MSO PROGRAM 3 / December 2021 - February 2022

ENCORE DECEMBER

2021— FEBRUARY 2022

ALL OF YOUR PLANS, ALL IN THREE BLOCKS Visit Saint Kate for a pre-show dinner at ARIA, then come back for drinks and a stroll through our art galleries.

Or, just stay the night. Either way, the fun doesn’t have to end after curtain close.

WE’LL SEE YOU AFTER THE SHOW. 139 EAST KILBOURN AVENUE DOWNTOWN MILWAUKEE • SAINTKATEARTS.COM

ENCORE

ENCORE DECEMBER

2021— FEBRUARY

2022

Volume 40 No. 3

19 D ecember 16, 18, 19 — Special Handel’s Messiah 25 D ecember 17 — BSC Presents Canadian Brass Holiday 29 January 1 & 2 — Film The Princess Bride 33 J anuary 21 & 22 — Classics Stage to Screen 41 January 28 & 29 — Classics All that Jazz 49 February 4-6 — Classics Gershwin’s Second Rhapsody 5 Orchestra Roster 7 Conductor Bios 14 Milwaukee Symphony Chorus 56 A Grand Future Campaign 58 Endowment/Planned Giving 59 Musical Legacy Society 60 Annual Fund 64 Bravo 64 Corporate and Foundation Support 65 Matching Gifts Golden Note Partners Tributes 67 MSO Board of Directors 68 MSO Administration

Cover image: Steve Hall © Hall & Merrick Photographers

This program is produced and published by ENCORE PLAYBILLS. To advertise in any of the following programs: • • • • • • • •

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please contact: Scott Howland at 414.469.7779 scott.encore@att.net MILWAUKEE SYMPHONY ORCHESTRA 212 West Wisconsin Avenue Milwaukee, Wisconsin 53203 414.291.6010 | mso.org

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MSOrchestra @MilwSymphOrch MilwSymphOrch @MilwSymphOrch

MILWAUKEE SYMPHONY ORCHESTRA

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SAINT JOHN’S ON THE LAKE | MILWAUKEE, WI

DEVOTING TALENT & CREATIVITY TO BUILDING PLACES THAT TRANSFORM LIFE AND WORK. PROUD SUPPORTER OF THE ARTS. WWW.VJSCS.COM

A Tradition of Distinction!

SINCE 1953

TH Christoph Ptack, President & CEO

SEASON October 1, 2021 – August 20, 2022

ON SALE NOW! FEBRUARY FEST A Chamber Music Series 2:00pm | February 6, 13, 20, 2022 | Kress Pavilion, Egg Harbor

THE SYMPHONY SERIES 7:30pm | August 2-20, 2022 | Door Community Auditorium, Fish Creek

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MILWAUKEE SYMPHONY ORCHESTRA

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Indoor walking paths, a labyrinth and a tness center Two restaurants and many opportunities to socialize 3 annual, complimentary sessions with a tness specialist Our 67,000 square foot Town Center to explore.

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www.SaintJohnsMilw.org 414-831-7300 1840 North Prospect Avenue, Milwaukee, Wisconsin 53202

Milwaukee Symphony Orchestra

The Milwaukee Symphony Orchestra, led by Music Director Ken-David Masur, is among the finest orchestras in the nation. Since its inception in 1959, the MSO has found innovative ways to give music a home in the region, develop music appreciation and talent among area youth, and raise the national reputation of Milwaukee.

The MSO’s full-time professional musicians perform more than 135 classics, pops, family, education, and community concerts each season at the Bradley Symphony Center and in venues throughout the state. A pioneer among American orchestras, the MSO has performed world and American premieres of works by John Adams, Roberto Sierra, Philip Glass, Geoffrey Gordon, Marc Neikrug, and Matthias Pintscher, as well as garnered national recognition as the first American orchestra to offer live recordings on iTunes. Now in its 50th season, the orchestra’s nationally syndicated radio broadcast series, the longest consecutive-running series of any U.S. orchestra, is heard annually by more than two million listeners on 147 subscriber stations in 38 of the top 100 markets.

The MSO’s standard of excellence extends beyond the concert hall and into the community, reaching more than 40,000 children and their families through its Arts in Community Education (ACE) program, Youth and Teen concerts, Family Series, and Meet the Music pre-concert talks.

Celebrating its 32nd year, the nationally-recognized ACE program integrates arts education across all subjects and disciplines, providing opportunities for students when budget cuts may eliminate arts programming. The program provides lesson plans and supporting materials, classroom visits from MSO musician ensembles and artists from local organizations, and an MSO concert tailored to each grade level. This season, more than 6,500 students and 400 teachers and faculty in 20 Southeastern Wisconsin schools are expected to participate in ACE.

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2021.22 SEASON KEN-DAVID MASUR Music Director Polly and Bill Van Dyke Music Director Chair EDO DE WAART Music Director Laureate YANIV DINUR Resident Conductor CHERYL FRAZES HILL Chorus Director Margaret Hawkins Chorus Director Chair TIMOTHY J. BENSON Assistant Chorus Director FIRST VIOLINS Ilana Setapen, Acting Concertmaster Charles and Marie Caestecker Concertmaster Chair Jeanyi Kim, Acting Associate Concertmaster (2nd Chair) Chi Li, Acting Assistant Concertmaster Alexander Ayers Michael Giacobassi Yuka Kadota Dylana Leung Lijia Phang Margot Schwartz SECOND VIOLINS Jennifer Startt, Principal Andrea and Woodrow Leung Second Violin Chair Timothy Klabunde, Assistant Principal Glenn Asch John Bian Lisa Johnson Fuller Paul Hauer Hyewon Kim Shengnan Li Laurie Shawger Mary Terranova VIOLAS Robert Levine, Principal Richard O. and Judith A. Wagner Family Principal Viola Chair Samantha Rodriguez, Acting Assistant Principal Friends of Janet F. Ruggeri Viola Chair Alejandro Duque, Acting 3rd Chair Assistant Principal Elizabeth Breslin Nathan Hackett * Erin H. Pipal Helen Reich

CELLOS Susan Babini, Principal Dorothea C. Mayer Cello Chair Nicholas Mariscal, Assistant Principal Scott Tisdel, Associate Principal Emeritus Madeleine Kabat Gregory Mathews Peter Szczepanek Peter J. Thomas Adrien Zitoun BASSES Jon McCullough-Benner, Principal Donald B. Abert Bass Chair Andrew Raciti, Associate Principal Scott Kreger Catherine McGinn Rip Prétat HARP Julia Coronelli, Principal Walter Schroeder Harp Chair FLUTES Sonora Slocum, Principal Margaret and Roy Butter Flute Chair Heather Zinninger Yarmel, Assistant Principal Jennifer Bouton Schaub PICCOLO Jennifer Bouton Schaub

CONTRABASSOON Beth W. Giacobassi HORNS Matthew Annin, Principal Krause Family French Horn Chair Krystof Pipal, Associate Principal Dietrich Hemann Andy Nunemaker French Horn Chair Darcy Hamlin TRUMPETS Matthew Ernst, Principal Walter L. Robb Family Trumpet Chair David Cohen, Associate Principal Martin J. Krebs Associate Principal Trumpet Chair Alan Campbell, Fred Fuller Trumpet Chair TROMBONES Megumi Kanda, Principal Marjorie Tiefenthaler Trombone Chair Kirk Ferguson, Assistant Principal BASS TROMBONE John Thevenet, Richard M. Kimball Bass Trombone Chair TUBA Robert Black, Principal

OBOES Katherine Young Steele, Principal Milwaukee Symphony League Oboe Chair Kevin Pearl, Assistant Principal Margaret Butler

TIMPANI Dean Borghesani, Principal Chris Riggs, Assistant Principal

ENGLISH HORN Margaret Butler Philip and Beatrice Blank English Horn Chair in memoriam to John Martin CLARINETS Todd Levy, Principal Franklyn Esenberg Clarinet Chair Benjamin Adler, Assistant Principal, Donald and Ruth P. Taylor Assistant Principal Clarinet Chair William Helmers E FLAT CLARINET Benjamin Adler BASS CLARINET William Helmers BASSOONS Catherine Chen, Principal Muriel C. and John D. Silbar Family Bassoon Chair Rudi Heinrich, Assistant Principal Beth W. Giacobassi

PERCUSSION Robert Klieger, Principal Chris Riggs PIANO Melitta S. Pick Endowed Piano Chair PERSONNEL MANAGERS Françoise Moquin, Director of Orchestra Personnel Paul Beck, Interim Personnel Manager LIBRARIANS Patrick McGinn, Principal Librarian, Anonymous Donor, Principal Librarian Chair Paul Beck, Associate Librarian PRODUCTION TECHNICAL MANAGER Tristan Wallace, Technical Manager & Live Audio Supervisor

* Leave of Absence 2021.22 Season

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Ken-David Masur, music director Hailed as “fearless, bold, and a life-force” (San Diego UnionTribune) and “a brilliant and commanding conductor with unmistakable charisma” (Leipzig Volkszeitung), Ken-David Masur is delighted to begin his third season as music director of the Milwaukee Symphony Orchestra, leading performances in the beautifully restored and renovated Bradley Symphony Center.

This season, Masur makes his subscription debuts with the San Francisco Symphony and the Minnesota Orchestra and also leads performances with the Baltimore Symphony Orchestra, the Warsaw Philharmonic, the Rochester Philharmonic, the Kristiansand Symphony Orchestra, and at the Pacific Music Festival in Sapporo, Japan. Masur leads a range of innovative Photo by Adam DeTour programs with the Milwaukee Symphony Orchestra – including an expansive staging of Peer Gynt with director Bill Barclay – and with the Civic Orchestra of Chicago, the professional training orchestra of the Chicago Symphony and the Negaunee Music Institute where he has been principal conductor since 2019.

Masur has conducted distinguished orchestras around the world, including the Boston Symphony Orchestra, the Los Angeles Philharmonic, the Chicago and Detroit Symphonies, l’Orchestre National de France, the Yomiuri Nippon Symphony in Tokyo, and the Orchestre National du Capitole de Toulouse. In addition to regular appearances at Ravinia, Tanglewood and the Hollywood Bowl, Masur has conducted internationally at the Verbier Festival in Switzerland, the Festival of Colmar in France, Denis Matsuev’s White Lilac Festival in Russia, the Tongyeong Festival in South Korea and the TV Asahi Festival in Tokyo, Japan.

Previously Masur was associate conductor of the Boston Symphony Orchestra, where he led numerous concerts, at Symphony Hall and at Tanglewood, of new and standard works featuring guest artists such as Renée Fleming, Dawn Upshaw, Emanuel Ax, Joshua Bell, and others. For eight years, Masur served as principal guest conductor of the Munich Symphony, and has also served as associate conductor of the San Diego Symphony and as resident conductor of the San Antonio Symphony.

Masur is passionate about the growth and encouragement of contemporary music and composers, and during the Milwaukee Symphony’s past season of virtual and live performances, he introduced a diversity of composers new to the orchestra. He has also conducted and commissioned dozens of new works at the Chelsea Music Festival, an annual summer music festival in New York City founded and directed by Masur and his wife, pianist Melinda Lee Masur, and touted as an “impressive addition to the New York cultural ecosystem” (Time Out NY). The Festival seeks to engage curious audiences with its collaborations between the performing, visual and culinary arts, and has been praised by The New York Times as a “gem of a series.”

Music education and working with the next generation of young artists are also of major importance to Masur. In addition to his work with the young musicians of the Civic Orchestra of Chicago, he has led orchestras and masterclasses at New England Conservatory, Boston University, Boston Conservatory, the Tanglewood Music Center Orchestra and at leading universities and conservatories in Asia, Europe, and South America.

Ken-David Masur has recorded works by Beethoven and Pēteris Vasks with the English Chamber Orchestra and violinist Fanny Clamagirand; Gisle Kverndokk’s Symphonic Dances with the Stavanger Symphony; and Strauss Ein Heldenleben for Naxos Japan.

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Edo de Waart, music director laureate Edo de Waart is music director laureate of the Milwaukee Symphony Orchestra. His tenure as music director (2009-2017) of the MSO included sold-out concerts, critical acclaim, and a celebrated performance at Carnegie Hall. He is also conductor laureate of the New Zealand Symphony Orchestra and conductor laureate of the Antwerp Symphony and Netherlands Radio Philharmonic Orchestra.

Photo by Jesse Willems

During the 2021.22 season, de Waart will return to the MSO for two concert weekends. The first in February 2022 will feature Beethoven’s Symphony No. 6. Then in April, de Waart will lead the orchestra in performances featuring Brahms, Schreker, Beethoven, and Mozart.

As an opera conductor, de Waart has enjoyed success in a large and varied repertoire in many of the world’s greatest opera houses. He has conducted at Bayreuth, Royal Opera House Covent Garden, Grand Théâtre de Genève, Opera de Bastille, Santa Fe Opera, Salzburg Festival, and The Metropolitan Opera.

Recent appearances at The Met have included Der Rosenkavalier and The Marriage of Figaro.

Edo de Waart’s extensive catalogue encompasses releases for Philips, Virgin, EMI, Telarc, and RCA. His most recent recording is Elgar’s Dream of Gerontius with the Royal Flemish Philharmonic.

At the age of 23, de Waart won the Dimitri Mitropoulos Conducting Competition in New York which resulted in his appointment as assistant conductor to Leonard Bernstein at the New York Philharmonic. On his return to Holland, he was appointed assistant conductor to Bernard Haitink at the Royal Concertgebouw Orchestra. In 1967, the Rotterdam Philharmonic Orchestra appointed him guest conductor and, six years later, chief conductor and artistic director. Since then, he has also been music director of the San Francisco Symphony and Minnesota Orchestra, chief conductor and artistic director of the Sydney Symphony and Hong Kong Philharmonic, and chief conductor of De Nederlandse Opera.

Edo de Waart has received a number of awards for his musical achievements, including becoming a Knight in the Order of the Dutch Lion and an Honorary Officer in the General Division of the Order of Australia, in reflection of his invaluable contribution to Australian cultural life during his decade with the Sydney Symphony. He was also appointed an Honorary Fellow of the Hong Kong Academy for Performing Arts in recognition of his contribution to music internationally, and in particular, his commitment to developing future generations of musicians in Hong Kong.

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Yaniv Dinur, resident conductor Named the 2019 Sir Georg Solti Conducting Fellow (the largest award for conductors in the U.S.), Yaniv Dinur is currently resident conductor of the Milwaukee Symphony and music director of the New Bedford Symphony Orchestra. The League of American Orchestras honored the New Bedford Symphony by selecting it to be one of the orchestras to perform at the 2021 League Conference. He is lauded for his bold and engaging programming, insightful interpretations, and unique ability to connect with varied audiences, from season subscribers to first time concertgoers.

Recent and upcoming highlights include subscription debuts with the symphonies of Fort Worth and Houston, Orchestra Photo by Erin Kavanaugh Haydn in Italy, as well as return engagements with the San Diego Symphony, Orchestra di Padova e del Veneto, and the Peninsula (Wisconsin) and Round Top (Texas) festivals. Among other U.S. guest conducting appearances are the Louisiana Philharmonic, Detroit Symphony, New World Symphony, and the San Antonio Symphony.

Yaniv Dinur made his conducting debut at the age of 19 with the National Symphony Orchestra of Ireland, which led to multiple return engagements. Following his European debut, he was invited to perform with the Israel Camerata in Jerusalem, making him the youngest conductor ever to conduct a professional orchestra in Israel. Since then, he has conducted orchestras around the world, including the Israel Philharmonic, Orchestra di Padova e del Veneto, Portugal Symphony Orchestra, Sofia Festival Orchestra/Bulgaria, Solisti di Perugia, State Orchestra of St. Petersburg, Torino Philharmonic, and the National Arts Centre Orchestra in Ottawa. Broadcast live on Israeli radio, he was the principal conductor of the Jerusalem Symphony’s Young Artists Competition from 2003 to 2010.

An accomplished pianist, Dinur made his concerto debut with the Milwaukee Symphony in 2019, playing and conducting Mozart’s D Minor Concerto. He received critical acclaim for his “fluid, beautifully executed piano passages” and “deeply musical playing” (Milwaukee Journal Sentinel).

Dinur has worked closely with such world-class conductors as Lorin Maazel, Michael Tilson Thomas, Pinchas Zukerman, Kurt Masur, and Jorma Panula; soloists with whom he has collaborated include Itzhak Perlman, Yefim Bronfman, Jean-EffIam Bavouzet, and Vadim Guzman. He holds a Doctorate in Orchestral Conducting from the University of Michigan School of Music, Theatre and Dance, where he was a student of Prof. Kenneth Kiesler.

Born in Jerusalem, Yaniv Dinur began studying the piano at the age of six with his aunt, Olga Shachar, and later with Prof. Alexander Tamir, Tatiana Alexanderov, Mark Dukelsky, and Edna Golandsky. At the age of 16, he began to study conducting with Dr. Evgeny Zirlin. While still in high school, Dinur began his formal studies with Dr. Zirlin at the Jerusalem Academy of Music and Dance. After graduating from the Jerusalem Academy, he studied privately with conductor Mendi Rodan

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Sorel Etrog,The Source, 1964

The Lynden Sculpture Garden works with artists, educators, students, and our community to create, support, and share experiences at the intersection of art, nature, and culture.

Lynden operates as a laboratory, offering hands-on programs that integrate our collection of more than 50 monumental sculptures and temporary installations, and our community of artists, with the natural ecology of 40 acres of park, pond, and woodland.

LYNDENSCULPTUREGARDEN.ORG 2145 W BROWN DEER RD, MILWAUKEE, WI 53217

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MILWAUKEE SYMPHONY ORCHESTRA

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MILWAUKEE SYMPHONY ORCHESTRA

Milwaukee Symphony Chorus

The Milwaukee Symphony Chorus, founded in 1976, is known and respected as one of the finest choruses in the country. Under the direction of Dr. Cheryl Frazes Hill, the 2021.22 chorus season with the MSO includes performances of Holiday Pops, Handel’s Messiah, Grieg’s Peer Gynt, Duruflé’s Requiem, and Beethoven’s Symphony No. 9.

The 170-member volunteer chorus has been praised by reviewers for “technical agility,” “remarkable ensemble cohesion,” and “tremendous clarity.” In addition to performances with the MSO, the chorus has appeared on public television and recorded performances on radio stations throughout the country. The chorus has performed a cappella concerts to sold-out audiences and has made guest appearances with other performing arts groups including Present Music, Milwaukee Ballet, and the Chicago Symphony Orchestra. The chorus has also made appearances at suburban Chicago’s famed Ravinia Festival.

The Margaret Hawkins Chorus Director Chair was funded by a chorus-led campaign in 2006 in honor of the founding choral director, Margaret Hawkins, during the ensemble’s 30th anniversary season.

Comprised of teachers, lawyers, students, doctors, musicians, homemakers, and more, each of its members brings not only musical quality, but a sheer love of music to their task. “We have the best seats in the house,” one member said, a sentiment echoed throughout the membership. Please visit mso.org for more information on becoming a part of the Milwaukee Symphony Chorus.

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Chorus Members & Staff Jahnavi Acharya Barbara A. Ahlf Anna Aiuppa Laura Albright-Wengler 6 James Anello Gela Sawall Ashcroft u Thomas R. Bagwell Mary Ann Beatty Cornelia Maria Beilke 6 JoAnn Berk Edward Blumenthal u Scott Bolens Becca Bowen Katie Brister Neil R. Brooks Elizabeth Brown Michelle Budny Ellen N. Burmeister Gabrielle Campbell Sarah M. Cook Elena Cressy Sarah Culhane Colin Destache Rebeca A. Dishaw Megan Kathleen Dixson u James Edgar Joe Ehlinger Jay Endres Larry Engel Michael Faust Catherine Fettig Carly Marie Fitzgerald Robert Friebus Karen Frink Maria Fuller George Galloway James T. Gallup Andrew Gerlach William Gesch Anne-Marie Giuca Margaret Goodwin Charyl Granatella Virginia D. Grossman

Hailey Gurgul Joy Mast Rand C. Schmidt 6 Patricia Mathie Mark R. Hagner Randy Schmidt Eric Hanrehan Justin J. Maurer Allison Schnier Beth Harenda Betsy McCool Matthew Seider Kristin Eklund Oscar Menoyo u Hannah Sheppard Haverkampf Kathleen Ortman Miller David Siegworth Paul James Hayes Megan Miller Kristen M. Singer Madeline Hehemann Phoebe Milner Lori Skelton u Karen Heins • Marjorie Moon Tim Socha Mary Catherine Helgren Bailey Moorhead u Bruce Soto Kurt Hellermann Jennifer Mueller Joel P. Spiess Cameron Henrickson Michael Mueller Ashley Sprangers 6 Todd Stacey Sara E. Herrick Matthew Neu Michelle Hiebert Rachel Niemann Claire Stangl Laura Hochmuth Kristin Nikkel u Donald E. Stettler Alexander D. Howe Mary Beth Norton Amanda D. Steven Amy Hudson Alice Nuteson Scott Stieg 6 Donna Stresing Matthew Hunt Marilyn Overstreet Stan Husi Robert Paddock Kristine Leigh Stresman u Tina Itson Molly Pagryzinski Ashley Ellen Suresh • Christine Jameson Grace Parlier Dean-Yar Tigrani Paula J. Jeske Sarah Parlier Clare Urbanski John Jorgensen Leah Peavler Jessica Wagner Sherry Atienza Joseph Amanda Peña Barbara Wanless Heidi L. Kastern Janese Pentico Emma Mingesz Weiss Jordan Keller Rebekah Picard Michael Peter Werni u Michelle Beschta Klotz R. Scott Pierce Christina Williams Robert Anton Knier u Jessica E. Pihart Emilie Williams Jill Kortebein Catherine Anne Purdy Jessica Wirth Hannah Kovach Kaitlin Quigley Christopher Kaleigh N. Kozak Mary E. Rafel Wojciechowicz u Joseph M. Krechel David Lee Reber Kathleen Wojcik-May 6 Jason Reuschlein q Christine Krueger Kevin Woller Harold Krueger James Reynolds Maureen Woyci 6 Jamie M. Yu Rick Landin Marc Charles Ricard Jana Larson Amanda Robison Stephanie Zimmer Alexandra Lerch-Gaggl Carlos Rojo John W. Lettermann James Sampson Robert Lochhead Bridget Sampson Kristine Lorbeske Darwin J. Sanders Sarah Magid Grace Schaetz Grace Majewski John Schilling Linda Marten Sarah Schmeiser

STAFF

u Section Leader

Cheryl Frazes Hill, chorus director Timothy J. Benson, assistant director Christina Williams, chorus manager Diane Kachelmeier, rehearsal pianist Darwin J. Sanders, language/diction coach

q Charter Member

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•

Mentor

Librarian

Cheryl Frazes Hill, chorus director Dr. Cheryl Frazes Hill is now in her fifth season as director of the Milwaukee Symphony Chorus. In addition to her role in Milwaukee, she is the associate conductor of the Chicago Symphony Chorus, where she has assisted CSO Chorus Music Director Duain Wolfe for more than 20 years. Frazes Hill has also served as director of choral activities at Roosevelt University since 2002.

During the 2021.22 season, Frazes Hill will prepare the Milwaukee Symphony Chorus for performances of Holiday Pops, Handel’s Messiah, Grieg’s Peer Gynt, Duruflé’s Requiem, and Beethoven’s Symphony No. 9.

In her role as the Chicago Symphony Chorus associate conductor, she has prepared the chorus for Maestros Boulez, Barenboim, Levine, Mehta, Tilson Thomas, Conlon and many others. This season, she will prepare the Chicago Symphony Chorus for performances of Ravel’s Daphnis and Chloe, to be conducted

by Esa-Pekka Salonen. Other recent preparations include a joint performance of the Milwaukee Symphony Chorus joining the Chicago Symphony Chorus and Orchestra for Mahler’s Symphony No. 8, conducted by Marin Alsop at the 2019 Summer Ravinia Festival. Recent recordings of Frazes Hill’s Chorus preparations on the Chicago Symphony Orchestra label include Beethoven, A tribute to Daniel Barenboim, and Chicago Symphony Chorus: A 50th anniversary Celebration.

Frazes Hill received her Doctorate in Conducting and her Master of Music degree from Northwestern University and two undergraduate degrees from the University of Illinois. An accomplished vocalist, she is a featured soloist, nominated for a Grammy Award in the CBS Masterworks release Mozart, Music for Basset Horns. During her 15 years of public school teaching, Frazes Hill received numerous awards, including the Illinois Governor’s Award, the Northwestern University Alumni Merit Award, the Commendation of Excellence in Teaching from the Golden Apple Foundation, the Outstanding Teaching Award from the University of Chicago, and the Outstanding Music Educator Award.

Frazes Hill is a frequent guest conductor and guest speaker. As a clinician, she conducts festivals throughout the country. Under her direction, the Roosevelt University choruses have been featured in prestigious and diverse events including appearances at national and regional music conferences, and performances with professional orchestras including the Chicago Symphony Orchestra, Chicago Sinfonietta, the Civic Orchestra of Chicago, and the Illinois Philharmonic.

Among recent performances, the Roosevelt Conservatory Chorus received enthusiastic reviews for their American premiere of Jacob Ter Velduis’ Mountaintop. Other recent performances have included the internationally acclaimed production of Defiant Requiem. Her chorus also appeared with The Rolling Stones during their recent concert tour.

Dr. Frazes Hill is a published author with her new book, a biography about her mentor, Margaret Hillis, the founder and first director of the Chicago Symphony Chorus. Margaret Hillis: Unsung Pioneer will be released by GIA Publishing in January 2022. Frazes Hill is nationally published on topics of her research in music education and choral conducting.

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MILWAUKEE SYMPHONY ORCHESTRA

Celebrating the Best of the Past 25 Years!

Close to You: The Music of the Carpenters Friday, February 11, 2022 • 7:30 p.m.

Singer Lisa Rock and her band present a rare gem when it comes to tribute shows, featuring hits like “We’ve Only Just Begun” and “Rainy Days and Mondays” in their original key.

Stas Venglevski & Frank Almond Monday, March 21, 2022 • 7:00 p.m.

Back by popular demand, master accordion player Stas Venglevski will perform with violin virtuoso and former MSO Concertmaster Frank Almond.

Piano Celebrations Series Celebrate the beauty, power, and majesty of the Steinway grand piano in this series, which will feature these inspiring and engaging performances: CHARLIE ALBRIGHT Wednesday, February 2, 2022 • 7:00 p.m.

DAVID OSBORNE Wednesday, March 30, 2022 • 7:00 p.m.

Center for Arts and Performance | Schwan Concert Hall 8815 W. Wisconsin Avenue, Milwaukee, Wisconsin Box Office: 414.443.8802 For more information, tickets, and video samples visit: wlc.edu/guestartistseries MILWAUKEE SYMPHONY ORCHESTRA

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Handel’s

MESSIAH Thursday, December 16, 2021 at 7:30 pm Saturday, December 18, 2021 at 7:30 pm Sunday, December 19, 2021 at 2:30 pm ALLEN-BRADLEY HALL Ken-David Masur, conductor Milwaukee Symphony Chorus, Cheryl Frazes Hill, director Alisa Jordheim, soprano Ginger Costa-Jackson, mezzo soprano David Portillo, tenor Ethan Vincent, baritone GEORGE FRIDERIC HANDEL Messiah, HWV 56 PART I 1. Sinfonia 2. Arioso (Tenor): Comfort ye my people 3. Aria (Tenor): Ev’ry valley shall be exalted 4. Chorus: And the glory of the Lord 5. Recitative (Baritone): Thus saith the Lord 6. Aria (Mezzo): But who may abide the day of his coming?

7. Chorus: And he shall purify Recitative (Mezzo): Behold, a virgin shall conceive and bear a son 8. Air and Chorus (Mezzo): O thou that tellest good tidings to Zion 9. Arioso (Baritone): For behold, darkness shall cover the earth 10. Air (Baritone): The people that walked in darkness 11. Chorus: For unto us a child is born, unto us a son is given 12. Pifa (Pastoral Symphony) Recitative (Soprano): There were shepherds abiding in the field 13. Arioso (Soprano): And lo, the angel of the Lord came upon them Recitative (Soprano): And the angel said unto them 14. Arioso (Soprano): And suddenly there was with the angel 15. Chorus: Glory to God in the highest 16. Air (Soprano): Rejoice greatly, O daughter of Zion 18. Chorus: His yoke is easy, and his burthen is light INTERMISSION

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PART II 19. Chorus: Behold the Lamb of God 20. Air (Mezzo): He was despised and rejected of men 21. Chorus: Surely he hath borne our griefs 22. Chorus: And with his stripes we are healed 23. Chorus: All we like sheep have gone astray 24. Arioso (Tenor): All they that see him laugh him to scorn 25. Chorus: He trusted in God that he would deliver him 26. Recitative (Tenor): Thy rebuke hath broken his heart 27. Arioso (Tenor): Behold, and see if there be any sorrow 28. Recitative (Tenor): He was cut off out of the land of the living 29. Air (Tenor): But thou didst not leave his soul in hell 30. Chorus: Lift up your heads, O ye gates 33. Chorus: The Lord gave the word 34. Air (Soprano): How beautiful are the feet of them that preach 35. Arioso and Chorus (Chorus): Their sound is gone out 36. Air (Baritone): Why do the nations so furiously rage together 37. Chorus: Let us break their bonds asunder Recitative (Tenor): He that dwelleth in heaven 38. Air (Tenor): Thou shalt break them with a rod of iron 39. Chorus: Hallelujah PART III 40. Air (Soprano): I know that my Redeemer liveth 41. Chorus: Since by man came death 42. Recitative (Baritone): Behold, I tell you a mystery 43. Air (Baritone): The trumpet shall sound 47. Chorus: Worthy is the Lamb that was slain.

Milwaukee Symphony Chorus Alisa Jordheim, soprano Ginger Costa-Jackson, mezzo soprano David Portillo, tenor Ethan Vincent, baritone

The length of this concert is approximately 2 hours, 15 minutes.

Milwaukee Symphony Orchestra can be heard on Telarc, Koss Classics, Pro Arte, AVIE, and Vox/Turnabout recordings. MSO Classics recordings (digital only) available on iTunes and at mso.org. MSO Binaural recordings (digital only) available at mso.org.

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Guest Artist Biographies ALISA JORDHEIM Lauded by the San Francisco Chronicle as “vocally resplendent” and possessing “impeccable coloratura,” in the 2021.22 season, soprano Alisa Jordheim returns to the role of Gilda in Rigoletto with Central City Opera, sings her first performances of Susanna in Le nozze di Figaro with Virginia Opera, First Maid in Der Zwerg with the Enescu Festival, Despina in Cosi fan tutte with San Diego Opera, and returns in concert to the New Philharmonic. Recent credits include: 1st Knappe in Parsifal (Paris Opera); Clothilde in Pacini’s Maria, regina d’Inghilterra (Odyssey Opera); Hannah in The Merry Widow (New Philharmonic); Gilda in Rigoletto (San Diego Opera); Ninetta in Rossini’s La Gazza (Teatro Nuovo); Cunegonde in Candide (Palm Beach Opera); Venus in Venus and Adonis, Belinda in Dido and Aeneas, Lola in Aldridge’s Sister Carrie (Florentine Opera); Marzelline in Fidelio (Madison Opera); Satirino in La Calisto (Cincinnati Opera); and Constance in Dialogues des Carmélites (Caramoor Festival). Her recent concert credits include: Rossini’s Stabat Mater (Bach Collegium San Diego); a concert of Rachmaninoff and Gershwin (Bochumer Symphoniker); Mozart’s Exultate Jubilate (Milwaukee Symphony); Mozart’s Mass in C minor (Bel Canto Chorus); Torke’s Book of Proverbs (Grant Park Music Festival); Otto Bull’s Letters from Ruth (New York Opera Society); Mozart’s Requiem and Haydn’s Insanae et vanae curae (Ensemble Pygmalion); Brahms’s Ein deutsches Requiem (Las Vegas Philharmonic); Mahler’s Symphony No. 4 (Madison Symphony Orchestra); Handel’s Messiah and Bestienne in Bastien und Bestienne (Milwaukee Symphony); and Bach’s Cantata No. 29 (Dayton Philharmonic). Jordheim is the 2016 Rose Bampton Award winner

by The William Matheus Sullivan Musical Foundation, and an American Scandinavian Foundation Fellow and US Student Fulbright Foundation recipient.

GINGER COSTA-JACKSON Ginger Costa-Jackson is a graduate of the Metropolitan Opera’s Lindemann Young Artist Development Program and a Samling Scholar. In recent years at the MET, she has debuted the role of Rosina in Il Barbiere di Siviglia, Lola in Cavelleria Rusticana and Smeton in Anna Bolena. Other notable recent debuts include Despina in Cosi fan tutte with L’Opera National de Paris conducted by Philippe Jordan (which she reprised in 2020), and the title role of Carmen with San Diego Opera, San Francisco Opera, and at the New National Theater in Tokyo. She performed Dorabella in Cosi fan tutte with Seattle Opera (alongside her sister Marina Costa Jackson as Fiordiligi), and Maddalena in Rigoletto with LA Opera. 2019.20 engagements included Dorabella and Cherubino in new production of the Mozart /Da Ponte operas for her debut with La Monnaie, Donna Elvira at La Coruna Festival, a return to Seattle Opera for Angelina in La Cenerentola, and as Musetta in La Boheme, and a return to L’Opera de Paris for Despina. The 2020.21 season included her return to Liceu Opera Barcelona as Giulietta in Tales of Hoffmann. Engagements in future seasons include Dorabella/Cherubino with the Teatro Massimo in Palermo, Musetta in La Boheme with Seattle Opera, Donna Elvira at Teatro Petruzelli in Bari, and her debut with the prestigious Grange Park Opera.

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MILWAUKEE SYMPHONY ORCHESTRA

Guest Artist Biographies DAVID PORTILLO Praised by Opera News for “singing with a luxuriant warm glow that seduced the ear,” American tenor David Portillo has established himself as a leading classical singer of his generation. In the 2021.2022 season, Portillo performs Lurcanio in Handel’s Ariodante with the Palau des les Arts Reina Sofia in Valencia, Lysander in A Midsummer Night’s Dream with Opéra de Lille, Tamino in Die Zauberflöte with Pittsburgh Opera, and Henry Morosus in Strauss’ Die schweigsame Frau with Bard SummerScape. He also gives solo recitals at both Vocal Arts, D.C. and the Collaborative Arts Instititute of Chicago with pianist Craig Terry. Career operatic highlights include performances at the Metropolitan Opera as Steuermann in Der fliegende Holländer, the Chevalier de la Force in Dialogues des Carmélites, and Eduardo in Thomas Adès’ The Exterminating Angel, among others; at Lyric Opera of Chicago as Arbace in Idomeneo and David in Die Meistersinger; and at Houston Grand Opera as Tamino in Die Zauberflöte and Count Almaviva in Il barbiere di Siviglia. In concert, Portillo has performed Mozart’s Requiem with the Los Angeles Philharmonic Orchestra at the Hollywood Bowl, under the baton of Maestro Dudamel; Verdi’s Messa da Requiem with the Phoenix Symphony; and as Tebaldo in concert performances of I Capuleti e i Montecchi with Washington Concert Opera. An alumnus of the Ryan Opera Center at Lyric Opera of Chicago, Merola Opera Program at San Francisco Opera, and Wolf Trap Opera in Vienna, Virginia, Portillo grew up in San Antonio, Texas, and currently resides in Minneapolis, Minnesota.

ETHAN VINCENT This season, American baritone Ethan Vincent has a calendar filled with role and house debuts including Riolobo in Daniel Catán’s Florencia en el Amazonas at Lyric Opera of Chicago conducted by Jordan de Souza; singing Don Fernando in Fidelio with the Los Angeles Philharmonic under the baton of Gustavo Dudamel with direction by Alberto Arvelo and Joaquín Solano; and portraying Schaunard in La bohème with Cincinnati Opera to close the season.

A native of Kansas City, Missouri, he has recently been seen singing the role of Captain and covering the title role of Eugene Onegin in his house debut at the Santa Fe Opera conducted by Nicholas Carter and directed by Alessandro Talevi; singing Juano in West Side Story with the Philadelphia Orchestra led by Yannick Nézet-Séguin; making his company debut as Marcello in La bohème at the National Performing Arts Center, Taiwan; and premiering the first performances of Jake Heggie’s Dead Man Walking in Chicago as Joseph De Rocher. Other career highlights are Belcore/L’elisir d’amore at Indianapolis Opera; Behike/Hatuey: A Memory of Fire (North American premiere); and covering the title role in Rigoletto at Tulsa Opera. As a Resident Artist at the Academy of Vocal Arts, Vincent portrayed title roles in Rigoletto, Don Giovanni, Rubenstein’s The Demon, and Gianni Schicchi, as well as Count di Luna/Il trovatore, Albert/Werther, and Guglielmo/Così fan tutte. He made his film debut alongside Julianne Moore and Ken Watanabe in the featured role of César in Bel Canto based on the novel by Ann Patchett and directed by Paul Weitz. Vincent holds both a B.A. and M.A. in voice performance from Northwestern University.

MILWAUKEE SYMPHONY ORCHESTRA

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Program notes by J. Mark Baker George Frideric Handel

Born 23 February 1685; Halle, Germany Died 14 April 1759; London, England Messiah, HWV 56 Composed: 1741 First performance: 13 April 1742; Dublin, Ireland Last MSO performance: December 2019; Douglas Boyd, conductor; Mireille Asselin, soprano; Sofia Selowsky, mezzo soprano; James Way, tenor; Christòpheren Nomura, baritone Instrumentation: 2 oboes; bassoon; 2 trumpets; timpani; harpsichord; organ; strings Approximate duration: 2 hours, 5 minutes In a manic white heat, the 56-year-old Handel composed his beloved, best-known work in just over three weeks: Messiah was written between 22 August and 14 September 1741. Despite the appropriation and adaptation of music written earlier – most notably, several Italian love duets from July 1741 – the feat remains a miracle in the history of Western music. The master himself led the Dublin premiere the following spring. The proceeds went to several worthy causes, including the Charitable Musical Society for the Relief of Imprisoned Debtors. To this very day, Messiah continues to impact the social and cultural fabric of society.

When he penned Messiah, Handel had been a part of London musical life for some 30 years, mainly as a composer of Italian opera. With the growth of the middle class, that genre started to fall into disfavor, a clear sign of opposition to the nobility, its principal patrons. Handel – a German in England creating stage works in Italian – then began also to write oratorios in English.

Success came, though not immediately, with Messiah.

Among Handel’s oratorios, Messiah is an anomaly: 1) There are no characters such as one finds in, say, Sampson or Saul or Solomon; 2) There is no plot in the ordinary sense; in other words, Messiah is not a sequence of scenes from the life of Jesus linked together to form a dramatic whole; 3) The words are taken entirely from the Bible, a characteristic shared only with Israel in Egypt (1739).

The Scripture selections, compiled by art collector and music patron Charles Jennens (17001773), are divided into three parts.

• Part I: The coming of the Messiah is foretold by the prophets and brought to fruition in the birth of Jesus.

• Part II: Humanity is redeemed by Christ’s sacrificial death on the cross.

• Part III: The power of death is destroyed by Christ’s mighty resurrection.

In Messiah, Handel uniquely fuses several musical traditions: Italian opera, the English anthem, and the German passion. He gleans the fruits of a lifetime’s musical experience, writing masterfully for the soloists and orchestra. But arguably it is the astonishing power and variety of the choruses that raise the work to a higher level altogether. A man of the theatre, Handel knew how to lay hold on the dramatic potential of a given text, cogently pointing up its significance.

Nearly 280 years after its first performance, Messiah remains one of the greatest oratorios of all time, an icon in the history of European music. Its ability to speak to millions of people – regardless of culture or creed – remains forever undiminished.

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MILWAUKEE SYMPHONY ORCHESTRA

H OLIDAY Canadian Brass: Making Spirits Bright for 50 Years and Counting!

Program to be announced from the stage, and selections may include: Canadian Brass: Making Spirits Bright 50 Years andBright Counting!

Canadian Brass:for Making Spirits for 50 Years and Counting!

Program to be announced from the stage, selectionsfrom maythe include: Program to beand announced stage, and selections may include:

Canadian Brass: Making Spirits forMaking 50 Years and Bright Counting!

Canadian Spirits for 50 YearsPola&Wyle/arr. and Counting! the Most Wonderful TimeIt's of Year Pola&Wyle/arr.

Hudson the Most Wonderful TimeBright ofBrass: the Year Hudson A CanadianProgram Brass Christmas Selections A Canadian Brass to be announced from the Christmas stage, andannounced selections from may include: Program to be the stage, and selectionsSelections may include:

Go Tell It On The Mountain Go Tell ItTime On The Mountain e Most Wonderful Time of Year It'sthe the Most Wonderful of the Year Penny Lane (Memory)A Canadian PennyBrass LaneChristmas (Memory) A Canadian Brass Christmas You're a Mean One,Mountain Mr. Grinch You're a Mean Mr. Grinch Go Tell It On The Go Tell It OnOne, The Mountain Penny Lane (Memory)

INTERMISSION Penny Lane (Memory)

Arr. Henderson Pola&Wyle/arr.

Hudson

McCartney&Lennon/arr. Dedrick McCartney&Lennon/arr. Dedrick Selections Selections Ridenour Arr.Hague/arr.

Henderson

The of Canuckracker Carol the Bells

The Canuckracker Carol of the Bells

Glenn Miller Christmas A Charlie Glenn MillerChristmas Christmas A Charlie Brown Christmas Brown

Hague/arr.

Ridenour Arr. Henderson

INTERMISSION McCartney&Lennon/arr.

Dedrick McCartney&Lennon/arr. Dedrick

Carol ofGrinch the Bells McNeff CarolMr. of Ithe Bells NT E R M I S SHague/arr.

I Leondovich/arr.

O N Ridenour You're a Mean One, Mr. You're a Mean One, Grinch A Charlie Brown Christmas A CharlieINTERMISSION Brown Christmas

Arr. HendersonHudson Pola&Wyle/arr.

Guaraldi/arr. Ridenour INTERMISSION

Leondovich/arr.

McNeff Hague/arr.

Ridenour Guaraldi/arr. Ridenour

Tchaikovsky/arr.

Ridenour Leondovich/arr.

Tchaikovsky/arr.

Ridenour Leondovich/arr.

McNeff McNeff Arr. DedrickRidenour Guaraldi/arr.

Arr. Dedrick Ridenour Guaraldi/arr.

The Canuckracker Tchaikovsky/arr. Ridenour The Canuckracker Tchaikovsky/arr. Ridenour The official website of Canadian www.canadianbrass.com The Brass officialis website of Canadian Brass is www.canadianbrass.com Keep up with Canadian Brass Keep via Twitter, and YouTube. up withFacebook Canadian Brass via Twitter, Facebook Arr. and Dedrick YouTube.

Glenn Miller Christmas Arr. Dedrick Glenn Miller Christmas Canadian Brass performs on 24-karat plated Canadian Brass Collection instruments and isCollection an Opening Day artist. and is an Opening Day ar Canadiangold Brass performs on 24-karat gold plated Canadian Brass instruments Canadian Brass recordings areCanadian availableBrass at http://www.canadianbrassstore.com. recordings are available at http://www.canadianbrassstore.com.

The official website of Canadian is www.canadianbrass.com TheBrass official website of Canadian Brass is www.canadianbrass.com Keep up with Canadian Brass via Twitter, Facebook and YouTube.

Keep up with Canadian Brass via Twitter, Facebook and YouTube.

The official website of Canadian Brass isCanadian www.canadianbrass.com nadian Brass performs on 24-karat gold plated Canadian Brass Collection instruments and is an Openinginstruments Day artist. and is an Opening Day art Canadian Brass performs on 24-karat gold plated Brass Collection Canadian Brass recordings areup available at http://www.canadianbrassstore.com.

Canadian Brass recordings are available at http://www.canadianbrassstore.com.

Keep with Canadian Brass via Twitter, Facebook and YouTube.

Canadian Brass performs on 24-karat gold plated Canadian Brass Collection instruments and is an Opening Day artist.

Canadian Brass recordings are available at http://www.canadianbrassstore.com.

MILWAUKEE SYMPHONY ORCHESTRA

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Guest Artist Biographies ACHILLES LIARMAKOPOULOS, Trombone Achilles Liarmakopoulos joined the Canadian Brass in 2011. He has toured extensively throughout North America, Europe, and Asia, performing and educating in the world’s most important venues and institutions.

Achilles holds degrees from the Yale University School of Music, Curtis Institute of Music, San Francisco Conservatory, and the Philippos Nakas Conservatory in his hometown Athens, Greece. Upon completion of his studies, he won the position of principal trombone of the Greek Radio Symphony Orchestra.

As a recitalist, Achilles has performed in China, Panama, Spain, France, the Netherlands, Austria, Finland, Greece, USA, and Canada, having been awarded honors at competitions around the globe. At the age of 18, he gave two solo performances at Walt Disney Hall as the Grand Prize Winner of the Pasadena Showcase House Instrumental Competition judged by members of the Los Angeles Philharmonic. He has gone on to win prizes at the Christian Lindberg International Competition, the Yamaha Music Foundation of Europe (YMFE), and the International Trombone Festival’s Robert Marsteller/Conn-Selmer and Larry Wiehe solo competitions, to name a few.

Achilles was also awarded the Alexandros S. Onassis Foundation and the Greek State Scholarship Foundation educational scholarships.

His discography includes five solo albums. Achilles also performs around the world with Pink Martini, and he has also performed with salsa icon Ruben Blades.

BRANDON RIDENOUR, Trumpet Brandon Ridenour is a stylistically diverse trumpet soloist, collaborative artist, composer, and arranger. He has combined his wide-ranging activities as soloist and chamber musician with his passion for composing and arranging, resulting in his distinctive artistic voice and vision.

At the age of 20, Brandon became the youngest member ever to join the iconic Canadian Brass, a position he held for seven years.

With the group, he played in distinguished venues around the world, performed on television, recorded ten albums, appeared on NPR’s Tiny Desk, and received three Juno Award nominations. He also created a catalog of new arrangements for the ensemble, which are still performed today.

Brandon rejoined Canadian Brass in 2019 and continues to create new repertoire for the group.

Brandon is a winner of numerous competitions, including Concert Artists Guild, International Trumpet Guild, and the American Composers Forum. He has played with a diverse array of musicians, including Sting, James Taylor, Marvin Hamlisch, Yo-Yo Ma, Wynton Marsalis, Esperanza Spalding, John Williams, and esteemed ensembles, such as the New York Philharmonic, National Symphony Orchestra, Los Angeles Philharmonic, International Contemporary Ensemble, the Knights, Orpheus, Orchestra of St. Luke’s, and the Mahler Chamber Orchestra.

In 2019, Brandon launched Come Together, an album of reimagined Beatles music celebrating the 50th anniversary of the classic Lennon/McCartney song. Brandon has since developed this collaborative album into a larger social impact and environmentalism project.

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MILWAUKEE SYMPHONY ORCHESTRA

Guest Artist Biographies CALEB HUDSON, Trumpet Caleb Hudson is the newest member of the Canadian Brass, having graduated from The Juilliard School with both Bachelor and Master of Music degrees. Acclaimed by The New York Times as ‘brilliantly stylish,’ Caleb has performed as an international soloist, including a recital that was broadcast nationally on NPR’s Performance Today.

Caleb is known for his piccolo trumpet mastery of Bach’s infamous Brandenburg Concerto No. 2, having performed it around the world with ensembles including Orpheus Chamber Orchestra, Orchestra of St. Luke’s, Israel Philharmonic Soloists, and Chamber Music Society of Lincoln Center.

Possessing a wide range of musical styles, his experience ranges from soloing in Carnegie Hall to performing with early music ensembles, even appearing on Jimmy Kimmel Live. He is an alumnus of Interlochen Arts Academy and Ensemble Connect, a fellowship program of Carnegie Hall that promotes community outreach and music education.

Caleb enjoys writing and arranging music for Canadian Brass, having many works performed, published, and recorded. They can be heard on two albums, Canadian Brass: Perfect Landing and Canadian Brass: Great Wall of China. In 2015, his original composition White Rose Elegy was performed as a world premiere in Lincoln Center by the Canadian Brass and New York Philharmonic Principal Brass.

CHUCK DAELLENBACH, Tuba Chuck Daellenbach has brought music, imagination, and humor to Canadian Brass since the group was formed in 1970. Playing a key role in all of the group’s groundbreaking projects, world travels, and on over 130 recordings, Chuck and his gold-plated, carbon bell tuba are the bedrock of the massive Canadian Brass repertoire – from Baroque to jazz.

As a teenager, Chuck began studies with legendary Chicago Symphony tuba player, Arnold Jacobs. After earning a Ph.D. at the age of 25 from the Eastman School of Music, Chuck headed north to teach on the music faculty at the University of Toronto. His academic plans were soon derailed when he met trombonist Gene Watts. Together they formed this unique brass quintet with Chuck on tuba.

For the next 38 years, Gene and Chuck guided Canadian Brass to the top of their field, through thousands of performances and fantastic opportunities including two “command” performances for the Queen of England.

The definition of a multi-tasker, Chuck always has several projects in the works at once. These include a series of hundreds of brass works published by Hal Leonard played by music students and professional players around the world. He runs Canadian Brass Publishing and together with his wife, MB, they manage Opening Day Entertainment Group [Odeg], the ensemble’s recording label.

MILWAUKEE SYMPHONY ORCHESTRA

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Guest Artist Biographies JEFF NELSEN, Horn One of the many Canadian pig-farm-raised magician horn players in the world, Jeff Nelsen has thrilled audiences and mentored students for over 25 years. Having recently entered his ninth year touring and recording as solo horn with Canadian Brass, Jeff Nelsen has also performed concerti with orchestras on six continents, and in the horn sections of dozens of orchestras including the New York and Los Angeles philharmonics, and the Boston, Chicago, St. Louis, Cincinnati, and Montreal symphonies. One thrilling event last summer was performing in Carnegie Hall as guest principal horn with the Philadelphia Orchestra and fellow Canadian, maestro Yannick Nézet-Séguin.

Jeff is professor of music (horn) at the prestigious Indiana University Jacobs School of Music, where he teaches full-time as a horn, chamber music, and performance coach. He is founder of Fearless Performance LLC, a company that focuses on training musicians and entrepreneurs to improve their mental game so they consistently perform their best. In 2011 he gave his celebrated TED Talk on Fearless Performance. Jeff played the complete run of two Broadway shows in NYC that were nominated for Tony awards – Chitty Chitty Bang Bang (Sherman Brothers) and The Pirate Queen (Boublil and Schönberg). Jeff has toured with Michael Bolton and Barry Manilow, has recorded with Michael Buble and the pop band Barenaked Ladies, and has performed on dozens of movie and video game soundtracks. Jeff most enjoys performing with his wife, mezzo-soprano Nina Yoshida Nelsen, on recital and orchestral pops series.

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MILWAUKEE SYMPHONY ORCHESTRA

Saturday, January 1, 2022 at 7:30 pm Sunday, January 2, 2022 at 2:30 pm Yaniv Dinur, conductor ACT III COMMUNICATIONS Presents A REINER/SCHEINMAN Production WILLIAM GOLDMAN’S

CARY ELWES MANDY PATINKIN CHRIS SARANDON CHRISTOPHER GUEST WALLACE SHAWN ANDRE THE GIANT Introducing ROBIN WRIGHT Special Appearances by PETER FALK and BILLY CRYSTAL Edited by ROBERT LEIGHTON Production Designed by NORMAN GARWOOD Director of Photographer ADRIAN BIDDLE Music by MARK KNOPFLER Executive Producer NORMAN LEAR Screenplay by WILLIAM GOLDMAN Produced by ANDREW SCHEINMAN and ROB REINER Directed by ROB REINER Performed without intermission 2021.22. Season Film with Live Orchestra series Official Media Sponsor MILWAUKEE SYMPHONY ORCHESTRA

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Bravo!

The arts help economies thrive, communities flourish and individuals connect with each other while educating and enriching societies. We are proud to be a part of this community.

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MILWAUKEE SYMPHONY ORCHESTRA

A Note from the composer, Mark Knopfler To have been a part of The Princess Bride gives me enormous pride and joy. To me, the picture has never lost an ounce of its freshness and charm. I couldn’t be more delighted to see it finding more devotees around the world with every passing year.

Now, to hear the score in the hands of a brilliant orchestral arranger, conductor, and players, is an added privilege. I hope you have a wonderful evening in their company along with the many memories the film has created.

Mark Knopfler is an acclaimed British singer-songwriter, guitarist, and record producer, who has composed several film scores, including The Princess Bride. He is best known as the lead singer, lead guitarist, and songwriter of internationally celebrated rock band, Dire Straits.

Tonight’s program is a presentation of the complete film The Princess Bride with a live performance of the movie’s entire score, including music played by the orchestra during the end credits. Out of respect for the musicians and your fellow audience members, please remain seated until the conclusion of the performance. © Princess Bride, Ltd. All Rights Reserved.

Original musical score composed by Mark Knopfler © 1987 Straitjacket Songs Ltd. Used by Permission. All Rights Reserved.

“Storybook Love” written by Willy DeVille © 1987 Jockamo Music. Used by Permission. All Rights Reserved.

PRODUCTION CREDITS The Princess Bride in Concert is produced by Film Concerts Live!, a joint venture of IMG Artists, LLC and The Gorfaine/Schwartz Agency, Inc. Producers: Steven A. Linder and Jamie Richardson Director of Operations: Rob Stogsdill Production Manager: Sophie Greaves Production Assistant: Elise Peate Worldwide Representation: IMG Artists, LLC Technical Director: Mike Runice Music Composed by Mark Knopfler “Storybook Love” written by Willy DeVille Musical Score Adapted and Orchestrated for Live Performance by Mark Graham Music Preparation: Jo Ann Kane Music Service Film Preparation for Concert Performance: Epilogue Media Technical Consultant: Laura Gibson Sound Remixing for Concert Performance: Chace Audio by Deluxe The score for The Princess Bride has been specially adapted for live concert performance.

With special thanks to: Norman Lear, Mark Knopfler, Julie Dyer, David Nochimson, Paul Crockford, Sherry Elbe, James Harman, Peter Raleigh, Trevor Motycka, Bethany Brinton, Matt Voogt, Adam Michalak, Alex Levy Adam Witt, and the musicians and staff of the Milwaukee Symphony Orchestra.

MILWAUKEE SYMPHONY ORCHESTRA

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FINE A R T S Q U A RT E T Returns to Milwaukee!

Featuring quartets by Beethoven and Philip Glass a n d Tc h a i k o v s k y ’ s s e x t e t - S o u v e n i r d e F l o r e n c e !

U W- Mil wau kee - Helene Z ela z o C en t er S unday, Januar y 3 0 , 3 p . m .

Pre - talk one hour before the concer t Free Community-supported concert | Open seating

OPEN

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MILWAUKEE SYMPHONY ORCHESTRA

Additional details at FOFAQ.org

STAGE TO SCREEN Friday, January 21, 2022 at 7:30 pm Saturday, January 22, 2022 at 7:30 pm ALLEN-BRADLEY HALL Ken-David Masur, conductor Augustin Hadelich, violin ERICH WOLFGANG KORNGOLD/Patrick Russ Suite from Captain Blood

I. Main Title

II. Sold Into Slavery

III. Meeting on the Ocean

IV. Tortuga

V. Peter and Arabella

IV. Finale BENJAMIN BRITTEN Violin Concerto, Opus 15

I. Moderato con moto –

II. Vivace

III. Passacaglia: Andante lento (un poco meno mosso) [played without pause] Augustin Hadelich, violin INTERMISSION

DMITRI SHOSTAKOVICH The Golden Age (Suite), Opus 22a

I. Introduction

II. Adagio

III. Polka

IV. Dance PAUL HINDEMITH Mathis der Maler [Mathis the Painter] – Symphony

I. Ruhig bewegt (Angel Concert)

II. Sehr langsam (Entombment)

III. Sehr langsam, frei im Zeitmass (Temptation of St. Anthony) The 2021.22 Classics Series is presented by the UNITED PERFORMING ARTS FUND. The length of this concert is approximately 2 hours.

Milwaukee Symphony Orchestra can be heard on Telarc, Koss Classics, Pro Arte, AVIE, and Vox/Turnabout recordings. MSO Classics recordings (digital only) available on iTunes and at mso.org. MSO Binaural recordings (digital only) available at mso.org.

MILWAUKEE SYMPHONY ORCHESTRA

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Joseph Zilisch, M.D.

DERMATOLOGY

Amanda Cooper, M.D.

COMPREHENSIVE EYE CARE

UROLOGY

Kevin Gee, M.D.

Christopher Kearns, M.D.

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Guest Artist Biographies AUGUSTIN HADELICH Augustin Hadelich is one of the great violinists of our time.

From Bach to Brahms, from Bartók to Adès, he has mastered a wide-ranging and adventurous repertoire. Named Musical America’s 2018 “Instrumentalist of the Year,” he is consistently cited worldwide for his phenomenal technique, soulful approach, and insightful interpretations.

Hadelich’s 2020.21 season culminated in performances with the San Francisco Symphony of the Brahms Violin Concerto, conducted by Esa-Pekka Salonen. Starting off Hadelich’s 2021.22 season will be his debut with the Berlin Philharmonic, playing Prokofiev’s Violin Concerto No. 2 with Gustavo Gimeno on the podium. Shortly thereafter, he will perform with the South Netherlands Symphony Orchestra the premiere of a new violin concerto written for him by Irish composer, Donnacha Dennehy.

Augustin Hadelich has appeared with every major orchestra in North America, including the Boston Symphony, Chicago Symphony, Cleveland Orchestra, Los Angeles Philharmonic, New York Philharmonic, Philadelphia Orchestra, and the San Francisco Symphony. His worldwide presence has been rapidly rising, with recent appearances with the Bavarian Radio Orchestra/Munich, Leipzig Gewandhaus Orchestra, Hamburg Elbphilharmonie, Royal Concertgebouw Orchestra, London Philharmonic, Danish National, Orquesta Nacional de España, Oslo Philharmonic, São Paulo Symphony, the radio orchestras of Finland, Frankfurt, Saarbrücken, Stuttgart, and Cologne, and the Academy of St. Martin in the Fields. Engagements in the Far East include the Hong Kong Philharmonic, Seoul Philharmonic, Singapore Symphony, NHK Symphony (Tokyo), and a tour with the New Zealand Symphony Orchestra.

Hadelich is the winner of a 2016 Grammy Award™ – “Best Classical Instrumental Solo” – for his recording of Dutilleux’s Violin Concerto, L’Arbre des songes, with the Seattle Symphony under Ludovic Morlot (Seattle Symphony MEDIA). A Warner Classics Artist, his most recent release is a double CD of the Six Solo Sonatas and Partitas of Johann Sebastian Bach.

Born in Italy, the son of German parents, Augustin Hadelich is now an American citizen. He holds an Artist Diploma from The Juilliard School, where he was a student of Joel Smirnoff. After winning the Gold Medal at the 2006 International Violin Competition of Indianapolis, concerto and recital appearances on many of the world’s top stages quickly followed.

Augustin Hadelich plays the violin “Leduc, ex-Szeryng” by Giuseppe Guarneri del Gesù of 1744, generously loaned by a patron through the Tarisio Trust.

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Program notes by J. Mark Baker Our three-concert ’30s Festival opens with an eclectic selection of European music – Austrian, British, Russian, German. Selections from a film score, a ballet, and an opera combine with Britten’s early Violin Concerto – played by guest artist Augustin Hadelich – to create a satisfying whole.

Erich Wolfgang Korngold

Born 29 May 1897; Brno, Moravia Died 29 November 1957; Hollywood, California

Suite from Captain Blood

Composed: 1935 First performance: December 1935 (film release) Last MSO performance: MSO premiere Instrumentation: 2 flutes (both doubling on piccolo); 2 oboes (2nd doubling on English horn); 3 clarinets (2nd doubling on alto saxophone, 3rd doubling on bass clarinet and tenor saxophone); 2 bassoons; 4 horns; 4 trombones; tuba; timpani; percussion (bass drum, crotale, cymbals, snare drum, suspended cymbals, tambourine, temple blocks, triangle, vibraphone, xylophone); harp; celeste; strings Approximate duration: 16 minutes As a child in Vienna, Erich Wolfgang Korngold was celebrated as a wunderkind. When he was only ten years old, Mahler pronounced him a genius and sent him to study with Alexander Zemlinsky.

He drew subsequent praise from Richard Strauss for his early orchestral works; Puccini was likewise impressed by his opera Violanta (1916). The height of his early fame came with Die tote Stadt, composed when he was 20 and internationally acclaimed after its premiere in 1920.

A few years later, he assumed a teaching post in Vienna and a 1928 poll named Korngold and Schoenberg as Austria’s two greatest living composers.

In 1934, the stage/screen director Max Reinhardt took Korngold to Hollywood. A Jew in the time of rising Nazi power, he thought it prudent to remain there. As a film composer, he wrote some of the choicest music ever heard on the big screen, including A Midsummer Night’s Dream (1935), The Prince and the Pauper (1937), The Private Lives of Elizabeth and Essex (1939), and The Sea Hawk (1940). Two scores – Anthony Adverse (1936) and The Adventures of Robin Hood (1938) – received Oscars. Korngold returned to composing absolute music after World War II, most notably a splendid Violin Concerto (1946), premiered by Jascha Heifetz.

Captain Blood (1935) starred Errol Flynn (Peter Blood) and Olivia de Havilland (Arabella). Its plot surrounds a young Irish doctor who is exiled to Barbados as a slave; there, he captures a Spanish galleon and becomes the most feared pirate of the Caribbean. Following the suite’s swashbuckling “Main Title,” the mood shifts drastically for “Sold into Slavery,” with its unsettling harmony and string-section statement of the opening fanfare motif, now in a minor key. In “Meeting on the Ocean,” Blood chances upon the rival pirate ship that contains Arabella; he allows it to pass without attack. “Tortuga” is the island where Blood and his crew take refuge after fleeing slavery. “Peter and Arabella” comes near the end of the film; Romanticera evocations underscore how deeply in love they are. Brass fanfares herald the “Finale,” and soaring string melodies whisk the music forward as the once-estranged lovers are reconciled.

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Benjamin Britten

Born 22 November 1913; Lowestoft, England Died 4 December 1976; Aldeburgh, England

Violin Concerto, Opus 15

Composed: 1939 First performance: 28 March 1940; New York, New York Last MSO performance: January 2017; Carlos Kalmar, conducting; Elina Vähälä, violin Instrumentation: 3 flutes (2nd doubling on 2nd piccolo, 3rd doubling on 1st piccolo); 2 oboes (2nd doubling on English horn); 2 clarinets; 2 bassoons; 4 horns; 3 trumpets; 3 trombones; tuba; timpani; percussion (cymbals, glockenspiel, snare drum, suspended cymbals, tenor drum, triangle, bass drum, tambourine); harp; strings Approximate duration: 31 minutes Benjamin Britten has been hailed as “the greatest English composer since Purcell.” His prodigious output includes operas, solo vocal music, chamber music, concertos, symphonic works, film music, and choral music. Britten’s opera Peter Grimes (1945) is a singular masterpiece in the genre, and his War Requiem (1961) is one of the towering works of the 20th century.

In May 1939, Britten and his life partner, Peter Pears – a tenor whose unique artistry was to inspire many of the composer’s song cycles and operatic roles, including Peter Grimes – left England for North America. They went first to Canada, where they became “legal British immigrants.” The couple spent several enjoyable weeks in Toronto and arrived in New York in late June. In Toronto, Britten had continued to work on his Violin Concerto, begun in England the previous year. At his new digs on Long Island – staying at the Amityville home of William and Elizabeth Mayer – the music continued to take shape, and was finished in September while the composer was on vacation in St. Jovite, Québec.

After submitting the new concerto for consideration to Jascha Heifetz, who pronounced it unplayable, Britten turned to an old friend – and a fellow student of the English composer Frank Bridge – the Spanish virtuoso Antonio Brosa. (Along with the composer, Brosa had given the premiere of Britten’s Suite for Violin and Piano in 1936.) Brosa premiered the work at Carnegie Hall the following March, with the New York Philharmonic and Sir John Barbirolli.

The concerto is set in three movements, but eschews the usual fast-slow-fast configuration; instead, a central Vivace is surrounded by movements at slower tempos. A short phrase for timpani, answered by the cymbal, opens the Moderato con moto. This becomes the accompaniment for the violin’s haunting chromatic tune and recurs during the movement. The second subject is more angular, more rhythmic. At the movement’s climax, a melodic cadenza descends from the violin’s highest notes, with double- and triple-stops based on the opening percussion motif. The second-movement is a take-no-prisoners scherzo in E minor. Vigorous and energetic, it is forceful and at times extravagant in its brilliance. A pleading middle section in A minor provides contrast before a slow crescendo to an orchestral tutti introduces a blazing cadenza.

This leads directly to the valedictory Passacaglia, Britten’s first use of the Purcellian form that was to become an integral part of his compositional vocabulary. Its theme – a scale ascending and descending in alternating whole- and half-steps – is announced by the trombones, heard for the first time in the concerto. Nine continuous variations then follow. Its serious musical expression casts the movement as a threnody. An ardent pacifist, Britten seems to pour out his sorrow over the horrors of the Spanish Civil War, where the fighting was at its bloodiest when he was completing the concerto.

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“It is at times like these,” the 26-year-old composer said, “that work is so important – so that people can think of other things than blowing each other up!... I try not to listen to the radio more than I can help.” Though the concerto received mixed reviews, one person who heard a distinctive voice was the American composer Elliott Carter, who wrote that “nobody could fail to be impressed by the remarkable gifts of the composer, the size and ambition of his talent.”

Prescient words, indeed.

Dimitri Shostakovich

Born 25 September 1906; St. Petersburg, Russia Died 9 August 1975; Moscow, Russia

The Golden Age (Suite), Opus 22a

Composed: 1927-30 First performance: 26 October 1930; Leningrad (St. Petersburg), Russia (complete ballet) Last MSO performance: MSO premiere Instrumentation: flute; piccolo; oboe; English horn; clarinet; bass clarinet; Eb clarinet; bassoon; contrabassoon; 4 horns; 3 trumpets; 3 trombones; tuba; timpani; percussion (bass drum, cymbals, snare drum, tam tam, triangle, xylophone, wood block); harmonium; strings Approximate duration: 16 minutes Widely regarded as the greatest symphonist of the mid-20th century, the Russian master Dmitri Shostakovich wrote 15 works in that genre. Additionally, his impressive compositional catalogue includes six concertos for various instruments, chamber music (including 15 string quartets), solo piano music, three operas, several cantatas and oratorios, three ballets, 36 film scores, incidental music for 11 plays, choral music, and songs.

In his early 20s, Shostakovich became preoccupied with dramatic music in all its various guises, writing an opera (The Nose, 1927-28), a film score (New Babylon, 1928-29), incidental music for a play (The Flea, 1929), and the ballet at hand, The Golden Age [Zolotoy vek]. This, his first ballet score, is based on a three-act libretto by Alexander Ivanovsky. Its over-the-top story line is a satirical look at the social and political upheaval in Europe and Russia in the late 1920s. A Soviet soccer (football) team travels to a corrupt Western city. There, they are subjected to every sort of debauched temptation – moral, financial, political – by a coterie of unsavory characters that includes the Diva, the Fascist, the Agent Provocateur, and others.

The virtuous football players fall victim to game-rigging and badgering by the police.

Ultimately, they are incarcerated by the unscrupulous bourgeoisie – until a brave uprising of the local working class triumphs over the vile capitalists, affording the sportsmen’s release.

The sardonic “Introduction” comes from the ballet’s overture, sounding as if it might be the soundtrack to a Buster Keaton film. The “Adagio,” a seductive dance by the Diva, features a soprano saxophone. Subtitled “Once upon a time in Geneva” in the ballet, the wonderfully quirky “Polka” makes fun of diplomats at the League of Nations. The concluding “Dance” comes early in the complete score, accompanying the Soviet footballers soon after their arrival in the West. It’s all cynical fun. And Shostakovich himself was a soccer fan, dubbing the sport “the ballet of the masses.”

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Paul Hindemith

Born 16 November 1895; Hanau, Germany Died 28 December 1963; Frankfurt, Germany

Mathis der Maler [Mathis the Painter] – Symphony

Composed: 1934 First performance: 12 March 1934; Berlin, Germany (symphony) 28 May 1938; Zurich, Switzerland (opera) Last MSO performance: November 2012; Michael Francis, conductor Instrumentation: 2 flutes (2nd doubling on piccolo); 2 oboes; 2 clarinets; 2 bassoons; 4 horns; 2 trumpets; 3 trombones; tuba; timpani; percussion (bass drum, cymbals, triangle, glockenspiel, snare drum); strings Approximate duration: 25 minutes Paul Hindemith became one of the leading German composers between the two World Wars.

A prolific composer by any standard, he wrote in every genre imaginable: operas, ballets, orchestral music, chamber orchestral works, chamber music, solo piano pieces, choral music, and songs. A gifted violinist, violist, conductor, and pedagogue, he began teaching at the Berlin Conservatory in 1927. When the Nazis came to power, however, the independent-minded Hindemith began to have problems with the regime almost immediately. Forced from his teaching position, in 1938 he left Germany for good, first settling in Switzerland and then in the United States. From 1940 to 1953, when he retired, he taught composition and led the Collegium Musicum at Yale University. He returned to Switzerland for the final decade of his life.

In 1932, Hindemith began planning an opera about the great German painter Mathis Gothardt Nithardt – better known as Matthias Grünewald (c1460-1528) – who lived during the turbulent early years of the Protestant Reformation. The German Peasant Revolt (1525) and the strife between Catholics and Protestants mirrored Hindemith’s own predicament in the early years of Nazi power: How should an artist react to evil and violence? This had prompted Hindemith to seek for a way to give dramatic shape to this difficulty.

Enter conductor Wilhelm Furtwängler, who asked Hindemith to write an orchestral work for the Berlin Philharmonic’s 1933-34 season. The composer decided to use this opportunity to contribute to the opera that was taking shape in his imagination, rather than dragging him away from it. Grünewald’s masterwork, the Isenheim Altarpiece, a two-sided triptych, served as a guiding principle: The opera is cast in tableaux that treat the images as allegories of the artist’s career and the events of his day. The music of the Symphony’s three movements – each of which corresponds to an image on the altarpiece – was later incorporated into opera.

The opening “Engelkonzert” (Angels’ Concert) later became the opera’s Prelude. Grünewald’s painting shows three angels singing and playing to the Virgin and Child. Following a tranquil, luminescent opening, Hindemith’s employs an old German folksong, “Es sungen drei Engel” (Three angels sang), first played by the trombones. What follows is a sonata-form Allegro of merry, wide-eyed innocence, rife with imaginative contrapuntal development.

“Grablegung” (Entombment), a solemn nocturne, refers to Mathis’s painting of Christ being laid in the sepulcher. It, too, is set in sonata form. A slow march rhythm supports a somber theme that yields to a number of melancholy woodwind solos. The march returns to build to an ascetic climax, and the movement concludes in a state of lamentation.

An extended melody in the muted strings opens the third movement, cast in ternary form. The frenetic music that follows depicts “The Temptation of St. Anthony,” paralleled in the opera with Mathias as Anthony and the other characters as his tormentors. All is not lost, however, for an energetic fugato in the strings soon undergirds the plainsong chant “Lauda Sion Salvatorem” (Praise thy Savior, O Zion) and the brass section proclaims a jubilant closing Alleluia.

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ALL THAT JAZZ Friday, January 28, 2022 at 7:30 pm Saturday, January 29, 2022 at 7:30 pm ALLEN-BRADLEY HALL Thomas Wilkins, conductor Timothy McAllister, saxophone ROY HARRIS Symphony No. 3, in One Movement ERWIN SCHULHOFF/Detleff Bensmann Hot-Sonate for Alto Saxophone and Orchestra

I. q = 66

II. h = 112

III. q = 80

IV. h = 132 Timothy McAllister, saxophone JACQUES IBERT Concertino da camera for Alto Saxophone and Orchestra

I. Allegro con moto

II. Larghetto – Animato Timothy McAllister, saxophone INTERMISSION

HOWARD HANSON Symphony No. 2, Opus 30, “Romantic”

I. Adagio – Allegro moderato

II. Andante con tenerezza

III. Allegro con brio The 2021.22 Classics Series is presented by the UNITED PERFORMING ARTS FUND. The length of this concert is approximately 1 hour, 45 minutes.

Milwaukee Symphony Orchestra can be heard on Telarc, Koss Classics, Pro Arte, AVIE, and Vox/Turnabout recordings. MSO Classics recordings (digital only) available on iTunes and at mso.org. MSO Binaural recordings (digital only) available at mso.org.

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Guest Artist Biographies THOMAS WILKINS Thomas Wilkins is principal conductor of the Hollywood Bowl Orchestra, the Boston Symphony’s artistic advisor, education and community engagement, principal guest conductor of the Virginia Symphony, and holds Indiana University’s Henry A. Upper Chair of Orchestral Conducting. He completed his long and successful tenure as music director of the Omaha Symphony Orchestra at the close of the 2020.21 season.

Other past positions have included resident conductor of the Detroit Symphony and Florida Orchestra, and associate conductor of the Richmond Symphony. He also has served on the music faculties of North Park University, the University of Tennessee in Chattanooga, and Virginia Commonwealth University in Richmond.

Devoted to promoting a life-long enthusiasm for music, Wilkins brings energy and commitment to audiences of all ages. He is hailed as a master at communicating and connecting with audiences. Following his highly successful first season with the Boston Symphony, the Boston Globe named him among the “Best People and Ideas of 2011.” In 2014, Wilkins received the prestigious “Outstanding Artist” award at the Nebraska Governor’s Arts Awards. In 2018 Thomas Wilkins received the Leonard Bernstein Lifetime Achievement Award for the Elevation of Music in Society, and in 2019, the Virginia Symphony bestowed Thomas Wilkins with their annual Dreamer Award.

During his conducting career, he has led orchestras throughout the United States, including the New York Philharmonic, the Chicago Symphony, the Los Angeles Philharmonic, the Cincinnati Symphony, and the National Symphony. Additionally, he has guest conducted the Philadelphia and Cleveland orchestras, the symphonies of Atlanta, Dallas, Houston, Baltimore, San Diego, and Utah, and the Buffalo and Rochester philharmonics, as well as at the Grant Park Music Festival in Chicago.

His commitment to community has been demonstrated by his participation on several boards of directors. Currently he serves as chairman of the board for the Raymond James Charitable Endowment Fund and as national ambassador for the non-profit World Pediatric Project headquartered in Richmond, Virginia.

A native of Norfolk, Virginia, Thomas Wilkins is a graduate of the Shenandoah Conservatory of Music and the New England Conservatory of Music in Boston. He and his wife Sheri-Lee are the proud parents of twin daughters, Erica and Nicole.

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Guest Artist Biographies TIMOTHY McALLISTER Hailed by The New York Times as a “virtuoso…one of the foremost saxophonists of his generation”, “brilliant” (The Guardian, UK), and “a sterling saxophonist” (The Baltimore Sun), Timothy McAllister is one of today’s premier soloists, a member of the renowned PRISM Quartet, and a champion of contemporary music credited with dozens of recordings and more than 150 premieres of new compositions by eminent and emerging composers worldwide. His rise to international fame came in 2009 with his celebrated work in John Adams’s City Noir, filmed as part of Gustavo Dudamel’s inaugural concert as music director of the Los Angeles Philharmonic, and the world premiere of John Adams’s Saxophone Concerto in August 2013 with the Sydney Symphony Orchestra. Subsequent critically acclaimed U.S. premieres with the Baltimore Symphony Orchestra and St. Louis Symphony followed with engagements with the Milwaukee Symphony Orchestra, Orquestra Sinfônica do Estado de São Paulo, Cabrillo Festival Orchestra, BBC Symphony Orchestra at the London Proms, Royal Liverpool Philharmonic, and the New World Symphony, among others.

McAllister has recently been soloist with the Fort Wayne Philharmonic, Elgin Symphony, Albany Symphony Orchestra, Reno Philharmonic, Boston Modern Orchestra Project, Royal Band of the Belgian Air Force, United States Navy Band, Hong Kong Wind Philharmonia, Tokyo Wind Symphony, Pacific Symphony, and the Nashville Symphony, among others. An in-demand orchestral saxophonist, he has toured in the U.S. and abroad with both the Los Angeles Philharmonic and Chicago Symphony Orchestra, among many others.

A renowned teacher of his instrument, he has served as professor of saxophone at Northwestern University, a Valade Artist Fellow for the Interlochen Center for the Arts, and is a clinician for the Conn-Selmer and D’Addario companies. In September 2014, he joined the faculty of the University of Michigan School of Music, succeeding his legendary mentor, Donald Sinta. McAllister’s work can be heard on the Nonesuch, Deutsche Grammphon, Naxos, OMM, Stradivarius, Centaur, AUR, Albany, Parma, New Dynamic, Equilibrium, New Focus, and Innova record labels.

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Program notes by J. Mark Baker Guest conductor Thomas Wilkins continues our celebration of the 1930s, the decade in which the Warner Theater was constructed. Two enduring American symphonies – Harris’s No. 3 and Hanson’s No. 2 – bookend jazz-inspired music

by Schulhof and Ibert. Welcome, Timothy McAllister!

Roy Harris

Born 12 February 1898; Lincoln County, Oklahoma Died 1 October 1979; Santa Monica, California

Symphony No. 3, in One Movement

Composed: 1937 First performance: 24 February 1939; Boston, Massachusetts Last MSO performance: May 2008; Andreas Delfs, conducting Instrumentation: 3 flutes (3rd doubling on piccolo); 2 oboes; English horn; 2 clarinets; bass clarinet; 2 bassoons; 4 horns; 3 trumpets; 3 trombones; 2 tuba; 2 timpani; percussion (bass drum, cymbals, triangle, vibraphone, xylophone); strings Approximate duration: 18 minutes Roy Harris’s extensive compositional catalogue includes orchestral music, songs and choral works, chamber and instrumental music, three ballets, and a film score. Fourteen symphonies, written across 42 years (1933-75), constitute the core of his output. He studied privately with Arthur Farwell and later – with the encouragement of Aaron Copland – with Nadia Boulanger in Paris, courtesy of two Guggenheim fellowships. Across a long teaching career, he held posts at various universities in the United States, notably Juilliard, Indiana, and UCLA. Born in rural Oklahoma, Harris’s family moved to a small farm in California when he was six years old. As a boy, he played the piano and the clarinet, but enjoyed football and baseball just as much; as a young man, he farmed for a while and drove a milk truck for a dairy. Perhaps it was the influence of this upbringing that, from the outset, has led his music to be identified as distinctly American – in its ruggedness, its expansiveness, and its hymn-like modal melodies.

Composed in 1937, the Symphony No. 3 had its premiere with Serge Koussevitzky and the Boston Symphony Orchestra. The conductor called it “the first great symphony by an American composer.” Harris himself said that the work “happened to come along when it was needed.”

In 1939, as the Great Depression wore on and storm clouds gathered over Europe, what the country needed was a vision of its own greatness. In the broad melodies of this work, one senses the wide-open spaces of the American West.

Cast in a single movement, Harris denoted five connected sections. These are given below, with brief commentary.

Tragic: low string sonorities. A long-lined melody in the cellos, reminiscent of medieval plainchant, is decorated by bare fourth and fifth intervals. As the harmonies begin to fill in, major chords are inflected by minor and modal sonorities.

Lyric: strings, horn, woodwinds. A singing melody in the violins is supported by the rich colorings of the horns, woodwinds, and lower strings.

Pastoral: woodwinds with a polytonal string background. A solo flute marks the beginning of this section, and woodwind and brass solos punctuate the shimmering string accompaniment.

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Fugue–Dramatic. Brass and percussion are predominant. The back-and-forth dialogue of the brass instruments brings to mind the polychoral textures of Gabrieli.

Dramatic–Tragic. The strings and woodwinds are in canon above the brass and percussion. In the coda, earlier material is developed over the pedal tones of the timpani.

Harris’s Third Symphony – with its felicitous melding of plainsong, polyphony, folksong, and hymnody – is a work that was immediately accessible to its audiences. It soon established itself in the repertoire of American orchestras and propelled the composer to international recognition.

Erwin Schulhoff

Born 8 June 1894; Prague, Bohemia Died 18 August 1942; Wülzburg, Germany

Hot-Sonate for Alto Saxophone and Orchestra

Composed: 1930 First performance: Undocumented Last MSO performance: MSO premiere Instrumentation: 2 flutes; 2 oboes; English horn; 2 clarinets; bass clarinet; bassoon; contrabassoon; 4 horns; 3 trumpets; 2 trombones; tuba; timpani; percussion (triangle, suspended cymbal, cymbals, tam tam, tambourine, 6 tom toms, bass drum, 2 wood blocks, vibraphone, marimba, whip, washboard); harp; celeste; strings Approximate duration: 15 minutes The Czech composer Erwin Schulhoff studied at the Prague Conservatory, then later in Vienna, Leipzig, and Cologne; subsequently, he took lessons with Max Reger and Claude Debussy.

Among his works – which display a variety of styles – are six symphonies and other orchestral music, an opera, a ballet, incidental music, chamber pieces, and piano music that includes jazz etudes and two sonatas.

By his mid-30s, he had returned to his natal city, teaching piano, orchestration, and score reading. A gifted pianist, he gave many recitals of new music and, from the early 1920s, was active as a jazz pianist. Schulhoff joined the communist party in the first years of the 1930s, later becoming a Soviet citizen. His political views and Jewish heritage led to his eventual deportment to a Nazi concentration camp, where he died of tuberculosis.

Schulhoff often used jazz idioms in his compositions, perhaps nowhere more blatantly than in his Hot-Sonate of 1930, written when he was teaching at the Prague Conservatory. His choice of the solo instrument immediately displays the influence of jazz, as does its crisp rhythms, flamboyant harmonies, and playing techniques such as grace notes and glissandi. The Sonate is set in four movements; rather than using traditional Italian tempo headings, the composer indicated metronome markings. Originally for alto saxophone and piano, the accompaniment was later arranged for chamber ensemble.

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Jacques Ibert

Born 15 August 1890; Paris, France Died 5 February 1962; Paris, France

Concertino da camera for Alto Saxophone and Orchestra Composed: 1935 First performance: 2 May 1935 (first movement); 11 December 1935 (complete) Last MSO performance: MSO premiere Instrumentation: flute; oboe; clarinet; bassoon; horn; trumpet; strings Approximate duration: 13 minutes

Jacques Ibert’s sizeable oeuvre includes comic operas and songs, ballets, chamber music, orchestral works, piano music, and – film scores, and incidental music for plays. His refined style suggests – at various times – Debussy, Poulenc, or Stravinsky. He studied at the Paris Conservatoire and won the Prix de Rome in 1919; years later, he returned to the Italian capital as director of the French Academy there (1937-60).

The Concertino da camera was written for saxophone pioneer Sigurd Rascher (1907-2001), a German-born American who became an important figure in furthering the 20th-century repertoire for the classical saxophone. He premiered many new works, and labored to increase the instrument’s range and expressive capabilities.

According to Rascher, Ibert spoke of the Concertino as his “favorite child.” It was a distinctive addition to the literature for saxophone, and is notable for its large range, one that requires the instrument’s highest notes. The work is published in two movements; the segmented nature of the second, though, makes it seem like there are three major divisions. The opening Allegro con moto is sprightly and energetic, requiring great technical expertise from the soloist; it is cast in a three-part (A-B-A) form. The lyrical Larghetto contains two themes and features soaring lines in the instrument’s upper register. A brief cadenza connects to the final Animato molto, set in sonata form.

Howard Hanson

Born 28 October 1896; Wahoo, Nebraska Died 26 February 1981; Rochester, New York

Symphony No. 2, Opus 30, “Romantic”

Composed: 1930 First performance: 28 November 1930; Boston, Massachusetts Last MSO performance: October 2007; Xian Zhang, conductor Instrumentation: 2 flutes; piccolo; 2 oboes; English horn; 2 clarinets; 3 bassoons (3rd doubling on contrabassoon); 4 horns; 3 trumpets; 3 trombones; tuba; timpani; percussion (bass drum, cymbals, snare drum, suspended cymbals); harp; strings Approximate duration: 28 minutes “My aim, in this symphony, has been to create a work young in spirit, Romantic in temperament, and simple and direct in expression.” –Howard Hanson (1930) Howard Hanson was a tireless advocate for American music. Director of the Eastman School of Music for 40 years (1924-64), he was able to balance the various aspects of his career – 46

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composer, conductor, teacher, administrator – so that each enhanced the others. Hanson estimated that, during his time at Eastman, 2000+ works by 500+ American composers were premiered. An unapologetic neo-Romantic, his own melodic and harmonic style shows the influence of Sibelius, Grieg, and Respighi (his orchestration teacher in Rome in the early 1920s).

Among his works are seven symphonies, chamber music, piano music, symphonic poems, choral music, and songs.

The Symphony No. 2 was commissioned by Serge Koussevitzky and the Boston Symphony Orchestra, to celebrate the 50th anniversary of that institution. (Koussevitzky often asked him to conduct the BSO.) It since has become Hanson’s best-known orchestral work. One of its themes is performed at the conclusion of all concerts at the Interlochen Center for the Arts. The same theme was used for the end credits in the 1979 film Alien.

Set in three movements, thematic material is shared among them to create a cohesive cyclic whole. An atmospheric Adagio, based on a three-note rising motto, opens the work. This soon yields to a horn fanfare (Allegro moderato) and a faster main theme in the brass. A transition leads to a tender melody in the strings (the so-called “Interlochen Theme”) and a countersubject in the solo horn. The English horn steers us into the development section, where the themes are varied and the alternation of gentle and more forceful episodes combines to create a beautifully flowing narrative.

The slow and tender Andante con tenerezza begins with its main theme in the woodwinds, with soft string accompaniment. A brass interlude, derived from the work’s introduction, is interrupted by flourishes in the woodwinds; the gentler music returns to fulfill the “Romantic” implications of the work’s subtitle. Four horns proclaim the Allegro con brio’s main theme, and the basses repeat it. Cellos announce the secondary theme (Molto meno mosso) before it is taken up by the English horn. A section marked Più mosso begins with pizzicato accompaniment in the lower strings; horn calls, trumpet fanfares, and whirling woodwinds lead to a dramatic climax above pounding timpani. A brief coda leads to a final glorious fanfare.

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GERSHWIN’S SECOND RHAPSODY

Friday, February 4, 2022 at 7:30 pm Saturday, February 5, 2022 at 7:30 pm Sunday, February 6, 2022 at 2:30 pm ALLEN-BRADLEY HALL Ken-David Masur, conductor Aaron Diehl, piano CHARLES IVES/ed. James B. Sinclair (Ives Society) Three Places in New England

I. The “St. Gaudens” in Boston Common

II. Putnam’s Camp, Redding, Connecticut

III. The Housatonic at Stockbridge FLORENCE PRICE Piano Concerto in D minor (In One Movement) Aaron Diehl, piano INTERMISSION

SAMUEL BARBER Symphony No. 1 (In One Movement), Opus 9

I. Allegro ma non troppo

II. Allegro molto (Scherzo)

III. Andante tranquillo

IV. Con moto (Passacaglia)

[played without pause] WILLIAM GRANT STILL Out of the Silence GEORGE GERSHWIN Second Rhapsody for Piano and Orchestra Aaron Diehl, piano The 2021.22 Classics Series is presented by the UNITED PERFORMING ARTS FUND. The length of this concert is approximately 1 hour, 45 minutes.

Milwaukee Symphony Orchestra can be heard on Telarc, Koss Classics, Pro Arte, AVIE, and Vox/Turnabout recordings. MSO Classics recordings (digital only) available on iTunes and at mso.org. MSO Binaural recordings (digital only) available at mso.org.

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Guest Artist Biographies AARON DIEHL Pianist and composer Aaron Diehl mystifies listeners with his layered artistry. At once temporal and ethereal, his expression transforms the piano into an orchestral vessel in the spirit of beloved predecessors Ahmad Jamal, Erroll Garner, and Jelly Roll Morton. Following three critically-acclaimed leader albums on Mack Avenue Records – and live appearances at historic venues from Jazz at Lincoln Center and The Village Vanguard to New York Philharmonic and the Philharmonie de Paris – the American Pianist Association’s 2011 Cole Porter fellow now focuses his attention on what it means to be present within himself. His forthcoming solo record promises an expansion of that exploration in a setting at once unbound and intimate.

Diehl conjures three-dimensional expansion of melody, counterpoint, and movement through time. Rather than choose one sound or another, he invites listeners into the chambered whole of his artistry. Born in Columbus, Ohio, Diehl traveled to New York in 2003, following his success as a finalist in JALC’s Essentially Ellington competition and a subsequent European tour with Wynton Marsalis. His love affair with rub and tension prompted a years-long immersion in distinctive repertoire from Monk and Ravel to Gershwin and William Grant Still. Among other towering figures, Still in particular inspires Diehls’s ongoing curation of Black American composers in his own performance programming, unveiled this past fall at 92nd St. Y. Diehl has enjoyed artistic associations with Wynton Marsalis, Benny Golson, Jimmy Heath, Buster Williams, Branford Marsalis, Wycliffe Gordon, Philip Glass, and multi Grammy® Award-winning artist Cecile McLorin Salvant. He recently appeared with the New York Philharmonic and the Cleveland Orchestra as featured soloist.

Diehl holds a Bachelor of Music in jazz studies from Juilliard. A licensed pilot, when he’s not at the studio or on the road, he’s likely in the air. Follow both his earthbound and aerial exploits via Instagram at www.instagram.com/aaronjdiehl.

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Program notes by J. Mark Baker American composers are on display this weekend, as we continue our celebration of the 1930s. The MSO’s artistic partner Aaron Diehl returns to play Gershwin’s Second Rhapsody and Florence Price’s long-neglected Piano Concerto. Top-notch works by Ives, Barber, and Still flesh out the program.

Charles Ives

Born 20 October 1874; Danbury, Connecticut Died 19 May 1954; New York, New York

Three Places in New England

Composed: 1903-14 First performance: 10 January 1931; New York, New York Last MSO performance: October 1972, Kenneth Schermerhorn, conductor Instrumentation: 3 flutes (3rd doubling on piccolo); 2 oboes (2nd doubling on English horn); 2 clarinets; 2 bassoons; contrabassoon; 4 horns; 2 trumpets; 3 trombones; tuba; timpani; percussion (snare drum, bass drum with attached cymbals, gong); 2 harps; piano; celeste; strings Approximate duration: 19 minutes Unquestionably one of America’s greatest composers, Charles Ives was a heroic figure in experimental music during the first half of the 20th century. Though as an undergraduate he studied composition at Yale with Horatio Parker (1863-1919), his music was constrained neither by academicism nor adherence to European tradition: He made his fortune in the insurance business, so he was free to write music as he pleased. Musical “success” came only in the last decades of his life.

The compositional timeline for Ives’s Three Places in New England is somewhat convoluted. The work was written mainly between 1911 and 1914 – about the same time as Stravinsky’s The Rite of Spring – but sketches date as far back as 1903 and final revisions were made in 1929. Nicholas Slonimsky conducted his Boston Chamber Orchestra in the premiere, at Town Hall in New York City. It has become one of Ives’s most frequently performed compositions, exhibiting several signature traits of his style: layered textures with multiple, sometimes simultaneous melodies, some of which are familiar hymn or marching tunes; masses of sound, including tone clusters; sudden shifts of orchestral texture. Each of the three programmatic movements depicts a specific location.

The “St. Gaudens” in Boston Common (Col. Shaw and his Colored Regiment) is a tribute to the Union Army’s first Black regiment – the 54th Regiment of Massachusetts. The composer had long admired Augustus St. Gaudens’ bas-relief in Boston Common, part of a monument near City Hall. At first elegiac, the music accumulates power and textural complexity and the pace increases. Listen as Ives depicts the stumbling gait of men marching uphill.

Putnam’s Camp, Redding, Connecticut – the winter quarters of General Israel Putnam during Revolutionary War days – describes a child’s Fourth-of-July fantasy. According to Ives, the boy imagines the marching and countermarching of the army. It also recalls an occasion when the composer heard two bands enter from different side of the park simultaneously. A tour de force for the orchestra, it is a prime example of Ives’s multi-layered pieces.

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The Housatonic at Stockbridge recalls a Sunday morning stroll that Ives and his new wife, Harmony, took in June 1908. “We walked in the meadows along the river, and heard the distant singing from the church across the river. The mist had not entirely left the river bed, and the colors, the running water, the banks and elm trees were something that one would always remember.”

Florence Price

Born 9 April 1887; Little Rock, Arkansas Died 3 June 1953; Chicago, Illinois

Piano Concerto in D minor (in one movement)

Composed: 1932-34 First performance: 1934; Chicago, Illinois Last MSO performance: MSO premiere Instrumentation: flute; oboe; 2 clarinets; bassoon; 2 horns; 2 trumpets; 2 trombones; timpani; percussion (bass drum, cymbals, snare drum); strings Approximate duration: 18 minutes Florence Beatrice Smith Price grew up in a middle-class household in Little Rock, Arkansas, where her father was a well-respected dentist, inventor, and published author. Her mother, from whom she took her first piano lessons, was an elementary school teacher and enterprising businesswoman. She attended the New England Conservatory of Music, then returned home to teach and raise a family. Life in Arkansas was harsh for African-Americans, and lynchings were commonplace. When she moved to Chicago with her family in 1927, her horizons broadened.

She divorced her abusive husband and made a new life for herself.

In the Windy City, Price became established as a concert pianist, organist, teacher, and composer. Her earlier output was mostly songs, short pieces, and music for children, but now she started to write in larger symphonic and concerto forms. Her compositional catalogue lists over 300 works, including 20 orchestral pieces and 100+ art songs and spiritual arrangements.

(Marian Anderson sang Price’s arrangement of “My Soul’s Been Anchored in the Lord” on the steps of the Lincoln Memorial, Easter Sunday 1939.) In 1932, she attracted major attention when she won first prize in the Wanamaker Music Compositions Contest for her Symphony in E minor. Frederick Stock, a conductor of rare broad-mindedness, led its premiere with the Chicago Symphony Orchestra in June 1933.

Price’s Piano Concerto dates from the same time as her award-winning Symphony. Though it is said to be “in one movement,” there are actually three, all played without a break. Following an orchestral introduction, the soloist has a cadenza. Throughout the Andantino, one senses the influence of Romantic-era composer-pianists such as Liszt and Chopin; the orchestra often delineates the themes, as the pianist weaves arpeggios around them. The second section, Adagio cantabile, is everything that heading implies: slow, soulful, songlike; it is set in D major.

The final, joyous Allegretto is in B-flat major. It’s a juba, a dance from Southern plantation days, accompanied by rhythmic hand-clapping and slapping of the arms, knees, and thighs.

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Samuel Barber

Born 9 March 1910; West Chester, Pennsylvania Died 23 January 1981; New York, New York

Symphony No. 1 (In One Movement,) Opus 9

Composed: 1935-36; revised 1942-43 First performance: 13 December 1936; Rome, Italy 18 February 1944; Philadelphia, Pennsylvania (revision) Last MSO performance: September 2007; Andreas Delfs, conductor Instrumentation: 2 flutes, piccolo, 2 oboes, English horn; 2 clarinets; bass clarinet; 2 bassoons; contrabassoon; 4 horns; 3 trumpets; 3 trombones; tuba; timpani; percussion (bass drum, cymbals, suspended cymbals); harp; strings Approximate duration: 21 minutes In the spring of 1935, the Prix de Rome was awarded to the 25-year-old Samuel Barber, citing him as “the most talented and deserving student of music in America.” He was granted two years of study at the American Academy in Rome with a yearly stipend of $1400, residence at the Academy, and a free studio. He arrived in October of that year.

Barber’s intention was to continue work on his first symphony, which he had begun in Maine that summer. He was sidetracked, however, by a burst of inspiration to write songs; by early January 1936, he had composed seven new ones. He then resumed work on the Symphony in One Movement, completing it on 24 February 1936 in the French alpine village of Roquebrune.

Dedicated to Gian Carlo Menotti, the work is – in Barber’s words – “a synthetic treatment of the four-movement classical symphony.”

It was premiered in Rome, but soon made its way to the United States (Cleveland, 23 January 1937) and even to the Salzburg Festival 1937, conducted by Artur Rodzinsky, the first time in the history of the Festival that a symphonic work by an American composer was performed.

Rodzinsky was on the podium for the Symphony’s New York premiere – Carnegie Hall, 24 March 1937. On that occasion, the program notes included Barber’s own description of his Opus 9: It is based on three themes of the initial Allegro ma non troppo, which retain throughout the work their fundamental character. The Allegro ma non troppo opens with the usual exposition of a main theme, a more lyrical second theme, and a closing theme. After a brief development of the three themes, instead of the customary recapitulation, the first theme in diminution forms the basis of a scherzo section (vivace). The second theme (oboe over muted strings) then appears in augmentation, in an extended Andante tranquillo. An intense crescendo introduces the finale, which is a short passacaglia based on the first theme (introduced by cellos and basses), over which, together with figures from other themes, the closing theme is woven, thus serving as a recapitulation for the entire symphony.

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William Grant Still

Born 11 May 1895; Woodville, Mississippi Died 3 December 1978; Los Angeles, California

Out of the Silence

Composed: 1940 Last MSO performance: MSO premiere Instrumentation: flute; piano; strings Approximate duration: 5 minutes Known as the “Dean of African-American composers,” William Grant Still penned over 150 works, including eight operas and five symphonies. Until the 1950s, the Afro-American Symphony, one of his best-known works, was the most frequently performed symphony written by an American. Born in Mississippi, he grew up in Little Rock, Arkansas and received his college education in Ohio – first at Wilberforce University and later at Oberlin Conservatory of Music.

In 1939, Still married Verna Arvey (1910-1987), an American concert pianist, author, and librettist.

(Her parents were Russian Jewish immigrants.) The following year, he wrote Seven Traceries for her, a set of piano solos that he later orchestrated. According to Arvey, these pieces were intensely personal for the composer: “abstractions bearing the imprint of mysticism,” she said.

His daughter, Judith Anne Still, went ever further, explaining that the Traceries were “seven faces” of Divinity; each is based on rudimentary motifs and each developed according to its potential.

Out of the Silence is the fourth, and central, piece of the set. Modestly scored for piano, flute and strings, its outer – somewhat dissonant – sections bookend a central interlude of stunning beauty. Of this movement, Verna, who provided descriptions for each piece, said “Only in meditation does one discover delicate beauties remote from the problems of the world.”

George Gershwin

Born 26 September 1898; Brooklyn, New York Died 11 July 1937; Hollywood, California

Second Rhapsody for Piano and Orchestra

Composed: 1931 First performance: 29 January 1932; Boston, Massachusetts Last MSO performance: MSO premiere Instrumentation: 2 flutes; piccolo; 2 oboes; English horn; 2 clarinets; bass clarinet; 2 bassoons; 4 horns; 3 trumpets; 3 trombones; tuba; timpani; percussion (glockenspiel, xylophone, cymbals, drum set, bass drum, snare drum, wood block); harp; strings Approximate duration: 15 minutes George Gershwin, along with his lyricist brother Ira, gave us some of the most beloved songs in the history of popular music. “I Got Rhythm,” “Embraceable You,” “The Man I Love,” “Someone to Watch Over Me,” “Fascinating Rhythm” – these are just a few of their contributions to the Great American Songbook.

In 1930, George and Ira were invited to Hollywood to provide the music for the film Delicious.

Janet Gaynor stars as Heather Gordon, a Scottish immigrant. In America, she is pursued by immigration officers through a series of absurd situations, including a dream sequence in New York, with dark shadows and ominous scenes. For this portion of the movie, George composed 54

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music that he called New York Rhapsody. In the end, much of this scene ended up on the cutting room floor. Of the songs he and Ira wrote, only four – “Blah, Blah, Blah,” “Delishious” [sic], “Katinkitschka,” “Somebody from Somewhere” – made it into the film.

When he went back to New York in February 1931, Gershwin decided to repurpose the music from the six-minute dream sequence and expand it into a concert piece. As he labored on the work, radically rearranging and rescoring the music written in California, he called it Rhapsody in Rivets, but later could not decide between New York Rhapsody and Manhattan Rhapsody. By May, he had completed a 14-minute piece, choosing a much simpler title, Second Rhapsody. The composer was at the keyboard for premiere, with Serge Koussevitzky and the Boston Symphony Orchestra.

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Susan McComb Debra Miller Josephine and Kathleen Misiewicz Elizabeth O’Neill Judith Ormond David Pauly and Renee Couture Daniel J. Petry Jessica and Paul Pihart Christopher and Kristen Piotrowski Therese Quirk Connie Gavin and Bob Rothacker In honor of Doug and Jane Hagerman Lauren and Michael Roznowski Hayden James A. Rydlewicz, MD Barry and Kathleen Sammons Ms. Keri L. Sarajian and Mr. Frederick P. Stratton III Nina Sarenac Robin and John Sasman Mr. Darren Schacht Emily Wacker and Steve Schultz Phil Schumacher and Pauline Beck Cary and Susan Silverstein Anne and Randy Sprecher Jeff and Jody Steren Mr. Donald E. Stettler Maggie and David Stoeffel Roland and Judith Strampe Ian and Ellen Szczygielski Ms. Lola Tegeder Joan Thompson Joan Tourdot Laura Vuchetich Tracy S. Wang, M.D. Mr. and Mrs. Jerome T. Welz James and Janet White Jan Whittow Inge and Frank Wintersberger Dr. Donald and Marian Yoder Kathleen Yuille In memory of David L. Yuille MD The Zabinski Family In memory of Nicolas Sluss-Rodionov MSO ENDOWMENT Visionaries Commitments of $1,000,000 and above Jane Bradley Pettit Charles and Marie Caestecker Concertmaster Chair Herzfeld Foundation Krause Family Principal Horn Chair Phyllis and Harleth Pubanz Gertrude M. Puelicher Education Fund Stein Family Foundation Principal Pops Conductor Chair Polly and Bill Van Dyke Music Director Chair Philanthropists Commitments of $500,000 and above Donald B. Abert Principal Bass Chair Mr. Richard Blomquist Patrice L. (Patti) Bringe Margaret and Roy Butter Principal Flute Chair Donald and Judy Christl Fred Fuller Trumpet Chair Andrea and Woodrow Leung Principal Second Violin Chair and Fred Fuller Dorothea C. Mayer Principal Cello Chair Milwaukee Symphony Orchestra League Principal Oboe Chair

MSO Endowment/Musical Legacy Society Northwestern Mutual Foundation Melitta S. Pick Endowed Piano Chair Walter L. Robb Family Principal Trumpet Chair Robert T. Rolfs Foundation Michael and Jeanne Schmitz President and Executive Director Chair Gertrude Elser and John Edward Schroeder Guest Artist Fund Walter Schroeder Foundation Principal Harp Chair Muriel C. and John D. Silbar Family Principal Bassoon Chair Marjorie Tiefenthaler Principal Trombone Chair Richard O. and Judith A. Wagner Family Principal Viola Chair Benefactors Commitments of $100,000 and above Two Anonymous Donors Patty and Jay Baker Fund for Guest Artists Mr. and Mrs. Frederick J.O. Blachly Philip Blank English Horn Chair in memoriam to John Martin and his favorite cousin, Beatrice Blank Judith and Stanton Bluestone Estate of Lloyd Broehm Louise Cattoi, in memory of David and Angela Cattoi Lynn Chappy Salon Series Elizabeth Elser Doolittle Charitable Trust Franklyn Esenberg Principal Clarinet Chair David L. Harrison Endowment for Music Education Richard M. Kimball Bass Trombone Chair William Randolph Hearst Foundation Judith A. Keyes MSOL Docent Fund Charles A. Krause Donald and JoAnne Krause Music Education Endowment Fund Martin J. Krebs Co-Principal Trumpet Chair Charles and Barbara Lund Marcus Corporation Foundation Guest Artist Fund Andy Nunemaker French Horn Chair John and Elizabeth Ogden Gordana and Milan Racic The Erika Richman MSO-MYSO Reading Workshop Fund Pat and Allen Rieselbach Friends of Janet F. Ruggeri Assistant Principal Viola Chair Allison M. & Dale R. Smith Percussion Fund Estate of Walter S. Smolenski, Jr. Bert L. & Patricia S. Steigleder Charitable Trust Donald B. and Ruth P. Taylor Assistant Principal Clarinet Chair Mrs. William D. Vogel Barbara and Ted Wiley Jack Winter Guest Artist Fund Fern L. Young Endowment Fund for Guest Artists

MUSICAL LEGACY SOCIETY The Musical Legacy Society recognizes and appreciates the individuals who have made a planned gift to the MSO. The MSO invites you to join these generous donors who have remembered the Orchestra in their estate plans.

Nine Anonymous Donors George R. Affeldt Mr. and Mrs. Charles W. Aring, Jr. Dana and Gail Atkins Robert Balderson Adam Bauman Priscilla and Anthony Beadell Mr. F. L. Bidinger Dr. Philip and Beatrice Blank Mr. Richard Blomquist Judith and Stanton Bluestone Patrice L. (Patti) Bringe Jean S. Britt Laurette Broehm Neil Brooks Anthony and Vicki Cecalupo Lynn Chappy Donald and Judy Christl Jo Ann Corrao Mary Ann Delzer Julie Doneis Donn Dresselhuys Beth and Ted Durant Rosemarie Eierman Franklyn Esenberg John and Sue Esser Jo Ann Falletta Donald L. Feinsilver, M.D. Frank and Pauline Fichtner Susie and Robert Fono Ruth and John Fredericks Mr. and Mrs. E. G. Goldsmith Brett Goodman Roberta Gordon Marta P. and Doyne M. Haas Ms. Jean I. Hamann Ms. Sybille Hamilton Kristin A. Hansen David L. Harrison Judy Harrison Cheryl H. and Roy L. Hauswirth Harold W. Heard Cliff Heise Sidney and Suzanne Herszenson Bud and Roxy Heyse Dr. and Mrs. Samuel Hoke Glenda Holm Jean and Charles Holmburg Myra Huth William and Janet Isbister Lee and Barbara Jacobi Leon and Betsy Janssen Marilyn W. John Faith L. Johnson Mary G. Johnson Bill and Char Johnson Jayne J. Jordan Judy and Gary Jorgensen Debra Jupka James A. and Robin S. Kasch Howard Kaspin James H. Keyes Judith A. Keyes Richard and Sarah Kimball

Ronald J. and Catherine Klokner Mary Krall JoAnne and Donald Krause Martin J. and Alice Krebs Ronald and Vicki Krizek Cynthia Krueger-Prost Susan Kurtz Steven E. Landfried Mr. Bruce R. Laning Victor Larson Arthur and Nancy Laskin Tom and Lise Lawson Andrea and Woodrow Leung Mr. Robert D. Lidicker Mr. and Mrs. John B. Liebenstein Drs. John and Theresa Liu Dr. John and Kristie Malone Dana and Jeff Marks Ms. Kathleen Marquardt JoAnne Matchette Rita T. and James C. McDonald Patricia and James McGavock Nancy McGiveran Nancy McKinley-Ehlinger Mrs. Christel U. Mildenberg Christian and Kate Mitchell Joan Moeller Ms. Melodi Muehlbauer Robert Mulcahy Kathleen M. Murphy Andy Nunemaker Diana and Gerald Ogren Lynn and Lawrence Olsen Mr. and Mrs. Philip W. Orth Lygere Panagopoulos Jamshed and Deborah Patel Gerald T. and Carol K. Petersen Mr. and Mrs. Ronald R. Poe Julie Quinlan Brame and Jason Brame Ms. Harvian Raasch-Hooten Gordana and Milan Racic Christine Radiske and Herbert Quigley Steve and Susan Ragatz Catherine A. Regner Pat and David Rierson Pat and Allen Rieselbach Dr. Thomas and Mary Roberts Gayle G. Rosemann and Paul E. McElwee Roger B. Ruggeri and Andrea K. Wagoner Nina Sarenac Mary B. Schley in recognition of David L. Schley Dr. Robert and Patty Schmidt Michael J. and Jeanne E. Schmitz James Schultz and Donna Menzer Mason Sherwood and Mark Franke Margles Singleton & Clay Young Lois Bernard and William Small Dale and Allison Smith Susan G. Stein Dr. Robert A. and Kathleen Sullo Lois Tetzlaff E. Charlotte Theis David Tolan Thora Vervoren Dr. Richard O. and Judith A. Wagner Veronica Wallace-Kraemer Michael Walton Brian A. Warnecke Earl Wasserman Alice Weiss

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Musical Legacy Society/Annual Fund Sally Wells Carol and James Wiensch Floyd Woldt Sandra and Ross Workman Marion Youngquist For more information on becoming a Musical Legacy Society member, please contact the Development Office at 414.226.7891.

ANNUAL FUND The Milwaukee Symphony Orchestra truly values the music lovers in the concert hall and we thank our contributors to the Annual Fund for investing their time and support to this treasure. We gratefully acknowledge the contributions to the Annual Fund as of November 10, 2021.

Conductor Circle Harry John Brown Society $100,000 and above Isabel Bader Donald and JoAnne Krause Marty Krebs Arthur and Nancy Laskin Charitable Trust Sheldon and Marianne Lubar Charitable Fund of the Lubar Family Foundation Michael and Jeanne Schmitz Julia and David Uihlein Kenneth Schermerhorn Society $50,000 and above Two Anonymous Donors Laura and Mike Arnow Bobbi and Jim Caraway Anthony and Vicki Cecalupo Robert and Gail Korb Lorry Uihlein Charitable Lead Unitrust Edo De Waart Society $35,000 and above Thomas E. Caestecker Gail Groenwoldt and Jeff Yabuki Haruki Toyama and Amy Blair Andreas Delfs Society $25,000 and above Richard and JoAnn Beightol Dr. Deborah and Jeff Costakos Mr. and Mrs. Franklyn Esenberg Greater Milwaukee Foundation William R. and Charlotte S. Johnson Fund Doug and Jane Hagerman Judy and Gary Jorgensen Mr. and Mrs. George C. Kaiser Judith A. Keyes Jane and Tom Lacy Dr. Brent and Susan Martin Andy Nunemaker Pat and Allen Rieselbach Barbara and Harry Stratton Herbert Zien and Elizabeth Levins Maestro’s Society $15,000 and above Two Anonymous Donors Chris Abele Dr. Philip and the spirit of Beatrice Blank

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Marilyn and John Breidster Mary and Terry Briscoe James Coyle Ms. Dorothy Diggs Mrs. Alyce Coyne Katayama Richard and Ellen Glaisner Roberta Gordon Jewish Community Foundation Eileen & Howard Dubner Donor Advised Fund Mr. and Mrs. Ted Kellner Keith Mardak and Mary Vandenberg Cheryl and Blake Moret Mr. and Ms. Bruce Myers William and Marian Nasgovitz Paul Nausieda and Evonne Winston Lois and Richard Pauls Julie Peay Allison M. and Dale R. Smith Nancy and Greg Smith Susi and Dick Stoll Haruki Toyama and Amy Blair Thora Vervoren Music Director $10,000 and above One Anonymous Donor Frances and Lowell Adams Lois Bernard Mr. and Mrs. Paul Bielik William and Barbara Boles Roger Byhardt Jennifer Dirks Bruce T. Faure M.D. Mrs. Mary Lou M. Findley George E. Forish, Jr. Mrs. Susan G. Gebhardt Greater Milwaukee Foundation Bernard J. and Marie E. Weiss Fund Judith J. Goetz Katherine Hauser Mr. and Mrs. Eric E. Hobbs Karen Hung and Bob Coletti Ms. Geraldine Lash and Mr. William Borghesani, Jr. Charles and Barbara Lund Mr. Peter L. Mahler Gerald and Elaine Mainman Donna Metzendorf Mr. and Mrs. George Meyer Christian and Kate Mitchell Patrick and Mary Murphy Brian and Maura Packham Leslie Plamann Drs. Alan and Carol Pohl Alice E. Read Sara and Jay Schwister Mr. and Mrs. Thomas R. Tiffany Principal Circle $5,000 and above Three Anonymous Donors Sue and Louie Andrew Thomas Bagwell and Michelle Hiebert Dr. Rita Bakalars Dr. J. Mark Baker and Susan Loris Alton Bathrick Donna and Donald Baumgartner Mrs. David Beckwith George S. and Sally Ann Borkowski Suzy and John Brennan Jean Britt Elaine Burke Chris and Katie Callen

MILWAUKEE SYMPHONY ORCHESTRA

Ara and Valerie Cherchian Donald and Judy Christl Mary and James Connelly Sandra and Russell Dagon Karen Dobbs and Chris DeNardis Joanne Doehler Elizabeth and Herodotos Ellinas Paul and Connie Flagg Elizabeth and William Genne Kathryn Grossman Cynthia and Jeffrey Harris Margarete and David Harvey Drs. Carla and Robert Hay James and Crystal Hegge Ms. Mary E. Henke Cory Henschel Mr. and Mrs. Bernard C. Hlavac Dr. and Mrs. Samuel Hoke Megan Holbrook and Eric Vogel James and Karen Hyde Rosina and Michael Janowak Leon and Betsy Janssen Lee and Barbara Jacobi Jayne J. Jordan Mr. and Mrs. Yoshimasa Kadota Kolaga Family Charitable Trust Al Krueger Christine Krueger Peter and Kathleen Lillegren Michael and Maureen McCabe William J. Murgas Mark Niehaus Barbara and Layton Olsen Dr. Thomas and Elaine Pagedas Mr. and Mrs. James R. Petrie Dr. and Mrs. Richard A. Pierce-Ruhland Agnes and Heinz Proell Jim and Fran Proulx Christine Radiske and Herbert Quigley Marcia J.S. Richards and Donald R. Whitaker Steve and Fran Richman Pat and David Rierson Dr. Thomas and Mary Roberts Glenn Roby Merlin and Gladys Rostad Arts Fund Kay Schanke Dr. and Mrs. R. Nikolaus Schmidt Richard Eli Schoen Kristin and John Sheehan William Stemper Drs. Robert Taylor and Janice McFarland Taylor Linda and Gile Tojek John and Karen Tomashek Mrs. James Urdan Mrs. George Walcott Tracy S. Wang, MD Mr. and Mrs. Francis Wasielewski Nora and Jude Werra Robert and Jessie Whitmore Charitable Trust Mr. and Mrs. Donald S. Wilson Jessica R. Wirth Diana J. Wood Principal Circle $3,500 and above Three Anonymous Donors Fred and Kay Austermann Marlene and Bert Bilsky Dr. Bruce and Marsha Camitta Beth and Ted Durant

Annual Fund Stan and Janet Fox Irving D. Gaines Jean and Thomas Harbeck Family Foundation Drs. Stephen Hinkle and Margie Boyles Charles and Jean Holmburg Marilyn W. John Mary S. Knudten Calvin and Lynn Kozlowski Stanley Kritzik Norm and Judy Lasca Eugene and Gwen Lavin Dr. Joseph and Amy Leung Frank Loo and Sally Long Dr. Ann McDonald Merle and Sandra McDonald Dr. Mary Ellen Mitchanis Rusti and Steve Moffic Theodore and Kelsey Perlick Molinari Joel Needlman David Peterson Margaret Riester Roger Ritzow Dr. Ann Rosenthal and Dr. Benson Massey James Schultz and Donna Menzer Sue and Boo Smith Thomas St. John and Micaela Levine James and Catherine Startt Loretto and Dick Steinmetz Kathleen and Frank Thometz Katherine Thomson Jim Ward Mr. Wilfred Wollner Carol and Richard Wythes Orchestra Circle $1,500 and above Seven Anonymous Donors Jantina and Donald Adriano Dr. Joan Arvedson Richard and Sara Aster Mark and Laura Barnard David Baumann and Kathleen Olejnik Priscilla and Anthony Beadell Jacqlynn Behnke Richard and Gloria Bergman Elliot and Karen Berman Richard and Kay Bibler Greg Black Art Blair Scott Bolens and Elizabeth Forman Walter and Virginia Boyer Cheri and Tom Briscoe Marcia P. Brooks and Edward J. Hammond William Brown Mrs. John H. Burlingame Mr. David E. Cadle Karen and Harry Carlson B. Lauren and Margaret Charous Mr. and Mrs. Stephen L. Chernof Edith Christian Mr. and Mrs. Paul S. Connolly Amy and Frederick Croen Gerald and Kay Cullen Lynda and Tom Curl Cynthia and Brian Dearing Jesse De Groat Mary Ann and Bob Dude Dr. and Mrs. Harry A. Easom Susan Eaton Joseph and Joan Fall

Edward and Joanne Filmanowicz Anne and Dean Fitzgerald Judith Fitzgerald Miller, PhD, RN, FAAN Jo Ann and Dale Frederickson Francis and Bonnie Freudinger Fred and Debby Ganaway Jane K. Gertler William and Colette Goldammer Alison Graf and Richard Schreiner Greater Milwaukee Foundation John and Shirley Jeffrey Fund Donna and Tony Meyer Fund Virginia Hall Dale Harmelink David Harrison Judith and David Hecker Megumi Kanda Hemann and Dietrich Hemann Robert Hey Mark and Judith Hibbard Quinn and Paula Hogan Barbara Hunt Robert S. Jakubiak Ann Janikowsky Jewish Community Foundation Dorothy & Merton Rotter Donor Advised Fund David and Mel Johnson Candice and David Johnstone Mr. William Josephson Matthew and Kathryn Kamm Lynn and Tom Kassouf Dr. Bruce and Anna Kaufman Jack and Myrna Kaufman Christine and J. Patrick Keyes Cynthia and F. Michael Kluiber Tommy and Heidi Knudsen Benedict and Lee Kordus Dr. Michael J. Krco Milton and Carol Kuyers Mary E. Lacy Kaye Price Laud and Prakash Laud Douglas and Patti Levy Dr. Douglas, Berna, and Todd Levy Bruce and Elizabeth Loder Mary Jane Loewi Stein James and Patricia Mathie Dr. and Mrs. Debesh Mazumdar Daniel and Constance McCarty Guy and Mary Jo McDonald Mr. and Mrs. Dean Mehlberg Ms. Jean L. Mileham Gregory and Susan Milleville James Nass Eric Nathan Drs. Donna Recht and Robert Newby Gerald and Diana Ogren Lynn and Lawrence Olsen Susan Otto Joseph Pabst Jamshed and Deborah Patel Dr. David Paris Richard Patt Raymond and Janice Perry Dr. David and Louise Petering Gerald T. and Carol K. Petersen Yvonne Petersen Mr. Douglas E. Peterson Jessica and Paul Pihart Kathyrn Koenen Potos Roberta and David Remstad Elizabeth and David Rickaby Timothy and Syma Richer

Emily and Mike Robertson Dottie Rotter Keri Sarajian and Frederick Stratton III Daniel Schicker Holly and Bradley Schlossmann Judy and Tom Schmid Rev. Doug and Marilyn Schoen Elaine Schueler Betty Jean Schuett Mary and Jim Scott Paul and Frances Seifert Dr. and Mrs. Kevin R. Siebenlist Paul and Diane Singer Margles Singleton & Clay Young Mrs. George R. Slater William and Sarah Slaughter Richard and Sheryl Smith Roger and Judy Smith Nita Soref Carol Stephenson John Stewig and Richard Bradley P. Michael and Susan Stoehr Sally Swetnam Ian Szczygielski Bonnie and Tim Tesch John and Anne Thomas Joan Thompson Eric Tienou R. James and Jean Tobin Luke and Amalia Todryk Sara J. Toenes Mr. and Mrs. Lynn F. Unkefer Kyle Veatch Lauren Vollrath Sarah Wagner Mary Schueller and Michael Walton Adrienne and Larry Waters Ann and Joseph Wenzler Lynn and Richard Wesolek Alfred White Susee and James Wiechmann Kathleen Wigdale Janet Wilgus John Winter Floyd Woldt Denise and William Zeidler Sandra Zingler and Barbara Johnson Leo Zoeller Orchestra Circle $1,000 and above Five Anonymous Donors Dr. and Mrs. Albert H. Adams, M.D. Mary Allmon and Michael Allen John Ambrose Helmut and Sandra Ammon James and Nora Barry Clair and Mary Baum Mr. James M. Baumgartner Philip Schumacher and Pauline Beck Mr. and Mrs. Ronald Beckman Fiesha Lynn Bell Eric Berg Laura and Dennis Birchall Robert Borch and Linda Wickstrom Katelyn Brewer Ann Brophy and James Brown Phyllis and Alan Brostoff Marguerite and Hames Buck Gregory Bultman Barbara and Dr. Henry Burko Ericka and Michael Burzynski Tom Buthod

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Annual Fund Marvin and Stacy Bynum Daniel and Allison Byrne Ms. Trish Calvy Steven and Gillian Chamberlin Wayne and Marlene Cook Mr. Russell Darrow Jr. Miguel de Jesus Mr. Dominique Delugeau Jennifer and Paul Deslongchamps Sandra and George Dionisopoulos Julie Disseler Madison Dohmen Jack Douthitt and Michelle Zimmer Robert Draper Gloria and Peter Drenzek Don and Nora Dreske Jacquelyn and Dalibor Drummer Shawn Duffy Dr. Eric A. Durant Sigrid Dynek Tina Eickermann Lynn Engel Mr. and Mrs. A. William Finke Bill and Kari Foote Linda Frank Mr. and Mrs. Gerald Freitag Mary and John Galbraith Kimberly Gerber Laura and Jason Gerke Martha Giacobassi Ralph and Cherie Gorenstein Ralph Grall Mr. and Mrs. James Gramentine Charmaine and Kurt Gunderson Greater Milwaukee Foundation Dresselhuys Family Fund Jay Kay Foundation Fund Stephen and Judy Maersch Fund Victoria Haas Karleen Haberichter Claire and Glen Hackmann Sandra and Jim Hanus Mr. Charles W. Helscher Jean and John Henderson Mr. Al Hentzen Tom Herman Dr. Sidney and Suzanne Herszenson Eric and Susan Hillstrom Alicia Holdorf John and Kathryn Housiaux Richard and Jeanne Hryniewicki Terry Huebner David Johnson Mary and Charles Kamps James and Peggy Karpowicz Robert and Sandra Kattman Robert Keefe Karen and John Kise Jane Kivlin and Thomas Kelly Jonathan Koenig and Melissa Love Koenig Julilly Kohler Julie and Michael Koss Mary Krall Sandra and Thomas Kuber Gisela and James Kuist Timothy and Kira Lafond William Lassow Judith Laste Chris and Emilia Layden Mary and Lawrence LeBlanc Dale and Barbara Lenz Cynthia and Mark Levy

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John and Janice Liebenstein Matthew Linn Richard and Roberta London Mary and Robert Loots Krista and Christopher Ludwig Wayne and Kris Lueders Jane Lukowicz Stephen and Judy Maersch Joseph Maier Donnalyn and Dennis Maiman Mr. Peter Mamerow Sharon Manone Jeanne and David Mantsch Frank Marek Sara Marlega and John Savas Deidre Martin Mr. Michael Mcbride Scott McBride Joan McCracken Rita McDonald Debra and Jeffrey Metz Christel Mildenberg Carol Moerke Deborah and Peter Musante Thad Nation and Melissa Wein David and Gail Nelson Pat and Grace O’Brien Jane O’Meara Maggey and David Oplinger Jon Pagenkopf Dr. and Mrs. James T. Paloucek Tracie Parent Laura and Adam Peck Jo Perlson Carrie Peterson James Potter Cathy Procton Beatrice and Edward Pronley John Pustejovsky David and Carol Raasch Francis Randall Kristine and James Rappé Denise and James Rasche Mr. Randy Reddemann and William Davidson Philip Reifenberg Angela and Dr. John Rhee Drs. Walter and Lisa Rich Lynn and Thomas Richtman David and Elizabeth Rickaby Susan Riedel Carmen Mercedes Rigau and David Beach Mrs. Inger Riley Dan and Anna Robbins Dr. and Mrs. David Y. Rosenzweig Mrs. Wilbert Schauer Mr. and Mrs. Roger Schaus Jr. Kathleen and Paul Schluter Katherine and Lawrence Schnuck Roland Schroeder and Mary Mowbray Lawrence and Katherine Schnuck Jason Schultz Mr. and Mrs. Mark W. Schwallie Bob and Sally Schwarz Mr. Brian M. Schwellinger Fred and Ruth Schwertfeger Lt. Cmdr. Ronald D. and Carol R. Scott Laurie Shawger Mason Sherwood and Mark Franke Rebecca and Bradley Simenz Mary and Richard Sjoerdsma Susan Skudlarczyk

MILWAUKEE SYMPHONY ORCHESTRA

Donna Smith Dr. and Mrs. C. John Snyder Joan Spector Kathy and Salvatore Spicuzza Barbara Ann Stein Rebecca and Robert Tenges Marilyn and Bob Teper Rebecca Thomas Katherine and Dean Thome Mr. Stephen Thompson Mr. and Mrs. James S. Tidey Drs. Steven and Denise Trinkl Ms. Lynde B. Uihlein Mike and Peg Uihlein Alfred Lustig and Janice Watson Robert Welch Henry J. Wellner and James Cook Mr. and Mrs. James Wigdale Linda and Dan Wilhelms Jay and Madonna Williams Ron and Alice Winkler Rebecca Winnie Prati and Norm Wojtal Melinda and Thomas Wolf Simon Woods Jim and Sandy Wrangell Thomas Zale Symphony Friends Sustainer $500 and above Eleven Anonymous Donors Tracy Alexanian Marilyn and Larry Anderson Robert Archer Judy and Robert Ashmore Timothy Bachhuber and Geri Feucht Robert Ater and Dr. Gregory Baer Laura Baacke Margaret and Bruce Barr Caroline Barrow Kellen and Matthew Bartel Rodney Bartlow and Judith Stephenson Dr. Patricia Barwig Thomas Bauldry and Thomas Czisny Jean Beaudoin Margery Becker Bonnie Beeck Mr. Patrick J. Behling Catherine Benjamin David Benner and Diane Benjamin Kristine Best Carolee Beutler Lawrence and JoAnne Bialcik Roger Bialcik David and Mary Blackwelder Bruce and Melissa Block Carole and Donald Bock Naomi and Sid Bodine John and Sandra Bolger Lynne and Charles Bomzer Paul Bosanac Danielle Boyke Elizabeth Brasure Lois and Bob Brazner Arthur and Anne Brooks Marianna Michael Bruch Norman Buebendorf Craig and Anne Bryant Halsey and Christine Buell Kathleen Burchby, MD Bruce and Joan Butterfield Phil and Anne Callen

Annual Fund Paul and Lori Cannestra Stephen Carlton Carol Carpenter Margaret Cary John Chain Cecile Cheng Walter and Aleta Chossek Terrence Cogswell John and Deborah Collins Dennis and Deborah Conta Barbara Costanzo Jeffery Debbink Stephen DeLeers Kristine Demski Robert and Carol Diggelman Thomas Dill Kendall and Kevin DiVito Linda Dohmen Kenneth and Barbara Donner Kendall Dowsett John Dragisic Karin and Peter Drescher David Drew Donald and Kathleen Drum John and Margot Dunn Pat and Michael Dunn Thomas Durkin and Joan Robotham Maryann and Maryanne Ebel Debra Eder Rosemarie Eierman Sheila Engfer Beulah Erickson Amy Farkas Francis and Sharon Feider Eric Fisher and Anne Petersen-Fisher Roberta Forman Howard Frankenthal Gordon and Christine Freese David and Judy French Barbara Fritschel Eric Fritz Robert and Sally Gabriel Mark and Virginia Gennis Matelan and Carole Glaske Brad Glocke Greg and Debra Goeks Pearl Mary Goetsch Emil Gohr Linda Gorens-Levey and Michael Levey Marion and Mitch Gottschalk Stephen and Bernadine Graff Greater Milwaukee Foundation Paloucek Family Fund Bill and Gwen Werner Fund Norman and Daryl Grier Diane Griewank McGinn and Thomas McGinn Jean Gurney and Earl Lemon Douglas and Margaret Ann Haag William Hable Paul Hampton Joseph and Leila Hanson Joan Hardy Richard and Shirley Harvey Diana Haskell Cheryl and Roy Hauswirth Barbara Hayden Michael Heiderich Robert and Katy Henschel Bonnie and Ralph Hensel Barbara Himes Peter Hinow Anna Hirt

Conrad and Jeanne Holling Laura and James Holtz Colleen and Bruce Horner Thomas and Beryl Hsiang Kendra Ingram Bruce and Elizabeth Jacobs John and Sonja Jacobsen Jerome and Alice Jacobson Gretchen Jaeger Kathryn and Alan Janicek Norine and Douglas Janzen Adam Jeffers and Rebekah Nagler Matthew Jeffers Thomas and Pauline Jeffers Jewish Community Foundation Margery H. & Irvin M. Beck Donor Advised Fund Alice and Jerome Jacobson Donor Advised Fund Diana & Kenneth Stein Donor Advised Fund Mary Johnson Robert and Carlotta Johnson Paul Jonas Jill and Scott Jorgensen Robert and Rose Kaser Kaye and Mark Kass Susan and Raymond Kehm Eileen Kehoe and Carl Reinhold Brian and Mary Lou Kennedy Kenan and Sara Kersten Doris and George Kimball John and Debra Kissinger Kevin and Angelique Klimara Donald and Carol Klockow Joseph Kmoch Jonathan and Willette Knopp Lezlie Knox Bruce and Shirley Krenzke Doris Kresheck E Kubick Donna Kuchler Michael and Doris Kuhn Thomas and Evelyn Lajiness Dale and Sandra Landgren Kevin Langreck Avrum and Dannette Lank Curtis Larson W. Peter Larson Jeffrey Lasselle Lawrence Lauwasser Helen Leggeri David and Deborah Lenz Sandra Lofte Joan Ludington Frances and Neill Luebke Stephanie Lyons and Jack Haensel Ann MacIver Jacob Magnusson Mike Malatesta Jack and Joan Malin Sean Malloy Kristie Malone Paul Mamerow and Deborah Coughlin Mamerow Househol Ann Margolis Louis and Mariann Maris James and Marsha Martell Dean and Mary Martinelli Pat and Patty Mattern Gregory McCarthy Joseph and Joni McDevitt Daryl and Rita Melzer

Mary Kaye Merwin Anne and Tom Metcalfe Nicholas and Laura Meyer Howard and Sara Miller Craig and Sandra Modahl Jequitta Molot Jake Schilz and Samantha Morris Christine Mortensen Mary Ann Mueller Patricia and George Mueller Frank and Nancy Muench Isabel and Richard Muirhead Erik Nelson Doris Nice Natalie Nolan Timothy and Julie Nolan Joseph and Marjeta Novak Estee O’Connor David and Janet Olsen Georgiana Orthaus Steven and Susan Ozimek Scott Paegelow and Charles Klockner Phillip and Dorene Paley Angela Penzkover Clint Peterson Michael and Nancy Pfau Angela and Frank Pintar Ms. Harvian Raasch-Hooten William Radonski Duane and Barbara Raetz Robert Rafel Virginia and Norman Rambo Stephen and Margie Rankin Janice and Jordan Reese Ron Reinke James and Lysbeth Reiskytl Page and John Remmers Werner and Carol Richheimer Eric Richmond Anthony Roberts John Roberts Kevin Ronnie and Karen Campbell Alice Rudebusch Dolores Ruetz William and Eva Rumpf Margaret Ruscetta Thomas Russell Polly and Lawrence Ryan Cheral Sadler Nina Sarenac Robin Sasman Leonard and Ruth Schacht Ruth Schauer Carlen Schenk Eric Schluter Kate Schoyer Martin Schreiber Lois and Stephen Schreiter Donald and Judith Schultz Gary and Beverly Schulze Caroline and Frederick Schwertfeger Judith and Ronald Shapiro Randall and Linda Sherer Thomas and Donna Shriner Marybeth and Gregory Shuppe Leonard Silva Douglas and Kay Simpkin Barbara Slania Stephanie Smith Leonard Sobczak Jeanne and Richard Somers Reginald and Maria Sprecher James Stanke

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Annual Fund/Bravo/Corporate and Foundations David Stanosz Ken and Diana Stein Anthony Steiner and Sue Martin-Steiner Sarah Stevenson Cook James Strey Tiffany Strom Alexandra Sullivan David Taggart Ann Terwilliger Kent and Marna Tess-Mattner Stephen and Linda Thomas Lygia and David Topolovec David and Joan Totten Peter Turner and Nancy Northey Roy and Sandra Uelner Constance U’Ren James Van Ess Lisa VanLandeghem Thomas and June Varney John Viste and Elaine Strite Mark and Anne Weitenbeck Stephanie Wesselowski Susan Westergard Deborah and Gerald Wetter Sammis and Jean White Gerald and Judith Wille Terry Witkowski Daryl and Bonnie Wunrow Susan and Benjamin Zarwell Howard and Jane Zeft M. Ann Zion Marilyn and Doug Zwissler BRAVO Patrick Behling Britt Blackwelder Tina Itson Jacob Magnusson TJ and Kelsey Molinari Esteé Tanel O’Connor and Walter Zoller Leah Olson Jessica and Paul Pihart Monica Rynders Brian Schwellinger Megan Sorenson CORPORATE AND FOUNDATION The Milwaukee Symphony Orchestra truly values the generosity of musicloving patrons in the concert hall and throughout the community.

We especially thank our Corporate and Foundation contributors for investing their time and support to this treasure. We gratefully acknowledge contributions from: $1,000,000 and above Anonymous United Performing Arts Fund $250,000 and above Argosy Foundation The Lynde and Harry Bradley Foundation $100,000 and above Herzfeld Foundation Rockwell Automation State of Wisconsin – Department of Administration

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$50,000 and above Greater Milwaukee Foundation Milwaukee Symphony Orchestra Fund Johnson Controls Melitta S. and Joan M. Pick Charitable Trust Milwaukee County Arts Fund (CAMPAC) $25,000 and above Anonymous Bader Philanthropies, Inc. Chase Family Foundation First Midwest Bank Greater Milwaukee Foundation Gertrude Elser and John Edward Schroeder Fund Helen and Jeanette Oberndorfer Fund Norman and Lucy Cohn Family Fund Guardian Fine Art Services Krause Family Foundation Schoenleber Foundation, Inc. U.S. Bank WEC Energy Group $15,000 and above A.O. Smith Foundation, Inc. Bert L. & Patricia S. Steigleder Charitable Trust Gladys E. Gores Charitable Foundation Kahler Slater Komatsu Mining Corp Foundation The League of American Orchestras Marietta Investment Partners Wisconsin Arts Board $10,000 and above BMO Harris Bank CD Smith Construction Services Charles D. Ortgiesen Foundation The Cudahy Foundation Greater Milwaukee Foundation David C. Scott Foundation William A. and Mary M Bonfield, Jr. Fund Ellsworth Corporation Godfrey & Kahn, S.C. Jane Bradley Pettit Foundation Northwestern Mutual Ralph Evinrude Foundation Rite Hite Holding Corporation William and Janice Godfrey Family Foundation Yabuki Family Foundation $5,000 and above Camille A. Lonstorf Trust Common Links Construction, LLC CornerStone One Ernst & Young, LLC FIS Global Gene and Ruth Posner Foundation, Inc. General Mills Foundation GRAEF Greater Milwaukee Foundation ELM II Fund Roxy and Bud Heyse Fund/Journal Fund Julian Family Foundation MGIC Investment Corporation Milwaukee Arts Board Milwaukee Development Corporation

MILWAUKEE SYMPHONY ORCHESTRA

Northern Trust Quarles & Brady, LLP Silver Rock Consulting Staff Electric William A. and Mary M. Bonfield, Jr. Fund $2,500 and above Greater Milwaukee Foundation David Wells Household Margaret Heminway Wells Fund Green Bay Packers Foundation Japan Foundation New York Joan and Fred Brengel Family Foundation, Inc. Richard G. Jacobus Family Foundation Theodore W. Batterman Family Foundation $1,000 and above Anthony Petullo Foundation, Inc. Clare M. Peters Charitable Trust Ellis Family Charitable Fund Foley & Lardner LLP Glendale Women’s Club Greater Milwaukee Foundation Cottrell Balding Fund Del Chambers Fund Eleanor N. Wilson Fund George and Christine Sosnovsky Fund Henry C., Eva M., Robert H. and Jack J. Gillo Charitable Fund Irene Edelstein Memorial Fund Mildred L. Roehr & Herbert W. Roehr Fund Milwaukee Bucks Townsend Foundation $500 and above AmazonSmile Foundation Greater Milwaukee Foundation Carrie Taylor & Nettie Taylor Robinson Memorial Fund Donald and Barbara Abert Fund Robert C. Archer Designated Fund United Way of Greater Milwaukee and Waukesha County Usinger Foundation MATCHING GIFTS The Milwaukee Symphony Orchestra gratefully acknowledges the following corporations and foundations who match their employees’ contributions to the Annual Fund.

Allstate American Family Insurance Group Aurora Health Care BMO Harris Bank Bright Funds Carrier Caterpillar Foundation Dell Dominion Foundation Eaton Corporation Fiduciary Partners GE Foundation Google Grace Evangelical Lutheran Church IMB Matching Grant Program Johnson Controls Foundation Microsoft Corp Morgan Stanley

Corporate and Foundations/Matching Gifts/Golden Notes/Tributes Northwestern Mutual Refinitiv The Benevity Community Impact Fund U.S. Bank United Healthcare United Way of Metropolitan Chicago United Way of Greater Milwaukee and Waukesha Wisconsin Energy Corporation

Joe Kutchera Paul Mehlenbeck Kyle Pyne Beth Rees Roger B. Ruggeri and Andrea K. Wagoner Gary and Jan Small Gwen Tushaus Shawn Verdoni

Ann and George Whyte Kathrine Wolf

GOLDEN NOTES PARTNERS The MSO gratefully acknowledges the following organizations for their gifts of product or services:

In memory of Tom Damm Kathleen Wigdale

In memory of Marilyn “Pat” Ellicson Petry - Jazz Lover David L. Harrison

88Nine Radio Milwaukee Becker Design Belle Fiori – Official Event Florist of the MSO Burke Chocolates The Capital Grille Central Standard Craft Distillery Coakley Bros. Co. Colectivo Coffee Downer Avenue Wine & Spirits Exceptional Events Godfrey & Kahn, S.C. Marcus Hotels & Resorts Milwaukee Journal Sentinel Ogletree Deakins Saint Kate – The Arts Hotel – Official Hotel of the MSO Sojourner Family Peace Center Steinway Piano Gallery of Milwaukee Studio Gear – Official Event Partner of the MSO Wisconsin Public Radio WMSE

In honor of Richard and Lois Pauls Andrew and Tai Pauls In memory of Kathy Paulsen Kathleen Wigdale In honor of Daniel Petry Wayne and Marlene Cook

In memory of Alan I. Ettinger Ms. Suzy B. Ettinger and Ms. Sally B. Waters

In memory of Jill Ragatz Kathleen Wigdale

In memory of Matthew Fiag Trinidad Torres

In memory of Barb Schmidt Kathleen Wigdale

In memory of Helen Flanner Mary Flanner

In memory of John Schmitt Ann MacIver

In honor of Fred Fuller Ms. Anna E. Hirt

In memory of Lt. Cmdr. Ron D. Scott Barbara Janusiak Patricia Lynch Dr. and Mrs. Debesh Mazumdar Lt. Cmdr. Ronald D. and Carol R. Scott

In memory of Judy Gertsma Anonymous In memory of Jim Hawkins Kathleen Wigdale In honor of Chuck Holmburg’s Birthday Fred and Kay Austermann

In memory of Donna Mathison Smith Moreau Parsons

In honor of Alyce Katayama Steven and Buffy Duback

In memory of Frederic Steinlein Judy Adamski Marynell Costa Lance Lamont Mr. and Mrs. Roger A. Newton Mr. and Mrs. Robert Schumann Scott Snyder Richard Vollbrecht

TRIBUTES

In memory of Duncan R. Kimball Eileen Kehoe and Bud Reinhold

In honor of Julie and David Uihlein Mr. and Mrs. Harry T. Stratton

In honor of Dr. Joan Arvedson’s 80th Birthday Maureen Lefton-Greif

In honor of Kate Kinser Brittany Kinser

In honor of Edward Veverka Barbara Lienau

In memory of Virjean Knudsen Jill Griffee Ross

In memory of Judith Wagner Steven A. & Lisa L. Wagner

In memory of David A. Blumberg David and Sherry Blumberg Lucy Cooper Naomi and Reuben Eisenstein Gary Engle Kelsi Gard Raul Gomez Richard and Mary Lux Jay and Barbara Miller Suzanne Millett Drs. Alan and Carol Pohl Howard and Judy Tolkan David Weissman & Miriam Schechter Norma Zehner Margaret Zickuhr In memory of Valerie Cherchian Provident Trust Company Alicia and Bryan Sadoff In honor of David Cohen Frederick and Pamela Hess In memory of Gretchen Connolly Dr. and Mrs. Harry A. Easom In memory of Russ Dagon Joanne Bauer Michael & Catherine Borschel Terry Burko and David Taggart Steve Cohen Lee and Barbara Jacobi

In honor of Thomas and Pauline Jeffers Adam Jeffers Matthew Jeffers

In honor of Scott Jeffrey Koehler Sharon Nagel Emily and David Wycoff In honor of Donald and JoAnne Krause James and Patricia Mathie

In memory of Anne T. White A. James White In memory of Libby Wigdale Kathleen Wigdale

In honor of Susan Martin Ms. Caroline Ham In memory of Ernabelle and Frank Medushaw Chris Griswold In honor of Andy Nunemaker Antiquarian Society of Wisconsin In honor of Ellen and Tim Pappas Bobbie Cronk In memory of W. Stuart Parsons Richard Abdoo Terry Burko and David Taggart Buffy and Steve Duback Jill Jelsma Raquel Lauritzen Patty and Mike McCauley Genie and David Meissner Michael Schmitz John Spencer Mrs. George Walcott

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The Best in Retirement Living.

• Pet-friendly - Just ask Cappy!

• A culturally respectful and intellectually stimulating community • A 67,000 sq ft Town Center full of amenities.

Scan this image with the camera on your phone to see a virtual tour of Margot & Cappy’s beautiful apartment and to discover more about life at Saint John’s On The Lake.

1840 N. Prospect Avenue 414-831-7300 www.SaintJohnsMilw.org 66

MILWAUKEE SYMPHONY ORCHESTRA

MSO Board of Directors OFFICERS Susan Martin, Chair Andy Nunemaker, Immediate Past Chair David Uihlein, Honorary Co-Chair Julia Uihlein, Honorary Co-Chair Alyce Coyne Katayama, Secretary Patrick Murphy, Treasurer; Chair, Finance Committee Mark Niehaus, President & Executive Director, Michael and Jeanne Schmitz Chair

Maura Packham, Chair, Equity, Diversity, & Inclusion (EDI) Task Force Richard Pauls Leslie Plamann Alice Read Jay E. Schwister, Chair, Retirement Plan Committee Dale R. Smith Gregory A. Smith, Chair, Audit Committee Herb Zien, Chair, Facilities Management Committee

EXECUTIVE COMMITTEE Susan Martin, Chair Andy Nunemaker, Immediate Past Chair Douglas M. Hagerman Eric E. Hobbs Karen Hung, Chair, Governance Committee Alyce Coyne Katayama, Secretary Robert Klieger, Chair, Players’ Council Patrick Murphy, Treasurer; Chair, Finance Committee Mark Niehaus, President & Executive Director, Michael and Jeanne Schmitz Chair Mike Schmitz, Chair, Chairman’s Council Dick Stoll, Chair, Advancement Committee; Chair, Marketing & Advocacy Committee Haruki Toyama, Chair, Artistic Direction Committee

CITY AND COUNTY DIRECTORS

DIRECTORS Louis Andrew Kate Brewer Jeff Costakos Jen Dirks Marion Gottschalk Charlotte Hayslett Eric Jorgensen Peter Mahler, Chair, Grand Future Committee Mark Metzendorf Christopher Miller, Chair, Forte Christian Mitchell Robert Monnat Bruce Myers

City Sachin Chheda Pegge Sytkowski Francis Wasielewski County Fiesha Lynn Bell Chris Layden Garren Randolph MUSICIAN DIRECTORS Robert Klieger, Chair, Players’ Council Ilana Setapen CHAIRMAN’S COUNCIL Michael J. Schmitz, Chair Chris Abele Richard S. Bibler Charles Boyle Thomas E. Caestecker Roberta Caraway M. Judith Christl Mary Connelly Donn Dresselhuys Eileen G. Dubner Franklyn Esenberg Marta P. Haas Jean Holmburg Barbara Hunt Leon P. Janssen Angela G. Johnston Judy Jorgensen James A. Kasch Beverly A. Klein Lee Walther Kordus Michael J. Koss JoAnne Krause Martin J. Krebs

Susan Kurtz Keith Mardak James G. Rasche Stephen E. Richman Allen N. Rieselbach Walter L. Robb Thomas L. Smallwood Joan Steele Stein Linda Tojek Joan R. Urdan Larry Waters Kathleen A. Wilson MSO ENDOWMENT & FOUNDATION TRUSTEES Bruce Laning, Trustee Chairman, Endowment & Foundation Amy Croen, Endowment & Foundation Steven Etzel, Endowment & Foundation Douglas M. Hagerman, Foundation Allen Rieselbach, Foundation PAST CHAIRMEN Andy Nunemaker (2014-2020) Douglas M. Hagerman (2011-2014) Chris Abele (2004-2011) Judy Jorgensen (2002-2004) Stephen E. Richman (2000-2002) Stanton J. Bluestone (1998-2000) Allen N. Rieselbach (1995-1998) Edwin P. Wiley (1993-1995) Michael J. Schmitz (1990-1993) Orren J. Bradley (1988-1990) Russell W. Britt* (1986-1988) James H. Keyes (1984-1986) Richard S. Bibler (1982-1984)John K. MacIver* (1980-1982) Donn R. Dresselhuys (1978-1980) Harrold J. McComas* (1976-1978) Laflin C. Jones* (1974-1976) Robert S. Zigman* (1972-1974) Charles A. Krause* (1970-1972) Donald B. Abert* (1968-1970) Erhard H. Buettner* (1966-1968) Clifford Randall* (1964-1966)John Ogden* (1962-1964) Stanley Williams* (1959-1962)

MILWAUKEE SYMPHONY ORCHESTRA

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MSO 2021.22 Administration EXECUTIVE Mark Niehaus, President & Executive Director, Michael and Jeanne Schmitz Chair Susan Loris, Executive Vice President for Institutional Advancement, Charles A. Krause Chair Bret Dorhout, Vice President of Artistic Planning Robin Sasman, Vice President & Chief Financial Officer Heidi Gempeler, Chief of Staff Cynthia Moore, Human Resources, Diversity & Inclusion Manager Kelsey Padron, Administrative Assistant ADVANCEMENT Tina Itson, Director of Institutional Giving Michael Rossetto, Director of Individual Giving Celeste Baldassare, Campaign Manager Krista Hettinger, Individual Giving Manager Elliott King, Grants & Research Manager William Loder, Senior Individual Giving Manager Tracy Migon, Development Systems Manager Daniel Petry, Campaign Gift Officer Lindsey Ruenger, Individual Giving Manager Emily Santeler, Advancement Associate Maggie Seer, Institutional Giving Manager EDUCATION & COMMUNITY ENGAGEMENT Rebecca Whitney, Director of Education Hannah Esch, Concerts for Schools and Education Manager FINANCE Brandon Viliunas, Controller Jenny Beier, Senior Accountant Colleen McHoney, Accountant

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MILWAUKEE SYMPHONY ORCHESTRA

MARKETING Jennifer Samuelson, Senior Director of Patron Experience & Front of House Operations Erin Kogler, Director of Communications Kathryn Reinardy, Director of Marketing & Strategic Engagement Adam Cohen, Patron Systems Manager Sam Hushek, Events & Volunteer Manager Marcella Morrow, Marketing Manger Zachary-John Reinardy, Lead Designer Kerry Ryan, Communications & Content Coordinator Patrick G.H. Schley, House Manager Zoe Waeltz, Assistant House Manager BOX OFFICE Luther Gray, Associate Director of Patron Services Al Bartosik, Box Office Manager Marie Holtyn, Box Office Supervisor Arianna Witek, Patron Services Assistant Alexandra Aldridge, Box Office Assistant Cameron Henrickson, Box Office Assistant Shanell Housen, Box Office Assistant Effie Atta-Krah, Box Office Assistant Carlos Rojo, Box Office Assistant Zoe Waeltz, Box Office Assistant OPERATIONS Françoise Moquin, Director of Orchestra Personnel Rick Snow, Director of Facilities Frank Almond, Artistic Advisor Paul Beck, Associate Librarian and Interim Assistant Personnel Manager Patrick McGinn, Principal Librarian, Anonymous Donor, Principal Librarian Chair Terrell Pierce, Operations Manager Emily Wacker Schultz, Artist Duty Assistant Jeremy Tusz, Audio & Video Producer Tristan Wallace, Technical Manager & Live Audio Supervisor Christina Williams, Chorus Manager

DONATE TODAY AND SUPPORT OUR MEMBER GROUPS AT UPAF.ORG/DONATE Skylight Music Theatre, Kiss Me, Kate, Joe Capstick and Kaylee Annable, Photo by Ross Zentner.

Next Act, Blood at the Root, Ibraheem Farmer, Photo by Ross Zentner.