Madison Symphony Orchestra, Inc. Heather Rose, Editor Email: hrose@madisonsymphony.org
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THANK YOU TO OUR SEASON PARTNERS
LAND ACKNOWLEDGMENT
As we gather in this space for these concerts, the Madison Symphony Orchestra acknowledges the Ho-Chunk Nation’s ancestral lands and celebrates the rich traditions, heritage, and culture that thrived long before our arrival. We respectfully recognize this Ho-Chunk land and affirm that we are better when we stand together.
MADISON SYMPHONY ORCHESTRA
SEPTEMBER
VIOLIN I
Naha Greenholtz
Concertmaster
William and Joyce Wartmann Chair
Suzanne Beia
Co-Concertmaster
Steinhauer Charitable Trust Chair
Leanne Kelso
Associate Concertmaster
George and Candy Gialamas Chair
Huy Luu
Associate Concertmaster
Olga Pomolova
Assistant Concertmaster
Endowed by an Anonymous Friend
Maynie Bradley
Annetta H. Rosser Chair
Neil Gopal
Elspeth Stalter-Clouse
Tim Kamps
Jon Vriesacker
Katherine Floriano
Laura Burns
Alec Tonno
Naomi Schrank
Jerry Loughney
Clayton Tillotson
VIOLIN II
Hillary Hempel
Principal
Dr. Stanley and Shirley Inhorn Chair
Peter Miliczky
19TH MUSICIAN ROSTER
VIOLA
Christopher Dozoryst
Principal
James F. Crow Chair
Katrin Talbot
Assistant Principal
Dove Family Chair
Diedre Buckley
Renata Hornik
Elisabeth Deussen
Judy Huang
Janse Vincent
Jennifer Paulson
Hanna Pederson
Melissa Snell
Charlie Alves
Molly O’Brien
CELLO
Karl Lavine
Principal
Reuhl Family Chair
Mark Bridges
Assistant Principal
Patricia Kokotailo & R. Lawrence
DeRoo Chair
Karen Cornelius
Knapp Family Chair
Jordan Allen
Margaret Townsend
Lisa Bressler
Derek Handley
Trace Johnson
Assistant Principal
Elyn L. Williams Chair
Holly Wagner
Rolf Wulfsberg
Olga Draguieva
Kathryn Taylor
Wendy Buehl
Geri Nolden
Robin Ryan
Matthew Dahm
Glen Kuenzi
Laura Mericle
Eric Bate
Abigail Schneider
PICCOLO
Linda Pereksta
OBOE
Izumi Amemiya
Principal
Jim and Cathie Burgess Chair
Andrea Gross Hixon
ENGLISH HORN
Lindsay Flowers
CLARINET
JJ Koh
Principal
Barbara and Norman Berven Chair
Nancy Mackenzie
BASSOON
Cynthia Cameron
Principal
Amanda Szczys
HORN
Emma Potter
Principal
Steve and Marianne Schlecht Chair
Michael Wright
Michael Szczys
William Muir
Dafydd Bevil, Assistant
TRUMPET
Becky Pan
Amy Harr
BASS
David Scholl
Principal
Robert Rickman
Assistant Principal
Zachary Betz
Tom Mohs Chair
Zachary Betz
Jeff Takaki
August Jirovec
Grace Heintz
Mike Hennessy
Brett Lewis
FLUTE
Stephanie Jutt
Principal
PERCUSSION
Anthony DiSanza
Principal
JoAnn Six Plesko and E.J. Plesko Chair
Richard Morgan
Nicholas Bonaccio
HARP
Johanna Wienholts
Principal
Endowed by an Anonymous Friend
Orchestra Committee
Mark Bridges, Chair
Joshua Biere, Vice-Chair
Elspeth Stalter-Clouse, Secretary
David Scholl, Treasurer
Lisa Bressler, Member-at-large
Librarian
Jennifer S. Goldberg
John and Carolyn Peterson Chair
Stage Manager
Benjamin Skroch
Personnel Manager
Alexis Carreon
John Aley
Principal
Marilynn G. Thompson Chair
John Wagner
TROMBONE
Joyce Messer
Principal
Fred and Mary Mohs Chair
Benjamin Skroch
BASS TROMBONE
Ben Zisook
TUBA
Joshua Biere
Principal
TIMPANI
Scan Here
Terry Family Foundation Chair
Collin Stavinoha
Linda Pereksta
John Jutsum
Principal
Eugenie Mayer Bolz Foundation Chair
For the most up-to-date musician roster for the season, or scan the QR code on each program page to see the musican roster for each concert.
Soar with Cirque de la Symphonie & Party into the Night
Soar with Cirque de la Symphonie & Party into the Night will bring together the magic of circus arts and our orchestra in Overture Hall on Saturday, September 20 at 7:30 p.m. In Cirque goes to the Cinema, Cirque acrobats will perform original choreographed acts while the Madison Symphony Orchestra, conducted by John DeMain, performs music from famous film scores, including Harry Potter and Star Wars (John Williams), Mission Impossible (Lalo Schifrin), The Sting (Scott Joplin), Gladiator (Hans Zimmer), West Side Story (Leonard Bernstein), My Heart Will Go On from Titanic (James Horner), and more! A lively after-party with food stations, DJ Terrence J, and dancing follows the concert. Tickets for the concert only are $30–$100, and admission to the after-party may be purchased for an additional $50 per person.
SATURDAY CONCERT 7:30 PM OVERTURE HALL
AFTER-PARTY
OVERTURE CENTER
SINGLE TICKETS ON SALE
madisonsymphony.org, the Overture Center Box Office, or (608) 258-4141
Dates, artists, and programs subject to change.
DJ TERRENCE J
FRIDAY 6:00 PM
Pure Joy Opening Night
Magical Tchaikovsky & Maestro’s Dinner
THANK YOU to our generous sponsors for making tonight’s festivities possible.
PLATINUM CONCERT & MAESTRO’S DINNER SPONSORS
Diane Ballweg
Barbara & Norm Berven
Scott & Janet Cabot
W. Jerome Frautschi
Terry Haller, Bassam Shakhashiri, Valerie Kazamias & Jeanne Myers
GOLD SPONSORS
Capitol Lakes
Gary & Lynn Mecklenburg
Lynn Stegner
Myrna Larson
Elaine & Nicholas Mischler
Pleasant T. Rowland Foundation
Peggy & Tom Pyle
Kay Schwichtenberg & Herman Baumann
Judith & Nick Topitzes
SILVER SPONSORS
BRONZE SPONSORS
Mike Allsen
Sue & Ellis Bauman
Ellsworth & Dorothy Brown
Catherine Buege
Doug & Sherry Caves
Lau & Bea Christensen
James E. Dahlberg & Elsebet Lund
Farley’s House of Pianos
Dr. Thomas & Leslie France
Dr. Robert & Linda Graebner
Tyrone & Janet Greive
American Printing Company
BRAVA Magazine
Fiore Companies, Inc.
Madison Media Partners
Surroundings Events and Floral
WMTV 15 News
Brandon S. Hayes
Brian & Rozan Anderson
Rosemarie & Fred Blancke
BMO
Kelly Family Foundation Inc.
Allan & Sandra Levin
Cyrena & Lee Pondrom
Mary Lang Sollinger
Stark Company Realtors
U.S. Bank Private Wealth Management
Ann Lindsey
Linda & Michael Lovejoy
IN-KIND SPONSORS
David Lauth & Lindsey Thomas
Charles McLimans & Richard Merrion
Stephen Morton & Rochelle Stillman
Dennis & Karen Neff
Abigail Ochberg & Steven Ewer
Peter & Leslie Overton
Reynold V. Peterson
Beth & Peter Rahko
Janet Renschler & Sandra Dolister
Doug & Katie Reuhl
Richman & Richman LLC
Fredrick & Karen Schrank
Orange Schroeder
Lise Skofronick
Sharon Stark
Lynn Stathas
JoAnne & Jasper Vaccaro
Carolyn White
The Hamburg Steinway is the gift of Peter Livingston & Sharon Stark in memory of Magdalena Friedman.
Endowment support for the music library collection is the gift of John & Carolyn Peterson.
PROGRAM
John DeMain | Music Director
100th Season | Overture Hall | Centennial Opening Celebration
John DeMain, Conductor
Olga Kern, Piano
SCAN HERE
To access the digital program book for this concert!
WELCOME TO THE MSO!
PYOTR ILYICH TCHAIKOVSKY
Overture-Fantasy: Romeo and Juliet
PYOTR ILYICH TCHAIKOVSKY
Concerto for Piano and Orchestra No. 1 in B-flat minor, Op. 23
Allegro non troppo—Allegro con spirito
Andante semplice—Prestissimo
Allegro con fuoco
MS. KERN
PYOTR ILYICH TCHAIKOVSKY
Theme and Variations from Suite No. 3 in G Major, Op. 55
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!
Greg Zelek & the UW–Madison Concert Choir
The UW–Madison Concert Choir, conducted by the UW Director of Choral Activities, Mariana Farah, will join me in a concert featuring some beautiful works written for organ and choir. Opening with the Kyrie from Vierne’s Messe Solennelle, the audience will hear the power of the organ in tandem with these powerful voices. In a program featuring other well-known classics, like arrangements of Amazing Grace and Barber’s Sure on This Shining Night, as well as popular arrangements of Brazilian jazz tunes, you won’t want to miss this exciting collaboration! – Greg Zelek
MAJOR SPONSORS
Walter and Karen Pridham Charitable Fund
Kay Schwichtenberg and Herman Baumann
Barbara and Norman Berven
Be part of the experience.
ADDITIONAL SPONSOR
Kathleen Harker
SINGLE TICKETS ON SALE madisonsymphony.org, the Overture Center Box Office, or (608) 258-4141
Greg Zelek, Organ
UW-Madison Concert Choir, Dr. Mariana Farah, Conductor
MUSIC
LOUIS VIERNE Kyrie from Messe Solennelle
PHILIP WILBY
If Ye Love Me
MORTEN LAURIDSEN
Veni Sancte Spiritus from Lux Aeterna
W.H. MONK , ARR. JOHN BERTALOT
Abide with Me
LÉON BOËLLMANN
Suite gothique, Op.25
ERIKS ESENVALDS
Trinity Te Deum
SAMUEL BARBER
Sure on this Shining Night
BRAZILIAN FOLK SONGS
Arr. Afonso, Siriri
ZEQUINHA DE ABREU Tico-Tico
BRAZILIAN FOLK SONGS
Fun no Itororó
OLGA KERN
With a vivid onstage presence, dazzling technique, and passionate musicality, pianist Olga Kern is widely recognized as one of the great artists of her generation, captivating audiences and critics alike.
In 2001, Olga launched her U.S. career at the Van Cliburn International Piano Competition, winning a Gold Medal— the only woman in the last fifty years to do so. She has since performed extensively with top-tier ensembles, among them the St. Louis Symphony, Baltimore Symphony, Detroit Symphony, National Symphony Orchestra (Washington, D.C.), Czech Philharmonic, and Filarmonica della Scala. She has also scored success with Tokyo’s NHK Symphony, São Paulo Symphony Orchestra, Stuttgart Philharmonic, and Pittsburgh Symphony.
She was a soloist on widely acclaimed U.S. tours with the Royal Philharmonic Orchestra, National Symphony Orchestra of Ukraine, and the Royal Scottish National Orchestra in 2018, 2019, and 2022. Olga performs riveting recitals throughout the world, playing in places such as New York, Fort Worth, Minneapolis, Poland, the Czech Republic, Slovenia, Sweden, and Italy, as well as, with renowned organizations including The Gilmore Piano Festival, Chamber Music San Francisco, Hollywood Bowl,
Ravinia Festival, the Minnesota Beethoven Festival, Bad Kissingen (Germany), Radio France Festival Montpellier, and others.
In the 2022–2023 season, Olga appeared with the Dallas Symphony, Minnesota Orchestra, Baltimore Symphony, Filarmónicade Gran Canaria, Ireland’s National Symphony Orchestra, and Colorado Symphony. She performed recitals at the American Pianists Association Conference in Indianapolis and the International Piano Festival of Oeiras in Portugal as well as in Milan, Italy, Virginia Beach, Chicago, and San Francisco. Engagements in the 2023–2024 season include performances of Rachmaninoff’s monumental fourconcertos and Rhapsody on a Theme of Paganini with the Austin Symphony and the Virginia Symphony Orchestra and a nationally broadcast New Year’s concertwith the Czech Philharmonic. Other 2023–2024 engagements include Santa Rosa Symphony, Rochester Philharmonic, Toledo Symphony, Pacific Symphony, Asheville Symphony, a tour of South Africa, and performances with Prague Symphony, Taipei Symphony, and Tokyo Symphony.
Olga has served as a jury chairman of several highprofile competitions, including her own, the Olga Kern International Piano Competition, of which she is, Artistic Director. A dedicated educator, she has been on the piano faculty of the Manhattan School of Musics since 2017, and in 2019, she was appointed the Connie and Marc Jacobson Director of Chamber Music at the Virginia Arts Festival. She also established“Aspiration,” a foundation that provides financial assistance to musicians around the world. Olga is a Steinway Artist.
Her well-regarded discography includes works of Tchaikovsky, Rachmaninoff, Chopin, Brahms, and Shostakovich.
Olga’s iconic dresses are designed by Alex Teih (New York), and her jewelry is designed by Alex Soldier (New York).
Piano
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.
PROGRAM NOTES
SEP 19, 2025 program notes by
J. Michael Allsen
This 100th anniversary season opens with a pair of celebratory opening concerts, beginning with this allTchaikovsky program. The program opens with his take on Shakespeare’s greatest love story, Romeo and Juliet, which includes, what is certainly, the most lush and romantic “love theme” ever written. Then, Olga Kern—a favorite of MSO audiences and musicians alike—makes her sixth appearance with the orchestra as part of the celebration. Ms. Kern’s previous appearances with the MSO were in 2009 (Beethoven, Piano Concerto No. 3), 2010 (Rachmaninoff, Piano Concerto No. 2), 2014 (Rachmaninoff, Piano Concerto No. 2), 2017 (Barber, Piano Concerto), and 2021 (Rachmaninoff, Rhapsody on a Theme of Paganini). Here, she plays the profound first piano concerto, a nowstandard work that was largely scorned when it was first played. We close the program with the lively Theme and Variations from Tchaikovsky’s Suite No. 3, an entertaining work that ends with a brassy polonaise.
Tchaikovsky’s Romeo and Julietis certainly the most famous and beloved musical version of Shakespeare’s story of “star-cross’d lovers.”
Pyotr Ilyich
Tchaikovsky
Born: May 7, 1840, Kamsko-Votkinsk, Russia. Died: November 6, 1893, St. Petersburg, Russia.
Overture-Fantasy:
R omeo and Juliet
Composed: Tchaikovsky composed this work in 1869 and revised it extensively in 1870 and 1880 Premiere: March 1870, in Moscow. Previous MSO Performance: We have played Romeo and Juliet seven times at our subscription concerts between 1946 and 2016. Duration: 20:00.
Background
This was an early work, in which a 29-year-old Tchaikovsky was deeply influenced by a slightly older composer, Mily Balikirev.
The works of Shakespeare were the basis for dozens of Romantic operas and large instrumental pieces that have survived in today’s concert repertoire, but the most popular of these is probably Tchaikovsky’s Romeo and Juliet The idea of a large orchestral work based on Shakespeare’s most famous tragedy and suggestions about the work’s form came from Tchaikovsky’s contemporary, Mily Balikirev (1837-1910). Tchaikovsky was just beginning his career in the 1860s, and Balikirev was already the intellectual leader of an influential group of Russian nationalist composers known as the “Mighty Five.” In 1868, Tchaikovsky dedicated an overture titled Fate to Balikirev. While Fate was a complete flop—Tchaikovsky later destroyed the score—it was the beginning of a close friendship, and Balikirev encouraged him to take Romeo and Juliet as a subject, even suggesting the programmatic structure of the overture. The subject of a tragic love affair may in fact have been on Tchaikovsky’s mind at the time. He had been infatuated with a soprano named Désirée Artôt, who had just married someone else. His brother later suggested that the overture grew out of unresolved feelings for Vladimir Gerard, a friend from several years earlier. Tchaikovsky was typically insecure during the overture’s composition, writing at one point that, “I’m beginning to fear that my muse has flown off.” Balikirev reviewed the work at every stage in its composition, and after some initial criticisms, wrote of his enthusiastic approval:
“I am impatient to receive the entire score so that I may get a just impression of your clever overture, which is—so far—your best work. That you have dedicated it to me gives me the greatest pleasure.” The first performance in 1870 was unsuccessful, and Tchaikovsky revised the work, incorporating several of Balikirev’s suggestions. He revised it once more a decade later—the version that is familiar today—in particular reworking the dramatic ending.
What You’ll Hear
This work, which the composer labelled a “Fantasy-Overture,” is set in the outlines of sonata form, but it can be understood as a reflection of Shakespeare’s tragedy.
Though Romeo and Juliet has a conventional sonata form, Tchaikovsky clearly intended it to be understood in programmatic terms. The solemn theme of the introduction represents Friar Lawrence, whose good-hearted efforts at matchmaking are swept away by the feud between the Montagues and Capulets. The introduction becomes gradually more intense until it finally explodes into the first main theme, an agitated figure that vividly recalls the bloody vendetta between the families of the two lovers. The sweeping second theme, first hinted at by the English horn, represents the lovers themselves and their passion. (This melody has, of course become a virtual musical cliché for romantic love. Insert mental image here: two lovers running towards one another—in slow motion— across a field of flowers…) These two themes are placed in opposition throughout the overture, with occasional mediation by the “Friar Lawrence” theme, mediation that
PYOTR ILYICH TCHAIKOVSKY
will be to no avail—the lovers are destined to die a tragic death. In the coda, there is a funeral benediction by Friar Lawrence and a last dirgelike version of the love theme, before the overture comes to an abrupt and strident ending.
The initial scornful reaction to this work certainly gave no hint that it would become one of the most popular of all romantic piano concertos.
Pyotr Ilyich
Tchaikovsky
Concerto for Piano and Orchestra No. 1 in B-flat minor, Op. 23
Composed: Late 1874. Premiere: October 25, 1875 in Boston, with Hans von Bülow as piano soloist
Previous MSO Performance: The Madison Symphony Orchestra has performed the concerto on seven previous occasions. Soloists have included Edward Collins (1937), Peter Paul Loyanovich (1949), Marian Perkins (1954), James Tocco (1969), Earl Wild (1980), Vladimir Viardo (1992), and Vladimir Feltsman (2004). Duration: 32:00.
Background
The composer was deeply hurt when his intended soloist, Nicolai Rubinstein, rejected the concerto, but he remained determined to have it performed. It was eventually taken up by German pianist Hans von Bülow.
the new concerto to him, so he quite naturally sought Rubinstein’s criticism. On Christmas Eve, he met Rubinstein at the Moscow Conservatory and played through the entire concerto, which had not yet been orchestrated, while Rubinstein sat in stony silence. In a letter to his patron, Nadezda von Meck, Tchaikovsky described how, immediately after the final chord, Rubinstein launched into a scathing attack on the concerto, calling it “worthless,” “unplayable,” and “vulgar.” Deeply insulted, Tchaikovsky stormed out of the room. Rubinstein followed and attempted to conciliate the composer by offering to perform the concerto...if Tchaikovsky would only revise the concerto according to his suggestions. Tchaikovsky answered, “I will not alter a single note! I will publish the work exactly as it is!”
outer sections and a fastpaced central trio.
• A fierce, intensely rhythmic finale.
When Tchaikovsky finished his Piano Concerto No. 1 in December of 1874, he asked Nicolai Rubinstein to listen to a performance. Tchaikovsky considered Rubinstein to be the “best pianist in Moscow” and planned to dedicate
While we only have Tchaikovsky’s emotional version of this incident, it is hardly surprising that he decided to dedicate the concerto to someone other than Rubinstein. When he sent a score to the German pianistconductor Hans von Bülow, Bülow replied enthusiastically that “The ideas are so original, the form is so mature, ripe, distinguished in style.” Bülow performed the work for the first time while on tour in Boston. There is a historical footnote to this first performance. When Bülow sent a telegram to Tchaikovsky telling him of the ecstatic response to the concerto’s premiere, it was apparently the first cable ever sent between Boston and Moscow.
The opening movement begins with a vast introduction (Allegro non troppo), opening with a bold four-note horn motive. The solo part takes control almost immediately with crashing chords, expanding upon this theme. The body of the movement (Allegro con spirito) begins with a nervous syncopated tune that, according to one of his letters, Tchaikovsky heard from a blind Ukrainian beggar. Clarinet and woodwinds introduce a more lyrical second idea. The development ends in the first of two enormous cadenzas, and an abbreviated recapitulation leads to an even grander and more virtuosic cadenza.
Tchaikovsky’s rarely heard Suite No.3 is a collection of four colorful character pieces. The last movement, heard here, is a delightfully witty ThemeandVariations.
Pyotr Ilyich Tchaikovsky
Theme and Variations from Suite No. 3 in G Major, Op. 55 Composed: Spring and summer of 1884.
Premiere: January 24, 1885, in St. Petersburg.
Previous MSO Performance: We played the complete suite in 1977 and 2006; the Theme and Variations has additionally been played in 1956 and 1976.
Duration: 19:00.
Background
What You’ll Hear
The concerto is in three movements:
• A large sonata-form movement with a long introduction and two cadenzas.
• A lighter second movement with songlike
Though they are dwarfed by the huge opening, the second and third movements are just as innovative. The second movement manages to combine a traditional slow movement with a lighter scherzo. The main theme of the outer sections (Andante semplice) is a popular French tune Il faut s’amuser, danser et rire (You must enjoy yourself by dancing and laughing). This was apparently a great favorite of Tchaikovsky’s, but it may also have been a melancholy tribute to Désirée Artôt, a soprano who had broken his heart a few years earlier. The central section (Prestissimo) has fleeting scherzo-style music. This is brought to a sudden conclusion by a bark from the brass and brief solo cadenza. The finale (Allegro con fuoco) is a kind of rhythmic showpiece with constantly shifting and combined meters. A fiery main theme alternates with widely contrasting material, but the whole movement dances. At the end, a final solo cadenza and broadening of the tempo lead to a brilliant coda.
Writing this piece, which Tchaikovsky very much enjoyed, served as a kind of “compositional coffee break” between two large and very serious pieces, the opera Mazeppa, and his Manfred Symphony.
Tchaikovsky’s four orchestral suites are performed far too infrequently. In these works, which generally cost him much less work (and mental anguish) than the symphonies, he could let his imagination run free. In a letter to Nadejda von Meck, written as he was working on the Suite No. 3, he said that “I have begun a new composition in the form of a suite. I find this form extraordinarily sympathetic, since it isn’t constraining, and demands no dependence on any tradition or rules.” The composition of his suites was often done in interludes between larger works, seemingly as a refreshing break, and this sense of relaxation comes through in the music.
The third suite comes from a very productive and successful time in Tchaikovsky’s career. In the mid-1880s, the turmoil of his failed marriage was largely behind him, and he had found a thoroughly satisfying relationship in his correspondence with von Meck, a wealthy married woman who served as Tchaikovsky’s patron and closest confidante for several years. He was also enjoying tremendous success as a composer at home and throughout Europe. 1884 opened with the successful premiere of his opera Mazeppa in both Moscow and St. Petersburg, and in March he was honored by Tsar Alexander III with the Order of St. Vladimir, Fourth Class, Imperial Russia’s highest civilian award. He then retreated to his sister’s country estate at Kamenka, to relax and, he hoped, to begin work on a new symphony. In his diary entry of April 28, he wrote: “I have been trying to lay the
foundation of a new symphony... Walked in the garden and found the germ, not of a symphony, but of a future suite.” He worked on the suite throughout May and June, originally planning a five-movement piece with a closing set of variations but eventually abandoning an opening movement titled Contrasts. (This music was later recycled in his Op.56 Concert-Fantasy.) The work was complete on August 1.
In a thoroughly politic move, Tchaikovsky dedicated the Suite No.3 to the conductor Max Erdmannsdorfer, as an apology for an unintended snub—Tchaikovsky had missed the Moscow premiere of the Suite No. 2 in February, which Erdmannsdorfer had conducted. When the Suite No. 3 was finally performed in St. Petersburg in 1885, conducted by Hans von Bülow, it was an immediate success. After the concert, he wrote to von Meck:
“Never have I had such a triumph. I could see that the greater part of the audience was touched and grateful. Such moments are the best in an artist’s life.”
What You’ll Hear
We end this program with the final movement of the Suite No. 3, a lively theme and variations, that culminates in a brassdominated Polonaise.
The lengthy last movement is a theme and twelve variations that have a tremendous musical and emotional range. The theme, laid out by the strings, is a simple Classicalstyle melody. Tchaikovsky then explores this theme exhaustively, in variations that proceed from simple decoration to almost complete musical transformations. Many of Tchaikovsky’s takes on his melody are
delightfully witty—listen, for example for the tongue-in-cheek reference to the Dies irae in Variation 4, and the pseudo-Russian Orthodox chant of Variation 7. By Variation 10, he briefly transforms the piece into a violin concerto. The final, and most extended variation, is marked Finale Polacca and serves as a capstone. Brass fanfares announce the opening of this section, and the brass dominate most of this forceful finale. [Note: In 1947, choreographer George Balanchine exploited the emotional range of this movement in a ballet. Theme and Variations was among his most successful ballets and remains in the repertoire of several companies nearly 80 years later.]
Complete program notes for the 2025-26 season are available at madisonsymphony.org.
Greg Zelek with Caleb Hudson, Trumpet
Trumpeter Caleb Hudson has made a name for himself as one of the most virtuosic trumpet soloists, as well as a respected pedagogue. I had the opportunity to collaborate with Caleb for the first time in 2022 when he was a member of the Canadian Brass. Now I get the chance to share his incredible talent with you all in a program featuring many arrangements for organ and trumpet, such as Bartók’s Romanian Dances, as well as works written by and for Caleb himself. Join us for this thrilling evening! – Greg Zelek
MAJOR SPONSORS
Jane Hamblen and Robert F. Lemanske
Skofronick Family Charitable Trust
MUSIC
CLAUDE Bolling Toot Suite
SIGFRID KARG-ELERT
Marche triomphale ‘Nun Danket Alle Gott’
REMY LE BOEUF
Vignette No. 20
CALEB HUDSON
Nothing Less
J.S. BACH
Concerto in D, BWV 972
Marcello/Bach Concerto, BWV 974
Orchestral Suite No. 2 in B minor, BWV 1067
CRAIG SELLER LANG Fanfare
THOMAS ARNE
Flute Solo
And more...
Greg Zelek, Organ Caleb Hudson, Trumpet
GIAMBATTISTA MARTINI Toccata
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
madisonsymphony.org, the Overture
Center Box Office, 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”
Radiance
Rainbow Body, a luminous work by American composer Christopher Theofanidis weaves ancient and modern worlds together to take us on a spellbinding journey. Inspired by the chant Ave Maria by medieval mystic Hildegard of Bingen, the piece reimagines her melodies in lush, cinematic orchestration. Haydn’s Cello Concerto No. 2 is a showcase of elegance and virtuosity brought to life with wit and charm by internationally acclaimed Alban Gerhardt who makes his fifth appearance with us. He is beloved by our musicians and audiences. Mussorgsky’s Pictures at an Exhibition orchestrated by Ravel is a feast for the senses painting vivid musical portraits. Each movement captures a visual scene, from the playful “Ballet of the Unhatched Chicks” to the majestic “Great Gate of Kiev.” With its dazzling colors and bold drama, this music will take you on an unforgettable exploration of sound and imagination.
MAJOR SPONSORS
Judith Werner, in memory of Stephen Caldwell
Capitol Lakes
Skofronick Family Charitable Trust
ADDITIONAL SPONSORS
Scott and Janet Cabot, in honor of Ann Bowen
David Lauth and Lindsey Thomas
Bassam Shakhashiri
Wisconsin Arts Board
SINGLE TICKETS madisonsymphony.org Center Box Office, or (608)
Dates, artists, and programs subject to change.
Robert Moody, Guest Conductor Alban Gerhardt, Cello
MUSIC
CHRISTOPHER
THEOFANIDIS
Rainbow Body
JOSEPH HAYDN
Cello Concerto in D Major, Hob.VIIb:2
MODEST MUSSORGSKY arr. MAURICE RAVEL Pictures at an Exhibition
A Madison Symphony Christmas DEC 5-7
This spectacular annual celebration has become a joyful way to begin the holiday season in our community for concertgoers of all ages. It’s no wonder that Maestro DeMain is bringing two of his favorite soloists, soprano Alexandra LoBianco and bass-baritone Kyle Ketelsen, to share their gifts, for his 32nd season. The Madison Symphony Chorus, Madison Youth Choirs, and the Mt. Zion Gospel Choir join us to bring this special concert to life. You’ll experience the same blend of familiar and new once again this year. The experience starts with caroling in the lobby with the Chorus before each performance to set the mood. Bring your family and friends to share this beloved Madison tradition with us!
PRESENTING SPONSOR
Lau and Bea Christensen
MAJOR SPONSORS
American Printing Fiore Companies, Inc.
ADDITIONAL SPONSORS
Reinhart Boerner van Deuren s.c. Wisconsin Arts Board
Judith Werner, in memory of Stephen Caldwell
Richard and Pamela Reese, in memory of Maurice and Arlene Reese
Peggy and Tom Pyle
John and Twila Sheskey Charitable Fund, in memory of Jennie Biel Sheskey
An Anonymous Friend
SINGLE TICKETS madisonsymphony.org
Dates, artists, and programs subject to change. ON SALE , the Overture 258-4141
Center Box Office, or (608) 258-4141
John DeMain, Conductor
Alexandra LoBianco, Soprano
Kyle Ketelsen, Bass-Baritone
Madison Symphony Chorus, Beverly Taylor, Director
Mt. Zion Gospel Choir, Tamera & Leotha Stanley, Directors
Madison Youth Choirs, Michael Ross, Artistic Director
OVERTURE HALL INFORMATION BOARDS & ADMINISTRATION
RESTROOMS
Women’s and men’s restrooms are located on each level of Overture. Family assist/gender inclusive restrooms, available to persons of any gender identity and expression, are available in the following areas:
• Lower-Level Rotunda: to the right of the stairway.
• First floor lobby / Overture Hall: near coat check.
• Second floor: Gallery 2—second door to the left off the elevators.
Amenities at gender-inclusive restrooms include:
• Lockable door to provide privacy for individual users
• Ample room for an assistant/family member, if needed
• Accessible sink, stool and urinal (floor level)
• Changing stations
• Power-assist doors (Level 1 restrooms only)
ACCESSIBILITY
Overture Center is fully accessible to persons with mobility, hearing, and visual impairments. Ushers are available at each concert to assist you. Wheelchair or transfer seating is available; please notify the Overture Center Box Office when purchasing your ticket. If you require an assistive-listening device, please alert an usher at the concert. Braille programs are also available upon request. Please contact Heather at hrose@madisonsymphony.org at least three weeks prior to the concert you wish to attend.
GUEST CONSIDERATIONS
The musicians and your fellow audience members thank you!
• Please arrive early to ensure plenty of time to get through security and to be seated. If you arrive late, you will be seated during an appropriate break in the music at the discretion of the house staff. If you need to leave during the concert, please exit quietly and wait to be reseated by an usher at an appropriate break.
• Please feel free to take photos before and after the concert, and during intermission! Once the lights dim, please turn off all cell phones and electronic devices.
• Please do not wear perfumes, colognes or scented lotions as many people are allergic to these products.
• Smoking is not permitted anywhere in Overture Center for the Arts.
• The coat-check room is open when the weather dictates and closes 20 minutes after the performance ends.
• Food and beverages are available at bars and concession stands in the Overture Lobby. Beverages are allowed in Overture Hall, but please enjoy food in the lobby. Please unwrap cough drops and candies before the concert begins.
Please take note: We will adhere to all public health guidelines and cooperate with Overture Center for the Arts to ensure your safety. We invite you to visit madisonsymphony.org/health for more information on health and safety. Overture Center safety information can be found at overture.org/health
MADISON SYMPHONY ORCHESTRA INC. BOARD OF DIRECTORS,2025-2026
OFFICERS
Michael Richman, Chair
Janet Cabot, Secretary
Doug Reuhl, Treasurer
Ellsworth Brown, Immediate Past Chair
Barbara Berven, Member-at-large
Oscar Mireles, Member-at-large
Derrick Smith, Member-at-large
Lynn Stathas, Member-at-large
Anna Trull, Member-at-large
DIRECTORS
Lynn Allen-Hoffmann
Brian Anderson
Ruben Anthony
Barbara Berven
Rosemarie Blancke
Ellsworth Brown
Janet Cabot
Cecilia Carlsson
Bryan Chan
Elton Crim
James Dahlberg
Robert Dinndorf
Audrey Dybdahl
Marc Fink
Jane Hamblen
Paul Hoffmann
Mooyoung Kim
Phillip La Susa
David Lauth
Robert Lemanske
Ann Lindsey
Marta Meyers
Oscar Mireles
Richard Morgan
Leslie Overton
Jon Parker
Lester Pines
Michael Richman
Sophia Rogers
Carole Schaeffer
John Sims
Derrick Smith
Lynn Stathas
Todd Stuart
Anna Trull
Jasper Vaccaro
Ellis Waller
Eric Wilcots
Michael Zorich
ADVISORS
Elliott Abramson
Michael Allsen
Carla Alvarado
Jeffrey Bauer
Ted Bilich
Camille Carter
Martha Casey
Laura Gallagher
Tyrone Greive
Michael Hobbs
Mark Huth
Stephanie Lee
José Madera
Joseph Meara
Gary Mecklenburg
Larry Midtbo
Abigail Ochberg
Greg Piefer
Cyrena Pondrom
Margaret Pyle
Jacqueline Rodman
Kay Schwichtenberg
Mary Lang Sollinger
Judith Topitzes
Carolyn White
Anders Yocom
Stephen Zanoni
LIFE DIRECTORS
Terry Haller
Valerie Kazamias
Elaine Mischler
Nicholas Mischler
Douglas Reuhl
HONORARY DIRECTORS
Jennifer Berne, President Madison College
Kathy Evers, First Lady of the State of Wisconsin
Melissa Agard, Dane County Executive
DIRECTORS EMERITUS
Helen Bakke
Wallace Douma
Fred Mohs
Stephen Morton
Beverly Simone
John Wiley
EX OFFICIO DIRECTORS
Rozan Anderson
Mark Bridges
Rose Heckenkamp-Busch
William Steffenhagen
EX OFFICIO ADVISORS
Dan Cavanagh
Daniel Davidson
Josh Biere
MADISON SYMPHONY ORCHESTRA FOUNDATION INC. BOARD, 2025-2026
OFFICERS
Nicholas Mischler, President
Jon Parker, Vice President
Robert Reed, Secretary-Treasurer
DIRECTORS
Ellsworth Brown
Joanna Burish
Jill Friedow
Juan Gomez
Jane Hamblen
Nicholas Mischler
Jon Parker
Gregory Reed
Robert Reed
Douglas Reuhl
Michael Richman
MADISON SYMPHONY ORCHESTRA LEAGUE BOARD OF DIRECTORS, 2025–2026
OFFICERS
Rozan Anderson, President
Don Sanford, President-Elect
Ledell Zellers, Recording Secretary
Janet Renschler, Corresponding Secretary
Leslie Overton, Treasurer
Michael Richman, MSO Board Chair
Barbara Berven, Immediate Past President/ Nominations
Louise Jeanne, VP Administration
Jackie Judd, AVP Administration
Kathy Forde, VP Communications
Cathy Buege, AVP Communications
Kathy Forde, Annual Report
Lori Poulson, VP Education (and Youth Docent Programs)
Rosemarie Blancke, Spring Luncheon/ Annual Meeting
Valerie Kazamias, Mid-winter Luncheon
Pat Bernhardt, Holiday Party
Jim Patch, Men’s Bridge
Marilyn Ebben, Women’s & Couples Bridge
ADVISORS
Pat Bernhardt
Rosemarie Blancke
Janet Cabot
Marilyn Ebben
Valerie Kazamias
Fern Lawrence
Ann Lindsey
Linda Lovejoy
Elaine Mischler
Beth Rahko
Judith Topitzes
Carolyn White
Nancy Young
FRIENDS OF THE OVERTURE
CONCERT ORGAN BOARD OF DIRECTORS, 2025-2026
OFFICERS
William Steffenhagen, President
Charles McLimans, President-Elect
David Willow, Secretary-Treasurer
Robert Lemanske, Past-President
DIRECTORS
Herman Baumann
Janet Cabot
Quinn Christensen
Paula Doyle
Audrey Dybdahl
Mark Huth
Douglas McNeel
Margaret Murphy
Mary Ann Nanassy
David Parminter
Rhonda Rushing
Jennifer Younger
Be part of the experience.
ADVISORS
Fernando Alvarado
Diane Ballweg
Jim Baxter
Barbara Berven
Ellsworth Brown
John Gauder
Terry Haller
Ellen Larson Latimer
Gary Lewis
Elaine Mischler
Vicki Nonn
Reynold Peterson
Teri Venker
Anders Yocom
EX OFFICIO
Greg Zelek, Principal Organist and Elaine & Nicholas Mischler Curator of the Overture Concert Organ
MADISON SYMPHONY ORCHESTRA INC.
ADMINISTRATION
Robert Reed, Executive Director
David Gordon, Executive Assistant & Board Liaison
Ann Bowen, General Manager
Simon Arno, Receptionist & Administrative Assistant
Alexis Carreon, Personnel Manager
Jennifer Goldberg, Orchestra Librarian, John & Carolyn Petersen Chair
Lisa Kjentvet, Director of Education & Community Engagement
Katelyn Hanvey, Education & Community Engagement Manager
Casey Oelkers, Director of Development
Meranda Dooley, Manager of Individual Giving
Rachel Cherian, Manager of Grants & Sponsorships
Peter Rodgers, Director of Marketing
Heather Rose, Marketing Communications Manager
Isabella Clinton, Audience Experience Manager
Chris Fiol, Digital Marketing & Engagement Specialist
Greg Zelek, Principal Organist and Elaine & Nicholas Mischler Curator of the Overture Concert Organ
Wisconsin Arts Board JAN 23-25
Heartbeat
Your Symphony’s new year begins with Gabriela Lena Frank’s Escaramuza (meaning “skirmish” in Spanish) — a dynamic and colorful work inspired by her Peruvian heritage. This spirited piece captures the energy of the lively Kachampa Andean dance, celebrating the agility and strength of Inca warriors. Strauss’ Der Rosenkavalier Suite is a symphonic distillation of his beloved opera, bursting with elegance, humor, and romantic nostalgia sweeping waltzes and tender love duets that have enchanted audiences for more than a century. Brahms’
Piano Concerto No. 2 is a monumental work that combines virtuosic piano passages with symphonic grandeur. One of our favorite pianists, the magisterial Yefim Bronfman, brings his formidable technique and interpretative depth to this masterpiece. The sheer beauty of this work will lift our spirits to start a new year together.
PRESENTING SPONSOR
Marvin J. Levy
MAJOR SPONSORS
Madison Magazine
Martha and Charles Casey
Madison Gas & Electric Foundation, Inc.
Fred Mohs, in memory of Mary Mohs
ADDITIONAL SPONSORS
Dr. Steven Ewer and Abigail Ochberg
Dr. Peter and Beth Rahko
Mary Lang Sollinger
Kazem Abdullah, Guest Conductor Yefim Bronfman, Piano
MUSIC
GABRIELA LENA FRANK Escaramuza
RICHARD STRAUSS
Suite from Der Rosenkavalier, Op. 59
JOHANNES BRAHMS
Piano Concerto No. 2 in B-flat Major, Op. 83
Playful Pursuits
Overture to A Midsummer Night’s Dream is a decidedly playful overture by a very youthful Felix Mendelssohn
(composed when he was just 17 years old). This sparkling work captures the magic of the fairy kingdom, the humor of the lovers’ entanglements, and the grandeur of Theseus’ court. Violinist Rachel Barton Pine returns to play Korngold’s
Violin Concerto — a lush and romantic work that glows with cinematic beauty and emotional depth — bridging the worlds of classical music, and Hollywood film scores. Debussy’s
Prélude à l’après-midi d’un faune is dreamlike music inspired by Stéphane Mallarmé’s poem about a faun’s sensual reverie, that paints a lush and languid musical landscape and a sense of wonder. Stravinsky’s ballet Petrushka tells the story of a tragic puppet brought to life by a magician, set against the vibrant backdrop of a Russian fair. All four of these lively pieces of music will fill us with a lightness of being.
PRESENTING SPONSOR
Pleasant T. Rowland Foundation
MAJOR SPONSORS
Madison Symphony Orchestra League
Peter and Leslie Overton
Cyrena and Lee Pondrom Richman & Richman LLC
ADDITIONAL SPONSORS
Jane Hamblen and Robert F. Lemanske
Kenneth A. Lattman Foundation, Inc.
Ann Lindsey, in memory of Chuck Snowdon Wisconsin Arts Board
SINGLE TICKETS
madisonsymphony.org
Dates, artists, and programs subject to change. ON SALE , the Overture 258-4141
Center Box Office, or (608) 258-4141
Tania Miller, Guest Conductor
Rachel Barton Pine, Violin
MUSIC
FELIX MENDELSSOHN
Overture to A Midsummer Night’s Dream, Op. 21
ERICH WOLFGANG KORNGOLD
Violin Concerto in D Major, Op. 35
CLAUDE DEBUSSY
Prélude á l’après-midi d’un faune (Prelude to the Afternoon of a Faun)
IGOR STRAVINSKY
Petrushka (1947 version)
MSO AT THE MOVIES
Kyle Knox, Conductor
OCT 5 2025
DISNEY AND PIXAR’S
TOY STORY IN CONCERT LIVE TO FILM
2:30 PM
MAR 28-29 2026
INDIANA JONES AND THE RAIDERS OF THE LOST ARK™ LIVE IN CONCERT
7:30 PM & 2:30 PM
SUBSCRIPTIONS & TICKETS
Subscribe
to 5-8 concerts & save up to 25% off single ticket prices starting at $90. madisonsymphony.org/100
Create Your Own
4 Concert Classical Series & save 10% off single ticket prices. Any 4 of 8 symphony subscription concerts. Any day. Any seat. Any price level. Use code: MSO4 madisonsymphony.org/createyourown
Single Tickets On Sale Now!
Purchase single tickets ($20-$115) by phone (608) 258-4141, in-person at the Overture Box Office, online at madisonsymphony.org or overture.org.
SUBSCRIPTION CONCERTS
PRIMAL LIGHT: OCT 17-19
BATES | FRANCK | MAHLER
John DeMain, Conductor
Christopher Taylor, Piano
Jeni Houser, Soprano • Emily Fons, Mezzo-Soprano
Madison Symphony Chorus, Beverly Taylor, Director
RADIANCE: NOV 21-23
THEOFANIDIS | HAYDN | MUSSORGSKY
Robert Moody, Guest Conductor
Alban Gerhardt, Cello
A MADISON SYMPHONY CHRISTMAS: DEC 5-7
John DeMain, Conductor
Alexandra LoBianco, Soprano • Kyle Ketelsen, Bass-Baritone
Madison Symphony Chorus, Beverly Taylor, Director
Mt. Zion Gospel Choir, Tamera and Leotha Stanley, Directors
Madison Youth Choirs, Michael Ross, Artistic Director
HEARTBEAT: JAN 23-25
FRANK | STRAUSS | BRAHMS
Kazem Abdullah, Guest Conductor
Yefim Bronfman, Piano
PLAYFUL PURSUITS: FEB 20-22
MENDELSSOHN | KORNGOLD
DEBUSSY | STRAVINSKY
Tania Miller, Guest Conductor
Rachel Barton Pine, Violin
FORCE OF NATURE: MAR 20-22
STRAUSS | MOZART | ORTIZ | RESPIGHI
John DeMain, Conductor
Emanuel Ax, Piano
FOUR THE SOUL: APR 10-12
LÓPEZ | RODRIGO | SIBELIUS
Laura Jackson, Guest Conductor
Los Angeles Guitar Quartet, Guest Artists
VOICES ETERNAL: MAY 1-3
BEETHOVEN | HEGGIE/SCHEER*
* World Premiere Commission
John DeMain, Conductor
Ailyn Pérez, Soprano
Madison Symphony Chorus, Beverly Taylor, Director
Mt. Zion Gospel Choir, Tamera and Leotha Stanley, Directors
Madison Youth Choirs, Michael Ross, Artistic Director Be part of
