larson Latimer
Gary Lewis
Elaine Mischler
Vicki Nonn
Reynold Peterson
Teri Venker
Anders Yocom
EX OFFICIO
Greg Zelek, Principal Organist and Elaine & Nicholas Mischler Curator of the Overture Concert Organ
MADISON
SYMPHONY ORCHESTRA INC.
ADMINISTRATION
Robert Reed, Executive Director
David Gordon, Executive Assistant & Board Liaison
Ann Bowen, General Manager
Simon Arno, Receptionist & Administrative Assistant
Alexis Carreon, Personnel Manager
Jennifer Goldberg, Orchestra Librarian, John & Carolyn Petersen Chair
Lisa Kjentvet, Director of Education & Community Engagement
Katelyn Hanvey, Education & Community Engagement Manager
Casey Oelkers, Director of Development
Meranda Dooley, Manager of Individual Giving
Rachel Cherian, Manager of Grants & Sponsorships
Peter Rodgers, Director of Marketing
Heather Rose, Marketing Communications Manager
Isabella Clinton, Audience Experience Manager
Greg Zelek, Principal Organist and Elaine & Nicholas Mischler Curator of the Overture Concert Organ
become a friend
Each season, many new individuals become Friends of the Overture Concert Organ by making gifts of support. Friends’ generosity helps us cover the costs of ticketed and free concerts that so many people in our community enjoy, as well as tuning and maintenance of the instrument.
New members can join FOCO for just $35! Friends, at all levels, have access to exclusive benefits and opportunities throughout the season. Gifts to FOCO are taxdeductible to the extent allowed by law.
Ticket sales cover less than half of the costs of producing a season.
Discover more about Friends of the Overture Concert Organ. Visit: madisonsymphony.org/foco
Member benefits are subject to change.
2025-2026 FRIENDS OF THE OVERTURE CONCERT ORGAN MEMBERSHIP LEVELS & BENEFITS
Benefits are available during the concert season your gift supports
Recognition in organ concert program books
Special member communications
Invitation to Showcasing the Organ events
Invitation to FOCO Annual Meeting
Recognition in MSO program books
Two complimentary beverage vouchers*
Invitation to one organ post-concert reception
Open invitation to all organ post-concert receptions
Private, reserved parking for organ concerts and events*
Invitation to a special member appreciation event
Benefits marked with an asterisk (*) have a fair market value and may reduce the tax-deductibility of your gift.
Spouse/Partner
MEMBERSHIP DONATION FORM
Felix Hell, Organ
Organist Felix Hell, who first performed for us in 2012, returns to Madison with a unique and brilliant program that he calls “Cathedral of Sound: The Organ as Orchestra.” The program features his own arrangement of Beethoven’s famous Fifth Symphony, never heard before on the Overture Concert Organ. You won’t want to miss Felix’s unbelievable artistry and creativity, as he brings this massive work to life on our very own instrument!
– Greg Zelek
MAJOR SPONSORS
Friends of the Overture Concert Organ
Myrna Larson
Jennifer Younger and Thomas Rae Smith
ADDITIONAL SPONSORS
Mark Huth and Meghan Walsh
…he sets standards that many established and honoured older players would struggle to equal.
– Michael Barone, The American Organist
Felix Hell, Organ
MUSIC
JOHANN SEBASTIAN BACH
Sinfonia from Cantata No. 29
WOLFGANG AMADEUS MOZART
Fantasy in F Minor, K. 608
SAMUEL BARBER
Adagio for Strings
LUDWIG VAN BEETHOVEN (arr.FELIX HELL )
Symphony No. 5 in C-Minor, op. 67
SINGLE TICKETS ON SALE ($28-$51) madisonsymphony.org, the Overture Center Box O ce, or (608) 258-4141
Dates, artists, and programs subject to change.
An Evening of Intimate Chamber Music
Featuring Nine MSO Musicians & Greg Zelek
As the MSO celebrates 100 years this season, it seems only fitting to bring some of my MSO colleagues with me on stage to showcase their talent and our unique pairing. While the organ can be a loud instrument, it can also be used in a softer and more subtle way. With works like Handel’s G minor Organ Concerto and movements from Mozart’s Clarinet Concerto and Coleridge-Taylor’s Nonet, this program will demonstrate the versatility and more intimate side of our instrument. I’m also excited that the audience will get a chance to hear many individual orchestral musicians showcased, as they perform some works as soloists with the organ. Sit back, relax, and let this incredible music fill you with joy and peace!
– Greg Zelek
PRESENTING SPONSOR
William Steffenhagen
MAJOR SPONSORS
Peter and Leslie Overton
Judith Werner, in memory of Stephen Caldwell Condon and Mary Vander Ark
Featuring Greg Zelek, organ
Featured MSO Musicians: Leanne Kelso, violin I
Hillary Hempel, violin II
Christopher Dozoryst, viola
Karl Lavine, cello
David Scholl, bass
Izumi Amemiya, oboe
JJ Koh, clarinet
Cynthia Cameron, bassoon
Emma Potter, horn
MUSIC
GEORGE FRIDERIC HANDEL
Organ Concerto in G minor, HWV 289
SAMUEL COLERIDGE-TAYLOR
Movements from Nonet
WOLFGANG AMADEUS MOZART
SINGLE TICKETS ON SALE ($28-$51)
Movements from Clarinet and Horn Concertos
JOHANN SEBASTIAN BACH
Double Concerto
KYLE KNOX
Conductor
Madison Symphony Orchestra’s MSO at the Movies presents Disney and Pixar’s Toy Story in Concert featuring a screening of the groundbreaking complete film with Oscar® and Grammy®-winning composer Randy Newman’s musical score performed live to the film in Overture Hall.
The “Toy Story” films are beloved worldwide for their compelling characters, extraordinary storytelling, stunning visuals and the music of Randy Newman. The composer and songwriter is behind signature songs including “You’ve Got a Friend in Me,” “Strange Things” and “I Will Go Sailing No More.”
Ever wonder what toys do when people aren’t around? “Toy Story” answers that question with a fantastic fun-filled journey, viewed mostly through the eyes of two rival toys — Woody, the lanky, likable cowboy, and Buzz Lightyear, the fearless space ranger. Led by Woody, Andy’s toys live happily in his room until Andy’s birthday brings Buzz Lightyear onto the scene. Afraid of losing his place in Andy’s heart, Woody plots against Buzz. But when circumstances separate Buzz and Woody from their owner, the comically mismatched duo must learn to put aside their differences and form an uneasy alliance if they are to survive a hilarious adventure-filled mission back home to Andy.
