Milwaukee Youth Music Celebration Sunday, March 11, 2012 3:00 PM Elmbrook Auditorium featuring
Milwaukee Youth Symphony Orchestra Senior Symphony Margery Deutsch, Music Director Shelby Keith Dixon, Associate Conductor
Milwaukee Youth Chorale Jason Clark, Director with guest soloists Tanya Kruse Ruck, soprano Justin Niehoff Smith, baritone and guest choirs West Allis Central High School Concert Choir and West Allis Nathan Hale High School Concert Choir Steven Joyal, Director and Members of the Milwaukee Symphony Orchestra Chorus
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PROGR A M Russian Easter Overture, Op. 36 .....................................................Nikolai Rimsky-Korsakov MYSO Senior Symphony Shelby Keith Dixon, conductor Billy the Kid Ballet Suite .......................................................................................Aaron Copland I. Introduction: The Open Prairie II. Street in a Frontier Town III. Mexican Dance and Finale IV. Prairie Night (Card Game at Night) V. Gun Battle VI. Celebration—Billy in Prison—Billy’s Escape—Billy in the Desert VII. Billy’s Death VIII. The Open Prairie Again MYSO Senior Symphony Margery Deutsch, conductor Intermission All Things Bright and Beautiful ................................................................................John Rutter West Allis Nathan Hale High School Concert Choir Steven Joyal, Director and accompanist Salmo 150 (Psalm 150) ............................................................................................Ernani Aguiar West Allis Central High School Concert Choir Steven Joyal, Director and accompanist Cantique de Jean Racine ........................................................................................ Gabriel Fauré MCC’s Milwaukee Youth Chorale Jason Clark, Director Maria Koester, accompanist Dureme Negrito .........................................................................................Atahualpa Yupanqui MCC’s Milwaukee Youth Chorale Jason Clark, Director Maria Koester, accompanist Dona Nobis Pacem ..............................................................................Ralph Vaughan Williams IV. Dirge for 2 Veterans V. The Angel of Death VI. O Man Greatly Beloved Tanya Kruse Ruck, soprano Justin Niehoff Smith, baritone Margery Deutsch, conductor MYSO Senior Symphony Milwaukee Youth Chorale West Allis Nathan Hale High School Concert Choir West Allis Central High School Concert Choir
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PROGR A M NOTES Nicholas Rimsky-Korsakov b. March 18, 1844; Tikhvin d. June 21, 1908; St. Petersburg Overture, The Russian Easter, Opus 36 Essentially the northern hemisphere’s celebration of the vernal equinox, Easter is an ancient springtime festival which gained its name from the Teutonic goddess of dawn, Eastre. This celebration of the “rebirth” of the sun was adopted by early Christians and given its present religious significance as the feast of the resurrection of Christ. Fascinatingly, many of the pagan elements of this festival remain even today in lands beyond the Christian mainstream, notably in Russia. One difference between European and Russian Easter celebrations can be seen in their common symbol of the feast, the Easter egg. The egg, itself a symbol of hope, rebirth and immortality, is colored in pastels within the European tradition. A Russian Easter egg, on the other hand, is a riot of vivid geometric patterns, a forceful expression of intense joy. Much like one of those eggs, RimskyKorsakov’s overture is a highly-colored work which blends elements of Christian significance and prehistoric spring celebrations. Written during the summer of 1888, The Russian Easter is based on two themes from the Obikhod, a collection of canticles from the Russian Orthodox Church. The score is dedicated “to the memory of Moussorgsky and Borodin,” and contains two verses from Psalm LXVIII and six verses from St. Mark’s Gospel (Chapter XVI). The composer comments extensively on this overture in his autobiography, My Musical Life: “The rather lengthy, slow introduction of the Easter Sunday Overture, on the theme of Let God Arise! alternating with the ecclesiastical theme An angel wailed, appeared to me, in its beginning, as it were, the ancient Isaiah’s prophecy concerning the resurrection of Christ. The gloomy colors of the Andante lugubre seemed to depict the Holy Sepulcher that had shone with ineffable light at the moment of the Resurrection—in the transition to the Allegro of the Overture. The beginning of the Allegro, Let them also that hate Him flee before Him, led to the holiday mood of the Greek Orthodox church service on Christ’s matins; the solemn trumpet voice of the Archangel was replaced by a tonal reproduction of the joyous, almost dance-like bell tolling, alternating now with the sexton’s rapid reading and now with the conventional chant of the priest’s reading the glad tidings of the Evangel. The Obikhod theme Christ Is Arisen, which forms a sort of subsidiary part of the Overture, appears amid the trumpet blasts and the bell tolling, constituting also a triumphant coda. In this Overture there were thus combined reminiscences of the ancient prophecy, of the Gospel Narrative and also a general picture of the Easter Service with its ‘pagan merrymaking.’ “…How far a cry from the philosophic and socialistic teaching of Christ! This legendary and heathen side of the Holiday, this transition from the gloomy and mysterious evening of Passion Saturday to the unbridled pagan-religious merry-making on the morn of Easter Sunday is what I was eager to reproduce in my Overture.”
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P R O G R A M N O T E S ( c o n t .) In addition to brilliant writing for the whole orchestra, this overture contains notable solos for the concertmaster and the second trombonist. It was not that the second trombonist was a personal friend of the composer, but rather that the three orchestral trombones of Rimsky’s era were alto, tenor and bass instruments. A master orchestrator, Rimsky particularly wanted the deeper sonority of tenor trombone to intone that priestly incantation, so he wrote the solo in the second trombone part. To modern Americans, the composer’s choice seems capricious because in our symphony orchestras both first and second usually play tenor trombones. Program notes by Roger Ruggeri © 2012 Aaron Copland b. November 14, 1900; Brooklyn, NY d. December 2, 1990; New York City Suite from the ballet “Billy the Kid” Putting his brand on American music during the 1930’s and ‘40’s, Copland created a series of works that are both accessible and finely crafted examples of the composer’s art. He was not, however, immediately enthusiastic about all of his projects. When he was approached by Lincoln Kirstein about writing a score for Ballet Caravan on the story of Billy the Kid, Copland expressed reservations about his qualifications as a “cowboy composer,” not the least of which was an abiding dislike for cowboy songs. Assuring him that he didn’t have to use any cowboy songs, Kirstein nevertheless gave Copland a stack of western tunes. The composer took them with him to Paris the following summer; he ultimately incorporated Git Along Little Dogie; Old Chisholm Trail; Goodbye, Old Paint; and Bury Me Not. After Billy the Kid was given rave reviews in 1938, someone asked Copland why he didn’t interpolate Home on the Range. “I had to draw the line some place,” Copland responded dryly. William Bonney, alias Billy the Kid, was born in New York City in 1859 and grew up in Silver City, New Mexico. His mother ran a boardinghouse where, as Eugene Cunningham put it, “he learned first to play cards and then to deal them in the fashion that entirely discounts luck as a factor.” Having killed his first man at the age of twelve, his active life as a bandit and horse thief came to an abrupt end at the age of thirty-one, when he was outdrawn by sheriff Pat Garrett. “In the summer of 1939 I arranged Billy the Kid as an orchestral suite,” recalled Copland, “utilizing about two-thirds of the original ballet score. The Suite is in six connected movements, which match the action of the ballet. An introductory prelude,“The Open Prairie,” presents a pastoral theme harmonized in open fifths that gives the impres-
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P R O G R A M N O T E S ( c o n t .) sion of space and isolation. The second section,“Street in a Frontier Town,” is lively and full of action; for western flavor I used quotations from “Great Grand-Dad,”“The Old Chisholm Trail,” and “Git Along Little Dogies” (but not in traditional harmonies and rhythms), a Mexican dance featuring a theme in 5/8, and “Goodbye, Old Paint” introduced by an unusual 7/8 rhythm. The third section,“Card Game at Night,” has a sinister sound achieved by strings built on triads and segments of “Bury Me Not on the Lone Prairie.”“Gun Battle,” the fourth movement, makes generous use of percussion. The fifth,“Celebration After Billy’s Capture,” depicts the townspeople rejoicing in the saloon, where an out-of-tune player piano sets the scene.“Billy’s Demise,” the final section of the Suite, makes use of materials from the introduction, but with different coloration to convey the idea of a new dawn breaking over the prairie. “The suite is programmatic, but I used musical ideas to tell the story and rhythmic interest to life the music above a mere collection of folk tunes. For instance, the percussive gunfight is conveyed by rhythmic action instead of simulated gunfire, and the frontier town street scene is a kaleidoscope of tunes, sparked with dissonance and polyrhythms, interrupted by sudden silences. Dance and jazz devises are present, such as the off-beat rhythm of “Great Grand-Dad.…It was after Billy, when I was almost forty years old, that my mother finally said the money spent on piano lessons for me was not wasted.” Program notes by Roger Ruggeri © 2012 Gabriel Fauré b. May 12, 1845, Pamiers, France d. Nov. 4, 1924, Paris, France Cantique de Jean Racine Cantique de Jean Racine was composed by Gabriel Fauré in 1865 and is based on a setting of text by the 17th century dramatist and poet Jean Racine. This work was Fauré’s earliest important composition which he composed in his final year at the École Niedermeyer, the ‘École de musique religieuse et classiqe’. After finishing the work he entered it for the composition prize and won. Despite this success, the work wasn’t published until eleven years later with a full orchestral version following in 1906. Fauré went on to write quite a bit of sacred music including music for organ, choir and solo voice. Other than the Cantique, his most notable choral work is his Requiem, which he composed in 1888. Despite the beauty and popularity of his Requiem, it is the Cantique that is equally well loved by choruses and audiences around the world. Atahualpa Yupanqui b. January 31, 1908, Pergamino, Buenos Aires, Argentina d. May 23, 1992, Nîmes, France Dureme Negrito Duerme Negrito is a lullaby composed by Atahualpa Yupanqui, one of the most popular Latin American composers of the 1960’s and early 70’s. This setting arranged by Emile Solé, features a solo supported by a chorus that most of the time emulates the sounds of a strumming guitar. The piece covers that gamut of a mother’s emotional and desperate measures of getting her young child to sleep even, warning of dire Grim-fairy-tail-like consequences. It is interesting to note that the Spanish text omits some consonants to reflect the pronunciation of the Spanish slave culture from which this story is formed. Program notes by Jason A. Clark © 2012 Milwaukee Youth Music Celebration 5
P R O G R A M N O T E S ( c o n t .) Ralph Vaughan Williams b. October 12, 1872; Down Ampney d. August 26, 1958; London Final Movements from Dona Nobis Pacem, Cantata for Soprano, Baritone, Chorus and Orchestra In the early years of this century Ralph Vaughan Williams found his distinctive compositional voice by supplementing his essentially Brahmsian style with the English folk music that he collected in the countryside. In the sense that he wrote music employing modes rather than more familiar major and minor scales, Vaughan Williams presaged the Beatles by a half-century. A man of deep convictions, Vaughan Williams sought to be a composer of the English people. Thus he wrote a number of works for musical groups outside of the urban centers. The present work, for example, he composed for the Huddersfield Choral Society’s centenary of October 2, 1936. The composer’s biographer, Michael Kennedy, writes “…it is clear from the text that it was directly related to the growing danger of war. Vaughan Williams anticipated by twenty-five years Britten’s method in the War Requiem of interpolating English poems into the Latin Mass, in his case [Walt] Whitman. He also set, in recitative style, John Bright’s ‘Angel of Death’ speech, and he claimed he was the only man ever to have set to music words spoken in the House of Commons.” Vaughan Williams originally began with a musical setting of Whitman’s poem, Dirge for Two Veterans (which ultimately became the fourth section of the work). Later prefacing this with two of Whitman’s Civil War poems: Beat, Beat, Drums and Reconciliation, he then continued with selected biblical quotations and a portion of a speech by the English orator and statesman, John Bright (1811-1889). Linked with lines from the Agnus Dei of the Mass, these composite texts join with Vaughan Williams’s music to form a timeless and powerful plea for peace. IV. Dirge for Two Veterans (Walt Whitman) The last sunbeam Lightly falls from the finished Sabbath, On the pavement here, and there beyond it is looking Down a new-made double grave. Lo, the moon ascending, Up from the east the silvery round moon, Beautiful over the house-tops, ghastly, phantom moon, Immense and silent moon. I see a sad procession, And I hear the sound of coming full-keyed bugles, All the channels of the city streets they’re flooding As with voices and with tears. I hear the great drums pounding, And the small drums steady whirring, And every blow of the great convulsive drums Strikes me through and through.
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P R O G R A M N O T E S ( c o n t .) For the son is brought with the father, In the foremost ranks of the fierce assault they fell, Two veterans, son and father, dropped together, And the double grave awaits them. Now nearer blow the bugles, And the drums strike more convulsive, And the daylight o’er the pavement quite has faded, And the strong dead-march enwraps me. In the eastern sky up-buoying, The sorrowful vast phantom moves illumined, ‘Tis some mother’s large transparent face, In heaven brighter growing, O strong dead-march you please me! O moon immense with your silvery face you soothe me! O my soldiers twain! O my veterans passing to burial! What I have I also give you. The moon gives you light, And the bugles and the drums give you music, And my heart, O my soldiers, my veterans, My heart gives you love. V. The Angel of Death (John Bright) The Angel of Death has been abroad throughout the land; you may almost hear the beating of his wings. There is no one as of old…to sprinkle with blood the lintel and the two side-posts of our doors, that he may spare and pass on. Dona Nobis Pacem “We looked for peace, but no good came; and for a time of health, and behold trouble? The snorting of his horses was heard from Dan; the whole land trembled at the sound of the neighing of his strong ones; for they are come, and have devoured the land…and those that dwell therein.… The harvest is past, the summer is ended, and we are not saved.… Is there no balm in Gilead?; is there no physician there? Why then is not the health of the daughter of my people recovered?” Jeremiah VIII. 15-22. “O man greatly beloved, fear not, peace be unto thee, be strong, yea, be strong.” Daniel X. 19. “The glory of this latter house shall be greater than of the former…and in this place will I gave peace.” Haggai II. 9.
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P R O G R A M N O T E S ( c o n t .) VI. “Nation shall not lift up a sword against nation, neither shall they learn war any more. And none shall make them afraid, neither shall the sword go through their land. Mercy and truth are met together; righteousness and peace have kissed each other. Truth shall spring out of the earth, and righteousness shall look down from heaven. Open to me the gates of righteousness, I will go into them. Let all the nations be gathered together, and let the people be assembles; and let them hear, and say, it is the truth. And it shall come, that I will gather all nations and tongues. And they shall come and see my glory. And I will set a sign among them, and they shall declare my glory among the nations. For as the new heavens and the new earth, which I will make, shall remain before me, so shall your seed and your name remain for ever. Glory to God in the highest, and on earth peace, good-will toward men.” (Adapted from Micha IV. 3, Leviticus XXVI. 6, Psalms LXXXV. 10 and CXVIII. 19, Isaiah XLIII. 9, and LXVI. 18-22, and Luke II. 14.) Program notes by Roger Ruggeri © 2012 B I O G R A P H I E S ( c o n t .) Tanya Kruse Ruck holds a BA in Music from Luther College and a MM in Vocal Performance from the Cincinnati CollegeConservatory of Music. Previously, she taught voice at Luther College and has been on the voice faculty at the University of Wisconsin-Milwuakee since 2003. There, she teaches Italian Diction for Singers, Class Voice, Voice Lessons for both classical singers and musical theatre majors, Song Literature, and directs Opera Scenes. Tanya also maintains a small studio of high school students and adults at home. Tanya served as the Vice President of the Wisconsin Chapter of the National Association of Teachers of Singing (NATS) from 2005-2009, and and has been President since 2009. She was one of 12 people selected to participate in the NATS Internship
Program, under the master teacher Scott McCoy in 2005. Tanya enjoys performing as well as teaching. Recently, she was seen as La Contessa in The Skylight Opera Theatre’s production of Le Nozze di Figaro. Also at Skylight Opera Theatre, Tanya has been seen as Cio-Cio San (Puccini, Madama Butterfly) and Margaret (Carlson, The Midnight Angel). Some of her other favorite roles include Rusalka (Dvořák, Rusalka), Fiordiligi (Mozart, Così fan tutte), and Angelica (Puccini, Suor Angelica). Tanya has appeared as soloist with the Bel Canto Chorus (Rossini’s Petite Messe Solonnelle, Barber’s Prayers of Kierkegaard) and in a joint recital with Milwaukee Symphony Orchestra Principal Clarinetist Todd Levy at the Pabst Theater. She performed as soprano soloist in Verdi’s Requiem with members of the Milwaukee Symphony and combined choirs in 2010. Tanya has sung the soprano solo in Strauss’ Vier letze Lieder, Orff’s Carmina
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B I O G R A P H I E S ( c o n t .) Burana, Mozart’s Coronation Mass and Solemn Vespers, Schumann’s Spanische Liebeslieder, Villa-Lobos’ Bachianas Brasilieras No. 5, and Handel’s Messiah.
of MYSO’s Senior Symphony since 1987. She has served as Director of Orchestras and Professor of Conducting at UWMilwaukee since 1984 and received the UWM Undergraduate Teaching Award in Justin Niehoff 1990. Prior to arriving in Milwaukee she Smith, baritone, is was the Music Director of the Shreveport an award winning (LA) Symphony. She has worked with solo artist with an many professional orchestras including extensive the Women’s Philharmonic (CA), performance Charleston Symphony, South Dakota portfolio. He is a Symphony, and Dayton Philharmonic graduate of the and has guest conducted numerous University of Wisconsin-Madison (D. choirs in the Milwaukee area. She has Mus.A.) where he studied under the been a frequent guest conductor for guidance of Paul Rowe and the MSO’s Youth Concert Series and participated in a host of University is in demand for all-state and district Opera productions: Baron Zeta (Die orchestra festivals throughout the lustige Witwe), Melisso (Alcina), and country. Under her direction, the Senior Cecil (Maria Stuarda). His portrayal of Symphony toured China in 2007, most Athanaël in University Opera’s 2009 recently, British Columbia in 2009; and production of Massenet’s Thaïs will tour Vienna and Prague in July. received critical acclaim as he displayed, Past tours include concerts in Austria, “a swiftly moving vibrato with a warm, France, Switzerland,Italy, Spain, Canada deep tone….” Other recent credits (Quebec), Scotland, Carnegie Hall and include the baritone soloist in the National Youth Orchestra Festival Edgewood College’s production of in Sarasota, Florida. She has studied at Fauré’s Requiem, performances with Aspen, Tanglewood, and the prestigious Music by the Lake and numerous song Academia Chigiana in Siena, Italy and recitals. In February 2009, he was a has worked with Leonard Bernstein, Seiji finalist in the Franco-American Vocal Ozawa, Colin Davis, Thomas Briccetti, Academy’s Grand Concours de Chant, Sergiu Comissiona, Samuel Baron and Jan Tribute to Gérard Souzay. Prior to DeGaetani. She holds an MM in orchestral arriving in Madison, he attended conducting, an MA in musicology and a Washington State University (B.M.), in BA in flute and vocal performance. She Pullman, and the San Francisco has served four terms on the Board of Conservatory of Music (M.M.) where he Directors of the League of American portrayed Almaviva (Le nozze di Figaro) Orchestras’ Youth Orchestra Division. and Father (Hänsel und Gretel). His Bay Area ties have also witnessed Shelby Keith appearances with such organizations as Dixon, Associate the San Francisco Lyric Opera, Thick Conductor, MYSO Description, Livermore Valley Opera, Senior Symphony San Jose Symphonic Choir, and Mr. Dixon is the Saratoga Symphony, among others. In retired Director addition to his performance activities, of Orchestras/ Dr. Smith teaches private voice at Beloit Chairman of Fine College and is MYSO’s Program Director. Arts at Homestead High School in Mequon. Before going to the MequonMargery Deutsch, Thiensville School District in 1975, he Music Director, served as Choral Director at Deerfield MYSO Senior High School, Deerfield, Illinois. For six Symphony years, he was Assistant Professor of Ms. Deutsch has Music at Alverno College in Milwaukee. been the conductor There he taught the History and and music director Literature of Music and was Musical Milwaukee Youth Music Celebration 9
B I O G R A P H I E S ( c o n t .) Director of Theatre Alverno. Mr. Dixon has extensive background in brasses, keyboard and strings. He has served as Music Director of Milwaukee Players at the Pabst Theatre, conductor with the Sullivan Chamber Ensemble Orchestra, Musical Assistant with Milwaukee’s Music Under the Stars, Assistant Conductor of the Northwestern University Chapel Choir, and Interim Music Director of the Elgin (IL) Youth Symphony Orchestras. He holds both the Bachelor of Music Education and Master of Music in the History and Literature of Music from Northwestern University, Evanston, Illinois. He has taught on the music education faculty of Concordia University-Wisconsin and has served on the boards of directors of the Milwaukee Civic Music Association and Gathering on the Green. Mr Dixon has been a MYSO conductor since 1984. Jason A. Clark Director, Milwaukee Youth Chorale Jason Clark made his Carnegie Hall début in 1990, performing Carmina Burana with the Brooklyn Philharmonic and has subsequently performed there three other times: twice in 1996 and most recently with the Shorewood High School Chorus, in 2001. From 19961999, he served on the performing and administrative staff of the Berkshire Choral Festival-Santa Fe, NM and Sheffield, MA where he won the Charles Dodsley Walker Award, in 1997. Clark presently serves as Director of Choral Activities for the Shorewood Schools, where he has taught for the past fifteen years and built one of the finest choral programs in Wisconsin. Additionally, he has been conductor of the Milwaukee Youth Chorale since 2009, the high school level group for the Milwaukee Children’s Choir, and Artistic Director and Conductor of the Shorewood Choral Arts Society, which he founded in 1998.
He taught K-12 vocal music in Glidden, Iowa, where he and his band colleague received the Exemplary Music Program Award in 1995. Clark also works closely with the Wisconsin School Music Association, for which he helped develop the class “A” madrigal list, in 2003, and served a three-year term as tenor coach for the Middle Level Honors Choir from 2002-2004. An Iowa native, he holds a Bachelor of Music degree in vocal and instrumental music education from Coe College and a Master of Music degree in conducting from the University of WisconsinMilwaukee. Photo by Frontroom Photography. Walter Boyer, Artistic Advisor, Milwaukee Children’s Choir Walter Boyer is a well-known and respected music educator who in 2006 was honored by Civic Music Association of Milwaukee as an “Outstanding Music Educator.” He is a music specialist for the Shorewood school system and teaches at Atwater Elementary. Boyer also has a longstanding relationship with Milwaukee Children’s Choir. He was one of MCC’s original board members, served as president of the board, and retired from board duties only when term limits required it. He has also been a vocal coach, guest soloist and guest conductor at Milwaukee Children’s Choir concerts. Boyer is an active baritone vocalist. For more than 26 years he sang with the Milwaukee Symphony Chorus as a member of its professional core, and has been a soloist with the Milwaukee Symphony under the direction of Doc Severinsen, Margaret Hawkins, Lee Erickson and Jack Everly. Boyer enjoys working with youth of all ages, and in June 2011 was the baritone soloist in a performance of Haydn’s Creation with the Homestead High School Choir and Orchestra. He is now finishing his master’s degree thesis at Silver Lake College (Manitowoc, WI).
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B I O G R A P H I E S ( c o n t .) Steven Joyal, Director of Choirs at West Allis Central and Nathan Hale High Schools This is Steven Joyal’s third year as Director of Choirs at West Allis Central High School and his first year at West Allis Nathan Hale High School. In addition, he has spent the previous 20 years as a music specialist in the West Allis-West Milwaukee district, having taught at several elementary and intermediate schools. He also serves as Director of Music for St. Luke’s Lutheran Church in Greendale, where he is the organist and directs adult and children’s choirs, a handbell choir, an instrumental ensemble, and a praise/ rock band. In addition, he conducts The Suburban Singers, The West Allis-West Milwaukee All-City Children’s Chorus, and The Milwaukee Liederkranz. His choruses have been featured with such notable musicians as The Milwaukee Symphony Orchestra, The Manhattan Philharmonic Orchestra (in both Avery Fisher and Carnegie Halls), John Denver, Maureen McGovern, and Andy Williams, and with such acclaimed conductors as Kenneth Schermerhorn, Lukas Foss, Zdenek Macal, Margaret Hawkins, John Rutter, and Margery Deutsch. Mr. Joyal holds a Bachelor of Music Education degree (voice and piano emphasis) from the University of Wisconsin-Eau Claire and the degree of Master of Music in Choral Conducting from the Wisconsin Conservatory of Music in Milwaukee. He studied choral conducting with Margaret Hawkins and Morris D. Hayes and orchestral conducting with Daniel Forlano and Manuel Prestamo. He also has coached with Robert Page, John Rutter, Paul Salamunovich, and Roger Wagner and was once a Guest Conductor with the Gregg Smith Singers. In addition, he serves as an accompanist for musicians throughout southeastern Wisconsin and resides in Franklin with his extremely talented and beautiful
wife, Lis, and their four children—Sarah, Chris, Ian, and Andrew. Today’s performance includes members of the Milwaukee Symphony Orchestra Chorus The Milwaukee Symphony Chorus, directed by Lee Erickson, has become one of the finest symphony choruses in the country. Founded in 1976 by Margaret Hawkins at the request of the MSO’s second music director, Kenneth Schermerhorn, the MSO Chorus’ 150 volunteer members are dedicated to artistic excellence and performances of the highest caliber. Under the dynamic leadership of Lee Erickson, the Chorus performs with the MSO throughout each season and also performs regularly at Ravinia with the Chicago Symphony Orchestra. In addition, the chorus is featured on many of the MSO’s recordings, including the current MSO Classics digital series. The 2011-12 season includes performances of Holst’s The Planets, Orff’s Carmina burana and Prokofiev’s Alexander Nevsky, as well as the Holiday Pops Spectacular and Sci-Fi Spectacular concerts. Chamber groups from the chorus also perform Handel’s Messiah in December and John Rutter’s The Sprig of Thyme in March. The 2010-11 season included performances of John Adams’ Harmonium and Mahler’s Symphony No. 2 “Resurrection,” both of which received rave reviews. Tom Strini of ThirdCoast Digest said that the chorus was “superb” and sang with “great power” and “arresting nuance.” Elaine Schmidt of the Milwaukee Journal Sentinel said that the chorus “sang with precision and nuance, delivering intensity and power on cue, while maintaining a focus, pure sound and controlled pitch.” Auditions are held semi-annually. All aspirants are encouraged to contact Nicolas Sluss-Rodionov at firstname.lastname@example.org.
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MYSO SENIOR SYMPHONY FIRST VIOLINS Isaac Young, Co-Concertmaster Holly Spangenberg, Co-Concertmaster Ellen Sonnenberg, Co-Concertmaster Thomas Bewell, Co-Concertmaster Anna Belle Hoots Samuel Femal Andrew Dunlap Meghan Murphy Chang Ge Hannah White Alexander Peterson Mark Halstrom Michael Lin Amelia Bemis Fatima Gomez Sean Oh Rachel May Abigail Schneider Austin Budiono Claire Cohen Dante Giacobassi Moriah Norris Jenna Greene Carmalisa Reichhart Katherine Willden Tamar Lascelle Seungjoo Lee Leah Plachinski SECOND VIOLINS Rebekah Ruetz, Co-Principal Anna Penkert, Co-Principal Jeffrey Teng Lauren Crandall Monika Greco Abigail Brooks Thomas Ramstack Liam McCarty Leah Lee Owen Liu Elliott Rashed Mara Bajic Rebecca Pyne Samantha Kosarzycki Kingshuk Mazumdar Alyssa Serceki Hannah Miner Sarah Plachinski Ethan Garcia
Stephanie Fote Rachel Halstrom Deanna Breunig Ivana Bajic Nils Hjortnaes Hannah Greene Allen Hung Alison Armstrong Erica Meier VIOLAS Rachel Mooers, Co-Principal Martin Hintz, Co-Principal Samuel Soik Minhi Kang Jenna Mark Carlos Orozco Carly Schulz Melissa Shi Alex Siy Hannah Thompson Ann Thomas Yoana Kanastab Alex Schroeder Melodie Heins David Foster Timothy Reinholz Henry Windau Shawn Head Rebecca Miller Melanie Galeno Natalia Hernandez CELLOS Elliot Yang, Co-Principal Nikhil Ramnarayan, Co-Principal Kartik Papatla, Assistant Principal Viktor Brusubardis Christian Morzinski Natalie Melk Kirstin Edwards Seth Banaszak Joshua Baerwald Charles Phil Gabriela M. Cardenas Joseph Krmpotich Meghan McVann Joseph Dillon Ellyn Kirtley Justin Sykes
DOUBLE BASSES James Kröner, Co-Principal Laura LeBrun, Co-Principal Isaiah Simons, Assistant Principal Alexis Messnick Luke Miller Erica Kennedy Ian McAllister McKenzie Ross HARP Chloé Tula PIANO Charles Phil FLUTES and PICCOLOS Kristen Alberty Anne Daley* Danielle Graf* Kate Hayes* Sabrina Raber OBOES Sarah Bromberger Sarah Friedland Camille Galles* Charlie Niedzialkowski* Chelsea Obermann* CLARINETS Sarah Clapp Peter McCracken Ana Nelson* Kelly Riordan* Nathan Wells* BASSOONS Megan Braunschweig* Natalie Galles* Alex Saxton John Warren CONTRA BASSOON John Warren HORNS Bethany Brinton Sarah Bubik Heather Casterline Jessica Cribbs Kurt Heins Dan Hively
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M Y S O S E N I O R S Y M P H O N Y ( c o n t .) Deanna Josten Sarah Kruske* Bianca Kue* Katherine Seybold* TRUMPETS Zachary Bednarke* Tom Hougard Nick Mihalyi Jordan Smith Amanda Wahl Tom Wester*
TROMBONES Thomas Bagin* Kara Metzger Sean Murray* Danny Schwalbach* Holly Wilinski
TUBAS Kenton Cooksey Zachariah Dietenberger PERCUSSION Alec Entress Nicholas Farrar-Foley Alex Feuling Laurin Friedland Justin Park Nathan Simons
BASS TROMBONE Sam Patchett
*Denotes principal player In Senior Symphony, section leadership assignments rotate within each concert cycle M I LWAU K E E YO U T H C H O R A L E Alicia Beiler Sarah Bell Markobi Carr Larissa Clopton Camille Crossot Sam DeDecker Ryan DeLoge Celia Ellsworth
Lorna Gray Deme Hellwig Evan Johnson Katherine Koester Billy Krager Benjamin Kuhlmann Wenie Lado
Conor Leigh MacKenzie Melan Janay Newman Lauren Smrz Molly Spoerl Allison Steinberg Katelynn Vande Leest Austin Winter
W E S T A L L I S N AT H A N H A L E H I G H S C H O O L C O N C E R T C H O I R SOPRANO Kayla Adams Hannah Cormican Paulina Fortis Alyse Hoth (Robes Mistress) Amanda Jensen Jennifer Kostuch Sierra Kulas Bailey Markowski Noelle Pearson Dana Peters Alicia Reyna Deanna Schneider Kelly Schubert Rosa Segura Ashley Slinker Francesca Steitz (Co-Secretary) Elisha Swanson-Hyke Stephanie Turner (Vice-President) Katelynn Vande Leest
Courtney Westhause Amber Wiedmeyer Danielle Windau ALTO Zoe Binet Taylor Dooley Hayley Drehmel (Co-Secretary) Shaina French Natalie Gross Cali Hagen Mary Herrell Brittany House Catherine Janquart Sarah Kuhrt Nicole Lang (President) Jasmine Neff Misbah Noorani Nemesis Pellot Viera Alexius Rivera Erika Rivera (Spirit) Katherine Santell Cassandra Smetzer
Cassandra Smith Megan Sopa Elizabeth Spitzer Shelby Stielow Allison Urban Jovana Vujasinovic Cortney Wery TENOR Ryan Bretsch Tarif Garrett Tyler Horton Keenan Kibler Samuel Koenig Andre Triplett BASS Daniel Aro James Bynum Logan Byrns Alexander Lux Jordan Mathison Matthew Sopa Evan Wiorek
Milwaukee Youth Music Celebration 13
WEST ALLIS CENTR AL HIGH SCHOOL CONCERT CHOIR SOPRANO Victoria Diaz Laurel Gallman Haley Hill Rebecca Jastroch Rebecca Krizan Ashlee Krumnow Mackenzie Lieber Ashley Mulholland Annelise Pollard Kelly Willms (V-P.) ALTO Haley-Marie Asher (Secretary)
Kaitlin Bartoli Abby Callahan Aniecia Hart Ladaisha Johnson Deidre May Cailey Moran (President) Jessica Olson Hannah Schraven Daniela Silva TENOR Tristian Demos Austin Jasniewski Andrew Joyal Samuel Vasquez
BASS Derrick Carroll David Dawursk Tomas Gamino Patrick Klemme Clifton Lamar Jared Meeks Steven Mueller Todd Sancinati William Thiemann Ralph Vieau
UPCOMING MCC PERFOR M ANCES Community Concert at the Children’s Museum Two shows: 2:00 p.m. and 2:30 p.m., Sunday, March 18, 2012. MCC’s Prelude Choir performs at the Betty Brinn Children’s Museum, 929 E. Wisconsin Ave., Milwaukee. And all that Jazz 3 p.m. Sunday, May 20, 2012. Helen Bader Concert Hall at the Helene Zelazo Center for the Performing Arts, 2419 E. Kenwood Blvd., Milwaukee. This MCC show is guaranteed to get your toes tapping and your fingers snapping. Join us as we trace the roots of jazz from Africa, to Europe, to America with a final stop in the birthplace of jazz—good ol’ New Orleans. Tickets: (414) 229-4308; information: www.milwaukeechildrenschoir.org. GUEST ARTIST APPEARANCES: Milwaukee Symphony Orchestra 2nd grade ACE concert, April 18, 2012 Milwaukee Ballet Peter Pan, May 10-13, 2012
14 Milwaukee Children’s Choir and Milwaukee Youth Symphony Orchestra
M I LWAU K E E C H I L D R E N ’ S C H O I R I N C . Milwaukee Children’s Choir is Southeastern Wisconsin’s premier professional children’s choir. MCC provides children with exceptional choral music instruction and performance experiences unmatched by any program in the area. MCC is also the “go to” choir for other performing arts groups when their performances call for the voices of children. Founded by Emily Holt Crocker in 1994, and now under the direction of Artistic Advisor Walt Boyer, Milwaukee Children’s Choir offers a variety of programs for children ages 4 through 18. Classes and rehearsals are child-centered, educational, and age appropriate. MCC educates the whole child, and works to teach beyond music by incorporating important life skills such as poise, self-confidence, focus, problem solving, and teamwork into its curriculum. Experts say that singing in a choir has a remarkably positive impact on children. Choir parents agree with the experts, and our choristers simply say how much fun it is to be a part of the choir! Members of the artistic team are talented music educators and performers known for their musicianship, passion for quality music education, leadership in the field of music, and the joy they receive from teaching. Key concepts from Kodály methodology are integrated into MCC curriculum: singing as the basis for music education, folk music for beginning singers, use of solfege, performing highest quality music, developing the complete musician, and using sequenced curriculum. MCC has rehearsal sites throughout the Milwaukee metropolitan area. Choristers sing in five divisions: Songbirds (non-performance class for K4 and K5); Prelude Choir (beginning choir grades 1-4); Cantabile (training choir grades 4-8); Jubilate (advanced treble choir grades 6-9); and Milwaukee Youth Chorale (experienced mixed ensemble grades 10-12). Singers in grades K4-3 need not audition but are encouraged to experience our program through a try-it day. Auditions allow singers (grades 4-12) and directors to get to know each other and are used to place singers in the appropriate ensemble. MCC teaches through performance. We will present four performances during the 2011-2012 season. Events are themed with musical selections guaranteed not only to educate and inspire audiences but also to motivate and develop the young musicians. Repertoire is challenging, diverse, rich, and rewarding. It is drawn from both classical and contemporary masters, diverse cultures and a wide variety of musical styles including classical, popular, folk, and patriotic music. Milwaukee Children’s Choir is a member of the United Performing Arts Fund. Its relationships with the area’s finest performing arts organizations lead to oncein-a-lifetime performance opportunities for our singers. Recent collaborations include providing the “lovely chorus of young voices” in Milwaukee Ballet’s The Nutcracker (Milwaukee Journal Sentinel December 2009), and the opportunity to sing side by side with the Milwaukee Symphony Chorus in Stravinsky’s Symphony of Psalms, where the singers’ voices “drifted through Uihlein Hall like glowing angels” (Third Coast Digest April 2010). During the 2011-2012 season MCC choirs will perform with the Milwaukee Symphony Orchestra, Milwaukee Ballet, Milwaukee Youth Symphony Orchestra and others. Special events like these help MCC maintain its reputation as the finest children’s choir in the area; however, it is the performers’ experiences and the resulting education that matter most to us. Whether our singers are first graders thrilled to perform with “the big kids” at an MCC concert featuring all choir levels or high school seniors singing with the esteemed Milwaukee Youth Symphony Orchestra or sixth graders in the pit with the Milwaukee Ballet Orchestra and a crocodile puppet Milwaukee Youth Music Celebration 15
a riveting American opera of
By CARliSle FloyD Uihlein Hall Marcus Center for the performing Arts
for tickets, call or visit
291-5700 ext 224 | FloRentineopeRA.org
William Florescu General Director
M I LWAU K E E C H I L D R E N ’ S C H O I R I N C . ( c o n t .) during Peter Pan (April 2010 and May 2012) or fourth graders singing Simple Gifts with the MSO for 2000 local school children, MCC educates through performances that thrill both audiences and choristers. Apart from the five choir levels, MCC’s Harmony Program brings grant-funded music instruction and performance experiences to roughly 150 children who attend Milwaukee Public Schools. Through MCC, these children receive weekly music classes for several months each year. The work of Milwaukee Children’s Choir is made possible through support from the United Performing Arts Fund, the Milwaukee Arts Board and the Wisconsin Arts Board with funds from the State of Wisconsin and the National Endowment for the Arts, the MPS Partnership for the Arts, the Greater Milwaukee Foundation, the Richard and Ethel Herzfeld Foundation, the Northwestern Mutual Foundation, the Baird Foundation, the Steigleder Foundation, PricewaterhouseCoopers, Wisconsin Energy Foundation, Helen Bader Foundation, Woman’s Club of Wisconsin Foundation, and many other generous corporate and individual donors. Milwaukee Children’s Choir represents the best Southeastern Wisconsin has to offer. Choir members represent 55 zip codes, 33 communities and seven counties. They represent grades K4-12 and more than 100 schools. More than 40% of the children served are non-Caucasian or of mixed race. MCC is a tuition-based program, yet we have a long-standing commitment to making our programs available to all. Tuition aid is available to qualified children, and no child has ever been turned away from membership because of money. No doubt about it: We are Milwaukee’s children’s choir. Join us! Milwaukee Children’s Choir wishes to thank our generous foundation and corporate sponsors below and the multitude of individual donors on the program insert.
Songbirds Now enrolling children in grades K4-K5! Songbirds is MCC’s Kodaly-inspired and non-performance based program for little ones! • 30 minute classes • singing games
• age-appropriate songs • fun teaching toys
Songbirds develop language, small and large motor skills, and social skills and prepare to enter MCC’s Prelude Choir. Email email@example.com or call 414-221-7040 for more information Milwaukee Youth Music Celebration 17
M C C S TA F F MCC Artistic Staff Walt Boyer: Artistic Advisor Jason Clark: Milwaukee Youth Chorale Director Kristin Dillahunt: Songbirds North and Prelude North Director Elizabeth Egger: Jubilate Director Emily Fazio: Prelude West; Cantabile East, West and Central; Cantabile Coordinator; and Director at Dover School Penny Fichtner: Artistic Administrator Maria Koester: Accompanist Amanda McFall: Accompanist Annemarie Travia: Prelude & Songbirds East Director and Prelude Coordinator Theresa Witt: Cantabile North Director MCC Administrative Staff Paula Bell, Executive Director Lorinda Liongson, Office and Volunteer Manager Bethany Wichman, Development Assistant Milwaukee Children’s Choir Inc. 158 N. Broadway • Milwaukee, WI 53202 414-221-7040 • firstname.lastname@example.org www.milwaukeechildrenschoir.org MCC is a proud member of:
M C C B OA R D O F D I R E C TO R S David Dorgan, President Patrick Murphy, Vice President Jayme Tschanz, Treasurer Heidi Boyd, Secretary
Christine Burgener, Past President Priya Barnes Beth M. Berger Bridget DeLoge
Robert Fichtner Kelley Karakis Douglas Kuepper Paul Lucey Katie O’Neill Deborah Patel
Auditions for Milwaukee Children’s Choir’s 2012-2013 season May 5 & 12, 2012 for singers of all school ages. Email email@example.com or call 414-221-7040 for an appointment. 18 Milwaukee Children’s Choir and Milwaukee Youth Symphony Orchestra
UPCOMING MYSO EVENTS Sunday, March 25, 2012 Davidson Chamber Ensemble Recitals - 1 PM, 3 PM, 5 PM, 7 PM, MYAC. MYSO presents the fruits of its extensive Chamber Ensemble Program, which exists thanks to the generosity and vision of the late Arthur and Francesca “Peter” Davidson in establishing the Davidson Ensembles Fund. MYSO’s intermediatelevel Flute Chorale will perform on the 1 PM recital. Wednesday, April 25 - Sunday, April 29, 2012 Auditions for 2012-13 - MYAC. Sunday, April 29, 2012 Honor Recital - 2 PM, MYAC. Some of the crème de la crème of southeastern Wisconsin’s youth music scene take the stage. This recital will feature solo performances by the runner-up and honorable mentions from MYSO’s 2012 Senior Symphony Concerto Competition plus several advanced ensembles. Sunday, May 6, 2012 Spring Concert I - 3 PM, Uihlein Hall, Marcus Center for the Performing Arts, MYSO presents performances by the Junior Symphony Orchestra (MYSO’s Sinfonia orchestra plus selected Junior Wind Ensemble members), Junior Wind Ensemble and the Senior Symphony. Saturday, May 12, 2012 Percussion Series Concert - 3 PM, MYAC. This FREE concert will feature MYSO’s Calypso steel drum band, and two advanced percussion ensembles comprised of the accomplished players from the Senior Symphony and Philharmonia percussion sections. Sunday, May 13, 2012 Jazz Finale - times, location TBA. Performance features all MYSO Jazz Combos, including the Bronzeville Jazz Quintet and Latin Son. Saturday, May 19, 2012 Spring Concert II - 7 PM, Shattuck Auditorium at Carroll University, 218 East Ave., Waukesha. Performance features MYSO’s intermediate-level Flute Chorale, String Orchestras North and South and the highly acclaimed Chamber Orchestra. Sunday, May 20, 2012 Spring Concert III - 3 PM, Shattuck Auditorium at Carroll University, Performance features MYSO’s advanced Chamber Flute Ensemble, String Orchestras West and Central and Philharmonia. Thursday, June 7, 2012 Progressions Spring Honors Concert - 5:30 PM, Youth Arts Hall, MYAC. The students of the Progressions Program present their final performance of 2011-12. This is a FREE event. Saturday, June 30, 2012 Vienna-Prague Tour Send-Off Concert - 7:00 PM, Bader Concert Hall, UWMilwaukee’s Helene Zelazo Center for the Performing Arts. The internationally acclaimed Senior Symphony performs for its hometown fans prior to its international concert tour. Watch our website, www.myso.org, for additional performance listings and changes! Milwaukee Youth Music Celebration 19
M I LWAU K E E YO U T H S Y M P H O N Y O R C H E S T R A Celebrating 56 years of excellence, Milwaukee Youth Symphony Orchestra (MYSO) has been instrumental in changing the lives of young people since 1956 when it began as a single orchestra of 30 musicians. Since its early beginnings, it has grown to become, by several measures, the largest and most extensive youth orchestra program in the country. Serving more than 900 talented young musicians from as many as 14 counties in southeastern Wisconsin and northern Illinois, this award-winning program offers the highest level of training in ensemble musicianship to motivated young people from diverse backgrounds. Students with varied levels of instrumental skills benefit from the broad range of MYSO experiences, all created to foster talent, build character and enhance lives by nurturing an enduring love of music. In 2005, MYSO moved into the acclaimed Milwaukee Youth Arts Center, a collaborative initiative of MYSO and First Stage Children’s Theater. Home, also, to dance and vocal music training programs, this 56,000 sq. ft. state of the art facility in Milwaukee’s historic Schlitz Park is quickly becoming a national model for arts education, with a mission of using the arts to enhance all children’s lives. Several innovative MYSO offerings, prompted and made possible by the move, have received notable awards and recognition—locally, regionally and nationally—particularly for MYSO’s ambitious efforts in outreach and community partnerships. Building on the rich past of its first half-century, MYSO combines many respected, established programs with exciting new ventures. Founded with assistance from the Junior League and Rotary Club of Milwaukee, MYSO has expanded its offerings to include: Senior Symphony—MYSO’s flagship ensemble, a full symphony orchestra made up of very advanced players, generally in the upper grades of high school. It has long been recognized as one of the nation’s top youth music ensembles, hailed for artistic excellence both nationally and internationally. Philharmonia—A full symphony orchestra which provides musicians with experience in preparing a great variety of shorter works from the romantic to post-modern periods; comprised generally of younger high school musicians. Chamber Orchestra—A subset of the Senior Symphony, this very advanced group is organized to play standard chamber orchestra repertoire—music not generally played by the large symphony orchestras.
Instrumental in changing lives
for Milwaukee Youth Symphony Orchestra’s 57th season will be held April 25-29, 2012
for students at all levels, ages 8-18.
Go to www.myso.org for more information. Call 414-267-2912, beginning March 26, to make an appointment.
Scholarships are available.
20 Milwaukee Children’s Choir and Milwaukee Youth Symphony Orchestra
M I LWAU K E E YO U T H S Y M P H O N Y O R C H E S T R A ( c o n t .) Sinfonia/Junior Symphony Orchestra—A large, intermediate-level string orchestra whose members are generally in middle school and early high school. In the spring, selected wind players from the Junior Wind Ensemble augment this group to form the Junior Symphony Orchestra, playing full orchestra literature. Junior Wind Ensemble—An intermediate-level wind ensemble comprised of woodwind, brass and percussion players in grades 6-9. String Orchestra—A string training program, which rehearses as four smaller groups at regional sites around the area (Central, North, South and West). These groups combine to perform as two large string orchestras. Chamber Flute Ensemble—An advanced, multi-part flute choir that works on cutting edge, advanced flute ensemble repertoire and more sophisticated arrangements of orchestral repertoire. Flute Chorale—A multi-part flute choir that plays standard flute ensemble repertoire and arrangements of orchestral repertoire. Members are generally in middle school or early high school. Progressions—An intensive, introductory string training program consisting of lessons and orchestra experience; directed toward City of Milwaukee populations which have previously been under-represented in MYSO. Jazz Studies—A constellation of classes and small combo opportunities for middle and high school students, with a special focus on City of Milwaukee students. Calypso—A steel band in the Trinidadian tradition, originally formed in partnership with Milwaukee Public Schools. White Rock Elementary initiative—A beginning string instrument training program at White Rock Elementary School, a predominantly Latino public school in downtown Waukesha. MYSO’s extensive schedule of rehearsals, performances, outreach initiatives and enrichment opportunities also includes: a large chamber music program, music theory and composition classes, “side-by-side” rehearsals which combine less experienced players with those who are more advanced, free master classes, workshops, competitions, recitals and much more. MYSO has partnered with numerous other organizations to better serve both students and community. Examples of these collaborations, in addition to the facility initiative with First Stage Children’s Theater, include “side-by-side” reading workshops with the Milwaukee Symphony Orchestra, an annual concert with the Milwaukee Children’s Choir, Jazz Collab, a joint venture with the Wisconsin Conservatory of Music, the John Downey Creation Project, a “new music” composition initiative with Present Music, a talent development partnership with the Boys & Girls Clubs, ongoing programs in cooperation with Milwaukee Public Schools and periodic artistic initiatives with such groups as Danceworks, Master Singers and Milwaukee Choristers.
Milwaukee Youth Music Celebration 21
M I LWAU K E E YO U T H S Y M P H O N Y O R C H E S T R A ( c o n t .) MYSO’s talented music faculty members blend creativity and pedagogical expertise with their great breadth of musical knowledge. They come from all corners of the musical world and include UW-Milwaukee faculty, Milwaukee Symphony Orchestra players, seasoned and recognized school educators and other noted area musicians. MYSO’s experienced, capable administrative staff has doubled organization’s enrollment over the past fifteen years while successfully completing the fundraising for—and building of—a major new community facility. The entire MYSO family is united in its dedication not only to training future performers and music educators but especially to instilling in many thousands of young people a much deeper appreciation of the arts—fine music in particular. While participation in most MYSO ensembles is tuition-based, we have a longstanding commitment to making our programs available to all qualified musicians; scholarship assistance is available upon application, and no student shall be denied an opportunity to participate because of financial need. A major community initiative to raise $2 million in scholarship funds (“Fran’s Fund”) is underway, with plans to complete the effort by June 2012. MYSO has been a member of the United Performing Arts Fund since UPAF’s founding in 1969. We are grateful to UPAF and to the thousands of other generous donors who make our programs possible! This concert and MYSO are supported in part by generous grants from UPAF, CAMPAC and Wisconsin Arts Board with funds from the State of Wisconsin. MYSO gratefully acknowledges this important support as well as the critically important donations from so many individuals, foundations and corporations.
M Y S O S TA F F EXECUTIVE DIRECTOR, Frances S. Richman ¯ ARTISTIC DIRECTOR, Carter Simmons ¯ PROGRAM DIRECTOR, Justin N. Smith ¯ COMMUNICATIONS DIRECTOR, Michelle Hoffman ¯ DEVELOPMENT DIRECTOR, Emily Stern ¯ PROGRAM COORDINATOR, Katie Truax ¯ COMMUNITY PARTNERSHIPS MANAGER AND DEVELOPMENT ASSOCIATE, Sarah Christie ¯ VOLUNTEER COORDINATOR/ ADMINISTRATIVE LIAISON, Elinor Jacobson ¯ FINANCE DIRECTOR, Kim Jankowiak ¯ MUSIC DIRECTOR, SENIOR SYMPHONY, Margery Deutsch ¯ ASSOCIATE CONDUCTOR, SENIOR SYMPHONY, Shelby Keith Dixon ¯ MUSIC DIRECTORS, PHILHARMONIA, Ronald Melby, Carter Simmons ¯ MUSIC DIRECTOR, SINFONIA, Steven Rindt ¯ MUSIC DIRECTOR, JUNIOR WIND ENSEMBLE, Thomas L. Dvorak ¯ ASSISTANT CONDUCTORS, JUNIOR WIND ENSEMBLE, Nicholas Carlson, David Shaw ¯ MUSIC DIRECTOR, FLUTE CHORALE, CHAMBER FLUTE ENSEMBLE, Lenee Stevens ¯ MUSIC DIRECTORS, STRING ORCHESTRAS, Denice Haney, Lynn Trinkl, Lyda Osinga ¯ DIRECTOR OF THEORY INSTRUCTION, James Burmeister ¯ MUSIC LIBRARIAN/STAGE AND EQUIPMENT MANAGER, David Rieder ¯ COACH, SINFONIA, Lyda Osinga ¯ COACHES, STRING ORCHESTRAS, Matthew DeYoung, Ashley Dobner, Melissa Jastrow, Jared Snyder, Kevin Stewart and Brittany Szaj ¯ JAZZ STUDIES PROGRAM DIRECTOR and INSTRUCTOR, Jeno Somlai ¯ JAZZ STUDIES URBAN OUTREACH COORDINATOR and INSTRUCTOR Ethan Bender ¯ INSTRUCTORS, JAZZ STUDIES, Neil Davis, Jason Goldsmith, Dean Lea, Chris Mell, John Simons and Doug Syme ¯ CALYPSO DIRECTOR AND INSTRUCTOR, Tim Rush ¯ CALYPSO CO-DIRECTOR AND INSTRUCTOR, Charles B. Short ¯ PROGRESSIONS DIRECTOR and INSTRUCTOR, Jenny Kozoroz ¯ PROGRESSIONS ORCHESTRA DIRECTOR, Mary Pat Michels PROGRESSIONS INSTRUCTORS, John Babbitt, Cathy Bush, Alexis Ganos and Ravenna Helson 22 Milwaukee Children’s Choir and Milwaukee Youth Symphony Orchestra
MYSO BOARD OF DIRECTORS President: Susan Graham Wernecke President Elect: Patrick Rath Vice Presidents: Patricia Ellis Michael Fischer Michael Van Handel Secretary: Daniel Bruskiewitz Assistant Secretary: Bunny Raasch-Hooten Treasurer: Michael Linley Assistant Treasurer: Craig Peotter Directors: Joyce Altman Robert Chou David De Bruin
Myra Edwards Terése Einhorn Thomas Ellis Michael Halfenger Lawrence Hammond Patty Hanz Cristina Hernandez Amy Jensen Michael Jordan Marlene Lauwasser Danielle Machata Jennifer Mattes William Mortimore Jamshed Patel John Pienkos Rip Prétat Matthew Sauer Gregory Schmidt Susa Siy Kent Tess-Mattner Wesley Van Linda Anne Zizzo Paul E. Kritzer, ex officio, Advisors of Note Angela Johnston, ex officio, Advisors of Note Ron Kuramoto, First Stage Liaison
Major in Music at North Park University You’ll find a full range of music study and performance available at North Park University, including orchestra, concert band, jazz ensemble, chamber ensembles, an opera workshop, and four different choirs. Contact us today to schedule an audition, visit campus, attend a class, experience a performance, talk to faculty, and learn more. Undergraduate Auditions February 11 and 25, 2012 Dr. Rebecca Olthafer, Music Recruiter (773) 244-5623 firstname.lastname@example.org www.northpark.edu/music
Milwaukee Youth Music Celebration 23
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Milwaukee Youth Chorale Sunday, March 11, 2012 3:00 PM Elmbrook Auditorium with guest soloists Tanya Kruse Ruck, soprano Justin Niehoff Smit...