L E T T E R F R O M T H E E X E C U T I V E D I R E C TO R All of us at The Wisconsin Philharmonic would like to thank today’s concert sponsor, the United Performing Arts Fund, who has set the 2012 campaign goal of $10 million in support of the arts in Greater Milwaukee. Their support and advocacy allows many arts organizations like ours to continue to provide lifelong memories and exceptional music experiences to the communities they serve. We are also thankful for the sponsorship of Jose Franch Ballester’s performance today through the James and Dorothy Goff Frisch Memorial Fund, implemented to honor the founders of The Wisconsin Philharmonic through the sponsorship of a soloist each season. It could not be more fitting to honor our founders today as we close a memorable 64th year and move forward into our historic anniversary. Thank you to everyone who joined us on March 17th at The Legend at Brandybrook for our 2012 Gala, Emerald Eve. This year’s event proved to be one of the most successful in recent years, selling out and raising over $15,000 to support The Wisconsin Philharmonic. Attendees not only joined us to embrace the spirit of St. Patrick ’s Day, but to recognize the long-standing history of service to the Waukesha community as we announced the programming for the 65th Anniversary Season, The British Spirit. The 65th Anniversary Season is filled with numerous gifts, including your Audience Choice selection of Shostakovich’s Festive Overture in April 2013. In celebratory fashion, the exquisite repertoire features such grand works as Holst’s The Planets and the World Premiere of Red Violin composer John Corigliano’s Sonata for Violin and Orchestra, orchestrated by Martin Kennedy. Additionally, pre/ post-concert events have been scheduled for each concert within the season, giving you – our dedicated audience – more of The Philharmonic you have grown to know and love over the years. Subscriptions are now on sale, providing up to 16% savings over single ticket pricing and numerous other benefits. Above and beyond those benefits, we are providing an extra ticket to a concert of choice for every subscription purchased before June 30th. Please stop by the table in the lobby to find out more about our exciting new season and how you, too, can become a subscriber. Sincerely, Andrea Rindo Executive Director
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Une Grande Finale 1
Founded 1947
presents
Une Grande Finale: From France to Spain
Sunday, May 6, 3:00 pm Shattuck Auditorium, Carroll University Alexander Platt, Conductor Prelude a l’apres-midi d’un faune,.......................................... Claude Debussy (1862-1918) Premiere Rhapsodie for clarinet and orchestra.........................................................Debussy Jose Franch-Ballester, clarinet Clarinet Concerto........................................................................ Aaron Copland (1900-1990) Jose Franch-Ballester, clarniet INTERMISSION Alborada del Gracioso....................................................................Maurice Ravel (1875-1937) Habanera, from Rhapsodie Espagnole...............................................................................Ravel Pavane pour une Infante Defunte.........................................................................................Ravel Bolero............................................................................................................................................Ravel This concert is sponsored by a grant from the United Performing Arts Fund. Mr. Ballester’s performance is supported by The Wisconsin Philharmonic’s James and Dorothy Goff Frisch Memorial Fund. The Country Springs Hotel is the official hotel of The Wisconsin Philharmonic. Please turn off all cellular phones and other digital devices. We respectfully request members of the audience to refrain from the use of camera equipment or recording devices during the performance.
Join us for our 65th Anniversary Season, The British Spirit more information on page 10 2 Wisconsin Philharmonic
THE WISCONSIN PHILHAR MONIC VIOLIN I Robin Petzold, Concertmaster Wesley Luke, Assistant Concertmaster David Bullock Andrea Buchta Tatiana Migliaccio JoAnn Haasler Emily Stodola Isabel Escalante Jennifer Wendling Stephanie Young Mary Haarmann Dee Luo, Brookfield Central HS* VIOLIN II Christopher Ruck, Principal Anna Newbury, Assistant Principal Christine Hauptly-Anin Mary Perkinson Lynn Pietsch Nancy Maio Shannon O’Leary Kate Behring Joyce Malloy Karen Schroeder VIOLA Mary Pat Michels, Principal Marvin Suson, Assistant Principal Andrew Waid Lynne Fields Jennifer Kozoroz Ron Arden Scott Craig Lauren Roznowski Rachel Krawiec, Falls Baptist Academy*
CELLO Adrien Zitoun, Principal Braden Zitoun, Assistant Principal Elizabeth Bender Ingrid Tihtcheva Loni Gornick Chris Abbott Alicia Storin Timothy Hammond BASS Charles Grosz, Principal Gina Thompson, Assistant Principal Michael Gudbaur Kate Jursik John Babbitt HARP Kelsey Molinari, Principal Kari Gardner FLUTE/PICCOLO Scott Metlicka, Principal Rosemary Bennett Emma Niesl Aidah Kaetterhenry, Falls Baptist Academy* OBOE Suzanne Geoffrey, Principal Kaylyn Ruemler
CONTRABASSOON Gerik Fon-Revutzky SAXOPHONE John Hibler, Principal Curt Hanrahan HORN Joel Benway, Principal Nancy Cline Daniel Nebel Kathy Krubsack Chloe Groth, Oconomowoc HS* TRUMPET Christian Anderson, Principal Joseph Burzinski Mark Eichner Daniel Birnschein TROMBONE Kyle Samuelson, Principal Glen Lunde BASS TROMBONE Chris Canapa TUBA Jason Koi TIMPANI Danielle Squyres
CLARINET Dan Roberdeau, Principal Bernie Parish
PERCUSSION Mike Lorenz, Principal Victoria Daniel Josh Sherman Sarah Basel Daniel Armstrong Kent Craig
BASS CLARINET William Pietsch
*Denotes Shining Stars Student Participant
ENGLISH HORN Matthew Siehr
BASSOON Robb Seftar, Principal Steven Whitney Une Grande Finale 3
A L E X A N D E R P L AT T, M U S I C D I R E C TO R Alexander Platt is now serving his 15th season as Music Director of The Wisconsin Philharmonic. Also the Music Director of the La Crosse Symphony in Wisconsin and the Grand Forks Symphony in North Dakota, Alexander Platt has forged a unique career among the younger American conductors, combining a true commitment to regional orchestras and their communities with an ability to lead cutting-edge projects on the international scene. These accomplishments are built on his bedrock experience as the Apprentice Conductor (1991-93) of the Minnesota Orchestra, the Saint Paul Chamber Orchestra and the Minnesota Opera and follow 12 seasons as Music Director of the nearby Racine Symphony Orchestra. In addition to now serving in his sixteenth season as Music Director of the Marion, Indiana Philharmonic Alexander Platt just completed three very exciting years as Principal Conductor and Music Advisor of the Boca Raton Symphonia. An assignment born of his debut with Sir James Galway on 48 hours’ notice at the International Festival of the Arts Boca, Mr. Platt led the ensemble (in the opinion of The Palm Beach Post) into becoming the finest of the orchestras to emerge out of the collapse of the Florida Philharmonic. Following widely acclaimed assignments with the Minnesota Opera and the Skylight Opera Theatre, Alexander Platt made his debut with Chicago Opera Theater in 1997 conducting Mozart’s DON GIOVANNI and was appointed Resident Conductor and Music Advisor in 2000. Over the following decade, he led the Chicago premieres of such demanding 20th-century masterworks as Britten’s DEATH IN VENICE, the Bizet/Peter Brook LA TRAGEDIE DE CARMEN, and the Britten/Shakespeare A MIDSUMMER NIGHT’S DREAM; the world premiere of the Tony Kushner/Maurice Sendak version of Hans Krasa’s BRUNDIBAR; and the worldpremiere recording of Kurka’s THE GOOD SOLDIER SCHWEIK—all to high acclaim in Opera News, The New York Times, The Wall Street Journal, The Financial Times of London, and both great Chicago papers. In 2007 he made his Canadian debut at the Banff Music Festival, leading the co-premier (in collaboration with the Calgary Opera) of John Estacio’s FROBISHER to accolades in Opera Canada magazine. As a guest-conductor Alexander Platt has led the Scottish Chamber Orchestra, the City of London Sinfonia, the Freiburg Philharmonic in Germany and for three years the Aalborg Symphony in Denmark, as well as Camerata Chicago, the Wisconsin Chamber Orchestra, the Lexington and Hudson Valley Philharmonics, and the Houston, Charlotte, Columbus, Flagstaff, Sioux City, El Paso and Indianapolis Symphonies. Alexander made his New York debut in 2007 with the Brooklyn Philharmonic before thousands in Central Park, the first of several appearances with that orchestra; in 2011 he makes his debut with the Illinois Philharmonic in an all-Beethoven program. Alexander Platt spends his summers in the Hudson River Valley as the sixth Music Director of The Maverick Concerts, in Woodstock, New York—the oldest summer chamber-music series in America. A recent highlight of his achievements there was his conducting the world premiere of his own chamber-orchestra version of David Del Tredici’s FINAL ALICE for soprano and large orchestra (1976). Created under a Rockefeller grant from the New York State Music Fund, his new version was hailed by The New York Times as a workable version of Del Tredici’s masterpiece; in summer 2011Mr.Platt will lead his own official chamber version of another neglected American masterpiece, Leonard Bernstein’s SONGFEST. Alexander Platt has conducted the U.S. premieres of works of Britten, Ned Rorem, Shostakovich, Colin Matthews, Russell Platt, and Judith Weir. 4 Wisconsin Philharmonic
A L E X A N D E R P L AT T, M U S I C D I R E C TO R ( c o n t .) A research scholar for the National Endowment for the Humanities before he entered college, Alexander Platt was educated at Yale University, as a conducting fellow at both Aspen and Tanglewood, and then at King’s College Cambridge under a British Marshall Scholarship. At Cambridge he led all of the important musical societies, deputized in the legendary King’s College Choir, and as conductor of the Cambridge University Opera Society led a revival of Britten’s neglected OWEN WINGRAVE that earned him high praise in the London press. During this time he also made his professional debut at the Aldeburgh Festival, his London debut at the Wigmore Hall, and reconstructed the lost chamber version of the Mahler Fourth Symphony. In addition to recording for National Public Radio, the South-West German Radio and the BBC, his 2004 recording of Max Bruch’s Scottish Fantasy with violinist Rachel Barton still appears frequently on radio stations across America.
Une Grande Finale 5
JOSE FR ANCH BALLESTER , CL ARINET A native of Moncofa (Valencia, Spain) Jose Franch-Ballester, is one of the most promising clarinetists of his generation. In 2008 he received the highly coveted Avery Fisher Career Grant, and in 2007 he was one of a handful of participants selected for a Carnegie Hall Professional Training Workshop with Emmanuel Ax and Richard Stoltzman, and one of the year’s “most prominent emerging soloists”, as selected by the American Symphony League Magazine. As First Prize winner in both the 2004 Young Concert Artists International Auditions in New York and the Astral Artists 2004 National Audition in Philadelphia, he has joined the roster of both organizations and performed countless concerts throughout the United States, Europe, Asia and South America. “He is a natural onstage... played with technical wizardry and tireless enthusiasm.” —The New York Times “...sweetly nostalgic, breathily passionate, and busily humorous...- The New York Sun “...a 25-year-old clarinetist who shows promise enough to eclipse the careers of stellar counterparts such as Richard Stoltzman and David Shifrin...” — Birmingham News “Jose Franch-Ballester has the presence and musicality of a major star, and in the Copland Concerto for Clarinet, he gave a performance that left one wondering how even the great Benny Goodman, for whom it was written, could have played it any better.” — Santa Barbara Independent Mr. Franch-Ballester is a member of The Chamber Music Society of Lincoln Center 2 in New York, with which he has recorded Bartok’s Contrasts for Deutsche Grammophon.
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J O S E F R A N C H B A L L E S T E R , C L A R I N E T ( c o n t .) He has played with such outstanding artists as Charles Wadsworth, Arnold Steinhardt, Warren Jones, Ida Kavafian, Frederica von Stade and David Shifrin, the Saint Lawrence and Jupiter String Quartets, and as a soloist with such orchestras as Orquesta de la Radiotelevisión Española, I Musici of Montréal and Orchestra of Saint Luke’s (New York), City of London Sinfonia. He is a founding member of Nuevo Tango Zinger Septet (Valencia), performing and recording the music of Latin America throughout Spain, and a frequent artist with the International Music Festival of Cartagena de Indias, Colombia. He has commissioned new music and worked with contemporary composers such as Kenji Bunch, Paul Schonfield, Edgar Meyer, William Bolcom, George Tsontakis, John B. Hedges, David Schiff, Jake Heggie and Kevin Puts and has been a dedicated music educator, developing new audiences by playing countless educational concerts and workshops for young people and community audiences. Mr. Franch-Ballester is in demand at numerous festivals, including Chamber Music Northwest, the Skaneateles Festival, the Bridgehampton Chamber Music Festival, Music from Angel Fire, Usedomer Musikfestival, and Verbier Festival. This season Mr. Franch-Ballester will perform throughout the US, South America, Europe, Korea and Japan, and will play recitals in New York, Michigan, Philadelphia, Panama City, Colombia and Tokyo. He will appear as a soloist with orchestras such as I Musici of Montreal, Ridgewood Symphony, Vallejo Symphony, Orquesta of Valencia, Jove Orquesta de la Comunitat Valenciana, Whichita Falls Symphony, and the Knickerbocker Chamber Orchestra in New York. Born in Moncofa, Spain in 1980 where he started his musical studies since age 9 with Venancio Rius Marti. He graduated in 2000 from the Conservatoy Superior of Music “Joaquín Rodrigo” of Valencia and then he entered the Curtis Institute of Music in Philadelphia with Donald Montanaro.
Une Grande Finale 7
BY WOLFGANG AMADEUS MOZART
MAY 18 & 20, 2012 291-5700 ext 224
EW O EE N K LY EN !
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FLORENTINE OPERA COMPANY
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WILLIAM FLORESCU | GENERAL DIRECTOR
Footlights B&W.indd 1
Getting Better while Growing Older Congratulations to the Wisconsin Philharmonic on 64 Successful Years
Celebrating our 95th year 8 Wisconsin Philharmonic
3/2/12 5:35:14 PM
U N E G R A N D E F I N A L E : F R O M F R A N C E TO S PA I N Claude Debussy (1862-1918): Prelude to the Afternoon of a Faun (1892-4) Premiere Rhapsodie for Clarinet and Orchestra (1911) Aaron Copland (1900-1990): Clarinet Concerto (1948) Following the death of Berlioz in 1869, it would be until the rise of Debussy in the 1890’s before France could claim a composer of the very highest rank. Notwithstanding some youthful achievements, it was the Prelude a l’apres-midi d’un faune, based on the poem of Stephane Mallarme and premiered by the revered orchestra, the Societe des Concerts du Conservatoire, that would be Debussy’s calling-card to the world. As Pierre Boulez has noted, the Prelude, almost a decade shy of the 20th century, was without question the beginning of the modern era in music. Its modernism lay not in its orchestration, but in its form. Debussy’s little masterpiece literally invents its form as it goes along, creating nine minutes of musical wonderment. As Debussy himself wrote, it is “a succession of scenes through which pass the desires and dreams of the faun in the heat of the afternoon. Then, tired of pursuing the timorous flight of nymphs and naiads, he succumbs to intoxicating sleep, in which he finally realizes his dreams, in the possession of universal Nature.” The New Oxford Companion to Music states “a piece in one movement, often based on popular, national or folk melodies...Rhapsodies may be passionate, nostalgic, or improvisatory in manner.” Debussy’s Premiere Rhapsodie would take as its watchword the improvisatory quality mentioned above, free from folk tunes or nationalism. The use of the virtuoso cadenza is here brought to the level of a mini-clarinet concerto, and the piece’s soft, exquisite manner is the very essence of Gallic style. As a member of the “superior council” of the Paris Conservatory, Debussy wrote the Rhapsodie for competition use with piano accompaniment in 1911. He became so fond of it that he orchestrated it soon afterward. Debussy’s Rhapsody is a gauzy, free-flowing succession of ideas; in this case, two ideas alternating in gentle and intricate development until a puckish third idea joins the conversation. The tempo quickens and further develops the piece to its frothy close. Most, if not all of the great young American composers in the wake of World War I rushed off to Paris to drink in the gentle waters of French music. In that spirit, our program’s piece de resistance is Copland’s Clarinet Concerto. Its paring with the Debussy is fitting, as Copland was the American master most influenced by French music, studying in Paris with Nadia Boulanger in the 1920’s. The Concerto’s two movements have strong and subtle Gallic connotations. The slow, triste first movement purposefully evokes the simply drawn but emotionally complex languor of the Gymnopedies of Satie. The second follows on after an amazing solo cadenza, indulging the 1920’s French obsession with the angular melodies and motoric rhythms of Stravinsky, with a little le jazz hot thrown in. Copland truly makes use of the full range of the clarinet, from piercing high wails down to the low and dusky chalumeau register. Copland’s other influence revealed here is that of American jazz as the Concerto was written for none other than Benny Goodman, who by the late 1930’s was the most prominent musician in America. Like most popular musicians of that era Goodman was formally trained and eager to expand his boundaries in the classical direction. Maurice Ravel (1875-1937): Alborada del Gracioso; “Habanera” from the Rhapsodie Espagnole; Pavane pour une Infante Defunte; Bolero Just as we celebrate this season the sesquicentennial of the birth of Claude Debussy, so do we observe the 75th anniversary of the passing of Maurice Ravel, Debussy’s successor in the Impressionist style. Beyond that generalization, there are of course great differences. While Debussy invents his forms as he goes along, in Ravel’s music, color is everything. It would be an essential marriage of these two elements that would create the style of French modernism’s great elder statesmen of our own time, Olivier Messiaen and Pierre Boulez. Ravel would also build on Debussy’s great love of Spanish traditions in his music, but in the case of Ravel, the Spanish heritage was ultimately something that sprang from his soul. His mother was Basque, and Ravel spent his entire life looking south. Today, we celebrate that heritage with Ravel’s “Spanish Symphony,” four contrasting orchestral masterpieces that Une Grande Finale 9
U N E G R A N D E F I N A L E : F R O M F R A N C E TO S PA I N ( c o n t .) display the kaleidoscope of Ravel’s mastery of the Spanish style. Our symphony’s first movement is his Alborada del Gracioso (“Morning Song of a Jester”). The piece was originally conceived for piano (part of his 1905 suite, Miroirs) and orchestrated in 1919. In old Spain, an Alborada is a morning serenade, sung by a young man to his supposedly sleeping sweetheart. Ravel’s celebration of this old Spanish tradition announces itself with a “bang” and becomes a 7-minute essay in virtuoso orchestral fireworks; a central, mawkish bassoon solo gives a hint as to the derivation of the title. The Rhapsodie espagnole of 1907 was Ravel’s first full-bore symphonic piece, though its sensuous third movement, the “Habanera” arose from an earlier work for two pianos in 1898. Another piano piece, with an even stranger title than the Alborada, the Pavane pour une infante defunte (literally, “Pavane for a Deceased Infanta” or “Pavane for a Dead Princess”) dates from 1899, orchestrated in 1910. With these works Ravel began his lifelong fascination with the old Spanish dance forms; Ravel himself described the Pavane as “an evocation of a pavane that a little princess might, in days of old, have danced at the Spanish court.” For obvious reasons it took on special significance over the air waves following the untimely death of Diana, Princess of Wales. The culmination of today’s concert, and the entire season, is Maurice Ravel’s Bolero, one of classical music’s true “blockbusters.” A very late work compared to its predecessors in our suite, Bolero was written in 1928 as a vehicle for the already superannuated Russian ballerina Ida Rubenstein. It quickly outgrew its intended use to become an orchestral mega-hit on the concert stage, much to the surprise of the composer. The entire work consists of a very simple melody, backed by an even simpler bolero rhythm in the drum, played no less than eighteen times, with increasing dynamic intensity -- a phenomenon that even inspired Ravel to self-criticism: “(My Bolero) constitutes an experiment in a very special and limited direction, and should not
Waukesha County’s premier orchestra since 1947
65th Anniversary Season The Music
THE BRITISH SPIRIT
Corigliano & Elgar October 9, 2012—OAC Salute to Our Veterans: Battle of Britain November 11, 2012—Shattuck A Royal Christmas December 4, 2012—Shattuck English Elegance March 10, 2013—St. Luke’s Cosmic Grandeur April 28, 2013—OAC
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The Festivities
Season Preview Event September 14, 2012—Sneeden House An English Tea TBD—TBD Annual Gala March 16, 2013—The Legend Season Encore Birthday Bash April 28, 2013—OAC Stay tuned for more information on these events later this summer!
U N E G R A N D E F I N A L E : F R O M F R A N C E TO S PA I N ( c o n t .) be suspected at aiming to achieve anything different from, or anything more than it actually does achieve....what I had written was a piece lasting seventeen minutes and consisting wholly of “orchestral tissue without music” -- of one very long, gradual crescendo. There are no contrasts, and practically no invention except the plan and the manner of the execution.” The fabled American maestro Arturo Toscanini, knowing a great opportunity when he saw it, quickly became a champion of the work, even leading it in Paris itself while on tour in 1930 with the New York Philharmonic. Ravel, in the audience that evening, was said to be infuriated by the performance. He is said to have marched backstage afterward, insisting to Toscanini that “It’s too fast!” to which Toscanini condescended, “It’s the only way to make the piece effective!” Toscanini needn’t have worried, in its seemingly endless variation of orchestral colors, each building to ever-greater climax, Ravel had created something of a miracle in Bolero that was unique in music history.
B OA R D O F D I R E C TO R S 2 011- 2 012 President........................................................................................................................... Doug Haag, Hartland Executive Vice President.......................................................................................... Carol Taylor, Waukesha Senior Vice President...............................................................................................John Almasi, Waukesha Treasurer..................................................................................................................... Jennifer Hausch, Juneau Secretary....................................................................................................................Nancy Hastad, Waukesha Susan Fobes, Sussex Larry Harper, Waukesha Ruth Harken, Pewaukee Karol Kennedy, Waukesha Fritz Ruf, Pewaukee
Ex-Officio, Non-Voting Andrea Rindo Alexander Platt
S TA F F Music Director........................................................................................................................... Alexander Platt Executive Director........................................................................................................................Andrea Rindo Office Manager............................................................................................................................David Elbrecht Personnel Manager/Librarian........................................................................................... Mary Pat Michels Stage Manager.................................................................................................................................. Glen Lunde
C O N T R I B U TO R S Organizations Maestro $5,000 and up Century Fence Don L. & Carol G. Taylor Family Foundation Harken Family Foundation Oconomowoc Area Foundation Robert D. and Patricia E. Kern 1992 Revocable Trust Waukesha State Bank Waukesha County Community Foundation – Early Hill Fund
Virtuoso $2,500-$4,999 Anonymous Cooper Power Systems First Bank Financial Centre Frisch Memorial Fund Hess & Helyn Kline Foundation Jack Safro Toyota Pieper Electric, Inc United Performing Arts Fund Concertmaster $1,000-$2,499 GE Foundation Employee Matching HUSCO International
Janice & Raymond Perry Community Fund, Inc Moreland Ear, Nose, & Throat Group, LTD. Wisconsin Arts Board Principal $500-$999 Arts Waukesha Greater Milwaukee Foundation – Wayne & Pat Bjorgaard Family Fund Griffin Ford, Lincoln, Mercury Herbert H Kohl Charities, Inc. NEV 2/11 Foundation Oconomowoc Festival of the Arts Une Grande Finale 11
C O N T R I B U TO R S ( c o n t .) Precision Gears, Inc. Waukesha County Community Foundation – Milton Weber Conductor’s Chair Fund Patron $150-$299 Educator’s Credit Union Landmark Credit Union Practical Club of Waukesha Schober, Schober, & Mitchell, SC Sentry Equipment Corp. Waukesha County Community Foundation – Chet & Helen Goff Fund Supporter $50-$149 Hippenmeyer, Reilly, Moodie & Blum, S.C. Jewish Community Foundation – Dr. William & Riva Merkow Donor Advised Fund WaterStone Bank Waukesha Ideal Club
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Waukesha Music Study Club Wisconsin Energy Matching Gifts Program Friend Up to $49 AT&T United Way Employee Giving Campaign Quad/Graphics Employee Matching Individuals Maestro $5,000 and up Anthony & Andrea Bryant Don L. & Carol G. Taylor Virtuoso $2,500-$4,999 December, 6 2011 Audience Drake & Evie Reid Concertmaster $1,000-$2,499 John & Mary Almasi Allen & Virginia Buhler Doug & Nancy Hastad Tom & Martha Kelpin
Charles McIntosh Ellen Strommen Principal $500-$999 Frank & Mary Ann Brazelton Sune & Jean Ericson Doug & Meg Haag David & Barbara Hammer George & Edith Love Glen R. & Sally Mohr Lunde Anita Ransome Kuchler Dick & Carol Richards Everett & Kay Stone Roger & Sandy Stuckmann Associate $300-$499 Anonymous (2) Mr. & Mrs. Jerry Gapinski Gerald & Donna Gerndt Dr. William P. McDevitt Howard & Sara Miller Fritz & Sally Ruf Sara Toenes
C O N T R I B U TO R S ( c o n t .) Patron $150-$299 Anonymous Ron & Mary Beckman Bonnie Birk & Dave Helling Ed & Helen Brady Donald & Beverly Chappie Jim & Betty Chermak Dr. & Mrs. Robert Feulner Phyllis Flory Peter & Karol Kennedy Bruce & Rosemary Larkin Thomas & Patricia Miller Lisa Nevins Elaine Peterson JoAnn Portz Mr. & Mrs. James Scheel Stephen & Gale Schmiedlin Robert Schuett Sharon & Joe Subjak Betty Lou Tikalsky Tom & Laura Wanta Kristine & Todd Zinkgraf Supporter $50-$149 Anonymous (3) David Abbott Janet Allen James & Monica Ansay Dr. & Mrs. R.H. Bibler Elfred Bloedel John & Kay Boesen Robert Breese Helen Bressler Theodore & Noel Bryant-Nanz Karen & Robert Calhoun Joanne Crooks Ronald & Jane Darling Sue Evenson Jeffrey & Susan Fobes Darrell & Sally Foell Rick & Dianne Frowein Claire Greene Elaine Haberichter Mr. & Mrs. Russell Hanson Dr. Larry Harper Peter & Joan Haupert Carolyn Heidemann Barbara Hirsch John & Sue Hoaglund Richard & Jeanne Hryniewicki Richard & Juleen Jaeger Ann & Ed Johnson Bob & Jackie Kastengren Thomas & Jean Klein
Ramon & Doris Klitzke Mary Knudten Dale & Gay Knutson Armenta Kolkoski Mr. & Mrs. Francis Kosednar Mitch Lackey David & Darlene Lange Ena Mollie Lantz Sharon & Tom Leair Chris & Gail Lundell John P. Macy & Sandi Brand Andrew & Cari Matter Jeanne & Ken Menting Cathleen Morris George & Bonnie Morris Phil & Cie Motelet Doris Murphy Jean O’Donnell Illingwoth Elizabeth Orozco Dave & Betty Reul Nancy Rice Andrea Rindo Dennis & Brenda Schendel Dr. & Mrs. Walter R. Schwartz Norman & Joanne Seeger William D. Smith, M.D. John & Rita Stevens Terry Stevens Jim & Pat Toft Philip & Audrey Trampe John & Darlene Trotter Joe & Ellen Turzynski Dennis & Mary Unterholzner Robert L. Vrakas John Wellford Sue & Joe Wimmer Mr. & Mrs. Donald Wischer Rev. & Mrs. Theodore Youngquist Friend Up to $49 Anonymous (3) Eileen Alm Ron & Pat Anders CarolAnne Bozosi Jeffery & Wanda Braun John P. Buckley Alan & Carol Carlson Craig Coursin Keith & Laura Cutts Kristi Davis Juanita Gorden Shirley Gugin Patricia Hetznecker Ellen Jakab Mary Jervis Cheryl Matteson
Ray & Patti Pedersen Mark & Angela Penzkover Paul & Cathy Riedl Charles & Irene Roberts Cheryl Scheurman Mr & Mrs William O. Vebber Miriam Wellford Barbara Woerner Kristin Ziebart In Honor of Mary Korkor Tom Snyder Mary Pat Michels Joseph Ketchum Ellen Strommen William & Carol Lamm In Memory of Geth Galloway Joan Newman Chet & Helen Goff Anonymous James L. & Dorothy Goff Frisch Charles Goff McIntosh Waukesha County Community Foundation – Chet & Helen Goff Fund Kiki Gould M.E. & Michael R. McCormick Don F. Hillmer Germaine Hillmer Mudi Klumb Ellen Strommen Richard R. Lustig George & Edith Love Rosemary Melmariak Ellen Strommen Eloise Morris Jean Ericson Helen Pavlovics Anonymous Florizel & Marguerite Reuter Thomas & Jean Klein Clara Saler Richard & Bernard Saler Robert Smart Anita Ransome Kuchler Maestro Milton Weber Anonymous Richard Schwartz & Elizabeth Jones Susanna Weber-Gadd In Kind Steve Dombrock & Co. S.C.
The Contributor Listing includes all contributions from the last twelve months received through April 1, 2012. Those who contributed after that date have our thanks and the assurance that your names will appear in the October 9, 2012 program. If you note an error in this list, please contact The Wisconsin Philharmonic at 262-547-1858 so that we may correct it for our next program. Une Grande Finale 13
THE WISCONSIN PHILHAR MONIC : GIVING OPPORTUNITIES Frugality and creativity have always been part of The Wisconsin Philharmonic’s history. Special efforts like the Annual Gala generate substantial funds which are deeply appreciated by the Board of Directors. In addition to special events, other fund development efforts add pivotal revenue to The Wisconsin Philharmonic’s bottom line. The Individual Campaign is conducted in the fall of each season. It is an opportunity for individuals to support The Wisconsin Philharmonic at a level that is meaningful to them. Contributors receive valuable benefits based on the level of their donation. For a complete list of donor levels and benefits, visit The Wisconsin Philharmonic’s web site (www.wisconsinphilharmonic.org). The Wisconsin Philharmonic also offers Planned Giving Programs, designed to ensure that The Wisconsin Philharmonic will continue for future generations. Options include Wills and Bequests, Trusts (like a Charitable Remainder Trust), Insurance (an old cash value policy), Appreciated Stock and Retirement Plan Proceeds. In-kind donations are also accepted. For more information about any of these options, contact The Wisconsin Philharmonic office at 262-547-1858.
T H E W I S C O N S I N P H I L H A R M O N I C E N D OWM E N T F U N D S The Wisconsin Philharmonic offers four Endowment Funds that are open and accept additional donations.
Best wishes to the Wisconsin Philharmonic for another successful season from Bill and Michele Holcomb • Automatic swing door operators, radio controls and accessories • Free “onsite” consultation for A.D.A. Compliance • Complete installation and service
262.549.8600
1712 Paramount Court Waukesha
14 Wisconsin Philharmonic
The Wisconsin Philharmonic Endowment Fund provides income to support general operations. Gifts to this permanent fund help to preserve the future of classical music in our communities. The James and Dorothy Goff Frisch Endowment Fund was created to honor these founding members of The Wisconsin Philharmonic and is used to sponsor a soloist during the season. The Wisconsin Philharmonic Education Investment Fund provides funding for the educational programs of The Wisconsin Philharmonic. The Anthony W. Bryant Scholarship Fund honors businessman and philanthropist, Tony Bryant, who has been an advocate of The Wisconsin Philharmonic for many years. The scholarship is awarded by competitive audition to a graduating high school senior who declares an intention to major in music while in college.
T H E W I S C O N S I N P H I L H A R M O N I C E D U C AT I O N P R O G R A M S The Wisconsin Philharmonic education programs are an example of the Orchestra’s steadfast commitment to providing programs that serve the entire community and provide opportunities to help students achieve success and enrichment through classical music. Chapman Piano Competition. This biennial piano competition is open to all Waukesha County piano students age 14 through 20. The student prepares a selection from the repertoire list to perform by memory. The award to the winner includes cash and an opportunity to perform with The Wisconsin Philharmonic as a featured soloist. Shining Stars Scholarships. Annual auditions each March are open to string, wind and percussion Waukesha County students. The students play before Philharmonic musicians and receive the judges written evaluations. Winners are presented to the audience at The Wisconsin Philharmonic’s Season Finale concert and receive a cash award to be used for continuing music studies. Clinics with the Maestro. Maestro Alexander Platt, Music Director of The Wisconsin Philharmonic, offers free clinics once per year to four selected high schools. The purpose of Clinics with the Maestro is to encourage high school string players to continue making beautiful music. Major Classic for Minors. Chamber ensembles from The Wisconsin Philharmonic present programs in elementary schools throughout Waukesha County. Each presentation is about 45 minutes long and includes a demonstration of the instruments and their unique sounds, themes in music, conducting, and a question-and-answer period. For many students, this is the first experience with classical music and up-close exposure to musical instruments and performers. These programs are offered free to the schools. Masterworks Chamber Music Coaching. This project promotes the study of chamber music by assigning a Wisconsin Philharmonic musician to a high school as an ensemble coach. The group spends five sessions with its coach and is expected to practice outside classroom time. At the end of the program, groups perform their works at an annual chamber music festival. Additionally, students are given a writing assignment that can vary from self-reflection to a music critique. Middle School Orchestra Workshops. A new program for this season, the Middle School Orchestra Workshops open with a performance by a Wisconsin Philharmonic string quintet. Following the performance, students are split into sections to receive coaching from the professional musicians. The workshop ends with the Philharmonic musicians listening to a concluding performance and offering suggestions for improvement.
VISIT OUR OFFICE The Wisconsin Philharmonic 234 W. Main Street Suite 9 PO Box 531 Waukesha, WI 53187-0531 Phone: (262) 547-1858 Fax: (262) 547-5440 Website: www.wisconsinphilharmonic.org Email: info@ wisconsinphilharmonic.org Une Grande Finale 15
PLEASE HELP US THANK OUR GENEROUS SPONSORS
Concerts Harken Family Foundation
Guest Artists James and Dorothy Goff Frisch Memorial Fund Don L. & Carol G. Taylor Family Foundation
Season Partners
16 Wisconsin Philharmonic