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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 to celebrate this glorious season together. We are pleased to be able to work with the choirs of Waukesha North High School and Waukesha West High School this evening as we bring you a truly Royal holiday concert. Embrace the giving season by giving the gift of music with tickets to our upcoming concerts. The second half of the season begins on March 10th with an intimate performance featuring tenor Vale Rideout and The Wisconsin Philharmonic’s very own Kelly Hofman. There, students of the Waukesha Community Art Project will unveil their handmade gift of art to The Wisconsin Philharmonic, paying tribute to 65 years in the community. From there, our season takes you out of this world with Cosmic Grandeur on April 28th, featuring pianist Andrew Armstrong and Gustav Holst’s magnificent piece, The Planets. Ask about our discounted Holiday Package and see both concerts for one great price. As always, please think of The Wisconsin Philharmonic as you prepare for the end of the calendar year. Making a donation to honor someone you love would go a long way in ensuring that the inspiring melodies and live, professional concert performances that excite, heal, soothe and entertain the soul today will continue for generations to come. Thank you to Century Fence and Waukesha State Bank for your continued support of this holiday tradition. Happy Holidays! Andrea Rindo Executive Director

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Founded 1947

presents

A Royal Christmas

Tuesday, December 4th, 2012 Shattuck Auditorium, Carroll University Alexander Platt, Conductor Concert Choirs of Waukesha North and Waukesha West High Schools Suite for the Birthday of Prince Charles (1948).........................................................Michael Tippett Fantasia on Greensleeves.................................................................................Ralph Vaughan Williams Sleigh Ride............................................................................................................................ Frederick Delius Suite from My Fair Lady..................................................................................... Lerner/Loewe/Bennett Sleigh Ride from the Florida Suite .............................................................................. Frederick Delius Selections from Titanic......................................................................................................... Horner/Moss ~ Intermission ~ Christmas Carol Sing-Along.................................................................................................arr. Finnegan And the Glory of the Lord from Messiah..................................................... George Frideric Handel In the Bleak Midwinter................................................................................................................ traditional Lift Up Your Heads from Messiah................................................................. George Frideric Handel Mary’s Lullaby ..............................................................................................................................John Rutter I Saw Three Ships........................................................................................................................... traditional Star Carol........................................................................................................................................ John Rutter Hallelujah Chorus from Messiah.................................................................... George Frideric Handel We Wish You A Merry Christmas................................................................................................ arr. Chase Concert Sponsored by

The Country Springs Hotel is the official hotel of The Wisconsin Philharmonic. Please turn off all cellular phones and other digital devices. We respectfully request members of the audience to refrain from the use of camera equipment or recording devices during the performance.

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THE WISCONSIN PHILHAR MONIC Violin I Robin Petzold, Concertmaster Catherine Bush, Assistant Concertmaster Katherine Brooks Wes Luke Andrea Buchta Tatiana Migliaccio Mishan Han Kristen Tan Jennifer Wendling Mary Haarmann Violin II Christopher Ruck, Principal Anna Newbury, Assistant Principal Catherine Kolb Alyssa Yank Samuel Grabow Shannon O’Leary Steve Friedenberg Karen Schroeder Viola Mary Pat Michels, Principal Marvin Suson, Assistant Principal Lynne Fields Ron Arden Scott Craig Lauren Roznowski Cello Trischa Loebl, Principal Braden Zitoun, Assistant Principal Elizabeth Bender Ingrid Tihtcheva Loni Gornick Marie Sinco Bass Charles Grosz, Principal Gina Thompson, Assistant Principal Steven Rindt Michael Gudbaur Harp Kari Gardner Flute Scott Metlicka, Principal Rosemary Bennett

Piccolo Joanna Messer Oboe Suzanne Geoffrey, Principal Matthew Siehr English Horn Matthew Siehr Clarinet Christopher Zello, Principal Bernard Parish Bass Clarinet William Pietsch Bassoon Andrew Jackson, Principal Steven Whitney Horn Kelly Hofman, Principal Nancy Cline Anne Maliborski Kathy Krubsack Trumpet Christian Anderson, Principal Joseph Burzinski Mark Eichner Trombone Kyle Samuelson, Principal Glen Lunde Bass Trombone Eric Larsen Tuba Dan Neesley Timpani Terry Smirl Percussion Mike Lorenz, Principal Vicky Daniel Josh Sherman A Royal Christmas

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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 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. Building on his bedrock experience as Apprentice Conductor of the Minnesota Orchestra, the St. Paul Chamber Orchestra and the Minnesota Opera (1991-93), Alexander is now in his third highly successful season as Music Director of both the La Crosse Symphony and the Greater Grand Forks Symphony, his seventeenth as Music Director of the Marion, Indiana Philharmonic, and his sixteenth as Music Director of The Wisconsin Philharmonic. This follows twelve seasons as Music Director of the Racine Symphony (1993-2005), which he transformed from a struggling community orchestra to an artistically and fiscally thriving institution, and three seasons (2007-10) as Principal Conductor of the Boca Raton Symphonia—an assignment born of his debut with the orchestra and Sir James Galway at the International Festival of the Arts Boca on 48 hours’ notice, where he led the ensemble (in the opinion of The Palm Beach Post) into becoming the finest of the orchestras to emerge from the collapse of the Florida Philharmonic. Following 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 2001. Over the next twelve seasons, he led the Chicago premieres of Britten’s DEATH IN VENICE, John Adams’ NIXON IN CHINA, the Bizet/Peter Brook LA TRAGEDIE DE CARMEN, and the Britten/Shakespeare A MIDSUMMER NIGHT’S DREAM; the double-bill of Schoenberg’s ERWARTUNG and Bartok’s BLUEBEARD’S CASTLE, with Samuel Ramey and Nancy Gustafson; the world premiere of the Tony Kushner/Maurice Sendak version of Hans Krasa’s BRUNDIBAR; the premiere of his own version for young people of Tchaikovsky’s IOLANTA; 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 the great Chicago papers. In 2007 he made his Canadian debut at the Banff Festival, leading the co-premiere in conjunction with Calgary Opera of John Estacio’s FROBISHER, to accolades from Opera Canada. In Spring 2012 Alexander concluded his tenure at COT with the Chicago premiere of the Dmitri Shostakovich Moscow, Land of the Cherry-Bird Trees, to unanimous praise in the media. 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 the Minnesota Contemporary Ensemble, Camerata Chicago, the Wisconsin Chamber Orchestra, the Illinois, Lexington, Riverside California and Hudson Valley Philharmonics, and the Houston, Charlotte, Columbus, Flagstaff, Sioux City, El Paso and Indianapolis Symphonies. In 2012-13 he makes his debut with the Champaign-Urbana Symphony, as well as a return visit to Boca Raton. Alexander Platt made his New York debut in 2007 with the Brooklyn Philharmonic before thousands in Central Park, the first of several appearances with the orchestra. In addition to all these activities, Alexander Platt spends his summers in the Hudson Valley as the sixth Music Director of the Maverick Concerts in Woodstock, New York – the oldest summer chamber-music festival in America, where he follows in the footsteps of legendary maestrias Leon Barzin and Georges Barrere. Under his direction the concert series has become a thriving, eclectic festival. A recent highlight of his work there was his leading the world premiere of his chamber-orchestra version of David Del Tredici’s landmark music-drama FINAL ALICE (1976). The 2007 performance won accolades in The New York Times, which praised it as a workable version of Del Tredici’s masterpiece. Alexander Platt has been devoted to the music of our time. Over the last three decades he has led the U.S. premieres of concert works of Britten, Shostakovich, Ned Rorem, Colin Matthews 4

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and Judith Weir, and has been an advocate for composers as diverse as Michael Torke, Libby Larsen, Joan Tower, and Simon Holt. In 2010 and 2011, with The Wisconsin Philharmonic, he led Aaron Jay Kernis’ Simple Songs, the world premiere of Daron Hagen’s Third Symphony, and the co-premiere of Joseph Schwantner’s symphony Chasing Light; at the Maverick Concerts, he led the world premiere of the chamber version of Hagen’s Seven Last Words for piano and orchestra; and while in Grand Forks and La Crosse he directed the North American premiere of both the Britten Temporal Variations for oboe and strings, and the reconstruction of his unfinished Clarinet Concerto for Benny Goodman. In summer 2012 at the Maverick Concerts, he leads the premieres of works by Harold Meltzer and Russell Platt, and in the autumn, with the La Crosse Symphony and The Wisconsin Philharmonic, he leads the world premiere of his commission of John Corigliano’s Sonata for Violin and Orchestra, with violinist Lara St. John. 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 revivals of both Britten’s OWEN WINGRAVE and Berlioz’s BEATRICE AND BENEDICT, to high praise in the London press. During this time he also made his professional conducting debut at Aldeburgh, his London debut at the Wigmore Hall, and reconstructed the lost chamber version of the Mahler Fourth Symphony which has gone on to become a classic of the repertoire. In addition to recording for National Public Radio, Minnesota Public Radio, the South-West German Radio and the BBC, his 2004 recording of Max Bruch’s Scottish Fantasy with violinist Rachel Barton Pine still appears frequently on radio stations across America.

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A R O YA L C H R I S TM A S : P R O G R A M N O T E S In the glorious English choral tradition, handed down to us most famously by the great college choirs of Oxford and Cambridge, this cozy Holiday program includes great British music from three centuries, celebrating the Christmas spirit in ways both serious and light; but it is centered around two choruses from that holiday favorite for all seasons, George Frederic Handel’s oratorio, Messiah. Composed in the famously brief period of just twenty-four days, in London in the summer of 1741, Messiah has a text compiled from the Bible by one Charles Jennens, a wealthy literary dabbler who had enough skill to give eloquent voice to the basics of the Christian epic. The oratorio, originally intended for performances at Easter, was designed for a benefit concert for various charities in Dublin (Ireland was then of course under English rule), and Handel traveled to that great city to involve himself personally in the rehearsal process. The first performance, on April 13, 1742, was a great success, launching this most universally beloved of Christian choral works on its glorious way. Messiah, as the great Handelian scholar Winton Dean has pointed out, derives its unique character from a singular mix of influences: Italian opera, English sacred anthem, and the German tradition of setting the Passion story, in which Handel’s contemporary, Johann Sebastian Bach, so greatly excelled. Jennens, in that particularly esoteric English way, referred to the piece as an “Entertainment”,and although Handel, who never forgot his strict Lutheran upbringing would certainly beg to differ, Messiah’s lack of a formal plot, its deft adaptation of Biblical texts(mostly concerning the Jesus story), and downright friendly spirit have given the work an appeal far beyond devoutly Christian communities.“And the Glory of

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the Lord” is the oratorio’s first choral number, with its striding, confident pace alternating unison and contrapuntal textures; the “Hallelujah” chorus, which closes the work’s second of three parts, certainly needs no introduction. If Handel is half-jokingly referred to as a German who wrote Italian music in England, then Frederick Delius, a composer whose life and musical sensibilities straddle the 19th and 20th centuries, could rather accurately be called an Englishman of German extraction who wrote Norwegian music in France! Born in Bradford, a proud industrial town in the north of England, the son of a successful wool merchant who became a British subject in 1850, Delius spent his early years rebelling against his father’s desire for him to continue in the family business; a sojourn in Florida, ostensibly to manage the family’s orange groves, only spurred his desire to compose, being as he was so surprised and so deeply affected by the spirituals and other songs produced by the local Black community. By the late 1860’s Delius was in Leipzig, studying hard at its famed conservatory, and it was here that he encountered the other great influence upon his musical life, the Norwegian master Edvard Grieg, who became a supporter and friend(and the one man who could convince Delius’ father to allow his son to embark on a musical career). Delius’ style would then forge a unique blend with Anglo-American and African American melodic shapes supported by the rich harmonies reminiscent of Wagner and Grieg, and orchestrated in a style that immediately shone the light of the French Impressionists. In Winter Nacht (also known in English as Sleigh Ride, for its jingling bells), a dreamy little tone-poem written during his years in Paris in the 1890’s, these various stylistic developments are still in their early stage, but with an effect that is charming and sincere. It was not performed in public until the 1940’s, long after the composer’s death, conducted by Delius’ devoted champion, Sir Thomas Beecham. You also may have heard it back in 2010, for a TV commercial for the scented “Glade” candles of Johnson’s Wax. Sir Michael Tippett, who by his old age was the crown prince of British composers, had a similarly wayward path to maturity. The Suite in D, for large orchestra, marks the beginning of his ascent to respectability, after actually being imprisoned for his pacifist activities in World War II. Commissioned by the British Broadcasting Corporation in 1948 to commemorate the birth of Prince Charles (hence its eventual title), it uses old melodies of the British Isles(including a couple of old Christmas carols), and some tunes of Tippett’s own, to create a musical fabric that is at once comfortably conventional but also rather strange -- Tippet’s strong urge to treat every melody to counterpoint leads him down many a wonderfully strange path. By contrast, the popular choral composer and conductor John Rutter, two of whose carols grace our program, has long been beloved in both Britain and North America for his accessible, well-crafted sacred scores. Rutter, who nonetheless made waves as a young composer with his interest in the Afro-Caribbean music so popular in 1960’s Britain, is such a master of choral textures, that he makes his exquisite Christmas miniatures sound easy -- as we know, not in itself an easy task. Ralph Vaughan Williams was the grand master of British music -- the national composer, essentially; they reign over there like monarchs -- from the death of Elgar in 1934 until his own passing away in 1958, by which time Walton and Britten were already succeeding him on the cultural stage. Vaughan Williams’ Fantasia on Greensleeves, long one of his most popular short works, owes a debt to Shakespeare more than to Christmas; it was written in 1912, while the composer was resident in Stratford-upon-Avon (the Bard’s A Royal Christmas

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hometown) to write incidental music for new productions of his plays. Sir John Falstaff calls for the tune to be played in “Henry IV”, and Ralph Vaughan Williams obliged with his limpid arrangement, which juxtaposes “Greensleeves” with another old English folk song, “Lovely Joan.” It has of course become a Christmastime classic. Back in the day, when we Americans only had 13 television channels as opposed to several hundred, the network broadcast of one of the classic American movie musicals on the night of Christmas Day was a durable tradition; of those, surely the greatest of them would be that of an honorary English status, Lerner and Loewe’s My Fair Lady, an elegant and effervescent reworking of one of the masterworks of George Bernard Shaw. Robert Russell Bennett, that most cherished of Broadway orchestrators, gives the show’s many tunes a sumptuous symphonic treatment. British Christmas carols both familiar and forgotten -- this year, including two of my favorites, In the Bleak Midwinter and I Saw Three Ships Come Sailing In -- round out our Holiday evening together. © 2012, Alexander Platt

B OA R D O F D I R E C TO R S 2 012 - 2 013 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 Suzanne Frank, Waukesha Ruth Harken, Pewaukee Larry Harper, Waukesha Mary Hood, Waukesha Karol Kennedy, Waukesha Diane McGeen, Waukesha

Ex-Officio, Non-Voting Andrea Rindo Alexander Platt

S TA F F Music Director...................................................................................................................... Alexander Platt Executive Director ................................................................................................................. Andrea Rindo 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 United Performing Arts Fund Waukesha County Community Foundation – Early Hill Fund Waukesha State Bank Virtuoso $2,500-$4,999 Anonymous Frisch Memorial Fund General Electric Foundation Employee Matching Hess & Helyn Kline Foundation Jack Safro Toyota Pieper Electric, Inc. Concertmaster $1,000-$2,499 Anonymous Arts Waukesha Baker’s Quality Pizza Crusts, Inc. Cooper Power Systems Janice & Raymond Perry Community Fund, Inc. Waukesha County Community Foundation – Dr. Gerald & Susan Bellehumeur Fund Wisconsin Arts Board Wisconsin Energy Foundation Employee Matching Principal $500-$999 First Bank Financial Centre Greater Milwaukee Foundations – Wayne & Pat Bjorgaard Family Fund Herbert H. Kohl Charities NEV 2/11 Foundation Schwab Charitable Fund Waukesha County

Community Foundation – Milton Weber Conductor’s Chair Fund Associate $300-$499 Waukesha Couty Community Foundation – Chet & Helen Goff Fund Patron $150-$299 Educator’s Credit Union Landmark Credit Union Practical Club Sentry Equipment Corp Supporter $50-$149 Ideal Club Jewish Community Foundation – Dr. William & Riva Merkow Donor Advised Fund Quad/Graphics Employee Matching R&R Insurance Services, Inc. Waukesha Music Study Club Friend Up to $49 AT&T-United Way Employee Giving Quad/Graphics Employee Giving Individuals Maestro $5,000 and up Anthony & Andrea Bryant Robert & Patricia Kern Don & Carol Taylor Virtuoso $2,500-$4,999 Tom & Martha Kelpin Concertmaster $1,000-$2,499 John & Mary Almasi Virginia Buhler Doug & Meg Haag

Doug & Nancy Hastad Drake & Evie Reid Principal $500-$999 December 6th 2012 Concert Audience Sune & Jean Ericson David & Barbara Hammer Olaf & Ruth Harken George & Edith Love Anita Ransome-Kuchler Roger & Sandy Stuckmann Associate $300-$499 Anonymous Bonnie Birk & Dave Helling Theodore & Noelle BryantNanz Gerald & Donna Gerndt John & Sue Hoaglund Michael R. & Mary Ellen McCormick William McDevitt Howard & Sara Miller Patron $150-$299 Anonymous (2) Ron & Mary Beckman Ed & Helen Brady Bevery Chappie James & Elizabeth Chermak Dr. & Mrs. R. Feulner Gerald & Rebecca Gapinski Frieda Hart Peter & Karol Kennedy Bruce & Rose Larkin Thomas & Patricia Miller Lisa Nevins Elaine Peterson JoAnn Portz Fritz & Sally Ruf James & Ina Scheel Stephen & Gale Schmiedlin Robert Schuett Ellen Strommen Sharon & Joe Subjak Sara Toenes Tom & Laura Wanta

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C O N T R I B U TO R S Supporter $50-$149 Anonymous (2) May 6, 2012 Audience Dr. & Mrs. R.H. Bibler Elfred Bloedel John & Kay Boesen Helen Bressler Karen & Robert Calhoun Susanne Carman JoAnne Crooks Sue Evenson Jeffrey & Susan Fobes Rick & Dianne Frowein Claire Greene Elaine Haberichter Ross & Mary Hanson Larry Harper Peter & Joan Haupert Carolyn Heidemann Germaine Hillmer Barbara Hirsch Richard & Jeanne Hyrniewicki Ann & Ed Johnson Dr. Elizabeth Jones & Richard Schwartz Bob & Jackie Kastengren Thomas & Jean Klein Ramon & Doris Klitzke Mary Knudten Dale & Gay Knutson Francis Kosdnar Mitch Lackey Ena Mollie Lantz Glen R. & Sally Mohr Lunde John P. Macy & Sandi Brand Andrew & Cari Matter Ken & Jeanne Menting George & Bonnie Morris Jean O’Donnell Illingworth Dave & Betty Reul Andrea Rindo Norman & Joanne Seeger

William D. Smith, M.D. John & Rita Stevens Terry Stevens Philip & Audrey Trampe John & Darlene Trotter Dennis & Mary Unterholzner Robert Vrakas Nancy Walkoe John Wellford Miriam Wellford Donald & June Wischer Theodore Youngquist Friend Up to $49 Anonymous (2) David & Chris Abbott Janet Allen Greg & Pam Bisbee CarolAnne Bozosi Jeffery & Wanda Braun John Buckley Alan & Carol Carlson Craig Coursin Keith & Laura Cutts Kristi Davis Shirley Gogin Thomas Halloran Betty Henderson Esther Hofmann Dennis & Kathleen Hulen Ellen Jakab Elizabeth Orozco Ray & Patti Pedersen Mark & Angela Penzkover John & Leona Peters Karen Pierce Paul & Cathy Riedl Charles & Irene Roberts Cheryl Scheurman John & Lynn Wellinghoff Barbara Woerner Kristin Ziebart

In Honor of Mary Pat Michels Joseph Ketchum Sune & Jean Ericson Ellen Strommen Ellen Strommen William & Carol Lamm Don & Carol Taylor Ellen Strommen In Memory of Hilary Bryant Anonymous Don & Carol Taylor Marty Frank Suzanne R. Frank Geth Galloway Joan Newman Chet & Helen Goff Anonymous Dorothy Goff & Jim Frisch Charlie Goff McIntosh Kiki Gould M.E. & Michael R. McCormick Richard R. Lustig George & Edith Love Helen Pavlovics Anonymous Fred Portz JoAnn Portz Clara Saler Richard & Bernard Saler Maestro Milton Weber Susanna Weber-Gadd

The Contributor Listing includes all contributions from the last twelve months received through November 12, 2012. Those who contributed after that date have our thanks and the assurance that your names will appear in the March 10, 2013 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. 10

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MILWAUKEE HOLIDAY LIGHTS FESTIVAL NOV 15 THRU DEC 31, 2012

GET UP AND GLOW! Milwaukee Holiday Lights Festival | Downtown Milwaukee November 15 – December 31, 2012

From twinkling streets to magical parks, we’ve set the stage for incredible winter fun. World-class theater and arts, amazing concerts, free family amusements, and oneof-a-kind restaurants and shops – it all adds up to a flurry of activity

that’s simply unrivaled. See all the festive sights with $1 Jingle Bus rides Thursdays through Sundays. Shuttles depart from 6 pm to 9 pm at The Shops of Grand Avenue – Center Court. Last bus leaves at 8:20 pm.

w w w.milwauke e holida ylights.com | 414.220.470 0 | Sponsored by: We Energies, Zilber Property Group, Columbia St. Mary’s, Madison Medical Affiliates, The Shops of Grand Avenue, Coach USA, VISIT Milwaukee, East Town Association, Milwaukee Magazine, 99.1 The Mix, Milwaukee Journal Sentinel, WISN 12, Clear Channel Outdoor, OnMilwaukee.com, City of Milwaukee, Milwaukee County Parks, Milwaukee Downtown, BID #21. 12

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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. In addition to special events, other fund development efforts add pivotal revenue to The Wisconsin Philharmonic’s bottom line. The Individual Campaign is conducted in the fall of each season. It is an opportunity for individuals to support The Wisconsin Philharmonic at a level that is meaningful to them. Contributors receive valuable benefits based on the level of their donation. For a complete list of donor levels and benefits, visit The Wisconsin Philharmonic’s web site (www.wisconsinphilharmonic.org). The Wisconsin Philharmonic also offers Planned Giving Programs, designed to ensure that The Wisconsin Philharmonic will continue for future generations. Options include Wills and Bequests, Trusts (like a Charitable Remainder Trust), Insurance (an old cash value policy), Appreciated Stock and Retirement Plan Proceeds. In-kind donations are also accepted. For more information about any of these options, contact The Wisconsin Philharmonic office at 262-547-1858.

T H E W I S C O N S I N P H I L H A R M O N I C : E N D OWM E N T F U N D S The Wisconsin Philharmonic offers four Endowment Funds that are open and accept additional donations. The Wisconsin Philharmonic Endowment Fund provides income to support general operations. Gifts to this permanent fund help to preserve the future of classical music in our communities. The James and Dorothy Goff Frisch Endowment Fund was created to honor these founding members of The Wisconsin Philharmonic and is used to sponsor a soloist during the season. The Wisconsin Philharmonic Education Investment Fund provides funding for the educational programs of The Wisconsin Philharmonic. The Anthony W. Bryant Scholarship Fund honors businessman and philanthropist, Tony Bryant, who has been an advocate of The Wisconsin Philharmonic for many years. The scholarship is awarded by competitive audition to a graduating high school senior who declares an intention to major in music while in college.

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T H E W I S C O N S I N P H I L H A R M O N I C E D U C AT I O N P R O G R A M S The Wisconsin Philharmonic education programs are an example of the Orchestra’s steadfast commitment to providing programs that serve the entire community and provide opportunities to help students achieve success and enrichment through classical music. Chapman Piano Competition – This biennial piano competition is open to all Waukesha County piano students age 14 through 20. The student prepares a selection from the repertoire list to perform by memory. The award to the winner includes cash and an opportunity to perform with The Wisconsin Philharmonic as a featured soloist. Shining Stars Scholarships – Annual auditions each March are open to string, wind and percussion Waukesha County students. The students play before Philharmonic musicians and receive the judges written evaluations. Winners are presented to the audience at The Wisconsin Philharmonic’s Season Finale concert and receive a cash award to be used for continuing music studies. Clinics by 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 Best wishes to the Wisconsin musicians listening to a concluding Philharmonic for another successful performance and offering suggestions for improvement. season from Bill and Michele Holcomb • Automatic swing door operators, radio controls and accessories

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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

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Getting Better while Growing Older Congratulations to The Wisconsin Philharmonic on 65 Successful Years

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