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Northern Lights: Scandinavian Strings 3:00 PM, Sunday, February 15, 2015 Noble Victory Memorial Chapel St. John’s Northwestern Military Academy Alexander Platt, Conductor “Praeludium” from the Little Suite for Strings, Op.1 ........................ Carl Nielsen (1865-1931) Romance in C, Op. 42.................................................................................... Jean Sibelius (1865-1957) Serenade for Strings, Op.11 ........................................................................... Dag Wiren (1905-1985) I. Praeludium II. Andante espressivo III. Scherzo IV. Marcia From Holberg’s Time Suite in the Olden Style for String Orchestra, Op. 40 ..................... Edvard Grieg (1843-1907) I. Praeludium (Allegro vivace) II. Sarabande (Andante) III. Gavotte (Allegretto) IV. Air (Andante religioso) V. Rigaudon (Allegro con brio) -IntermissionOboe Concerto in C Major, K. 314 .............................. Wolfgang Amadeus Mozart (1756-1791) I. Allegro aperto II. Adagio non troppo III. Rondo: Allegretto Julia Simpson, oboist 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.

L E T T E R F R O M T H E W I S C O N S I N P H I L H A R M O N I C B OA R D P R E S I D E N T Welcome to our fourth concert in our season of A Feast of Scandinavian Music. Today, we feature Scandinavian Strings: A Celebration of Youth, being performed in the historic and lovely St. John’s Northwestern Military Academy Chapel. Our featured performer today is Miss Julia Simpson, oboe soloist, and winner in last year’s Shining Stars competition. In addition, we continue with several delightful and stirring pieces from Scandinavian composers, some familiar, but some new to our stage. We also hope to see you at our annual Gala, this year you will be delighted with An Evening in Oz on Saturday March 21 at the Legend at Brandybrook in Wales. Fabulous food, fun, entertainment, dancing, plus live and silent auction items to tickle your fancy will all be part of this spectacular evening. Come in costume if you wish, or not, but come and enjoy an amazing evening and help to support the Wisconsin Philharmonic and all its educational programming. Look for more information in your program or on our website: www.wisconsinphilharmonic.org. For our final concert of the subscription season, we return to the Sharon Lynne Wilson Center in Brookfield for A Northern Light: Mozart’s Requiem, on Sunday, April 26, 2015 at 3 p.m. Milwaukee area vocal soloists: Jill Bruss, Stuart Mitchell, Tanya Kruse Ruck and Tom Weis will perform, along with the Carroll University Concert Choir and Jubilate Chorale, for a moving and unforgettable experience. We look forward to seeing you there. Please also mark your calendars for our second annual Family Concert on Saturday May 30 at Carroll University’s Shattuck Auditorium. Music That Paints A Picture is the theme, and will feature an Instrument Petting Zoo so that your children and grandchildren can get up close and personal with a huge variety of instruments, including many you know, like violins, trumpets and trombones, to many you don’t know in the percussion section, that make a host of “special effect” sounds that enhance the compositions. Lastly, thank you to all who supported the Wisconsin Philharmonic at year’s end with a financial contribution. Your help allows us to provide Music Education to our schools, plus these beautiful live concerts of classical music for all to enjoy. We welcome contributions any time of year, so please consider us when you think about your charitable giving. Wishing you all a Happy, Blessed and Musical New Year.

Suzanne Frank President, Board of Directors Wisconsin Philharmonic Orchestra

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A L E X A N D E R P L AT T B I O G R A P H Y Alexander Platt is Music Director of the Wisconsin Philharmonic, the Marion Indiana Philharmonic, the La Crosse Symphony Orchestra and the Grand Forks Symphony Orchestra, and spends his summers in Woodstock, New York as Music Director of the Maverick Concerts, the oldest summer chamber-music festival in America. He also recently concluded twelve seasons as Resident Conductor and Music Advisor of Chicago Opera Theater (2001-12). At COT he led the Chicago premieres of Britten’s DEATH IN VENICE, John Adams’ NIXON IN CHINA, Dmitri Shostakovich’s MOSCOW PARADISE and Britten’s A MIDSUMMER NIGHT’S DREAM; the world premiere of the Tony Kushner/Maurice Sendak version of Hans Krasa’s BRUNDIBAR; the double-bill of Schoenberg’s ERWARTUNG and Bartok’s BLUEBEARD’S CASTLE with Samuel Ramey and Nancy Gustafson, and the world-premiere recording of Kurka’s THE GOOD SOLDIER SCHWEIK — all to consistently high acclaim in the major papers of Chicago and New York. Prior to this he spent twelve years as Music Director of the Racine Symphony Orchestra, three seasons as Principal Conductor of the Boca Raton Symphonia, and two years as Apprentice Conductor of the Minnesota Orchestra, the Saint Paul Chamber Orchestra and the Minnesota Opera, conducting Colin Graham’s production of MADAMA BUTTERFLY. A graduate of Yale College, King’s College Cambridge (where he was a British Marshall Scholar) and conducting fellowships at both Aspen and Tanglewood, he has guest-conducted the Brooklyn Philharmonic, the Illinois Philharmonic, the Freiburg Philharmonic in Germany, the Aalborg Symphony in Denmark, the Scottish Chamber Orchestra, the Wisconsin Chamber Orchestra, the City of London Sinfonia, Camerata Chicago, the Banff Festival, the Aldeburgh Festival, and the Houston, Charlotte, Columbus and Indianapolis Symphonies. In 2013 he made his debut at the Ravinia Festival, the summer home of the Chicago Symphony Orchestra, to high praise in the Chicago Tribune. He has recorded for Minnesota Public Radio, Corned Beef & Cabbage National Public Radio, the South-West Irish Lamb Stew • Reubens German Radio and the BBC, and his Cedille TUESDAY, MARCH 17TH 10AM-8PM Records disc with Rachel Barton of Max DINE IN OR CARRY OUT Bruch’s Scottish Fantasy is still often heard on radio stations across America. 262-522-9611 143 W. Broadway • Waukesha

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THE WISCONSIN PHILHAR MONIC Violin I Robin Petzold, Concertmaster Christine Hauptly Annin, Assistant Concertmaster Katherine Brooks Mishan Han Violin II Christopher Ruck, Principal Darlene Rivest, Assistant Principal Alyssa Yank Catherine Kolb

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Viola Mary Pat Michels, Principal Scott Craig, Assistant Principal Sam Grabow Cello Trischa Loebl, Principal Braden Zitoun, Assistant Principal Alicia Storin

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Oboe Suzanne Geoffrey, Principal Kaylyn Ruemler Horn Kelly Hofman, principal Kathy Krubsack

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Bass Michael Britz , Principal Elise Kreger

PROGR A M NOTES Carl Nielsen (1865-1931): “Praeludium” from the Little Suite for Strings, Op. 1 I have long looked for an excuse to perform for you a program of the greatest gems from the rich trove of Scandinavian music for string orchestra, and this season provides the best one could get, as this year marks the sesquicentennial of the birth of both Carl Nielsen, and Jean Sibelius -- respectively, Finland and Denmark’s greatest and most famous composers. The “Little Suite” for string orchestra was composed by the young Nielsen in 1888 and proudly marked as his “Opus 1”, and it still will surprise any listener as an amazingly mature work for an artist still then in his early twenties; largely self-taught, Nielsen grew up in extremely humble circumstances in rural Denmark, and was by now in the second violins of Copenhagen’s finest ensemble, the Royal Danish Orchestra. Perhaps precisely because of Nielsen’s self-reliant nature, the work is most notably impressive due to its intense emotions which go hand in hand with a marked emotional restraint; emotionally and musically, the young Nielsen already displays a worldly command of his material. Utterly typical of this is the mournful opening “Praeludium”, which also serves as the prelude of our musical afternoon: heartfelt, yet taut, the music swells to a climax from its sad and quiet opening, only to fade back into its Nordic shadows. Jean Sibelius (1865-1957): Romance in C, Op. 42 Jean Sibelius, who like Nielsen was also born in 1865 and lived all the way to 1957, has long been known for his haunting miniatures for both string and small orchestra -- perhaps most notably for his morbidly beautiful Valse triste, for many years a favorite encore of Scandinavian orchestras and premiered in 1904. On the same program of same first performance, however, was an equally gorgeous work, another miniature called “Andante for String Orchestra” but soon achieving worldwide fame as the Romance in C. Perhaps that fame has faded over the years, like an album-leaf; but I have always been more moved by its ultimately hopeful message and thus we present it here today. Dag Wiren (1905-1985): Serenade for Strings, Op. 11 Geoffrey Crankshaw, program annotator for that most treasured of London chamber orchestras, the “Academy of St. Martin-in-the-Fields”, wrote quite cleverly in 1977 about the elegant Serenade for Strings of the Swedish composer Dag Wiren, who along with Berwald, Alfven and Stenhammar -- and, it must be said, ABBA! -- enjoys a vaunted place in Sweden’s musical pantheon: “Born in 1905, Dag Wiren has played a notable part in Sweden’s musical life. Much of his music explores the larger forms, and it is not hard to detect certain influences from Sibelius and Nielsen, though these have not prevented the development of a strong individuality. Like Nielsen, however, Dag Wiren does not indulge in padding. His style is direct and his emotionalism is kept on a tight rein. “This Serenade appeared in 1937 and had instant success. Each movement is lucid and without structural complexity. Two ideas dominate the opening movement; the first appears almost at once on the first violins, the second, more angular, is announced a little later by the cellos. The general tone is of a divertissement. In the second movement there is much use of pizzicato, and the atmosphere has something of the dark-tinged lyricism so characteristic of Scandinavian composers when in a pensive vein. The third movement Scandinavian Strings

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is a witty Scherzo and Trio, while the Finale is a light-hearted, deftly written march -- once famous, in a more cultivated age, as the signature tune of that splendid (and lamented) BBC television arts feature, Monitor.” Edvard Grieg (1843-1907): From Holberg’s Time, Suite in the Olden Style for String Orchestra, Op. 40 Surely the most famous of all Scandinavian works for string orchestra is Edvard Grieg’s Holberg Suite, and it’s easy to see why. Another English writer, Anthony Burton, welldescribed the work’s brilliant and unique combination of antique style and romantic fervor: “Grieg wrote From Holberg’s Time, usually known as the Holberg Suite, for the celebrations in Bergen in December 1884 of the bicentenary of the birth of the dramatist Ludwig Holberg [“The Moliere of the North”] -- who, although he wrote in Danish, was a native of the Norwegian port. The piece was originally written for piano, but early in 1885 Grieg made an alternative, and equally idiomatic, version for string orchestra. The subtitle of the work is “suite in the olden style”, and it belongs to a distinct genre of lightly archaic recreations of past musical styles, of which the most recent example must have been Tchaikovsky’s Variations on a Rococo Theme of 1876, a work of a Romantic master whom Grieg revered. “Here, Grieg said that his model was the suites of the French clavecinistes, who were Holberg’s contemporaries in the 18th century; and this influence can be traced in the second and third movements, a gentle Sarabande and a Gavotte with its trio as a Musette, beginning and ending over bagpipe-drone fifths. However, Grieg seems to be thinking also of the three great keyboard composers born in the year after Holberg: Domenico Scarlatti in the toccata-like figuration of the Praeludium; J.S. Bach in the winding ornamental melody of the Air; and Handel in the sturdy final Rigaudon, with its violin and viola solos and its minor-key middle section. But, for all the use the piece makes of old dance forms and Baroque cadential formulas, it is still, in its string colouring, its expressive melodic writing and above all its harmonies, unmistakably a work of its own time -- and indeed, unmistakably by Grieg.” Wolfgang Amadeus Mozart (1756-1791): Oboe Concerto in C Major, K.314 It is so fitting that the Philharmonic now presents a brilliant teenage soloist from our own community in a brilliant Mozart concerto, written while the composer was himself still an adolescent -- though the work itself, Mozart’s glittering Oboe Concerto in C, remains somewhat shrouded in mystery. Our earliest reference to it seems to come from the eighteen year-old Mozart’s sojourn in the German city of Mannheim, celebrated in those days as a center of musical innovation; he wrote to his father, the celebrated Salzburg musician Leopold Mozart, about the excellent woodwind players there, and his thoughts about a concerto for the oboe....the next reference occurs in a letter from Leopold to his son, dated October 1777, referring to a concerto written for a Salzburg oboist, Giuseppe Ferlandis. In yet another letter, this one from the young Wolfgang, we learn that the

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Mannheim oboist Herr Ramm had made Ferlandis’ concerto his “war-horse”; and again, in 1783, Mozart wrote home to father, asking for the score of the oboe concerto, as the solo oboist of his equally great contemporary Joseph Haydn’s celebrated orchestra out at the Esterhazy estate in what is now Hungary, who apparently was taking a break in Mozart’s new home of Vienna, wanted to buy the score from him.....finally, as in all respects -- other than key signatures -- the Oboe Concerto in C Major is absolutely identical to the Flute Concerto in D major, and thus it is undeniable that this is the concerto which Mozart transposed up a step into a “new” concerto for the flute to meet the commission requirements of the well-to-do amateur flutist, one Monsieur De Jean, who inspired Mozart to whine about how much he hated the instrument; and, upon discovering Mozart’s act of subterfuge, promptly stopped payment of his fee..... And if this has not completely confused you, then sit back and enjoy our bright young star of the oboe, playing this tender, humorous, optimistic, warm-hearted masterpiece -- a work which encapsulates all that audiences have loved about Mozart over the centuries. Alexander Platt

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JULIA SIMPSON Julia Simpson, a junior at Oconomowoc High School, began studying violin at age 6 and oboe in fifth grade. She has played in the Milwaukee Youth Symphony Orchestra for seven years on violin and four years on oboe..Ms. Simpson is currently a member of the oboe section in MYSO’s Senior Symphony and the principal oboe in MYSO’s Chamber Orchestra. She is the recipient of three Wisconsin Philharmonic Shining Stars Scholarships; oboe in 2011 and 2014, violin in 2012, earned honorable mention in the 2013 MYSO Philharmonia Concerto Competition, was runner up in the 2014 Senior Symphony Concerto Competition, and an honorable mention in the 2015 Senior Symphony Concerto Competition..She was also the winner of the 2014 Milwaukee Symphony Orchestra Young Artist’s Competition and performed with the symphony on their Youth Concert Series. During the summer, Julia enjoys spending time at music camps including Blue Lake Fine Arts Camp, Interlochen Arts Camp, MPulse Oboe Institute at the University of Michigan, and most recently at Kinhaven Music School in Weston, Vermont..This summer, she will be traveling to Vienna and Budapest with MYSO. When not playing or listening to music, Julia enjoys reading, studying chemistry, and being a drum major in her marching band.

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DONORS NOTE: Listed donations are for the period June 1, 2014 to the present. While we make every attempt to ensure that this listing is complete and accurate, we apologize if there are any omissions of incorrect listings. Organizations Maestro $5,000 and up Century Fence Robert & Patricia Kern Trust Don L. & Carol G. Taylor Family Foundation Virtuoso $2,500-$4,999 Pieper Power United Performing Arts Fund Waukesha County Community FoundationMilton Weber Conductor’s Chair Fund Concertmaster $1,000-$2,499 BMO Harris Bank Greater Milwaukee Foundation- Anthony & Andrea Bryant Family Fund Janice & Raymond Perry Community Fund Schwab Charitable Fund Waukesha County Community FoundationBryce & Anne Styza Fund Principal $500-$999 Schwab Charitable FundBob & Hanna Nevins Family Fund Associate $300-$499 A.J. Ugent Furs & Fashions Supporter $50-$149 Hartland Music Center Steven Paul Designs

Friend Up to $49 AT&T - United Way Employee Giving Individuals Maestro $5,000 and up Tony & Andrea Bryant Marcia Peterson Don & Carol Taylor Concertmaster $1,000-$2,499 Doug & Meg Haag Doug & Nancy Hastad Tom & Martha Kelpin Anita Ransome-Kuchler George & Edith Love William McDevitt James & Maike O’Rourke Principal $500-$999 David & Barbara Hammer Ruth Harken Kay Lettenberger Abby Lorenz Glen & Sally Lunde Barry McNulty Everett & Kay Stone Ron & Peggy Troy Associate $300-$499 Anonymous John Almasi Cornelius & Patricia Andringa Jean Ericson Christine Martin Diane McGeen Patron $150-$299 Kimberly Banach Deborah Bialozynski Kay Boesen Beverly Chappie

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B OA R D O F D I R E C TO R S 2 014 - 2 015 President.............................................................................................................Suzanne Frank, Waukesha Executive Vice President..................................................................................... Carol Taylor, Waukesha Senior Vice President...................................................................................Abby Lorenz, Oconomowoc Treasurer...................................................................................................................... Doug Haag, Hartland Secretary.............................................................................................................Diane McGeen, Waukesha Mary Hood, Waukesha Kathy Kant, Pewaukee Karol Kennedy, Waukesha Jessica Ollenburg, Brookfield Ron Troy, Pewaukee

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S TA F F Music Director.......................................................................................................................Alexander Platt Executive Director.................................................................................................................. Mike Flanigan Personnel Manager/Librarian...................................................................................... Mary Pat Michels Stage Manager............................................................................................................................. Glen Lunde

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THE WISCONSIN PHILHAR MONIC : GIVING OPPORTUNITIES Creativity has 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 the 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. 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 Follow us on Facebook and Twitter 16

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Donating to the United Performing Arts Fund (UPAF) is one step away from joining the performance. Community support keeps the stage lights on, provides arts education opportunities to 50,000 children in Waukesha County schools, and helps our regional economy flourish. With no government funding, UPAF – the single largest funder for 15 of our area’s largest performing arts groups – relies on the generosity of individuals and organizations in Southeastern Wisconsin to raise essential operating funds to sustain entertainment excellence for all to enjoy.

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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. Shining Stars Scholarships & Competition – Annual auditions each March are open to piano, string, wind and percussion Waukesha County students. Students play before Wisconsin Philharmonic musicians and receive written evaluations. Winners are presented to the audience at a Wisconsin Philharmonic 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 their first experience with classical music and up-close exposure to musical instruments and performers. 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 – 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. Mentoring - This privately funded program assists selected students showing exceptional promise.

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