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LAND ACKNOWLEDGMENT
As we gather in this space for these concerts, the Madison Symphony Orchestra acknowledges the Ho-Chunk Nation’s ancestral lands and celebrates the rich traditions, heritage, and culture that thrived long before our arrival. We respectfully recognize this Ho-Chunk land and a rm that we are better when we stand together.
JOHN DEMAIN
Music Director
In his 32nd and final season as Music Director of the Madison Symphony Orchestra (MSO), Grammy and Tony Awardwinning conductor John DeMain is noted for his dynamic performances on concert and opera stages throughout the world. American composer Jake Heggie assessed the conductor’s broad appeal, saying, “There’s no one like John DeMain. In my opinion, he’s one of the top conductors in the world.” In January 2023 he received a Lifetime Achievement Award from the National Opera Association, the NOA’s highest award.
During more than three decades in Madison as MSO’s Music Director, DeMain has consistently raised the quality of the orchestra by introducing blind auditions and expanding the repertoire to encompass ever more challenging and virtuosic works, including highly-acclaimed performances of the complete symphonies of Gustav Mahler. DeMain also oversaw the move into the world-class Overture Hall and expanded the subscription season to triple performances.
His active conducting schedule has taken him to the stages of the National Symphony, St. Paul Chamber Orchestra, the symphonies of Seattle, St. Louis, Pittsburgh, Detroit, Columbus, Houston, San Antonio, Long Beach, and Jacksonville, along with the Pacific Symphony, Boston Pops, Aspen Chamber Orchestra, Los Angeles Chamber Orchestra, London Sinfonietta, Orchestra of Seville, the Leipzig MDR Sinfonieorchester, and Mexico’s Orquesta Sinfónica Nacional.
Prior engagements include visiting San Francisco Opera as guest conductor for General Director David Gockley’s farewell gala, Northwestern University to conduct Carlisle Floyd’s Susannah, and the Washington National Opera at the Kennedy Center in D.C. to conduct Kurt Weill’s Lost in the Stars In 2019, he conducted the world premiere of Jeanine Tesori’s Blue at the Glimmerglass Festival to critical acclaim — he “drew a vibrant performance from an orchestra of nearly 50 players; the cast was superb.” (The New York Times).
DeMain also serves as principal conductor for Madison Opera and in their 2024-2025 season conducted The Barber of Seville, DonGiovanni and Opera in the Park. This season, he will conduct La Bohème and return next summer for Opera in the Park. He has been a regular guest conductor with Washington National Opera at the Kennedy Center and has made appearances at the Teatre Liceu in Barcelona, New York City Opera, Michigan Opera Theatre, Los Angeles Opera, Seattle Opera, San Francisco Opera, Virginia Opera, Lyric Opera of Chicago, Aspen Music Festival, Portland Opera, Chautauqua Opera, and Mexico’s National Opera. He served as Music Director for 10 years at Opera Omaha.
During his distinguished 17-year tenure with Houston Grand Opera, DeMain led a history-making production of Porgyand Bess, winning a Grammy Award, Tony Award, and France’s Grand Prix du Disque for the RCA recording. In spring 2014, the San Francisco Opera released an HD DVD of their most recent production of PorgyandBess, conducted by John DeMain.
DeMain began his career as a pianist and conductor in his native Youngstown, Ohio. He earned his bachelor’s and master’s degrees at The Juilliard School and made a highly-acclaimed debut with the Pittsburgh Symphony Orchestra. DeMain was the second recipient of the Julius Rudel Award at New York City Opera and one of the first six conductors to receive the Exxon/ National Endowment for the Arts Conductor Fellowship for his work with the St. Paul Chamber Orchestra.
DeMain holds honorary degrees from the University of Nebraska and Edgewood College and he is a Fellow of the Wisconsin Academy of Sciences, Arts and Letters. He resides in Madison and his daughter, Jennifer, is a UW–Madison graduate.
MADISON SYMPHONY ORCHESTRA 2025-2026 MUSICIAN ROSTER
VIOLIN I
Naha Greenholtz
Concertmaster
William and Joyce Wartmann Chair
Suzanne Beia
Co-Concertmaster
Steinhauer Charitable Trust Chair
Leanne Kelso
Associate Concertmaster
George and Candy Gialamas Chair
Huy Luu
Associate Concertmaster
Olga Pomolova
Assistant Concertmaster
Endowed by an Anonymous Friend
Maynie Bradley
Annetta H. Rosser Chair
Kina Ono
Neil Gopal
Elspeth Stalter-Clouse
Tim Kamps
Jon Vriesacker
Katherine Floriano
Laura Burns
Paran Amirinazari
Alec Tonno
Naomi Schrank
VIOLIN II
Xavier Pleindoux
Principal
Dr. Stanley and Shirley Inhorn Chair
Hillary Hempel
Assistant Principal
Elyn L. Williams Chair
Peter Miliczky
Holly Wagner
Rolf Wulfsberg
Olga Draguieva
Kathryn Taylor
Wendy Buehl
Geri Nolden
Robin Ryan
Matthew Dahm
Wes Luke
Glen Kuenzi
Laura Mericle
VIOLA
Christopher Dozoryst
Principal
James F. Crow Chair
Katrin Talbot
Assistant Principal
Dove Family Chair
Diedre Buckley
Renata Hornik
Elisabeth Deussen
Judy Huang
Janse Vincent
Jennifer Paulson
Hanna Pederson
David Beytas
Melissa Snell
Charlie Alves
CELLO
Karl Lavine
Principal
Reuhl Family Chair
Mark Bridges
Assistant Principal
Patricia Kokotailo & R. Lawrence
DeRoo Chair
Karen Cornelius
Knapp Family Chair
Lindsey Crabb
Jordan Allen
Margaret Townsend
Lisa Bressler
Derek Handley
Trace Johnson
Alex Chambers-Ozasky
BASS
David Scholl
Principal
Robert Rickman
Assistant Principal
Carl Davick
Tom Mohs Chair
Zachary Betz
Je Takaki
August Jirovec
Grace Heintz
Mike Hennessy
FLUTE
Stephanie Jutt
Principal
Terry Family Foundation Chair
Collin Stavinoha
Linda Pereksta
PICCOLO
Linda Pereksta
OBOE
Izumi Amemiya
Principal
Jim and Cathie Burgess Chair
Andrea Gross Hixon
ENGLISH HORN
Lindsay Flowers
CLARINET
JJ Koh
Principal
Barbara and Norman Berven Chair
Nancy Mackenzie
BASS CLARINET
Gregory Smith
BASSOON
Cynthia Cameron
Principal
Rozan and Brian Anderson Chair
Amanda Szczys
Carol Rosing
CONTRABASSOON
Carol Rosing
Endowed by an Anonymous Friend
HORN
Emma Potter
Principal
Steve and Marianne Schlecht Chair
Michael Wright
Michael Szczys
William Muir
Dafydd Bevil, Assistant
TRUMPET
John Aley
Principal
Marilynn G. Thompson Chair
John Wagner
Matthew Onstad
TROMBONE
Joyce Messer
Principal
Fred and Mary Mohs Chair
Benjamin Skroch
BASS TROMBONE
Ben Zisook
TUBA
Joshua Biere
Principal
TIMPANI
John Jutsum
Principal
Eugenie Mayer Bolz Foundation Chair
PERCUSSION
Anthony DiSanza
Principal
JoAnn Six Plesko and E.J. Plesko Chair
Richard Morgan
Nicholas Bonaccio
HARP
Johanna Wienholts
Principal
Endowed by an Anonymous Friend
ORGAN
Gregory Zelek
Principal
The Elaine and Nicholas Mischler Curatorship
PIANO/CELESTE
Daniel Lyons
Principal
Stephen D. Morton Chair
Orchestra Committee
Mark Bridges, Chair
Lisa Bressler, Vice-Chair
Elspeth Stalter-Clouse, Secretary
David Scholl, Treasurer
John Wagner, Member-at-large
Librarian
Jennifer S. Goldberg
John and Carolyn Peterson Chair
Stage Manager
Benjamin Skroch
Personnel Manager
Alexis Carreon
Scan Here
For the digital program which will contain the most up-to-date musician roster for this concert.
Ax Plays Mozart
SPONSORS
thank you to our generous sponsors for supporting these performances
PRESENTING SPONSOR
Myrna Larson
MAJOR SPONSORS
Irving and Dorothy Levy Family Foundation, Inc.
The Madison Concourse Hotel & Governor’s Club
Stephen D. Morton
David and Kato Perlman
Fred A. Wileman
ADDITIONAL SPONSORS
PROGRAM
John DeMain | Music Director
100th Season | Overture Hall | SubscriptionProgram No. 6
Emanuel Ax, Piano
RICHARD STRAUSS (1864-1949)
Till Eulenspeigel’s Merry Pranks, Op.28
WOLFGANG AMADEUS MOZART (1756-1791)
Concerto No. 25 for Piano and Orchestra in C Major, K. 503 Allegro maestoso Andante Rondo: Allegro MR. AX
INTERMISSION
Dr. Thomas and Leslie France
Ronald J. and Janet E. Johnson von Briesen & Roper, s.c. Wisconsin Arts Board
OTTORINO RESPIGHI (1879-1936)
Endowment support for the music library collection is the gift of John & Carolyn Peterson.
The Pines of Rome Pines of the Villa Borghese Pines near a Catacomb Pines of the Janiculum Pines of the Appian Way
The Hamburg Steinway piano is the gift of Peter Livingston and Sharon Stark in memory of Magdalena Friedman.
WELCOME TO THE MSO!
Please silence your electronic devices and cell phones for the duration of the concert. Photography and video are not permitted during the performance. You may take and share photos during applause. Thank you!
SCAN HERE
To access the digital program book for this concert!
ANNOUNCING OUR 2026-27 SYMPHONY SEASON OVERTUREHALL
OPENING WEEKEND
JOYCE YANG PLAYS RACHMANINOFF
October 16-18, 2026
Joyce Yang, piano
CARLOS SIMON The Block
RACHMANINOFF Piano Concerto No. 2
TCHAIKOVSKY Symphony No. 4
BEETHOVEN’S PASTORAL SYMPHONY
November 6-8, 2026
Kyle Knox, conductor
Naha Greenholtz, violin
VIVALDI “Autumn” from The Four Seasons PIAZZOLLA “Autumn” from The Four Seasons of Buenos Aires
L. BOULANGER D’un matin de printemps HINDEMITH Symphonic Metamorphosis on Themes by Carl Maria von Weber
BEETHOVEN Symphony No. 6, “Pastoral”
CELEBRATE THE SEASON
A MADISON SYMPHONY CHRISTMAS
December 4-6, 2026
Renée Richardson, soprano
Demetrious Sampson, Jr., tenor
GARRICK OHLSSON PLAYS CHOPIN
March 12-14, 2027
Garrick Ohlsson, piano
CAROLINE SHAW The Observatory
BRAHMS Symphony No. 3
CHOPIN Piano Concerto No. 1
TCHAIKOVSKY VIOLIN CONCERTO
April 9-11, 2027
Blake Pouliot, violin
Katerina Burton, soprano
Rehanna Thelwell, mezzo-soprano
Kyle Ketelsen, bass-baritone
Madison Symphony Chorus, Beverly Taylor, director
Madison Youth Choirs,
Michael Ross, artistic director
WAGNER Prelude & Liebestod from Tristan and Isolde
TCHAIKOVSKY Violin Concerto
SCOTT GENDEL/CAITLIN VINCENT
Spacious Skies: A Choral Symphony (world premiere • Madison Symphony Commission)
SEASON FINALE
TIME FOR THREE
Madison Symphony Chorus, Beverly Taylor, director
Mt. Zion Gospel Choir,
Tamera & Leotha Stanley, directors
Madison Youth Choirs, Michael Ross, artistic director
It’s Madison’s favorite holiday musical tradition. Bring family and friends and celebrate the season with the Madison Symphony. Carols, classics, and sparkling holiday favorites – and even a visit from Santa!
May 7-9, 2027
Time For Three, guest artists
ROSSINI Overture to Semiramide
JENNIFER HIGDON Concerto 4-3
ELGAR Enigma Variations
STERLING ELLIOTT RETURNS
January 15-17, 2027
Carl St. Clair, conductor
Sterling Elliott, cello
FRANK TICHELI There Will Be Rest
HAYDN Symphony No. 88
R. STRAUSS Don Quixote
RACHMANINOFF & BEETHOVEN
February 19-21, 2027
Inon Barnatan, piano
GABRIELA ORTIZ Kauyumari
BEETHOVEN Piano Concerto No. 4
RACHMANINOFF Symphony No. 2
Be part of the experience.
Friday, September 18 •
John DeMain, conductor
Joshua Bell, violin
DUKAS The Sorcerer’s Apprentice
LALO Symphonie espagnole
MASSENET Meditation from Thaïs
RAVEL Boléro
TIME FOR THREE
RENÉE RICHARDSON
JOSHUA BELL
STERLING ELLIOTT
NAHA GREENHOLTZ
BLAKE POULIOT
JOYCE YANG
INON BARNATAN
EMANUEL AX
Piano
Born to Polish parents in what is today Lviv, Ukraine, Emanuel Ax moved to Winnipeg, Canada, with his family when he was a young boy. Mr. Ax made his New York debut in the Young Concert Artists Series, and in 1974 won the first Arthur Rubinstein International Piano Competition in Tel Aviv. In 1975 he won the Michaels Award of Young Concert Artists, followed four years later by the Avery Fisher Prize.
The 2024/25 season began with a continuation of the Beethoven For Three touring and recording project with partners Leonidas Kavakos and Yo-Yo Ma which took them to European festivals including BBC Proms, Dresden, Hamburg, Vienna and Luxembourg. As guest soloist he appeared during the New York Philharmonic’s opening week which marked his 47th annual visit to the orchestra. During the season he returned to the Cleveland and Philadelphia orchestras, National, San Diego, Nashville and Pittsburgh symphonies and Rochester Philharmonic. A fall
recital tour from Toronto and Boston moved west to include San Francisco, Seattle and Los Angeles culminating in the spring in Chicago and his annual Carnegie Hall appearance. A special project in duo with clarinetist Anthony McGill took them from the west coast through the mid-west to Georgia and Carnegie Hall and in chamber music with Itzhak Perlman and Friends to Los Angeles, Santa Barbara and San Francisco. An extensive European tour included concerts in Paris, Oslo, Cologne, Hamburg, Berlin, Warsaw and Israel.
Mr. Ax has been a Sony Classical exclusive recording artist since 1987 and following the success of the Brahms Trios with Kavakos and Ma, the trio launched an ambitious, multi-year project to record all the Beethoven Trios and Symphonies arranged for trio of which the first three discs have been released. He has received GRAMMY® Awards for the second and third volumes of his cycle of Haydn’s piano sonatas. He has also made a series of GRAMMY-winning recordings with Yo-Yo Ma of the Beethoven and Brahms sonatas for cello and piano. In the 2004/05 season Mr. Ax contributed to an International EMMY® Award-Winning BBC documentary commemorating the Holocaust that aired on the 60th anniversary of the liberation of Auschwitz. In 2013, Mr. Ax’s recording Variations received the Echo Klassik Award for Solo Recording of the Year (19th Century Music/Piano).
Mr. Ax is a Fellow of the American Academy of Arts and Sciences and holds honorary doctorates of music from Skidmore College, New England Conservatory of Music, Yale University, and Columbia University.
WHERE FRIENDS AND MUSIC MEET!
ANNOUNCING THE 2026 PARTIES OF NOTE!
The nationally recognized Parties of Note 2026 season features sixteen exclusive experiences, from exploring the inner workings of a violin to discovering the depths of Lake Mendota. Enjoy returning favorites like an intimate tour of the Royal Thai Pavilion in Olbrich Park and a cruise through Lake Monona’s social history. Plus, new adventures await: go behind the scenes at Wisconsin Public Radio, wander a secret garden in downtown Madison, cook and dine with a local chef, and even trace your family roots. Each party is capped with a fun social hour.
Tickets are selling fast! If you see a party that you really want to attend, we have waiting lists available. The sooner you sign up the more likely you will be to attend. Thank you for supporting the MSOL while having fun with old and new friends,
JOIN MSOL TODAY!
Whether you’re a lifelong symphony enthusiast, a newcomer to classical music, or simply looking for meaningful ways to connect, our events are designed for everyone. Each year, our unique gatherings bring together people of all backgrounds and ages. We invite you to discover the joy of music, build new friendships, and support the Madison Symphony Orchestra’s artistic, educational, and community programs. There’s something for everyone—don’t miss your chance to be part of these inspiring moments and have fun along the way.
madisonsymphony.org/ parties
PARTIES OF NOTE
Be part of the experience.
For the love of music (and a great party)!
NOTES
PROGRAM
MAR 20-21-22, 2026
Michael Allsen
program notes by J.
This program opens with one of Strauss’s great programmatic symphonic poems, Till Eulenspeigel’s Merry Pranks This tells the story of the outrageous Till—represented by an equally outrageous solo horn motive—and his exploits, done in a spirit of good fun—a spirit that endures even after his execution at the hands of o cials who have no sense of humor. We then welcome an old friend, pianist Emanuel Ax, to perform the largest of Mozart concertos, the Piano Concerto No. 25 Mr. Ax has performed five times previously with the MSO: in 1979 (Chopin, Piano Concerto No. 1), 2005 (Brahms, Piano Concerto No. 2), 2008 (Chopin, Piano Concerto No. 2), 2016 (Beethoven, Piano Concerto No. 4), and 2018 (Brahms, Piano Concerto No. 2). We close with another great programmatic work, Respighi’s Pines of Rome, which opens with a scene of children at play, and ends with a stirring depiction of a Roman Army on the march.
This lighthearted piece is one of the early symphonic poems with which Strauss established his international reputation as a young composer.
Richard
Strauss
Born: June 11, 1864, Munich, Germany.
Died: September 8, 1949, GarmischPartenkirchen, Germany.
A symphonic poem takes its inspiration and musical form from a story, a visual image, a poem, or some other nonmusical source. In this case it is the story from German folklore of a mischievous rascal.
After Franz Liszt established the symphonic poem (or tone poem) as a form in the 1850s, many Romantic composers took on this genre. The finest of all late Romantic symphonic poems, however, are seven works that Richard Strauss completed when he was a young man, from Macbeth (1888) though Ein Heldenleben (1898). Each of these works explores in vivid programmatic detail the life of a single character, whether a hero or—as in Till Eulenspeigel (1895)—an anti-hero. Strauss often denied that his symphonic poems were dependent on programs, and should stand on their own as purely musical works, but this statement was seemingly obligatory among late Romantic composers. However, he also boasted at one point that: “I want to be able to depict in music a glass of beer so accurately that every listener can tell whether it is a Pilsner or a Kulmbacher!”
Strauss’s choice of Till as character may have had something to do the brutal criticism of his 1894 opera Guntram. A character who thumbed his nose at the forces of orthodoxy and tradition, even after he was lynched, must have been attractive to a young composer who felt wronged by the establishment.
What You’ll Hear
It is relatively easy to follow the character of Till, personified by an exuberant theme for solo horn, as he causes havoc, and is eventually put to death… though his mischievous spirit returns in the end!
The complete title of the work is Till Eulenspiegel’s Merry Pranks, Based Upon the Old Rogue’s Tale, set for Large Orchestra in Rondo Form Though this is far from a classical rondo, the famous theme at the opening does return at several points. This theme, beloved (or feared) by every orchestral hornist, may well have been borrowed from the composer’s father, Franz Strauss, one of the finest hornists of the 19th century. One well-known story is that the tune was a standard part of the elder Strauss’s daily warm-up routine, adapted here to characterize the mischievous Till. Strauss was at first reluctant to provide a written program, but some years later, he relented and provided the following outline of the action:
Composed: 1894-1895. Premiere: November 5, 1895, in Cologne.
In the case of Till Eulenspiegel, the central character is a German folkhero who may have been based on a 14th-century German peasant famed for his wisecracks and outrageous practical jokes. Till made his first appearance in a 1511 Schwankbuch (a collection of humorous stories), and Till Eulenspiegel stories were a staple of German folklore. The word Eulenspiegel means “owl-mirror,” probably a reference to an old German proverb which translates roughly as: “One recognizes his own faults as dimly as an owl recognizes his own reflection in a mirror.”
Merry Till cavorts through life, his jaunty progress charted at first by a carefree tune for solo horn. The anti-hero enjoys poking fun at mankind’s pretensions, religious hypocrisy and the world of academia; he disrupts a village market, unsuccessfully attempts to find true love, impersonates
WOFLGANG AMADEUS MOZART
RICHARD STRAUSS
OTTORINO RESPIGHI
a priest, and continues whistling on his way. An ear-splitting roll on the side-drum signals that Till must answer for his “crimes.” He is brought before judge and jury yet is unwilling to observe the trial in silence until the death sentence is announced. Trumpets and drums herald Till’s journey to the sca old, where his merry pranks are ended.
With this description in hand, Till Eulenspiegel works wonderfully as a picturesque programmatic piece. The ending is particularly e ective, with the part of Till given to a shrill E-flat clarinet, making fun of the stern pronouncements of the trombones and low strings. When the moment of execution arrives, the trombones and tuba deliver the fatal blow, and Till’s spirit rises to heaven. There is a solemn epilogue on the opening music, but even this is not to be taken too seriously, as Till gets in the last word.
This work, like the majority of his 27 piano concertos, was composed for one of Mozart’s public concerts in Vienna.
Wolfgang
Background
Contrary to the usual view of Mozart as a spontaneous genius, this concerto was the result of two years of tinkering. It was apparently one of Mozart’s own favorites.
Mozart settled in Vienna in 1781, and his reputation and success in his early years there came largely through his performances at the homes of aristocratic patrons, and public “subscription” performances of his own works. His piano concertos were all written for this venue. Viennese audiences demanded new concertos at every concert, and Mozart responded with an amazing series of fifteen concertos written during his first five years in Vienna. The last of these, the Piano Concerto No. 25 of 1786, was apparently a personal favorite of Mozart’s, and he performed it several times over the next few years.
any less of Mozart for being less than perfect on the first pass, remember that during the two years this concerto was on the back burner, he completed over forty other works, including two operas!
What You’ll Hear
The concerto is in three movements:
• A large opening movement in sonata form with a couple of unusual features.
• A lyrical Andante.
• A brilliant rondo finale.
coda brings the Andante to a close and sets up the final movement (Allegro). This is set in rondo form, based on a reoccurring dancelike theme heard first in the violins, that alternates with contrasting ideas. In this movement, the focus is almost entirely on the soloist, and the Allegro contains some of the flashiest solo passages of the concerto.
Respighi, the leading Italian composer of instrumental works in the early 20th century, was an acknowledged master of orchestration.
Ottorino Respighi
Amadeus Mozart
Born: January 27, 1756, Salzburg, Austria.
Died: December 5, 1791, Vienna, Austria.
Concerto No. 25 for Piano and Orchestra in C Major, K. 503
Composed: Between late 1784 and December 4, 1786.
Premiere: In Vienna on December 5, 1786, with Mozart as soloist and conductor.
Previous MSO Performances: 1984 (Garrick Ohlsson) and 1997 (Ignat Solzhenitsyn).
Duration: 32:00.
The traditional view of Mozart is that he was a spontaneous genius—that brilliant works sprang fully-formed from his head. Mozart certainly had phenomenal creative powers. We have descriptions, at least from Mozart himself, of feats like composing a minuet in his head while he was writing a letter. However, Mozart was also a skillful craftsman, and many of his works were the result of a careful process of experimentation, editing and revision. The Piano Concerto No. 25 was one of these. Between the time he began the concerto in 1784, and the time he finished it in 1786 (about 24 hours before the first public performance), he made two substantial sets of revisions. Several critical sections, including the first solo entrance, were rewritten entirely. But if you’re tempted think
The Piano Concerto No. 25 is one of Mozart’s largest piano concertos, and a wonderful example of his mature musical style. The first movement (Allegro maestoso) begins conventionally enough, with an orchestral passage that establishes the key and lays out most of the thematic material. The piano enters, at first hesitantly, but then with more confidence, with a solo introduction. This passage maneuvers the orchestra into re-introducing the main theme, a dotted figure. After a transitional section, the piano, supported by the strings, introduces the flowing second theme. The movement continues in a traditional sonata form, but during the piano cadenza, Mozart adds an orchestral background, a very unusual feature among concertos in this period. This cadenza leads to a final coda.
As in most Mozart concertos, the second movement is a lyrical slow movement (Andante). The orchestra introduces a gentle theme with support from the piano. When the piano takes up this theme, it is expanded and decorated. There is a brief note of tension in the middle of the movement, but the music soon glides into a final statement of the theme by the piano. A short
Born: July 9, 1879, Bologna, Italy. Died: April 18, 1936, Rome, Italy. The Pines of Rome Composed: 1923-24. Premiere: December 14, 1924, in Rome, by the Augusteo Orchestra, under Bernardino Molinari. Previous MSO Performances: We have performed this work seven times previously at these concerts between 1956 and 2015. Duration: 21:00.
Background
Respighi’s best-known works are a trio of symphonic poems that provide vivid sound portraits of his beloved Rome, where he lived for most of his career.
Ottorino Respighi was the leading Italian composer of concert music in his day and he was certainly one of the 20th century’s great masters of orchestration—the skillful use of the huge palette of tone colors available in a symphony orchestra.
He wrote some adventurous works, but Respighi was no modernist: in fact he much more often turned to music of the distant past. Sometimes he created an imagined past, as in the mighty “pseudo-Roman” music at end the of his Pines of Rome, an imaginative picture of an ancient Roman army on the march. He also adapted older music directly, as in his three sets of Ancient Airs and Dances, which draw on 16th- and 17th-century music for the lute. The “Roman trilogy” of Respighi includes three large multi-movement symphonic poems that are easily his most famous works: The Fountains of Rome (1916), The Pines of Rome (1924), and Roman Festivals (1928). In these works, the composer creates a sonic portrait of his native Rome. From Fountains, celebrating the great Bernini monuments, to the wild revelry of Festivals, Respighi paints a colorful, programmatic picture of the Eternal City. For the central work, The Pines of Rome, Respighi uses the ancient trees that line Rome’s parks and promenades to inspire four programmatic episodes. The four sections are played without pauses.
What You’ll Hear
This work includes four vibrantly drawn programmatic scenes: of children at play, a funeral procession in the catacombs, delicate night music and the song of a nightingale, and finally, of a Roman army on the march.
In the score, Respighi provides the following description of the first section, Pines of the Villa Borghese: “Children are at play in the pine grove of the Villa Borghese, dancing ‘Ring around the Rosy;’ they mimic marching soldiers and battles; they chirp with excitement like swallows
at evening, and they swarm away.”
The music is appropriately light and high-spirited, with quick woodwind and horn lines beneath trumpet fanfares.
For Pines near a Catacomb, he turns to a much darker, “quasi-Medieval” texture. Respighi was fond of using Gregorian chant or chantlike themes in his orchestral works, and the Lento second movement begins with a quiet melody that builds gradually towards a tremendous orchestral statement near the end of the movement. Here are “the shadows of the pines that crown the entrance to a catacomb. From the depths rises a dolorous chant which spreads solemnly, like a hymn, and then mysteriously dies away.”
In his description of Pines of the Janiculum, the composer notes: “There is a tremor in the air. The pines of the Janiculum hill are profiled in the full moon. A nightingale sings.” This is profoundly calm and quiet night-music, carried by the softer voices of the orchestra throughout. At the very conclusion, a recording of a nightingale’s singing is added to the orchestral texture— one of the very earliest instances of a composer using prerecorded sounds in a concert piece.
The final section is titled Pines of the Appian Way. Respighi gives the following colorful description of an ancient Roman army on the march: “Misty Dawn on the Appian Way. Solitary pines stand guard over the tragic countryside. The faint unceasing rhythm of numberless steps. A vision of ancient glories appears to the poet; trumpets blare and a consular army erupts in the brilliance of the newly risen sun— towards the Sacred Way, mounting to a triumph on the Capitoline Hill.” The movement opens quietly, with a slow and inexorable march, but builds gradually towards an
enormous brassy peak. To create this picture of Roman military might, Respighi’s score calls for six bucinae—Roman war trumpets. (He also provides the helpful suggestion that modern trumpets may be used if bucinae are not available!)
Complete program notes for the 2025-2026 season are available at madisonsymphony.org.
Knecht Jazz Trio | June 11
Madison Symphony Orchestra’s MSO at the Movies presents Indiana Jones and the Raiders of the Lost Ark™ Live in Concert featuring John Williams’ GRAMMY® Award-winning score performed live to the film led by conductor Kyle Knox at Overture Hall.
Williams has scored each Indy adventure, including the final installment of the iconic franchise, Indiana Jones and the Dial of Destiny . He has received multiple Academy Awards® and more than 50 Oscar® nominations. Williams is the Academy’s mostnominated living person to date and the second-most nominated person in the history of the Oscars®. He also received numerous British Academy Awards (BAFTA), GRAMMYs®, Golden Globes®, Emmys®, as well as several gold and platinum records.
Originally released in 1981 as a collaboration between George Lucas and Steven Spielberg, Raiders redefined the possibilities of adventure cinema and launched actor Harrison Ford to legendary status.
Indiana Jones is the classic hero in this adventure set in the 1930s which follows the quick-witted and determined archaeologist as he hunts for the Lost Ark of the Covenant. Often facing insurmountable odds, Indy always manages to succeed in the nick of time, joined by endearing companions and opposed by notorious villains.
With an impressive team of supporting actors including Karen Allen, John-Rhys Davies, Denholm Elliott, and Paul Freeman, combined with innovative special e ects techniques by Industrial Light & Magic, Raiders has captured the spirits of movie-goers for generations and continues to inspire adventures yet to come.
MAJOR PERFORMANCE SPONSORS
Madison Media Partners
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PROGRAM
John DeMain | Music Director
100th Season | Overture Hall | SubscriptionProgram No. 7
Laura Jackson, Guest Conductor
Los Angeles Guitar Quartet, Guest Artists
John Dearman
Matt Greif
Bill Kanengiser
Douglas Lora
JIMMY LÓPEZ (B. 1978)
Fiesta! Four Pop Dances for Orchestra
Trance 1
Countertime
Trance 2
Techno
JOAQUIN RODRIGO (1901-1999)
Adagio
Please silence your electronic devices and cell phones for the duration of the concert. Photography and video are not permitted during the performance. You may take and share photos during applause. Thank you!
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Concierto Andaluz for Four Guitars and Orchestra Tempo di bolero
Allegro gentile THE LOS ANGELES GUITAR QUARTET
INTERMISSION
JEAN SIBELIUS (1865-1957)
Symphony No. 2 in D Major, Op. 43 Allegretto Andante, ma rubato
Vivacissimo
Allegro moderato
and creative community programming will continue through the organization’s 60th anniversary. A 21st century conductor at home with repertoire from every era, Jackson is recognized for her championing of new music, her creativity with commissions, and her commitment to mentoring and encouraging the next generation of musicians, composers and women conductors. She is in her third season as an o cial mentor to emerging women conductors across the globe in the Taki-Alsop Foundation’s Fellowship program. With the Reno Phil, she also partners with the Davidson Institute in Reno Nevada to feature their instrumental fellows in concert. A frequent guest conductor, she has led distinguished ensembles across the United States, Canada, France, Poland, Czech Republic, Algeria, and China, and her relationships with orchestras continue to expand.
LAURA JACKSON
Guest Conductor
An eloquent and articulate artist on and o the podium renowned for her dynamic leadership, energetic performances, and progressive vision, American conductor Laura Jackson is praised for her innovation, passion, and commitment to the continued growth of the symphonic repertoire and expanding music’s impact within communities. Having served as the fourth Music Director and Conductor of the Reno Philharmonic Orchestra (Reno Phil) since 2009, her contract has been unanimously renewed through the end of 2028-2029 season, ensuring that diverse, compelling repertoire,
A champion of living composers, Laura Jackson created the Reno Philharmonic’s Composers in Residence initiative and has commissioned and presented several world premieres. She has led over 50 Reno Phil premieres and multiple Western U.S. premieres. Under her leadership, the Reno Phil has expanded its community and education programs to include the Composers in Residence, Conduct Us, movies with live orchestra performances, the annual Play for a Day, and the youth orchestras have expanded from three to five ensembles. Additionally, live streaming of concerts was introduced in 2020.
LOS ANGELES GUITAR QUARTET
Guitar
For over four decades on the concert stage, the Grammy® Award-winning Los Angeles Guitar Quartet (LAGQ) has set the standard for expression and virtuosity among guitar ensembles. As one of the most charismatic chamber groups performing today, the LAGQ’s critically acclaimed transcriptions of concert masterworks provide a fresh look at the music of the past, while their interpretations from contemporary and world-music realms continually break new ground.
Their newest recording, Opalescent (LAGQ Records), was released in Spring 2022, reflecting LAGQ’s rich palette of colors and sparkling sound. 2021 releases include the Grammy® nominated The Singing Guitar (Delos), a collaboration with the Grammy-winning choir Conspirare, and Pat Metheny’s Road to the Sun (Modern Recordings/ BMG). The monumental title track was written expressly for LAGQ, and the release hit #1 on the Apple Music Classical charts. In addition to quartet programs, other touring highlights include collaborative works with choir, guitar orchestra, symphony orchestra and a “Latin Romance” program with vocalists and flamenco dancers.
LAGQ entered a new chapter in 2023 with the retirement of founding member Scott Tennant, welcoming Douglas Lora (of the Brazil Guitar Duo). Douglas brings a new energy and enthusiasm to the group, contributing his original compositions and deep knowledge of traditional Brazilian genres.
PROGRAM NOTES
APR 10-11-12, 2026
J. Michael Allsen
program notes by
Guest conductor Laura Jackson leads this program, titled “LA Guitar Quartet.” We open with most popular work by Peruvian composer Jimmy López, his 2008 Fiesta! Four Pop Dances for Orchestra, an eclectic work that ends with a blazing Techno finale. We then have a work for four guitars and orchestra, the Concierto Andaluz, by the Spanish master Joaquin Rodrigo. This work draws on the Andalusian flamenco music Rodrigo grew up with. Our soloists for this program, the Los Angeles Guitar Quartet, played the same work when they last appeared with the MSO in 2012. Our closing work is the Symphony No. 2 of Sibelius, one of the great landmarks of early 20th century symphonic writing.
One of today’s most prominent composers, Jimmy López channels a broad range of musical styles in his composition: Afro Peruvian music from his homeland, other Latin American styles, and a large range of popular music styles.
Jimmy López
Born: October 21, 1978, Lima, Peru.
Fiesta! Four Pop Dances for Orchestra
Composed: 2007.
Premiere: An initial chamber orchestra version was commissioned by conductor Miguel Harth-Bedoya for the hundredth anniversary of the Lima, Philharmonic Society, and was performed by them in 2007. Harth-Bedoya then conducted the full orchestra version heard here with the Baltimore Symphony Orchestra on May 31, 2008.
Previous MSO Performance:
This is our first performance of the work.
Duration: 10:00.
Background
Fiesta! was inspired in part by the various genres of dance music that fall under the broad heading of Techno. His hope is “to establish a connection with younger generations who are not usually drawn to concerts of classical music.”
Chicago Sun-Times critic Andrew Patner has called Jimmy López “one of the most interesting composers anywhere today,” Born in Peru, the award-winning López studied initially in Lima, before completing graduate degrees in composition at the Sibelius Academy in Finland and at the University of California, Berkeley. His Fiesta! was a relatively early work that has become very popular, with performances by well over 100 orchestras worldwide. More recently, he has premiered a successful opera, Bel Canto (2015), with the Chicago Lyric Opera. His symphonic poem Aino (2022), inspired by his studies in Finland, was premiered by the Orchestre de Paris, the Royal Concertgebouw Orchestra (Amsterdam), and the Chicago Symphony Orchestra. Regarding Fiesta!, López wrote in 2008 that Fiesta! draws influences from several musical sources including European academic compositional techniques, Latin American music, Afro-Peruvian music, and today’s pop music. It utilizes elaborate developmental techniques while keeping the primeval driving forces still latent
in popular culture… This is the first piece where I have made explicit use of elements from popular music, but it is certainly not the first time it’s been done. Composers from the past, especially during the Baroque, would write suites that would consist of a series of dances with names such as allemande, gigue, sarabande, etc. These dances were very popular at European courts: the nobles would gather and dance to the accompaniment of a small, instrumental ensemble-in-residence. Later on, some composers decided to use these dances and make them more sophisticated. That was part of my intention when picking up the genres [that are used here]. I believe they have enough potential to justify further development, but always keeping those primeval driving forces present in them.
What You’ll Hear
This work is set in four movements:
• Trance 1, serving as a kind of intense prelude.
• Countertime, which places intense rhythms above an underlying beat that is sometimes unplayed.
• Trance 2, a more percussiondominated counterpart to the opening movement.
• Techno, a wild conclusion.
The opening movement, Trance 1 , takes its name from a subgenre of electronic dance music (EDM) that was popularized in the 1990s and 2000s. Like most EDM, Trance is based upon a fast and
JOAQUIN RODRIGO
JIMMY LÓPEZ
JEAN SIBELIUS
unvarying drum beat, but it often incorporates moments with no drum, where atmospheric sounds and melody take precedent. However, López also notes that “I also use the word ‘trance’ in its original meaning, thus trying to convey the hypnotizing state achieved while listening to a constantly shifting melody against a static background, much like in Hindu music, where melodies unfold through a series of melismas [long vocal passages on a single syllable] against a pedal note and over a span of several minutes.” Though the singleminded drum beat of Trance music is missing in Trance I , the rhythmic energy is all there in twittering motives tossed around the orchestra. There is a sense of relaxation at the end when the low strings introduce a longer theme.
In explaining the title of the second moment, López notes: “The word Countertime has been derived from ‘counterpoint’, which in the realm of music theory defines the rules of coexistence and interaction between two or more melodies, the goal being to produce a harmonious whole. I use the word countertime to underline the interaction between an underlying steady pulse (not written out in the score) and the actual rhythms playing against it.” Countertime is fiercely rhythmic from the opening bar. There is a slight slackening near the middle, but it ends as it began.
fourth and final movement uses Latin American rhythms, such as merengue.” Once again, this is musical for unrelenting rhythmic intensity. Near the end, bass drum, timpani, and cymbals replicate the simple drum machine beat that underlies most Techno dance pieces,
Trance 2 has the same outlines as the opening movement, but here percussion takes the lead, particularly in a Latin-flavored trio of congas, bongos, and timpani. López notes that “ Techno , the
Rodrigo, one of Spain’s leading composers in the 20th century, and one of the great masters of writing for the guitar, wrote this work for Celedonio Romero and his sons in 1967. It remains the most popular work written for guitar quartet and orchestra.
Joaquin Rodrigo
Born: November 22, 1901, Sagunto, Spain.
Died: July 6, 1999, Madrid, Spain.
Concierto Andaluz for Four Guitars and Orchestra
Composed: 1966-67 for guitarist Celedonio Romero and his sons. Premiere: The Romeros were soloists with the San Antonio Symphony Orchestra at the premiere on November 18, 1967.
Previous MSO Performances: 1988 (the Romeros); 2012 (Los Angeles Guitar Quartet). Duration: 24:00.
Background
Nearly blind from early childhood onwards, Rodrigo had a long and amazingly diverse career. As in this work, much of Rodrigo’s music draws upon the rich folk music of Spain.
In a long multifaceted career, Joaquin Rodrigo worked as a pianist, music critic, university professor, radio executive, and as an activist for the Spanish National Organization for the Blind. (Rodrigo was almost completely blind from age three as a result of Diphtheria.) However, from the 1940s onwards he was also recognized as one of Spain’s foremost composers. As a young man, he studied in Paris, the center of the avant garde, but Rodrigo described his own style as neocasticista (neotraditional, or neo-classical). His mature music was rooted in distinctly Spanish forms and rhythms, and he was particularly focused upon the guitar, the most prominent instrument of Spanish traditional music. Here he was drawing on a Spanish guitar tradition that stretches back to the Renaissance and incorporates a host of rich folk styles. His 1939 Concierto de Aranjuez undoubtedly the most popular of all guitar concertos—was only the first of several Rodrigo orchestral works with solo guitar, guitar duo, or guitar quartet. He also composed a large number of important works for solo guitar.
The Concierto Andaluz was composed in 1967 in response to a commission by Celedonio Romero, and it is dedicated to Romero and his sons Celin, Pepe, and Angel. Celedonio (1913-1996) was among the leading guitarists and guitar composers of his generation. He composed well over 100 works of his own for solo guitar and combinations of guitars and orchestra but also commissioned works from major Spanish composers. Escaping from the repressive Franco regime in 1957, Romero and his family settled in California, and from the 1960s onwards, he toured extensively with
his three sons: they were soloists for our first performance of the Concierto Andaluz in 1988. (The Romero quartet continues today with Celedonio’s sons Celin and Pepe, and grandsons Celino and Lito.) The members of the Los Angeles Guitar Quartet are the direct inheritors of this tradition: the four original members of the ensemble met at the University of Southern California in 1980, when they were all students of Pepe Romero.
What You’ll Hear
The work is set in three movements:
• An opening movement based upon the bolero and other Andalusian forms.
• A slow movement based upon a baroque-style chaconne figure.
• A final movement based upon two contrasting dances, one graceful and the other aggressive.
As in all of Rodrigo’s music, Spanish influence is clearly audible in the Concierto Andaluz ( Andalusian Concerto )—a reference to the culturally rich region in southern Spain that is home to Flamenco and other styles. Its “classicism” is evident in its small orchestra and its clear-cut musical forms. It is set in three movements, or “scenes.” The first of these ( Tempo di bolero ) has the guitars and orchestra constantly trading roles, with the incisive bolero rhythm always present. This moves into what Rodrigo describes as a section of “typically Andalusian” style—more lyrical and melancholy The opening
and woodwind
on a passage for the a return movement ( returns are on are a festival dance that alternates and meter) and a more
solo man’s dance of Flamenco
movement closes with a spirited bulieras —a Flamenco guitar pattern rich in cross-rhythms. In the second movement ( Adagio ) the opening section refers to the Baroque chaconne : a constantly repeating descending figure with guitar and woodwind arabesques around it. There is a livelier middle section centered on a long passage for the guitars—an extended cadenza—before a return of the solemn chaconne figure. The closing movement ( Allegro gentile ) returns again to themes that are based on Andalusian forms: its two main themes are inspired by a flowing sevillanas (a festival dance that alternates triple and duple meter) and a more aggressive zapateado (the macho solo man’s stomping dance of Flamenco ).
Sibelius has a well-deserved reputation as one of the early 20th century’s finest symphony composers. His Symphony No. 2 of 1901 is a true symphonic masterwork and remains the most frequently-performed of his seven symphonies.
Jean Sibelius
Born: December 8, 1865, Hämeenlinna, Finland. Died: September 20, 1957, Järvenpää, Finland.
Symphony No. 2 in D Major, Op. 43
Composed: 1901.
Premiere: Sibelius conducted the premiere in Helsinki, Finland, on March 8, 1902.
Previous MSO Performances: We have played this work five times previously at these concerts, between 1942 and 2011.
Duration: 44:00.
Background
Sibelius on 2 some
In his symphonies, Sibelius placed the focus on the music itself, rather than programmatic inspiration. The Symphony No. 2 contains some wildly creative musical forms in it four movements.
No. 2 is no
In the years of the 20th century the Finnish composer Jean Sibelius was enjoying ever-increasing international renown. He had
and was in his homeland and as Finland’s composer. With success came the
meet other
hear new and conduct his own music. He the first half of 1901 in where he took time o from compose. Most of the
In the opening years of the 20th century the Finnish composer Jean Sibelius was enjoying ever-increasing international renown. He had already found his distinctive musical voice and was recognized in his homeland and throughout Europe as Finland’s leading composer. With success came the opportunity to travel, allowing Sibelius to meet other musicians, hear new works, and conduct his own music. He spent the first half of 1901 in Italy, where he took time o from his travels to compose. Most of the Symphony No. 2 was written during that spring, in a small, rented villa in the hills near Genoa. He returned to Finland later that year and added the finishing touches to the work.
Sibelius is often heard as a Finnish nationalist—an impression strengthened by popular symphonic poems on Finnish themes such as the Lemmkäinen cycle or his well-known Finlandia However, he was after something di erent in his symphonies. In a 1934 interview, he noted that:
There is a about hidden program for the confided his the conductor The was a defined set of of Finnish culture and but the composer himself never commented on it in If take any “mental
The Symphony No. 2 is no exception. There is a lasting controversy about a hidden program for the symphony, supposedly confided by Sibelius to his friend, the conductor Georg Schéevoigt. The “program” was a vaguely defined set of impressions of Finnish culture and politics, but the composer himself never commented on it in public. If we are to take any “mental image” away from the Symphony No. 2 it might be just this sort of vague impression of a Finnish landscape. However, the symphony’s movements do not need any literary support: they are worked out with a logical simplicity that makes this one of the most immediately appealing of Sibelius’s symphonies.
What You’ll Hear
This work is set in four movements:
• An unorthodox first movement in which longer themes are assembled from a series of short motives and then dissolve at the end.
• A slow movement variant of sonata form.
and in rapid succession. As the movement continues, he gradually interweaves these ideas into everlonger phrases, particularly during a lengthy development section. There is a rather subdued high point that closes the development. At the end, all of this grand music dissolves back into its constituent parts, and the movement ends as quietly as it began.
and in succession. As the movement continues, he eversection. There is a rather subdued that closes the the all of this music parts, and the movement ends as as it second movement an
set themes a woodwinds, and brass. After a defined the a second group of ideas with a The concentrates on first group and ends with another break. In the Sibelius with material from the second main theme, but merges themes from both groups new the movement ends on a set in form.
• A relatively conventional three-part scherzo, which leads directly into the finale.
The lengthy second movement ( Andante, ma rubato ) is set in an only slightly more conventional sonata form. The opening group of themes begins with bassoons playing a lugubrious melody above pizzicato triplets in the bas ses. This bassoon melody is gradually joined by the remaining woodwinds, strings and brass. After a clearly defined break, the strings begin a contrasting second group of ideas with a long, flowing melody. The development concentrates on material from the first group and ends with another sharp break. In the recapitulation, Sibelius begins with material from the second main theme, but merges themes from both groups into new combinations. Once again, the movement ends on a quiet note.
Beginning with the symphonies of Haydn and Mozart, third movements were traditionally set in a three-part form. Sibelius’s scherzo ( Vivacissimo ) stays within this tradition, but he still manages to put his own stamp on the form. The opening section combines perpetual motion in the strings with a brief minor-key motive passed through the woodwinds. The middle section is a quiet folklike melody presented by the solo oboe. This pastoral interlude is rudely interrupted by a return of the opening music, but Sibelius works in another statement of the oboe melody before ending the a seven December Finland. Finland. touches as a nationalist—an poems on Finnish themes such as the or his well-known However, he was after something di erent in his In a 1934 he noted that:
My are music out terms of music, with no basis. I am not a musician— me, music where words cease. A scene can be in and a drama in words, but a should be music at in an
My symphonies are music conceived and worked out solely in terms of music, with no literary basis. I am not a literary musician— for me, music begins where words cease. A scene can be expressed in painting, and a drama in words, but a symphony should be music first and last. Of course, it has happened that, quite unbidden, some mental image has established itself in my head in connection with a movement I have been writing, but the germ and fertilization have been solely musical.
• A finale, which like the second movement is in an innovative sonata form.
In the opening movement ( Allegretto ), Sibelius turns conventional first-movement form on its head. In place of the usual exposition that presents a few long melodies for later dissection and development, this movement begins with a series of several little melodic jewels, which are laid out quite simply,
In the movement Sibelius turns form on its head. In of the usual that melodies for later dissection and this movement with a series note. the of and third movements were set in a form. Sibelius’s scherzo stays within this but he still manages his own on the form. section combines motion in the with a brief motive the woodwinds. middle section is a folklike solo oboe. This interlude is a of the music, but Sibelius statement oboe before the
Sibelius’s
movement with a lively coda. This leads without pause into the finale ( Allegro moderato ).
The finale’s opening theme is a broad melody carried by strings and brass. After an agitated transition, the lower strings have a repeated figure that serves as the background for the second main theme, begun by the solo oboe. A brief fanfare from the brass closes the exposition and the development begins quietly, with the first theme heard in the upper woodwinds. Much of the development is concerned with motives from the first theme, which build gradually towards a immense climax and a return of the opening music. Sibelius’s restatement of the second theme is extended and grows inexorably towards a conclusion. A return of the brass fanfare signals the beginning of the end, and Sibelius starts the coda with a final statement of the opening melody. Trumpets, and eventually the entire brass section take up a final, transformed version of this melody to close the symphony.
Complete program notes for the 2025-2026 season are available at madisonsymphony.org.
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Anne Thurber & Yjan Gordon
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42 Anonymous Friends
We also thank 122 donors for their contributions of $1 to $49.
* Total includes gifts supporting: MSO’s 2025-26 Annual Campaign; MSOL 2025-26 Events & General Support; 2025-26 Organ Concerts; Friends of the Overture Concert Organ’s 2025-26 Annual Campaign. MSOL and FOCO basic membership dues and fundraising event ticket purchases are not included. Giving thresholds listed here do not correspond to giving levels within specific campaigns included. We have made every e ort to ensure the accuracy of this list. If you have any questions or corrections, please contact our development department at (608) 257-3734.
Musician Feature
NANCY MACKENZIE
Clarinet
Nancy Mayland Mackenzie is a native Madisonian. She regularly performs as 2nd Clarinet with the Madison Symphony, as Principal Clarinet with the Wisconsin Chamber Orchestra and is the clarinetist and an artistic director of the Oakwood Chamber Players.
Nancy’s connection with Madison Symphony goes back to 1970 when she became an usher for Madison Symphony in the old MATC auditorium. In 1978, she became a substitute MSO musician and became a regular member of the orchestra in 1991.
Nancy received a Bachelor of Music degree from UW-Madison as a student of Glenn Bowen, a Master of Music degree from the University of Michigan as a student of David Shifrin, and a Doctor of Musical Arts from the University of Wisconsin-Madison.
In her non-musical life, Nancy works for the WisDOT Division of Motor Vehicles and recently celebrated her 25th work anniversary. She is also the mother of 2 daughters who grew up attending many concerts, and are both musicians. Mary is a soprano and sings in the Boston area and beyond, and Margaret is a harpist who performs with the Madison Symphony as 2nd harpist.
Nancy is thrilled with how Madison has continued to develop its arts environment through the years, from the Stock Pavilion and Coliseum to our fabulous Overture Center.
JOYCE MESSER
Principal Trombone
Joyce, a lifelong Wisconsin resident, is now in her 51st season of playing trombone with the Madison Symphony Orchestra. She completed a Bachelor of Music in Music Education and a Master of Music in Trombone Performance at the University of Wisconsin, Madison, additional studies were at the Institute for Advanced Musical Studies in Switzerland. This period of time involved preparing and participating in several MSO auditions, concerts and teaching a variety of students of all ages, some of which played with and became members of the MSO.
In addition to the MSO, Joyce has performanced with the largest and smallest orchestras in the state, several chamber ensembles, a polka band, local dance bands, the Zor Shriner Circus and the Great Milwaukee Circus Parade. Of all the various organizations, the MSO has been her favorite!
In retirement, she is looking forward to spending more time with her husband, two sons and her grandchildren.
Endow a Chair
A gift to the Madison Symphony Orchestra’s endowment can provide permanent and lasting support for a position in the orchestra, helping to ensure the MSO will continue to attract and retain top quality artistic talent.
Available* Chair Naming Opportunities: Music Director Principal Tuba, Bass Associate Concertmaster Assistant Principal Bass Section Chair
Other opportunities and more information: madisonsymphony.org/endowment
For questions or to discuss a potential gift: Casey Oelkers, Director of Development, (608)257-3734
*as of 9/15/25
RICHARD MORGAN
Percussion
I have been fortunate to play percussion in the MSO since the fall of 1979 and was there to open both the Oscar Mayer Theater and Overture Hall. Originally from Ohio, I studied privately and at Ohio State University. I performed a few times as an extra percussionist with the Columbus Ohio Symphony while in school. I moved to Salem Oregon and played with that symphony for 1.5 years before moving to Madison in early 1979. I joined MSO that fall. In 1996 I started volunteering at VPM Memorial High School’s band program when my eldest son attended. I am still volunteering there today Directing the school’s Percussion Ensemble. I also volunteer at Oregon High School helping their percussion program.
I ventured into percussion equipment having designed, patented, manufactured, and sold a device to elevate older non-adjustable mallet percussion instruments (marimbas, vibes, xylophones) to the proper ergonomic height for players.
Since 1996 I have been involved with the MSO Board as advisor or board member. During that time, I have been on the Marketing Committee and am currently the chair of that committee.
Though music is a key part of my life, music is my avocation. My primary employment was as a marketing consultant. I owned and operated a marketing consulting firm until I retired in 2023.
BUSINESS, FOUNDATION AND GOVERNMENT DONORS
FOUNDATION AND
Madison Symphony
Madison Symphony League
Overture Concert Organ
The Madison Symphony Orchestra and our a liate organizations rely on generous donor fund the of our mission each year. We gratefully acknowledge all companies, foundations and government agencies grants, sponsorships, contributions, and gifts-in-kind.
Madison our donor our that to Madison are to for their general of the Overture as of March of the
Organizations that have contributed to the Madison Symphony Orchestra, Madison Symphony League, Concert Organ are listed according to the total amount of their supporting the
$100,000 OR MORE
Madison Symphony Orchestra Foundation
Madison Symphony Orchestra League
WMTV 15 News
$50,000–$99,999
Pleasant T. Rowland Foundation
$25,000–$49,999
American Printing
Irving and Dorothy Levy Family Foundation, Inc.
The Madison Concourse Hotel & Governor’s Club
Madison Magazine
Madison Media Partners
$15,000–$24,999
Capitol Lakes
$10,000–$14,999
John J. Frautschi Family Foundation
Lake Ridge Bank
Kenneth A. Lattman Foundation, Inc.
Madison Gas & Electric Foundation, Inc.
Marriott Daughters Foundation
PBS Wisconsin
Richman & Richman LLC
University Research Park
U.S. Bank Foundation
Walter A. and Dorothy Jones
Frautschi Charitable Unitrust
$5,000–$9,999
Wisconsin Public Radio
Woodman’s Food Markets
$2,500–$4,999
Group Health Cooperative of South Central Wisconsin
Josiah Macy Jr. Foundation
Kohls & Mackie, LLC
Madison Arts Commission
Midwest Patrol & Investigative LLC
Sta ord Rosenbaum LLP
$1,000–$2,499
Farley’s House of Pianos
GE Healthcare
Hartmeyer Ice Arena
Heid Music and Heid Music
Family Charitable Fund
Promega Corporation
Sold with Faith Real
Sold with Faith Real Estate, Restaino & Associates
Veridian Homes Foundation
An Anonymous Foundation
An Foundation
Boardman Clark Law Firm
Lakes Inc.
The Evjue Foundation, Inc.
Fiore Companies, Inc.
Fiore Inc.
National Endowment for the Arts
Nimick Foundation
Nimick Forbesway Foundation
Richman & Richman LLC
Wisconsin Arts Board
with additional funds from the State of Wisconsin and the National Endowment for the Arts
Dane with additional funds from the Endres The charitable arm of the Frautschi and the
Dane County Arts, with additional funds from the Endres Mfg. Company Foundation, The Evjue Foundation, Inc., charitable arm of The Capital Times, the W. Jerome Frautschi Foundation, and the Pleasant T. Rowland Foundation
DeWitt LLP
Exact Sciences
Fields Auto
Fields Auto Group
Hooper Corporation
J.H. Findor & Son Inc.
Reinhart Boerner Van Deuren s.c.
s.c.
Robinson Fund
The Steven P. Robinson Family Fund
Sub-Zero Inc.
Sub-Zero Group, Inc.
SupraNet Communications, Inc.
von Briesen & Roper, s.c.
Walter and Dorothy Jones Frautschi Fund
West Bend Insurance Company
Baird/The Woodford Group
Woodford Group
BRAVA Magazine
*Total includes donations that support 2025-2026 Madison Orchestra Concerts, 2025-2026 2025-2026 Education and
The Capital Times Kids Fund
Capitol Bank
Times Kids Fund Bank
Festival Foods
Google
Herb Kohl Charities
Madison Orchestra
Josiah Macy Jr. Foundation
Josiah Jr. Foundation
Thermo Fisher Scientific, Inc.
Thermo Fisher Inc.
UW Health & Unity Health Insurance
UW Health & Health Insurance
Wisconsin Solar Design
UP TO $999
Above the Bar Marketing
Wisconsin Solar the Bar
Alliant Energy Foundation
Matching Gifts Program
Alliant Energy Foundation Gifts
Ascendium Education Group
Ascendium Education
Badger Bus
Bobbi Petersen Photography
Choles Floral
Costco Wholesale Corporation
Sunset Overture Concert 2025-2026 Annual event ticket are not have made every ensure the accuracy of this list. If you believe an error has been contact our 257-3734.
*Total includes donations that support 2025-2026 Madison Symphony Orchestra Concerts, 2025-2026 Organ Concerts, 2025-2026 Education and Community Engagement Programs; Madison Symphony Orchestra League’s 2025-2026 Events and Activities including Symphony at Sunset 2025; and Friends of the Overture Concert Organ’s 2025-2026 Annual Campaign. Fundraising event ticket purchases are not included. We have made every e ort to ensure the accuracy of this list. If you believe an error has been made, please contact our development department at (608) 257-3734.
PLANNED GIVING: THE STRADIVARIUS SOCIETY
The individuals listed below have informed the MSO that they have included gifts for the Symphony in their estate plans. If you have remembered the Symphony in your will, living trust, or have made other arrangements for a future gift, we would love to know so we can thank you! We honor all requests for anonymity. Contact Casey Oelkers at (608) 260-8680 x228 for more information.
Fernando & Carla Alvarado
Emy Andrew
Twila Sheskey
Dr. Beverly S. Simone
Carl M. Hudig
Dr. Stanley & Shirley Inhorn
Mrs. J. Barkley Rosser
Harry D. Sage
Dennis Appleton & Jennifer Buxton
Diane Ballweg
Margaret B. Barker
Chuck Bauer & Chuck Beckwith
Dr. Annette Beyer-Mears
Rosemarie & Fred Blancke
Shaila & Tom Bolger
Michael K. Bridgeman
JoAnn Six
Mary Lang Sollinger
Sharon Stark & Peter D. Livingston
Gareth L. Steen
Jurate Stewart
John & Mary Storer
Martha Jenny
Lois M. Jones
Shirley Jane Kaub
Helen B. Kayser
Patricia Koenecke
Teddy H. Kubly
Joel Skornicka
Chalma Smith
Marie Spec
Charlotte I. Spohn
Evelyn C. Steenbock
Alexis Buchanan & James Baldwin
Scott & Janet Cabot
Clarence Cameron & Robert Lockhart
Martha & Charles Casey
Elizabeth A. Conklin
James Dahlberg & Elsebet Lund
Barbara & John DeMain
Robert Dinndorf
Audrey & Philip Dybdahl
Jim & Marilyn Ebben
Endo Family Trust
George Gay
Tyrone & Janet Greive
Terry Haller
Brandon S. Hayes
Robert Horowitz & Susan B. King
Richard & Meg LaBrie
David Lauth & Lindsey Thomas
Ann Lindsey & Charles Snowdon
Claudia Berry Miran
Elaine & Nicholas Mischler
Stephen D. Morton
Margaret Murphy
Reynold V. Peterson
David & Kato Perlman
Judith Pierotti
Michael Pritzkow
John Rafoth
Gordon & Janet Renschler
Joy & David Rice
Joan & Kenneth Riggs
Harry & Karen Roth
Edwin & Ruth Sheldon
Richard Tatman & Ellen Seuferer
Marilynn Thompson
Ann Wallace
Richard & Barbara Weaver
Carolyn & Ron White
John Wiley & Andrea Teresa Arenas
Dave Willow
Mary Alice Wimmer
Helen L. Wineke
Ten Anonymous Friends
ESTATE GIFTS
RECEIVED
Elizabeth S. Anderes
Donald W. Anderson
Judy Ashford
Helen Barnick
Norman Bassett
Nancy Becknell
DeEtte Beilfuss-Eager
Theo F. Bird
Marian & Jack Bolz
Kenneth Bussan
Margaret Christy
Frances Z. Cumbee
Teddy Derse
Dr. Leroy Ecklund
Mary J. Ferguson
Linda I. Garrity
Maxine A. Goold
Beatrice B. Hagen
Martin R. Hamlin
Sybil A. Hanks
Elizabeth Harris
Julian E. Harris
Jane Hilsenho
Arno & Hazel Kurth
Steven Landfried
James V. Lathers
Renata Laxova
Stella I. Leverson
Lila Lightfoot
Jan Markwart
Geraldine F. Mayer
Mr. & Mrs. Frederick W. Miller
Janet Nelson
Sandra L. Osborn
Elmer B. Ott
Ethel Max Parker
Josephine Ratner
Harry Steenbock
Virginia Swingen
Gamber F. Tegtmeyer, Jr. & Audrey Tegtmeyer
Katherine Voight
William & Joyce Wartmann
Sally & Ben Washburn
Sybil Weinstein
Mr. & Mrs. J. Wesley Thompson
Glenn & Edna Wiechers
Elyn L. Williams
Margaret C. Winston
Jay Joseph Young
Two Anonymous Friends
A Legacy of Music
The Madison Symphony Orchestra is a grateful recipient and faithful steward of planned gifts from individuals who have remembered the Symphony in their estate plans. Through a planned gift, you can help preserve MSO’s legacy of great music for generations to come. All planned gifts qualify for Stradivarius Society recognition, and requests for anonymity will be honored.
Learn more madisonsymphony.org/stradivarius
“I have designated a gift for the Symphony in my will to help ensure the orchestra will have outstanding artistic leadership for generations to come.”
– Mary Alice Wimmer, Stradivarius Society Member
In honor of Mike Allsen
Gale Barber
In honor of Janneke C. Baske
Bruce and Barbara McRitchie
In honor of Barbara Berven
Janet Renschler
In honor of Barbara DeMain
Anonymous
In honor of John DeMain
Diane and Dominic DeMain
Pamela Ploetz and John Henderson
Anonymous
In honor of Tammy and Charles Hodulik
Steven and Lynn Hodulik
In honor of Jing “Connie” Li
Tom and Heidi Notbohm
In honor of Elliot Lesperance
Jennifer Vasam
In honor of the Madison Symphony Chorus
John Heaton
In honor of Elspeth Stalter-Clouse
Randall and Pamela Clouse
In honor of John Toussaint
Reynold V. Peterson
In honor of Carolyn White
Sharon M. Berkner
White
In honor of Laura White
In Laura
Anonymous
In honor of Greg Zelek
Zelek
Christine & Je Molzahn
Todd & Kim Toussaint
Wilko
Margy Wilko
In honor of Greg Zelek & Amanda Elfman
Wilko
Suzy Wilko
Zelek & Amanda Elfman
In memory of Paul Aas
In memory Aas
Melodie Aas
Mary Dzick
Dzick
Joe Aas and Nancy Morris
Joe Aas and Nancy Morris
R. Patrick and Laura Morelli
David Sherlock and Jennifer Gottwald
TRIBUTES
The Madison Symphony Orchestra gratefully acknowledges the following donors for their contributions honoring family & friends, as of February 25, 2026. Tributes are recognized for one year following the gift date.
In memory of Norman C. Anderson
Peggy Anderson
In memory Norman C. Anderson
In memory
In memory of Susan H. Axelrod
Jon P. Axelrod
Stan and Shirley Inhorn
Harry and Linda Argue
Patricia Bernhardt
Becky Dick
In memory of Jack & Marian Bolz, Anne &
Bob Bolz, and Adolph & Eugenie Bolz
In memory Jack & Marian Anne & Bob and & Bolz
Julia Bolz
Robert and Lynn Bolz
Je and Joan Bolz Cleary
Carolyn and Bob Glah
Cathy and Eric Wilson
Anonymous
In memory of Marian Bolz
Samuel C. Hutchison
In memory of Barbara Ann Brown
The Kent as are for one the
Kirk Brown and Lori DiPrete Brown
Brian W. Heywood, M.D.
In memory of Jim & Betty Bruce
Samuel C. Hutchison
In memory of Stephen Caldwell
Judith Werner
Tyrone and Janet Greive
William and Sara Lee
William and Sara Lee Hinckley
Stan and Nancy Johnson
Stan and Nancy Johnson
Valerie and Andreas Kazamias
Elaine and Nicholas Mischler
David and Gloria Gehl
Donna Gehl
Jane Gehl and Todd Thiel
The Joshua P.
Luke Gehl
Gehl Family
Patricia Kokotailo and R. Lawrence DeRoo
Ruth Sheldon, M.D.
Ruth M.D.
Mark and Kathy Gehl
Mike and Pam Gehl
Janet and Marc Gehl Vincent
Connie and Barry Golden
Diana Grove
Patricia Hable Zastrow
Cleo Hall
Judith and Nick Topitzes
Judith and Nick
Donna and Wetzel
Donna and Roger Wetzel
Anonymous
In memory of Dr. Edith G. King
Samuel C. Hutchison
In memory of Helen Klibaner
Irwin Klibaner
In memory of John Komoroske
The Armstrong Family
Aurora BayCare Hospital X-Ray Team
Jeanne Behrend and Dan Fields
Jenna Behrman
Craig and Gina Hallbauer
Sharon and Joel Haroldson
Cynthia Hawkinson
Ann Henne
Hietpas Family and Annette Hovie
Mandy Huber
The Johnson Family
Robert and Barbara Justl
Peter and Emily Klug
Donald Kometz
Diana Konkle
Alan and Toots Krueger
The Lamers Family
In memory of Robert Carwithen
Samuel C. Hutchison
In memory of Wayne Chaplin
In memory In memory
Deb and John Belken
Karen Benson
Susie Berberet
Gail Bergman
In memory of Jim Ebben
Marilyn Ebben
In memory of Kennedy W. Gilchrist
Gail In memory Ebben In memory
Barbara S. Hughes
Barbara S.
In memory of Anita Healey
In memory Anita
Valerie and Andreas Kazamias
Christine and Robert Reed
In memory of Perry Henderson
In memory Henderson
Elaine and Nicholas Mischler
In memory of Shirley Inhorn
Phyllis Lorenz
In memory Inhorn Lorenz
In memory of Stanley Inhorn
Douglas Kopp
Anonymous
Rita E. Bogosh
Janet Brantmeier
The Liebzeit Family
Mary and Bill Lundstrom
Mark and Gayle Boerschinger
Barbara and James Brueckner
Angela and Tom Breunig
Ted and Judy Buenzli
Mark and Rita E. and Tom and Buenzli
Valerie Cappozzo
Valerie Cappozzo
Richard and Carlson
Richard and Sandy Carlson
Colleen Cleary and David Anderson
Mary and Jack Davison
Mary Detra
Colleen and David Anderson and Jack Davison Detra
Maureen and James Drunasky
Henry and Carol Ebert
Rhea Emmer
Dave and Kathi Erickson
Jeanie Farmer
Robert and Linda Frautschy
Candice Gehl
Curt and Michelle Gehl
Angie and Scott Lawrence
Sue and Ray Lux
Sue and Lux
Jim and Toni Mastrangelo
Christine and Russell Melland
Cheryl Namyst and Steve Konkol
Marge and Carroll Pieper
Jim and Toni and and Carroll
David and Jane Rahn
Rosina Romano
Roger and Plamann
Roger and Judy Plamann
Mildred K. Ross
Peggy Ross
Paul and Pam Rush
Maureen and James and Carol Ebert and Scott Lawrence Liebzeit and Bill Lundstrom
MSO Family Concert • Overture Concert Organ Performance
Joan Herzing Yoga & Root Song • Mama Digdowns • Annie and the Oakies
Wisconsin Dells Singers and Dance Troupe • Eden Ehm • Charanga Agoza
Timeless • WYSO • Waunakee Big Band • Black Star Drumline • Kanopy
Capital City Theatre • Orquesta SalSoul Del Mad • Yid Vicious
Danielle Crim & John Crim • John DeMain • Tony Castaneda • Cash Box Kings
AR Violin Quartet and Simone Le Pierre Choreography • Lynda and the Zeros
SUNDAY, JUNE 14, 2026
MSO “Greatest Hits” Finale Concert
Martha McCurdy Meditation & Wellspring • Suzuki Strings of Madison • Michael Allsen
Capital City Theatre • Madison Youth Choirs • Con Vivo!
The Hmong Institute’s Heritage Club • Currach Irish Quadtet • Madison Opera
Gaines & Wagoner • Panchromatic Steel • Travis Agnew • Children’s Theater of Madison
The Stop and Listen • Automatic Lover • Mariachi Corcel de Madison
Bach Dancing and Dynamite • Madison Area Concert Handbells
Isthmus Brass • Adem Tesfaye Band • Grupo Candela
PRESENTING FESTIVAL SPONSORS
When it comes to senior living, Capitol Lakes simply has the right “feel.”
Allegro. Giocoso. Vivace. Not the expected adjectives to describe a senior living community, for sure. But if the terms fit, they fit. We invite you to see it (and feel it) for yourself at a personal tour. Call today.
CENTENNIAL ANNIVERSARY DONORS
We are deeply grateful to these donors who have made gifts or commitments for the Madison Symphony Orchestra’s Centennial Anniversary to support special projects, programs, or performances, as of March 4, 2026.
$100,000+ CENTENNIAL CHAMPIONS
Diane Ballweg
Joel and Kathryn Belaire
Norm and Barbara Berven
W. Jerome Frautschi
Myrna Larson
Pleasant T. Rowland Foundation
Judith and Nick Topitzes
$50,000 - $99,999
Madison Community Foundation
Madison Gas & Electric Foundation, Inc.
Peggy and Tom Pyle
$25,000 - $49,999
Jim and Susan Bakke
Lau and Bea Christensen
John J. Frautschi Family Foundation
Madison Symphony Orchestra League
Elaine and Nicholas Mischler
Kay Schwichtenberg and Herman Baumann
$10,000 - $24,999
Fernando and Carla Alvarado
Scott and Janet Cabot
Capitol Lakes
James Dahlberg and Elsebet Lund
Larry Hands and Karen Kendrick-Hands
John J. Frautschi Family Foundation, in honor of John DeMain
Marriott Daughters Foundation
Gary and Lynn Mecklenburg
David and Kato Perlman
Pamela Ploetz and John Henderson, in honor of John DeMain
Joe and Mary Ellyn Sensenbrenner
$5,000 - $9,999
Je rey and Angela Bartell
John W. Erickson
Paul and Susan Erickson, in memory of Margaret C. Winston
David Falk and JoAnne Robbins
David Flanders and Susan Ecroyd
Dr. Robert and Linda Graebner
Terry Haller
Kathleen Harker
Hooper Corporation
J.H. Findor & Son Inc.
Nancy Mohs
The Parker Family
Lynn Stegner
Peter and Leslie Overton
Reynold V. Peterson
Thomas E. Terry
Jim and Jessica Yehle
$2,500 - $4,999
Rozan and Brian Anderson
Rosemarie and Fred Blancke
BMO
Ellsworth and Dorothy Brown
Catherine Buege
Cavi, Fortune & Associates
Steven Ewer and Abigail Ochberg
Dr. Thomas and Leslie France
Kelly Family Foundation Inc.
Allan and Sandra Levin
Mark and Nancy Moore
Dennis and Karen Ne
Reynold V. Peterson
Cyrena and Lee Pondrom
Beth and Peter Rahko
Doug and Katie Reuhl
Richman & Richman LLC
Fredrick and Karen Schrank
Bassam Shakhashiri
Mary Lang Sollinger
Stark Company Realtors
Lynn Stathas
U.S. Bank Private Wealth Management
Jasper and JoAnne Vaccaro
West Bend Insurance Company
UP TO $2,499
Adesys IT Specialists
Bergstrom Automotive
Mike Allsen and Robin Hackman
Ellis and Susan Bauman
Bergstrom Automotive
Michael Bridgeman and Jack Holzhueter
Capitol Bank
Daluge Travel
Doug and Sherry Caves
Dawn Crim and Elton Crim Jr.
Farley’s House of Pianos
Tyrone and Janet Greive
Jane Hamblen and Robert F. Lemanske
Brandon S. Hayes
Bob and Louise Jeanne
Valerie and Andreas Kazamias
David Lauth and Lindsey Thomas
Ann Lindsey
Little Luxuries
Livable Communities by Don Tierney
Linda and Michael Lovejoy
Charles McLimans and Dr. Richard Merrion
Stephen Morton and Rochelle Stillman
Jeanne Myers
Pines Bach LLP
Myron Pozniak and Kathleen Baus
Qual Line Fence Corp.
Janet Renschler and Sandra Dolister
Orange Schroeder
Lise R. Skofronick
Sharon Stark
Carolyn White
IN-KIND
American Printing
BRAVA Magazine
Fiore Companies, Inc.
Madison Media Partners
Surroundings Events and Floral
WMTV 15 News
Voices Eternal
Our reimagined subscription season finale created by John DeMain is an uplifting program bringing to life moments from the MSO’s history, intimate connections to the world of opera, and highlights from his transformational tenure as Music Director. He opens the concert with Wagner’s glorious Prelude to Die Meistersinger von Nürnberg, played by the Madison Civic Symphony in 1926. Next is a thrilling romantic piano concerto by beloved American composer Edward MacDowell with Italian-born virtuoso pianist Alessio Bax making his MSO debut. Music from the first concert Maestro DeMain conducted with our Symphony in the fall of 1994 will be reprised — Leonard Bernstein’s Chichester Psalms. This serenely beautiful work features J ohn Holiday ’s soaring countertenor voice with our chorus and orchestra — blending Christian choral tradition with Jewish music to express hope for peace and brotherhood.
MAJOR SPONSORS
Diane Ballweg
Elaine and Nicholas Mischler
Richman & Richman LLC
Nick and Judith Topitzes Family Foundation University Research Park
ADDITIONAL SPONSORS
DeWitt LLP
Kathleen Harker
Myron Pozniak and Kathleen Baus
Ellis and Katie Waller
Wisconsin Arts Board
Endowment support for the music library collection is the gift of John & Carolyn Peterson.
The Overture Concert Organ is the gift of Pleasant T. Rowland.
The Hamburg Steinway piano is the gift of Peter Livingston and Sharon Stark in memory of Magdalena Friedman.
SINGLE TICKETS ON SALE
John DeMain, Conductor
Alessio Bax, Piano
Alexandra LoBianco, Soprano
Adriana Zabala, Mezzo-Soprano
Travon Walker, Tenor
John Holiday, Countertenor
Matt Boehler, Bass
Madison Symphony Chorus, Beverly Taylor, Director
MUSIC
RICHARD WAGNER Prelude to Die Meistersinger von Nürnberg
EDWARD MACDOWELL Piano Concerto No. 2
LEONARD BERNSTEIN CHICHESTER PSALMS
madisonsymphony.org, the Overture Center Box O ce or (608) 258-4141
Dates, artists, and programs subject to change.
ANTON BRUCKNER TE DEUM
2026
An intimate benefit concert where music, story, and insight converge.
Notes & Narratives is Wisconsin Youth Symphony Orchestras’ signature benefit concert experience, pairing a deep, engaging exploration of a single masterwork with a complete live performance, enriched by new context, collaboration, and perspective.
Featuring members of the Wisconsin Chamber Orchestra and Madison Symphony Orchestra, conducted by Kyle Knox, with special guests Kanopy Dance and narration by James Ridge, this year’s program brings Stravinsky’s The Soldier’s Tale vividly to life.
Sunday, April 19 | MYArts
Join fellow music lovers, arts patrons, and community leaders for an evening that invites you to listen more deeply and hear the music in a new way.
Learn more & reserve your seat: WYSOmusic.org/Notes-Narratives-2026
James Ridge, Narrator
Kyle Knox,Conductor
Robert E. Cleary, Choreographer
The Soldier’s Tale by Igor Stravinsky
ENDOWMENT GIVING: THE CENTURY SOCIETY
We gratefully acknowledge our Century Society donors, who have made commitments of $100,000 or more to the Madison Symphony Orchestra’s endowment through outright or planned gifts, as of February 2026. Their gifts create a solid financial foundation upon which the MSO can realize its vision to be a leader in classical music performance, education, community engagement, and artistic innovation for generations to come.
Century Society members are always welcome. Visit madisonsymphony.org/endowment to learn more about endowment giving and view a full list of endowment donors. our as of a a in community to come.
New Century madisonsymphony.org/endowment to a full of donors.
Please support our advertisers and let them know you saw their ad in the Madison Symphony Orchestra program book. Interested in advertising with us? Visit madisonsymphony.org/ads to learn more. 5 American Printing
Capitol Lakes
Farley’s House Of Pianos
Farley’s Salon Piano Series
Fiore Companies
Lake Ridge Bank
Memorial Church
Carla and Fernando Alvarado
Rozan and Brian Anderson
Dennis Appleton and Jennifer Buxton
Diane Ballweg
Chuck Bauer and Chuck Beckwith
Barbara and Norman Berven
Dr. Annette Beyer-Mears
Rosemarie and Fred Blancke
Eugenie Mayer Bolz Family Foundation
Jim and Cathie Burgess
Martha and Charles Casey
Margaret Christy
Pat and Dan Cornwell
James F. Crow
James Dahlberg and Elsebet Lund
William and Alexandra Dove
The Evjue Foundation, Inc.
Linda I. Garrity
George Gay
George and Candy Gialamas
Tyrone and Janet Greive
Terry Haller
Carl M. Hudig
Dr. Stanley and Shirley Inhorn
Patricia Kokotailo and R. Lawrence DeRoo
Arno and Hazel Kurth
Myrna Larson
James Victor Lathers
Peter Livingston and Sharon Stark
Madison Symphony Orchestra League
Claudia Berry and David E. Miran
Nicholas and Elaine Mischler
David and Kato Perlman
John L. Peterson
Sheila Read
The Reuhl Family
Pleasant T. Rowland
Harry D. Sage
JoAnn Six
Gareth L. Steen
Harry and Evelyn C. Steenbock
Steinhauer Charitable Trust
Thomas E. Terry
Marilynn Thompson
Judith and Nick Topitzes
Katherine and Thomas Voight
William and Joyce Wartmann
Elyn L. Williams
Margaret C. Winston
Six Anonymous Friends
Classical Guitar Society
Opera
Magazine
Madison Media Partners 27 Madison Gas & Electric Foundation, Inc.
Madison Veterinary Specialists
Supranet 16 The Madison Concourse Hotel
Token Creek Chamber Music
Wisconsin Public Radio
Wisconsin Union Theater
Wisconsin Youth Symphony Orchestra
WMTV 15 News
OVERTURE HALL INFORMATION BOARDS & ADMINISTRATION
RESTROOMS
Women’s and men’s restrooms are located on each level of Overture. Family assist/gender inclusive restrooms, available to persons of any gender identity and expression, are available in the following areas:
• Lower-Level Rotunda: to the right of the stairway.
• First floor lobby / Overture Hall: near coat check.
• Second floor: Gallery 2—second door to the left o the elevators.
Amenities at gender-inclusive restrooms include:
• Lockable door to provide privacy for individual users
• Ample room for an assistant/family member, if needed
• Accessible sink, stool and urinal (floor level)
• Changing stations
• Power-assist doors (Level 1 restrooms only)
ACCESSIBILITY
Overture Center is fully accessible to persons with mobility, hearing, and visual impairments. Ushers are available at each concert to assist you. Wheelchair or transfer seating is available; please notify the Overture Center Box O ce when purchasing your ticket. If you require an assistive-listening device, please alert an usher at the concert. Braille programs are also available upon request. Please contact Heather at hrose@madisonsymphony.org at least three weeks prior to the concert you wish to attend.
GUEST CONSIDERATIONS
The musicians and your fellow audience members thank you!
• Please arrive early to ensure plenty of time to get through security and to be seated. If you arrive late, you will be seated during an appropriate break in the music at the discretion of the house sta . If you need to leave during the concert, please exit quietly and wait to be reseated by an usher at an appropriate break.
• Please feel free to take photos before and after the concert, and during intermission! Once the lights dim, please turn o all cell phones and electronic devices.
• Please do not wear perfumes, colognes or scented lotions as many people are allergic to these products.
• Smoking is not permitted anywhere in Overture Center for the Arts.
• The coat-check room is open when the weather dictates and closes 20 minutes after the performance ends.
• Food and beverages are available at bars and concession stands in the Overture Lobby. Beverages are allowed in Overture Hall, but please enjoy food in the lobby. Please unwrap cough drops and candies before the concert begins.
Please take note: We will adhere to all public health guidelines and cooperate with Overture Center for the Arts to ensure your safety. We invite you to visit madisonsymphony.org/health for more information on health and safety. Overture Center safety information can be found at overture.org/health
MADISON SYMPHONY ORCHESTRA INC. BOARD OF DIRECTORS, 2025-2026
OFFICERS
Michael Richman, Chair
Janet Cabot, Secretary
Doug Reuhl, Treasurer
Ellsworth Brown, Immediate Past Chair
Barbara Berven, Member-at-large
Oscar Mireles, Member-at-large
Derrick Smith, Member-at-large
Lynn Stathas, Member-at-large
Anna Trull, Member-at-large
DIRECTORS
Brian Anderson
Ruben Anthony
Barbara Berven
Rosemarie Blancke
Ellsworth Brown
Janet Cabot
Cecilia Carlsson
Bryan Chan
Elton Crim
James Dahlberg
Robert Dinndorf
Audrey Dybdahl
Marc Fink
Jane Hamblen
Paul Ho mann
Mooyoung Kim
Phillip La Susa
David Lauth
Robert Lemanske
Ann Lindsey
Marta Meyers
Oscar Mireles
Richard Morgan
Leslie Overton
Jon Parker
Lester Pines
Michael Richman
Sophia Rogers
Carole Schae er
John Sims
Derrick Smith
Lynn Stathas
Todd Stuart
Anna Trull
Jasper Vaccaro
Ellis Waller
Eric Wilcots
Michael Zorich
ADVISORS
Elliott Abramson
Michael Allsen
Carla Alvarado
Je rey Bauer
Ted Bilich
Camille Carter
Martha Casey
Laura Gallagher
Tyrone Greive
Michael Hobbs
Mark Huth
Stephanie Lee
José Madera
Joseph Meara
Gary Mecklenburg
Larry Midtbo
Abigail Ochberg
Greg Piefer
Cyrena Pondrom
Margaret Pyle
Jacqueline Rodman
Kay Schwichtenberg
Mary Lang Sollinger
Judith Topitzes
Carolyn White
Anders Yocom
Stephen Zanoni
LIFE DIRECTORS
Terry Haller
Valerie Kazamias
Elaine Mischler
Nicholas Mischler
Douglas Reuhl
HONORARY DIRECTORS
Jennifer Berne, President Madison College
Kathy Evers, FirstLady of the State of Wisconsin
Melissa Agard, DaneCountyExecutive
DIRECTORS EMERITUS
Helen Bakke
Wallace Douma
Fred Mohs
Stephen Morton
Beverly Simone
John Wiley
EX OFFICIO DIRECTORS
Rozan Anderson
Mark Bridges
Rose Heckenkamp-Busch
William Ste enhagen
EX OFFICIO ADVISORS
Dan Cavanagh
Daniel Davidson
John Wagner
MADISON SYMPHONY ORCHESTRA FOUNDATION
INC. BOARD, 2025-2026
OFFICERS
Nicholas Mischler, President
Jon Parker, Vice President
Robert Reed, Secretary-Treasurer
DIRECTORS
Ellsworth Brown
Joanna Burish
Jill Friedow
Juan Gomez
Jane Hamblen
Nicholas Mischler
Jon Parker
Gregory Reed
Robert Reed
Douglas Reuhl
Michael Richman
MADISON SYMPHONY ORCHESTRA LEAGUE BOARD OF DIRECTORS, 2025–2026
OFFICERS
Rozan Anderson, President
Don Sanford, President-Elect
Ledell Zellers, Recording Secretary
Janet Renschler, Corresponding Secretary
Leslie Overton, Treasurer
Michael Richman, MSO Board Chair
Barbara Berven, Immediate Past President/ Nominations
Louise Jeanne, VP Administration
Jackie Judd, AVP Administration
Kathy Forde, VP Communications
Cathy Buege, AVP Communications
Kathy Forde, AnnualReport
Lori Poulson, VP Education (and Youth Docent Programs)
