From the New World-Festival City Symphony

Monte Perkins, Conductor presents

“FROM THE NEW WORLD”

This program is dedicated to the memories of FCS musicians Edward Doemland and Paul Haugan

October 7, 2012 3:00 PM Pabst Theater 144 E. Wells

From the New World

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PROGR A M Symphony No. 9 “From the New World”........................................................................ Antonin Dvorak Allegro maestoso.

Poco adagio.

Scherzo: Vivace.

Finale: Allegro.

Intermission Cakewalk.............................................................................................................. Louis Moreau Gottschalk 1. “Grand Walkaround” 2. “Wallflower Waltz” 3. “Sleight of Feet” 4. “Perpendicular Points” 5. “Freebee” 6. “Throwaway” 7. “Magic Act” 8. “Venus and the Three Graces” 9. “Wild Pony” 10. “Pas de Deux” 11. “Exit” 12. “Finale--Gala Cakewalk” FESTIVAL CITY SYMPHONY DEDICATES THIS CONCERT TO THE MEMORIES OF FELLOW MUSICIANS EDWARD DOEMLAND AND PAUL HAUGAN. 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.

CIVIC MUSIC ASSOCIATION (CMA) SCHOLARSHIP AUDITION PARTICIPANTS—Young music students who have participated in CMA’s audition for scholarship awards have received a complimentary pass for themselves and their family to enjoy great music, well performed at a ”Symphony Sundays” concert of their choice.

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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

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 Librarians.......................................................................................Robert and Martha 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

***Festival City Symphony is a member organization of Association of Wisconsin Symphony Orchestras, the Creative Alliance, 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.***

From the New World

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C O N D U C TO R ’ S N O T E S “ F R O M T H E N E W WO R L D ” Antonin Dvorak (1841-1904) brought his entire family to the United States from his native Bohemia in 1892 when he was chosen to head the newly established National Conservatory of Music in New York City. He came at the request of noted arts patron Mrs. Jeannette Thurber, who wanted as director a musician of international acclaim. For three years he taught, composed, lectured and organized concerts. Equally important to the attention he brought the institution was his personal development and appreciation for America and its culture. After only three months he began sketching ideas for a new work which culminated in the premiere on December 15, 1893, of the Symphony in e minor, called “From the New World”. Note that he called it not New World but From the New World. Musicians have argued since over the amount of influence American folk tunes and styles had in the composition.

Anton Seidl, conductor at the premiere, said, “Not a good name, New World Symphony! It is homesickness, home longing.” Some have written that the famous second movement Largo is based on the story of Hiawatha, known to Dvorak from the poem by Longfellow. Some quote a (possibly apocryphal) story that Dvorak described a passage to his students as Minnehaha’s crying farewell to Hiawatha. We do know that after only three years Dvorak missed his country enough to turn down a very generous renewal of his contract and returned to Prague. Before the first German performance of the symphony he wrote conductor Oscar Nedbal, “Omit the nonsense of my having made use of ‘Indian’ and ‘American’ motives…. I tried to write only in the spirit of those national American melodies.” Regardless, the “New World” Symphony is one of the most beloved and most performed works in all of the orchestra repertoire.

Just before the 1893 premiere of his Symphony in e minor, Dvorak published an article outlining his ideas on the future of American music. He strongly suggested that it be founded on Negro melodies and folk music. He wrote, “These beautiful and varied themes are the product of the soil… They are American. In the Negro melodies of America I discover all that is needed for a great and noble school of music.” Folk elements had always fascinated him, as demonstrated in his use of the themes and spirit of Bohemian and Moravian folk songs. Henry T. Burleigh, negro baritone and arranger, enrolled at the Conservatory as a student of Dvorak and was often asked to the Dvorak’s home to sing for them. He showed them “performance practices” of minstrel tunes and folk songs.

Among the tunes Dvorak was especially struck by was “Swing Low, Sweet Chariot”, of which variations can be heard in several of his subsequent works.

One of the only black American musicians recognized internationally in Dvorak’s day was Louis Moreau Gottschalk (1829 – 1869). Gottschalk was the first American pianist and composer to be esteemed in Europe and South America as well as in the United States. He was born in New Orleans and proudly published music throughout his life as “Gottschalk of Louisiana”. His father was a London Jew, his mother a Creole Haitian. He made a debut as pianist at age eleven and soon after left New Orleans to study in Europe. He toured extensively in Europe and the U.S. and lived in South America from 1865 until his death at the young age of forty. He gave hundreds of solo recitals and performances with orchestras including the famous Monster Concert in Rio de Janeiro that involved 650 musicians (for which he hand copied all the parts). In 1951, American Ballet Theatre commissioned arrangements of his piano music by African-American composer and arranger Hershey Kay (1919-1961) for a ballet to be called “CakeWalk”. Included are twelve numbers in three sections, Grand Walkaround, The Magic Act, and Pasquinade. Kay’s stylish and colorful arrangements brilliantly highlight the original piano music in minstrel tunes, parodies of German band music and effects such as “The Banjo”.

We certainly hope you enjoy today’s concert as we present Dvorak’s great homage to America and the type of music he felt should be the basis of all American concert music.

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Festival City Symphony

“HALLOWEEN PAJAMA JAMBOREE” Wednesday, October 31, 2012 • 7:00 PM

FCS musicians in costume

Dressed in costume, the orchestra invites the audience to do the same and enjoy an evening of musical “treats” related to the season. Selections include Rossini’s “Overture to Cinderella,” Menken’s “Beauty and the Beast,” Mancini’s “Baby Elephant Walk” and “Pink Panther,” and Heyman’s “Pops Hoedown.”

FREE ADMISSION Marcus Center for the Performing Arts, Bradley Pavilion (Use the 123 E. State St. entrance) 414-963-9067 festivalcitysymphony.org

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I N M E M O R I U M - E DWA R D D O E M L A N D “We percussionists make our sounds by hitting objects like a drum-head, a block of wood, or a piece of metal. The challenge is to make music when all you can do is hit things.”—Ed Doemland, 2011 Ed Doemland played percussion for Festival City Symphony for 43 years.

He was also a man of many other accomplishments : • Taught high-school chemistry, mostly at West Allis Central---lifetime career • Earned a teaching award from the Milwaukee branch of the American Chemical Society • Played organ and directed choir at St. Peter’s Episcopal Church, West Allis • Life-time member of the Hymn Society of the U.S. and Canada • Performed as a free-lance jazz pianist • Composed and arranged music for orchestra and for small ensembles Mr. Doemland’s education included receiving a BA in chemistry from Lawrence College (now University) in Appleton, Wisconsin and an MA in science teaching from Ohio State University in Columbus.

When Ed was asked what he enjoyed most about playing percussion in the orchestra he said: “A percussionist stands at the side or rear of the orchestra, a good position from which to observe how a composer uses the instruments and to listen for the structure of the composition we’re playing.”

Favorite musical memory: “I treasure the help of other musicians in Festival city Symphony who have, over the years, helped me understand characteristics of their instruments and even let me look over their shoulders in rehearsals. These friends have helped give me confidence when I compose for instruments I do not play.”

Advice to young musicians: “ . . . practice until your instrument is almost a part of you, no longer a separate object. As you rehearse, observe how the music is written; seek ways to carry out what the composer intended; in an ensemble, ask mentally, ‘Why is my part written as it is, and how does it fit the other parts?’ Part of the delight in music is the variety of interactions with others.”

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Festival City Symphony

I N M E M O R I U M - PAU L H AU G A N “I have never remembered a day when I didn’t love playing the tuba.”—Paul Haugan Paul Haugan played tuba in Festival City Symphony for many years.

“TUBA OPENED HAUGAN’S WORLD”

by Emily Eggleston from her article in the August 5, 2012 Milwaukee Journal Sentinel (Obituary) Before Paul Haugan discovered the tuba at age 12, his family assumed he would grow up to be a zoologist.

His sister, Judy Ryan, said Haugan’s menagerie of pets included lizards, chickens, a spider monkey, a boa constrictor and the neighborhood’s sick raccoon. In order to keep Gus, the raccoon, Ryan said her father had to license their backyard as a state game preserve.

But discover the tuba he did, and Haugan went on to accompany Frank Sinatra, Barbra Streisand, even the Moody Blues over the course of his career.

As a teen growing up in the Madison area, Haugan once sat under a big top and sight-read fast-paced circus music when a traveling show needed a replacement tuba player. He played for all of the Madison performances of the Clyde Beatty-Cole Brothers Circus, and they offered to hire him at the age of 15. His parents had to object.

Three years later, Haugan gave up a full scholarship at the University of Wisconsin-Madison to study music in Montreux, Switzerland. There, his instructors suggested Haugan start auditioning to get a feel for the process. They were surprised when, at the age of 18, the Nuremberg Philharmonic Orchestra offered Haugan its principal tuba position. He took it.

Ryan, his only sibling, said the family can trace its German lineage back to J.S. Bach and Richard Wagner, so perhaps the talent was inherited.

Over the course of his career, he played or recorded with numerous symphonies and bands - from the Bavarian Radio Symphony to Blood, Sweat and Tears - and toured Europe three times. Closer to home, he played on the band wagon at the Great Circus Parade in Milwaukee.

Until his death, he was playing with the Madison, Rockford, Green Bay and Milwaukee Festival City symphonies.

Ryan’s son Noah said his uncle opened his eyes to a “bohemian perspective.” When Noah, now 28, attended Milwaukee Institute of Art & Design, the two would spend time walking in parks and woods. The tuba came, too. “If we were out somewhere, he would never hesitate to play his tuba,” Noah said.

When Noah was a child,“he always knew to play the ‘Star Wars’ theme for me,” Noah said. But you could request any type of music and his uncle would use his low brassy tones to bring it to life.

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PERSONNEL FIRST VIOLIN Robin Petzold Concertmaster Pamela Simmons Ass’t Concertmaster Tatiana Migliaccio Kris Hurlebaus Tony Perez Hilary Mercer Sharon Slattery Mary Stryck Al Bartosik Nancy Maio Carol Christensen SECOND VIOLIN Ellen Scott Principal Juanita Groff Laurie Asch Katie Brooks Melissa Mann Cheryl Ann Fuchs Eva Szoke Marie A. Winget Tassia Hughes VIOLA Christine Treter Principal Olga Tuzhilkov Lynne Fields Jenna Dick Julie Roubik Korinthia Klein Mary Pat Michels

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

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Festival City Symphony

BASSOON Lori Babinec Principal Steve Whitney HORN Wes Hatch Principal Kelly Hofman Anne Maliborski Charles Payette Erwin Lackner TRUMPET Gerry Keene Principal Joe Burzinski David Magoon TROMBONE Nick Castonguay Principal Jacob Tomasicyk Mark Hoelscher TUBA Dan Neesley TIMPANI Robert Koszewski PERCUSSION Robert Kriefall Principal Josh Sherman Ken Marchand PIANO/CELESTE Ruben Piirainen HARP Ann Lobotzke