Milwaukee Symphony Orchestra PROGRAM ONE 2023

ENCORE SEPTEMBER— OCTOBER

2023

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ENCORE Volume 42 No. 1

ENCORE SEPTEMBER— OCTOBER

2023

15 September 22 & 24 — Classics Beethoven 5 21

eptember 29 - 30 — Classics S Brahms, Stravinsky & Prayer for Ukraine

27 October 3 — Special Violent Femmes 31 October 6 - 8 — Pops Gershwin Celebration with Marcus Roberts Trio 39 Ocober 20 - 22 — Classics Josefowicz & Boléro

5 7 8 9 11 52 53 55

Orchestra Roster Music Director Music Director Laureate Assistant Conductor Milwaukee Symphony Chorus MSO Endowment/Musical Legacy Annual Fund Corporate & Foundation

56 58 59

Matching Gifts/Tributes MSO Board of Directors MSO Administration

This program is produced and published by ENCORE PLAYBILLS. To advertise in any of the following programs: • Milwaukee Symphony Orchestra • Florentine Opera • Milwaukee Ballet • Marcus Performing Arts Center Broadway Series • Skylight Music Theatre • Milwaukee Repertory Theater • Sharon Lynne Wilson Center 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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MILWAUKEE SYMPHONY ORCHESTRA

Photo by Jonathan Kirn

The Milwaukee Symphony Orchestra, led by Music Director Ken-David Masur, is among the finest orchestras in the nation and the largest cultural institution in Wisconsin. 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 over 135 classics, pops, family, education, and community concerts each season 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 52nd 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.

In January of 2021, the MSO completed a years-long project to restore and renovate a former movie palace in the heart of downtown Milwaukee. The Bradley Symphony Center officially opened to audiences in October 2021. This project has sparked a renewal on West Wisconsin Avenue and continues to be a catalyst in the community.

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 34th year, the nationally-recognized ACE program integrates arts education across all subjects and disciplines, providing opportunities for students when budget cuts may eliminate arts programing. 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 5,800 students and 500 teachers and faculty are expected to participate in ACE both in person and in a virtual format.

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2023.24 SEASON KEN-DAVID MASUR Music Director Polly and Bill Van Dyke Music Director Chair EDO DE WAART Music Director Laureate RYAN TANI Assistant Conductor CHERYL FRAZES HILL Chorus Director Margaret Hawkins Chorus Director Chair TIMOTHY J. BENSON Assistant Chorus Director FIRST VIOLINS Jinwoo Lee, Concertmaster, Charles and Marie Caestecker Concertmaster Chair Ilana Setapen, First Associate Concertmaster Jeanyi Kim, Associate Concertmaster Alexander Ayers Yuka Kadota Elliot Lee** Ji-Yeon Lee** Dylana Leung Allison Lovera Lijia Phang Yuanhui Fiona Zheng SECOND VIOLINS Jennifer Startt, Principal, Andrea and Woodrow Leung Second Violin Chair Timothy Klabunde, Assistant Principal John Bian, Assistant Principal (3rd Chair) Glenn Asch Lisa Johnson Fuller Paul Hauer Hyewon Kim Alejandra Switala** Mary Terranova VIOLAS Robert Levine, Principal, Richard O. and Judith A. Wagner Family Principal Viola Chair Georgi Dimitrov, Assistant Principal (2nd chair), Friends of Janet F. Ruggeri Viola Chair Samantha Rodriguez, Assistant Principal (3rd chair)* Alejandro Duque, Acting Assistant Principal (3rd Chair) 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 Shinae Ra Peter Szczepanek Peter J. Thomas Adrien Zitoun BASSES Jon McCullough-Benner, Principal, Donald B. Abert Bass Chair * Andrew Raciti, Associate Principal Nash Tomey, Assistant Principal (3rd Chair) Brittany Conrad Teddy Gabrieledes ** Peter Hatch * Paris Myers HARP Julia Coronelli, Principal, Walter Schroeder Harp Chair FLUTES Sonora Slocum, Principal, Margaret and Roy Butter Flute Chair Heather Zinninger, Assistant Principal Jennifer Bouton Schaub PICCOLO Jennifer Bouton Schaub OBOES Katherine Young Steele, Principal, Milwaukee Symphony League Oboe Chair Kevin Pearl, Assistant Principal Margaret Butler 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 * Taylor Eiffert* Madison Freed** E-FLAT CLARINET Benjamin Adler * BASS CLARINET Taylor Eiffert* Madison Freed ** BASSOONS Catherine Van Handel, Principal, Muriel C. and John D. Silbar Family Bassoon Chair Rudi Heinrich, Assistant Principal Beth W. Giacobassi

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 Kelsey Williams** 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 Robyn Black, Principal TIMPANI Dean Borghesani, Principal Chris Riggs, Assistant Principal PERCUSSION Robert Klieger, Principal Chris Riggs PIANO Melitta S. Pick Endowed Piano Chair PERSONNEL MANAGERS Françoise Moquin, Director of Orchestra Personnel Constance Aguocha, Assistant Personnel Manager LIBRARIANS Paul Beck, Principal Librarian, Anonymous Donor, Principal Librarian Chair Matthew Geise, Assistant Librarian & Media Archivist PRODUCTION Tristan Wallace, Technical Manager & Live Audio Supervisor Paolo Scarabel, Stage Technician & Deck Supervisor * Leave of Absence 2023.24 Season ** Acting member of the Milwaukee Symphony Orchestra 2023.24 Season

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MILWAUKEE SYMPHONY ORCHESTRA

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 celebrating his fifth season as music director of the Milwaukee Symphony Orchestra and principal conductor of the Chicago Symphony’s Civic Orchestra. He has conducted distinguished orchestras including the Chicago Symphony, the Los Angeles Philharmonic, the San Francisco Symphony, the Minnesota Orchestra, l’Orchestre National de France, the Yomiuri Nippon Symphony, the National Philharmonic of Russia, and others throughout the United States, France, Germany, Korea, Japan, and Scandinavia.

Masur’s tenure in Milwaukee has been marked by innovative thematic programming, including a festival celebrating the music of the 1930s, when the Bradley Symphony Center was built, and the Water Festival, which highlighted local community partners whose work centers on water conservation and education. He has also instituted a multi-season artist-in-residence program, and he has led highly-acclaimed performances of major choral works, including a semi-staged production of Peer Gynt. This season, he begins a residency with bass-baritone Dashon Burton, and leads the MSO in an inaugural city-wide Bach festival, celebrating the diverse and universal appeal of J.S. Bach’s music in an ever-changing world.

Photo by Adam DeTour

Last season, Masur made his New York Philharmonic debut in a gala program featuring John Williams and Steven Spielberg. He also debuted at the Pacific Music Festival in Sapporo, Japan, and at Classical Tahoe in three programs that were broadcast on PBS, and he led the Boston Symphony Orchestra, Yo-Yo Ma, Itzhak Perlman, Branford Marsalis, and James Taylor at Tanglewood in a 90th birthday concert for John Williams. The summer of 2023 marked Masur’s debuts with the Grant Park Festival and the National Repertory Orchestra; later this season, he returns to the Baltimore Symphony and the Kristiansand Symphony.

Previously, Masur was associate conductor of the Boston Symphony Orchestra. During his five seasons there, he led numerous concerts at Symphony Hall and at Tanglewood. For eight years, Masur served as principal guest conductor of the Munich Symphony, and he has also served as associate conductor of the San Diego Symphony and as resident conductor of the San Antonio Symphony.

Music education and working with the next generation of young artists are of major importance to Masur. In addition to his work with Civic Orchestra of Chicago, he has conducted orchestras and led masterclasses at the University of Wisconsin-Milwaukee’s Peck School of the Arts, New England Conservatory, Manhattan School of Music, Boston University, Boston Conservatory, Tokyo’s Bunka Kaikan Chamber Orchestra, the Tanglewood Music Center Orchestra, and The Juilliard School, where he leads the Juilliard Orchestra this fall.

Masur is passionate about contemporary music and has conducted and commissioned dozens of new works, many of which have premiered at the Chelsea Music Festival, an annual summer festival in New York City founded and directed by Masur and his wife, pianist Melinda Lee Masur.

The Festival, which celebrates its 15th anniversary in 2024, has been praised by The New York Times as a “gem of a series” and by TimeOutNY as an “impressive addition to New York’s cultural ecosystem.”

Masur and his family are proud to call Milwaukee their home and enjoy exploring all the riches of the Third Coast.

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EDO DE WAART, MUSIC DIRECTOR LAUREATE Throughout his long and illustrious career, renowned Dutch conductor Edo de Waart has held a multitude of posts with orchestras around the world, including music directorships with the Rotterdam Philharmonic Orchestra, San Francisco Symphony, Minnesota Orchestra, Netherlands Radio Philharmonic Orchestra, Hong Kong Philharmonic, Milwaukee Symphony Orchestra, Antwerp Symphony, New Zealand Symphony, and Sydney Symphony Orchestra, and a chief conductorship with the De Nederlandse Opera and Santa Fe Opera.

Edo de Waart is principal guest conductor of the San Diego Symphony, conductor laureate of both the Antwerp Symphony Photo by Jesse Willems Orchestra and Netherlands Radio Philharmonic Orchestra, and music director laureate of the Milwaukee Symphony Orchestra.

This season he returns to Netherlands Radio Philharmonic Orchestra and the Milwaukee, San Diego, and Fort Worth symphony orchestras.

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, Salzburg Festival, Royal Opera House, Covent Garden, Grand Théâtre de Genève, Opéra Bastille, Santa Fe Opera, and the Metropolitan Opera. With the aim of bringing opera to broader audiences where concert halls prevent full staging, he has, as music director in Milwaukee, Antwerp, and Hong Kong, often conducted semi-staged and opera in concert performances.

A renowned orchestral trainer, he has been involved with projects working with talented young players at the Juilliard and Colburn schools and the Music Academy of the West in Santa Barbara.

Edo de Waart’s extensive catalogue encompasses releases for Philips, Virgin, EMI, Telarc, and RCA. Recent recordings include Henderickx’s Symphony No.1 and Oboe Concerto, Mahler’s Symphony No.1, and Elgar’s Dream of Gerontius, all with the Royal Flemish Philharmonic.

Beginning his career as an assistant conductor to Leonard Bernstein at the New York Philharmonic, de Waart then returned to Holland where he was appointed assistant conductor to Bernard Haitink at the Royal Concertgebouw Orchestra.

Edo de Waart has received a number of awards for his musical achievements, including becoming a Knight in the Order of the Netherlands Lion and an Honorary Officer in the General Division of the Order of Australia. He is also an Honorary Fellow of the Hong Kong Academy for Performing Arts.

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RYAN TANI, ASSISTANT CONDUCTOR Ryan Tani is in his first season as assistant conductor of the Milwaukee Symphony Orchestra. In 2021, he completed his two-year tenure as the Orchestral Conducting Fellow for the Yale Philharmonia under Music Director Peter Oundjian, where he was the recipient of the Dean’s Prize for artistic excellence in his graduating class. Committed to meaningful community music-making in the state of Montana, Tani has directed the Bozeman Chamber Orchestra, Bozeman Symphonic Choir, Second String Orchestra, and MSU Symphony Orchestras. He frequently serves as cover conductor for the St. Louis, Colorado, and Bozeman symphonies and also recently served on the faculty at the Montana State University School of Music.

Tani recently concluded his tenure as music director of the Occasional Symphony in Baltimore. A fierce advocate of new music, Tani curated over 20 commissions from Baltimore-based composers during his four-year directorship of OS. As resident conductor of the New Music New Haven series, he has collaborated, under the guidance of Aaron Jay Kernis, with Yale University composition students and faculty.

Tani is also a graduate of the Peabody Institute where he studied conducting with Marin Alsop and Markand Thakar, and of the University of Southern California, where he studied voice with Gary Glaze. In 2015, he was declared the winner of the ACDA Undergraduate Student Conducting Competition at their national conference in Salt Lake City, Utah. In addition to his studies at Yale and Peabody, Tani has also studied conducting with Larry Rachleff, Donald Schleicher, Gerard Schwarz, Grant Cooper, and José-Luis Novo. Tani currently resides in Milwaukee, Wisconsin, where he can be found in the park with his dog, playing board games with friends and family, in the library with a good book, or in the practice room with his violin.

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MILWAUKEE SYMPHONY CHORUS

Photo by Jonathan Kirn

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 2023.24 chorus season with the MSO includes works by Beethoven, Bach, Debussy, and Orff, as well as Handel’s Messiah and the Holiday Pops performances.

The 150-member 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 for 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 during the ensemble’s 30th anniversary season in 2006, in honor of the founding chorus director, Margaret Hawkins.

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/chorus for more information on becoming a part of the Milwaukee Symphony Chorus.

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CHORUS MEMBERS & STAFF Anna Aiuppa Michael Faust Mia Akers Catherine Fettig Laura Albright-Wengler Marty Foral Robert Friebus * James B. Anello u Thomas R. Bagwell Karen Frink Barbara Barth Maria Fuller Czarkowski William Gesch Scott Bass Samantha Gibson Marshall Beckman Jessica Golinski Zachary Beeksma * Mark R. Hagner Yacob Bennett Eric W. Hanrehan Beth Harenda * JoAnn Berk Edward Blumenthal u Karen Heins u Scott Bolens Mary Catherine Robert Bortman Helgren Neil R. Brooks Kurt Hellermann Heather Brown Martha Hellermann Michelle Budny Sara E. Herrick Ellen N. Burmeister Eric Hickson Gabrielle Campbell Michelle Hiebert Gerardo Carcar Laura Hochmuth Elise Cismesia Matthew Hunt Ian Clark Stan Husi Sarah M. Cook u Tina Itson Amanda Coplan • Christine Jameson Sarah Culhane Paula J. Jeske Phoebe Dawsey Andrew Johnson Colin Destache John Jorgensen Emma DeVries Heidi Kastern Becky Diesler u Michelle Beschta Klotz Rebeca Dishaw Robert Anton Knier Megan Kathleen Jill Kortebein Dixson Kaleigh KozakRachel Dutler Lichtman u James Edgar u Joseph M. Krechel Joe Ehlinger Julia M. Kreitzer Jay Endres Savannah Grace Amanda Swygard Kroeger Fairchild Harold Krueger Katelyn Farebrother Benjamin Kulhmann

Pamela Lembke John T. Schilling Alexandra Lerch-Gaggl Sarah Schmeiser Noah Liermann Rand C. Schmidt Nicholas Lin Randy Schmidt Robert Lochhead u Allison Schnier Kristine Lorbeske Trinny Schumann Grace Majewski Bob Schuppel Douglas R. Marx Matthew Seider Joy Mast Bennett Shebesta Justin J. Maurer u Hannah Sheppard Kathryn McGinn David Siegworth Shannon McMullen Bruce Soto Kathleen Ortman Miller Joel P. Spiess Megan Miller * Todd Stacey Victor Montañez Cruz u Donald E. Stettler Bailey Moorhead Scott Stieg Jennifer Mueller * Donna Stresing Ashley Ellen Suresh * Matthew Neu Kristin Nikkel Joseph Thiel Jason Niles Dean-Yar Tigrani Alice Nuteson Clare Urbanski Robert Paddock Jessica Wagner R. Scott Pierce Tess Weinkauf u Jessica E. Pihart Emma Mingesz Weiss Ubaldo Piña-Martinez Samantha Wells Olivia Pogodzinski Michael Werni Gabriel Poulson Erin Weyers Kaitlin Quigley Cameron Wilkins Mary E. Rafel Christina Williams Emilie Williams * Jason Reuschlein Rehanna Rexroat Sally Witte James Reynolds Kevin R. Woller Marc Charles Ricard Rachel Yap Amanda Robison * Jamie Mae Yu Michele Zampino * Bridget Sampson James Sampson Katarzyna Zawislak Darwin J. Sanders Stephanie Zimmer Jenny E. Sanders Alana Sawall Autumn Schacherl

STAFF

u Section Leader

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

• Librarian

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* Mentor

DR. CHERYL FRAZES HILL, CHORUS DIRECTOR Dr. Cheryl Frazes Hill is now in her seventh 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. Frazes Hill is Professor Emeritus at Roosevelt University’s Chicago College of Performing Arts, where she served for 20 years as director of choral activities. During the 2032.24 season, Frazes Hill will prepare the Milwaukee Symphony Chorus for classical performances of Beethoven’s Meeres Stille und Glückliche Fahrt and Choral Fantasy, Bach’s Magnificat, Debussy’s Nocturnes, and Orff’s Carmina Burana, as well as for holiday performances of Handel’s Messiah.

In her role as the Chicago Symphony Chorus associate conductor, she has prepared the chorus for Maestros Alsop, Boulez, Barenboim, Conlon, Levine, Mehta, Salonen, Tilson Thomas, and many others. 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.

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, the Chicago Sinfonietta, the Civic Orchestra of Chicago, and the Illinois Philharmonic. 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 and three appearances with The Rolling Stones during a recent United States concert tour.

Frazes Hill received her Master of Music and Doctorate degrees in conducting from Northwestern University and undergraduate degrees in voice and music education from the University of Illinois. An accomplished vocalist, she is a featured soloist in the Grammynominated recording CBS Masterworks release Mozart, Music for Basset Horns. An award-winning conductor/educator, Frazes Hill recently received the ACDA Harold Decker Conducting Award, the Mary Hoffman Music Educators Award, and in recent years the Commendation of Excellence in Teaching from the Golden Apple Foundation, the Illinois Governor’s Award, Roosevelt University’s Presidential Award for Social Justice, the Northwestern University Alumni Merit Award, and the Outstanding Teaching Award from the University of Chicago, among many others.

Frazes Hill’s recently released book, Margaret Hillis: Unsung Pioneer, a biography of the famed female conductor, received a commendation from the 2023 Midwest Book Awards. The book is available on Amazon and in bookstores. Frazes Hill is nationally published on topics of her research in music education and choral conducting. A frequent guest conductor and guest speaker, Frazes Hill has recently collaborated with Maestro Marin Alsop at Ravinia Festival’s Breaking Barriers: Women on the Podium.

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BEETHOVEN 5 Friday, September 22, 2023 at 7:30 pm Sunday, September 24, 2023 at 2:30 pm ALLEN-BRADLEY HALL Ken-David Masur, conductor Dashon Burton, bass-baritone DANIEL KIDANE Be Still ELEANOR ALBERGA The Soul’s Expression

George Eliot: “Blue Wings”

Emily Brontë: “The Sun Has Set”

George Eliot: “Roses”

Elizabeth Barrett Browning: “The Soul’s Expression”

Dashon Burton, bass-baritone FRANZ SCHUBERT Entr’acte No. 2 in D Major from Rosamunde, D. 797 FRANZ SCHUBERT IIIb., Romanze from Rosamunde, D. 797

Dashon Burton, bass-baritone FRANZ SCHUBERT/orch. Max Reger Du bist die Ruh’, D. 776; Opus 59, No. 3

Dashon Burton, bass-baritone FRANZ SCHUBERT/orch. Max Reger Erlkönig, D. 328; Opus 1

Dashon Burton, bass-baritone INTERMISSION

LUDWIG VAN BEETHOVEN Symphony No. 5 in C minor, Opus 67

I. Allegro con brio

II. Andante con moto

III. Scherzo: Allegro

IV. Allegro The 2023.24 Classics Series is presented by the UNITED PERFORMING ARTS FUND and ROCKWELL AUTOMATION. The length of this concert is approximately 1 hour and 50 minutes.

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

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Guest Artist Biographies DASHON BURTON Hailed as an artist “alight with the spirit of the music” (Boston Globe), Dashon Burton has established a vibrant career appearing regularly throughout the U.S. and Europe. Highlights of his 2023.24 season include multiple appearances with Michael Tilson Thomas, including with the San Francisco Symphony, the New World Symphony, and the San Diego Symphony. Burton also performs Bach’s Christmas Oratorio with the Washington Bach Consort, sings Handel’s Messiah with the St. Paul Chamber Orchestra and the Philadelphia Orchestra, and performs the title role in Sweeney Todd at Vanderbilt University.

With the Cleveland Orchestra, Burton participates in a semi-staged version of Mozart’s The Magic Flute, and he joins the Milwaukee Symphony and Ken-David Masur for three subscription weeks as their artistic partner.

A multiple award-winning singer, Burton won his second Grammy Award in March 2021 for Best Classical Solo Vocal Album with his performance featured in Dame Ethyl Smyth’s masterwork The Prison with The Experiential Orchestra (Chandos). As an original member of the groundbreaking vocal ensemble Roomful of Teeth, he won his first Grammy Award for their inaugural recording of all new commissions.

His other recordings include Songs of Struggle & Redemption: We Shall Overcome (Acis); the Grammy-nominated recording of Paul Moravec’s Sanctuary Road (Naxos); Holocaust, 1944 by Lori Laitman (Acis); and Caroline Shaw’s The Listeners with the Philharmonia Baroque Orchestra.

His album of spirituals garnered high praise and was singled out by The New York Times as “profoundly moving…a beautiful and lovable disc.”

Burton received a Bachelor of Music degree from Oberlin College and Conservatory and a Master of Music degree from Yale University’s Institute of Sacred Music. He is an assistant professor of voice at Vanderbilt University’s Blair School of Music.

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Program notes by Elaine Schmidt DANIEL KIDANE

Born 1986; Great Britain

Be Still

First performance: 19 January 2021; Manchester, United Kingdom Last MSO performance: MSO Premiere Instrumentation: percussion (crotales); strings Approximate duration: 8 minutes Born to a Russian mother and an Eritrean father, Daniel Kidane grew up in Britain. Although Kidane’s official bio says that he began his musical studies on the violin at age eight, he has said in interviews that his first music-making experiences were actually on the recorder as a young boy. He sang in the English National Opera’s children’s chorus, later choosing to focus on composition when he entered the Royal Northern College of Music, from which he graduated in 2012. He also traveled to his mother’s homeland to study at the St. Petersburg Conservatory.

By 2016, Kidane had received a commission from the BBC Philharmonic to create his “Sirens” as one of five short pieces that the orchestra performed to mark the 400th anniversary of Shakespeare’s death. Various commissions followed, and his works began gaining a wider and wider audience, including his orchestral work, Woke, which received its premiere performance by the BBC Symphony Orchestra on the last night of the Proms in 2019.

Although the COVID-19 shutdown put a halt to live premieres of new works, several of Kidane’s pieces received online premieres while theaters were dark, including The Song of the Thrush and The Mountain Ash, written for the Huddersfield Choral Society.

Be Still, which was commissioned and premiered by the Manchester Camerata on 19 January 2021, is scored for strings and crotales, which are sometimes called antique cymbals.

Kidane wrote of the piece: “Written towards the end of 2020, Be Still is a reflective piece on the year gone by.

In a year where lockdowns became a thing, the idea of time became more apparent to me as everyday markers, such as meeting with friends and family, traveling, or attending concerts vanished.”

Kidane has said that he had the first lines of T.S. Eliot’s “Burnt Norton” (the first poem of his Four Quartets) in his thoughts: Time present and time past Are both perhaps present in time future, And time future contained in time past.

If all time is eternally present All time is unredeemable.

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ELEANOR ALBERGA

Born 30 September 1949; Kingston, Jamaica

The Soul’s Expression

First performance: 22 July 2017; Wales Last MSO performance: MSO Premiere Instrumentation: strings Approximate duration: 17 minutes Jamaican-born, British composer Eleonor Alberga is the definition of a multifaceted musician.

She was just five years old when she announced she wanted to become a concert pianist. By age 10 she was composing piano pieces, and at 19 she won the biennial Royal Schools of Music Scholarship for the West Indies, which allowed her to attend the Royal Academy of Music in London. From this point on, her musical interests began to compete a bit. She studied piano and singing at the Royal Academy of Music, becoming one of three finalists in the International Piano Concerto Competition in Dudley, England. Just a few years later, she landed a position at the London Contemporary Dance Theatre, where she became well known for her improvisations during ballet class. She was eventually commissioned to write works for the company, which led to her becoming the company’s musical director. In that position, she conducted, composed, and performed on many of the company’s tours. Alberga ended her performing career in 2001 to focus her energies on composition.

In Alberga’s music, one can hear elements of her Jamaican background, along with jazz influences, repeated rhythmic patterns, and a good deal of tonal writing. She began to incorporate increasingly atonal elements in her later works. Her works include orchestral, chamber, piano, vocal, and choral pieces, along with scores for film and stage.

The Soul’s Expression, written for baritone and strings, is built upon four poems by Victorian-era, British women: Elizabeth Barrett Browning’s “The Soul’s Expression,” Emily Brontë’s “The Sun Has Set,” and “Blue Wings” and “Roses” by George Elliot (the pen name for Mary Ann Evans, the English novelist, journalist, poet, and translator who is well-remembered for her novels: The Mill on the Floss, Silas Marner, and Middlemarch). Within the piece, the four poems are separated by interludes that condemn evil, specifically evil words.

FRANZ SCHUBERT

Born 31 January 1797; Vienna, Austria Died 19 November, 1828; Vienna, Austria Despite his tragically short life, Austrian composer Franz Schubert produced an astonishing amount of work. Bridging the Classical and early Romantic eras, he wrote more than 600 secular vocal pieces, many of them Lieder (songs), including several song cycles. He completed seven symphonies and wrote a great deal of chamber music, as well as sacred music, operas, and incidental music.

Entr’acte No. 2 and Romanze from Rosamunde, D. 797

First performance: 20 December 1823; Vienna, Austria Last MSO performance: MSO Premiere Instrumentation: 2 flutes; 2 oboes; 2 clarinets; 2 bassoons; 2 horns; 2 trumpets; 2 trombones; bass trombone; timpani; strings Approximate duration: 8 minutes 18

MILWAUKEE SYMPHONY ORCHESTRA

Rosamunde, Fürstyn von Zypern (Rosamunde, Princess of Cyprus) is a play we would probably not remember had Schubert not written its incidental music. Schubert later used some of his Rosamunde music in other pieces, but the manuscript disappeared until Sir George Grove (Grove’s Dictionary of Music and Musicians) and Sir Arthur Sullivan (the musical half of Gilbert and Sullivan) found the manuscript in a closet while researching Schubert. Rosamunde is the story of a princess raised as a peasant who manages to claim her throne. The lovely Romanze is sung by Rosamunde’s birth mother when Rosamunde returns to Cyprus. Although written for alto, the Romanze lends itself to the baritone voice as well.

Du bist die Ruh’, D. 776; Opus 59, No. 3

First performance: Unknown; first publishing by Sauer & Leidesdorf in Vienna, 1826.

Last MSO performance: MSO Premiere Instrumentation: 2 flutes; oboe; 2 clarinets; 2 bassoons; 2 horns; trumpet; timpani; strings Approximate duration: 5 minutes When Schubert set this Friedrich Rückert poem to music, it did not yet have a title, so he used the first line of the poem, “Du bist die Ruh’,” (You are the peace) as the title. Rückert later gave the poem the title “Kehr ein bei mir” (Stay with Me). With this song, Schubert created a feeling of absolute calm.

Erlkönig, D. 328; Opus 1

First performance: 7 March 1821, Vienna, Austria Last MSO performance: MSO Premiere Instrumentation: flute; oboe; 2 clarinets; bassoon; 2 horns; timpani; strings Approximate duration: 5 minutes Erlkönig (Erl-king) is one of Schubert’s most famous Lieder. Johann Wolfgang von Goethe’s dramatic poem, which was also set by about 35 other composers, tells of a father racing by horseback to get help for his ailing son, who he cradles in his arms as he rides. The boy describes his fever-dreams to his father, one of which is of an Erl-king who wants to take the boy. The father finally arrives at his destination, only to find that his son has already died.

Schubert’s setting not only captures the drama of the poem, but the voices of the father, his son, and the Erl-king. The racing figures in the accompaniment capture the motion of the running horse.

LUDWIG VAN BEETHOVEN

Born 17 December 1770; Bonn, Germany Died 26 March 1827; Vienna, Austria

Symphony No. 5 in C minor, Op. 67

Premiere: 22 December 1808; Vienna, Austria Last MSO performance: 23 April 2017; Anu Tali, conductor Instrumentation: 2 flutes; piccolo; 2 oboes; 2 clarinets; 2 bassoons; contrabassoon; 2 horns; 2 trumpets; 3 trombones; timpani; strings Approximate duration: 31 minutes The opening bars of Beethoven’s Symphony No. 5 are among the most recognized bits of music in the symphonic repertoire. The entire piece is certainly well-loved by audiences around the world, and it remains one of the most often-played pieces in today’s orchestral repertoire.

But the bold short-short-short-long theme that opens the piece and recurs throughout it seems to have been fated to take on a life of its own. Interestingly, Beethoven called the piece his Schicksalssinfonie (fate symphony), and German author E.T.A. Hoffman, who penned the story on which The Nutcracker ballet is based, referred to the theme as “fate knocking at the door.“ MILWAUKEE SYMPHONY ORCHESTRA

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Beethoven wrote his Symphony No. 5 between 1804 and 1809, working on it as Napoleon was waging war on Austria and the country was hoping and praying for victory. About 20 years later, having nothing to do with Beethoven’s Symphony No. 5, American inventor Samuel Morse and several colleagues developed a code of short and long electrical impulses that could be transmitted by wire over great distances, assigning a short-short-short-long pattern of pulses to the letter V (the letter U is short-short-long). Fast forward a century to World War II, during which the Allied troops relied on Morse code to communicate. The short-short-short-long of the letter V led the Allies to adopt the opening bars of Beethoven’s Symphony No. 5 for all Allied radio broadcasts, as a “V for Victory” rallying cry in the most destructive war the world had ever known. For those in the Allied nations who had lived through the war, and certainly for those who had fought in the war or had lost loved ones to it, hearing Beethoven’s Napoleonic-era Symphony No. 5 remained a deeply stirring experience throughout their lives.

In 2022, shortly after the Russian military began its relentless war against Ukraine, orchestras around the world began performing Beethoven’s Symphony No. 5 as a means of showing solidarity with Ukraine. Quite a few orchestras have performed the symphony on programs that also included Ukrainian composer Valentin Silvestrov’s “Prayer for Ukraine,” which will be performed by the MSO on September 29 and 30.

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BRAHMS, STRAVINSKY & PRAYER FOR UKRAINE Friday, September 29, 2023 at 7:30 pm Saturday, September 30, 2023 at 7:30 pm ALLEN-BRADLEY HALL Ken-David Masur, conductor Yefim Bronfman, piano VALENTIN SILVESTROV/arr. Andreas Gies Prayer for the Ukraine JOHANNES BRAHMS Concerto No. 1 in D minor for Piano, Opus 15

I. Maestoso

II. Adagio

III. Rondo: Allegro non troppo

Yefim Bronfman, piano INTERMISSION

IGOR STRAVINSKY Petrushka (1947 revision)

I. The Shrovetide Fair

II. Petrushka’s Cell

III. The Moor’s Cell

IV. The Shrovetide Fair (Toward Evening)

The MSO Steinway Piano was made possible through a generous gift from MICHAEL AND JEANNE SCHMITZ. The 2023.24 Classics Series is presented by the UNITED PERFORMING ARTS FUND and ROCKWELL AUTOMATION. 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 at mso.org.

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Guest Artist Biographies YEFIM BRONFMAN Internationally recognized as one of today’s most acclaimed and admired pianists, Yefim Bronfman stands among a handful of artists regularly sought by festivals, orchestras, conductors, and recital series. His commanding technique, power, and exceptional lyrical gifts are consistently acknowledged by the press and audiences alike.

Following summer festival appearances in Verbier, Israel, Aspen, Grand Tetons, and Sun Valley, the season begins with a European tour celebrating the auspicious 500th anniversary of the Munich Opera and Orchestra with concerts in Lucerne, Bucharest, London, Paris, Linz, Vienna, and Munich. In partnership with Amsterdam’s Royal Concertgebouw Orchestra, together they will visit Japan and Korea, followed in the U.S. by return engagements throughout the season with New York Philharmonic, Boston, Kansas City, National, Milwaukee, Pittsburgh, San Francisco symphonies, and Minnesota Orchestra. With the Munich Philharmonic and both Brahms concerti on the program, he will travel to Spain and Carnegie Hall followed by European engagements with the Budapest Festival Orchestra. An extensive winter/spring recital tour will begin in Ljubljana and include Milan, Berlin, Cleveland, Chicago, Vancouver, Seattle, San Francisco, Los Angeles, La Jolla, and culminate in Carnegie Hall in early May. Born in Tashkent in the Soviet Union, Yefim Bronfman immigrated to Israel with his family in 1973, where he studied with pianist Arie Vardi, head of the Rubin Academy of Music at Tel Aviv University. In the United States, he studied at The Juilliard School, Marlboro School of Music, and the Curtis Institute of Music under Rudolf Firkušný, Leon Fleisher, and Rudolf Serkin. A recipient of the prestigious Avery Fisher Prize, one of the highest honors given to American instrumentalists, in 2010 he was further honored as the recipient of the Jean Gimbel Lane prize in piano performance from Northwestern University and in 2015 with an honorary doctorate from the Manhattan School of Music.

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Program notes by Elaine Schmidt VALENTIN SILVESTROV

Born 30 September 1937; Kyiv, Ukraine

Prayer for the Ukraine

First performance: 2014 arrangement for orchestra by Andreas Gies 2 March 2022; Aalborg, Denmark Last MSO performance: MSO Premiere Instrumentation: 2 flutes; oboe; 2 clarinets; bassoon; 2 horns; trumpet; timpani; harp; strings Approximate duration: 6 minutes Ukrainian composer Valentin Silvestrov is considered a national treasure in his now-embattled homeland. He is part of a long roster of exceptional Ukrainian-born musicians that most of the world has been conditioned to think of as Russian or Soviet rather than Ukrainian. That roster includes composer Sergei Prokofiev, violinist, violist, and conductor David Oistrakh, violinist Nathan Milstein, and violinist Isaac Stern, to name just a few. Conductor and composer Leonard Bernstein, the first American-born conductor to lead a major orchestra, was born to parents who emigrated to the U.S. from Ukraine.

Silvestrov is no stranger to political strife in his homeland. He wrestled with government controls and restrictions on composers during the Soviet era and was expelled from the Ukrainian Union of Composers after taking part in protests in 1970. His music began to change after 1970, moving away from what The New York Times has referred to as “noisy scores” to a much softer, gentler style of writing that many have called “consoling.”

Silvestrov wrote his hauntingly beautiful, fluid Prayer for Ukraine following the 2013 Maidan Uprising in his hometown of Kyiv and the strife that followed. The protests began on November 21 of that year and continued in waves in Kyiv’s Independence Square, eventually escalating to an encampment of thousands of protesters barricading themselves in the square. The Maidan Uprising led to the 2014 “Revolution of Dignity” and eventually resulted in the ouster of proRussia Ukrainian President Victor Yanukovych, who wanted to forge a closer relationship with Russia rather than sign the European Union–Ukraine Association Agreement.

Silvestrov originally wrote Prayer for Ukraine for a cappella chorus as the 13th movement of a series of songs for chorus, entitled Maidan 2014. Five of the piece’s movements were arrangements of the Ukrainian national anthem.

Silvestrov, now 86 years old, fled Kyiv in March 2022, making his way out of Ukraine, through Poland, and into Germany by bus. He is currently living and writing music in Berlin. His Prayer for Ukraine has become an anthem of solidarity with Ukraine through performances around the world.

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JOHANNES BRAHMS

Born 17 May 1833; Hamburg, Germany Died 3 April 1897; Vienna, Austria

Piano Concerto No. 1 in D minor, Opus 15

First performance: 22 January 1859; Hanover, Germany Last MSO performance: 25 January 2014; Edo de Waart, conductor; Inon Barnatan, piano Instrumentation: 2 flutes; 2 oboes; 2 clarinets; 2 bassoons; 4 horns; 2 trumpets; timpani; strings Approximate duration: 44 minutes We tend to picture German composer and pianist Johannes Brahms as he appeared in middle age — portly, serious, and due for a haircut and beard trim. But an early photo of him gives a glimpse of the shy, 20-year-old pianist and composer who ramped up his courage and presented himself to the reigning royalty of the classical music world at the time: Robert and Clara Schumann.

The year was 1853 and the Schumanns, who were experiencing some of the last happiness they would know together, were so impressed with Brahms that they invited him to stay in their home for a time. Early the following year, Robert would attempt suicide and would be committed to an asylum. Brahms, by then close to both Robert and Clara, would hurry to provide help and support to Clara and the Schumann children, beginning a complex relationship with her that still has historians wondering about it today.

It was during this time that Brahms began his Piano Concerto No. 1, although he did not yet understand that he was writing a concerto. The piece began as a duet for two pianos, which he and Clara played quite frequently. Thinking it needed more power and color than two pianos could provide, he decided to turn it into his first symphony. But haunted by Robert’s words about being Beethoven’s successor, he decided he was not ready to write a symphony and turned the piece into a piano concerto, completing it in 1858. The 1859 premiere, with a 25-yearold Brahms at the piano, received a dismal reception at its first two performances. The third performance, with a different soloist and some adjustments to the music, was a success. The piece is still viewed and heard with awe today.

The mercurial first movement opens with big, bold sounds, moving to some espressivo writing before resuming the force of the opening. The second movement, which he wrote was a “gentle portrait” of Clara, could hardly be more of a contrast to the first movement in character and sound. Many musicologists see ties between the character-filled third movement and the finale of Beethoven’s Piano Concerto No. 3.

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IGOR STRAVINSKY

Born 17 June 1882; Saint Petersburg, Russia Died 6 April 1971; New York City, United States

Petrushka (1947 revision)

First performance: 13 June 1911; Paris, France (original premiere) Last MSO performance: 1 March 2014; Edo de Waart, conductor Instrumentation: 3 flutes (3rd doubling on piccolo); 2 oboes; English horn; 3 clarinets (3rd doubling on bass clarinet); 2 bassoons; contrabassoon; 4 horns; 3 trumpets; 3 trombones; tuba; timpani; percussion (bass drum, bass drum with attached cymbals, cymbals, snare drum, suspended cymbals, tam tam, tambourine, triangle, xylophone); harp; celeste; piano; strings Approximate duration: 34 minutes Hearing the music of Russian composer Igor Stravinsky, it can be a little difficult to remember that he was once a student of Rimsky-Korsakov and that he admired Tchaikovsky quite deeply.

It seems rather a long road from those two composers to the infamous melee at the 1913 premiere of his Le sacre du printemps (The Rite of Spring) in Paris. Stravinsky, who eventually held citizenships in France and the United States, was in Lausanne, Switzerland, in 1910, supposedly working on Le sacre du printemps, which was slated to be his next collaboration with the Parisbased Ballets Russes impresario Serge Diaghilev, when the great impresario paid him a visit to see how the ballet was coming along. One can easily imagine Diaghilev’s surprise when Stravinsky announced he had experienced a vision of his next orchestral piece and was working on that instead of the ballet. Diaghilev gave a listen to the completed portion of the piece and thought there was a ballet lurking within it. And thus, Petrushka was born.

With Petrushka, Stravinsky pushed away from the music he had studied and admired, finding his extremely unique voice. From form and use of rhythm to tonality and orchestral colors, this was the introduction of the Stravinsky we know so well today. In fact, the chord (two major chords a tritone apart) which serves as a leitmotif for the Petrushka character was new to listeners and is still known to this day as “the Petrushka chord.” The success of the ballet, with its story about a puppet that comes to life briefly before succumbing to the consequences of his love, rage, and jealousy, and its root in Russian folk music, also gave him the confidence and momentum to finish his famous/infamous Le sacre du printemps. Legendary dancer Vaslav Nijinsky, who would be featured in Le sacre du printemps a year later, danced the title role in the Petrushka premiere.

Stravinsky revisited Petrushka in 1946, making alterations to the orchestration and tempos, shaping the work for concert presentation, and expanding some of the piano part to create what is known as “the 1947 version.”

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C enter for A rts and P erformance 2023-2024 SEASON

TAKE3: WHERE ROCK MEETS BACH September 29, 2023 • 7:30 p.m.

JUKEBOX SATURDAY NIGHT October 29, 2023 • 2:30 p.m.

THE SOUL OF BROADWAY: IMPOSSIBLE DREAMS Starring Terron Brooks November 10, 2023 • 7:30 p.m.

CHRISTMAS WITH SIX APPEAL VOCAL BAND December 9, 2023 • 2:30 p.m.

THE FOURTH WALL February 4, 2024 • 2:30 p.m.

PIANIST SARAH HAGEN Wonder Woman: A Celebration of Female Composers February 25, 2024 • 2:30 p.m.

SWEET SEASONS A Celebration of the Music and Life of Carole King April 7, 2024 • 2:30 p.m.

For more information, tickets, and video samples visit: WLC.EDU/GUESTARTISTSERIES

Center for Arts and Performance | Schwan Concert Hall 8815 W. Wisconsin Avenue, Milwaukee, Wisconsin Box Office: 414.443.8802 26

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VIOLENT FEMMES WITH ORCHESTRA Tuesday, October 3, 2023 at 7:30 pm ALLEN-BRADLEY HALL Ryan Tani, conductor Violent Femmes Gordon Gano, Brian Ritchie, Blaise Garza, and John Sparrow

GORDON GANO/Tim Jones Violent Femmes “Add It Up” “Confessions” “Prove My Love” “Promise” “All I Want” “Color Me Once” “To The Kill” “Gone Daddy Gone” “Look Like That” “I Held Her in my Arms” “American Music” “Kiss Off” “Please Do Not Go” “Gimme the Car” “Add It Up” Reprise

The length of this concert is approximately 2 hours. All programs are subject to change.

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

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Guest Artist Biographies

VIOLENT FEMMES 40TH ANNIVERSARY The world may look different, but every generation goes through high school—or something like it.

Back in 1983, Violent Femmes documented the boredom, the anxiety, the elation, the depression, and the wonder of the high school experience, while living it on their seminal selftitled full-length debut, Violent Femmes. Akin to other totems to growing up à la The Catcher in the Rye, this album has only proven more relevant as it’s lived through the fall of the Berlin Wall, the advent of the internet, an uneventful Y2K, a very eventful turn-of-the-century, seven presidents, and one pandemic to celebrate its 40th birthday.

So, how did these tracks make it this long?

For starters, they’re real. Frontman, singer, songwriter, and guitarist Gordon Gano chronicled life as a high schooler in Milwaukee as it was happening to him (he didn’t do so years retrospectively as a twenty-something). So, his lyrics reeked of glorious awkwardness, whether it be the headscratching confession of “I stain my sheets” on opener “Blister In The Sun” or the prick principal’s warning, “I hope you know that this will go down on your permanent record,” during “Kiss Off.” This was the ultimate report from the frontlines of the teenage experience—back when the drinking age was 18—before we got so used to such a thing in wantonly self-indulgent social media posts.

As the story goes, Gano, bassist Brian Ritiche, and drummer Victor DeLorenzo recorded at Castle Recording Studios in Lake Geneva, Wisconsin, over the course of one weekend. For as openhearted as the lyrics may be, the single-recording takes allowed for Brian’s acoustic bass to drill through Gano’s masterfully plucky riffs in a way that gives the listener the feeling that they are witnessing the cracks and grooves of Victor’s sole snare drum to rattle your brain.

The record also harbors a quirky history befitting of its unlikely legacy. Of note, their fans practically destroyed Carnegie Hall when they played there in ’86, leading to a ban for the group and every other rock band for the next 20 years!

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MILWAUKEE SYMPHONY ORCHESTRA

Guest Artist Biographies It was also the album that enshrined Violent Femmes as folk punk progenitors. The album steadily sold a million copies in its first decade, going platinum in America by its 10th anniversary. Not surprising, a well-worn cassette of Violent Femmes and a dog-eared copy of The Catcher in the Rye were rites of passage for high school and college kids from coast to coast.

To date, the album has sold over 3 million copies worldwide, placements on “greatest albums of the eighties” lists by the likes of Pitchfork, a slot on the first Lollapalooza in 1991, co-headlining Big Day Out Festival with Nirvana in 1992, prevalence in Grosse Pointe Blank in 1997, and a cover of “Gone Daddy Gone” by Gnarls Barkley [Cee Lo x Danger Mouse] on their platinum St. Elsewhere in 2006. Violent Femmes has proven to be a singular cultural artifact as it continues to be the perfect companion piece to teenage angst and pubescent aspirations.

Some of Violent Femmes’s contemporaries may have shifted tens of millions of units, received constant rotation on MTV, picked up Grammy Awards, and sold more shirts at Hot Topic, but few (if any) made an album as prescient, potent, and powerful from top-to-bottom as Violent Femmes. The master recordings may have been lost for over three decades, but the band will play it once again in its entirety on tour in 2023.

If you haven’t seen them since high school or college, bring your kids and their friends, because Violent Femmes are just as daring, dangerous, and dynamic as ever. You know high school still sucks, but Violent Femmes rule.

—Rick Florino, February 2023

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MILWAUKEE DEBUT

The Complete Brahms Piano Trios •• FRIDAY, FRIDAY, OCTOBER OCTOBER 13 13 AT AT 8PM 8PM ••

• PRE-PERFORMANCE TALK WITH THE ARTISTS AT 7PM •

“the trio’s playing is impeccably elegant, earmarked by unmannered musicianship and sui generis stylistic versatility.”

— All About the Art

Use code WCMERZ for reduced tickets – $40/main floor, $34/balcony Ticket cost includes fees and taxes. the Box OfficeORCHESTRA 262-781-9520 or buy online at www.wilson-center.com 30 Call MILWAUKEE SYMPHONY

GERSHWIN CELEBRATION WITH MARCUS ROBERTS TRIO

Friday, October 6, 2023 at 7:30 pm Saturday, October 7, 2023 at 7:30 pm Sunday, October 8, 2023 at 2:30 pm

ALLEN-BRADLEY HALL John Morris Russell, conductor Tatiana “LadyMay” Mayfield, vocalist Marcus Roberts Trio Marcus Roberts, piano Roland Guerin, bass Jason Marsalis, percussion

GEORGE GERSHWIN Cuban Overture GEORGE GERSHWIN/arr. Nelson Riddle Vocal Set with Tatiana Mayfield

“‘S Wonderful”

“The Man I Love”

“Fascinating Rhythm”

Tatiana Mayfield, vocalist GEORGE GERSHWIN/arr. Sol Berkowitz “Promenade - Walking the Dog” from The Real McCoy GEORGE GERSHWIN/arr. R.R. Bennett Porgy and Bess, A Symphonic Picture

INTERMISSION

PROGRAM CONTINUED ON PAGE 34

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GEORGE GERSHWIN/arr. Don Rose Girl Crazy Overture GEORGE GERSHWIN/arr. Marcus Roberts Trio Rhapsody in Blue

Marcus Roberts, piano

Roland Guerin, bass

Jason Marsalis, percussion

This weekend’s media sponsor is WISCONSIN PUBLIC RADIO. The length of this concert is approximately 2 hours. All programs are subject to change.

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

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Guest Artist Biographies JOHN MORRIS RUSSELL A master of American musical style, John Morris Russell has devoted himself to redefining the American orchestral experience. In his 13th season as conductor of the Cincinnati Pops Orchestra, the wide range and diversity of his work as a conductor, collaborator, and educator continues to reinvigorate the musical scene throughout Cincinnati and across the continent. As music director of the Hilton Head Symphony Orchestra in South Carolina, Russell leads the classical subscription series as well as the prestigious Hilton Head International Piano Competition. In his ninth season as principal pops conductor of the Buffalo Philharmonic, Russell has also worked as a guest conductor with many of the most distinguished orchestras in North America.

With the Cincinnati Pops, Russell leads performances at historic Music Hall, concerts throughout the region, as well as domestic and international tours — including Florida in 2014 and China/ Taiwan in 2017. His visionary leadership at The Pops created the “American Originals Project” which has garnered both critical and popular acclaim in two landmark recordings: American Originals (the music of Stephen Foster) and American Originals 1918 (a tribute to the dawn of the jazz age) for which he was awarded a Grammy nomination for “Best Classical Compendium.”

In 2020, the American Originals Project continued with King Records and the Cincinnati Sound with Late Night with David Letterman musical director Paul Shaffer, celebrating the beginnings of bluegrass, country, rockabilly, soul, and funk immortalized in recordings produced in the Queen City. Russell is also instrumental in the continuing development of the Cincinnati Symphony Orchestra’s wildly successful Classical Roots initiative, which he helped create nearly two decades ago to celebrate African American musical traditions.

The Hilton Head Symphony Orchestra has enjoyed unprecedented artistic growth under John Morris Russell’s leadership since 2011; concert attendance has blossomed and the orchestra has doubled its number of concerts.

Russell earned degrees from the University of Southern California, Los Angeles, and Williams College in Massachusetts and has studied at the Guildhall School of Music and Drama in London, the Cleveland Institute of Music, the Aspen Music Festival in Colorado, and the Pierre Monteux School for Conductors in Hancock, Maine.

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Guest Artist Biographies TATIANA “LADYMAY” MAYFIELD Tatiana “LadyMay” Mayfield is a jazz/soul vocalist, musician, composer, and educator from Fort Worth, Texas. LadyMay has performed in various venues and festivals throughout the U.S. and abroad, which have earned her rave reviews from listeners and musicians in addition to numerous awards. In 2023, LadyMay was named as an awardee for the “Next Jazz Legacy” program created

by NEA Jazz Master Terri Lyne Carrington in partnership with the Berklee Institute of Jazz and Gender Justice and New Music USA with funding from the Mellon Foundation. Through this program, she will be mentored by pianist/vocalist/composer Patrice Rushen and jazz/soul harpist/composer Brandee Younger. Other highlights of her career include performing with the legendary Cincinnati Pops Orchestra, having a number one song on the UK Soul Chart, performing and teaching in Zhuhai, China, and being the first woman and African American person to receive a Master of Music in jazz composition from the University of Texas in Arlington. LadyMay has recorded three albums, From All Directions (2009), A Portrait Of LadyMay (2012), and The Next Chapter (2018). She has also provided vocals in various styles for several artists’ albums, television shows, and films. As an educator, Mayfield will join the faculty in the Lamont School of Music at the University of Denver in Denver, Colorado, as the assistant professor of contemporary popular music in the fall of 2023.

She has also taught at the University of Texas at Arlington (Arlington, TX), University of North Texas (Denton, TX), and Dallas College-Cedar Valley Campus (Lancaster, TX).

MARCUS ROBERTS Pianist Marcus Roberts is known throughout the world for his many contributions to the field of jazz music and his commitment to integrating jazz and classical music to create something wholly new. Roberts has been often hailed as “the genius of the modern piano.” He grew up in Jacksonville, Florida, where his mother’s gospel singing became the foundation for his musical style. He had his first piano lessons at the Florida School for the Deaf and Blind and studied classical piano at Florida State University. His life and work have been featured on the CBS television show 60 Minutes.

Roberts’s critically-acclaimed legacy of recorded music reflects his tremendous artistic versatility and his unique approach to jazz performance. In addition to his renown as a performer, Roberts is an accomplished composer and arranger. He has had numerous commissions, including his most recent piano concerto, commissioned by the great Seiji Ozawa and the Saito Kinen Orchestra. Roberts has performed his groundbreaking arrangement of Rhapsody in Blue countless times over the past 25 years and each version is completely different.

Roberts holds several honorary doctoral degrees and is a professor of music at Florida State University and a distinguished professor of music at Bard College.

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Guest Artist Biographies ROLAND GUERIN Roland Guerin is influenced by a wide range of musical styles, from jazz and blues to American folk and zydeco. His playing has a strong country groove with a relaxed feeling of swing. Guerin’s extensive recorded legacy includes several recordings of his own work as well as numerous recordings with other artists, including Marcus Roberts’s Grammy-nominated Portraits in Blue and the Blind Boys of Alabama’s Grammy-winning Down in New Orleans.

JASON MARSALIS Jason Marsalis has held the drum chair in the Marcus Roberts Trio for more than 25 years and is a founding member of Roberts’s Modern Jazz Generation band. Marsalis is widely regarded as one of the greatest drummers of his generation. His musical intellect and technical skill combined with a brilliant thematic, groove-based drum style has been a critical part of the sound and philosophy of Marcus Roberts’s bands for many years.

SHOW YOUR SUPPORT FOR YOUR MILWAUKEE SYMPHONY ORCHESTRA BY JOINING SYMPHONY FRIENDS TODAY. As a Friend, you belong to a group of nearly 2,000 Annual Fund contributors who sustain the MSO’s tradition of musical excellence. You also receive special benefits to enhance your MSO experience at the Bradley Symphony Center.

JOIN SYMPHONY FRIENDS TODAY! Contact Annual Fund Manager Emma Zei at 414.226.7833 or zeie@mso.org.

mso.org/donate MILWAUKEE SYMPHONY ORCHESTRA

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JOSEFOWICZ & BOLÉRO

Friday, October 20, 2023 at 11:15 am Saturday, October 21, 2023 at 7:30 pm Sunday, October 22, 2023 at 2:30 pm ALLEN-BRADLEY HALL Matthias Pintscher, conductor Leila Josefowicz, violin CLAUDE DEBUSSY Prélude à l’après-midi d’un faune [Prelude to the Afternoon of a Faun] MATTHIAS PINTSCHER Assonanza

Leila Josefowicz, violin

INTERMISSION

CLAUDE DEBUSSY “Ibéria,” No. 2 from Images pour orchestre

I. Par les rues et par les chemins [Through Streets and Lanes]

II. Les parfums de la nuit [The Fragrances of the Night]

III. Le matin d’un jour de fête [Morning of a Feast-Day] MAURICE RAVEL Boléro

The 2023.24 Classics Series is presented by the UNITED PERFORMING ARTS FUND and ROCKWELL AUTOMATION. The length of this concert is approximately 1 hour and 50 minutes.

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

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Guest Artist Biographies MATTHIAS PINTSCHER Matthias Pintscher is the newly appointed music director of the Kansas City Symphony, effective from the 2024.25 season. He has just concluded a successful decade-long tenure as the music director of the Ensemble Intercontemporain, the iconic Parisian contemporary ensemble founded by Pierre Boulez and winner of the 2022 Polar Prize. During his stewardship, Pintscher led this most adventurous institution in the creation of dozens of world premieres by cutting edge composers from all over the world and took the ensemble on tours around the globe – to Asia and North America, and throughout Europe to all the major festivals and concert halls.

The 2023.24 season will be Pintscher’s fourth year as creative partner at the Cincinnati Symphony, where he will conduct a new work by inti figgis-vizueta, as well as an immersive video-concert of Olivier Messiaen’s Des canyons aux étoiles. He will also tour with the Junge Deutsche Philharmonie where he is artist in residence. As guest conductor, he returns to the RAI Milano Musica, Orchestre de Chambre de Paris, NDR Hamburg, Indianapolis Symphony, Milwaukee Symphony, Barcelona Symphony, Lahti Symphony, Deutsche Kammerphilharmonie Bremen, La Scala, and Berlin’s Boulez Ensemble. Pintscher has conducted several opera productions for the Berliner Staatsoper, Wiener Staatsoper, and the Théatre du Châtelet in Paris.

He returns to the Berliner Staatsoper in 2024 for Beat Furrer’s Violetter Schnee.

Pintscher is also well known as a composer, and his works appear frequently on the programs of major symphony orchestras throughout the world. In August 2021, he was the focus of the Suntory Hall Summer Festival – a weeklong celebration of his works with the Tokyo Symphony Orchestra as well as a residency by the EIC with symphonic and chamber music performances.

His third violin concerto, Assonanza, written for Leila Josefowicz, was premiered in January 2022 with the Cincinnati Symphony.

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Guest Artist Biographies LEILA JOSEFOWICZ Leila Josefowicz’s passionate advocacy of contemporary music for the violin is reflected in her diverse programs and enthusiasm for performing new works. A favorite of living composers, Josefowicz has premiered many concertos, including those by Colin Matthews, Luca Francesconi, John Adams, and Esa-Pekka Salonen, all written specially for her.

Artist-in-residence of the Iceland Symphony Orchestra for the 2023.24 season, Josefowicz will perform Helen Grime’s Violin Concerto with Daniel Bjarnason and Bartók’s Violin Concerto No. 2 with Eva Ollikainen, as well as present a solo recital at Harpa Hall. Elsewhere, Josefowicz’s season includes engagements with Die Deutsche Kammerphilharmonie Bremen, Musikkollegium Winterthur, London Philharmonic Orchestra, and the Lahti, Milwaukee, Taipei, and Antwerp symphony orchestras. Josefowicz also presents the world premiere of Jüri Reinvere’s Concerto for Violin and Harp alongside Trina Struble and The Cleveland Orchestra, and tours Germany and Austria with Junge Deutsche Philharmonie with concerts Berlin, Vienna, and Dresden.

Josefowicz enjoyed a close working relationship with the late Oliver Knussen, performing various concerti, including his violin concerto, together over 30 times. Other premieres have included Matthias Pintscher’s Assonanza with the Cincinnati Symphony Orchestra, John Adam’s Scheherazade.2 with the New York Philharmonic, Luca Francesconi’s Duende – The Dark Notes with the Swedish Radio Symphony Orchestra and Steven Mackey’s Beautiful Passing with the BBC Philharmonic.

Together with John Novacek, with whom she has enjoyed a close collaboration since 1985, Josefowicz has performed recitals at world-renowned venues such as New York’s Zankel Hall and Park Avenue Armory, Washington DC’s Kennedy Center and Library of Congress, and London’s Wigmore Hall, as well as in Reykjavik, Trento, Bilbao, and Chicago. This season, their collaboration continues with recitals in California, appearing at Festival Mozaic, UC Santa Barbara, San Francisco Performances, and the Los Angeles Philharmonic’s Colburn Celebrity Recital series.

Josefowicz has released several recordings, notably for Deutsche Grammophon, Philips/ Universal, and Warner Classics and was featured on Touch Press’s acclaimed iPad app, The Orchestra. Her latest recording, released in 2019, features Bernd Alois Zimmermann’s Violin Concerto with Finnish Radio Symphony Orchestra conducted by Hannu Lintu. She has previously received nominations for Grammy Awards for her recordings of Scheherazade.2 with the St. Louis Symphony conducted by David Robertson, and Esa-Pekka Salonen’s Violin Concerto with Finnish Radio Symphony Orchestra conducted by the composer.

In recognition of her outstanding achievement and excellence in music, she won the 2018 Avery Fisher Prize and was awarded a prestigious MacArthur Fellowship in 2008, joining prominent scientists, writers, and musicians who have made unique contributions to contemporary life.

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Program notes by Elaine Schmidt CLAUDE DEBUSSY

Born 22 August 1862; Saint-Germain-en-Laye, France Died 25 March 1918; Paris, France

Prélude à l’après-midi d’un faune, L. 86 [Prelude to the Afternoon of a Faun] First performance: 22 December 1894; Paris, France Last MSO performance: 26 February 2017; Edo de Waart, conductor Instrumentation: 3 flutes; 2 oboes; English horn; 2 clarinets; 2 bassoons; 4 horns; crotales; 2 harps; strings Approximate duration: 10 minutes

Although the world thinks of Claude Debussy as one of the great Impressionist composers, he wanted nothing to do with that term. It came, in part, from the French artists, painters such as Claude Monet, who were more interested in capturing subtle variations in the play of light on the subjects they were painting — impressions of those sujects — than on making smooth brush strokes and perfect likenesses of their subjects. “Impressionist” was applied to Debussy’s work in a mocking review of his piece, Impression, soleil levant (Impression, Sunrise).

But today, the term is applied to French composers of Debussy’s era who employed slowly shifting harmonies and unique textures and timbres created by unusual pairings of instruments — two qualities you will hear quite clearly in his Prélude à l’après-midi d’un faun (Prelude to the Afternoon of a Faun), the symphonic poem that opens today’s concert.

Debussy’s inspiration for this piece was a poem by the same name, written by French poet and critic Stéphane Mallarmé, whose Tuesday evening soirées Debussy began attending at age 25.

Other guests at these soirées were a rather heady crowd, including Monet, the sculptor Auguste Rodin, and the writer Marcel Proust, among others. Debussy was a great fan of Mallarmé, and particularly of the epic 1876 poem for which he named this piece nearly 20 years later.

Mallarmé’s poem was a dreamy telling of the story of a faun (a mythical creature that is half man and half goat) who takes a nap in a forest, awakens, and struggles to remember the pleasant dream he had about two lovely nymphs. He is eventually lulled back to sleep by the warmth of the day and completes his dream. Mallarmé’s poem is highly sensual, yet also quite intellectual and still very ambiguous, if you can imagine that combination.

Debussy created a musical illustration of the poem, which begins with a famously free, dreamy flute solo. He said of the piece that he sought to evoke “the successive scenes in which the longings and desires of the faun pass in the heat of the afternoon.”

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MATTHIAS PINTSCHER

Born 29 January 1971; Marl, Germany

Assonanza

First performance: 28 January 2022; Cincinnati, United States Last MSO performance: MSO Premiere Instrumentation: 2 flutes (2nd doubling on piccolo); oboe (doubling on English horn); 2 clarinets; bass clarinet; bassoon; contrabassoon; 2 horns; 2 trumpets; trombone; percussion (bass drum, bongo drum, crotales, glockenspiel, guiro, log drum, marimba, metal wind chimes, sandpaper blocks, side drum, spring coil, suspended cymbals, tam tam, tubular bells, tuned gongs, vibraphone, waterphone); strings Approximate duration: 28 minutes In March 2023, German-born conductor and composer Matthias Pintscher was announced as the fifth music director of the Kansas City Symphony, with a five-year, initial term beginning with the 2024.25 season. The announcement grabbed the attention of the music world, in great part because he was offered the job after spending just a few days with the orchestra as a guest conductor — he first stepped in front of the orchestra on a Wednesday this past March and was offered the job on the following Monday.

But Pintscher wears two hats as a musician, the other as a well-respected, sought-after composer, who also teaches composition at Juilliard. When violinist Leila Josefowicz, with whom Pintscher had worked for a decade, asked Pintscher to write a violin concerto for her, he declined. He has said in interviews that he admires her and her ability to do everything entirely “in the moment,” making a fresh take on the same piece several concerts in a row, but he felt that after writing two violin concertos in a ten-year period, he simply didn’t have enough material left in him to write a third. He was also getting calls from orchestras requesting a third concerto, but he was declining those requests as well.

Then COVID-19 hit and shut down the world. Josefowicz called Pintscher and proposed that since he was sitting at home like everyone else, he could maybe write her a solo piece, which he was delighted to do, calling the project “a lifesaver.” Josefowicz live-streamed the premiere of the piece, entitled La Linea Evocative, calling Pintscher afterward and asking if he thought he now had enough material to write a concerto.

“She tricked me,” he said in an interview for the Cincinnati Symphony Orchestra, but then acknowledged that she was right. He explained that the piece is a “resonance chamber around the soloist,” so that the orchestra “forms an acoustical space that she walks through, sending out signals, colors, timbres, and gestures.” He explained that the piece gives her a great deal of spontaneity within certain parameters, which suits her in-the-moment style of playing quite well.

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CLAUDE DEBUSSY

Born 22 August 1862; Saint-Germain-en-Laye, France Died 25 March 1918; Paris, France

“Ibéria,” No. 2 from Images pour orchestre

First performance: 20 February 1910; Paris, France Last MSO performance: 6 October 2012; Olari Elts, conductor Instrumentation: 3 flutes (3rd doubling on 2nd piccolo); piccolo; 2 oboes; English horn; 3 clarinets; 3 bassoons; contrabassoon; 4 horns; 3 trumpets; 3 trombones; tuba; timpani; percussion (castanets, chimes, snare drum, tambourine, xylophone); 2 harps; celeste; strings Approximate duration: 20 minutes Claude Debussy wrote the first set of Images, a collection of three piano pieces, between 1901 and 1905. In it he used music to depict places or ideas outside the world of music, which is a textbook definition of what we call program music, or programmatic music. He wrote the second book in 1907 and told his publisher that he was writing another Images series, this time for two pianos. He worked on the third set of Images from 1905 through 1912, changing his mind about the instrumentation along the way and turning them into pieces for orchestra (Images pour orchestre).

Debussy was an extremely visual person. His writings give us an idea of how important visual art and scenic beauty were in music. He wrote, “I like pictures almost as much as music,” and believed that music “can centralize variations of color and light within a single picture — a truth generally ignored, obvious as it is,” and defined music as being “made up of colors and rhythms.”

That mindset, combined with the vividly descriptive titles of the pieces within the Images series, help to create very evocative music for listeners.

Each of the three sets of the Images series is referred to as a triptych — a term borrowed from the art world, where it refers to works of art in three panels, often hinged together. With his Images pour orchestre, Debussy gave us a triptych within a triptych by way of the three pieces included the second movement, which he titled “Ibéria” for the southern-European region of the same name, calling the set Images oubliée (Forgotten Images).

Listen to what Debussy called “the colors and rhythms” of Images pour orchestre with your imagination as much as with your ears and see where it takes you.

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MAURICE RAVEL

Born 7 March 1875; Ciboure, France Died 28 December 1937; Paris, France

Boléro

Composed: 1928 First performance: 22 November 1928; Paris, France Last MSO performance: 6 October 2019; Jun Märkl, conductor Instrumentation: 2 flutes (2nd doubling on 2nd piccolo); piccolo; 2 oboes (2nd doubling on oboe d’amore); English horn; 2 clarinets (2nd doubling on E-flat clarinet); bass clarinet; 2 bassoons; contrabassoon; 4 horns; 4 trumpets; 3 trombones; tuba; timpani; percussion (bass drum, cymbals, snare drum, tam tam); harp; celeste; sopranino saxophone; soprano saxophone; tenor saxophone; strings Approximate duration: 13 minutes Like his colleague and countryman Claude Debussy, French composer Maurice Ravel was often referred to during his career as an Impressionist composer. Ravel and Debussy, along with other “Impressionist” composers, rejected the designation. The term “Impressionist” came from the world of visual art and was a convenient crossover term for composers who were rejecting what they saw as the excesses of the Late Romantic composers in favor or slowly shifting harmonies and instrumental timbres blended to create unique “colors” of sound and shimmering effects.

Written in 1928, Boléro was one the last works Ravel completed. He wrote it to fulfill a commission from Russian dancer and actress Ida Rubenstein. She wanted an orchestration of six piano pieces by Isaac Albéniz, but the pieces had already been arranged by another composer, which put them under copyright restrictions. Ravel decided to orchestrate one of his own works instead, but then changed his mind and decided to write a new piece and to base it on the Spanish dance form known as the boléro.

Ravel was vacationing in southwestern France when he played a simple theme on the piano and asked a friend if he thought it had “an insistent quality.” Ravel explained that he was going to try and repeat the theme several times, without developing it in any way, but to gradually increasing the number of players as the piece progressed.

A much-publicized flap between Ravel and conductor Arturo Toscanini over the conductor’s tempo in a performance of Boléro, along with some very successful early performances and recordings of the piece, propelled it into popular culture. It was used in the 1934 motion picture Boléro, and in the 1979 romantic comedy 10, and was heard during the 1984 Olympics thanks to skaters Torvill and Dean. It was heard again at the torch-lighting ceremony of the 2020 Tokyo Olympics. Ironically, Ravel saw Boléro as the least important piece he had written.

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October 13, 2023 at 7:30pm October 15, 2023 at 2:30pm Uihlein Hall, Marcus Performing Arts Center

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MSO Endowment/Musical Legacy 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 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 Four 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 Terry J. Dorr and Michael Holloway Elizabeth Elser Doolittle Charitable Trust Franklyn Esenberg Principal Clarinet Chair David L. Harrison Endowment

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for Music Education Estate of Sally Hennen Karen Hung and Robert Coletti 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 Ellen & Joe Checota Donald and Judy Christl Jo Ann Corrao Lois Ellen Debbink Mary Ann Delzer Julie Doneis

MILWAUKEE SYMPHONY ORCHESTRA

Terry Dorr and Michael Holloway Donn Dresselhuys Beth and Ted Durant Rosemarie Eierman Franklyn Esenberg John and Sue Esser JoAnn 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 Dr. and Mrs. Samuel Hoke Glenda Holm Jean and Charles Holmburg Karen Hung and Robert Coletti 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 Steven and Mary Rose Marinkovich Ms. Kathleen Marquardt JoAnne Matchette Rita T. and James C. McDonald Patricia and James McGavock Nancy McGiveran

Musical Legacy/Annual Fund 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 Ms. Monica D. Reida 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 and Kathleen Scholler Charitable Fund James Schultz and Donna Menzer Mason Sherwood and Mark Franke Margles Singleton Lois Bernard and William Small Dale and Allison Smith Susan G. Stein John Stewig and Richard Bradley Dr. Robert A. and Kathleen Sullo Terry Burko and David Taggart 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 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 August 30, 2023.

CONDUCTOR CIRCLE $100,000 and above Ellen & Joe Checota Mr. and Mrs. George C. Kaiser Donald and JoAnne Krause Marty Krebs Sheldon and Marianne Lubar Charitable Fund of the Lubar Family Foundation Michael Schmitz Julia and David Uihlein $50,000 and above Laura and Mike Arnow Anthony and Vicki Cecalupo Drs. Alan and Carol Pohl Mr. and Mrs. Donald S. Wilson $25,000 and above One Anonymous Donor Elaine Burke Bobbi and Jim Caraway Mr. and Mrs. Franklyn Esenberg Mrs. Susan G. Gebhardt Doug and Jane Hagerman Judy and Gary Jorgensen Judith A. Keyes Robert and Gail Korb Dr. Brent and Susan Martin Drs. George and Christine Sosnovsky Charitable Trust Drs. Robert Taylor and Janice McFarland Taylor Thora Vervoren $15,000 and above Two Anonymous Donors Dr. Rita Bakalars Marilyn and John Breidster Mary and Terry Briscoe Mary and James Connelly Dr. Deborah and Jeff Costakos Mrs. Alyce Coyne Katayama Barbara and Harry L. Drake George E. Forish, Jr. Roberta Gordon Drs. Carla and Robert Hay Jewish Community Foundation Eileen and Howard Dubner Donor Advised Fund Charles and Barbara Lund Maureen McCabe William and Marian Nasgovitz Paul Nausieda and Evonne Winston Lois and Richard Pauls Pat Rieselbach Allison M. and Dale R. Smith

John Stewig and Richard Bradley Susi and Dick Stoll Mr. and Mrs. Thomas R. Tiffany Haruki Toyama $10,000 and above Four Anonymous Donors Keith and Kate Brewer Ara and Valerie Cherchian Jennifer Dirks Bruce T. Faure M.D. Mary Lou M. Findley Greater Milwaukee Foundation Bernard J. and Marie E. Weiss Fund Judith J. Goetz Kim and Nancy Graff Stephanie and Steve Hancock Katherine Hauser Ms. Charlotte Hayslett Mr. and Mrs. Eric E. Hobbs Dr. and Mrs. Samuel Hoke Barbara Karol Christine Krueger Geraldine Lash Mr. Peter L. Mahler Keith Mardak and Mary Vandenberg Mark and Donna Metzendorf Dr. Mary Ellen Mitchanis Christian and Kate Mitchell Bob and Barbara Monnat Patrick and Mary Murphy Andy Nunemaker Brian and Maura Packham Julie Peay Leslie and Aaron Plamann Christine Radiske and Herbert Quigley Lynn and Craig Schmutzer Brian M. Schwellinger Sara and Jay Schwister Nancy and Greg Smith Tracy S. Wang, MD Diana J. Wood Herbert Zien and Elizabeth Levins PRINCIPAL CIRCLE $5,000 and above Five Anonymous Donors Fred and Kay Austermann Thomas Bagwell and Michelle Hiebert Robert Balderson Clair and Mary Baum Donna and Donald Baumgartner Natalie Beckwith Lois Bernard William and Barbara Boles Suzy and John Brennan Roger Byhardt Chris and Katie Callen Donald and Judy Christl Sandra and Russell Dagon Karen Dobbs and Chris DeNardis Mrs. William T. Dicus Joanne Doehler Beth and Ted Durant Dr. Eric Durant and Scott Swickard Jacquelyn and Dalibor Drummer Dr. and Mrs. Harry A. Easom

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Annual Fund Elizabeth and Herodotos Ellinas Dr. Donald Feinsilver and Jo Ann Corrao Paul and Connie Flagg Stan and Janet Fox Elizabeth and William Genne Richard and Ellen Glaisner Alison Graf and Richard Schreiner Margarete and David Harvey James and Crystal Hegge Ms. Mary E. Henke Mark and Judy Hibbard Lee and Barbara Jacobi Leon and Betsy Janssen Jayne J. Jordan Anthony and Susan Krausen Alysandra and David Lal Peter and Kathleen Lillegren Wayne and Kristine Lueders Gerald and Elaine Mainman Dr. Ann H. and Mr. Michael J. McDonald Genie and David Meissner Mr. and Mrs. George Meyer Judith Fitzgerald Miller William J. Murgas Mr. and Ms. Bruce Myers Mark Niehaus Barbara and Layton Olsen Elaine Pagedas Ellen Rohwer Pappas and Timothy Pappas Sharon R. Petrie Dr. and Mrs. Richard A. Pierce-Ruhland Jim and Fran Proulx Jerome Randall and Mary Hauser Dr. Donna Recht and Dr. Robert Newby Dr. Marcia J.S. Richards Steve and Fran Richman Pat and David Rierson Roger Ritzow Dr. Thomas and Mary Roberts Gayle G. Rosemann and Paul E. McElwee Richard Eli Schoen Mr. Thomas P. Schweda Carlton Stansbury Loretto and Dick Steinmetz Jim Strey Kathleen and Frank Thometz John and Karen Tomashek Mrs. James Urdan Gary and Cynthia Vasques Jim Ward Nora and Jude Werra Jessica R. Wirth $3,500 and above Two Anonymous Donors Dr. Philip and the spirit of Beatrice Blank Virginia Bolger Professor David and Diane Buck Mr. David E. Cadle Ms. Nancy A. Desjardins Stephen and Bernadine Graff Virginia Hall Judith and David Hecker Drs. Margie Boyles and Stephen Hinkle Barbara Hunt

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David and Mel Johnson Olof Jonsdottir and Thorsteinn Skulason Dr. and Mrs. Kim Benedict and Lee Kordus Calvin and Lynn Kozlowski Stanley Kritzik Norm and Judy Lasca Dr. Joseph and Amy Leung Rusti and Steve Moffic Christopher Mullins and Kay Bokowy Mr. and Mrs. Joel Needlman Dr. and Mrs. R. Nikolaus Schmidt Elaine Schueler James Schultz and Donna Menzer Roger and Judy Smith Sue and Boo Smith James and Catherine Startt Ian and Ellen Szczygielski Gile and Linda Tojek Corinthia Van Orsdol and Donald Petersen Mr. and Mrs. Francis Wasielewski Janet Wilgus Wilfred Wollner Carol and Richard Wythes Sandra Zingler Leo Zoeller ORCHESTRA CIRCLE $2,500 and above Marlene and Bert Bilsky Scott Bolens and Elizabeth Forman Jean Britt Mr. and Mrs. Stephen L. Chernof Jack Douthitt and Michelle Zimmer Jo Ann and Dale Frederickson Kurt and Rosemary Glaisner Natalia and Patrick Goris Jean and Thomas Harbeck Family Foundation Robert Hey Mr. and Mrs. Bernard C. Hlavac Charles and Jean Holmburg Howard and Susan Hopwood Deane and Vicky Jaeger Jewish Community Foundation Dorothy and Merton Rotter Donor Advised Fund Matthew and Kathryn Kamm Megumi Kanda Hemann and Dietrich Hemann Lynn and Tom Kassouf Kolaga Family Charitable Trust Jane and Tom Lacy Mary E. Lacy Frank Loo and Sally Long Dr. and Mrs. Debesh Mazumdar Mark and Carol Mitchell William and Laverne Mueller Jamshed and Deborah Patel Raymond and Janice Perry David J. Peterson Kathryn Koenen Potos Susan Riedel Ann Rosenthal and Benson Massey Dottie Rotter

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Judy and Tom Schmid Rev. Doug and Marilyn Schoen Ms. Betty Jean Schuett Paul and Frances Seifert Greg and Marybeth Shuppe Mrs. George R. Slater Dr. and Mrs. C. John Snyder John and Anne Thomas Nancy Vrabec and Alastair Boake Larry and Adrienne Waters Ann and Joseph Wenzler Floyd Woldt Jim and Sandy Wrangell $1,500 and above Six Anonymous Donors Donald and Jantina Adriano Ruth Agrusa Dr. Joan Arvedson Richard and Sara Aster Paul Barkhaus Margaret and Bruce Barr Jacqlynn Behnke Richard Bergman Elliot and Karen Berman Roger Bialcik Dr. and Mrs. Squat Botley Cheri and Tom Briscoe Marcia P. Brooks and Edward J. Hammond James Brown and Ann Brophy Karen and Harry Carlson Teri Carpenter Tim and Kathleen Carr Edith Christian Mr. and Mrs. Thomas F. Christie Lynda and Tom Curl Larry and Eileen Dean Paul Dekker Mr. and Mrs. Thomas Dougherty Sigrid Dynek and Barry Axelrood Donald Elliott Signe and Gerald Emmerich, Jr. Shirley Erwin Joseph and Joan Fall Robert and Kristin Fewel Mr. and Mrs. A. William Finke Robert Gardenier and Lori Morse Gardenier Kimberly Gerber Jane K. Gertler Colette Goldammer Ralph and Cherie Gorenstein James and Sarah Gramentine Mr. and Mrs. James Grigg Greater Milwaukee Foundation Leesley B. and Joan J. Hardy Donna and Tony Meyer Fund Randall J. and Judith F. Hake Family Foundation Amber Halvorson Leila and Joe Hanson Terry Huebner Barbara Hunteman Robert S. Jakubiak Maja Jurisic and Don Fraker Dr. Bruce and Anna Kaufman Dr. Jack and Myrna Kaufman

Annual Fund/Corporate & Foundation Brian and Mary Lou Kennedy Mr. and Mrs. F. Michael Kluiber Julilly Kohler Milton and Carol Kuyers Maritza and Mario Laguna Larry and Mary LeBlanc Mr. and Mrs. Mark Levy Bruce and Elizabeth Loder Kathleen Lovelace Stephen and Jane Lukowicz Dr. John and Kristie Malone Guy and Mary Jo McDonald Mr. and Mrs. Dean Mehlberg Gregory and Susan Milleville Richard and Isabel Muirhead Jean A. Novy Laurie Ocepek Lynn and Lawrence Olsen Susan M. Otto Dr. and Mrs. James T. Paloucek Gerald T. and Carol K. Petersen Cathy P. Procton Francis J. Randall Philip Reifenberg Drs. Walter and Lisa Rich Lysbeth and James Reiskytl Dr. and Mrs. David Y. Rosenzweig Mr. Thomas Schneider Lawrence and Katherine Schnuck Kristin Shebesta Dr. and Mrs. Kevin R. Siebenlist Margles Singleton Richard and Sheryl Smith Leonard Sobczak Joan Spector Kathy and Salvatore Spicuzza Mr. James Stanke Joan Thompson Mr. Stephen Thompson Sara Toenes Drs. Steven and Denise Trinkl Mike and Peg Uihlein Mr. and Mrs. Lynn F. Unkefer James Van Ess Michael Walton Robert and Lana Wiese Rolland and Sharon Wilson Prati and Norm Wojtal Lee and Carol Wolcott Mr. William Zeidler $1,000 and above Three Anonymous Donors Drs. Helmut and Sandra Ammon Sue and Louie Andrew Betty Arndt James and Nora Barry Mr. James M. Baumgartner Jack Beatty Mr. and Mrs. Ronald Beckman Dianne and David Benner Mrs. Kristine Best Mr. Lawrence Bialcik Karen and Geoffrey Bilda Lynn and John Binder Robert Borch and Linda Wickstrom Lois and Robert Brazner Dr. and Mrs. James D. Buck

Barbara and Dr. Henry Burko Tom Buthod Ms. Trish Calvy Ms. Margaret R. Cary David and Oksana Carlson Ms. Carol A. Carpenter Dr. Curtis and Jean Carter Mr. and Mrs. Richard J. Cecil B. Lauren and Margaret Charous Margaret Cieslak-Etlicher Ellen Debbink Mrs. Linda DeBruin Ms. Kristine Demski Thomas C. Dill Madison Dohmen Gloria and Peter Drenzek Mary Ann Dude Tom Durkin and Joan Robotham Tina Eickermann Jill and George Fahr Barbara and Richard Frank Anne and Dean Fitzgerald Gerald Gensch and Ellen Conley Pearl Mary Goetsch Greater Milwaukee Foundation Dresselhuys Family Fund Jay Kay Foundation Fund Douglas and Margaret Ann Haag Karleen Haberichter Dale and Sara Harmelink Charles W. Helscher Jean and John Henderson Jenny and Bob Hillis Jeanne and Conrad Holling Laura and James Holtz Mr. and Mrs. James H. Hunter III Kathryn and Alan Janicek Amy S. Jensen Faith L. Johnson Rose and Dale Kaser Robert and Dorothy King Joseph W. Kmoch Julie and Michael Koss Dr. and Mrs. John Krezoski Katherine and Ian Lambert David and Deborah Lenz Matt and Patty Linn Ann Loder Richard and Roberta London Stephen and Judy Maersch Mr. Peter Mamerow Dr. Daniel and Constance McCarty Jennifer McClure Joni and Joe McDevitt Theodore and Kelsey Perlick Molinari Christine Mortensen David and Gail Nelson Douglas E. Peterson William and Cynthia Prost Mr. and Thomas Quadracci Seth Rawson Werner and Carol Richheimer Dan and Anna Robbins Kevin Ronnie and Karen Campbell Allen and Millie Salomon Keri Sarajian and Rick Stratton Wilbert and Genevieve Schauer

Foundation Mark and Deborah Schwallie Bob and Sally Schwarz Fred and Ruth Schwertfeger Scott Silet Susan Skudlarczyk Mr. Reeves E. Smith Ken and Dee Stein Bonnie L. Steindorf Sally Swetnam David Taggart and Terry Burko Rebecca and Robert Tenges Tim and Bonnie Tesch Dean and Katherine Thome Jacquelyn and Way Thompson Mr. and Mrs. James S. Tidey Constance U’Ren Ruth A. Way Henry J. Wellner and James Cook Jerome and Bonnie Welz Robert and Barbara Whealon A. James White Linda and Dan Wilhelms Ron and Alice Winkler Frank and Inge Wintersberger Melinda and Thomas Wolf Daryl and Bonnie Wunrow Gertrude and Richard Zauner CORPORATE & 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 United Performing Arts Fund $250,000 and above Argosy Foundation The Lynde and Harry Bradley Foundation Laskin Family Foundation $100,000 and above Herzfeld Foundation Rockwell Automation We Energies Foundation $50,000 and above Bader Philanthropies, Inc. Greater Milwaukee Foundation Milwaukee Symphony Orchestra Fund Melitta S. and Joan M. Pick Charitable Trust $25,000 and above Anonymous Chase Family Foundation Greater Milwaukee Foundation Gertrude Elser and John Edward Schroeder Fund Helen and Jeanette Oberndorfer

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Corporate & Foundation/Matching Gifts/Tributes Fund Norman and Lucy Cohn Family Fund Johnson Controls Krause Family Foundation Milwaukee County Arts Fund (CAMPAC) Old National Bank R.D. and Linda Peters Foundation Schoenleber Foundation, Inc. Wisconsin Department of Tourism $15,000 and above A.O. Smith Foundation, Inc. Bert L. & Patricia S. Steigleder Charitable Trust Frank L. Weyenberg Charitable Trust Komatsu Mining Corp Foundation National Endowment for the Arts U.S. Bank Wisconsin Arts Board $10,000 and above Brewers Community Foundation Charles D. Ortgiesen Foundation The Cudahy Foundation Greater Milwaukee Foundation David C. Scott Foundation William A. and Mary M Bonfield, Jr. Fund Ellsworth Corporation General Mills Foundation Jane Bradley Pettit Foundation Northwestern Mutual Ralph Evinrude Foundation William and Janice Godfrey Family Foundation Wispact Foundation $5,000 and above ANON Charitable Trust Brico Fund Frieda and William Hunt Memorial Gene and Ruth Posner Foundation, Inc. Greater Milwaukee Foundation Roxy and Bud Heyse Fund/Journal Fund Julian Family Foundation Milwaukee Arts Board Rite-Hite Corporate Foundation Schwartz Foundation $2,500 and above Camille A. Lonstorf Trust Dean Family Foundation Greater Milwaukee Foundation ELM II Fund Henry C., Eva M., Robert H. and Jack J. Gillo Charitable Fund Margaret Heminway Wells Fund Hamparian Family Foundation Hydrite Chemical Co. Richard G. Jacobus Family Foundation Theodore W. Batterman Family Foundation $1,000 and above Albert J. & Flora H. Ellinger Foundation Anthony Petullo Foundation, Inc. Clare M. Peters Charitable Trust

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Delta Dental Einhorn Family Foundation Greater Milwaukee Foundation Cottrell Balding Fund Del Chambers Fund Eleanor N. Wilson Fund George and Christine Sosnovsky Fund Irene Edelstein Memorial Fund Mildred L. Roehr & Herbert W. Roehr Fund Joan and Fred Brengel Family Foundation, Inc. Townsend Foundation Usinger Foundation $500 and above Anonymous Bell Foundation Greater Milwaukee Foundation Carrie Taylor & Nettie Taylor Robinson Memorial Fund Nancy E. Hack Fund Robert C. Archer Designated Fund Loyal D. Grinker Steinway Piano Gallery of Milwaukee MATCHING GIFTS The Milwaukee Symphony Orchestra gratefully acknowledges the following corporations and foundations who match their employees’ contributions to the Annual Fund.

Abbott Laboratories Aurora Health Care Benevity Community Impact Fund BMO Harris Bank Bucyrus Foundation, Inc. Carrier Matching Gift Program Caterpillar Foundation Dominion Foundation Eaton Corporation GE Foundation Give Lively Google Humana Johnson Controls Foundation Kohl’s Corp.

Northwestern Mutual Reader’s Digest Foundation Ross Gives Back Stifel Thrivent Financial The Travelers Insurance Co. U.S. Bank United Way of Greater Milwaukee and Waukesha County Wisconsin Energy Corporation

The Capital Grille Central Standard Craft Distillery Downer Avenue Wine & Spirits Drury Hotels Encore Playbills GO Riteway Transportation Group Godfrey & Kahn, S.C. Hilton Milwaukee City Center and Milwaukee ChopHouse Kohler Co. Marcus Hotels & Resorts Marcus Corporation Ogletree Deakins Saint Kate – The Arts Hotel – Official Hotel of the MSO Darwin Sanders Sojourner Family Peace Center Steinway Piano Gallery of Milwaukee Studio Gear – Official Event Partner of the MSO Thomas and Mary Wacker THE MARQUEE CIRCLE The Milwaukee Symphony Orchestra proudly partners with the following members of the 2022.23 Marquee Circle.

We thank these generous partners of our annual corporate subscription program for their charitable contributions and for connecting their corporate communities with the MSO. Ellsworth Corporation Hupy and Abraham, S.C. Port Washington State Bank Walker Forge, Inc. TRIBUTES In honor of Laura and Michael Arnow’s wedding anniversary Kathleen D. Ryan In memory of J. Mark Baker Laura Petrie Anderson Juliana Fortune Mr. Jim Gettel Kathleen and Charles Marn Milwaukee Chamber Choir In memory of Dennis and Barbara Benjamin Marie Zelmer In honor of Warren and Wendy Blumenthal’s 50th wedding anniversary Laurie Schweizer

GOLDEN NOTE PARTNERS

In honor of Joe and Ellen Checota, and, Andy Nunemaker and Lee Weeks James Stadler

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

In memory of Reverend Michael Joseph Hammer David L. Harrison, Jr.

Becker Design Belle Fiori – Official Event Florist of the MSO Patrice Bringe

In memory of Thomas Hausman Jane Hausman and William G. Finley

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Tributes In memory of Nancy and Arthur Laskin Joan J. Hardy In memory of Dr. Keith Austin Larson Austin Larson Rev. Curtis A. Larson Suzanne Zinsel In honor of Robert Meldman Drs. Alan and Carol Pohl In memory of Helen Oberkirsch Francine Cervasio In memory of Mary G. Peterson David J. Peterson Gretchen Saunders In memory of David Reber James and Charmaine LaBelle Gretchen Saunders Marie and Gary Zellmer In memory of I. Carl Romer Beulah Romer Erickson

In memory of Michael C. Schnier Pamela Mueller Julie Hartman Mike Park

In memory of Anne T. White A. James White

In honor of Bob Schuppel Sarah Cauwels In memory of Lynne Soto Paul Trotter In memory of Betty Stasson Barbara and Dr. Henry Burko In memory of Edie Bonness Tomsyck Kamaile Anderwald Beth Bonness Maureen Bonness Timothy Dykstal Patty Giuffre Mrs. Robert Gross Chris Lambach Robert Mueller Guy Tomsyck

In memory of Elaine Saller Theresa Klug

In honor of Fischer & Catherine Van Handel Ellen Hruzek

In memory of John Sawchuk Daniel Sawchuk

In honor of Tom Varney Stanley Kokotiuk

In memory of Debra Schaefer Karen Copper

In memory of Gerald Wetter Deborah and Gerald Wetter

In honor of Patrick Schley Imogene Schley

In honor of Peter Wicklund and Ruby Shemanski Ms. Linda Jenewein

Name a seat in Allen-Bradley Hall at the Bradley Symphony Center to memorialize your contribution, celebrate a loved one, give a unique gift, or honor a memory. Your gift will serve as a visible, lasting way to show your support of the

Leave

Milwaukee Symphony Orchestra.

Your Legacy w Name a Seat x

Visit mso.org/seat_sponsorship to learn more, or contact the MSO Advancement department: 414.226.7891 | donations@mso.org

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MSO Board of Directors OFFICERS Susan Martin, Chair Andy Nunemaker, Immediate Past Chair David Uihlein, Honorary Co-Chair Julia Uihlein, Honorary Co-Chair Gregory Smith, Secretary; Chair, Governance Committee Patrick Murphy, Treasurer; Chair, Finance Committee EX OFFICIO DIRECTORS Douglas M. Hagerman, Chair, Chairman’s Council Ken-David Masur, Music Director, Polly and Bill Van Dyke Music Director Chair Mark Niehaus, President & Executive Director, Michael and Jeanne Schmitz Chair EXECUTIVE COMMITTEE Susan Martin, Chair Andy Nunemaker, Immediate Past Chair Douglas M. Hagerman Chair, Chair’s Council Eric E. Hobbs Robert Klieger, Chair, Players’ Council 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 Michael J. Schmitz Gregory Smith, Secretary; Chair, Governance Committee Dick Stoll Haruki Toyama, Chair, Artistic Direction Committee ELECTED DIRECTORS Kate Brewer Jeff Costakos Jennifer Dirks Steve Hancock, Chair, Education Committee Charlotte Hayslett Alyce Coyne Katayama

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Peter Mahler, Chair, Grand Future Committee Mark A. Metzendorf, Chair, Advancement Committee Christian Mitchell Robert B. Monnat Leslie Plamann, Chair, Audit Committee Craig A. Schmutzer Jay E. Schwister, Chair, Retirement Plan Committee Dale R. Smith Pam Stampen Herb Zien, Chair, Facilities Management Committee DESIGNATED DIRECTORS City Sachin Chheda Pegge Sytkowski, Chair, Marketing & Advocacy Committee Francis Wasielewski County Fiesha Lynn Bell Chris Layden Garren Randolph MUSICIAN DIRECTORS Robert Klieger, Chair, Players’ Council Ilana Setapen, Player-at-Large CHAIR’S COUNCIL Douglas M. Hagerman, Chair Chris Abele Richard S. Bibler Charles Boyle Roberta Caraway M. Judith Christl Mary Connelly Donn R. Dresselhuys Eileen G. Dubner Franklyn Esenberg Marta P. Haas Jean Holmburg Barbara Hunt Leon P. Janssen Judy Jorgensen James A. Kasch Lee Walther Kordus Michael J. Koss JoAnne Krause Martin J. Krebs Keith Mardak

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James G. Rasche Stephen E. Richman Michael J. Schmitz, Immediate Past Chair Joan Steele Stein Linda Tojek Joan R. Urdan Larry Waters Kathleen A. Wilson MSO ENDOWMENT & FOUNDATION TRUSTEES Bruce Laning, Trustee Chairman Amy Croen Steven Etze Douglas M. Hagerman Bartholomew Reute David Uihlein PAST CHAIRS 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) * deceased

MSO 2023.24 Administration EXECUTIVE Mark Niehaus, President & Executive Director, Michael and Jeanne Schmitz Chair Bret Dorhout, Vice President of Artistic Planning Tom Lindow, Vice President & Chief Financial Officer Monica K. Meyer, Vice President of Advancement Kathryn Reinardy, Vice President of Marketing & Communications Rick Snow, Vice President of Facilities & Building Operations Terrell Pierce, Vice President of Orchestra Operations Marquita Edwards, Director of Community Engagement Cynthia Moore, Human Resources, Diversity & Inclusion Manager Michele Fitzgerald, Executive Assistant & Board Liaison ADVANCEMENT Michael Rossetto, Senior Director of Advancement & Major Gifts William Loder, Director of Advancement Maggie Seer, Director of Institutional Giving Maddy Corson, Campaign Coordinator Kathryn Hausman, Individual Giving Manager, Research & Discovery Elise McArdle, Grant Writer Tracy Migon, Development Systems Manager Leah Peavler, Institutional Giving Manager Lindsey Ruenger, Donor Stewardship & Engagement Manager Emma Zei, Annual Fund Manager EDUCATION & COMMUNITY ENGAGEMENT Rebecca Whitney, Director of Education Courtney Buvid, Education Manager FINANCE Cathy O’Loughlin, Controller Jenny Beier, Senior Accountant Alexa Aldridge, Staff Accountant

BOX OFFICE Luther Gray, Director of Ticket Operations & Group Sales Al Bartosik, Box Office Manager Marie Holtyn, Box Office Supervisor Adam Klarner, Patron Services Asssistant BOX OFFICE ASSISTANTS Rora Sanders, Tifani Ziemba OPERATIONS Françoise Moquin, Director of Orchestra Personnel Kayla Aftahi, Operations Coordinator Constance Aguocha, Assistant Personnel Manager Paul Beck, Principal Librarian, Anonymous Donor, Principal Librarian Chair Matthew Geise, Assistant Librarian & Media Archivist Kelsey Padron, Artistic Coordinator Paolo Scarabel, Stage Technician & Deck Supervisor Emily Wacker Schultz, Artistic Associate Jeremy Tusz, Audio & Video Producer Tristan Wallace, Technical Manager & Live Audio Supervisor Christina Williams, Chorus Manager FACILITIES & EVENT SERVICES Patrick G. H. Schley, Director of Event Services Travis Byrd, Facilities Manager Sam Hushek, Events & Volunteer Manager Lisa Klimczak, House Manager David Kotlewski, House Manager Zed Waeltz, Senior House Manager FRONT OF HOUSE STAFF Anthony Andronczyk, Ky Catlett, Fatima Gomez, Eliana Kiltz, Roger Kocher, Klaire Maduscha, Brennan Martinez, Max McGraw, Cynthia Nord, Ashley Patin, Steve Pfisterer, Amy Rook, Anne Sempos, Michael Stebbins, Elliot White, Heather Whitmill

MARKETING Erin Kogler, Director of Communications Lizzy Cichowski, Senior Marketing Manager Adam Cohen, Patron Systems Manager David Jensen, Communications Coordinator Zachary-John Reinardy, Lead Designer Kerry Tomaszewski, Communications Manager

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