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 Thank you for joining us tonight as we share in a tradition of joy and merriment during the holiday season. We are honored to have the high school choirs of Arrowhead and University Lake School performing with The Philharmonic tonight. Welcome to all of the family and friends who have come out to support these young musicians as they share their talents with all of us. If you haven’t done so already, please consider giving a gift to support this tremendous orchestra of over 60 years. Ticket sales only cover about a third of the cost of producing our quality concerts and education programming, leaving the majority of support needed to the community. Your contributions not only create magical classical music concerts, but also provide Waukesha County schools with music education programs that reach children of all ages – from those who have never seen live music before to those who are seeking the support and coaching of our musicians as they consider careers of their own in music. Give the gift of music this season and help us educate the community about its vitality. Thank you to Century Fence and Waukesha State Bank for supporting The Wisconsin Philharmonic by sponsoring tonight’s concert. Thank you, as well, to our choir sponsor, HUSCO International, for supporting arts education with their sponsorship. We could not be more grateful for your generous support. All of us at The Wisconsin Philharmonic would like to thank you, our dedicated audience, for celebrating the holiday season with us and wish you all a very Merry Christmas and Happy New Year. Andrea Northrop Executive Director
Getting Better while Growing Older Congratulations to the Wisconsin Philharmonic on 64 Successful Years
Celebrating our 95th year Joyeux Noel: Christmas in Paris 1
Founded 1947
presents
Joyeux Noel: Christmas in Paris Tuesday, December 6, 2011, 7:30pm Shattuck Auditorium, Carroll University Alexander Platt, Conductor With Special Guests Arrowhead High School Concert Choir University Lake School Concert Choir Overture from Orpheus in the Underworld. . . . . . . . . . . . . . . . . . . . . . . . . . . Jacques Offenbach Jeux D’Enfants (Children’s Games). . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Georges Bizet Clair de Lune. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Claude Debussy The Sorcerer’s Apprentice (from Fantasia) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Paul Dukas INTERMISSION French Christmas Carol Medley. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . arr. Sam Belich Final Chorus from Christmas Oratorio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Camille Saint-Saens The Shepherds’ Farewell from L’Enfance du Chirst. . . . . . . . . . . . . . . . . . . . . . . . . Hector Berlioz Panis Angelicus. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Cesar Franck arr. John Rutter Agnus Dei from Messee de Sainte Cecile. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Charles Gounod Sanctus from Requiem. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Gabriel Faure Hallelujah from Messiah. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . George Frederic Handel We Wish You a Merry Christmas. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . arr. Bruce Chase This concert is sponsored by Century Fence and Waukesha State Bank. The choir performance is sponsored by HUSCO International. 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. 2 Wisconsin Philharmonic
THE WISCONSIN PHILHAR MONIC VIOLIN I Robin Petzold, Concertmaster Catherine Bush, Assistant Concertmaster Katherine Brooks David Bullock Tatiana Migliaccio Heather Broadbent Emily Stodola Mishan Han Hilary Mercer Mary Haarmann VIOLIN II Anna Newbury, Principal Andrea Buchta, Assistant Principal Mary Perkinson Catherine Kolb Kristen Tan Jenny Wendling Steve Friedenberg Karen Schroeder
BASS Charles Grosz, Principal Gina Thompson, Assistant Principal Steven Rindt Michael Gudbaur
HORN Kelly Hofman, Principal Elizabeth Olson Anne Maliborski Nancy Cline
ORGAN Kevin Bailey, Principal
TRUMPET Christian Anderson, Principal Joseph Burzinski Mark Eichner Daniel Birnschein
FLUTE Joanna Messer, Principal Linda Nielsen-Korducki
TROMBONE Casey Maday, Principal Glen Lunde
PICCOLO Rosemary Bennett
BASS TROMBONE Eric Larsen
OBOE Suzanne Geoffrey, Principal Matthew Siehr
TUBA Dan Neesley
HARP Kari Gardner, Principal
TIMPANI Mike Lorenz
VIOLA Mary Pat Michels, Principal Marvin Suson, Assistant Principal Andrew Waid Lynne Fields Lauren Roznowski Jenna Dick
ENGLISH HORN Matthew Siehr
CELLO Trischa Loebl, Principal Braden Zitoun, Assistant Principal Loni Gornick Chris Abbott Alicia Storin Roberta Mallmann
BASSOON Robb Seftar, Principal Steven Whitney Gerik Fon-Revutzky
CLARINET Dan Roberdeau, Principal Bernie Parish
PERCUSSION Victoria Daniel, Principal Josh Sherman Sarah Basel Matthew Bennett
BASS CLARINET: Anna Najoom.
Join us for our future concerts: 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
Joyeux Noel: Christmas in Paris 3
CHOIRS Arrowhead High School Concert Choir Nancy Jorgensen, director Jordan A. Ackley Ryan D. Adamski Fabrizio Aita Kevin R. Allen Cecilia Alvarez Zachary C. Amenda Brian M. Anderson Grace E. Backhaus Zachary R. Barabee Kasey T. Bellman Robert R. Beres Emily R. Bird David W. Burke Ava R. Bush Melissa G. Buskey Marisa M. Cartwright Kathryn A. Catania John E. Christianson Christopher N. Clark Rachel M. Cole Courtney E. Collingwood Allison N. Connell Kirsten N. Cornella-Carlson Andrea J. Cseri John B. Curtis Rhiannon A. Davis Joshua Dopke John D. Dora Melissa M. Engelking Nicole M. Fortune Victoria M. Franklin Sofia A. Garcia Kylie D. Gardetto Kevin M. Garvey Morgan L. Graff Jackson R. Groonwald Stephen Harder Zachary J. Henkel Michelle E. Hoeft Sarah A. Holmberg Ashley L. Huckstep Jacob E. Hyland Jennifer L. Johnson Joseph C. Jorgensen Brian A. Kachelmeyer Garrett D. Kim Austin R. Kissinger Eden L. KlingensmithLaplander Megan C. Kneiser Anna M. Kolokoski Nicholas J. Kopecky Rachel A. Kornetsky 4 Wisconsin Philharmonic
Sara L. Krajewski Carly M. Kuhtz Jamie J. Kujawski Victoria A. Larson Jesse S. Lee William J. Lindenberg Kayla J. Lohnes Allison R. Lund Megan Markham Ashley A Matter Anna K. Maurer Ryan P. McGinn Emma J. McMiller Jacob R. McQuestion Andrew R. McWilliams Emily M. Meissner Rachel L. Mooers Marianna C. Murray-Gerds Alison M .Neshek Andrea Nino de Guzman Shelby L. O’Connor Karissa Olson Peter H. Olson Andrew R. Oppmann Jacqueline C. Panos Katherine E. Panos Megan K. Peschke Olivia L. Pfeil Clinton T. Plowman Emily L. Pratt Catherine A. Purdy Mary E. Purdy Eric M. Rabas Emily R. Radke Bethany L. Redeker Joseph E. Reuteman Emily S. Robinson Teresa Roman Katelyn E. Runte Payton F. Salick Leah M. Sandefur Nicholas G. Scaffidi Trevor L. Schell Emily L. Schienbein Jennifer L. Schindler Zachary K. Schmidt Margaret J. Schoenecker Bryan J. Seefeld Kasey A. Send Jordan P. Seonbuchner Lauren T. Skelton Alexandra C. Skroblin Gavin G. Snyder Hannah L. Solveson Eric M. Starr Paige O. Steffens Sara Strieter
Kaleigh C. Sullivan Meghan M. Supple Daniel L. Thompson Dominic Todarello Elizabeth K. Warsop Alec Williams Robyn A. Wittkopf Jasmine N. Womack Emylee R. Wulf Matthew C. Zacher Katherine C. Ziebart
University Lake School Concert Choir
Vicki Taylor, director Alexa Andrews Cassi Berres Lydia Bronner Sarah Brownell Noel Bryant-Nanz Elliot Chang Alexid Daley Jeff D’Ambrisi Juliet de la Huerga JB Denny Ian Doherty Melody Eberhardt Mali Ehrsam David Emma Gabe Foster Hannah Glavas Hannah Goldbach Annie Hwang Saad Khan Jared Lipman Stephanie Maahs George Marn Nick Marn Alex Meltsner Lindsay Neumann Izzy Quadracci Jon Quadracci Owens Reynolds Kristi Roberts Maisie Rosenheimer Fritz Seidel Isabel Seidel Molly Seidel Meghan Spheeris Evan Tonsfeldt Ellen Tyler Jack White
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. 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. 6 Wisconsin Philharmonic
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PROGR A M NOTES Welcome to a Parisian Christmas, both scared and profane: from the revelry of the FoliesBergere, to the majesty of Notre-Dame. Jacques Offenbach(1819-1880), cello virtuoso and Parisian operetta master supreme, is most remembered today by two works he penned for the stage: The Tales of Hoffmann, his one masterly, yet unfinished attempt at grand opera, and Orphee aux enfers (“Orpheus in the Underworld”), the most effervescent of his many fine operettas for the pleasureloving audiences the Second Empire. Essentially a spoof on Greek mythology, through which Offenbach lampoons contemporary Parisian manners and morals, Orpheus in the Underworld is a scathing satire on the hallowed legend of Orpheus and Eurydice – culminating in the “galop infernal” that shocked audiences at its 1858 premiere. The Galop, which ends the operetta’s rambunctious Overture, soon became the theme-music for the nightly highjinks of the kick-lining chorines of the Folies-Bergere, and remains so to this day. Years later, Camille Saint-Saens would pay gentle homage to Offenbach’s gem by using it as the “tortoise” music in The Carnival of the Animals, adorably slowing it down to a crawl. Similarly adorable is the music that Georges Bizet’s (1838-1875) Jeux d’enfants (“Childrens Games”) a collection of little pieces written for two pianos. Due to their quick and welldeserved popularity, Bizet soon orchestrated five of the most charming movements of the set: Trompette et tambour (Trumpet and Drum), La poupee (The Doll), La toupie (The Top), Petit mari, petite femme (Little Husband, Little Wife), and Le bal (The Ball, ending with another galop). They all evoke an utter innocence of childhood unattainable in our modern popular culture; as someone once said, Bizet’s Children’s Games is more music about children, or our ideal of them, than it is for children to play. Is there anything more beautiful than Debussy’s Clair de Lune? The penultimate movement of his Suite bergamasque (roughly translated, a “Suite of Mummers and Masques”) for piano. The title means what it says: moonlight, in all its solitude and romance. Debussy, as in some miracle, captures the gauzy vapors of Paul Verlaine’s poem of the same name, and ineffably seems to sum up our own romantic longings as well. Melancholy is indeed part of the Christmas reverie. Our secular first half to tonight’s concert ends with L’apprenti sorcier (“The Sorcerer’s Apprentice”), by far the most famous of the handful of works left to us by the early 20thcentury French master Paul Dukas (1865-1935). Subtitled “Scherzo after a ballad by Goethe”, this 1897 work quickly became a favorite in the concert hall. This enthusiasm climaxed with its inclusion in the 1940 Walt Disney film Fantasia – starring Mickey Mouse as the sorcerer’s young helper who finds himself too clever by half. It is typical of Disney’s genius that he recognized the cinematic exactitude with which Dukas musically portrays the story of Goethe’s frightening tale, in which an old sorcerer’s young apprentice, bored with his chores, conjures his master’s magical powers while he’s out in order to command the broom to fetch water by itself. The young man realizes all too late that while he knew the magical “on” button, he never quite mastered the “off!” The old sorcerer arrives back home in the nick of time, with Dukas sardonically rendering his admonishment to the lad. The miracle of the Christmas Story, as one might experience it recounted in one of the majestic cathedrals or lonely country churches of France, serves as the subject of our evening’s second half. We begin with a deftly-rendered medley of those often-overlooked Christmas carols of Gallic origin, here penned by Waukesha County’s own Sam Belich composer, teacher, vocal coach, and former Principal Second Violin of our orchestra. The Christmas Oratorio is one of the many under-rated works by one of the most underappreciated and long-lived of French composers, Camille Saint-Saens (1835-1921). A youthful work from 1858, the Christmas Oratorio impresses to this day with its simplicity and charm in musically telling the Christmas epic, along the lines of the Cantatas of Johann Sebastian Bach. The stirring final chorus, which we sing for you tonight, pays homage in the same spirit to the worlds of Bach and Handel, and their great composeradvocate Felix Mendelssohn who as a similarly conservative stylist would serve SaintSaens as an inspiration. Joyeux Noel: Christmas in Paris 9
P R O G R A M N OTE S (c o n t) L’enfance du Christ (“The Childhood of Christ”) is a late oratorio of the famously agnostic Romantic-era firebrand Hector Berlioz (1803-1869), originally written as a kind of lark for his card-playing friends but encouraged by them into being expanded into a large-scale sacred masterpiece. Its most famous moment, the chorus “The Shepherds’ Farewell,” portrays the moment in the Christmas epic in which the shepherds bid farewell to the Holy Family as they make their way into Egypt to escape the wrath of King Herod. With each verse, we hear the shepherds fading away into the twilight distance. In a truly inspired gesture, Berlioz sonically places us with the Holy Family and not the shepherds. Three sacred songs of other French masters of the 19th century fill out our evening together. The Belgian Cesar Franck (1822-1890) was the polar opposite of Berlioz in personality. Due to his naive and reflective nature, his students at the Paris Conservatory dubbed him “Pater Seraphicus.” But that would somehow conflict with the mighty handful of masterworks he left us: most notably his Symphony in D Minor, String Quartet, and the greatest Piano Quintet ever written in France. That said, the kindly virtuoso of the organ loft also left us varied works of sacred music, the most famous of them being his beloved anthem Panis Angelicus from his Mass for Three Voices. Used to evoke the mystery of the Holy Sacrament and worldrenowned as a solo vehicle for tenors from Pavarotti to Caruso, we hear it tonight in the Englishman John Rutter’s beautifully-arranged version for choir. If Franck was the epitome of the absent-minded-professor type of musical genius, then his alter ego would be Charles Gounod (1818-1893), the composer of the most often-performed of all French operas, Faust. Worldly, wealthy, arrogant and without scruple, Gounod (whose days in a monastery as a young man vividly contrasted with his later, notoriously philandering private life) still managed to redeem himself with one of the most beautiful large-scale sacred works of 19th century France, the Messe de Sainte-Caecile of 1855. Its Agnus Dei, with its tender, undulating rhythms and block-like choral writing, is simplicity in its best sense. Camille Saint-Saens wrote of the first performance, at the Church of St. Eustache, that, amidst the utter musical decadence of its era, it caused “a kind of shock... This simplicity, this grandeur, this serene light which rose before the musical world like a breaking dawn, troubled people enormously...at first one was dazzled, then charmed, then conquered.” Somewhere between the seraphic modesty of Cesar Franck and the pious platitudes of Charles Gounod lay our final Gallic genius of the night, their long-lived companion Gabriel Faure (1845-1924). To some musicians, this quiet, elegant genius is the greatest composer of later 19th-century France, being the link between Chopin (of the early Romantic era) and the Impressionism of Debussy and Ravel. The most glorious example of Faure’s serenely humanistic religious outlook is the Sanctus from his Requiem of 1893 surely one of the very most beloved of all works in the sacred repertoire. Here, Franck’s gentle piety and Gounod’s real and worldly tenderness have made way for a clear-eyed, transcendent faith. As Faure wrote himself, the Requiem is “dominated from beginning to end by a very human feeling of faith in eternal rest.” Faure’s Sanctus, with is soaring melody and serene accompaniment, seems a perfect distillation of the glory of the Christmas season.
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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 Ex-Officio, Non-Voting Larry Harper, Waukesha Andrea Northrop Ruth Harken, Pewaukee Alexander Platt Karol Kennedy, Waukesha Fritz Ruf, Pewaukee 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 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 Waukesha State Bank Virtuoso $2,500-$4,999 First Bank Financial Centre Jack Safro Toyota PieperPower Electric, Inc Don L. & Carol G. Taylor Family Foundation Anonymous Concertmaster $1,000-$2,499 Cooper Power Systems HUSCO International Janice & Raymond Perry Community Fund, 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
Individuals Maestro $5,000 and up Anthony & Andrea Bryant Don L. & Carol G. Taylor
NEV 2/11 Foundation Oconomowoc Festival of the Arts Precision Gears, Inc.
Virtuoso $2,500-$4,999 Drake & Evie Reid
Associate $300-$499 Chet & Helen Goff Fund Patron $150-$299 Bruno Independent Living Aids Landmark Credit Union Practical Club of Waukesha Schober, Schober, & Mitchell, S.C.
Concertmaster $1,000-$2,499 John & Mary Almasi Frank & Mary Ann Brazelton Virginia Buhler Doug & Nancy Hastad Tom & Martha Kelpin Charles McIntosh Ellen Strommen
Supporter $50-$149 Dresser, Inc. Hippenmeyer, Reilly, Moodie & Blum, S.C. WaterStone Bank Waukesha Music Study Club
Principal $500-$999 David & Barbara Hammer Glen R. & Sally Mohr Lunde Fritz & Sally Ruf Everett & Kay Stone Roger & Sandy Stuckmann
Friend Up to $49 Winter, Kloman, Moter & Repp, S.C.
Associate $300-$499 Anonymous Steve & Laura Dombrock Mr. & Mrs. Jerry Gapinski Dr. William P. McDevitt
Joyeux Noel: Christmas in Paris 11
C O N T R I B U TO R S 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 Dennis & Patricia Griswold Elaine Haberichter Mr. & Mrs. Russell Hanson Peter & Joan Haupert Carolyn Heidemann John & Sue Hoaglund Richard & Jeanne Hryniewicki
Richard & Juleen Jaeger Ed & Ann Johnson Thomas & Jean Klein Ramon & Doris Klitzke Mary Knudten Dale & Gay Knutson Armenta Kolkoski Ena Mollie Lantz Sharon & Tom Leair Robert & Donna Lucht Chris & Gail Lundell John Macy & Sandi Brand Robert Malm Michael & Mary McCormick Jeanne & Ken Menting Cathleen Morris Phil & Cie Motelet Doris Murphy Lisa Nevins Jean O’Donnell Illingwoth Elizabeth Orozco Geraldine Pari Dale & Barbara Pforr Mark Potts Nancy Rice Dennis & Brenda Schendel Robert & Connie Schuett Dr. & Mrs. Walter R. Schwartz William D. Smith, M.D. Donald Tewes 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 November 10, 2011. Those who contributed after that date have our thanks and the assurance that your names will appear in the February 26, 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. 12 Wisconsin Philharmonic
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.
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
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1712 Paramount Court Waukesha Joyeux Noel: Christmas in Paris 13
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
Concerts Harken Family Foundation
Guest Artists James and Dorothy Goff Frisch Endowment Fund Don L. & Carol G. Taylor Family Foundation
Season Partners Arts Waukesha Bryce Styza Properties Carroll University Country Springs Hotel Oconomowoc Arts Center Old World Wisconsin Sharon Lynne Wilson Center for the Arts Saint Luke’s Lutheran Church Wisconsin Arts Board Wisconsin Public Radio
“Special thanks to all of the volunteers of The Wisconsin Philharmonic” Joyeux Noel: Christmas in Paris 15
Free TickeTs nothing up our sleeves Weekly ticket giveaways
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