By Jacob Stockinger
Little wonder that Hough was the first musician to win a MacArthur Fellowship or “genius grant.”
The virtuosic Hough (below) wowed local audiences here a couple of months ago when he performed the dazzling Piano Concerto No. 5 “Egyptian” by Camille Saint-Saens with the Madison Symphony Orchestra.
Recently, he gave an interview in which he talked about the importance of silence to musicians.
Along the way, he also remarked on and lauded the “thrilling” rise of Western classical music – shown in audiences as well as the huge numbers and high quality of professional performing artists, amateurs and students – in Asia.
Hough also talked about the role of composing for performers, why it is a valuable skill and whether the performer-composer tradition is returning. (You can hear Stephen Hough perform his own Piano Sonata No. 3 “Trinitas” in the YouTube video at the bottom.)
The Ear found Stephen Hough’s interview engaging and informative, and hopes you do too.
Here is a link:
By Jacob Stockinger
A friend and reviewer for this blog – his specialty is opera but he also is very experienced with the symphonic repertoire — sent in the following opinion piece.
It is being posted in the wake of the announcement by the Madison Symphony Orchestra of its 2017-18 season.
For reference, here is a link to the lineup of the next season’s concerts that was posted yesterday:
By Larry Wells
I received my subscription renewal package for the Madison Symphony Orchestra (below, in a photo by Greg Anderson) a couple of weeks ago, and I was struck then by how conservative and prosaic most of the offerings are.
I’ve mentioned my feelings to acquaintances, and one of the prevailing arguments is that they have to fill the seats.
The assumption seems to be that the patrons will only tolerate music written before 1850.
I’m 70 and I grew up with Stravinsky. I can recall the world premieres of Shostakovich’s final three symphonies. I once eagerly awaited recordings of Britten’s latest works. And I heard the first performances of several works by John Adams (below) while living in San Francisco in the 1980s.
If the assumption is that most reliable patrons are in their 70s and 80s, this seems like a dead-end (pardon the pun). There will be no audience in 20 years.
I believe that audiences can tolerate music of the 20th century — look at the glowing reviews of and enthusiastic ovations for last week’s performances of Witold Lutoslawski’s “Concerto for Orchestra’’ — and attracting younger patrons with bolder musical choices seems an economic necessity.
How can the MSO not be commemorating the centenary of Leonard Bernstein (below, in a photo by Jack Mitchell)? The Milwaukee Symphony Orchestra is performing several of his pieces in its upcoming season.
On a positive note, I was heartened to see that Benjamin Britten’s “Sinfonia da Requiem” is scheduled next season since that has been on my wish list for years. Likewise, Leos Janacek’s “Glagolitic Mass” is a nice surprise.
However, when will we hear Britten’s “War Requiem,” Bernstein’s “Mass” or “‘Songfest,” a symphony by Walter Piston (below top) or William Schuman (below middle) or Alan Hovhannes (below bottom)?
I’m really tired of going to concerts where only one of the works is of interest to me and the others are historic artifacts. I’d like to see a reversal wherein Brahms, Mozart and Beethoven are brought out occasionally, but the bulk of the music performed comes from the rich source of the 20th century.
What do you think?
Leave word in the COMMENT section.
By Jacob Stockinger
Here is the official announcement of the 2017-18 season by the Madison Symphony Orchestra:
The 2017-18 season of the Madison Symphony Orchestra (MSO, below, in a photo by Greg Anderson) presents nine programs that invite audiences to “listen with all your heart” and “feel the emotion, power and majesty” of great classical music.
Subscriptions are available now, and single tickets for all concerts go on sale to the public Saturday, Aug. 12, 2017.
For more information about tickets and ticket prices plus discounts for new subscribers and renewing subscribers, go to:
MSO music director John DeMain, who will be marking his 24th season with the MSO, has created an exciting season that features favorites combined with firsts.
Says DeMain (below, in a photo by Prasad): “I must point out two monumental firsts: the MSO debut of the great violinist Gil Shaham, renowned and sought after the world over, whose appearance Madison has waited for for many years; and the Madison premiere of the Glagolitic Mass by Czech composer Leos Janacek, a gargantuan work for chorus and orchestra with a prominent role for our “Colossal Klais,” the Overture Concert Organ.”
Performances are in Overture Hall of the Overture Center at 7:30 p.m. on Fridays; 8 p.m. on Saturdays; and 2:30 p.m. on Sundays.
The 2017-2018 subscription series concerts begin on Sept. 15, 16 and 17 with “Orchestral Brilliance”—proudly presenting the Madison Symphony Orchestra performing the Johann Sebastian Bach/Leopold Stokowski version of the organ Toccata and Fugue in D minor; Felix Mendelssohn’s Reformation Symphony and Hector Berlioz’s “Harold in Italy” with MSO principal viola Christopher Dozoryst (below, in a photo by Katrin Talbot) as soloist. (You can hear Leopold Stokowski conduct his own transcription of the work by Bach, which was used in Walt Disney’s film “Fantasia,” in the YouTube video at the bottom.)
“From the New World” on Oct. 20, 21 and 22 features the return of beloved pianist Olga Kern (below), a gold medalist in the Van Cliburn competition, performing Samuel Barber’s Piano Concerto, and the MSO performing Antonin Dvorak’s Symphony No. 9 “From the New World” and Maurice Ravel’s Mother Goose Suite.
On Nov. 17, 18, and 19 “Troubadour: Two Faces of the Classical Guitar” features sensational guitar virtuoso Sharon Isbin (below) playing two works, one by American composer Chris Brubeck, and the other by the Spaniard Joaquin Rodrigo, with the MSO performing two Suites—Manuel DeFalla’s The Three-Cornered Hat and Aaron Copland’s Billy the Kid.
The cherished kickoff to the holiday season, “A Madison Symphony Christmas,” returns on the first weekend in December — the 1, 2, and 3. Guest artists Emily Pogorelc, soprano, and Eric Barry, tenor, join John DeMain, the MSO, the Madison Symphony Chorus (below), Madison Youth Choirs and Mount Zion Gospel Choir on stage for the family-friendly celebration.
The MSO season subscription continues in 2018 with the long awaited appearance of violinist Gil Shaham (below) with the MSO—“Gil Shaham Plays Tchaikovsky” on Jan. 19, 20 and 21. This program features works by three of the most popular Russian composers of all time— Sergei Prokofiev’s The Love for Three Oranges Suite, Sergei Rachmaninoff’s Symphony No. 3 and Peter Tchaikovsky’s Violin Concerto.
“Richly Romantic” concerts take place on Feb. 16, 17 and 18 when one of MSO’s favorite cellists, Alban Gerhardt (below), returns performing the lyrical William Walton’s Cello Concerto, and the MSO presents Johannes Brahms’ Symphony No. 1 and Gioachino Rossini’s Overture to Semiramide.
Spring arrives April 13, 14, and 15 with “String Fever” featuring Robert Schumann’s Symphony No. 1, Spring, Benjamin Britten’s Sinfonia da Requiem and Grammy Award-winning violinist Augustin Hadelich (below) performing the Antonin Dvorak’s Violin Concerto.
The season finale, “Mass Appeal,” takes place on May 4, 5 and 6. Star of NPR’s From the Top, pianist Christopher O’Riley (below), will open the program with Mozart’s Piano Concerto No. 22. The MSO premiere of the monumental Glagolitic Mass by Czech composer Leos Janacek features the Overture Concert Organ and the Madison Symphony Chorus, along with soloists Rebecca Wilson, soprano, Julie Miller, mezzo-Soprano, Roger Honeywell, tenor, and Benjamin Sieverding, bass.
The MSO’s 17-18 season includes the popular multimedia production of Beyond the Score®, “Edward Elgar: Enigma Variations,” featuring live actors and visuals in the first half, with the entire work performed in the second half. Joining the orchestra are American Players Theatre actors James Ridge (below), Colleen Madden and Brian Mani, along with Wisconsin Public Radio’s Norman Gilliland of Wisconsin Public Radio as the Narrator. This single performance takes place on Sunday, March 18, 2018*.
NOTE: *Advance tickets for Beyond the Score® are available only to MSO 17-18 season subscribers prior to single tickets going on sale to the general public on Saturday, Aug. 12, 2017. Beyond the Score® is a production of the Chicago Symphony Orchestra. Gerard McBurney, Creative Director for Beyond the Beyond the Score®
ABOUT THE MADISON SYMPHONY ORCHESTRA
The Madison Symphony Orchestra celebrates its 92nd season in 2017-2018 and its 24th season under the leadership of music director John DeMain.
The MSO has grown to be one of America’s leading regional orchestras, providing Madison and south central Wisconsin with cultural and educational opportunities to interact with great masterworks and top-tier guest artists from around the world.
Find more information at madisonsymphony.org
By Jacob Stockinger
Pianist Philippe Bianconi (below, in a photo by Bernard Martinez) returns this weekend to solo with the Madison Symphony Orchestra (MSO) in one of the most challenging works written for piano, Rachmaninoff’s Piano Concerto No. 3.
The program opens with Schumann’s dramatic Manfred Overture, followed by the MSO’s premiere performance of Lutoslawski’s Concerto for Orchestra.
Concluding the program is a performance of the notoriously difficult Piano Concerto No. 3 composed by Sergei Rachmaninoff (1973-1943). The performance features French pianist Bianconi, who won a silver medal at the Van Cliburn Competition and who has performed frequently with the MSO.
The concerts take place in Overture Hall of the Overture Center, 201 State St., on Friday night, April 7 at 7:30 p.m.; Saturday night, April 8, at 8 p.m. and Sunday afternoon, April 9 at 2:30 p.m. Ticket information is further down.
Robert Schumann (1810-1856, below) composed the Overture to Manfred in 1848 during a time of many revolutions throughout Europe, with political feelings running high across the continent.
In Bryon’s mystical poem, Manfred, Bryon’s hero, a “freedom fighter who is tortured by guilt and melancholy” perfectly suited the time and political environment of Europe.
Schumann once wrote in a letter to Franz Liszt (who directed the complete version in 1851): “I feel that it is one of the strongest of my artistic children, and I hope that you will agree with me.”
Polish composer Witold Lutoslawski (1913-1994, below), began work on Concerto for Orchestra in 1950. This is the first time this piece will be performed by the Madison Symphony Orchestra. (You can hear the dramatic opening of the work, performed by Daniel Barenboim conducting the Chicago Symphony Orchestra in the YouTube videos at the bottom.)
Originally from Warsaw, Poland, the Lutoslawski family fled to Russia to escape the German occupation of World War I. After the Russian Revolution in 1917, Lutoslawski’s father and uncle were executed by the Bolsheviks for their political activism and the family returned to Warsaw. Lutoslawski had studied piano and composition between the wars, but was then drafted into the Polish army and captured by the Nazi’s in 1933.
He escaped captivity and found his way back to Warsaw where he worked as a cabaret pianist. Lutoslawski fled Warsaw a second time, just months before the Nazis leveled the city in 1945 – “losing most of his scores in the process.” He then returned to Warsaw when it was controlled by the Soviets.
Lutoslawski’s Concerto for Orchestra is based in part on folk styles – apparently at the request of conductor Witold Rowicki, to whom it is dedicated. It is his most popular piece.
Sergei Rachmaninoff (below) composed his Piano Concerto No. 3 in 1909. He spent the summer in the Russian countryside, relaxing on his wife’s family’s estate, while also writing one of the most challenging works for piano in the repertoire. This piece is a “fiery display of piano technique” that has been called “The Mt. Everest of piano concertos.”
One hour before each performance, John DeMain (below, in a photo by Prasad), music director of the MSO, will lead a 30-minute Prelude Discussion in Overture Hall to enhance concertgoers’ understanding and listening experience.
For more background on the music, visit the Program Notes, written by MSO trombonist and UW-Whitewater professor Michael Allsen (below, in a photo by Katrin Talbot), at: http://www.allsenmusic.com/NOTES/1617/7.Apr17.html
Single Tickets are $16 to $87 each, available at madisonsymphony.org/bianconi and through the Overture Center Box Office at 201 State Street or call the Box Office at (608) 258-4141.
Groups of 15 or more can save 25% by calling the MSO office at (608) 257-3734. For more information visit, madisonsymphony.org/groups
Student rush tickets can be purchased in person on the day of the concert at the Overture Center Box Office at 201 State Street. Students must show a valid student ID and can receive up to two $12 or $15 tickets. More information is at: madisonsymphony.org/studentrush. Students can receive 20% savings on seats in select areas of the hall on advance ticket purchases.
Seniors age 62 and up receive 20% savings on advance and day-of-concert ticket purchases in select areas of the hall.
Discounted seats are subject to availability, and discounts may not be combined.
Exclusive funding for the April concerts is provided by the Pleasant T. Rowland Foundation.
For more information about the Madison Symphony Orchestra, go to madisonsymphony.org
By Jacob Stockinger
The Ear doesn’t see a unifying theme to this week’s events at the University of Wisconsin-Madison Mead Witter School of Music. But there is a lot of varied and appealing music and events — by acclaimed faculty members, guest performers and prize-winning students — on tap.
All concerts are FREE and OPEN TO THE PUBLIC.
Here is the lineup by day:
At 7:30 p.m. in Mills Hall, oboist Aaron Hill (below) will give a recital featuring “Oboe Music From the Big 10.” The program includes works by three contemporary composers: Theresa Martin, Teddy Niedermaier and Daniel Black. Also performing are his UW colleagues bassoonist Marc Vallon and pianist Christopher Taylor.
For more information about the performers, the composers and the music, go to:
From 11:30 to 1:30 in Music Hall, guest conductor Gary Thor Wedow (below), who will conduct the Madison Opera’s upcoming production of “The Magic Flute” by Wolfgang Amadeus Mozart, will give a public master class. Singers from the University Opera and the UW opera program will be featured.
For more information, go to:
At 7:30 in Mills Hall, clarinetist Amy McCann (below) will perform a recital featuring two works: the Sonata for Clarinet and Piano by Argentinean composer Carlos Guastavino; and the Clarinet Trio by Johannes Brahms. Pianist Martha Fischer and pianist Parry Karp will perform with McCann.
At 3:30 p.m. in Morphy Recital Hall, the all-student Perlman Trio will perform its annual recital.
The program includes the Piano Trio in D Major, Hob. XV/7 by Franz Joseph Haydn; the Piano Trio N. 4 in E Minor (“Dumky”), Op. 90, by Antonin Dvorak; and the Piano Trio No. 2 in C Major, Op. 87, by Johannes Brahms.
Members of the Perlman Trio, which is funded by a gift from Dr. Kato Perlman, are (below, from left, in a photo by Katherine Esposito): cellist Michael Cheng, pianist Chan Mi Jean and violinist Adam Dorn.
For more information about the performers, go to:
At 3:30 in Morphy Recital Hall, the winners of the 32nd annual Beethoven Sonata Competition will perform. The program is: Kangwoo Jin playing the Sonata in C Major, Op. 53 (“Waldstein”); Leah Kang playing the Sonata in E Major, Op. 109; and Alberto Peña-Cortes playing the Sonata in A Major, Op. 101.
For more information, go to:
At 7:30 in Mills Hall, the UW Symphony Orchestra will perform its last concert under professor of conducting James Smith (below), who is retiring after 34 years at the UW-Madison.
The program includes the Overture to “Romeo and Juliet” by Peter Tchaikovsky; the Sinfonia Concertante for Violin and Viola by Wolfgang Amadeus Mozart; and the music from “Fancy Free” by Leonard Bernstein.
For more information go to:
For information about the many student degree recitals that were scheduled, go to:
By Jacob Stockinger
Everyone The Ear has spoken to agrees: The Madison Symphony Orchestra’s concerto competition that took place last Wednesday night — and which was broadcast live over Wisconsin Public Radio (WPR) and Wisconsin Public Television (WPT) — was an extraordinary and inspiring artistic event.
All of those people had nothing but the highest praise for all four teenage finalists – (below, from left) violinist Julian Rhee, harpist Naomi Sutherland, pianist Michael Wu and violinist Yaoyao Chen — who performed under the baton of MSO music director John DeMain.
The Ear can only endorse the fantastic review of the event by local music critic Greg Hettmansberger:
And you can find out more about at the contestants at this past posting, which has links to biographies and biographical YouTube videos about them and also lists the REBROADCAST TIMES ON TODAY AND SUNDAY:
But several people The Ear knows also raised a difficult question that the MSO, WPR, WPT and seems to have avoided:
Is it fair that the impressively talented 16-year-old violinist Julian Rhee, from Brookfield, got to win the first prize for a second time?
Curiously, there was no mention of his previous win in 2015 – a younger Rhee is seen below — when he played the first movement of the Violin Concerto by Brahms. That win went unspoken during this year’s live broadcast, and even in the pre-event publicity or in the post-event publicity.
It almost seems as if the organizers recognized that pointing it out would sound funny, awkward or questionable.
Also, no mention was made that the gifted Rhee also won a competition with the Wisconsin Chamber Orchestra and then played at Concerts on the Square; or that just a month ago, Rhee appeared on the regular season of the Wisconsin Chamber Orchestra, playing the complete Brahms concerto under WCO music director Andrew Sewell.
Such experience probably qualified Rhee – a maturing prodigy — as a professional or at least a semi-professional, assuming he got paid for the WCO appearance, rather than an amateur.
Let’s be clear: This year, Rhee played the opening movement of the Violin Concerto by Tchaikovsky stupendously well. It is hard to argue with the decision of the three judges to award him first prize.
In short, Rhee did nothing wrong and everything right. His winning was not in any way tainted. He won fair and square. He played brilliantly, beautifully and engagingly.
What some people are questioning is not Rhee’s victory, but whether the rules themselves are unfair by allowing a previous first prize-winner to compete a second time. It certainly appears to put the other young competitors with less experience at a disadvantage.
Now, the rules do allow for a performer to win multiple first prizes. Historically, a couple of contestants have indeed won again, performing on different instruments for each appearance.
And no one seems to object that a second-, third- or fourth-prize winner gets a chance to try again to do better and win.
True, the eligibility rules do require that one year passes before a first-prize winner can compete again.
But the question seems to be: Are the rules fair? Or should they be modified, so that the playing field is more even for all the young participants?
Should first-prize winners be excluded from competing again?
That is the question that is being raised, however it is answered.
So The Ear and others want to know:
What do you think?
Are the rules fair or unfair?
Should first-prize winners be allowed to compete again?
Should the rules be changed or stay the same?
Leave your point of view in the COMMENT section.
The Ear wants to hear.
NEWS: In case you missed it last night on Wisconsin Public Television and Wisconsin Public Radio, here are the winners of the Madison Symphony Orchestra’s high school concerto competition, which featured a lot of fine music and excellent performances.
First prize went to violinist Julian Rhee of Brookfield, who performed Tchaikovsky; second prize went to pianist Michael Wu of Sun Prairie, who performed Saint-Saens; and the two runners-up were violinist Yaoyao Chen of Menasha, who played Sibelius, and harpist Naomi Sutherland, who performed Ravel.
For more information about the annual event, including links to video biographies of the contestants, go to:
ALERT: This week’s FREE Friday Noon Musicale, at the First Unitarian Society of Madison, 900 University Bay Drive, will feature bassoonist Juliana Mesa-Jaramillo in works for solo bassoon by 20th-century Latin American composers. The concert runs from 12:15 to 1 p.m.
By Jacob Stockinger
The critically acclaimed Mosaic Chamber Players will conclude its 2016-2017 season with a program of piano trios.
Members of the Madison-based Mosaic Chamber Players are Wes Luke, violin; Kyle Price, cello; and Jess Salek, piano.
The program features the “Elegy” Trio in D Minor, Op. 9, by Sergei Rachmaninoff; the Trio, Op. 86, by Charles Ives; and the Trio in D Minor, Op 49, by Felix Mendelssohn. (You can hear the opening of the lovely and darkly dramatic Rachmaninoff Trio in the YouTube video at the bottom.)
The concert will be this Saturday, April 1, at 7 p.m. in the Landmark Auditorium of First Unitarian Society of Madison.
Tickets are $15 for general admission; $10 for seniors; and $5 for students. Cash or checks only will be accepted.
Pianist Jess Salek (below), who graduated from the Lawrence University Conservatory of Music in Appleton Wis., and who runs his own piano studio in Madison and also works with the Madison Youth Choirs.
Violinist Wes Luke (below) plays with many regional orchestras and ensembles, including the Madison-based Ancora String Quartet.
Here is an informative and engaging story about cellist Kyle Price (below), a UW-Madison student, and how he started a music festival and ended up studying with Professor Uri Vardi at the UW-Madison.
ALERT: Just a reminder that TONIGHT at 7 p.m., the final round of the youth concerto competition with the Madison Symphony Orchestra will take place under the direction of MSO music director John DeMain.
You can stream it, or watch and hear the four finalists – two violinists, a pianist and a harpist – live on Wisconsin Public Television and Wisconsin Public Radio. You can also attend the concert in Overture Hall of the Overture Center for FREE if seats are still available.
For more information, including the program and biographies of the teenage performers, go to:
By Jacob Stockinger
The concert will be in the St. Joseph Chapel, 1000 Edgewood College Drive.
Admission is FREE with a freewill offering to benefit the Luke House community meal program.
The Edgewood College Concert Band will play under the direction of Walter Rich (below). You can hear a sample of the concert band, taken from its 2013 Christmas concert, in the YouTube video at the bottom.)
The program offers a variety of styles and features music by William Byrd, Ralph Vaughan Williams and Claude Debussy. A Folk Song Set of Wisconsin by the American composer Barry E. Kopetz (born in 1951, below) will be also be featured.
The Music Department at Edgewood College has hosted benefit concerts for Luke House since 1994.
By Jacob Stockinger
This Wednesday night at 7 p.m. in Overture Hall of the Overture Center, four teenage finalists will perform the final round of the Bolz Young Artist Competition in a free live concert with the Madison Symphony Orchestra (MSO).
It will be broadcast live on Wisconsin Public Television (WPT) and Wisconsin Public Radio (WPR), and available via live streaming on wpt.org, at 7 p.m.
The public can also reserve FREE tickets to attend the concert in person.
The Final Forte finalists are selected from a group of young artists who competed in the Bolz Young Artist Competition’s two preliminary rounds.
This year’s Final Forte features (below, in a photo by Amandalynn Jones, from left): violinist Julian Rhee of Brookfield, who will play the first movement of the Violin Concerto in D Major by Peter Tchaikovsky; harpist Naomi Sutherland of Viroqua, who will play the “Sacred and Profane Dances” by Maurice Ravel; pianist Michael Wu of Sun Prairie, who will play the first movement of the Piano Concerto No. 2 in G Minor by Camille Saint-Saens; and violinist Yaoyao Chen of Menasha, who will play the first movement of the Violin Concerto in D minor by Jean Sibelius.
Each of the finalists will perform with music director John DeMain and the MSO as they complete for top honors and scholarships that will be awarded at the end of the broadcast. WPR’s Lori Skelton and Jim Fleming will co-host the event.
More information, biographies and video profiles (also available on YouTube) for each finalist can be found at: http://madisonsymphony.org/finalforte
To reserve free seats at The Final Forte, call (608) 257-3734 or register online at: http://madisonsymphony.org/finalforte
IMPORTANT NOTE: This is a live concert broadcast. All audience members must be seated by 6:45 p.m. in Overture Hall, prior to the start of the concert.
The Final Forte broadcast on WPT and WPR has won numerous honors including an Emmy nomination, and has reached several hundred thousand viewers and listeners in the area Madison and statewide.
“The Final Forte” will be rebroadcast at the following times:
The Wisconsin Channel (WPT-2): Saturday, April 1, at 3:30 p.m.
Wisconsin Public Radio: Sunday, April 2, at noon
Milwaukee Public Television (Channel 36.1): Sunday, April 2, at 1 p.m.
Wisconsin Public Television (WPT-1): Sunday, April 2, at 2 p.m.
BACKGROUND AND SPONSORS
“Wisconsin Young Artists Compete: The Final Forte” is a partnership among the Madison Symphony Orchestra, Wisconsin Public Radio and Wisconsin Public Television.
The even is part of WPT’s multiyear Young Performers Initiative, a statewide effort to raise the visibility of the arts, celebrate the creative achievements of Wisconsin’s young people and support the arts in education.
The Bolz Young Artist Competition is made possible by a generous endowment from The Eugenie Mayer Bolz Family Foundation.
Major funding for “Wisconsin Young Artists Compete: The Final Forte” is provided by Diane Ballweg, Julie and Larry Midtbo, Fred and Mary Mohs, Stephen Morton, Joe and Maryellyn Sensenbrenner, and The Boldt Company. With additional funds from A. Paul Jones Charitable Trust, James Dahlberg and Elsebet Lund, W. Jerome Frautschi, Ann and Roger Hauck, Elaine and Nicholas Mischler, Kato Perlman, Sentry Insurance Company, The Estate of Norene A. Smith, Paul Guthrie in memory of Ella Guthrie, Judith and Nick Topitzes, and Friends of Wisconsin Public Television.