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 Welcome to our first concert of 2012. We are pleased to be joined by audience favorite violinist, Maria Bachmann, as we explore the musical artistry of such greats as Faure, Sarasate, Massenet, and Bizet. We are delighted to be back at the Sharon Lynne Wilson Center for the Arts and welcome participants from the Association of Wisconsin Symphony Orchestras’ 2012 workshop to our concert today. We are honored to have so many dedicated orchestra leaders and volunteers from across Wisconsin in our presence. If you haven’t done so already, make your reservation today for The Wisconsin Philharmonic’s 50th annual gala, “Emerald Eve,” to be held on St. Patrick’s Day, Saturday, March 17, 2012 at The Legend at Brandybrook in Wales. From a performance by the Trinity Irish Dancers to the musical styling of Irish folk band, Willoughby Sprig, the evening will be filled with festive Irish entertainment. Don’t miss out on our incredible silent and live auction items, including hand painted violins, a French dinner for eight with Maestro Platt in Chicago, premiere reserved parking for our 2012-2013 65th Anniversary Season, and more. As an added benefit, reserve your place at “Emerald Eve” by tomorrow, February 27th, to receive one complimentary ticket per guest to our season finale concert on May 6th! Please join us in the lobby immediately following today’s performance for a reception with Maria Bachmann and members of The Wisconsin Philharmonic. All of us at The Wisconsin Philharmonic would like to thank today’s concert sponsor, Jack Safro Toyota for making today’s concert possible. It is because of your generosity and support of the arts that we are able to provide lifelong memories and exceptional music experiences for all. Andrea Rindo Executive Director
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Gallic Delights Sunday, February 26, 3:00 pm Sharon Lynne Wilson Center for the Arts Alexander Platt, Conductor Suite from Pelleas and Melisande, Op. 80.................................Gabriel FaurĂŠ (1845-1924) Zigeunerweisen, Op. 20.......................................................... Pablo de Sarasate (1844-1908) Meditation, from Thais................................................................Jules Massenet (1842-1912) Carmen Fantasy, Op. 25.................................................................................. Pablo de Sarasate after Georges Bizet (1838-1875) Maria Bachmann, violin INTERMISSION Symphony in C......................................................................................................... Georges Bizet I. Allegro Vivo II. Adagio III. Scherzo (Allegro Vivace) IV. Allegro Vivace This concert is sponsored by Jack Safro Toyota. Ms. Bachmannâ€™s performance is sponsored by Don L. & Carol G. Taylor. The Country Springs Hotel is the official hotel of The Wisconsin Philharmonic. Please turn off all cellular phones and other digital devices. We respectfully request members of the audience to refrain from the use of camera equipment or recording devices during the performance.
Join us for our Season Finale: Une Grande Finale: From France to Spain May 6, 2012, 3:00pm Shattuck Auditorium 2 Wisconsin Philharmonic
THE WISCONSIN PHILHAR MONIC VIOLIN I Robin Petzold, Concertmaster Catherine Bush, Assistant Concertmaster Katherine Brooks Heather Broadbent Tatiana Migliaccio Emily Stodola Cynthia Arden Mishan Han
CELLO Trischa Loebl, Principal Braden Zitoun, Assistant Principal Beth Bender Loni Gornick
VIOLIN II Christopher Ruck, Principal Anna Newbury, Assistant Principal Andrea Buchta Darlene Rivest Catherine Kolb Kristen Tan
HARP Kari Gardner, Principal
VIOLA Mary Pat Michels, Principal Marvin Suson, Assistant Principal Andrew Waid Lynne Fields
OBOE Suzanne Geoffrey, Principal Matthew Siehr
BASS Charles Grosz, Principal Michael Britz, Assistant Principal
FLUTE Scott Metlicka, Principal Rosemary Bennett PICCOLO Rosemary Bennett
ENGLISH HORN Suzanne Geoffrey
BASSOON Robb Seftar, Principal Steven Whitney HORN Matthew Bronstein, Principal Elizabeth Olson Anne Maliborski Nancy Cline TRUMPET Christian Anderson, Principal Joseph Burzinski TROMBONE Kyle Samuelson, Principal Glen Lunde BASS TROMBONE Eric Larsen TIMPANI Terry Smirl PERCUSSION Vicky Daniel, Principal
CLARINET Christopher Zello, Principal Dan Roberdeau
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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 Alexander Platt is now serving his 15th season as Music Director of The Wisconsin Philharmonic. Also the Music Director of the La Crosse Symphony in Wisconsin and the Grand Forks Symphony in North Dakota, Alexander Platt has forged a unique career among the younger American conductors, combining a true commitment to regional orchestras and their communities with an ability to lead cutting-edge projects on the international scene. These accomplishments are built on his bedrock experience as the Apprentice Conductor (1991-93) of the Minnesota Orchestra, the Saint Paul Chamber Orchestra and the Minnesota Opera and follow 12 seasons as Music Director of the nearby Racine Symphony Orchestra. In addition to now serving in his sixteenth season as Music Director of the Marion, Indiana Philharmonic Alexander Platt just completed three very exciting years as Principal Conductor and Music Advisor of the Boca Raton Symphonia. An assignment born of his debut with Sir James Galway on 48 hours’ notice at the International Festival of the Arts Boca, Mr. Platt led the ensemble (in the opinion of The Palm Beach Post) into becoming the finest of the orchestras to emerge out of the collapse of the Florida Philharmonic. Following widely acclaimed assignments with the Minnesota Opera and the Skylight Opera Theatre, Alexander Platt made his debut with Chicago Opera Theater in 1997 conducting Mozart’s DON GIOVANNI and was appointed Resident Conductor and Music Advisor in 2000. Over the following decade, he led the Chicago premieres of such demanding 20th-century masterworks as Britten’s DEATH IN VENICE, the Bizet/Peter Brook LA TRAGEDIE DE CARMEN, and the Britten/Shakespeare A MIDSUMMER NIGHT’S DREAM; the world premiere of the Tony Kushner/Maurice Sendak version of Hans Krasa’s BRUNDIBAR; and the worldpremiere recording of Kurka’s THE GOOD SOLDIER SCHWEIK—all to high acclaim in Opera News, The New York Times, The Wall Street Journal, The Financial Times of London, and both great Chicago papers. In 2007 he made his Canadian debut at the Banff Music Festival, leading the co-premier (in collaboration with the Calgary Opera) of John Estacio’s FROBISHER to accolades in Opera Canada magazine. As a guest-conductor Alexander Platt has led the Scottish Chamber Orchestra, the City of London Sinfonia, the Freiburg Philharmonic in Germany and for three years the Aalborg Symphony in Denmark, as well as Camerata Chicago, the Wisconsin Chamber Orchestra, the Lexington and Hudson Valley Philharmonics, and the Houston, Charlotte, Columbus, Flagstaff, Sioux City, El Paso and Indianapolis Symphonies. Alexander made his New York debut in 2007 with the Brooklyn Philharmonic before thousands in Central Park, the first of several appearances with that orchestra; in 2011 he makes his debut with the Illinois Philharmonic in an all-Beethoven program. Alexander Platt spends his summers in the Hudson River Valley as the sixth Music Director of The Maverick Concerts, in Woodstock, New York—the oldest summer chamber-music series in America. A recent highlight of his achievements there was his conducting the world premiere of his own chamber-orchestra version of David Del Tredici’s FINAL ALICE for soprano and large orchestra (1976). Created under a Rockefeller grant from the New York State Music Fund, his new version was hailed by The New York Times as a workable version of Del Tredici’s masterpiece; in summer 2011Mr.Platt will lead his own official chamber version of another neglected American masterpiece, Leonard Bernstein’s SONGFEST. Alexander Platt has conducted the U.S. premieres of works of Britten, Ned Rorem, Shostakovich, Colin Matthews, Russell Platt, and Judith Weir. 4 Wisconsin Philharmonic
A L E X A N D E R P L AT T, M U S I C D I R E C TO R ( c o n t .) A research scholar for the National Endowment for the Humanities before he entered college, Alexander Platt was educated at Yale University, as a conducting fellow at both Aspen and Tanglewood, and then at King’s College Cambridge under a British Marshall Scholarship. At Cambridge he led all of the important musical societies, deputized in the legendary King’s College Choir, and as conductor of the Cambridge University Opera Society led a revival of Britten’s neglected OWEN WINGRAVE that earned him high praise in the London press. During this time he also made his professional debut at the Aldeburgh Festival, his London debut at the Wigmore Hall, and reconstructed the lost chamber version of the Mahler Fourth Symphony. In addition to recording for National Public Radio, the South-West German Radio and the BBC, his 2004 recording of Max Bruch’s Scottish Fantasy with violinist Rachel Barton still appears frequently on radio stations across America.
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M A R I A B AC H M A N N , V I O L I N A violinist who combines outstanding musicianship with dazzling technical command, a tone of exceptional purity, and a magnetic stage presence, Maria Bachmann has been the subject of critical accolades from the very beginning of her career. She has performed over the world in venues such as The Kennedy Center in Washington, D.C, Carnegie Hall and Lincoln Center in New York, The Opera Comique in Paris, The Musikverein in Vienna, and Suntory Hall in Tokyo. The New York Times has hailed her as “a violinist of soul and patrician refinement”, and The Boston Globe has praised her as being “astonishing in every musical and technical regard”. Maria Bachmann has made acclaimed debuts with the St. Louis Symphony under Leonard Slatkin, the National Symphony at the Kennedy Center with Robert Spano and with Marin Alsop conducting the Pacific Symphony in Los Angeles. An active guest soloist abroad, Ms. Bachmann has been heard with the Taipei Symphony, Shanghai Symphony, MAV Symphony in Budapest, the Brabants Orchestra of the Netherlands, and with the Lithuanian Chamber Orchestra on tour in Japan. An eminent proponent of new music, Ms. Bachmann has given the world premiere of many new works. In 2010, she performed Philip Glass’s Double Concerto for Violin, Cello and Orchestra with the Orchestra of The Hague, Netherlands, and the world premiere of Paul Moravec’s Violin Concerto at The Kimmel Center in Philadelphia with Orchestra 2001. Her most recent CD released in 2010, Glass Heart, includes the world premiere recording of Philip Glass’s Sonata for Violin and Piano, which was written for her, and music of Bach, Schubert and Ravel. Ms. Bachmann has made numerous recordings which encompass works by living composers such as Philip Glass, John Corigliano and Paul Moravec, as well as works by Beethoven, Brahms, Mendelssohn, Schubert, Copland and Ravel. Her CDs can be found on labels such as Sony Masterworks, Sony/ RCA Red Seal, Naxos American Classics, Bridge Records, and Orange Mountain Music. Ms. Bachmann is the Artistic Director of Telluride MusicFest in Colorado, an annual festival which presents its’ 9th year of concerts in 2011. Her trio, Trio Solisti, is the resident ensemble and performs chamber music concerts with guest artists. Maria maintains an active touring schedule with Trio Solisti and they have made numerous recordings. Maria Bachmann studied at The Curtis Institute of Music with Ivan Galamian and Szymon Goldberg, and was awarded Curtis’s Fritz Kreisler Prize for outstanding graduating violinist. Ms. Bachmann performs on a 1782 violin by Nicolo Gagliano. www.mariabachmann.com
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Getting Better while Growing Older Congratulations to the Wisconsin Philharmonic on 64 Successful Years
Celebrating our 95th year Gallic Delights 7
PROGR A M NOTES Gabriel Fauré (1845-1924): Suite from Pelleas and Melisande Claude Debussy, the composer whose sesquicentennial we celebrate this year, was in the audience the night that Pelleas et Melisande, the radical new play by the Symbolist master Maurice Maeterlinck, had its Paris premiere in 1893. With its air of perfumed tragedy, very little happens in Pelleas’ long span. The play is essentially a love triangle: the young, waif-like Melisande, who is rescued in the forest by the nobleman Golaud; whereupon Pelleas, Golaud’s young, headstrong half-brother, falls in love with her. Golaud will eventually murder Pelleas; Melisande will die in childbirth. The common, yet complex emotions of the play (love, fear, jealousy, heartbreak) are all conveyed in a static yet potent manner, no doubt casting a spell on audiences of the time. Over the next dozen years, Pelleas inspired many of its era’s greatest composers. Gabriel Fauré, Claude Debussy, Jean Sibelius, and Arnold Schoenberg would all weigh in with their own magnificent scores in tribute to this strange and mysterious work. Debussy eventually turned out what is widely regarded as one of the greatest operas of all time and Schoenberg gave us a sprawling symphonic poem of crunchingly anguished harmonies. But the Nordic Sieblius and the Frenchman Gabriel Fauré offered spare, elegant scores of traditional incidental music – short musical numbers to be performed during the play by a small pit orchestra. All four works, which each could not be more different from the other in their expression, are profound musical renderings of the Belgian playwright’s elusive masterpiece. Commissioned in 1898 by Mrs. Patrick Campbell, the popular English actress who would play Melisande in Pelleas’ first London production, Fauré’s music for Pelleas and Melisande was so successful that it traveled with the production the next year to New York. It’s not difficult to see why as Fauré, with his usual economy of means, captured the essence of Maeterlinck’s haunting, fragile confection. The Suite’s four movements are drawn from the original music’s 17 numbers and, together, paint a sparse and lonely picture of the play’s emotional landscape: the Prelude to Act I, so delicate, yet warning with its horn calls of dark things to come; the Act III Prelude, portraying Melisande at her spinning wheel; the lovely Sicilienne, underpinning the lovers’ seduction scene at the well; and finally the fraught, yet elegant “Death of Melisande,” which in its noble tragedy would inspire its composer to have it performed eventually at his own funeral. Composers from Debussy and Ravel to Copland and Sibelius would come to revere Fauré for the very qualities he supremely displayed in this elegant little score. Pablo de Sarasate (1844-1908): Zigeunerweisen (Gypsy Airs) Jules Massenet (1842-1912): Mediation, from Thais Pablo de Sarasate, after Georges Bizet (1838-1875): Carmen Fantasy One of the greatest and most generous virtuosos of the 19th century, Pablo de Sarasate was a walking example of the profound musical links between France and Spain. Although he inspired truly great works for violin and orchestra by no less than Lalo (the Symphonie espagnole), Saint-Saens, and Max Bruch (the Scottish Fantasy), Sarasate is best remembered for his own compositions of music for solo violin. The two most famous of them are the bookends, if you will, of today’s threemovement suite for violin and orchestra: the Zigeunerweisen (Gypsy Airs) of 1878, and the virtuoso Fantasy from 1883 on melodies from Bizet’s opera Carmen. 8 Wisconsin Philharmonic
P R O G R A M N O T E S ( c o n t .) Proving the old adage that “the Orient begins at the Pyrenees,” Sarasate in both these works dramatically develops both Spanish and Gypsy folk melodies and dances into dizzyingly effective vehicles for the virtuoso violin. Zigeunerweisen is divided into four different and mercurial sections based obsessively on the czardas; the Carmen Fantasy is also in a mini-concerto form, with Sarasate paying pyrotechnic homage to the opera’s Aragonaise, Habanera, Seguidilla, and, in the Gypsy tradition, the Danse boheme. Both works have their ending in whirling Gypsy dances, at breakneck speed. As a central contrast, our soloist Maria Bachmann offers us one the most beloved bonbons of the repertoire, the meltingly beautiful intermezzo for violin and orchestra from Jules Massenet’s opera Thais, premiered in Paris in 1894 as the Belle Epoque of Parisian life was steaming full-bore into decadence. The sublimely cloying beauty of the Mediation ultimately reflects a spirit of genuine tenderness that has made this piece such a favorite, for ultimately the right reasons. Georges Bizet (1838-1875): Symphony in C Major (1855) There is good music, there is great music, and then, there are miracles like Georges Bizet’s Symphony in C. Written as a student exercise at the Paris Conservatory, where the 17 year-old Bizet was a student of Charles Gounod, this symphony was actually modeled on Gounod’s own First Symphony, a charming and underrated work. Once written, Bizet’s Symphony in C was put into a drawer, never, Bizet thought, to be seen again; Bizet showed no desire whatsoever to have it published or performed in Paris’ nascent orchestral culture of the time (opera and ballet dominated the scene by far) and never even mentioned the piece in his surviving letters. Twenty years later, the still-young genius would die more or less of a broken heart, following the initial failure of his own operatic masterpiece, Carmen. Bizet’s widow, who would die long afterward in 1926, strangely also took no interest in her late husband’s only symphony even though the orchestral scene in Paris was growing explosively by the end of the 19th century. She instead left the manuscript in a sheaf of papers bequeathed to the great French song composer Reynaldo Hahn, who in the early 1930’s would wisely turn it back to the library of Bizet’s alma mater, the Paris Conservatory. Soon after, the score was shown to the great German conductor Felix Weingartner, who led the very first performance in Basel, Switzerland in 1935. The Symphony was immediately hailed as a youthful masterpiece. With its four movements corresponding to that of the late-Classical symphony at the very beginning of the 19th century -- fiery first movement, gently-paced slow movement, bouncing scherzo, and rambunctious finale -- in its sunny perfection Bizet really gives us the French equivalent of Mendelssohn’s “Italian” Symphony in so many respects. Its striking resemblance to the First Symphony of his teacher Gounod no doubt explains Bizet’s refusal to have his own first symphony noticed during his lifetime, For all of the genuine merit of Gounod’s Symphony in D, Bizet’s own stab at the genre does not copy that of his teacher, but respectfully surpasses it, with all the joyous fervor of youth. Alexander Platt, Music Director Gallic Delights 9
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 Rindo Office Manager....................................................................................................... David Elbrecht Personnel Manager/Librarian.......................................................................Mary Pat Michels Stage Manager..............................................................................................................Glen Lunde
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C O N T R I B U TO R S Organizations Maestro $5,000 and up Century Fence Don L. & Carol G. Taylor Family Foundation Harken Family Foundation Oconomowoc Area Foundation Waukesha State Bank Robert D. and Patricia E. Kern 1992 Revocable Trust Waukesha County Community Foundation – Early Hill Fund Virtuoso $2,500-$4,999 Anonymous First Bank Financial Centre Jack Safro Toyota Pieper Electric, Inc
Patron $150-$299 Bruno Independent Living Aids Educator’s Credit Union Landmark Credit Union Practical Club of Waukesha Schober, Schober, & Mitchell, SC Sentry Equipment Corp.
Associate $300-$499 Anonymous (2) Steve & Laura Dombrock Sune & Jean Ericson Mr. & Mrs. Jerry Gapinski Gerald & Donna Gerndt Dr. William P. McDevitt Howard & Sara Miller Sara Toenes
Supporter $50-$149 Hippenmeyer, Reilly, Moodie & Blum, S.C. Jewish Community Foundation – Dr. William & Riva Merkow Donor Advised Fund WaterStone Bank Waukesha Music Study Club
Patron $150-$299 Anonymous (2) Ron & Mary Beckman Bonnie Birk & Dave Helling Ed & Helen Brady Donald & Beverly Chappie Jim & Betty Chermak Dr. & Mrs. Robert Feulner Phyllis Flory Peter & Karol Kennedy Bruce & Rosemary Larkin Thomas & Patricia Miller Elaine Peterson Alexander Platt JoAnn Portz Fritz & Sally Ruf Mr. & Mrs. James Scheel Stephen & Gale Schmiedlin Robert & Constance Schuett Sharon & Joe Subjak Betty Lou Tikalsky Tom & Laura Wanta Cynthia Wellman Kristine & Todd Zinkgraf
Individuals Concertmaster $1,000-$2,499 Cooper Power Systems GE Foundation HUSCO International Janice & Raymond Perry Community Fund, Inc Moreland Ear, Nose, & Throat Group, LTD. Wisconsin Arts Board Principal $500-$999 Arts Waukesha Greater Milwaukee Foundation – Wayne & Pat Bjorgaard Family Fund Griffin Ford, Lincoln, Mercury Herbert H Kohl Charities, Inc. NEV 2/11 Foundation Oconomowoc Festival of the Arts Precision Gears, Inc. Waukesha County Community Foundation – Milton Weber Conductor’s Chair Fund
Maestro $5,000 and up Anthony & Andrea Bryant Don L. & Carol G. Taylor Virtuoso $2,500-$4,999 December, 6 2011 Audience Drake & Evie Reid Concertmaster $1,000-$2,499 John & Mary Almasi Virginia Buhler Doug & Nancy Hastad Tom & Martha Kelpin Charles McIntosh Principal $500-$999 Frank & Mary Ann Brazelton Doug & Meg Haag David & Barbara Hammer George & Edith Love Glen R. & Sally Mohr Lunde Anita Ransome Kuchler Dick & Carol Richards Everett & Kay Stone Ellen Strommen Roger & Sandy Stuckmann
Supporter $50-$149 Anonymous (3) David Abbott Janet Allen James & Monica Ansay Dr. & Mrs. R.H. Bibler Elfred Bloedel John & Kay Boesen Robert Breese Karen & Robert Calhoun Joanne Crooks Ronald & Jane Darling Sue Evenson Jeffrey & Susan Fobes Darrell & Sally Foell Rick & Dianne Frowein Claire Greene Gallic Delights 11
C O N T R I B U TO R S ( c o n t .) Elaine Haberichter Mr. & Mrs. Russell Hanson Dr. Larry Harper Peter & Joan Haupert Carolyn Heidemann Barbara Hirsch John & Sue Hoaglund Richard & Jeanne Hryniewicki Richard & Juleen Jaeger Ann & Ed Johnson Bob & Jackie Kastengren Thomas & Jean Klein Ramon & Doris Klitzke Mary Knudten Dale & Gay Knutson Armenta Kolkoski Mr. & Mrs. Francis Kosednar Mitch Lackey David & Darlene Lange Ena Mollie Lantz Sharon & Tom Leair Robert & Donna Lucht Chris & Gail Lundell John P. Macy & Sandi Brand Robert Malm Andrew & Cari Matter Jeanne & Ken Menting Cathleen Morris George & Bonnie Morris Phil & Cie Motelet Doris Murphy Lisa Nevins Jean Oâ€™Donnell Illingwoth Elizabeth Orozco Dale & Barbara Pforr Dave & Betty Reul Nancy Rice Dennis & Brenda Schendel Dr. & Mrs. Walter R. Schwartz William D. Smith, M.D. John & Rita Stevens Terry Stevens Jim & Pat Toft Philip & Audrey Trampe Joe & Ellen Turzynski
Dennis & Mary Unterholzner Robert L. Vrakas John Wellford Sue & Joe Wimmer Mr. & Mrs. Donald Wischer Rev. & Mrs. Theodore Youngquist Friend Up to $49 Anonymous (3) Eileen Alm Ron & Pat Anders CarolAnne Bozosi Jeffery & Wanda Braun John P. Buckley Alan & Carol Carlson Craig Coursin Keith & Laura Cutts Kristi Davis Juanita Gorden Shirley Gugin Patricia Hetznecker Ellen Jakab Mary Jervis Cheryl Matteson Ray & Patti Pedersen Mark & Angela Penzkover Paul & Cathy Riedl Charles & Irene Roberts Cheryl Scheurman Mr & Mrs William O. Vebber Miriam Wellford Barbara Woerner Kristin Ziebart In Honor of Mary Korkor Tom Snyder Ellen Strommen William & Carol Lamm
In Memory of Richard F. Alexander George & Edith Love Geth Galloway Joan Newman Chet & Helen Goff Anonymous James L. & Dorothy Goff Frisch Charles Goff McIntosh Waukesha County Community Foundation â€“ Chet & Helen Goff Fund Kiki Gould M.E. & Michael R. McCormick Don F. Hillmer Germaine Hillmer Mudi Klumb Ellen Strommen Rosemary Melmariak Ellen Strommen Eloise Morris Jean Ericson Helen Pavlovics Anonymous Florizel & Marguerite Reuter Thomas & Jean Klein Clara Saler Richard & Bernard Saler Robert Smart Anita Ransome Kuchler 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 January 31, 2011. Those who contributed after that date have our thanks and the assurance that your names will appear in the May 6, 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.
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THE WISCONSIN PHILHAR MONIC : GIVING OPPORTUNITIES Frugality and creativity have always been part of The Wisconsin Philharmonic’s history. Special efforts like the Annual Gala generate substantial funds which are deeply appreciated by the Board of Directors. In addition to special events, other fund development efforts add pivotal revenue to The Wisconsin Philharmonic’s bottom line. The Individual Campaign is conducted in the fall of each season. It is an opportunity for individuals to support The Wisconsin Philharmonic at a level that is meaningful to them. Contributors receive valuable benefits based on the level of their donation. For a complete list of donor levels and benefits, visit The Wisconsin Philharmonic’s web site (www.wisconsinphilharmonic.org). The Wisconsin Philharmonic also offers Planned Giving Programs, designed to ensure that The Wisconsin Philharmonic will continue for future generations. Options include Wills and Bequests, Trusts (like a Charitable Remainder Trust), Insurance (an old cash value policy), Appreciated Stock and Retirement Plan Proceeds. In-kind donations are also accepted. For more information about any of these options, contact The Wisconsin Philharmonic office at 262-547-1858.
T H E W I S C O N S I N P H I L H A R M O N I C L 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
1712 Paramount Court Waukesha Gallic Delights 13
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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 Orchestraâ€™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 Philharmonicâ€™s Season Finale concert and receive a cash award to be used for continuing music studies. Clinics with the Maestro. Maestro Alexander Platt, Music Director of The Wisconsin Philharmonic, offers free clinics once per year to four selected high schools. The purpose of Clinics with the Maestro is to encourage high school string players to continue making beautiful music. Major Classic for Minors. Chamber ensembles from The Wisconsin Philharmonic present programs in elementary schools throughout Waukesha County. Each presentation is about 45 minutes long and includes a demonstration of the instruments and their unique sounds, themes in music, conducting, and a question-and-answer period. For many students, this is the first experience with classical music and up-close exposure to musical instruments and performers. These programs are offered free to the schools. Masterworks Chamber Music Coaching. This project promotes the study of chamber music by assigning a Wisconsin Philharmonic musician to a high school as an ensemble coach. The group spends five sessions with its coach and is expected to practice outside classroom time. At the end of the program, groups perform their works at an annual chamber music festival. Additionally, students are given a writing assignment that can vary from self-reflection to a music critique. Middle School Orchestra Workshops. A new program for this season, the Middle School Orchestra Workshops open with a performance by a Wisconsin Philharmonic string quintet. Following the performance, students are split into sections to receive coaching from the professional musicians. The workshop ends with the Philharmonic musicians listening to a concluding performance and offering suggestions for improvement.
VISIT OUR OFFICE The Wisconsin Philharmonic 234 W. Main Street Suite 9 PO Box 531 Waukesha, WI 53187-0531 Phone: (262) 547-1858 Fax: (262) 547-5440 Website: www.wisconsinphilharmonic.org Email: info@ wisconsinphilharmonic.org Gallic Delights 15
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
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