Salute to Our Veterans-WI Philharmonic

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 Back by popular demand, The Wisconsin Philharmonic is proud to present our third annual Veterans Day Celebration. We are honored to have Waukesha Mayor, Jeff Scrima, with us today to share speeches and letters from WWI and WWII. Please support The Wisconsin Philharmonic by contributing to our Individual Campaign. A donation to honor someone you love, such as a veteran in your family, would go a long way in ensuring that the inspiring melodies of live, professional concert performances will continue for generations to come. Donations are now accepted online at www.wisconsinphilharmonic.org with secure-transaction processing. Visit our table in the lobby for more details on how to leave a gift in honor of a loved one to support this historic orchestra.

Andrea Northrop Executive Director

Salute to Our Veterans: Americans in Paris 1

Founded 1947

presents

Salute to Our Veterans: Americans in Paris Sunday, November 13, 2011, 3:00pm Shattuck Auditorium, Carroll University Alexander Platt, Conductor Mayor Jeff Scrima, Narrator Marche Militaire Francais........................................................................... Camille Saint-Saens March from The Great Escape........................................................................... Elmer Bernstein Suite from Casablanca................................................................................................ Max Steiner Petite Suite............................................................................................................. Claude Debussy I. En Bateau II. Cortege III. Menuet IV. Ballet Selections from Silk Stockings.................................................................................. Cole Porter INTERMISSION La Marseillaise .........................................................................Claude Joseph Rouget de Lisle Berceuse Heroique............................................................................................... Claude Debussy Over There..........................................................................................................George M. Cohan Armed Forces Salute.............................................................................................arr. Bob Lowden An American in Paris.........................................................................................George Gershwin 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.

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THE WISCONSIN PHILHAR MONIC VIOLIN I Robin Petzold, Concertmaster Catherine Bush, Assistant Concertmaster Tatiana Migliaccio Heather Broadbent Andrea Buchta Travis Leanna JoAnn Haasler Hilary Mercer Claudette Kolosowski Mary Haarmann

CONTRABASS Charles Grosz, Principal Michael Britz, Assistant Principal Gina Thompson Steven Rindt

VIOLIN II Christopher Ruck, Principal Darlene Rivest, Assistant Principal Mary Leah Perkinson Catherine Kolb Kristen Tan Jennifer Wendling Joyce Malloy Shannon O’Leary

PICCOLO Joanna Messer

HARP Kari Gardner, Principal FLUTE Scott Metlicka, Principal Rosemary Bennett

HORN Joel Benway, Principal Elizabeth Olson Anne Maliborski Nancy Cline TRUMPET Christian Anderson, Principal Joseph Burzinski Mark Eichner Kevin Wood TROMBONE Kyle Samuelson, Principal Glen Lunde

OBOE Suzanne Geoffrey, Principal Matthew Siehr Rita Mitchell

BASS TROMBONE Eric Larsen

ENGLISH HORN Matthew Siehr

TIMPANI Terry Smirl

VIOLA Mary Pat Michels, Principal Marvin Suson, Assistant Principal Andrew Waid Lynne Fields Ron Arden Scott Craig

CLARINET Christopher Zello, Principal Bernie Parish

PERCUSSION Victoria Daniel, Principal Josh Sherman Sarah Basel

BASSOON Robb Seftar, Principal Steven Whitney Gerik Fon-Revutzky

PIANO Ingrid Hanson-Popp

CELLO Adrien Zitoun, Principal Braden Zitoun, Assistant Principal Trischa Loebl Ingrid Tihtcheva Chris Abbott Loni Gornick

SAXOPHONE John Hibler, Principal Jon Lovas Curt Hanrahan

TUBA Dan Neesley

Join us for our future concerts: Joyeux Noel: Christmas in Paris December 6, 2011, 7:30pm Shattuck Auditorium

Gallic Delights February 26, 2012, 3:00pm Sharon Lynne Wilson Center for the Arts

Une Grande Finale: From France to Spain May 6, 2012, 3:00pm Shattuck Auditorium Salute to Our Veterans: Americans in Paris 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 world-premiere 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-premiere (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.

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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.

M A YO R J E F F S C R I M A , N A R R ATO R Jeff Scrima was born and raised in Waukesha, Wisconsin and graduated from Waukesha South High School. He graduated from Wheaton College in Illinois in 2000. Jeff completed ICSC Schooling of Retailing in 2008 and the IEDC School of Economic Development held at the Wharton Business School in 2009. He is a business owner in Waukesha, served on the Business Improvement District, and ran in the 2009 Chicago Marathon.

Jeff is active in the arts and church and became Mayor of Waukesha in April 2010 serving a four year term.

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PROGR A M NOTES A Salute to Veterans: Americans in Paris Welcome to what has now become an annual tradition here at The Wisconsin Philharmonic, as we pay homage to our nation’s veterans in words and music. As we are musically spending this season in France, it seems right and proper that we should plant our feet firmly on French soil as we recount some of the most critical moments of the Allied sacrifice in both World Wars.

Included today are two martial miniatures by great French composers of the turn of the 20th century; showing two very different sides of warfare. The bracing Marche Militaire Francaise from the Algerian Suite of Camille Saint-Saens (1835-1921) is a stirring depiction of French North African colonial might. SaintSaens, who had been born early enough to know Liszt and Berlioz and lived long enough to outlive the former young-upstart Debussy and even meet the young Aaron Copland, shows his perfect sense of craftsmanship. The other side of warfare is portrayed all too memorably in Claude Debussy’s Berceuse Heroique (1914), written in the early months of the First World War. Debussy’s “Heroic Lullaby” is an eerily mordant thud of a work, with distant bugle calls heralding a ghostly death-march in the distance; no flag-waving here, no more parades, but a haunting evocation of the fog of war.

On a lighter note, Debussy’s Petite Suite is one of the early gems of this great French master, who was born in 1862 and died a miserable death of cancer as the Germans bombed Paris during the Spring Offensive of 1918. His “Little Suite,” written for piano duet in 1889 and later orchestrated by the French composer-

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P R O G R A M N O T E S ( c o n t .) conductor Henri Busser, fortells none of these tragedies to come. Through four movements, Debussy evokes the gentle colors and gauzy languor of many a great painting of the French Impressionists.

The stylistic world of Cole Porter (1891-1964), one of America’s great masters of musical theatre, was influenced by composers such as Debussy in his more lighthearted mode, proving that the distance between Paris and Peru, Indiana need not be too great when bridged by genius. Based on the 1939 Greta Garbo film Ninotchka, Porter’s Silk Stockings of 1955 was to be his last musical for the stage; the hit show would also be turned into an equally smashing 1957 MGM musical. The hilarious account of a gorgeous Russian female special agent sent away to rescue three Soviet commissars from the pleasures of Paris, Porter’s score abounds in Gallic charm and flair, well captured here in a symphonic suite by one of Broadway’s unsung heroes, composer and orchestrator Robert Russell Bennett (1894-1981). In the same spirit, George M. Cohan’s Over There!, words and music written both in a train car in April 1917 just after America announced her entry into World War I, is an ebullient little work of inspiration for the American “doughboys,” soon to head off to trenches somewhere in France. The fact that the song was equally inspirational for soldiers in World War II speaks to its firm place as one of the great examples of American popular music: short and simple, but touching something deep in the soul.

No such afternoon of patriotic words and music would be complete without some of the great music for movies of the World War II era. Elmer Bernstein’s March from his music for John Srturges’ box-office hit, The Great Escape, fully captures the grit and determination of the 76 Allied POW’s who managed to escape from a German stalag in March of 1944. Max Steiner’s 1942 score for the Humphrey Bogart - Ingrid Bergman classic Casablanca is one of the great cinema scores of all time. A world-class Viennese Jewish musician who managed to escape to America on the eve of WWII, Steiner became perhaps the very greatest composer of Hollywood’s Golden Age. In addition to Casablanca, his credits include Gone with the Wind, King Kong, Key Largo, The Big Sleep, Treasure of the Sierra Madre, and The Charge of the Light Brigade, winding up his brilliant career with the scores for The Caine Mutiny and, improbably, A Summer Place.

It’s interesting to note that so many of the above-listed films were Humphrey Bogart vehicles; Bogart’s inherent admixture of pathos, heroism, and vulnerability seems to find deep resonance in Steiner’s worldly, and world-weary musical language. In this very effective Suite from Steiner’s score for Casablanca we hear and feel all of the terror, gallantry, and dramatic thrust of one of the very greatest of wartime films of any genre. Through Steiner’s music the former glory of Saint-Saens’ French colonial North Africa is now turned on its head by the evil and cowardice of the Nazi-dominated Vichy France.

Along with Bob Lowden’s Armed Forces Salute it is George Gershwin’s An American in Paris which takes pride of place on today’s performance. In this piece, we have an American masterpiece in every way: perfectly executed in its composition, yet utterly unique in its American mode of expression. Gershwin, the former student of Arnold Schoenberg and acquaintance of Maurice Ravel reconciles the genius of the French Impressionists and late Romantics with the already-rich panoply of American popular music then in existence.

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P R O G R A M N O T E S ( c o n t .)

For most of his youth, Gershwin was strictly a genius in the realm of popular music. It was the overnight success of his Rhapsody in Blue (1924) that inspired both Gershwin and his classical-music admirers to aim higher. Alongside an endless string of Broadway shows, with his brother Ira as lyricist, Gershwin would complete his underrated Concerto in F, also for piano and orchestra, one year later for Walter Damrosch and his New York Symphony. A year after that, taking a break from the London West End run of Lady, Be Good, Gershwin made his second visit to Paris, which now inspired him to compose a grand symphonic poem in homage to The City of Light. Procuring another commission, Gershwin promised Maestro Damrosch with such a work for December 1928. Gershwin then made a third fact-finding trip to Paris, fraternizing with the artistic Who’s Who of the city and soaking up the atmosphere to the point of actually procuring an authentic set of Parisian taxi-horns for his work.

The resulting tone-poem is really best described by the composer himself: “This new piece, really a rhapsodic ballet, is written very freely and is the most modern music I’ve yet attempted. The opening part will be developed in typical French style...My purpose is to portray the impression of an American visitor in Paris, as he strolls about the city and listens to various street noises and absorbs the French atmosphere...The opening gay section is followed by a rich blues with a strong rhythmic undercurrent. Our American friend, perhaps after strolling into a cafe and having a couple of drinks, has succumbed to a spasm of homesickness.

The harmony here is both simpler and more intense than in the preceding pages.

This blues rises to a climax, followed by a coda in which the spirit of the music returns to the vivacity and bubbling exuberance of the opening...Apparently the homesick American, having left the cafe and reached the open air, has disowned his spell of the blues and once again is an alert spectator of Parisian life. At the conclusion, the street noises and French atmosphere are triumphant.”

Contrary to myth, the response to the premiere of An American in Paris was lukewarm; but by the late 1930’s, especially after the young composer’s death, it was finally recognized as the masterpiece that it is, truly on par with the greatest symphonic poems of Ottorino Respighi and Richard Strauss. As with Strauss, Gershwin’s music conveys both a cinematic exactitude and a primordial sweep.

It’s no mystery that An American in Paris would serve as the basis of a 1951 MGM musical of the same title; now a vehicle for another young American genius, a dancer named Gene Kelly.

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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 Northrop Alexander Platt

S TA F F Music Director....................................................................................................... Alexander Platt Executive Director............................................................................................ Andrea Northrop Office Manager....................................................................................................... David Elbrecht Personnel Manager/Librarian.......................................................................Mary Pat Michels Stage Manager .............................................................................................................Glen Lunde

Getting Better while Growing Older Congratulations to the Wisconsin Philharmonic on 64 Successful Years

Celebrating our 95th year Salute to Our Veterans: Americans in Paris 9

C O N T R I B U TO R S Organizations Maestro $5,000 and up Century Fence Harken Family Foundation Oconomowoc Area Foundation Virtuoso $2,500-$4,999 First Bank Financial Centre PieperPower Electric, Inc Waukesha State Bank Concertmaster $1,000-$2,499 Cooper Power Systems Don L. & Carol G. Taylor Family Foundation HUSCO International Janice & Raymond Perry Community Fund, Inc Kelcut Gasket & Rubber, Inc. Moreland Ear, Nose, & Throat Group, LTD. Principal $500-$999 Arts Waukesha Griffin Ford, Lincoln, Mercury Herbert H Kohl Charities, Inc. Milton Weber Conductors Chair Fund NEV 2/11 Foundation Oconomowoc Festival of the Arts Precision Gears, Inc. Associate $300-$499 Chet & Helen Goff Fund Patron $150-$299 Bruno Independent Living Aids Landmark Credit Union 10 Wisconsin Philharmonic

Practical Club of Waukesha Schober, Schober, & Mitchell, S.C. Supporter $50-$149 Dresser, Inc. Hippenmeyer, Reilly, Moodie & Blum, S.C. WaterStone Bank Waukesha Music Study Club Friend Up to $49 Winter, Kloman, Moter & Repp, S.C. Individuals Maestro $5,000 and up Anthony & Andrea Bryant Don L. & Carol G. Taylor Virtuoso $2,500-$4,999 Drake & Evie Reid Concertmaster $1,000-$2,499 John & Mary Almasi Frank & Mary Ann Brazelton Virginia Buhler Doug & Nancy Hastad Tom & Martha Kelpin Charles McIntosh Ellen Strommen Principal $500-$999 David & Barbara Hammer Glen R. & Sally Mohr Lunde Fritz & Sally Ruf Everett & Kay Stone Roger & Sandy Stuckmann Associate $300-$499 Anonymous

Steve & Laura Dombrock Mr. & Mrs. Jerry Gapinski Dr. William P. McDevitt Howard & Sara Miller Stephen & Gale Schmiedlin Sara Toenes Patron $150-$299 Anonymous (1) Bonnie Birk & Dave Helling Donald & Beverly Chappie Brian Ewald Dr. & Mrs. Robert Feulner Phyllis Flory Darrell & Sally Foell Jennifer Hausch David & Darlene Lange Bruce & Rosemary Larkin William McDevitt Thomas & Patricia Miller George & Bonnie Morris Bob & Hannah Nevins Andrea Northrop Alexander Platt Mr & Mrs James Scheel Betty Lou Tikalsky Ursula Weinandt Cynthia Wellman Kristine & Todd Zinkgraf Supporter $50-$149 Anonymous (2) James & Monica Ansay Doug & Judy Becker Joseph Beringer Dr. & Mrs. R.H. Bibler Elfred Bloedel John & Kay Boesen John & Mary Boie Robert Breese Karen & Robert Calhoun James & Elizabeth Chermark Joanne Crooks Ronald & Jane Darling N.J. De Meyer Sune & Jean Ericson Sue Evenson Phyllis Flory Gerald & Donna Gerndt

C O N T R I B U TO R S ( c o n t .)

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Betty Lou Tikalsky Jim & Pat Toft Joe & Ellen Turzynski Tom & Laura Wanta Allen Weidler John Wellford Sue & Joe Wimmer Rev. & Mrs. Theodore Youngquist Friend Up to $49 Anonymous (3) Janet Allen Eileen Alm Ron & Pat Anders Robert Breese Juanita Gorden Patricia Hetznecker Mary Jervis David & Ann Lang Cheryl Matteson Phil & Cie Motelet Mark & Angela Penzkover Robert Radtke Paul & Cathy Riedl Cheryl Scheurman Paula Slesar Mr & Mrs William O. Vebber Miriam Wellford Barbara Woerner In Honor of Mary Korkor Tom Snyder Ellen Strommen William & Carol Lamm In Memory of Richard F. Alexander Geore & Edith Love Marty Frank

Suzanne R. Frank James L. & Dorothy Goff Frisch Charles Goff McIntosh John B. Seel Geth Galloway Joan Newman Don F. Hillmer Germaine Hillmer Jean Kennedy George & Edith Love Mudi Klumb Ellen Strommen Angeline Lunde Andrea Northrop Rosemary Melmariak Ellen Strommen Fred Portz JoAnn Portz Keith Rand Sune & Jean Ericson Florizel & Marguerite Reuter Thomas & Jean Klein Clara Saler Richard & Bernard Saler Deborah A Seter Ken & Jeanne Menting Robert Smart Anita Ransome Kuchler Rev. Patricia Sutton Ellen Strommen Maestro Milton Weber Anonymous Richard Schwartz & Elizabeth Jones In Kind Steve Dombrock & Co. S.C.

The Contributor Listing includes all contributions from the last twelve months received through October 14, 2011. Those who contributed after that date have our thanks and the assurance that your names will appear in the December 6, 2011 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.

Salute to Our Veterans: Americans in Paris 11

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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.

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.

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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-andanswer 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 14 Wisconsin Philharmonic

PLEASE HELP US THANK OUR GENEROUS SPONSORS

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Salute to Our Veterans: Americans in Paris 15

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