And all that Jazz-Festival City

Monte Perkins, Conductor presents

“AND ALL THAT JAZZ”

January 29, 2012 3:00 PM Pabst Theater 144 E. Wells AND ALL THAT JAZZ 1

PROGR A M The Creation of the World...................................................................................Darius Milhaud Three Scenes for Contemporary Jazz Saxophone and Orchestra..................................................................... Warren Wiegratz I. “Dancing Above the Waters” II. “We Were So Near” III. “From City Lights to Back Roads” Warren Wiegratz, alto saxophone with Festival City Symphony and the following members of “Street Life” Ryan Scheidermayer, Drums Eric Hervey, Bass Guitar Tim Stemper, Guitar Joel Freisinger, Keyboard Intermission George Gershwin’s Lullaby Arranged for String Orchestra.....................George Gershwin An American In Paris.........................................................................................George Gershwin

WELCOME GIRL SCOUTS AND THEIR FAMILIES TO GIRL SCOUT DAY AT THE SYMPHONY

FCS WELCOMES SPECIAL GUESTS SUPER READERS---children who have earned free tickets for themselves and their families by participating in Milwaukee Public Library’s SUPER READERS program.

PAJAMA JAMBOREE FANS---families who attend our children’s pops concerts and earn an opportunity to sample one of our “Symphony Sundays” programs.

***Festival City Symphony is a member organization of Association of Wisconsin Symphony Orchestras, the Creative Alliance Milwaukee, VISIT Milwaukee, an affiliate member of UPAF, and a program partner at the Milwaukee Youth Arts Center. FCS made the Business Journal’s “Book of Lists” 2002 – 2007, 2010 and 2012.*** 2 Festival City Symphony

T H A N K S TO O U R S P O N S O R S Festival City Symphony would like to take this opportunity to thank its sponsors, without whom these programs would not take place.

Greater Milwaukee Foundation’s Franklyn and Barbara Esenberg Fund

United Performing Arts Fund (UPAF) for operational expenses CAMPAC – recipient of “Matching Grant” funds for operational expenses

Milwaukee Youth Arts Center, through in-kind contribution

MORE SYMPHONY SUNDAYS!

“GIVE ME THAT COUNTRY LIFE” MARCH 25, 2012 3:00 PM Pabst Theater 144 E. Wells Join internationally renowned soprano Patrice Michaels as she performs Marie-Joseph Cantaloube’s Songs of the Auvergne. Cantaloube’s romantic arrangements of folk songs from rural France depict serene country life in selections “Shepherd’s Song,”“The Shepherd Lass” and “Where Will We Find Our Flock.” Antonin Dvorak paid tribute to rustic living when he included Czech folk songs and dances in his Symphony No. 8, written at his family’s estate ‘The Sheepfold.’

Rossini’s majestic “Overture to Semiramide” begins the program. $14, Adult

ADMISSION $8 child, student, senior

414-963-9067 • festivalcitysymphony.org

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C O N D U C TO R ’ S N O T E S “A N D A L L T H AT JA Z Z ” Good afternoon and welcome to our first concert in the new year. Today’s program will feature music in a slightly different style than our usual programs.

While it can be argued that classical music style was adopted by America from European models, no one can deny that with jazz we returned the compliment. At the end of World War I jazz became in vogue throughout Europe’s cultural centers and French, German, English, Italian and even Russian composers wrote works combining jazz with other contemporary styles.

French composer Darius Milhaud (1892 – 1974) first discovered jazz while traveling in London in 1920 and then in 1922 when he visited New York and met famed band leader Paul Whiteman (1890 – 1967). A year later he was asked to compose a ballet for the Swedish Ballet then appearing in Paris. He responded with a score inspired by New York – style jazz he called “The Creation of the World” , which has been referred to by musicologists as an “African Rite of Spring”. The scoring includes saxophone, Dixieland trumpet and “tailgate” trombone. It marks one of the earliest uses of jazz in a ballet pit or concert hall.

Three months after Milhaud conquered Paris with Creation, Paul Whiteman and George Gershwin (1898 – 1937) presented the now legendary New York concert that included Rhapsody In Blue. Flushed with the success of both the Rhapsody and Concerto In F, Gershwin toured France in 1926, meeting and exchanging ideas with Ravel, Stravinsky, Milhaud, Poulenc and Prokofieff to name only a few. He conceived the idea of a “rhapsodic ballet” on an American tourist’s impressions of Paris. In an interview, Gershwin described an “opening gay section”, the “rich blues with a strong rhythmic undercurrent”, a “spasm of homesickness” and the return of “the vivacity and bubbling exuberance” of Paris. An American In Paris includes the famous taxi-horns, walking theme and café jazz band sequence but I don’t think many of us can hear it without thinking of Gene Kelley dancing down the boulevard.

In 1913, a fourteen-year old George Gershwin finally found a gifted teacher to replace the local neighborhood piano teachers he had had until then. The teacher’s name was Charles Hambitzer. He wrote that Gershwin “wants to go for jazz and what not. ….. but I’ll see he gets a firm grounding in the standard music first”. His early death contributed to Gershwin changing from being a concert pianist to composition. Gershwin took harmony, theory and orchestration from noted pedagogue Edward Kilenyi, and, for him, wrote his first serious work, the 1919 Lullaby for Strings. It was originally a movement of a string quartet written as a harmony assignment, but was heard and performed often by friends and fellow students.

It is now one of his most performed pieces.

As featured soloist today we have a real treat. Rarely do we play works by living composers but today we will have a work with its composer as soloist. Noted Milwaukee jazz artist Warren Wiegratz wrote his Three Scenes for Contemporary Jazz Saxophone and Orchestra in 1992 on a commission by the G. LeBlanc Corporation for the Kenosha Symphony Orchestra.

Warren writes “I believe my strength lies in composing songs, songs that have recognizable, singable melodies together with conventional harmonies and popular rhythms. So, I decided to compose three ‘songs without words’ that would feature the saxophone in orchestral and combo settings. I also decided that the orchestra would not be just an insignificant accompaniment; the orchestra states themes and counter themes and is provided with equal challenges.” We are honored to present Warren Wiegratz and his composition for you today.

We hope you enjoy our jazz inspired program this afternoon. On a cold Milwaukee winter day we can use some “hot” performances.

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ABOUT OUR SOLOIST Warren Wiegratz has received the prestigious Wisconsin Area Music Industry Award (WAMI) for Reed/Brass Instrumentalist of the Year an unprecedented twelve times.

He is a highly sought-after saxophone and Jazz clinician, who performs and instructs in high schools and colleges throughout the Midwest. He has been featured in articles in the Saxophone Journal, The Leblanc Bell, and the Roland Users Group magazines. Warren’s solo version of The Star Spangled Banner has received national critical acclaim and has led him to perform it at sporting events across the country.

Warren recorded five highly successful albums with the internationally acclaimed Jazz/Fusion group Sweetbottom, two of which were released on the Elektra/Asylum label, Angels of the Deep and Turn Me Loose. Sweetbottom latest CD “The Reunion” released in 2003, is receiving rave reviews in music publications nationwide. He later formed the popular contemporary Jazz group Oceans that recorded two nationally-released albums, Second Chance (Pro-Jazz) and Ridin’ the Tide (Pro-Jazz) and performed on NBC’s Today Show, ABC’s Good Morning America, ESPN’s Special Report, CBS Sports, and at major Jazz festivals across the United States.

He is the leader of Streetlife (Official Band of the Milwaukee Bucks) and has recorded several successful CD’s with the group.

Besides his performing and recording credits, Warren has scored two motion pictures, Dreamweaver and Lady Mary. His composition Felicia is featured on the soundtrack to the major motion picture I Love You to Death, a Columbia/Tri-Star Pictures release. Warren has written music extensively for commercials and audio/visual projects that have been honored with several first-place awards, National Ad Club Addys among them. He composed, arranged, and performed two works, A Gift So Rare and Ponteo, with the Milwaukee Symphony Orchestra, receiving rave reviews from the Milwaukee Journal newspaper. He was commissioned to write and perform an original work for saxophone and orchestra with the Kenosha Symphony Orchestra, Three Scenes for Contemporary Jazz Saxophone and Orchestra, which was very well received on its premiere.

Warren has performed and recorded with countless renowned national and international artists, including Phil Collins, George Duke, Al Dimeola, Lenny White, Daryl Stuermer, The Temptations, Gladys Knight and the Pips, The Supremes, Steve Smith, Jaco Pastorius, Wayman Tisdale, Lyle Mays, Chris Spheeris, Bobby Caldwell and Eric Benet. In addition to playing with Streetlife, Warren is resident composer/arranger for Milwaukee’s newest state-of-the-art recording facility, BeatHouse Music. He is the Lead Tenor Saxophonist with the All-Star-Super Band, a rehearsal Big Band Jazz Ensemble featuring many of Southeastern Wisconsin’s finest musicians. He is also a member of Hal Leonard Music Publishing’s “A-Team” of studio musicians, recording music for hundreds of song and lesson books.

Warren endorses Yanagisawa and Ravel saxophones

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MEET FESTIVAL CIT Y SUMPHONY MUSICIAN — CHRISTOPHER ZELLO Christopher Zello has played bass clarinet and clarinet with Festival City Symphony for 10 years.

Birthplace: Erie, Pennsylvania Education: I have degrees from University of Cincinnati College-Conservatory of Music and DePaul University. I am currently attending UW-Milwaukee for a 1-8 grade teaching certification with a math minor, which I will complete in June 2012.

What I enjoy most about playing the bass clarinet is sitting in the middle of the orchestra surrounded by the sound. It’s very neat to sit so close to the timpani and percussion to see everything going on.

What I find most challenging about playing the bass clarinet is when my music is written in bass clef and calls for Bass Clarinet in the key of A. I can handle either of these separately, but to do them both is a tricky transposition for me. (Usually, bass clarinet music is written in treble clef and calls for Bass Clarinet B-flat.)

Other instruments I play include saxophone and piano. Sometimes I play the recorder around the house for my sons.

Other musical involvements: I play with the Milwaukee Ballet Orchestra, Wisconsin Philharmonic, Fox Valley Symphony and the Woodstock Mozart Festival.

Non-musical activities: Running, Swimming, Biking, Camping, Cooking and Genealogy. I’ve done several triathlons and some Century bike rides of 100 miles.

Music I play on my iPod: I mostly listen to podcasts; Public Radio shows like Garrison Keillor, This American Life, Planet Money, and Wait, Wait, Don’t tell me; as well as The Math Dude.

Favorite Musical Memory: I was fortunate to play when the Wicked tour stopped in Milwaukee in 2010. I was seated in the pit away from the stage just far enough to see Elphaba fly up while I was counting four bars rest during a page turn. During most shows the crowd was screaming so loudly at the end of the first act that I couldn’t hear myself playing. It was a very enthusiastic audience.

Advice to young musicians: Challenge yourself. If you’re going to college for music, double major – music and something else you enjoy.

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M E E T F E S T I VA L C I T Y S U M P H O N Y M U S I C I A N — N A N C Y C L I N E Nancy Cline has played French Horn with FCS off and on for years, but has been a regular member of the horn section for the last 3 or so years. She also played with the orchestra when it was the Milwaukee Civic Orchestra back in the late 1970’s and 1980’s.

Birthplace: I was born in Milwaukee and have stayed in the area since. I currently live in Greendale with my husband, Gordon Robinson.

Education: I attended Bay View High School and attended the University of WisconsinMilwaukee from 1975 to 1980 as music performance major on full scholarship.

What I enjoy most about playing the horn: I love the beautiful sound of the horn! Playing it fills my soul!

What I find most challenging (or what I like least) about playing the horn: The most challenging thing about playing the horn is the opportunity for error. You can hit almost any note with any valve combination, so there is a 50/50 chance that you may make an error. But, if you are prepared, go for the music and are successful, the outcome outweighs any of the pressure!

Other instruments I play: I have played a little piano in college, but currently only play the horn.

Other musical involvements: I have been a regular member of the Wisconsin Philharmonic (formerly the Waukesha Symphony) for almost 30 years. I also play with many other musical groups and orchestras in Southeastern Wisconsin. I have been on faculty with the Wisconsin Conservatory of Music since 2008 as a horn teacher and member of both the Brass and Woodwind Quintets. I am also an Adjudicator for the Wisconsin School Music Association’s Solo and Ensemble Festivals.

Non-musical activities: I am the Guest Relations Manager at Potawatomi Bingo Casino and have been employed there for 19 years. My husband and I enjoy cooking together at home. In the warm weather, I spend my free time outdoors tending my flower and vegetable gardens.

Music I play on my iPod, CD player: The music I play depends on what is available and my mood at the time. I enjoy most all types of music, but especially classical and jazz.

Favorite musical memory: I gave this much thought and since I have had so many wonderful playing experiences over the years it is hard to find just one favorite! As a teacher though, you always look forward to the day when your student finds that magical moment and begins to really play musically! I will never forget one of my students from years ago.

He took lessons from me for years and was asked to perform Mozart Horn Concerto #2 with his High School Orchestra his senior year. I couldn’t make the performance and felt bad, so I contacted the school to see if I could attend the dress rehearsal. I slipped into the back of the auditorium that day as he started to play and was in total amazement! Tears filled my eyes as I listened to that young man play! He had found his most magical moment and I was blessed to be a part of it!

Advice to young musicians: When you are learning your instrument, practice your scales and basic techniques now so that you can experience your magical moment and really begin to make beautiful music. That is when it truly begins to be fun and enjoyable! If you are college bound, that musical ability and experience can open many doors for you; separating you from the rest of the applicants! Whether you chose to make music your career or just have it a part of your life, it is all worth it!

AND ALL THAT JAZZ 7

F E S T I VA L C I T Y S Y M P H O N Y Conductor/Artistic Director..........................................................................................Monte Perkins Executive Director............................................................................................................ Linda E. Jones Education Director............................................................................................................ Jayne Perkins Artist and Development Coordinator..........................................................Lesley Conger-Hatch Librarian.............................................................................................................................Christine Treter Assistant Librarian............................................................................................................Robert Kriefall Board of Directors Franklyn Esenberg, Chairman of the Board and Chief Executive Officer Theodore Zimmer, Secretary/ Treasurer JoAnn Norris • Charlane O’Rourke • Robert Stack

PERSONNEL FIRST VIOLIN Robin Petzold Concertmaster Pamela Simmons Ass’t Concertmaster Catherine Bush Marvin Suson JoAnn Haasler Nancy Maio Christine Hauptly Annin Sharon Slattery Mary Stryck Liz Teal Carol Christensen SECOND VIOLIN Ellen Scott Principal Juanita Groff Katherine Brooks Laurie Asch Melissa Mann Cheryl Ann Fuchs Eva Szoke Hilary Mercer Tassia Hughes VIOLA Christine Treter Principal Olga Tuzhilkov Lynne Fields Jenna Dick Korinthia Klein Julie Roubik Mary Pat Michels

CELLO Tom Smith Principal Ingrid Tihtcheva Elizabeth Bender Beth Alvarez Martha Kriefall Carol Wittig Sacia Jerome BASS Charles Grosz Principal Kathryn Jursik Barry Clark Michael Gudbaur Steven Rindt FLUTE Lesley Conger-Hatch Principal Heidi Knudsen FLUTE/PICCOLO Kristen Fenske OBOE Bonnie Cohen Principal Suzanne Swenson ENGLISH HORN Suzanne Geoffrey CLARINET Franklyn Esenberg Principal Linda E. Jones BASS CLARINET Christopher Zello

BASSOON Lori Babinec Principal Steve Whitney SAXOPHONES Jon Lovas, alto Eric Schoor, tenor Christopher Thompson, baritone HORN Wes Hatch Principal Nancy Cline Kathryn Krubsack Kelly Hofman TRUMPET Gerry Keene Principal Joe Burzinski William Dick TROMBONE John Steinke Principal Jonathan Winkle Keith Hertig TUBA Paul Haugan TIMPANI Robert Koszewski PERCUSSION Ed Doemland Principal Robert Kriefall Randy Maio Josh Sherman CELESTE/PIANO Ruben Piirainen

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