BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Holland Symphony Orchestra - ECPv6.15.18//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-CALNAME:Holland Symphony Orchestra X-ORIGINAL-URL:https://hollandsymphony.org X-WR-CALDESC:Events for Holland Symphony Orchestra REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:UTC BEGIN:STANDARD TZOFFSETFROM:+0000 TZOFFSETTO:+0000 TZNAME:UTC DTSTART:20200101T000000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=UTC:20231119T150000 DTEND;TZID=UTC:20231119T170000 DTSTAMP:20260403T152919 CREATED:20231101T003040Z LAST-MODIFIED:20231108T001552Z UID:9352-1700406000-1700413200@hollandsymphony.org SUMMARY:HSYO Fall Concert DESCRIPTION:Concert Sponsors:\n \n \n \n\nProgram\nInformation\nArtist bio\n\nSunday\, November 19\, 2023 at 3:00pm\nWest Ottawa Performing Arts CenterHolland\, Michigan\nHOLLAND AREA JUNIOR STRINGS\nKyle Nester\, Music Director and ConductorTori Zokoe\, General ManagerJaclyn Klinger\, ManagerKatie Rae Hayduk\, Rehearsal Manager \nBella Bocca Polka Op. 163 Emile Waldteufel/arr. Bob Phillips\nBartok Song and Dance for String OrchestraBela Bartok/arr. Deborah Baker Monday\nShamrock Polkasarr. Andrew H. Dabczynski\nHOLLAND AREA CONCERT STRINGS\nKyle Nester\, Music Director and ConductorTori Zokoe\, General ManagerJaclyn Klinger\, ManagerKatie Rae Hayduk\, Rehearsal Manager \nPrelude from Holberg SuiteEdvard Grieg/arr. Brendan McBrien\nAshokan FarewellJay Ungar\, arr. Calvin Custer\nThemes from The Rite of SpringIgor Stravinsky/arr. Bob Lipton\nConcerto Grosso Op. 6\, No. 1AllegroGeorge Frideric Handel/arr. Sandra Dackow\nHOLLAND AREA YOUTH ORCHESTRA\nChristopher Fashun\, Music Director and ConductorTori Zokoe\, General ManagerJaclyn Klinger\, ManagerKatie Rae Hayduk\, Rehearsal Manager \nSymphony No. 94 in G major (“The Surprise”)Franz Joseph Haydn \n\n Adagio cantabile – Vivace assai\n Andante\nMenuetto\nAllegro di molto\n\nBrazilian choros featuring guest artist Choro das 3\nBoca de Goiaba        Elisa\, Lia\, Corina\, e Eduardo Meyer Ferreira/arr. Christopher Fashun\nPé de Frango            Elisa\, Corina a\, e Lia\, Meyer Ferreira/arr. Josh Trentadue \nTucunaré         Elisa Meyer Ferreira/arr. Josh Trentadue\nTico-Tico no Fuba  Zequinha Abreu/arr. Marty Gold\nTickets will be available for purchase at dress rehearsal and at the door – $10 for adults and $5 for students ages 6-college. Children under 6 are free. \nChoro das 3 Artist Biography \nChoro das 3 is a Brazilian band of three sisters. The band plays Brazilian instrumental music based on choro\, an instrumental music genre that emerged in Brazil in the 19th century to become the foundation for all Brazilian music. Choro das 3 is in the US playing their 8th USA Tour. \nOf the three sisters in the band\, Corina\, the oldest\, plays flute and piccolo\, Lia plays acoustic 7 string guitar\, Elisa\, the youngest sister\, plays mandolin\, clarinet\, banjo\, piano and accordion. \nIn Brazil\, Choro das 3 has played for presidents and for huge audiences such as São Paulo’s New Year’s Eve Party (2 million people). It has been on national TV many times\, including the Jo Soares show (the Brazilian version of “The Tonight Show”). \nFrom 2013 to 2019\, Choro das 3 toured in the USA annually. Reviewers say the band is\, “superbly talented\,” “cohesive\,” and “beguiling.” Renowned musician Mike Marshall says that Choro das 3 plays “. . . some of the most inspired and inspiring music . . . the highest level of musicianship and presentation . . . the highest quality of Brazilian Choro music that can be heard any place today.” The Covid pandemic caused Choro das 3 to cancel plans for their 2020 USA tour. Tragically\, Eduardo\, the father of the three sisters\, lost his life to Covid early in the pandemic\, before vaccines were available. Eduardo was the band’s percussionist from its beginning. He played pandeiro (Brazilian tambourine). Bravely\, the sisters resolved to continue as Choro das 3\, but they play every song in their father’s memory. \nKyle Nester \nKyle Nester graduated from Alma College in 2004 with a Bachelor of Music in Music Education degree.  While in college\, he participated in orchestra\, marching band\, jazz band\, percussion ensemble\, and choir.  Mr. Nester spent a term in Vienna\, Austria and studied violin with Maeve Auer from the Universitat fur Musik und Darstellende Kunst.  After college\, he was a soloist in the Baroque on Beaver Music Festival and performed with Josh Groban a few times.  After a long-term substitute teacher position in Fremont\, Michigan\, he taught 5th – 12th grade orchestra at Chippewa Hills School District for seven years.  After his wife Andrea finished her law degree at Michigan State University\, the couple moved to West Michigan. He started teaching at Holland Christian in 2012 and Andrea was employed in a law firm in downtown Grand Rapids.  Recently\, Mr. Nester has been interested in fiddling and started the Michigan Academy of Folk Music with Nate Roberts from Hope College.   \nMr. Nester enjoys running races\, enjoying nature\, playing music\, and traveling.  They have three “interesting” cats and a planted freshwater fish tank.   \n  \nChristopher H. Fashun \nChristopher H. Fashun is an incredibly diverse and versatile conductor\, performer\, and educator. He brings over two decades of experience as a music educator leading middle school\, high school and collegiate band and orchestra programs in addition to directing jazz and percussion ensembles. \nA 2018 recipient of a U.S. Postdoctoral Fulbright Award in All Disciplines\, Dr. Fashun will be living and researching Afro-Brazilian music in Salvador da Bahia\, Brazil during the summer of 2019.  His project will focus on the dissemination of Afro-Brazilian music and culture in the city of Salvador.  \nAn accomplished percussionist and violist\, he has several years of orchestral and chamber music experience and has enjoyed success in both areas as a soloist by winning three concerto competitions\, one on viola and two on marimba. \nDr. Fashun is an active guest conductor\, clinician\, adjudicator\, and percussionist.  He is a frequent presenter at music education conferences and is a highly sought after clinician and conductor.  Notable engagements include the La Porte County Symphony Orchestra\, Holland Symphony Orchestra\, Elkhart Symphony Orchestra\, St. Ambrose University Community Symphony Orchestra\, the University of Iowa Philharmonia and All-University Orchestras.  Dr. Fashun has conducted the Symphony String Orchestra at the Iowa IMEA Conference for the All-State Iowa Junior Honors String Orchestra Festival Concert and the Midwest Mennonite Festival Orchestra and Concert Band.  He has served on the music faculties at St. Ambrose University\, Goshen College\, and Hope College.  \nHis research in conducting combines developing musicianship from the podium and health and wellness for music educators.  \nWhen he’s not making music\, he is either cycling\, paddle boarding\, or practicing Pilates and enjoying the fabulous beaches in Holland (in the summer\, of course) with his wife and daughter.  \n \n Tickets\n \n [INSERT_ELEMENTOR id=”7527″] URL:https://hollandsymphony.org/events/hsyo-fall-concert-4/ LOCATION:MI ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2021/05/HAYO-pic-fall-2019-small-1024x737-1-e1623945205856.jpeg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20231028T193000 DTEND;TZID=UTC:20231028T213000 DTSTAMP:20260403T152919 CREATED:20230419T194717Z LAST-MODIFIED:20231016T215404Z UID:8274-1698521400-1698528600@hollandsymphony.org SUMMARY:Brahms 3 DESCRIPTION:Concert Sponsor:\n \n\nProgram\nInformation\nProgram Notes\nArtist bio\nPre-Concert Talk\n\nProgram\nSaturday\, October 28\, 2023\, 7:30 p.m.Jack H. Miller Center for Musical Arts\, Hope College \nJohannes Müller Stosch\, Music Director and Conductor \nAaron Berofsky\, violin \nAlone TogetherJohn Wineglass (b. 1973)\nStrange Pandemic TimesA Ray of Hope \nConcerto for Violin and Orchestra in E minor\, Op. 64Felix Mendelssohn (1809-1847)\nAllegro molto appassionatoAndanteAllegretto non troppo – Allegro molto vivace \nAaron Berofsky\, violin \nIntermission \nSymphony No. 3 in F Major\, Op. 90Johannes Brahms (1833-1897)\nAllegro con brioAndantePoco allegrettoAllegro \nExperience an intimate and reflective piece by Emmy-winning composer John Wineglass and the dazzling and expressive virtuosity of Aaron Berofsky in Mendelssohn’s violin concerto. The evening will culminate with the powerful emotion of Brahms’s third symphony. \nTickets are $28 for adults and $5 for students through college. \nLearn more about the music…\nWe will be hosting not only the Classical Chat series at Freedom Village\, but also Pre-Concert Talks!  Details below: \nClassical Chats at Freedom Village:  These informative and fun talks are led by Johannes Müller-Stosch and take place at 3:00pm on the Thursday before each Classics concert.  (Freedom Village\, 6th Floor Auditorium\, 145 Columbia Ave.) \nPre-Concert Talks:  These talks\, led by Johannes Müller-Stosch and Amanda Dykhouse\, are online under the “Pre-Concert Talk” Tab.   \nNew to the Symphony?  Check out the Frequently Asked Question page… \nParking Map at the Miller Center \nHolland Symphony Orchestra will reserve and monitor Lot 40 for handicapped parking.  The faculty parking lots are available for parking after 5pm \n \nAlone TogetherJohn Wineglass (b. 1973)\nBorn: 1973\, Washington\, DCComposed: 2021Approximate Duration: 11 minutesInstrumentation: harp\, timpani\, percussion (bass drum\, glockenspiel\, sizzle cymbal\, suspended cymbal\, tamtam\, tubular bells\, 2 vibraphones)\, strings \nJohn Christopher Wineglass was born in Washington DC\, played viola in the DC youth orchestra\, and earned a Bachelor’s degree in composition from American Univeristy.  He also earned a master’s degree in Music Composition: Film Scoring for Motion Pictures\, Television and Multi-Media at New York University.  He has written several scores for documentaries\, shows on MSNBC\, CNN\, NBC\, CBS and ABC\, independent films\, and several of his nationally syndicated commercials.  He is a recipient of three Daytime Emmy Awards for Outstanding Achievement in Music Direction and Composition for a Drama Series (for All My Children)\, and three ASCAP Film and Television Music Awards.   \nWineglass’s compositions are inspired by the beauty of creation and the splendor of nature\, as well as bringing to light social issues of the past and present. He has received major commissions from orchestras\, festivals\, and foundations in the US and Europe.  Mr. Wineglass is currently serving as Composer-In-Residence with the Monterey Symphony where both of his pandemic response works\, Alone for Solo Violin\, Live EFX and Electronica and Alone Together for Percussion\, Harp and Strings have been curated to be included in the permanent collection of the COVID-19 response art at the Library of Congress.  \nWineglass provides the following notes about “Alone Together”:  \nInitially a zoomed brainchild collaboration between composer John Wineglass\, Maestra Barbara Day Turner (San Jose Chamber Orchestra) and Maestra Rei Hotoda (Fresno Philharmonic) – this work was ultimately co-commissioned by two more additional California orchestras as well – Monterey Symphony where Wineglass is in residency and with great support of the subject matter from Maestro Carl St. Clair of Pacific Symphony – all coming together to express a shared interest of new music that responds to the extraordinary nature of life during the 2020 pandemic and the catastrophic circumstances accompanying this global crisis. \nIn a joint-statement from Wineglass and Fresno Philharmonic conductor Rei Hotoda in the San Francisco Classical Voice\, Alone Together addresses the social issues we are all facing during this pandemic – from not being able to perform together ot even the systemic racial disparities given a world stage due to shelter-in-place.  Despite all the setbacks of our present limitations\, we are moving forward.  This work is allowing us to continue our work as performers – to never lose sight of just how important the arts are and have always been.  By creating this work\, we are providing a way to connect to one another which is so valuable and something most of us probably once took for granted.  We may feel alone at this moment but we as four performing arts organizations are coming to move forward together as one. \nAdditionally\, this very work can also be aptly summed up in a few excerpt journal entries by the composer during the creation of this work.  In his own words… \nAlone Together (Journal entry) \nNovember 20th\, 2020 8:08 pm \nAs i sequestered “alone” quite literally to finish writing this work in walking to a market store near my sponsored beachfront quarters\, I was verbally accosted by two laughing males who thought it would be funny with a bullhorn on top of their sport Audi SUV to go around this pristine neighborhood and spew out expletives in\, of ALL places\, where I normally do a lot of writing–Shell Beach\, CA–a beautiful central coastline between LA and San Francisco.  Truly–what world are we living in?  Let me rephrase that–what world are some of us living in and others (millions\, in fact) choose to turn a blind eye? \nAs I dwelled heavily into this work this particular week–there were parts of America that I recognized and parts that I knew were always there BUT certainly didn’t recognize… in this extremely politically divided time and in the midst of a global pandemic.  Was I still in the times of my just recently deceased parents last year of the 60s and the riots during MLK or was this 2020?  Have we NOT as a nation grown… at all?  It was dreamlike for me–an unbelievable seeping dystopian euphoria in a way….  Indeed\, “Strange Pandemic Times”… my working title of the first movement.  And this is just personally what was happening to me in composing this work… with everyday MAJOR unstable shifts in the temperature of this country.  This present-day world of 2020 without tonality… without centeredness… swelling major-minor chords in the strings without times of possible brilliance–yet brought back to a current dismal reality.  A longing for common ground but finding no footing… no continuity.  Abrupt silences… alone… many intubated.  No foundation… lost in a midst of unbelief of what I was witnessing with my very own eyes in this land of “equality.  The universe repeatedly brings this up… again… and again before our very own eyes–until we learn. \nBut… I still believe in and have hope… A Ray of Hope (working title for 2nd movement)… A hope deferred at the moment but a hope nonetheless.  A hope that in this struggle together–we will come out TOGETHER somehow and in some way–stronger\, more wise and vigilant. \nProgram note by John Wineglass \nThere is no recording of this piece.  To listen to an interview with Wineglass\, including some excerpts from “Alone Together\,” click here. \nViolin Concerto in E minor\, Op. 64Felix Mendelssohn\nBorn: February 3\, 1809\, HamburgDied: November 4\, 1847\, LeipzigComposed: 1844\, revised 1845Premiered: March 13\, 1845\, LeipzigApproximate Duration: 26 minutesInstrumentation: two flutes\, two oboes\, two clarinets\, two bassoons\, two French horns\, two trumpets\, timpani\, strings \nMusic donated by Diane Lewis \nIn 1838 Mendelssohn wrote to his friend Ferdinand David\, one of the leading violinists of the mid-nineteenth century: “I should like to write a violin concerto for you next winter. One in E minor runs through my head\, the opening of which gives me no peace.”  Mendelssohn worked closely with David while composing the concerto.  Both men disliked the “empty showpiece concerto” of the early Romantic era that contained little more than what Mendelssohn called “juggler’s tricks and rope dancer’s feats.”  The two sought to produce a serious musical piece in the manner of Beethoven’s Violin Concerto.  The result is a piece wonderfully suited to the violin\, both musically and technically.  \nUnlike Classical concertos\, with long orchestral introductions\, Mendelssohn’s work begins with the soloist presenting the initial soaring theme that “haunted” the composer.  This melody is contrasted with a tender second theme\, introduced by the woodwinds.  Mendelssohn took an innovative approach to the cadenza; instead of putting it at the end of the movement\, he used it as a bridge leading from the development into the restatement of the movement’s opening themes.  Furthermore\, instead of leaving it to the soloist to improvise or write his or her own cadenza\, Mendelssohn provides a cadenza\, probably written by David. \nA single thread—a note sustained by one bassoon—provides the seamless bridge to the lyrical second movement\, an endearing song.  The melodies are harmonized and scored beautifully—sometimes peacefully\, sometimes restlessly.  Another brief transition\, which recalls the impassioned first movement\, introduces the Finale\, a brilliant and sunny scherzo that recalls Mendelssohn’s Midsummer Night’s Dream.  The soloist is called upon to display light-hearted virtuosity alternating with long\, lyrical passages\, leading to a rousing conclusion.  \nTo listen to the Mendelssohn\, click here.  \nSymphony No. 3\, Op. 90\, in F MajorJohannes Brahms\nBorn: May 7\, 1833 HamburgDied: April 3\, 1897\, ViennaComposed: Summer 1883\, WiesbadenPremiered: December 2\, 1883\, ViennaApproximate Duration: 33 minutesInstrumentation: two flutes\, two oboes\, two clarinets\, two bassoons\, contrabassoon\, four French horns\, two trumpets\, three trombones\, timpani\, strings \nMusic donated by Mark Dykstra \nJohannes Brahms was recognized for his compositional skill at a young age.  In his young twenties\, Robert Schumann described him in Europe’s most important journal of music as “the one . . . chosen to express the most exalted spirit of the times in an ideal manner\, one who [sprang] fully armed from the head of Jove… [A] youth at whose cradle the graces and heroes of old stood guard.”   As much as Brahms appreciated the recognition\, the high expectations were almost paralyzing.  Brahms was his own harshest critic.  He had incredibly high standards for himself.   \nBrahms is well-known among musicologists and music history students for his reluctance to write a symphony.  In 1872\, he famously stated\, “I shall never write a symphony!  You can’t have any idea what it’s like to hear such a giant marching behind you.”  That giant was Beethoven\, who had taken the symphony structure introduced by earlier composers and had pushed it to new limits of complexity\, refinement\, and emotional depth.  Many late nineteenth century composers thought that Beethoven’s symphonies were so perfect that subsequent composers shouldn’t try to innovate further\, instead turning to new genres.  Brahms fundamentally disagreed\, exploring the forms of the past and discovering new layers\, colors\, and complexity.  He wanted to make sure the symphony remained a relevant genre.  After writing a couple orchestral serenades\, a concerto\, and the German Requiem\, he ultimately conquered his feelings of intimidation and composed his first symphony in 1876–a work raw with power\, sound\, and emotion. He wrote his second\, a joyful and optimistic work\, in 1877.  His third\, the most introspective\, came in 1882-3. \nBrahms was very fond of this symphony\, and his good friend Clara Schumann said that “all the movements seem to be of one piece\, one beat of a heart.”  The first movement opens with three broad chords that have been called “heroic\,” even causing some to label this symphony Brahms’s “Eroica.”  The chords also suggest the tonal ambiguity that Brahms weaves through this symphony–is it in F major or F minor?  The opening “F-A-flat-F” tonality spells Frei aber fröh (Free\, but happy)\, Brahms’ adaptation of his friend Joseph Joachim’s personal motto\, Frei aber einsam (Free\, but lonely).  After the enticing opening\, Brahms presents a broad melody that leaps\, builds\, and pushes forward before transforming into an intimate second theme introduced by woodwinds.  This gentle dance-like melody encounters a brief song and then proceeds to a dense development section.  When Brahms recaps this material it becomes more tense\, complicated\, and dissonant before the movement ends in peace. \nThe second movement begins with a folk-like melody in the clarinet that forms the basis for the entire movement.  The character is rocking and gentle\, with occasional call-and-response moments in the strings.  The third movement is also based on a single melody\, a melancholy tune introduced by the cellos set to gentle triplets that gradually build momentum.  There is a short dance-like section in the middle\, the only part that sounds like most symphonic scherzo movements.   \nThe final movement begins with quiet\, nervous energy.  A chorale from the second movement is heard before Brahms unleashes his turbulent\, yet heroic\, melodic energy.  Much of the movement is in a stormy F minor\, but this alternates with hushed themes.  The movement resolves into a calmer F Major section\, ending with three chords on F-A-F\, as the music settles into peaceful silence.  \nTo listen to the Brahms\, click here. \nViolinist Aaron Berofsky has toured extensively throughout the United States and abroad\, gaining wide recognition as a soloist and chamber musician. As soloist\, he has performed with orchestras in the United States\, Germany\, Italy\, Spain and Canada. He has performed the complete cycle of Mozart violin sonatas at the International Festival Deia in Spain and all of the Beethoven sonatas at New York’s Merkin Concert Hall.  His 2011 recording of the complete Beethoven sonatas with Phillip Bush has been met with great acclaim. \nFrance’s Le Figaro calls his playing “Beautiful\, the kind of music-making that gives one true pleasure”.  He has appeared in such renowned venues as Carnegie Hall\, Alice Tully Hall\, the 92nd Street Y\, the Corcoran Gallery\, Het Doelen\, L’Octogone\, Seoul National University\, the Teatro San Jose and the Museo de Bellas Artes. Mr. Berofsky has been featured on NPR’s Performance Today and on the Canadian Broadcasting Company. His acclaimed recordings can be found on the Sony\, Naxos\, New Albion\, ECM\, Audio Ideas\, Blue Griffin and Chesky labels.  Recent recital tours have taken him to Germany\, Italy and Korea\, and he was featured soloist on the 2009 NAXOS recording of music by Paul Fetler\, performed by the Ann Arbor Symphony\, including the debut recording of his Concerto No. 2.  His recording of the complete chamber music of Franz Xavier Mozart was released in 2013 on Equilibrium. \nMr. Berofsky was the first violinist of the Chester String Quartet for fifteen years. The quartet has been acclaimed as “one of the country’s best young string quartets” by the Boston Globe. Tours have taken them throughout the Americas and Europe and the quartet members have collaborated with such artists as Robert Mann\, Arnold Steinhardt\, Franco Gulli\, members of the Alban Berg quartet\, Andres Diaz\, Eugene Istomin and Ruth Laredo. Some notable projects over the years have included the complete cycles of the quartets by Beethoven and Dvorak\, and numerous recordings by such composers as Mozart\, Haydn\, Barber\, Porter\, Piston\, Kernis and Tenenbom. The Chester Quartet has served as resident quartet at the University of Michigan and at Indiana University South Bend. \nAn alumnus of the Juilliard School\, Mr. Berofsky was a scholarship student of Dorothy DeLay. Other important teachers have included Robert Mann\, Felix Galimir\, Glenn Dicterow\, Lorand Fenyves and Elaine Richey. Mr. Berofsky is known for his commitment to teaching and is Professor of Violin at the University of Michigan and served as visiting Professor at the Hochschule fur Musik in Detmold\, Germany. He taught at the Meadowmount School of Music for many summers and is currently on the violin faculty of the Chautauqua Institution.  He has also given masterclasses throughout the world\, including a 2013 tour of Korea which included classes at Seoul National University\, Ewha Women’s University\, Seoul Arts High School and many others.  He has also given class at the Cleveland Institute\, Oberlin\, Eastman\, the Peter de Grote festival in the Netherlands\, Domaine Forget in Quebec\, Interlochen\, the Adriatic Chamber Music Festival and the Conservatorio Palma Mallorca. \nMr. Berofsky’s interest in early music led him to perform with the acclaimed chamber orchestra Tafelmusik on period instruments\, also making several recordings with them for the Sony label.  He co-runs University of Michigan’s Baroque Chamber Orchestra with harpsichordist Joseph Gascho.  With a strong dedication to new music as well\, he has worked extensively with many leading composers of the twentieth and twenty-first centuries\, performing\, commissioning and recording music by John Cage\, William Bolcom\, Zhou Long\, Michael Daugherty\, Aaron Jay Kernis\, Susan Botti\, Morton Subotnick\, Paul Fetler and Bright Sheng. \nAaron Berofsky has been concertmaster of the Ann Arbor Symphony since 2003.   He has also served as guest concertmaster for many orchestras throughout the US and Europe. \nTo listen to the pre-concert talk\, click here. \n [INSERT_ELEMENTOR id=”7518″] URL:https://hollandsymphony.org/events/brahms-3/ LOCATION:Jack H. Miller Center for Musical Arts at Hope College\, 221 Columbia Ave.\, Holland\, MI\, 49423\, United States ATTACH;FMTTYPE=image/png:https://hollandsymphony.org/wp-content/uploads/2023/04/2.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20230930T193000 DTEND;TZID=UTC:20230930T213000 DTSTAMP:20260403T152919 CREATED:20230419T194431Z LAST-MODIFIED:20230922T002856Z UID:8267-1696102200-1696109400@hollandsymphony.org SUMMARY:The Planets DESCRIPTION:Concert Sponsors:\n \n \n\nProgram\nInformation\nProgram Notes\nArtist bio\nPre-Concert Talk\n\nProgram\nSaturday\, September 30\, 2023\, 7:30 p.m.Jack H. Miller Center for Musical Arts\, Hope College \nJohannes Müller Stosch\, Music Director and Conductor \nAlon Goldstein\, Piano \nPiano Concerto No. 5 in E-flat Major\, Op. 73\, “Emperor”Ludwig van Beethoven (1770-1827)\nAllegroAdagio un poco mossoRondo: Allegro \nAlon Goldstein\, piano \nIntermission \nThe Planets\nGustav Holst (1872-1934)Mars\, the Bringer of WarVenus\, the Bringer of PeaceMercury\, the Winged MessengerJupiter\, the Bringer of JollitySaturn\, the Bringer of Old AgeUranus\, the MagicianNeptune\, the Mystic \nHSO’s opening night presents two masterpieces. World-renowned concert pianist Alon Goldstein will stun you with a performance of Beethoven’s mighty “Emperor” piano concerto.The second half will feature the raw power\, colorful orchestration\, and memorable tunes of Gustav Holst’s epic set of tone poems\, The Planets. \nTickets are $28 for adults and $5 for students through college. \nLearn more about the music…\nWe will be hosting not only the Classical Chat series at Freedom Village\, but also Pre-Concert Talks!  Details below: \nClassical Chats at Freedom Village:  These informative and fun talks are led by Johannes Müller-Stosch and take place at 3:00pm on the Thursday before each Classics concert.  (Freedom Village\, 6th Floor Auditorium\, 145 Columbia Ave.) \nPre-Concert Talks:  These talks\, led by Johannes Müller-Stosch and Amanda Dykhouse\, are online under the “Pre-Concert Talk” Tab.   \nNew to the Symphony?  Check out the Frequently Asked Question page… \nParking Map at the Miller Center \nHolland Symphony Orchestra will reserve and monitor Lot 40 for handicapped parking.  The faculty parking lots are available for parking after 5pm \n \nConcerto No. 5 in E-flat Major for Piano and Orchestra\, Op. 73\, “Emperor”Ludwig van Beethoven \nMusic donated by Doug & Jennifer Griffith \nBorn (Baptized): December 17\, 1770\, Bonn Died: March 26\, 1827\, ViennaComposed: 1809\, ViennaPremiered: November 28\, 1811\, in LeipzigApproximate Duration: 40 minutesInstrumentation: 2 flutes\, 2 oboes\, 2 clarinets\, 2 bassoons\, 2 French horns\, 2 trumpets\, timpani\, strings \nThe year 1809 was difficult for Vienna and for Beethoven.  In May\, Napoleon invaded the city with enough firepower to send the residents scurrying.  Beethoven retreated into the basement of his brother’s house.  The bombardment was close enough that he covered his deaf ears with pillows to protect them from the din.  On July 29\, he wrote\, “We have passed through a great deal of misery. I tell you that since May 4th\, I have brought into the world little that is connected; only here and there a fragment. The whole course of events has affected me body and soul…. What a disturbing\, wild life around me; nothing but drums\, cannons\, men\, misery of all sorts.”  Austria’s finances were in shambles\, and Beethoven barely received any of the annual stipend he had been promised by several noblemen who supported his work.  Yet by the end of that year\, Beethoven had completed his “Emperor Concerto.” \nBeethoven himself did not label the concerto the “Emperor\,” and probably never heard it labeled as such.  Even though he had originally dedicated his Symphony No. 3\, “Eroica\,” to Napoleon\, by 1809 the ruler had fallen from Beethoven’s esteem.  Beethoven remarked to a student\, “This man will trample the rights of men underfoot and become a greater tyrant than any other.”  There are many explanations for this title.  It may have been tacked on by an early publisher or pianist because of the grand character of the work.  Perhaps it came from a French officer\, who allegedly exclaimed at the première\, “C’est l’Empereur!”  The most likely exclamation is that the Viennese premiere took place at a celebration of the Emperor’s birthday. \nBeethoven departed from the norm with this concerto by having the soloist enter right at the beginning of the piece.  After a few grand chords\, the soloist plays a cadenza.  Then the orchestra proceeds into the customary opening “tutti.”   The first theme is martial in character.  The second\, contrasting theme\, in E-flat minor\, is a soft step-wise slow “march” immediately reprised in E-flat major as a beautiful melody played by two horns.  The piano then repeats all this exposition material\, accompanied by the orchestra.  Toward the end of the movement\, the point at which soloists would ordinarily play their own cadenzas\, Beethoven wrote into the piano part\, “Do not play a cadenza\, but begin immediately what follows.”  At this point\, he supplied a written-out solo passage that begins the coda.  Since this was the first of his concertos that Beethoven himself did not play\, he wanted to have more control over the finished product\, and so he prescribed exactly what the soloist was to do.  Eventually this became the standard method used by most composers in their concertos. \nThe second movement begins with a chorale for strings in the surprising key of B Major.  Beethoven originally wrote this tune for a military band.   The piano responds to the chorale with an expressive second theme that moves faster than the chorale. The two motions are then combined as the piano takes over the chorale melody (the strings play along pizzicato).  Here the melody’s slow quarter-notes are accompanied by the faster triplets derived from the second theme.  After a further variation where the motion intensifies (the triplets are replaced by faster sixteenth-notes)\, the music comes to a halt on the note B.  Beethoven simply lowers this note by a half-step to B-flat\, to prepare the return of E-flat major in the last movement. \nThere is no pause between the second and third movements.  Beethoven introduces the Finale theme in a slow tempo at the end of the second movement. The piano hesitatingly plays two measures of ascending E-flat major harmonies amidst an atmosphere of suspense\, followed immediately by an exuberant restatement of the same material as the main theme of the Finale.  This buoyant\, hunting-theme unfolds as a boisterous rondo.  The rondo theme is repeated four times\, interspersed with variations by soloist and orchestra.  In the coda\, the piano part grows ever slower and quieter\, with only the timpani as accompaniment.  Once it reaches a slow tempo\, the music suddenly accelerates again and the piano and orchestra dash to the concerto’s grand conclusion. \nTo watch a video of Alon Goldstein playing the first movement\, click here. \nTo watch a video of Alon Goldstein playing the second and third movements\, click here. \nThe Planets\, Op. 32Gustav Holst \nMusic donated by David Heuvelhorst\, in memory of James and Henrietta Heuvelhorst \nBorn: September 21\, 1874\, CheltenhamDied: May 25\, 1934\, LondonComposed: 1914-1916Premiered: September 29\, 2928\, LondonApproximate Duration: 51 minutesInstrumentation: 3 flutes\, piccolo\, 3 oboes\, English Horn\, 3 clarinets\, bass clarinet\, 2 bassoons\, contrabassoon\, 4 French horns\, 3 trumpets\, 3 trombones\, tenor tuba\, bass tuba\, 2 timpani\, 2 harps\, percussion [bass drum\, chimes\, cymbals\, glockenspiel\, snare drum\, tambourine\,  tamtam\, triangle\, xylophone]\, celeste\, organ\, female chorus\, strings \nGustav Holst was born into a very musical family and showed early promise as a concert pianist\, organist\, and choirmaster.  He also played the violin and trombone.  After neuritis in his right arm put an end to his solo career\, he pursued composition\, teaching\, and choir directing.  Like his friend Ralph Vaughan Williams\, Holst sought to infuse his music with English folk music and wrote pieces in a cosmopolitan\, accessible style.  \nSometime after the turn of the century\, Holst became fascinated by astrology.  Initially he was reluctant to speak of this\, though he admitted that his “pet vice” was reading horoscopes for his friends.  Ultimately he transformed this interest into his best-known work\, The Planets\, written between 1914 and 1917.  This large suite of subtly interrelated tone poems\, or as Holst preferred\, “mood pictures\,” depicts the astrological characters of seven planets in our solar system and their influence on human character\, though a few mythological and astronomical elements enter in as well.  \nWorld War I was on the horizon when Holst wrote Mars\, the Bringer of War in August\, 1914.  Strings begin this strange march in 5/4 meter by tapping their strings with their bow sticks.   Brass and percussion soon dominate\, sounding brutal and implacable chords over a relentless martial ostinato.  After a dissonant climax\, the machine pauses desolately for a moment\, only to push towards a devastating conclusion.  Holst instructed that “Mars” be played as fast and brutally as possible.   \nA solo horn summons Venus\, the Bringer of Peace. In The Principles and Practices of Astrology\, Noel Tyl writes that\, to astrologers\, “when the disorder of Mars is past\, Venus restores peace and harmony.”  This movement is total contrast: a calm\, tranquil reverie\, set far from the scene of any conflict.  The dominant instrumental colors come from flutes\, harps\, celeste\, and high violins. \nMercury\, the Winged Messenger\, follows.  In this scherzo\, it is easy to imagine Hermes\, deity of dreams and conductor of the dead\, clad in his winged cap and sandals.  To astrologers\, Mercury is “the thinker.”  Holst associated this character with the process of human thought.  He uses chuckling woodwinds\, darting strings\, and tinkling celeste and glockenspiel to portray this character with music that is unstable\, mercurial\, and nervously changeable in meter and harmony.  \nThe most massive of the Planets is Jupiter\, the Bringer of Jollity\, named for the light‑bringer\, the rain‑god\, the god of thunderbolts\, of the grape and the tasting of the new wine\, of oaths\, treaties\, and contracts.  The opening and closing sections were inspired by Edwardian vaudeville\, folk songs\, and dance halls.  In the central section\, the strings introduce a stately\, British melody evoking a more ceremonial type of rejoicing.  Holst later gave this tune words and it became the English patriotic hymn\, “I Vow to Thee\, My Country.” \nAs we get farther out in the solar system\, the character of the music gets noticeably stranger.  Saturn\, the Bringer of Old Age was Holst’s favorite movement.  Harps and flutes toll the relentless passing of time under restless melodic fragments\, perhaps representing the uncertain early stages of life.   Then a solemn march builds slowly to a harsh climax\, portraying the struggles and heartbreaks of maturation.  Another march\, even more bowed with age\, starts in the flutes and grows to a mighty climax above the heavy thud of timpani and low strings.  The movement ends in the wisdom of later years\, with its serene acceptance of imperfection and mortality. \nAnother scherzo\, Uranus\, the Magician\, opens with a magician’s incantation played three times by trumpets and trombones\, then tubas\, then timpani.  In astrology\, Uranus rules invention\, innovation\, and astrology itself.  This movement is full of magic\, menace\, and mischief with troll-like bassoons and mocking\, heavy-footed marches.  A serene vision of Neptune interrupts\, then with a sardonic laugh the magician utters a final incantation before the apparitions disappear into the night. \nOnce again in 5/4 meter\, Neptune\, the Mystic completes the circle begun by “Mars.”  In astrology\, Neptune means confusion and mystic rapport with other worlds.  In Holst’s lifetime\, Neptune was thought to be the most distant planet in our solar system\, invisible to the naked eye\, so to Holst it represents distance\, mystery\, and unanswerable questions.  This slow movement has a swaying\, irregular meter\, and is softly dissonant in harmony.  Holst uses weaving flutes\, high violins\, celesta\, and harps to conjure a cool\, distant world and state of mind\, beyond ordinary human understanding.  An ethereal women’s chorus sings wordlessly offstage in mysterious\, overlapping lines.  In the final bars\, the orchestra falls silent and the voices echo\, over and over\, until they fade into silent infinity. \nTo watch a video of The Planets\, click here. \nAlon Goldstein is one of the most original and sensitive pianists of his generation\, admired for his musical intelligence\, dynamic personality\, artistic vision and innovative programming. He has played with the Philadelphia orchestra\, the Chicago Symphony\, the San Francisco\, Baltimore\, St. Louis\, Dallas\, Houston\, Toronto and Vancouver symphonies as well as the Israel Philharmonic\, London Philharmonic \, Los Angeles and Radio France Orchestra. He played under the baton of such conductors as Zubin Mehta\, Herbert Blomstedt\, Vladimir Jurowski\, Rafael Frübeck de Burgos\, Peter Oundjian\, Yoel Levi\, Yoav Talmi\, Leon Fleisher and others. \nThis upcoming season Mr. Goldstein will be performing in cities across the world including New York (Rockefeller university and Salon di Virtuosi)\, Ravinia Festival\, Vienna (Bösendorfer salon)\, Berlin (Salon Christophori)\, including return engagements with the Haifa Symphony\, Jerusalem Camerata\, Bach festival Orchestra and Shreveport Symphony. He will make his debut with the Portland Symphony and the Orquestra Filarmonica Minas Gerais in Brazil playing Brahms Concerto no. 2\, as well as with the  Bogota Philharmonic playing Mozart Concerto no. 25.  Mr. Goldstein will also continue his highly acclaimed recording project for the Naxos label of all piano concerti by Mozart\, with the Fine Arts Quartet. The upcoming recording will feature Concerti nos. 19 and 25. The last season saw the release of two CDs on the Naxos label: Mozart Piano Concerti Nos. 9 and 17 with the Fine Arts Quartet (a follow-up to their two critically acclaimed recordings of Nos. 20 & 21 and Nos. 23 & 24) and Scarlatti 19 Piano Sonatas. \nDuring the 2019-2020 season Mr. Goldstein performed Beethoven’s “Emperor” Concerto at the New Year concert with the Beijing Symphony at the Forbidden City Concert Hall. He returned to play with the Kansas City\, Ann Arbor\, Illinois\, Spokane\, Bangor\, Augusta\, and Pensacola Symphony Orchestras\, as well as a performance of Beethoven’s Emperor Concerto on fortepiano with Mercury Houston. He played Bernstein’s “Age of Anxiety” with the Jerusalem symphony as well with the Xalapa Symphony in Mexico to celebrate the composer’s centennial\, and performed the New Year’s concert with the Beijing symphony in China. He gave recitals and chamber music\, including tours with the Goldstein-Peled-Fiterstein Trio\, the Tempest Trio\, and the Fine Arts Quartet at the Mendelssohn International festival in Hamburg Germany\, as well as in Cleveland\, Washington DC\, New York\, Burlington\, Key West\, Sarasota\, Melbourne\, Duluth\, and other cities. \nOther recent highlights include appearances with the Indianapolis Symphony as part of a Prokofiev Festival performing the composer’s Piano concerti nos.1&4\, as well as a 17-concert Latin American tour with the Israel Chamber Orchestra including concerts at Teatro Colón in Buenos Aires\, Teatro de Bellas Arts in Mexico city\, Teatro Nacional in San Jose\, Teatro Solis in Montevideo etc. He also played with the Chicago Symphony at Ravinia\, and at the prestigious Ruhr Piano Festival in Germany performing Mozart\, Britten and Poulenc in one evening with Leon Fleisher\, his former teacher\, conducting. He gave the premiere of Lost Souls with the Kansas City Symphony and Michael Stern written for him by the noted Israeli composer Avner Dorman and debuted with the London Philharmonic Orchestra and Vladimir Jurowski. \nA passionate advocate for music education\, his recent teaching engagements have included the Steans Institute of the Ravinia Festival\, International Keyboard Festival and Institute in New York\, Music@Menlo\, The Gilmore Festival\, Piano Texas\, PYPA in Curtis\, International Piano Festival in Gijon Spain\, and “Tel Hai” masterclasses in Israel. \nMr. Goldstein was recently honored with the “Society of Scholars” award given to him by his alma mater – the Johns Hopkins University. This was given in recognition of his accomplishments and contributions over the years. He serves as the Artistic Director of the “Lieven Piano Foundation” summer school in Vienna\, as well as the Artistic Director of the Mt. Angel Abbey Bach Festival in Oregon\, and Co-Director of The Distinguished Artists Concert & Lecture Series in Santa Cruz\, CA. He created the Emerald Coast Music Alliance\, whose annual festival in Florida is devoted to sharing the beauty of classical music to under-served communities\, at no charge. Last year the festival featured 12 musicians performing 63 concerts. He received his undergraduate degree from the Tel Aviv University where he studied under Prof. Victor Derevianko and Prof. Arie Vardi. He went on to study at the Peabody Conservatory of Music with Leon Fleisher and was his teaching assistant. He received scholarships from the America Israel Cultural Foundation. Following his graduation he became a “Performer Fellow” at the Guildhall School of Music and Drama in London where he initiated chamber music concerts involving staff and students\, as well as an annual festival dedicated to the piano duet repertoire. He was an artist in residence at the “Theo Lieven” piano academy in Como Italy. He currently holds the position of “Distinguished Visiting Professor” at the University of Missouri – Kansas City. \nTo listen to the pre-concert talk\, click here. \n [INSERT_ELEMENTOR id=”8657″] URL:https://hollandsymphony.org/events/the-planets/ LOCATION:Jack H. Miller Center for Musical Arts at Hope College\, 221 Columbia Ave.\, Holland\, MI\, 49423\, United States ATTACH;FMTTYPE=image/png:https://hollandsymphony.org/wp-content/uploads/2023/04/1-1.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20230812T190000 DTEND;TZID=UTC:20230812T210000 DTSTAMP:20260403T152919 CREATED:20230419T183745Z LAST-MODIFIED:20230811T163223Z UID:8264-1691866800-1691874000@hollandsymphony.org SUMMARY:Community Concert: Our Wonderful World DESCRIPTION:Concert Sponsors:\n \n \n \n \n& the snack wagon\n \n \n \n \n\nProgram\nInformation\nArtist bios\n\nOur Wonderful World\nSaturday\, August 12\, 2023\, 7:00 p.m. Henry P. VanderLinde Bandshell\, Kollen Park\nAdditional solo pieces announced from the stage \nWest Side Story SelectionsLeonard Bernstein\, arr. Mason\nMinka VariationsUkrainian folk song\, arr. Scheer\nSufro Por Tu AmorChristian Paul Garcia\, arr. Scheer\nSufro Por Tu Amor / How Long Must I Suffer for Your Love? 1. How long must I suffer for your love?You broke my heart–is that enough?I know you’ll only hurt me\,but I just can’t give you up. Why did your love for me grow cold? You know I gave you my heart and soul. If I could read your mind would I find that you don’t know? I want to start again.I don’t think this is the end.I believe there’s something more to our love. 2. They’re telling you I don’t deservethe love of such a perfect girl\, but I know you know the truthif you’d just listen to your heart. You’re still with me in my memories.When I fall asleep you’re in my dreams.I’m waiting for you to wake upand realize you love me.  I want to start again.I don’t think this is the end.I believe there’s something more to our love.  \nIntroduction and Rondo CapricciosoCamille Saint-Saens\nBabiryeSamuel Nalangira\, arr. Scheer\nBabirye* It’s time to be going\, and where we are going is so far\, so far away.  Our journey will lead into the mountains and into the forest where evening gets so dark.  If the way grows too dark our journey may be over; It may be too dangerous; there is so much to fear.  Please remember my precious daughter\, my baby girl you must be you must be very careful.  You must go where I go\, you must step where I step. I don’t always know what lies ahead.  There’s no time; now we must go. Just pack what you can carry and we’ll walk out the door.  Hurry\, my love. My daughter\, my child\, we must go now.  Babirye\, my little girl. Babirye\, we must go away. Babirye\, my little girl. Babirye\, we must go away.  Stay by me. Stay very close. I will keep you safe though the way is long. We must keep moving on.  Hurry\, my love. My daughter\, my child\, we must go now.  Babirye\, my little girl. Babirye\, we must go away. Babirye\, my little girl. Babirye\, we must go away.  *”Babirye” means “the first born girl among twins.”   \nDóng máu Lạc Hồng (The Children of Lac Hong)Vietnamese patriotic song\, arr. Scheer\nDòng máu Lạc Hồng / The Children of Lac Hong We bear the blood of Lac Hong. Four thousand years\, it still runs strong. Our hearts are one; heart of the dragon beats forevermore.  Throughout the land\, we hear its drum\, through generations echoes on. The hero’s call\, the mother’s song\, tell the proud tale once more.  Vietnam\, we’re filled with love as bamboo sways and rivers run. Birds take flight; they’re soaring on. We’ll sing the song of great Lac Hong.  Vietnam\, we sing the song\, and hand in hand\, we’re marching on. We’re the children of Lac Hong; heart of the dragon beating strong for love of Vietnam!   \nWonderful Worldsarr. Victor López\nThe Music Unites Us concert will bring together local musical talent and the Holland Symphony Orchestra in a groundbreaking celebration of diversity at 7:00 p.m. on Saturday\, August 12 in Kollen Park. This free community concert aims to showcase cultures that make up Our Wonderful World here in West Michigan. \nBring your lawn chairs and blankets and arrive early to scope out your spot for this one-of-a-kind concert experience. \nFood and beverages will be available for purchase from:Abeshia Ghanian CuisineCrepes by the LakeMezkla Taqeria & FruiteriaRobinson’s Popcorn \nMusic Unites Us is a collaborative musical effort between the Holland Symphony Orchestra and Holland community to celebrate diversity and showcase the musical gifts of frequently underrepresented groups of people. The concert will showcase Cumbia\, Vietnamese\, Ukrainian and Ugandan pieces reimagined with the support of a symphony orchestra\, as composed by Greg Scheer. We are also honored to feature Julia LaGrand as a guest violinist bringing attention and awareness to disability and inclusivity within our community. \nThis free community concert is made possible thanks to our concert sponsors: MillerKnoll Foundation\, Gentex Corporation\, Macatawa Area Coordinating Council\, the Brooks family\, Macatawa Bank and the snack wagon. The concert is partially sponsored by Michigan Arts & Culture Council and the National Endowment for the Arts.   \nAdditional thanks to our partner organizations: I AM Academy\, Lakeshore Ethnic Diversity Alliance\, Latin Americans United for Progress\, West Michigan Asian American Association\, Lakeshore Disability Network \nGrupo Super Nova is a Cumbia band of brothers from Puebla\, Mexico. Nate\, Christian\, Hector\, and Juan Garcia grew up in Holland\, Michigan after immigrating here in 1990. This family-centered band has adapted and grown over the years\, learning new instruments\, and trying new venues and events. They reflected that as Holland has become more diverse\, a lot of the community has become more interested in learning about other cultures. Playing with the symphony orchestra is a bucket list item!  \nCuong Luong is a Vietnamese singer and performer who immigrated to West Michigan in 2015. In Vietnam\, he regularly competed in singing competitions and won numerous competitions\, including first place in Vietnam’s “The Voice.” He continues to compete in American Vietnamese vocal competitions with a growing following on YouTube. Luong uses his operatic influence and choreography to tell stories through music. He has dreamt of performing in front of an American audience and is excited that the Holland Symphony Orchestra has provided him this unique opportunity.  \nNina Tritenichenko is a Ukrainian singer and Bayan accordion player who has lived in Holland for the past 12 years\, and fondly referring to the area as “New Ukraine” due to its similarity in climate. Tritenichenko has a master’s degree in music education and performance\, has taught lessons and grown a YouTube following with over 800 videos\, and accompanied an orchestra for the first time at the age of 9. She believes love is a language we can understand without translation and prefers to communicate through the power of music.  \nSamuel Nalangira is a Ugandan born musician and educator who relocated his talents to West Michigan in 2018. He uses his passion for and experience in traditional African music and dance to spread awareness and love through performances and lessons. He is constantly writing music\, inspired by everything around him\, and feels very blessed to be able to grow his music career here. Nalangia did not plan on staying in Michigan long term but was surprised by how welcoming and loving the people are here and cannot imagine leaving at this point. He is inspired by the good people in this community to continue to work hard and bring people together through music\, especially music that makes you want to dance!  \nJulia LaGrand is a classical violinist and disability advocate from Grand Rapids\, MI. LaGrand is passionate about exploring what disability can bring to classical music. Being blind has forced her to know the music inside and out\, including pieces that musicians don’t usually memorize as she cannot read and play at the same time. She believes “music can be a powerful social force.” Music can be transformative\, but in order to meet its full potential\, LaGrand notes that “it has to be a really\, really inclusive space.” These dual passions of music and inclusivity continue to drive her activism and educational pursuits as she begins Conservatory in the fall.  \nGreg Scheer is a composer\, author\, and speaker. His life’s work includes two sons (Simon and Theo)\, two books (The Art of Worship\, 2006\, and Essential Worship\, 2016)\, and hundreds of compositions\, songs\, and arrangements in a dizzying variety of styles. \nGreg is well-known for his sacred music\, with congregational songs in numerous hymnals\, dozens of choral anthems available from traditional and online publishers\, settings of 75 Psalms\, a hundred global song translations/editions\, and arrangements for choir\, orchestra\, piano\, and jazz ensemble.  \nGreg has composed for just about every ensemble: symphony orchestra\, string quartet\, brass quintet\, choir\, piano\, cello septet\, organ\, and electronic compositions. He has received commissions from Baylor University\, The Chagall String Quartet\, the Calvin Community Symphony\, and many others.  Greg has written pop\, rock\, jazz\, folk\, and punk for years. Currently\, he leads the St. Sinner Orchestra\, described as “a grand fusion of classical and rock music” and “Eleanor Rigby’s favorite band.” You can visit St. Sinner’s website to learn more and listen to our music. Also online is Greg’s 2013 solo album Half the Man.  \nGreg’s music blog is where he posts all his latest musical creations: demos of news songs\, live recordings\, experiments\, outtakes–anything he’s working on at the moment. Posts often include lyrics and the story behind the music. If you want to be the first to hear it\, you need to subscribe to the Musical Diary of Greg Scheer. \n [INSERT_ELEMENTOR id=”7643″] URL:https://hollandsymphony.org/events/8264/ LOCATION:Kollen Park Henry VanderLinde Bandshell\, 240 Kollen Park Dr.\, Holland\, MI\, 49423\, United States ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2023/05/5-2-23_MUU-FB-Event-Photo.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20230622T190000 DTEND;TZID=UTC:20230622T210000 DTSTAMP:20260403T152919 CREATED:20230418T223000Z LAST-MODIFIED:20230617T163753Z UID:8257-1687460400-1687467600@hollandsymphony.org SUMMARY:Pops at the Pier DESCRIPTION:Concert Sponsor:\n \n \n Tickets\n \n\nProgram\nInformation\nArtist bio\n\nProgram\nThursday\, June 22\, 2023Eldean Boat Shed #3 \nCarl Topilow\, Guest Conductor \nConnor Bogart O’Brian\, vocalist \n6:00 p.m.Holland Jazz Orchestra \nProgram announced from the stage \n7:00 p.m.Holland Symphony Orchestra \nAlso Sprach Zarathustra – Introduction \nJailhouse Rock and C’Mon Everybody \nCopacabana \nPinball Wizard (The Who)      \nMedley from Chicago \nAll I Care About is Love \nHey Jude (The Beatles) \n76 Trombones from The Music Man \n“This is the Moment” from Jekyll and Hyde \n“Clarinetist” on the Roof Carl Topilow. clarinet \nINTERMISSION \nOh What a Night from Jersey Boys \nCan’t Take My Eyes off of You from Jersey Boys \nA George Gershwin MedleyCarl Topilow. clarinet \nMedley from Grease  \nMambo from West Side Story \n“Aldolpho” from The Drowsy Chaperone \nQueen on Stage      \nYou’ll Be Back \nMy Way \nThursday\, June 22\, 2023 Eldean Boatshed #3\, Macatawa \nClick below to see a video from last year’s Pops at the Pier concert! \nhttps://hollandsymphony.org/wp-content/uploads/2023/06/Pops-on-the-Pier-1-2.mp4 \n6:00pm Holland Concert Jazz Orchestra7:00pm Holland Symphony Orchestra with Connor O’Brian \nPops at the Pier on Thursday\, June 22nd\, rain or shine!  Inside the boat shed you will be treated to a delightful evening of music favorites from Broadway\, food and fun with Holland Symphony and Guest Conductor\, Carl Topilow from the Cleveland Pops and Broadway singer\, Connor Bogart O’Brian.  Enjoy the best of Broadway with songs from Hamilton\, Phantom\, Les Misérables\, Jersey Boys and Music Man!  This fun filled show produced by one of the most successful entertainers will be sure to delight all ages.  Doors open at 5:30. \nTwo food trucks from Mezkla and daKidd BBQ will be at the concert with summer food selections available for sale. Beer\, wine\, and water are also available for purchase starting at 5:30pm. \nWe encourage audience members to bring their own chairs\, but there will be some available at the shed on a first come-first served basis. \nThis concert is sponsored by University of Michigan Health – West.  Special thanks for the in-kind support of Eldean Shipyard\, Waterfront Film Festival and Anchorage Marina Yacht Club. \nHolland Concert Jazz Orchestra will begin the show performing for pre-concert enjoyment at 6:00pm. Then the Holland Symphony will take the stage at 7:00pm. \nTickets for the show will be $30 Adults and $5 Students. Tickets are available from the Symphony online\, by phone at 616-796-6780\, or at the concert. \nConnor Bogart O’Brian\nA classical violinist since the age of five\, Connor Bogart (Connor Bogart O’Brian) studied opera at the Eastman School of Music in New York\, and has since toured the globe as a professional performer. \nNotable theater performances have included leading roles in Miss Saigon (Chris)\, West Side Story (Tony)\, Sweeney Todd (Anthony)\, Rock of Ages (Stacee Jaxx)\, The Last Five Years (Jamie)\, Company (Bobby)\, Joseph and The Amazing Technicolor Dreamcoat (Joseph)\, Forever Plaid (Sparky)\, as well as Altar Boyz (Abraham). A native of Northeast Ohio\, Connor decided to leave the violin behind to study vocal performance/opera at the prestigious Eastman School of Music in New York (U. S. News and World Report ranked #1 Music Conservatory in America 2010-2012) under the direction of Dr. Robert McIver. During his time at Eastman\, he also auditioned for\, and was subsequently accepted into the nationally ranked male a cappella group\, The University of Rochester Yellowjackets\, (as seen on NBC’s “The Sing Off”) as a featured soloist. After recording several award winning albums with the group\, a love of singing without instruments took hold and in subsequent years led to executive producing future Yellowjacket albums and being a national finalist for the world famous vocal band Rockapella in their search for a new second tenor. \nConnor has been a featured soloist with The Charlotte Symphony\, The Fort Worth Symphony\, the National Repertory Orchestra\, The Cleveland Pops\, The Symphony of Southeast Texas\, The Detroit Symphony Orchestra\, The Rochester Philharmonic\, The Toledo Symphony\, The Mansfield Symphony\, The New Haven Symphony\, The Akron Symphony\, The Rappahannock Pops\, Music In The Mountains (The Dallas Symphony)\, The Fireland Symphony\, and the Cleveland Orchestra. He has served as executive music supervisor and composer to The Discovery Channel for their series\, [The Kustomizer\, and as a songwriter\, had had several of his original songs featured on national television. \n“Inside Out\,” the lead single from his self-titled first album\, vaulted to the number one radio position in France\, and held the position for several weeks. Two full-length albums followed\, “Soliloquy” which featured a cover story in Scene Magazine\, as well as the hit single “Ready To Fall\,” a national semi-finalist entry in Sony Music and Clear Channel’s “Radiostar” competition hosted by Ryan Seacrest and KISS FM’s Elvis Duran. His third album “Prizefighter” is his latest rock release. \nHe has since toured the U.S\, and along with his band\, has performed as the opening act on over 20 national tours\, including Ashlee Simpson\, Huey Lewis and The News\, Edwin McCain\, Richard Marx\, Rick Springfield\, Hall & Oates\, and Mariah Carey. Connor can currently be heard behind the scenes singing and recording jingles for companies such as Hasbro Toys and American Greetings\, performing on tour with native Clevelander and Grammy nominee Jim Brickman\, as well as in over 32 countries worldwide as a headlining act on Princess\, Holland America\, Celebrity and Royal Caribbean cruise lines with his previous group of Broadway veterans\, “The Matinee Idols\,” his current solo show available in both English and Mandarin Chinese\, and as the Guest Rock Tenor in Princess’ Cruises newest production show\, “Rock Opera.” \nCarl Topilow\, Guest Conductor\nCarl Topilow is renowned worldwide for his versatility\, whether he is holding a conductor’s baton or his trademark red clarinet. He is a multi-talented virtuoso who is equally at home in classical and popular music both as conductor and instrumentalist. Carl’s pops performances blend the music of Broadway and Hollywood\, as well as popular music\, light classics and jazz\, often finding an occasion to include a number on his array of brightly colored clarinets. His unique approach to pops programming includes extensive audience involvement and true showmanship. \nCarl is a graduate of the Manhattan School of Music\, with a degree in clarinet performance and a masters degree in music education. He has held conducting fellowships with the National Orchestral Association with Leon Barzin and the Aspen Music Festival under Jorge Mester. Carl began his professional career as Exxon Arts Endowment Conductor of the Denver Symphony Orchestra. \nFollowing his longtime dream of conducting his own pops orchestra\, Carl founded the Cleveland Pops Orchestra. The orchestra\, currently in its 25th season\, plays its subscription series in Severance Hall and performs in several other locations throughout Ohio. The Cleveland Pops Orchestra’s diverse\, innovative and electrifying programs have been critically acclaimed. The orchestra has three CDs\, Music to Grow On\, an exciting collection of music for children and adults of all ages\, Live at the Pops\, a stirring compilation of music taken from live performances\, and a 20th anniversary CD\, which includes a selection of live performances taken from concerts over a span from the past decade. \n [INSERT_ELEMENTOR id=”7643″] URL:https://hollandsymphony.org/events/pops-at-the-pier/ LOCATION:Eldean’s Boat Shed\, 2150 S. Shore Drive\, Holland\, 49423\, United States ATTACH;FMTTYPE=image/png:https://hollandsymphony.org/wp-content/uploads/2023/04/1.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20230422T193000 DTEND;TZID=UTC:20230422T213000 DTSTAMP:20260403T152919 CREATED:20220519T222943Z LAST-MODIFIED:20240907T101817Z UID:6796-1682191800-1682199000@hollandsymphony.org SUMMARY:Romantic Masterpieces DESCRIPTION:Tickets\n \n\nProgram\nInformation\nProgram Notes\nArtist bio\nPre-Concert Talk\n\nProgram\nSaturday\, April 22\, 2023\, 7:30 p.m.Jack H. Miller Center for Musical Arts\, Hope College \nJohannes Müller Stosch\, Music Director and Conductor \nDavid Grogan\, Baritone \nTwo movements from Old Vienna SerenadesJosef Marx (1882-1964) \n\nAria. Andante appassionato\nTempo di Menuetto\n\nSongs of a WayfarerGustav Mahler (1860-1911) \n\n Wenn mein Schatz Hochzeit macht (“When My Sweetheart is Married”)\n Ging heut Morgen über’s Feld (“I Went This Morning Over the Field”)\n Ich hab’ ein glühend Messer (“I Have a Gleaming Knife”)\n Die zwei blauen Augen (“The Two Blue Eyes of my Beloved”)\n\nDavid Grogan\, Baritone \nIntermission \nSymphony No. 4 in E minor\, Op. 98Johannes Brahms (1833-1897) \n\n Allegro non troppo\n Andante moderato\n Allegro giocoso\n Allegro energico e passionato\n\nSeason Ticket SeriesThe final concert of the 22-23 season will feature German and Austrian romantic masterpieces with their full range of emotional expression. The concert will open with two movements from Marx’s Old Vienna Serenades. Baritone David Grogan will join the HSO for Mahler’s Songs of a Wayfarer. The concert will conclude with Brahms’s Symphony No 4 in E minor. \nTickets are $25 for adults and $5 for students through college. \nLearn more about the music…\nWe will be hosting not only the Classical Chat series at Freedom Village\, but also Pre-Concert Talks!  Details below: \nClassical Chats at Freedom Village:  These informative and fun talks are led by Johannes Müller-Stosch and take place at 3:00pm on the Thursday before each Classics concert.  (Freedom Village\, 6th Floor Auditorium\, 145 Columbia Ave.) \nPre-Concert Talks:  These talks\, led by Johannes Müller-Stosch and Amanda Dykhouse\, are online under the “Pre-Concert Talk” Tab.   \nNew to the Symphony?  Check out the Frequently Asked Question page… \nParking Map at the Miller Center \nHolland Symphony Orchestra will reserve and monitor Lot 40 for handicapped parking.  The faculty parking lots are available for parking after 5pm \n \nAlt-Wiener Serenaden (Old Vienna Serenades)Joseph Marx\nBorn: May 11\,1882\, GrazDied: September 3\, 1964\, GrazComposed: 1941Approximate Duration: 8 minutes (two movements)Instrumentation: 3 flutes (one doubling piccolo)\, 2 oboes (one doubling English horn)\, 3 clarinets (one doubling bass clarinet)\, 2 bassoons\, 4 French horns\, 1 trumpet\, timpani\, celeste\, harp\, strings \nJoseph Marx was born in Graz\, Austria.  His mother taught him piano at an early age\, and he taught himself how to play violin and cello.  He was raised in Graz and went to Graz University.  His father wanted him to study law\, but Marx initially focused on philosophy and other liberal arts.  When he turned more fully to musical studies it led to a break with his family.  He wrote an important thesis that presented a scholarly study of tonality.  In this work he was the person who coined the term “atonal.”   \nMarx began composing as his primary work in 1908\, ultimately writing over 150 songs.  He focused on orchestral pieces in the 1920s and 1930s\, followed by a time devoted to chamber music.  He assumed a faculty position at the Vienna Music Academy in 1914 and eventually became the director.  He had a lot of influence on many musicians and composers.  He was also one of the most prominent music critics in Vienna\, particularly in the 1930s\, and published influential books on music theory.   \nAs a composer Marx was concerned about upholding the Viennese classical tradition\, both in the forms he used (waltzes\, for example)\, and the use of Austrian folk music.  His work is described as including Impressionist\, Slavonic\, and Italian elements.  Following World War II he thought of himself as a “father figure” for conservative\, tonal music.  He was well known in his lifetime but much of his music fell out of notice due to cultural and political upheaval. \nIn his “Old Vienna Serenades\,” Marks looks back to Haydn and Austrian folk music\, combined with a lot of original material.  The first movement performed at this concert is slow and in a sweeping gentle triple meter\, featuring woodwind and string solos.  The second movement to be performed draws on the rich waltz tradition in Viennese culture.   \nTo listen to the “Aria\,” click here.  To listen to the “Waltz\,” click here. \nLieder eines fahrenden Gesellen (Songs of a Wayfarer)Gustav Mahler\nBorn: July 7\, 1860\, BohemiaDied: May 18\, 1911\, ViennaComposed: 1884-1885Premiered: 1896\, Berlin (orchestral version)Approximate Duration: 16 minutesInstrumentation: 3 flutes (one doubling piccolo)\, 2 oboes (one doubling English horn)\, 3 clarinets (one doubling bass clarinet)\, 2 bassoons\, 4 French horns\, 2 trumpets\, 3 trombones\, timpani\, bass drums\, cymbals\, triangle\, tamtam\, glockenspiel\, harp\, strings \nMany of today’s music lovers think of Mahler as primarily a symphonic composer.  His nine symphonies regularly appear on “World’s Best Symphonies” lists\, and these works are viewed as milestones for orchestras to learn and perform.  During his lifetime\, though\, Mahler was best known as an opera conductor\, and he got his start as a composer writing songs.   He worked on his first version of “Songs of a Wayfarer\,” with piano accompaniment\, in 1884 and 1885.  He revised and orchestrated it in the 1890s.   \nThis set of songs is loosely autobiographical.  The word traditionally used in the English translation of the work’s title is “wayfarer\,” but it would more accurately be translated “journeyman” or “tradesman.”  This term was used for individuals who had completed an apprenticeship program in a trade.  Typically these people would travel to various places and learn from various masters before settling down somewhere.  As a young composer\, Mahler identified with this tradition as he moved around and studied with various composers and conductors.   \nThe subject matter of these songs is also loosely autobiographical.  Mahler wrote the poetry.  In these songs\, a male narrator experiences romantic heartbreak and wanders the countryside.  His loneliness and despair contrast greatly with the beauty in the world around him.  The first song portrays the narrator thinking of his beloved’s wedding day–to someone else.  The second song reflects a gentle walk through a mountain field\, punctuated by pangs of despair.  The third song presents a vision of a knife plunging into his chest.  The final piece offers some peace and relief\, with the narrator falling asleep under a blossoming linden tree\, though the nature of his “sleep” is ambiguous. \nTo listen to the Mahler\, click here. \nEnglish translation of song texts \n“When My Sweetheart is Married” \nWhen my darling has her wedding-day\, her joyous wedding-day\, I will have my day of mourning! I will go to my little room\, my dark little room\, and weep\, weep for my darling\, for my dear darling!  \nBlue flower! Do not wither! Sweet little bird you sing on the green heath! Alas\, how can the world be so fair? Chirp! Chirp!  \nDo not sing; do not bloom! Spring is over. All singing must now be done. At night when I go to sleep\, I think of my sorrow\, of my sorrow!  \n“I Went This Morning Over the Field” \nI walked across the fields this morning; dew still hung on every blade of grass. The merry finch spoke to me: “Hey! Isn’t it? Good morning! Isn’t it? You! Isn’t it becoming a fine world? Chirp! Chirp! Fair and sharp! How the world delights me!”  \nAlso\, the bluebells in the field merrily with good spirits tolled out to me with bells (ding\, ding) their morning greeting: “Isn’t it becoming a fine world? Ding\, ding! Fair thing! How the world delights me!” \nAnd then\, in the sunshine\, the world suddenly began to glitter; everything gained sound and color in the sunshine!  \nFlower and bird\, great and small! “Good day\, Is it not a fine world? Hey\, isn’t it? A fair world?”  \nNow will my happiness also begin? No\, no – the happiness I mean can never bloom!  \n“I Have a Gleaming Knife” \nI have a red-hot knife\, a knife in my breast. O woe! It cuts so deeply into every joy and delight. Alas\, what an evil guest it is! Never does it rest\, never does it relax\, not by day\, not by night\, when I would sleep. O woe!  \nWhen I gaze up into the sky\, I see two blue eyes there. O woe! When I walk in the yellow field\, I see from afar her blond hair waving in the wind. O woe!  \nWhen I start from a dream and hear the tinkle of her silvery laugh\, O woe! I wish I could lay down on my black bier – Would that my eyes never open again!  \n“The Two Blue Eyes of My Beloved” \nThe two blue eyes of my darling they sent me into the wide world. I had to take my leave of this most-beloved place! O blue eyes\, why did you gaze on me? Now I have eternal sorrow and grief.  \nI went out into the quiet night well across the dark heath. To me no one bade farewell. Farewell! My companions are love and sorrow!  \nBy the road stood a linden tree\, Where\, for the first time\, I found rest in sleep! Under the linden tree that snowed its blossoms over me\, I did not know how life went on\, and all was well again! All! All\, love and sorrow and world and dream! \nSymphony No. 4 in E Minor\, Op. 98Johannes Brahms\nBorn: May 7\, 1833. HamburgDied: April 3\, 1897\, ViennaComposed: 1884–85Premiered: October 25\, 1885\, MeiningenApproximate Duration: 40 minutesInstrumentation: 2 flutes\, piccolo\, 2 oboes\, 2 clarinets\, 2 bassoons\, contrabassoon\, 4 horns\, 2 trumpets\, 3 trombones\, timpani\, triangle\, and strings \nMusic donated by Douglas & Jennifer Griffith \nBrahms is well-known among musicologists and music history students for his reluctance to write a symphony.  In 1872\, he famously stated\, “I shall never write a symphony!  You can’t have any idea what it’s like to hear such a giant marching behind you.”  That giant was Beethoven\, who had taken the symphony structure introduced by earlier composers and had pushed it to new limits of complexity\, refinement\, and emotional depth.  Many late nineteenth century composers thought that Beethoven’s symphonies were so perfect that subsequent composers shouldn’t try to innovate further\, instead turning to new genres.  Brahms fundamentally disagreed\, exploring the forms of the past and discovering new layers\, colors\, and complexity.  He wanted to make sure the symphony remained a relevant genre.  He ultimately conquered his feelings of intimidation and composed his first symphony in 1876–a work raw with power\, sound\, and emotion. He wrote his second\, a joyful and optimistic work\, in 1877.  His third\, the most introspective\, came in 1882-3. \nBrahms wrote his fourth symphony during two summer vacations in 1884 and 1885 in Mürzzuschlag in the Styrian Alps\, southwest of Vienna.  Brahms often reflected that his pieces sounded like the locations where he composed them.  While composing this symphony he wrote to a friend that the work “tastes of the climate here; the cherries are hardly sweet here—you wouldn’t eat them!”  Brahms sometimes referred to it as a “new tragic symphony.”  Indeed the symphony is filled with emotional extremes: joy and sorrow\, tenderness and severity\, exuberance and restraining.  The work builds from one movement to the next.  The conductor of the first rehearsal remarked\, “[it is] gigantic\, altogether a law unto itself\, quite new\, steely individuality. Exudes unparalleled energy from first note to last.” \nThe first movement begins with a simple four-note theme in the strings.  Brahms develops and elaborates on this simple\, searching melody in endless ways.  These “sighs” eventually evolve from lament to nervous agitation and finally into tragic resignation.  The second movement begins with a summons\, a horn call that transforms into a gentle melody.  This quiet song passes through a wide range of moods\, tonalities\, and colors before a peaceful ending.  The third movement is lively\, aggressive\, and humorous\, providing a break from the emotional intensity of the first two movements.  Whatever “joke” Brahms intended in this scherzo\, though\, is quickly upended by what was the most pessimistic\, relentless concluding movement to a symphony to date.  In the last movement Brahms makes his most direct connection with the past\, drawing on an early Baroque form called the chaconne\, a moderately paced continuous flow of variations on top of a recurring bass line\, usually written in triple meter.  The winds and brass initially outline eight huge chords that provide the foundation for thirty-two variations and a coda.  Unlike Brahms’s previous symphonies\, which ended in a major key or quietly\, this one ends abruptly and severely.   \nTo listen to the Brahms\, click here. \n  \nDavid Grogan\, Baritone\nThe American baritone and music pedagogue\, David Grogan\, holds Bachelor of Music Education and Master of Music degrees from Texas Christian University\, where he studied voice with Sheila Allen and pedagogy with Vincent Russo. His love of choral music was solidified under the tutelage of the late Ronald Shirey\, who taught Grogan much of his musicality. He earned his Doctor of Musical Arts in Vocal Performance and Pedagogy in 2010 from the University of North Texas\, where he studied voice with Jeffrey Snider\, pedagogy with Stephen Austin\, and worked closely with Lyle Nordstrom in the early music program. Grogan’s dissertation was on the vocal pedagogy of Frederic W. Root\, who was an American vocal pedagogue of the 19th century. A shorter version of the dissertation was published in the January 2010 Journal of Singing under the title\, “The Roots of American Pedagogy.” \nDavid Grogan joined the faculty at the University of Texas Arlington in the fall of 2009\, first as visiting professor and in 2010 as tenure-track Assistant Professor of Voice. In addition to providing private vocal instruction for voice majors\, Grogan teaches vocal pedagogy\, voice class\, and choral methods. His background in choral music education is extensive\, including experience directing programs in both private and public schools across the metroplex. As choir director at Dallas Christian School from 1996 to 2000\, Grogan increased choir participation from 15 members to 115\, and took the choir to one of the first TPSMEA competitions. He has taught voice and served as assistant choral director in some of the most prominent programs in the area\, including at Arlington High School under Dinah Menger\, and Manor Middle School under Tommy Haygood. \nTo listen to the pre-concert talk\, click here.\n [INSERT_ELEMENTOR id=”7518″] URL:https://hollandsymphony.org/events/romantic-masterpieces/ LOCATION:Jack H. Miller Center for Musical Arts at Hope College\, 221 Columbia Ave.\, Holland\, MI\, 49423\, United States ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2021/06/David-Grogan-e1653058285401.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20230326T150000 DTEND;TZID=UTC:20230326T170000 DTSTAMP:20260403T152919 CREATED:20220906T020612Z LAST-MODIFIED:20230309T013349Z UID:7326-1679842800-1679850000@hollandsymphony.org SUMMARY:HSYO Spring Concert DESCRIPTION:Program\nInformation\nProgram Notes\nArtist bio\n\n \n Tickets\n \n [INSERT_ELEMENTOR id=”7527″] URL:https://hollandsymphony.org/events/hsyo-spring-concert-4/ LOCATION:West Ottawa Harbor Lights Middle School\, 1024 136th Ave\, Holland\, MI\, 49424\, United States ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2021/05/HAYO-pic-fall-2019-small-1024x737-1-e1623945205856.jpeg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20230319T153000 DTEND;TZID=UTC:20230319T170000 DTSTAMP:20260403T152919 CREATED:20220519T222933Z LAST-MODIFIED:20230309T012655Z UID:6794-1679239800-1679245200@hollandsymphony.org SUMMARY:Dance into Spring! DESCRIPTION:Program\nInformation\nProgram Notes\nArtist bio\n\nProgram\nSunday\, March 19\, 2023 at 3:30 p.m.\nHolland Civic Center Place \nJohannes Müller Stosch\, Music Director and Conductor \nH2 Dance Co.\nHope College \nDanzon No. 2\nArturo Márquez (b. 1950) \nWaltz from Sleeping Beauty\nPeter Ilyich Tchaikovsky (1840-1893) \nHungarian Dances 5 & 6\nJohannes Brahms (1833-1897) \nSlavonic Dance No. 10 in E minor\, Op. 72\, No. 2\nAntonín Dvořák (1841-1904) \nRite of Spring\nIgor Stravinsky (1882-1971)\n(McPhee Reduction) \nPART I: Adoration of the Earth\nIntroduction\nThe Augurs of Spring—Dances of the Young Girls\nRitual of Abduction\nSpring Rounds\nRitual of the Rival Tribes\nProcession of the Sage\nThe Sage\nDance of the Earth \nPART II: The Sacrifice\nIntroduction\nMystic Circle of the Young Girls\nGlorification of the Chosen One\nEvocation of the Ancestors\nRitual Action of the Ancestors\nSacrificial Dance (The Chosen One) \nSeason Ticket Series\nThis season\, the Classics Discovery concert celebrates the medium of dance with the H2 Dance Co.\, a pre-professional dance company at Hope College\, performing the Rite of Spring by Stravinsky. Also performing will be the winner of the 2023 Norbert Mueller High School Concerto Competition. Selected Hungarian Dances by Brahms will also be featured. This concert is designed for families of all ages. \nTickets are $25 for adults and $5 for students through college. \nLearn more about the music…\nWe will be hosting not only the Classical Chat series at Freedom Village\, but also Pre-Concert Talks!  Details below: \nClassical Chats at Freedom Village:  These informative and fun talks are led by Johannes Müller-Stosch and take place at 3:00pm on the Thursday before each Classics concert.  (Freedom Village\, 6th Floor Auditorium\, 145 Columbia Ave.) \nPre-Concert Talks:  These talks\, led by Johannes Müller-Stosch and Amanda Dykhouse\, will be online this year under the “Pre-Concert Talk” Tab.  There are opportunities for you to ask questions about upcoming programs on that tab.  We look forward to resuming live Pre-Concert Talks when the pandemic lessens. \nNew to the Symphony?  Check out the Frequently Asked Question page… \nParking Map at the Miller Center \nHolland Symphony Orchestra will reserve and monitor Lot 40 for handicapped parking.  The faculty parking lots are available for parking after 5pm \n \nDanzón No. 2\nArturo Marquez\nBorn: December 20\, 1950\, Álamos\, Sonora\, Mexico\nComposed: 1994\, commissioned by the National Autonomous University of Mexico\nPremiered: 1994\nApproximate Duration: 10 minutes\nInstrumentation: 2 flutes (one doubling piccolo)\, 2 oboes\, 2 clarinets\, 2 bassoons\, 4 French horns\, 2 trumpets\, 3 trombones\, tuba\, timpani\, bass drum\, suspended cymbals\, snare drum\, güiro\, claves\, 3 tomtoms\, piano\, strings \nArturo Marquez is one of Mexico’s most prominent living composers.  He studied at the Conservatory of Music of Mexico\, at the California Institute of the Arts\, and in Paris.  He was the recipient of a Fulbright Scholarship and numerous grants and awards from both the Mexican and French governments\, which enabled him to visit and study many diverse places.  Recently Marquez has dedicated himself to researching the folk traditions of nearly every region in Mexico.  He has become passionate about many traditional genres\, and uses his compositions “to pay tribute to them in the concert halls.” \nMarquez has used the danzón form on numerous occasions.  This genre of dance music traces its roots to nineteenth century Cuba.  It describes a dance step involving small movements of feet and hips in a tight square of floor space.  Marquez says\, “The danzón is today still very popular in Mexico.  In Veracruz\, there are special town squares where it is still danced two or three times a week.  It’s a very strong tradition.  In Mexico City\, there are special dance halls where only danzón is danced.”  He wrote the following description of this danzón: \n“The idea of writing the Danzón 2 originated in 1993 during a trip to Malinalco with the painter Andrés Fonseca and the dancer Irene Martínez\, both of whom [have] a special passion for the danzón\, which they were able to transmit to me from the beginning\, and also during later trips to Veracruz and visits to the Colonia Salon in Mexico City. From these experiences onward\, I started to learn the danzón’s rhythms\, its form\, its melodic outline\, and to listen to the old recordings by Acerina Mariano Merceron and his Danzonera Orchestra. I was fascinated and I started to understand that the apparent lightness of the danzón is only like a visiting card for a type of music full of sensuality and qualitative seriousness\, a genre which old Mexican people continue to dance with a touch of nostalgia and a jubilant escape towards their own emotional world; we can fortunately still see this in the embrace between music and dance that occurs in the State of Veracruz and in the dance parlors of Mexico City. “Danzón 2 … endeavors to get as close as possible to the dance\, to its nostalgic melodies\, to its wild rhythms\, and although it violates its intimacy\, its form and its harmonic language\, it is a very personal way of paying my respects and expressing my emotions towards truly popular music.” \nThe explosive\, driving rhythm and melodic inventiveness of Danzón No. 2 have made it the most frequently performed contemporary Mexican work.  The piece showcases vibrant\, lively brass\, suave woodwinds and driving percussion.  Its Latin energy and sassy dance rhythms are reminiscent of Mexican street music.  The music starts with swaying melodies\, quickens into sharp\, staccato effervescence\, calms into a slow\, easy tango\, then finishes in a dramatic climax. \nTo listen to Danzón No. 2 \, click here. \nHungarian Dances Nos. 5 & 6\nJohannes Brahms\nBorn: May 7\, 1833\, Hamburg\nDied: April 3\, 1897\, Vienna\nComposed: 1868\nApproximate Duration: 3 & 4 minutes\nInstrumentation: 2 flutes (one doubling piccolo)\, 2 oboes\, 2 clarinets\, 2 bassoons\, 4 French horns\, 2 trumpets\, 3 trombones\, timpani\, strings \nMany nineteenth century composers and musicians had a fascination with “Hungarian” music.  At various times during this century refugees fled revolutions in Hungary\, many looking for a new life in the United States.  Brahms encountered gypsy fiddle tunes in a significant way in his late teens when he heard the Hungarian violinist Eduard Reményi\, who had a “gypsy style.”  The two became friends and toured Europe together in the 1850s as a violin-piano duo.  At this time he began collecting Hungarian folk tunes–a project that lasted most of his life.  The tunes Brahms collected were not authentic\, peasant tunes like those that Bartók and Kodály recorded in the twentieth century.  Instead\, Brahms gathered the stylized tunes curated for city audiences as they were played by “gypsy bands” in cafes and on street corners.  Gradually Brahms wrote these tunes down–retaining their dramatic melodies and quickly changing rhythms and moods–as four-hand piano duets (two pianists playing on one piano).  To his publisher\, Brahms wrote\, the dances were “genuine gypsy children\, which I did not beget\, but merely brought up with bread and milk.”  He enjoyed playing them with friends\, and there was an eager market for these duets\, so he ultimately published them in two groups: ten in 1869 and eleven in 1880. \nBrahms’s Hungarian Dances were so popular that they have been arranged for almost every possible instrumentation.  All twenty-one have been orchestrated.  Dvořák orchestrated the last five\, Brahms orchestrated three\, and others\, including Parlow\, arranged the rest.  No. 5 in G minor is the most frequently played and arranged of all the dances.  It is based on the Csárdás Bártfai emlék (Memories of Bártfa)\, by Hungarian composer Béla Kéler.  Brahms mistakenly thought this tune was a traditional folk song.  No. 6 in D-flat Major opens gently with fast interruptions\, ultimately rushing to a rapid conclusion. \nTo listen to Hungarian Dances Nos 6 & 5 (in that order)\, click here. \nSlavonic Dance in E minor\, Opus 72\, No. 2\nAntonín Dvorák\nBorn: September 8\, 1841\, Nelahozeves\, near Kralupy\, Bohemia\nDied: May 1\, 1904\, Prague\nComposed: 1886-1887\nApproximate Duration: 6 minutes\nInstrumentation: 2 flutes\, 2 oboes\, 2 clarinets\, 2 bassoons\, 4 French horns\, timpani\, strings \nBehind Dvorak’s Slavonic Dances lies a story of musical friendship.  By the mid-1870s\, Johannes Brahms was considered one of Europe’s leading composers and served on a committee to award stipends to talented but undiscovered composers living in outlying provinces of the Austrian Empire.  Austria controlled Bohemia\, the modern-day Czech Republic\, making Dvorák a potential candidate.  Brahms was deeply impressed by Dvorák’s music\, so in addition to awarding Dvorák a monetary prize\, he used his influence to secure performances for Dvorák’s music.  Brahms also asked his publisher\, the prestigious Simrock\, to take on Dvorák and promote his works.  Simrock had recently reaped substantial profits from Brahms’ Hungarian Dances for piano four-hands.  In 1878\, the firm asked Dvorák to create a similar set\, based on his own native dance traditions.  He responded with eight Slavonic Dances\, arranging them for orchestra as well as piano duet.  These dances launched Dvorák’s fame beyond his native Bohemia.  They were so popular that Simrock asked for another set of eight dances\, but Dvorak declined\, saying\, “You will forgive me\, but I simply have not the slightest inclination now to think of such light music\,” was Dvořák’s response. “As long as I am not in the right mood for it\, I cannot do anything. It is something that cannot be forced.”  Eight years later\, he was in the mood again and wrote eight more during one month in the summer of 1886. \nDvorák did not base his Slavonic Dances on actual Czech folk tunes.  He wrote the melodies himself\, orchestrated them colorfully\, and filled them with the robust rhythmic patterns and characters of traditional Czech folk music.  Each dance consists of two or more dance themes with contrasting moods\,  keys\, and tempos.  The first set of dances consisted of lively and joyful Czech dances\, but the Op. 72 set is more varied in tone and nationalistic influence.  No 2 is a Starodávný\, in a triple meter.  It begins and ends with a slow\, melancholy tune\, which Dvořák said should be played expressively\, and the middle section provides contrast with a sparkling tune in E Major. \nTo listen to Slavonic Dance Op. 72\, No. 2\, click here. \n“Waltz” from Sleeping Beauty\, op. 66\nPeter Ilyich Tchaikovsky\nBorn: May 7\, 1840\, Kamsko-Votkinsk\, Russia\nDied: November 6\, 1893\, St. Petersburg\, Russia\nComposed: 1888-1889\nPremiered: 1890\nInstrumentation: 2 flutes\, piccolo\, 2 oboes\, English horn\, 2 clarinets\, 2 bassoons\, 4 French horns\, 2 trumpets\, 2 cornets\, 3 trombones\, tuba\, timpani\, clochettes\, strings \nPeter Tchaikovsky wrote three major ballet scores\, using his gifts for melody\, orchestral color\, and rhythm to elevate ballet music to a new level.  In 1877 Tchaikovsky debuted Swan Lake\, which met with mixed reviews due to its complex and complex music\, dark subject matter\, and high demands he placed on the dancers.  The Nutcracker premiered in 1892.  In between these two\, Ivan Vseolozhky\, director of the Imperial Theater in St. Petersburg\, commissioned Peter Tchaikovsky in 1888 to write a ballet set to the story of Sleeping Beauty\, a story about a princess who awakens from a magic spell with the kiss of true love from a well-known seventeenth century book of fairy tales by French author Charles Perrault.  He wrote\, “I want to stage it in the style of Louis XIV\, allowing the musical fantasy to run high and melodies to be written in the spirit of Lully\, Bach\, Rameau and such-like.”  Many musical authorities\, including Igor Stravinsky\, think this is Tchaikovsky’s best ballet music. \nThis ballet also met with mixed reactions initially.  Some thought it was too sophisticated and “French.”  Tsar Alexander III\, who paid for the lavish staging\, said it was “very nice” after going to a rehearsal.  Soon\, though\, audiences responded eagerly and the ballet became extremely popular.  Tchaikovsky’s music\, along with the choreography and spectacular staging of the original production\, became the model for the Russian imperial ballet style. \nEventually a suite of some of the most popular musical numbers was extracted from this ballet\, as with almost every other well-loved ballet.  The order of movements in the suite doesn’t follow the ballet plot\, but is organized based on the musical preferences of the arranger.  The suite for Sleeping Beauty opens with the original ballet introduction but ends with the Waltz\, which appears in Act I of the ballet.  In this movement several courtiers celebrate Princess Aurora’s sixteenth birthday party.  This famous tune was also featured in Walt Disney’s animated rendition of this fairy tale. \nTo listen to the Sleeping Beauty Waltz\, click here. \nThe Rite of Spring (Le Sacre du printemps)\nIgor Stravinsky\nBorn: June 17\, 1882. Oranienbaum\, Russia\nDied: April 6\, 1971. New York City\nComposed: 1911-12\, in Ustilug\, Ukraine and Clarens\, Switzerland\nPremiered: May 29\, 1913 at the Théâtre des Champs-Élysées in Paris\, as a staged production of Serge Diaghilev’s Ballets Russes\nApproximate Duration: 35 minutes\nOriginal Instrumentation: 3 flutes plus piccolo and alto flute (3rd flute doubling 2nd piccolo)\, 4 oboes and English horn (4th oboe doubling 2nd English horn)\, 3 clarinets plus E-flat clarinet and bass clarinet (2nd clarinet doubling 2nd bass clarinet)\, 4 bassoons and contrabassoon (4th bassoon doubling 2nd contrabassoon)\, 8 horns (7th and 8th doubling tenor tubas\, a.k.a. Wagner tubas)\, 4 trumpets plus high trumpet in D and bass trumpet\, 3 trombones\, 2 bass tubas\, 5 timpani (divided between 2 players)\, bass drum\, tam-tam\, triangle\, tambourine\, guiro\, antique cymbals\, and strings\nRevised Instrumentation (for an orchestra that might fit into an orchestra pit): 3 flutes (including alto flute and piccolo)\, 2 oboes\, English horn\, 3 clarinets (including piccolo clarinet and bass clarinet)\, 3 bassoons (including contrabassoon)\, 4 French horns\, 3 trumpets\, bass trumpet\, 3 trombones\, tuba\, timpani\, bass drum\, cymbals\, triangle\, tambourine\, tamtam\, guiro\, crotales\, strings \nThe program note below was written by Matthew Farmer. \nThe Rite of Spring premiered on May 29\, 1913\, at the Théâtre des Champs-Elysées in Paris\, France. In the audience were two differing communities: those of the established elite who had come to the theatre for an enjoyable evening of expected historic art and culture\, and those captivated by\, and in the throes of\, the Bohemian Revolution. These two communities would clash in a predestined event that was both the ignition and culmination of these differing communities: the premier of Vaslav Nijinky’s “le Sacre du Printemps” (The Rite of Spring). Before the prelude was even completed\, a riot had broken out in the audience as some members cried “ce n’est pas de l’art” (this is not art)\, and others cried “révolution” (revolution). Two warring communities\, each with their own notions of what it means to be a community\, to reflect national pride\, and\, ultimately\, what it means to be alive. In today’s context\, perhaps The Rite of Spring is more necessary than ever. \nIronically the storyline of the original ballet deals with community; specifically\, what a community will do in order to ensure its survival. In the original version presented at the Théâtre des Champs-Elysées\, the community in the ballet chooses a woman (historically identified as a virgin) to dance herself to death for the gods in hopes of bringing on the spring season; thus ensuring the survival of the community for another year. While today’s performance does not follow this original storyline\, it does however address the idea of community. What does it mean to live within a community where threats are both external and within? Is it possible that our community\, at times\, is the very thing that keeps us from growing into fuller human beings? And yet\, if/when we need our community\, how do we lean on them in spite of its flaws and shortcomings? \nWhen a global pandemic arrives\, who is our community? This was the question we all asked ourselves\, and this is the question out of which this newest interpretation of The Rite of Spring was born. \nTo listen to The Rite of Spring\, click here. \nH2 Dance Co.\nH2 Dance Co. is a pre-professional dance company affiliated with the Hope College Department of Dance. It provides professional dance performance and touring experience to its student company members and engages its audiences through artistically and educationally diverse programs. \nH2’s repertory spans all areas of dance\, and seeks to impact its audiences through works that are versatile\, dynamic\, engaging and inspiring; ultimately presenting dance that is both accessible and thought provoking. \n\nTickets\n\n[INSERT_ELEMENTOR id=”7643″] URL:https://hollandsymphony.org/events/dance-into-spring/ LOCATION:Holland Civic Center Place\, 150 W. 8TH STREET\, Holland\, 49423\, United States ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2022/05/H2-Dance-1-scaled-e1653058035274.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20221210T153000 DTEND;TZID=UTC:20221210T170000 DTSTAMP:20260403T152919 CREATED:20220519T222923Z LAST-MODIFIED:20221205T204453Z UID:6792-1670686200-1670691600@hollandsymphony.org SUMMARY:Holiday: Celebrate the Season DESCRIPTION:Concert Sponsor\n\n\nTickets\n \n\nProgram\nInformation\nArtist bio\n\nProgram\nSaturday\, December 10\, 2022\, 3:30 & 7:30 p.m. \nDimnent Chapel\, Hope College \nMichelle Areyzaga\, soprano \nJohannes Müller Stosch\, Music Director and Conductor \n“Polonaise” from Christmas Eve\nNicolai Rimsky-Korsakov \n“Rejoice Greatly” from Messiah\nGeorge Frederic Handel \nJul\, jul\, stralande jul\nGustaf Nordqvist \nOverture to Hansel and Gretel\nEngelbert Humperdinck \nPanis Angelicus\nCeaar Franck \nI’ll be Home for Christmas\nWalter Kent\, arr. Marty Gold \nChristmas Singalong\nJohn Finnegan \nAndante Festivo\nJean Sibelius \nAround the World at Christmas Time\nArr. Bruce Chase \nMaria Wiegenlied\nMax Reger \nO Holy Night\nAdolphe Adam\, arr. Luck \nChristmas at the Movies\nArr. Bob Krogstad \nTickets: Adults: $25 \nStudents through college: $5 \nSaturday\, December 10\, 2022\, 3:30 & 7:30 p.m. \nDimnent Chapel\, Hope College \nTickets: Adults: $25 \nStudents through college: $5 \nSeason Ticket Series\nHolland Symphony presents two traditional Holiday Concerts of classics\, seasonal classics and carols as a gift to the community as we celebrate the season.  Operatic soprano Michelle Areyzaga from the Chicago area joins the HSO sharing her gifts with us.  The two concerts are at 3:30 and 7:30 pm. \nNew to the Symphony?  Check out the Frequently Asked Question page… \nParking at Dimnent Chapel \nThe faculty/staff parking lots are available for parking after 5pm \nMichelle Areyzaga\, soprano\nAs a coveted performer with a diverse repertoire\, American soprano Michelle Areyzaga is held in high regard by orchestras and opera companies throughout the United States and abroad. She has performed operatic roles with New York City Opera in Telemann’s Orpheus as well as in their VOX series\, and has appeared in leading roles with Chicago Opera Theater\, Lyric Opera of Chicago’s In the Neighborhoods programs\, Opera Birmingham\, Ravinia Festival\, and Orquesta Sinfónica del Estado de México. \nMichelle Areyzaga’s association with the music of Leonard Bernstein runs deep. She has become well known for her interpretation of his delightful and moving music – from her portrayal of Cunegonde in Candide to her participation in varied programs featuring his works\, including musical theater and chamber music/recital works. Areyzaga toured the show Bernstein on Broadway together with Jamie Bernstein (Leonard’s daughter) for six years\, performing it with the Cleveland Orchestra\, Minnesota Orchestra\, and the Israel Philharmonic Orchestra\, and the Oregon Bach Festival\, among many others. Areyzaga is still often heard performing Bernstein\, such as her performances in Las Vegas and at Ravinia in conjunction with the composer’s centennial celebration. \nAs an orchestral soloist\, she has appeared with\, in addition to orchestras listed above\,  Richmond Symphony\, Toledo Symphony\, Colorado Symphony Orchestra\, Grant Park Music Festival\, Rochester Symphony\, Phoenix Symphony Orchestra\, Hartford Symphony\, San Antonio Symphony\, Rhode Island Philharmonic\, Wichita Symphony Orchestra\, Cheyenne Symphony Orchestra\, and North Carolina Symphony\, among others. She sang the first Bach B minor Mass in the country of Costa Rica\, under the baton of Maestro John Nelson. \nMs. Areyzaga’s operatic roles have included Susanna\, Le nozze di Figaro; title role\, Madama Butterfly; Cunegonde\, Candide; Adina\, L’elisir d’amore; Despina\, Così fan tutte; Zerlina\, Don Giovanni; Pamina\, Die Zauberflöte; Lauretta\, Gianni Schicchi; both Musetta and Mimì\, La bohème and Casilda in The Gondoliers. \nKnown as a foremost interpreter of vocal art song and chamber music\, Ms. Areyzaga has been a repeat guest of the New York Festival of Song under the direction of Steven Blier and Michael Barrett\, the Chamber Music Society of Lincoln Center\, the Chicago Ensemble\, as well as Chicago’s Dame Myra Hess Memorial Concert Series\, and the Tucson Desert Song Festival. She has collaborated with the Avalon String Quartet\, the Cavatina Duo\, and the Lincoln Trio\, and has been selected to perform world premieres of many new works by American composers. \nAs a recorded artist\, she has performed song cycles by Gwyneth Walker on The Sun Is Love (Proteus). Other recordings include Songs from Spoon River (Cedille) by Lita Grier and The Small Hours\, songs by William Ferris. She has sung numerous times in both live and programmed broadcasts on Chicago’s classical music radio station WFMT. \nMs. Areyzaga made her European concert debut as soloist in Vaughan Williams’ Mass in G Minor at England’s York Minster Cathedral\, Ely Cathedral\, and St. Mary’s Church in Oxford. In Paris\, she received standing ovations as soloist in the Lord Nelson Mass with the orchestra of London’s Royal Academy of Music and the St. Charles Singers. \nMichelle Areyzaga has been named “Artist of the Year” by Pioneer Press and has been an award recipient from the Julian Autrey Song Foundation\, Wm. C. Byrd International Young Artist\, Shreveport Opera Singer of the Year\, Marguerite McCammon Vocal Competition (Ft. Worth Opera)\, NATSAA—National Finalist ”Outstanding Artist”chosen by Teresa Stratas\, Metropolitan Opera National Council (Central Region)\, Viñas Concurs International and the Concert Artist Guild. \nShe received her B.A. in Vocal Performance from Roosevelt University with honors and was a member of Ravinia’s Steans Institute for Young Artists. In addition she has been a member of the OperaWorks Summer intensive Program in L.A. and a member of Chicago Opera Theater’s Debut Artist Series. \nMs. Areyzaga is represented by Alpha Artists Management. \n[INSERT_ELEMENTOR id=”7643″] URL:https://hollandsymphony.org/events/holiday-celebrate-the-season/ LOCATION:Dimnent Chapel\, 277 College Ave.\, Holland\, MI\, 49423\, United States ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2022/05/2020-Michelle-Areyzaga-1-e1652998667569.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20221210T153000 DTEND;TZID=UTC:20221210T170000 DTSTAMP:20260403T152919 CREATED:20220519T222923Z LAST-MODIFIED:20221205T204453Z UID:6792-1670686200-1670691600@hollandsymphony.org SUMMARY:Holiday: Celebrate the Season DESCRIPTION:Concert Sponsor\n\n\nTickets\n \n\nProgram\nInformation\nArtist bio\n\nProgram\nSaturday\, December 10\, 2022\, 3:30 & 7:30 p.m. \nDimnent Chapel\, Hope College \nMichelle Areyzaga\, soprano \nJohannes Müller Stosch\, Music Director and Conductor \n“Polonaise” from Christmas Eve\nNicolai Rimsky-Korsakov \n“Rejoice Greatly” from Messiah\nGeorge Frederic Handel \nJul\, jul\, stralande jul\nGustaf Nordqvist \nOverture to Hansel and Gretel\nEngelbert Humperdinck \nPanis Angelicus\nCeaar Franck \nI’ll be Home for Christmas\nWalter Kent\, arr. Marty Gold \nChristmas Singalong\nJohn Finnegan \nAndante Festivo\nJean Sibelius \nAround the World at Christmas Time\nArr. Bruce Chase \nMaria Wiegenlied\nMax Reger \nO Holy Night\nAdolphe Adam\, arr. Luck \nChristmas at the Movies\nArr. Bob Krogstad \nTickets: Adults: $25 \nStudents through college: $5 \nSaturday\, December 10\, 2022\, 3:30 & 7:30 p.m. \nDimnent Chapel\, Hope College \nTickets: Adults: $25 \nStudents through college: $5 \nSeason Ticket Series\nHolland Symphony presents two traditional Holiday Concerts of classics\, seasonal classics and carols as a gift to the community as we celebrate the season.  Operatic soprano Michelle Areyzaga from the Chicago area joins the HSO sharing her gifts with us.  The two concerts are at 3:30 and 7:30 pm. \nNew to the Symphony?  Check out the Frequently Asked Question page… \nParking at Dimnent Chapel \nThe faculty/staff parking lots are available for parking after 5pm \nMichelle Areyzaga\, soprano\nAs a coveted performer with a diverse repertoire\, American soprano Michelle Areyzaga is held in high regard by orchestras and opera companies throughout the United States and abroad. She has performed operatic roles with New York City Opera in Telemann’s Orpheus as well as in their VOX series\, and has appeared in leading roles with Chicago Opera Theater\, Lyric Opera of Chicago’s In the Neighborhoods programs\, Opera Birmingham\, Ravinia Festival\, and Orquesta Sinfónica del Estado de México. \nMichelle Areyzaga’s association with the music of Leonard Bernstein runs deep. She has become well known for her interpretation of his delightful and moving music – from her portrayal of Cunegonde in Candide to her participation in varied programs featuring his works\, including musical theater and chamber music/recital works. Areyzaga toured the show Bernstein on Broadway together with Jamie Bernstein (Leonard’s daughter) for six years\, performing it with the Cleveland Orchestra\, Minnesota Orchestra\, and the Israel Philharmonic Orchestra\, and the Oregon Bach Festival\, among many others. Areyzaga is still often heard performing Bernstein\, such as her performances in Las Vegas and at Ravinia in conjunction with the composer’s centennial celebration. \nAs an orchestral soloist\, she has appeared with\, in addition to orchestras listed above\,  Richmond Symphony\, Toledo Symphony\, Colorado Symphony Orchestra\, Grant Park Music Festival\, Rochester Symphony\, Phoenix Symphony Orchestra\, Hartford Symphony\, San Antonio Symphony\, Rhode Island Philharmonic\, Wichita Symphony Orchestra\, Cheyenne Symphony Orchestra\, and North Carolina Symphony\, among others. She sang the first Bach B minor Mass in the country of Costa Rica\, under the baton of Maestro John Nelson. \nMs. Areyzaga’s operatic roles have included Susanna\, Le nozze di Figaro; title role\, Madama Butterfly; Cunegonde\, Candide; Adina\, L’elisir d’amore; Despina\, Così fan tutte; Zerlina\, Don Giovanni; Pamina\, Die Zauberflöte; Lauretta\, Gianni Schicchi; both Musetta and Mimì\, La bohème and Casilda in The Gondoliers. \nKnown as a foremost interpreter of vocal art song and chamber music\, Ms. Areyzaga has been a repeat guest of the New York Festival of Song under the direction of Steven Blier and Michael Barrett\, the Chamber Music Society of Lincoln Center\, the Chicago Ensemble\, as well as Chicago’s Dame Myra Hess Memorial Concert Series\, and the Tucson Desert Song Festival. She has collaborated with the Avalon String Quartet\, the Cavatina Duo\, and the Lincoln Trio\, and has been selected to perform world premieres of many new works by American composers. \nAs a recorded artist\, she has performed song cycles by Gwyneth Walker on The Sun Is Love (Proteus). Other recordings include Songs from Spoon River (Cedille) by Lita Grier and The Small Hours\, songs by William Ferris. She has sung numerous times in both live and programmed broadcasts on Chicago’s classical music radio station WFMT. \nMs. Areyzaga made her European concert debut as soloist in Vaughan Williams’ Mass in G Minor at England’s York Minster Cathedral\, Ely Cathedral\, and St. Mary’s Church in Oxford. In Paris\, she received standing ovations as soloist in the Lord Nelson Mass with the orchestra of London’s Royal Academy of Music and the St. Charles Singers. \nMichelle Areyzaga has been named “Artist of the Year” by Pioneer Press and has been an award recipient from the Julian Autrey Song Foundation\, Wm. C. Byrd International Young Artist\, Shreveport Opera Singer of the Year\, Marguerite McCammon Vocal Competition (Ft. Worth Opera)\, NATSAA—National Finalist ”Outstanding Artist”chosen by Teresa Stratas\, Metropolitan Opera National Council (Central Region)\, Viñas Concurs International and the Concert Artist Guild. \nShe received her B.A. in Vocal Performance from Roosevelt University with honors and was a member of Ravinia’s Steans Institute for Young Artists. In addition she has been a member of the OperaWorks Summer intensive Program in L.A. and a member of Chicago Opera Theater’s Debut Artist Series. \nMs. Areyzaga is represented by Alpha Artists Management. \n[INSERT_ELEMENTOR id=”7643″] URL:https://hollandsymphony.org/events/holiday-celebrate-the-season/ LOCATION:Dimnent Chapel\, 277 College Ave.\, Holland\, MI\, 49423\, United States ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2022/05/2020-Michelle-Areyzaga-1-e1652998667569.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20221113T150000 DTEND;TZID=UTC:20221113T170000 DTSTAMP:20260403T152919 CREATED:20220906T020312Z LAST-MODIFIED:20221111T232108Z UID:7324-1668351600-1668358800@hollandsymphony.org SUMMARY:HSYO Fall Concert DESCRIPTION:Program\nInformation\nParticipants\nBios\n\nSunday\, November 13\, 2022 at 3:00pm\nDeWitt Auditorium\, Zeeland East High School \nHolland Area Junior Strings\nKyle Nester\, Music Director and ConductorTori Zokoe\, General ManagerKatie Rae Hayduk\, Rehearsal Manager \nIowa Spring for String OrchestraPaul Seitz A Little Bit of…. Space…. Time Samuel Adler The Blue Danube Waltz Johann Strauss/arr. Mark Williams Do-Si-DoRichard Meyer  \nHolland Area Concert Strings\nKyle Nester\, Music Director and ConductorTori Zokoe\, General ManagerKatie Rae Hayduk\, Rehearsal Manager Four Royal DancesEric Ewazen1. The Lord2. The Lady3. The Jester4. The Knight Water Music SuiteGeorge Frederic Handel/arr. Forest R. Etling Eine Kleine Nacht Musik\, First Movement AbridgedWoflgang Amadeus Mozart/arr. Merle J. Isaac Symphony No. #3 – “Eroica” (Fourth Movement) Ludwing van Beethoven/arr. Andrew Dabczynski  \nHolland Area Youth Orchestra\nChristopher Fashun\, Music Director and ConductorTori Zokoe\, General ManagerKatie Rae Hayduk The Barber of Seville Overture Gioachino Rossini Finlandia (Tone Poem) Op 26 No 7 Jean Sibelius/Adapted by Henry Sopkin Nabucco OvertureGiuseppe Verdi \nTicket price is $10 for adults and $5 for kids age 6-college; 6 and under are free. \nTickets can be purchased during the dress rehearsal on Saturday\, 11/12 from 9:00am-noon and at the door prior to the concert (starting at 2:00pm). \nKyle Nester \nKyle Nester graduated from Alma College in 2004 with a Bachelor of Music in Music Education degree.  While in college\, he participated in orchestra\, marching band\, jazz band\, percussion ensemble\, and choir.  Mr. Nester spent a term in Vienna\, Austria and studied violin with Maeve Auer from the Universitat fur Musik und Darstellende Kunst.  After college\, he was a soloist in the Baroque on Beaver Music Festival and performed with Josh Groban a few times.  After a long-term substitute teacher position in Fremont\, Michigan\, he taught 5th – 12th grade orchestra at Chippewa Hills School District for seven years.  After his wife Andrea finished her law degree at Michigan State University\, the couple moved to West Michigan. He started teaching at Holland Christian in 2012 and Andrea was employed in a law firm in downtown Grand Rapids.  Recently\, Mr. Nester has been interested in fiddling and started the Michigan Academy of Folk Music with Nate Roberts from Hope College.   \nMr. Nester enjoys running races\, enjoying nature\, playing music\, and traveling.  They have three “interesting” cats and a planted freshwater fish tank.   \n  \nChristopher H. Fashun \nChristopher H. Fashun is an incredibly diverse and versatile conductor\, performer\, and educator. He brings over two decades of experience as a music educator leading middle school\, high school and collegiate band and orchestra programs in addition to directing jazz and percussion ensembles. \nA 2018 recipient of a U.S. Postdoctoral Fulbright Award in All Disciplines\, Dr. Fashun will be living and researching Afro-Brazilian music in Salvador da Bahia\, Brazil during the summer of 2019.  His project will focus on the dissemination of Afro-Brazilian music and culture in the city of Salvador.  \nAn Assistant Professor of Music at Hope College\, he serves as the Director of Orchestras\, the founder and Music Director of the Brazilian Drumming Ensemble\, teaches applied percussion\, world music\, and is an Instructor of Instrumental Music Education. \nAn accomplished percussionist and violist\, he has several years of orchestral and chamber music experience and has enjoyed success in both areas as a soloist by winning three concerto competitions\, one on viola and two on marimba. \nDr. Fashun is an active guest conductor\, clinician\, adjudicator\, and percussionist.  He is a frequent presenter at music education conferences and is a highly sought after clinician and conductor.  Notable engagements include the La Porte County Symphony Orchestra\, Holland Symphony Orchestra\, Elkhart Symphony Orchestra\, St. Ambrose University Community Symphony Orchestra\, the University of Iowa Philharmonia and All-University Orchestras.  Dr. Fashun has conducted the Symphony String Orchestra at the Iowa IMEA Conference for the All-State Iowa Junior Honors String Orchestra Festival Concert and the Midwest Mennonite Festival Orchestra and Concert Band.  He has served on the music faculties at St. Ambrose University and Goshen College.  \nHis research in conducting combines developing musicianship from the podium and health and wellness for music educators.  \nWhen he’s not making music\, he is either cycling\, paddle boarding\, or practicing Pilates and enjoying the fabulous beaches in Holland (in the summer\, of course) with his wife and daughter.  \n [INSERT_ELEMENTOR id=”7527″] URL:https://hollandsymphony.org/events/hsyo-fall-concert-3/ LOCATION:MI ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2021/05/HAYO-pic-fall-2019-small-1024x737-1-e1623945205856.jpeg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20221015T193000 DTEND;TZID=UTC:20221015T213000 DTSTAMP:20260403T152919 CREATED:20220519T222912Z LAST-MODIFIED:20221012T062235Z UID:6790-1665862200-1665869400@hollandsymphony.org SUMMARY:Symphonie Fantastique DESCRIPTION:Tickets\n \n\nProgram\nInformation\nProgram Notes\nArtist bios\nPre-Concert Talk\n\nProgram\nSaturday October 15\, 2022\, 7:30 p.m. \nJack H. Miller Center for Musical Arts\, Hope College \nCold Mountain SuiteJennifer Higdon (b. 1962) \nConcertino for Cello and String OrchestraEsteban Benzecry (b. 1970)1. Allegro2. Intermezzo dramatico: Largo Misterioso3. Toccata: Allegro \nAdalus Low-Manzini\, cello \nIntermission \nSymphonie Fantastique\, op. 14Hector Berlioz (1803-1869)1. Reveries\, Passions2. A Ball3. Scene in the Country4. March to the Scaffold5. Dream of a Witches’ Sabbath \nTickets: Adults – $25\, Students through college – $5 \nSeason Ticket Series \nSaturday October 15\, 2022\, 7:30 p.m. \nJack H. Miller Center for Musical Arts\, Hope College \nTickets: Adults – $25\, Students through college – $5 \nSeason Ticket SeriesThe concert opens with a new piece by award-winning composer Jennifer Higdon commissioned by a consortium of orchestras. A young Venezuelan cellist and Sphinx competition artist\, Adalus Low-Manzini\, will perform a cello concerto by Argentinian composer Esteban Benzecry.  Rounding out the program is Berlioz’s masterpiece\, Symphonie Fantastique. \nLearn more about the music…\nWe will be hosting not only the Classical Chat series at Freedom Village\, but also Pre-Concert Talks!  Details below: \nClassical Chats at Freedom Village:  These informative and fun talks are led by Johannes Müller-Stosch and take place at 3:00pm on the Thursday before each Classics concert.  (Freedom Village\, 6th Floor Auditorium\, 145 Columbia Ave.) \nPre-Concert Talks:  These talks\, led by Johannes Müller-Stosch and Amanda Dykhouse\, will be online this year under the “Pre-Concert Talk” Tab.  There are opportunities for you to ask questions about upcoming programs on that tab.  We look forward to resuming live Pre-Concert Talks when the pandemic lessens. \nNew to the Symphony?  Check out the Frequently Asked Question page… \nParking Map at the Miller Center \nHolland Symphony Orchestra will reserve and monitor Lot 40 for handicapped parking.  The faculty parking lots are available for parking after 5pm \n \nCold Mountain SuiteJennifer Higdon \nBorn: December 31\, 1962\, Brooklyn\, NYWritten: 2012-2014Opera Premiere: August 1\, 2015\, Santa Fe OperaSuite Premiere: Fall 2021\, Delaware Symphony Approximate duration: 19 minutesInstrumentation: 2 flutes\, 2 oboes\, 2 clarinets\, 2 bassoons\, 4 French horns\, 3 trumpets\, 3 trombones\, 1 tuba\, 3 percussionists (bass drum\, brake drum\, Chinese cymbal\, crotales\, glockenspiel\, suspended cymbal\, tom-tom\, vibraphone)\, strings \nJennifer Higdon is one of America’s most acclaimed figures in contemporary classical music\, receiving the 2010 Pulitzer Prize in Music for her Violin Concerto\, a 2010 Grammy for her Percussion Concerto\, a 2018 Grammy for her Viola Concerto and\, most recently\, a 2020 Grammy for her Harp Concerto.  Higdon’s first opera\, Cold Mountain\, won the International Opera Award for Best World Premiere and the opera recording was nominated for two Grammy awards.  Most recently\, she was inducted into membership in the American Academy of Arts and Letters.  Higdon enjoys several hundred performances a year of her works and her works have been recorded on more than seventy CDs.  Her music is published exclusively by Lawdon Press. \nCold Mountain was commissioned by opera companies in Santa Fe\, Philadelphia\, and Minnesota.  It is based on the 1997 novel by Charles Frazier.  The libretto is by Gene Scheer.  Higdon\, who grew up in the Appalachian region of the United States\, helped refine the dialogue.  She writes\, “I helped Gene ‘southernize’ the libretto. Gene’s from New York\, and he wasn’t sure how to shape the language for the characters\, so I took care of it. Those speech patterns felt very familiar.”  The opera is set in the American Civil War.  It tells the story of a wounded Confederate soldier who deserted the Confederate army and faced a difficult journey home to his beloved\, while she struggled for survival as she waited for the war to end.   \nCold Mountain Suite is part of a commissioning project organized by New Music for America\, a project of the League of American Orchestras.  In these projects\, a consortium of small budget orchestras\, at least one in each state\, comes together to commission a work from a major American composer.  Each orchestra is asked to pay a small amount to participate.  It is a meaningful way for small orchestras\, who could not afford to commission a work from a major composer\, to participate in these projects and in the birth of new American music.  This is the third time HSO has participated in these projects.  HSO is proud to perform the Michigan premiere of this work! \nThere is no recording of this piece yet\, since this is a premiere.  To learn more about the opera\, click here. \nConcertino para violinchelo y orquesta de cuerdas (Concertino for Violoncello and String Orchestra)Esteban Benzecry \nBorn: April 13\, 1970\, Lisbon\, PortugalWritten: 1992Premiered: October 13\, 1992\, Claudio Baraviera\, cello\, Orquestra de Camara Mayo\, Buenos Aires\, ArgentinaApproximate duration: 15 minutesInstrumentation: string orchestra \nEsteban Benzecry was born to Argentine parents in Lisbon\, Portugal.  He grew up in Argentina and did his early music studies there.  He moved to Paris in 1997 where he studied at the Conservatoire Superieur de Paris.  There he won the “Premier Prix a l’unanimitè” in composition in 1999.  As a composer\, he has won a variety of prizes and awards in Argentina and in Europe.  He has become known for music that is based on Latin American rhythms and draws on European contemporary music.  He has been called an heir to Villa-Lobos and Ginastera due to his use of Latin American rhythms and melodies.   \nBenzecry wrote this piece for cello and string orchestra in 1992.  It has three relatively short movements.  The first movement is fast and rhythmic\, with a lot of two-against-three rhythms that are a hallmark of Latin American music.  The slow movement opens mysteriously\, as the cello explores melodies above muted and fluttering string sounds.  Here Benzecry explores the low\, melancholy range of the cello.  The third movement\, another fast and energetic showcase\, features a lot of rapid dialogue between the soloist and the orchestra.  Rapidly changing meters\, with measures in five\, six\, or seven beats\, keep listeners on their toes in this joyful display of virtuosity.   \nHolland Symphony and Adalus Low-Manzini are proud to present the U.S. premiere of this piece! \nTo listen to the first movement\, click here.To listen to the second movement\, click here.To listen to the third movement\, click here. \nSymphonie FantastiqueHector Berlioz\nBorn: December 11\, 1803\, La Côte-Saint-André\, Isère\, FranceDied: March 8\, 1869\, Paris\, FranceWritten: 1829-30\, revised 1832Premiered: December 5\, 1830\, ParisApproximate duration: 52 minutesInstrumentation: 2 flutes (one doubling piccolo)\, 2 oboes (one doubling English horn)\, 2 clarinets (one doubling e-flat clarinet)\, 4 bassoons\, 4 French horns\, 2 trumpets\, 2 cornets\, 3 trombones\, 2 tubas\, timpani and percussion (bass drum\, snare drum\, cymbals\, low‑pitched bells)\, 2 harps\, and strings \nMusic donated by Mark Dykstra. \nHector Berlioz wrote his Symphonie Fantastique six years after the premiere of Beethoven’s ninth symphony\, but the two pieces sound worlds and centuries apart. \nBerlioz had a very different musical upbringing from most composers.  He had a few flute and guitar lessons as a child in the small town where they lived near Grenoble\, in the Alps\, but he never became proficient at an instrument as a child.  He didn’t know traditional music theory.  His father was a doctor and wanted Berlioz to follow in his footsteps.  He studied medicine in Paris but hated it\, so he pursued private music instruction.  In 1826 he entered the composition program at the Paris Conservatory.  On his fourth attempt he won the coveted Prix de Rome\, in 1830\, for his cantata La Mort de Sardanapale\, a lost and forgotten piece.  By that point Berlioz had already composed his first symphony\, the Symphonie Fantastique.  Many musicologists feel that Berlioz’s Symphonie Fantastique is the most original first symphony ever written.   \nSymphonie Fantastique owes its existence to a theatrical performance Berlioz attended on September 11\, 1827.  An English touring company was performing Shakespeare’s Hamlet.  One of the leading roles\, Ophelia\, was played by Harriet Smithson\, a twenty-seven-year-old Irish actress.   Berlioz fell instantly and completely in love with her\, though they did not meet at that time.  He spoke almost no English and she spoke almost no French\, yet he wrote to her incessantly when the touring company left Paris.  He read a French translation of Hamlet repeatedly.  Gossip about affairs between Smithson and others in the company only fueled his wildly passionate feelings for her. \nUltimately the pair met at the end of 1832.  After a brief courtship\, and despite the fact that they could hardly communicate\, they married.  The marriage lasted only twelve years. \nSmithson became such a vivid presence in Berlioz’s mind that she took the form of a melody\, and Berlioz began writing a symphony about Smithson as portrayed by that melody.  Her melody\, which Berlioz called the “idée fixe\,” is the central character in the symphony and its dramatic plot.  Berlioz presents the melody in a variety of creative ways\, coloring it with different instruments and surrounding textures.  He wanted his intentions to be completely clear\, so he wrote a detailed program for this work\, complete with all capital letters when he felt that was necessary.  He published these details (all the text below) with the score in 1845 and claimed this narration was “indispensable for a complete understanding of the dramatic outline of the work.”  \nThe composer’s aim has been to develop\, to the extent that they have musical possibilities\, various situations in the life of an artist. The plan of the instrumental drama\, which is deprived of the help of words\, needs to be outlined in advance. The following program should therefore be thought of like the spoken text of an opera\, serving to introduce the musical movements\, whose character and expression it calls into being. \nPart One: Reveries\, Passions — The author imagines that a young musician\, afflicted with that moral disease that a well-known writer calls the vague des passions\, sees for the first time a woman who embodies all the charms of the ideal being he has imagined in his dreams\, and he falls desperately in love with her. Through an odd whim\, whenever the beloved image appears before the mind’s eye of the artist\, it is linked with a musical thought whose character\, passionate but at the same time noble and shy\, he finds similar to the one he attributes to his beloved. This melodic image and the model it reflects pursue him incessantly like a double idée fixe. That is the reason for the constant appearance\, in every movement of the symphony\, of the melody that begins the first Allegro. The passage from this state of melancholy reverie\, interrupted by a few fits of groundless joy\, to one of frenzied passion\, with its gestures of fury\, of jealousy\, its return of tenderness\, its tears\, its religious consolations.  \nPart Two: A Ball — The artist finds himself in the most varied situations — in the midst of the TUMULT OF FESTIVITY\, in the peaceful contemplation of the beauties of nature; but everywhere\, in town\, in the country\, the beloved image appears before him and disturbs his peace of mind.  \nPart Three: Scene in the Fields — Finding himself one evening in the country\, he hears in the distance two shepherds piping a ranz des vaches [a tune sung or played by a Swiss herdsman] in dialogue. This pastoral duet\, the scenery\, the quiet rustling of the trees gently brushed by the wind\, the hopes he has recently found some reason to entertain — all concur in affording his heart an unaccustomed calm\, and in giving a more cheerful color to his ideas. He reflects upon his isolation; he hopes that his loneliness will soon be over. — But what if she were deceiving him! — This mingling of hope and fear\, form the subject of the Adagio. At the end\, one of the shepherds again takes up the ranz des vaches; the other no longer replies.  \nPart Four: March to the Scaffold — Convinced that his love is unappreciated\, the artist poisons himself with opium. The dose\, too weak to kill him\, plunges him into a sleep accompanied by the most horrible visions. He dreams that he has killed his beloved\, that he is condemned and led to the scaffold\, and that he is witnessing HIS OWN EXECUTION. The procession moves forward to the sounds of a march that is now somber and fierce\, now brilliant and solemn\, in which the muffled noise of heavy steps gives way without transition to the noisiest clamor. At the end of the march the first four measures of the IDÉE FIXE reappear.  \nPart Five: Dream of a Witches’ Sabbath — He sees himself at the sabbath\, in the midst of a frightful troop of ghosts\, sorcerers\, monsters of every kind\, come together for his funeral. Strange noises\, groans\, bursts of laughter\, distant cries which other cries seem to answer. The beloved melody appears again\, but it has lost its character of nobility and shyness; it is no more than a dance tune\, mean\, trivial\, and grotesque: it is she\, coming to join the sabbath. — A roar of joy at her arrival. — She takes part in the devilish orgy. — Funeral knell\, burlesque parody of the DIES IRAE\, SABBATH ROUND DANCE.  The sabbath round and the Dies Irae are combined.  \nTo listen to the Berlioz\, click here. \nAdalus Low-Manzini\, cello\nAdalus Low-Manzini is a young Venezuelan cellist based in Ann Arbor\, Michigan\, where she is pursuing a Master’ Degree in Cello Performance with Professor Amir Eldan at the University of Michigan. She was awarded the Sphinx Organization Scholarship which allows one Black or Latinx student every year to pursue a Master’s degree at UofM. She received her Bachelor’s of Music in Cello Performance from Louisiana State University in May of 2021\, where she studied with Professor Dennis Parker\, a disciple of Janos Starker and Aldo Parisot. At present\, Adalus carries out an important activity as a musician that includes both pedagogy\, as well as chamber and orchestral music. From 2019 to 2021\, Adalus was a cello teaching artist at Kids’ Orchestra (an “El Sistema” inspired music program)\, where she taught music and cello to elementary and middle school children in the Baton Rouge area. This\, combined with over five years of teaching experience in her Venezuela\, Low-Manzini has been able to hold and maintain her private cello studio where she teaches students from preparatory to advanced levels between the ages of 8 and 20 all in the Ann Arbor area. She is the cellist of the Calista Quartet\, an UofM string quartet she is part of along with fellow graduate students at the School of Music and with whom she performs for university events as well as Chamber Music Festivals like the Banff Center: Evolution: Quartet Program.  \nAdalus started her musical studies in the renowned musical program “El Sistema.” There she had the opportunity to perform with maestros such as Gustavo Dudamel\, in Venezuela\, and with Sir Simon Rattle at the prestigious Salzburg Festival\, in Austria. She has performed as a soloist with orchestras all throughout her  home country and the US\, including the Falcón Symphony Orchestra\, the Teresa Carreño Symphony Orchestra\, the Rapides Symphony Orchestra\, the LSU Symphony Orchestra\, among others. In 2015 she received the first prize at the I Festival Iberoamericano de Violoncello Competition. During that festival\, she met two of her current mentors: Germán Marcano and Horacio Contreras; two people who have guided her throughout her musical journey ever since crossing paths.  \nIn the summer of 2018\, sponsored by Louisiana State University\, she and her piano quintet Zizique attended “Orvieto Musica\,” a prestigious chamber music festival held in central Italy. At that festival\, the Zizique quintet was the only chamber music group that was awarded its own concert\, which was held at the prominent Emilio Greco Museum in the city of Orvieto\, with a program that included works by Brahms and Shostakovich. In addition to performing chamber music\, Adalus has performed with different orchestras in the Louisiana and Michigan area\, including the Baton Rouge Symphony\, the Acadiana Symphony Orchestra\, the Rapides Symphony Orchestra\, and the Ann Arbor Symphony.  \nIn 2018 and 2019\, she attended the International Cello Institute (ICI) in Minnesota\, where she received masterclasses from leading cello teachers such as Astrid Swcheen\, Jens Peter Maitnz\, and Anthony Ross. While in ICI\, she met another important mentor: Anna Clift\, who has consistently supported her through college applications\, recitals\, and more. From 2019 through 2022\, she attended the renowned summer festival Center Stage Strings\, a music program for emerging young artists held at the University of Michigan. In the summer of 2022\, she won first prize in the CSS Contemporary Music Competition. In January 2019\, Adalus won the Rapides Symphony Competition in the Youth Division and performed as a soloist with the same orchestra in Alexandria\, Louisiana\, in March of that year. In 2020\, she won third place in the Louisiana State University concerto competition\, allowing her to perform as a soloist with the university’s orchestra in April of 2021.  \nOne of Adalus’ passions is the creation of educational and informative content for social media related to music. This has allowed her to hold positions such as the Video and Social Director for the International Cello Institute since 2019\, and occasionally collaborate with the department of Creation of Digital Content of Strings of Latin America (SOLA) and The Sphinx Catalog of Latin American Cello Works\, these last two initiatives of the Sphinx Organization. In addition to this\, Adalus is an advocate for creating\, commissioning and performing music by Latin American composers. In fact\, this past year she received a grant to commission a cello solo work to be premiered in her Master’s degree recital by renowned Venezuelan composer Diana Arismendi. It is Adalus’ mission to keep commissioning works\, especially by women Latin American composers\, and in that way contribute to expanding the canon of cello music. In her free time\, Adalus loves to swim\, paint\, and take pictures with her film cameras\, as well as connecting and getting to know new people in the communities she visits. \nTaras Krysa\, Guest Conductor\nThe Ukrainian-born\, American conductor Taras Krysa is establishing a reputation for innovative and thoughtful music-making throughout the United States and Europe. In addition to serving as the Director of Orchestras at UNLV\, Mr. Krysa serves as the Music Director of Las Vegas Sinfonietta and just finished his tenure as the Music Director of Lviv Philharmonic Orchestra.  \nMr. Krysa has appeared internationally with orchestras including the New World Symphony\, Netherlands Symphony Orchestra\, St. Petersburg Symphony\, Moscow Soloists\, Slovak Sinfonietta\, Spoleto Festival Orchestra\, Kiev Chamber Orchestra\, Lublin Philharmonic Orchestra\, Las Vegas Philharmonic Orchestra\, Odessa Philharmonic Orchestra\, and many others. In addition\, Krysa led several European orchestras on tours in China\, Germany and Netherlands\, including appearances at the Concertgebouw Hall.  \nAn accomplished violinist\, he was a member of the St. Louis Symphony Orchestra and the New World Symphony Orchestra and continues to maintain an active career performing chamber music.  \nKrysa recently concluded his ninth season as the Artistic and Music Director of the Henderson Symphony Orchestra in Nevada. Under his leadership\, the ensemble saw its audience expand ten-fold\, and its concerts recognized as a treasured part of the cultural life of the community.  \nMr. Krysa actively promotes new music and has made three critically acclaimed recordings for the Brilliant Classics label; two of which featured works by Mozart\, and one a live recording of Freddie Mercury’s rock opera\, Barcelona.  \nKrysa started his music studies in Moscow\, Russia before moving with his family to the United States in 1989\, where he continued his studies in violin and conducting at Manhattan School of Music\, Indiana University and Northwestern University under the guidance of Albert Markov\, Nelli Shkolnikova\, Syvlya Rosenberg and Victor Yampolsky. Taras currently lives in Henderson NV\, with his wife Nataliya and two adorable cats\, Siegfried and Brungilda. In free time he enjoys skiing\, surfing\, playing viola and collecting stamps. \n  \nTo listen to the pre-concert talk\, click here. \n [INSERT_ELEMENTOR id=”7518″] URL:https://hollandsymphony.org/events/symphonie-fantastique/ LOCATION:Jack H. Miller Center for Musical Arts at Hope College\, 221 Columbia Ave.\, Holland\, MI\, 49423\, United States ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2022/05/Adalus-Low-Manzini-web-e1652997351488.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20220924T193000 DTEND;TZID=UTC:20220924T213000 DTSTAMP:20260403T152919 CREATED:20220519T222858Z LAST-MODIFIED:20220922T004548Z UID:6788-1664047800-1664055000@hollandsymphony.org SUMMARY:Pulling Out the Stops DESCRIPTION:Concert Sponsor\n\n\nTickets\n \n\nProgram\nInformation\nProgram Notes\nArtist bio\nPre-Concert Talk\n\nProgram\nSaturday September 24\, 2022\, 7:30 p.m. \nJack H. Miller Center for Musical Arts\, Hope College \nConcert Overture No. 2\nFlorence Price (1887-1953) \nSymphony No. 2\, Op. 30\, “Romantic”\nHoward Hanson (1896-1981) \n\n Adagio; Allegro moderato\nAndante con tenerezza\nAllegro con brio\n\nIntermission \nCamille Saint-Saëns (1835-1921)\nSymphony No. 3\, op. 78\, in C minor\, “Organ Symphony” \nPART I\nAdagio – Allegro moderato\nPoco adagio\nPART II\nAllegro moderato – Presto\nMaestoso – Allegro \nTickets: Adults – $25\, Students through college – $5 \nSeason Ticket Series \nThe concert opens with Florence Price’s “Concert Overture No. 2.” This piece is a beautiful meditation on three spirituals\, “Go Down\, Moses\, Ev’ry Time I Feel the Spirit\,” and “Nobody Knows the Trouble I’ve Seen.” Price was an American composer in the early 1900s whose music has recently been discovered and celebrated. The orchestra will continue with another American work\, the “Romantic” Symphony by Howard Hanson. Full of sweeping melodies\, nostalgic tenderness\, and majestic brass\, this work captures a hopeful American spirit. The concert will conclude with the well-known “Organ Symphony” by Camille Saint-Saens. \nThe stage will be full with a large orchestra\, harp\, colorful percussion\, and a piano played by two people\, as well as the majestic Casavant organ in the concert hall played by Peter Kurdziel. The concert will substitute soloist Peter Kurdziel performing on the Saint-Saens Organ Symphony as the artist Huw Lewis is unable to perform due to covid-related illness and two broken fingers. \nPeter Kurdziel has been the Director of Music at the Basilica of St. Adalbert in Grand Rapids\, Michigan since August of 2010. He earned degrees in organ from Hope College where he was a student of Huw Lewis and the University of Notre Dame where he was a student of Craig Cramer. He earned the Doctor of Musical Arts from the University of Illinois (Urbana-Champaign) where he was a student of Dana Robinson. In addition to the organ\, Peter has also studied voice\, conducting\, harpsichord\, and theology at the graduate level. He is the past dean of the Grand Rapids and Muskegon-Lakeshore Chapters of the American Guild of Organists. He has also served on the executive boards of the Grand Rapids Chapter of the National Pastoral Musicians and the West Michigan Symphony. \nThe concert opens with Florence Price’s “Concert Overture No. 2.” This piece is a beautiful meditation on three spirituals\, “Go Down\, Moses\, Ev’ry Time I Feel the Spirit\,” and “Nobody Knows the Trouble I’ve Seen.” Price was an American composer in the early 1900s whose music has recently been discovered and celebrated. The orchestra will continue with another American work\, the “Romantic” Symphony by Howard Hanson. Full of sweeping melodies\, nostalgic tenderness\, and majestic brass\, this work captures a hopeful American spirit. The concert will conclude with the well-known “Organ Symphony” by Camille Saint-Saens. \nThe stage will be full with a large orchestra\, harp\, colorful percussion\, and a piano played by two people\, as well as the majestic Casavant organ in the concert hall played by Peter Kurdziel. The concert will substitute soloist Peter Kurdziel performing on the Saint-Saens Organ Symphony as the artist Huw Lewis is unable to perform due to covid-related illness and two broken fingers. \nLearn more about the music…\nWe will be hosting not only the Classical Chat series at Freedom Village\, but also Pre-Concert Talks!  Details below: \nClassical Chats at Freedom Village:  These informative and fun talks are led by Johannes Müller-Stosch and take place at 3:00pm on the Thursday before each Classics concert.  (Freedom Village\, 6th Floor Auditorium\, 145 Columbia Ave.) \nPre-Concert Talks:  These talks\, led by Johannes Müller-Stosch and Amanda Dykhouse\, will be online this year under the “Pre-Concert Talk” Tab.  There are opportunities for you to ask questions about upcoming programs on that tab.  We look forward to resuming live Pre-Concert Talks when the pandemic lessens. \nNew to the Symphony?  Check out the Frequently Asked Question page… \nParking Map at the Miller Center \nHolland Symphony Orchestra will reserve and monitor Lot 40 for handicapped parking.  The faculty parking lots are available for parking after 5pm \n \nConcert Overture No. 2\nFlorence Price\nBorn: Little Rock\, Arkansas\, April 9\, 1887\nDied: Chicago\, Illinois\, June 3\, 1953\nWritten: 1943\nApproximate duration: 15 minutes\nInstrumentation: 3 flutes\, piccolo\, 2 oboes\, English horn\, 2 clarinets\, bass clarinet\, 2 bassoons\, 4 French horns\, 3 trumpets\, 3 trombones\, tuba\, timpani and percussion (bass drum\, cymbals\, suspended cymbal\, snare drum)\, harp\, and strings \nFlorence Price was born in Little Rock\, Arkansas.  Her mother was a music teacher and her father was the only African-American dentist in the city.  Even though Little Rock had lots of racial issues\, the family was well-respected.  Florence’s mother guided her early musical studies.  At age four she performed for the first time on the piano\, and published her first composition at age eleven.  After graduating at the top of her class from high school she attended New England Conservatory of Music in Boston\, majoring in organ and piano teaching.  She also studied composition. \nUpon her graduation in 1906\, Price taught at Clark Atlanta University\, becoming head of the music department.  She eventually got married and moved back to Little Rock\, where she raised two daughters.  She had trouble finding work in that segregated town.  After a series of racial incidents\, including a lynching in 1927\, the Price family moved to Chicago.  Price met a lot of other musicians in Chicago and began her composition career.  She also worked for a time as an organist for silent film showings.  She studied with many of the city’s leading teachers\, spent time at Chicago Musical College\, University of Chicago\, and American Conservatory of Music\, and became part of the Chicago Black Renaissance.  Ultimately she composed over 300 works.  In 1932 she became the first African American woman to have a work played by a major orchestra when the Chicago Symphony played her first symphony. \nAfter she died\, much of Price’s work fell out of favor as new styles emerged.  A lot of her music was lost until the discovery of over 200 pieces in an abandoned house in 2009 outside St. Anne\, Illinois\, that Price used as a summer home late in her life.  In recent years many of her works have been re-published or published for the first time.  Orchestras\, in an effort to recognize underrepresented composers\, have helped audiences discover and enjoy her delightful music. \nPrice’s music draws heavily on the American musical sounds surrounding her.  She was a devoted Christian and used  a lot of spirituals–both their melodic sounds and rhythms–in her symphonic pieces.  This is true of her “Concert Overture No. 2\,” written in 1943.  This piece\, one of the compositions found in the dilapidated house\, features “Go Down Moses\,” “Ev’ry Time I Feel the Spirit\,” and “Nobody Knows the Trouble I’ve Seen.” \nTo listen to the Price\, click here. \nSymphony No. 2\, Op. 30 “Romantic”\nHoward Hanson\nBorn: Wahoo\, Nebraska\, October 28\, 1896\nDied: Rochester\, New York\, February 26\, 1981\nWritten: 1930\nPremiered: 1930\, Boston Symphony Orchestra\nApproximate duration: 28 minutes\nInstrumentation: 2 flutes\, piccolo\, 2 oboes\, English horn\, 2 clarinets\, bass clarinet\, 2 bassoons\, contrabassoon\, 4 French horns\, 3 trumpets\, 3 trombones\, tuba\, timpani and percussion (bass drum\, cymbals\, suspended cymbal\, snare drum)\, harp\, and strings \nHanson was born in Wahoo\, Nebraska\, to Swedish immigrants who wanted him to become a Lutheran pastor.  His mother was his first music teacher\, and he excelled so much in music that he decided to make it his career.  He studied at the Julliard School of Music and Northwestern University\, and took a teaching position at a college in California when he was only nineteen years old.  In 1921\, he was the first American composer to win the prestigious Prix de Rome and enter the American Academy in Rome.  After returning to the United States\, he met George Eastman\, the founder of Kodak\, while he was conducting at the University of Rochester.  Eastman was fabulously wealthy and wanted to start a music school at the University.  He asked Hanson to be its first director.  Hanson accepted\, and remained at the University of Rochester’s Eastman School of Music for forty years as its director and composer-in-residence.  During that time\, he composed frequently\, but he also encouraged other composers\, conducting over 1\,500 new compositions by approximately 700 students.  Hanson also instituted an annual American Music Festival where he conducted the premieres of works by composers such as Samuel Barber\, Aaron Copland and Virgil Thomson.  In these roles Hanson influenced more American composers in the twentieth century than any other teacher or conductor.  He was justly called the “Dean of American Composers” and became a spokesman for music in America. \nAs a composer\, Hanson’s style is romantic\, tonal\, and rich in the low instrument registers.  He departed from many of his contemporaries\, including Debussy\, Stravinsky\, and Schoenberg\, who were challenging the traditions of Western music.  With the influence of his Scandinavian background and his deeply felt concern to create an “American” voice in the world of music\, Hanson decided that experimentation and dissonance were not for him. Instead he created appealing works based on traditional harmony and melody.  Hanson’s most significant contribution to the American repertoire was his cycle of seven symphonies\, which rank among the most widely appreciated American works in the genre. \nThe Symphony No. 2 is Hanson’s best-known and most frequently performed work. The Boston Symphony gave the world premiere of the work in 1930 as part of the orchestra’s 50th Anniversary.  Hanson gave the symphony the subtitle of “Romantic” to distinguish it from much of the experimental music by other composers that was being performed at the time.  As the nickname implies\, Hanson intended the symphony to be unabashedly beautiful and emotional. “I do not believe that music is primarily a matter of intellect\,” he said\, “but rather a manifestation of the emotions. I have\, therefore\, aimed in the Symphony to create a work that was young in spirit\, lyrical and romantic in temperament\, and simple and direct in expression… definitely warm-blooded music.” \nThe entire symphony is based\, harmonically and melodically\, upon only one theme\, which reappears in different guises throughout all three movements.  Those who are acquainted with Interlochen’s summer camp will recognize this theme immediately.  Hanson was intimately associated with this music camp and “donated” the principal theme of his Second Symphony to the camp as the “Interlochen Theme.”  The first movement starts slowly and gently with an introduction that is mysterious and grand.  The sound dies\, then leads to a faster section interspersed with rich melodic writing and sweeping fanfares interrupted by lyrical passages.  Ending with the primary theme in the dark key of D flat\, the music leads directly to the tender slow movement and the clarity of C major.  Hanson called this tender melody “a song without words.”  It is interrupted by a brass interlude featuring two main tunes from the first movement.  The opening tune returns\, this time sounding more like a hymn.  The Finale is a grand “summing up.”  This energetic movement’s opening idea is derived directly from the slow movement’s main melody.  The music is driven forward with great excitement; a triumphal statement of the theme by the brass finishes the piece in a grand manner. \nTo listen to the Hanson\, click here. \nSymphony No. 3 in C Minor\, “Organ”\nCamille Saint-Saëns\nBorn: Paris\, 9 Oct 1835\nDied: Algiers\, 16 Dec 1921\nWritten: 1883-1886\nPremiered: Philharmonic Society of London\, 1886\nApproximate duration: 36 minutes\nInstrumentation: 2 flutes\, piccolo\, 2 oboes\, English horn\, 2 clarinets\, bass clarinet\, 2 bassoons\, contrabassoon\, 4 French horns\, 3 trumpets\, 3 trombones\, tuba\, timpani and percussion (bass drum\, cymbals\, suspended cymbal\, triangle)\, piano 4 hands\, organ\, and strings \nMusic donated by Dorothy and Judy Voss \nAs a child\, Camille Saint-Saëns displayed a prodigious talent that would have rivaled Mozart’s.  He started piano lessons at age two and composing at three.  At age ten he dazzled a Parisian audience with an extremely difficult piano program at his formal debut.   As an encore he offered to play any of Beethoven’s thirty-two piano sonatas from memory.  He was as skilled on the organ as he was on the piano\, and served as the organist of Paris’ most prestigious church\, La Madeleine\, for nineteen years. \nSaint-Saëns’s third and final symphony was commissioned by the Philharmonic Society of London in 1883.  He did not give the symphony its nickname\, “Organ\,” which is misleading.  At that time several French composers wrote large-scale solo pieces that they called “Organ Symphonies.”  Saint-Saëns did not consider the organ to occupy a solo role in this symphony; rather\, he considered it an additional orchestral color.  The organ’s first entrance\, about ten minutes into the piece\, is so subtle that it is easy to miss.  The symphony premiered in London in May\,1886\, with the composer conducting.  He also played Beethoven’s Fourth Piano Concerto in the first half of the program.  Saint-Saëns reported on the concert: “The Symphony enjoyed a colossal success.  [It was] “spiced up by just enough opposition to make the success more intense.”  Saint-Saëns then dedicated the new piece to Franz Liszt\, whom he greatly admired. \nSaint-Saëns provided these comments on the structure of his symphony: “This symphony is divided into two parts. Nevertheless it embraces in principle the four traditional movements\, but the first is altered in its development to serve as the introduction to the Adagio\, and the scherzo is connected by the same process to the finale.”  After a brief introduction\, Saint-Saëns introduces his core theme.  In a process of “thematic transformation” that he had learned from Liszt\, he builds almost every melody of the entire piece from this initial restless theme.  Later in the movement the violins present a rocking\, tranquil melody that gives listeners a rest from the opening\, rushing figure.  The nervous music flows directly into the beautiful slow movement\, which Saint-Saëns described as an “extremely peaceful\, contemplative theme.”  Next the energetic scherzo alternates with two contrasting trios.  In the second trio\, a “grave and austere” slow theme emerges from the low brass.  Saint-Saëns wrote: “There is a struggle for mastery\, which ends in the defeat of the restless diabolical element.”  The music builds and quiets\, and in a moment of suspense\, the organ enters with a hair-raising C Major chord.  The strings play a chorale based on a brilliantly transformed version of the opening\, restless melody\, accompanied by glittering arpeggios played by two pianists (a theme that was featured in the movie Babe).  After the organ and brass have their turn\, string melodies\, brass fanfares\, and fugues take the audience to the triumphant ending. \nTo listen to the Saint-Saëns\, click here. \nPeter Kurdziel\, Organ\nPeter Kurdziel has been the Director of Music at the Basilica of St. Adalbert in Grand Rapids\, Michigan since August of 2010. He earned degrees in organ from Hope College where he was a student of Huw Lewis and the University of Notre Dame where he was a student of Craig Cramer. He earned the Doctor of Musical Arts from the University of Illinois (Urbana-Champaign) where he was a student of Dana Robinson. In addition to the organ\, Peter has also studied voice\, conducting\, harpsichord\, and theology at the graduate level. He is the past dean of the Grand Rapids and Muskegon-Lakeshore Chapters of the American Guild of Organists. He has also served on the executive boards of the Grand Rapids Chapter of the National Pastoral Musicians and the West Michigan Symphony. \nTo listen to the pre-concert talk\, click here. \n[INSERT_ELEMENTOR id=”7518″] URL:https://hollandsymphony.org/events/pulling-out-the-stops/ LOCATION:Jack H. Miller Center for Musical Arts at Hope College\, 221 Columbia Ave.\, Holland\, MI\, 49423\, United States ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2022/09/IMG_1625-scaled-e1663019809237.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20220910T193000 DTEND;TZID=UTC:20220910T213000 DTSTAMP:20260403T152919 CREATED:20220519T222842Z LAST-MODIFIED:20220908T190249Z UID:6786-1662838200-1662845400@hollandsymphony.org SUMMARY:Onstage with HSO DESCRIPTION:Tickets\n \n\nProgram\nInformation\nProgram Notes\nArtist bio\nPre-Concert Talk\n\nProgram\nSaturday\, September 10\, 2022 at 7:30 p.m. \nJack H. Miller Center for Musical Arts\, Hope College \n  \nLe Tombeau de CouperinMaurice Ravel (1875-1937)1. Prélude2. Forlane3. Menuet4. Rigaudon                                \nPremiére Rhapsodie for Clarinet and OrchestraClaude Debussy (1862-1918) \nGary June\, clarinet \nIntermission \nPavane\, op. 50Gabriel Fauré (1845-1924) \nAdagio for StringsGuillaume Lekeu (1870-1894) \nLe Boeuf sur le Toit (“The Bull on the Roof”)\, op. 58Darius Milhaud (1892-1974) \n  \nTickets: Adults – $25\, Students through college – $5Onstage seating upcharge: $50 \nMake onstage reservations through the HSO office. \nThis first concert of the season\, formerly known as “Classics Up Close\,” will move to the Jack H. Miller Center for Musical Arts. A limited number of “Up Close” on-stage seats will be available on a first come\, first served basis. Call the HSO office at 616-796-6780 to reserve stage seating.  This program will feature favorite French classics such as Ravel’s “Le Tombeau de Couperin\,” Faure’s “Pavane\,” and Milhaud’s “The Bull on the Roof.” Clarinetist Gary June will be the featured artist on Debussy’s First Rhapsody for clarinet and orchestra. \nTickets: Adults – $25\, Students through college – $5Onstage seating upcharge: $50 \nMake onstage reservations through the HSO office. \nAs of September 1\, masks will not be required for concerts.  This may be subject to change based on the evolution of the pandemic or venue requirements. \nLearn more about the music… \nWe will be hosting not only the Classical Chat series at Freedom Village\, but also Pre-Concert Talks!  Details below: \nClassical Chats at Freedom Village:  These informative and fun talks are led by Johannes Müller-Stosch and take place at 3:00pm on the Thursday before each Classics concert.  (Freedom Village\, 6th Floor Auditorium\, 145 Columbia Ave.) \nPre-Concert Talks:  These talks\, led by Johannes Müller-Stosch and Amanda Dykhouse\, will be online this year under the “Pre-Concert Talk” Tab.  There are opportunities for you to ask questions about upcoming programs on that tab.  We look forward to resuming live Pre-Concert Talks when the pandemic lessens. \nNew to the Symphony?  Check out the Frequently Asked Question page… \nParking Map at the Miller Center \nHolland Symphony Orchestra will reserve and monitor Lot 40 for handicapped parking.  The faculty parking lots are available for parking after 5pm \n \nLe Tombeau de CouperinMaurice Ravel\nBorn: March 7\, 1875\, Ciboure\, near Saint-Jean-de-Luz\, Basses-PyrénéesDied: December 28\, 1937\, ParisWritten: piano suite started July 1914; completed June 1917Orchestrated: 1919Premiered: February 28\, 1920\, Pasdeloup Orchestra of ParisApproximate duration: 17 minutesInstrumentation: 2 flutes\, 2 oboes and English horn\, 2 clarinets\, 2 bassoons\, 2 horns\, trumpet\, harp\, and strings \nThe French word “tombeau” literally means “tomb\,” but it is also used to describe a piece of music written as a memoir.  Maurice Ravel began his “Tombeau\,” a piano suite\, in 1914.  He wrote the work as an homage to the French composer and keyboardist François Couperin.  Ravel wasn’t just paying his respects to Couperin.  He wanted to honor the genre that Couperin perfected and popularized–the French baroque keyboard suite containing a variety of dances.   \nWorld War I interrupted his composition.  Ravel tried to enlist in the military\, but he was very small and often sick\, so he was deemed unfit for military service.  He instead served as a nurse’s aid and ambulance and truck driver for the 13th Artillery Regiment.  Those experiences took a physical toll on Ravel\, but gave him a lot of time to think about compositions\, including this suite.  His mother died in 1917\, causing Ravel’s mental and physical health to decline significantly\, and he was discharged.  After he recovered he returned to this keyboard suite\, but expanded his original intent and used each movement of this “tombeau” to memorialize friends who had died in the war.  Ravel orchestrated four of the movements in 1919.  He gave each movement a lot of personal attention to details and instrumental colors–he is considered one of the greatest orchestrators of all time.  He also sketched the original cover for the piece\, a picture of a draped funeral urn.   \nThe work opens with a Prélude dedicated to Lieutenant Jacques Charlot.  Rapid triplets evoke Couperin’s harpsichord music\, though the harmonic language definitely belongs to Ravel.  The Forlane is dedicated to Lieutenant Gabriel DeLuc. It is based on a Venetian passamezzo\, thought to be popular with gondoliers in the seventeenth century.  This hopping\, quirky melody is in 6/8 meter.  The Menuet is dedicated to Jean Dreyfus\, the stepson of one of Ravel’s friends. It has the stately form of the baroque minuet but is colored with melancholy.  A contrasting musette\, a rustic dance over a drone\, provides a lighter break.  The Rigaudon is dedicated to the brothers Pierre and Pascal Gaudin\, who died on the first day of their service on the front in 1914.  This lively Provençal dance was full of hopping steps and became very popular in the French courts.  A contrasting pastoral section provides a break before the energetic conclusion.   \nMusic donated by Doug and Jennifer Griffith. \nTo listen to the Ravel\, click here. \nPremière Rhapsodie for Clarinet and OrchestraClaude Debussy\nBorn: August 22\, 1862\, St Germain-en-Laye\, FranceDied: March 25\, 1920\, ParisWritten: 1909-1910Premiered: January\, 1911Approximate duration: 8 minutesInstrumentation: 2 flutes and piccolo\, 2 oboes and English horn\, 2 clarinets\, 2 bassoons\, 4 horns\, 2 trumpets\, 2 percussionists (suspended cymbal and triangle)\, harp\, and strings \nIn 1909\, Gabriel Fauré\, then director of the Paris Conservatoire\, appointed Claude Debussy to the governing council of the school.  This was somewhat controversial.  Debussy was “at odds” with the French musical establishment.  He hadn’t been an easy student or colleague\, and his compositional style definitely challenged the status quo.  Debussy needed the stipend that came with this position\, though\, and faithfully did this job.  One of his duties was to write pieces for performance exams and serve as one of the judges.  When he was assumed the position in 1909 he was asked to write two pieces for the 1910 clarinet juries.  One was a sight reading piece\, which he wrote quickly and at the last minute.  He spent much more time on his solo de concours (contest solo)\, which he called Première Rhapsodie.  He wasn’t looking forward to hearing numerous students perform his piece\, but he was pleased with the results\, noting to his publisher that “to judge by the looks on the the faces of my colleagues\, the Rhapsody was a success\,” further saying that it was “one of the most charming [pieces] I have ever written.”  Debussy dedicated the rhapsody to Prosper Mimart\, professor of clarinet at the Paris Conservatoire from 1904-1918\, who gave its public premiere in 1911. It has become one of the most performed works for accompanied solo clarinet.   \nDebussy’s rhapsody opens with quiet music that he marked\, “slowly dreaming.”  The solo line grows out of the beginning motive\, heard over quiet strings and a harp.  The colors are truly Impressionistic–transparent\, fluttering\, quiet\, and dreamy.  In the middle of the piece Debussy changes the mood\, instructing performers to be “sweet and penetrating\,” and the soloist playfully shares ideas back and forth with other woodwind players.  The piece ends with a quick virtuosic display and a short cadenza.  Debussy uses the variety of moods in this piece to challenge the soloist to explore the full range of a clarinet’s possibilities: varied colors\, soaring melodies\, rapid changes of articulation\, and fast technical displays.  \nTo listen to the Debussy\, click here.  \nPavane\, Opus 50Gabriel Fauré\nBorn: May 12\, 1845; Pamiers\, FranceDied: November 4\, 1924; ParisWritten: 1887Approximate duration: 7 minutesInstrumentation: 2 flutes\, 2 oboes and English horn\, 2 clarinets\, 2 bassoons\, 2 horns\, and strings \nGabriel Fauré was born into a large\, poor family.  He spent some of his earliest years with a foster mother and was accepted as a free boarder at the Niedermeyer school in Paris at age ten.  While at that school Fauré gained an excellent general and musical education\, including composition study with Camille Saint-Saëns.  As a young adult he composed and served as a church organist in several small French towns\, eventually becoming the chief organist at the Madeleine\, one of the largest churches in Paris\, and a composition professor at the Paris Conservatory.  In 1905 he became the director of the conservatory.  He had a lot of influence in this role\, shaping countless composition students including Maruice Ravel and Nadia Boulanger. \nGabriel Fauré wrote this pavane in 1887\, the same year he wrote his requiem.  It is one of Fauré’s most famous works.  A pavane was originally a dance from Spain that entered the European tradition of courtly dance from the sixteenth and seventeenth centuries.  Pavanes have a slow\, gentle character with simple steps\, intending to imitate the strut of a peacock (pavo).  It begins with a nostalgic flute melody.  Its somber mood might reflect Faure’s grief over his father’s death.  He included optional chorus parts to a text by Robert\, comte de Montesquiou-Fezensac (1855-1921).  The text isn’t usually included since the voices double the instrumental parts (and it creates many logistical challenges for orchestras to include a choir!).   \nTo listen to the Fauré\, click here. \nAdagio for StringsGuillaume Lekeu\nBorn: January 20\, 1870 Verviers\, BelgiumDied: January 21\, 1894\, Angers\, FranceWritten: 1891Approximate duration: 12 minutesInstrumentation: solo violin\, solo viola\, solo cello\, strings  \nBelgian composer Guillaume Lekeu was the son of a wool merchant in the small town of Verviers. He had some early music instruction and violin and piano lessons at the school there.  His family moved to Poiters\, France\, in 1879\, where he continued his studies and published his first work at age fifteen.  On a trip to Paris with his family in 1888 he met César Franck.  Franck was impressed with Lekeu and accepted him as his final music student.  Their time together was short\, since Franck died in 1890.  In the fall of 1893 Lekeu ate at a restaurant with some friends and consumed some contaminated water.  All his friends also got sick\, but they recovered.  Lekeu died the day after his twenty-fourth birthday.   \nThe vast majority of Lekeu’s music was written between 1891 and 1894. His most famous piece is a violin sonata commissioned by Eugène Ysaÿe.  He wrote this “Adagio for Strings” in 1891\, subtitled “The Pale Flowers of Remembrance.”  The language of this Adagio–deeply romantic melodies and forward-looking harmonies–reflects his fascination with the music and operas of Richard Wagner.  It is thick and complex\, with ten separate string parts.   \nMusic donated by Mark Dykstra. \nTo listen to the Lekeu\, click here. \nLe Boeuf sur le toit (or\, “The Nothing-Doing Bar”)\, Op. 58Darius Milhaud\nBorn: September 4\, 1892; Marseille\, FranceDied: June 22\, 1974; Geneva\, SwitzerlandWritten: 1919Premiered: February 21\, 1920\, at the Théâtre des Champs-Élysées\, ParisApproximate duration: 15 minutesInstrumentation: Instrumentation: Two flutes (one doubling piccolo)\, oboe\, two clarinets\, bassoon\, two horns\, two trumpets\, trombone\, percussion (guiro\, tambourine\, bass drum\, tambourin provençal) and strings \nDarius Milhaud was born into a musical family.  By age three he could play simple piano duets with his father.  At age seven started learning the violin\, and began to study harmony and composition at age thirteen.  He enrolled at the Paris Conservatory in his late teens.  Due to rheumatoid arthritis\, he was unable to serve in a military role in World War I\, so he offered to be a secretary to a friend who served as poet and dramatist at the French embassy in Brazil.  After the war he visited in New York\, spending a lot of time in Harlem jazz clubs\, before returning to Paris. \nMilhaud was an incredibly prolific composer\, writing over 450 pieces.  He was a member of “Les Six\,” a group of six composers intentionally moving away from the impressionistic style of Debussy and Ravel and the heavy German romanticism of Wagner and his contemporaries.  They were considered scandalous by the “establishment” because they incorporated jazz and café music into their serious pieces.  Milhaud’s style evolved a lot over the years but it was always eclectic\, combining music from Provence\, the United States (Jazz and ragtime)\, folk songs from Brazil and America\, and other music he heard on his extensive travels around the world.   \nMilhaud loved the music he heard in Brazil\, and incorporated a lot of Brazilian melodies and rhythms into the music he wrote in the decade after his time there.  After he returned to France in 1919 he began a piece in the style of a silent film accompaniment.  He described “a piece [originally a cinéma fantasie] about the carnival in Rio\, which will be called “Le Bœuf sur le toit\,” from the name of the samba that the band was playing this evening while the women\, dressed in blue\, were dancing.”  He said\, “I assembled a few popular melodies\, tangos\, maxixes [fast Brazilian tangos in 2/4 time]\, sambas\, even a Portuguese fado\, and transcribed them with a rondo-like theme recurring between each pair.” One of Milhaud’s friends turned it into a ballet-pantomime set in a Manhattan speakeasy called Le Bœuf sur le toit.  Prohibition had just begun\, and in this ballet the establishment was immediately turned into a milk-bar (a “nothing-doing bar”) as soon as police appeared.  It was very successful\, later re-envisioned in a Parisian nightclub called “Le Boeuf sur le Toit” for a French audience.   \nMilhaud created this piece as a rondo\, with a jaunty syncopated theme that repeats a dozen times\, each time in a different key\, until it returns to the home key at the end of the piece.  Between statements of the rondo theme\, Milhaud quotes the Brazilian tunes with a wonderful variety of orchestral color and character\, sometimes in different keys at the same time\, to give it a kaleidoscopic effect that resembles a Brazilian Carnival.   \nTo listen to the Milhaud\, click here. \nDr. Gary June is a clarinetist and educator based in Grand Rapids\, Michigan. He holds teaching positions at both Saginaw Valley State University\, where he is the Adjunct Professor of Clarinet\, and Grand Valley State University\, where he teaches clarinet and general music courses. As an orchestral musician\, he has held the position of 2nd/Eb clarinet with the Sioux City Symphony Orchestra and was an Associate Member of the Civic Orchestra of Chicago. He has likewise regularly played with Sinfonia da Camera\, the Champaign-Urbana Symphony Orchestra\, and the Millikin-Decatur Symphony Orchestra. As a committed educator of primary and secondary-aged students\, he spends summers teaching and playing at Blue Lake Fine Arts Camp and the Illinois Summer Youth Music Pre-College Clarinet Camp. \nDr. June can be heard on the GVSU New Music Ensemble’s celebrated recording of Terry Riley’s In C: Remixed and Sinfonia da Camera’s to-be-released recording of Bohuslav Martin’s ballet\, Stin. He holds degrees from Grand Valley State University and the University of Colorado-Boulder\, and recently completed his Doctorate of Musical Arts at the University of Illinois at Urbana-Champaign\, where he served as the clarinet studio Teaching Assistant and wrote his thesis on contemporary Finnish clarinet music. His principal teachers include Dr. Arthur Campbell\, Daniel Silver\, and J. David Harris.  \n  \n  \nTo listen to the pre-concert video\, click here. \nHSO thanks these business partners for their support of this concert! URL:https://hollandsymphony.org/events/onstage-with-hso/ LOCATION:Jack H. Miller Center for Musical Arts at Hope College\, 221 Columbia Ave.\, Holland\, MI\, 49423\, United States ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2022/05/Gary-June-e1652994233903.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20220430T153000 DTEND;TZID=UTC:20220430T173000 DTSTAMP:20260403T152919 CREATED:20190429T222102Z LAST-MODIFIED:20220428T200344Z UID:1652-1651332600-1651339800@hollandsymphony.org SUMMARY:Classics III: Beethoven 9 (3:30pm) sponsored by University of Michigan Health-West DESCRIPTION:Concert Sponsor:\n \n \n Tickets\n \n\nProgram\nProgram Notes\nArtist Bios\nParticipants\nPre-Concert Video\nInformation\n\nSaturday\, April 30\, 2022 at 3:30pm & 7:30pm \nConcert Hall at the Jack H. Miller Center for Musical Arts\, Hope College \nProgram\n  \nFestive Overture\, Op. 96Dmitri Shostakovich (1906-1975)\n \nSymphony No. 9 in D Minor\, Op. 125 Ludwig van Beethoven (1770-1827)\n1. Allegro ma non troppo; un poco maestoso2. Molto vivace3. Adagio molto e cantabile4. Presto – Allegro assai – Allegro assai vivace \nSchyler Sheltrown\, sopranoKaren Albert\, altoJon Lovegrove\, tenorDavid Grogan\, baritone \nChoirs of Hope College & Holland Chorale \nText and translation of Schiller’s poem\, “Ode to Joy”: Beethoven-Symphony-No.-9-text-and-translation-PDF \nFestive OvertureDmitri Shostakovich\nBorn: September 25\, 1906\, Saint Petersburg\, RussiaDied: August 9\, 1975\, Moscow\, USSRWritten: 1954Premiered: November 6\, 1954\, MoscowApproximate duration: 7 minutesInstrumentation: 2 flutes\, piccolo\, 3 oboes\, 3 clarinets\, 2 bassoons\, contrabassoon\, 4 horns\, 3 trumpets\, 3 trombones\, tuba\, timpani\, bass drum\, cymbals\, snare drum\, triangle\, strings\, and off-stage brass \nLike many Soviet composers of his generation\, Dmitri Shostakovich spent his career trying to balance the current musical trends\, his own creative expression\, and the necessity of working within the government’s limits and expressing his country’s revolutionary socialism. This was easy early in his career\, when the cultural climate in the Soviet Union was remarkably free; he and other composers could experiment with avant-garde trends\, Western influences\, and satirical works.  Soon the composers’ musical language became too radical; the only acceptable music was a direct\, accessible\, and popular style. Avant-garde music\, jazz\, and even Tchaikovsky were banished. \nShostakovich experienced this censure firsthand.  When Stalin became angry at what he heard in one of Shostakovich’s operas\, Shostakovich and his opera were officially condemned.  Later\, when the Cold War was raging\, Soviet authorities sought to impose a firmer ideological control over cultural expression. At a notorious conference in Moscow\, the leading figures of Soviet music\, including Shostakovich\, were attacked and disgraced.  Shostakovich was fired from his teaching positions at the Leningrad and Moscow Conservatories.   He was attacked in print\, called a “musical charlatan” and criticized for ignoring “the demand of Soviet culture that coarseness and savagery be abolished from every corner of Soviet life.”  In the two years following his opera\, Lady Macbeth of the Mstensk District\, Shostakovich was so sure that he would be exiled to Siberia that he kept a packed suitcase by the door and slept wearing his daytime clothes.  He was shunned by society; as an “enemy of the people\,” others were afraid to be associated with him. \nShostakovich managed to escape arrest and figured out how to write music that maintained his artistic integrity and pushed up against the limits of what was “acceptable” without crossing the line.  He could somehow portray the heaviness of life while maintaining enough ironic humor to suggest lightheartedness.  Even though Shostakovich spent his life and career in this delicate balancing act\, he seemed to flourish in this tension\, writing music that could be received by the authorities and also displayed his fiercely creative thought in challenging and hopeful ways. \nDespite the brooding quality of much of Shostakovich’s music\, he was also noted for his gregariousness.  This quality is evident in his Festive Overture\, written in 1954 to commemorate the 37th anniversary of the October Revolution in Russia.  After an introduction dominated by the brass\, the overture consists of two primary themes: one is fast and brilliant\, and the other is optimistic and lyrical.  \nTo listen to the Festive Overture\, click here. \nSymphony No. 9 in D Minor\, Op. 125 Ludwig van Beethoven \nMusic donated by Teresa Owen \nBorn: December 17\, 1770Died: March 26\, 1827\, ViennaWritten: Spring\, 1823 – January\, 1824Premiered: May 7\, 1824\,  Kärnthnerthor TheaterViennaApproximate duration: 65 minutesInstrumentation: ​​Soprano\, alto\, tenor\, and bass soloists\, mixed chorus\, piccolo\, 2 flutes\, 2 oboes\, 2 clarinets\, 2 bassoons\, contrabassoon\, 4 horns\, 2 trumpets\, 3 trombones\, timpani\, bass drum\, cymbals\, triangle\, and strings \nWith his ninth symphony\, Beethoven expanded the concept of a “symphony” far beyond what it had been in the past and set an intimidatingly high bar for centuries of composers who followed him.  Beethoven’s grandest and most influential work was not initially recognized as a landmark\, though.  In 1822\, when he started the work\, Beethoven was nearly deaf and had hardly written anything for a decade.  The 1824 premiere had been staged to prove that Beethoven could still draw a crowd in Vienna\, but he was disappointed by the meager profits and mixed reviews.  Beethoven had conducted the work himself\, beating his arms and turning pages\, but the musicians had been cautioned beforehand to ignore him and instead follow the concertmaster’s beat.  When the audience burst into applause Beethoven couldn’t hear it and kept beating; one of the singers had to turn him around for a bow.  The second performance was even less successful.  The work that Beethoven had written to surpass everything he already had accomplished in the field of the symphony had seemingly failed him. For several years after his death\, the ninth symphony was considered too difficult to perform and too long to program easily.  Although it won early supporters\, it was not established in the repertoire until the middle of the nineteenth century.  \n         The trajectory of Beethoven’s masterpiece follows darkness to light\, chaos to order\, despair to joy.  It opens with sound emerging from silence—a poignant gesture from a composer who couldn’t hear what he was writing.  The first sixteen measures have no secure sense of key or rhythm.  The music gradually builds to a decisive\, loud arrival that catapults musicians and listeners into a tumultuous journey.  While the overarching structure would have been familiar to Beethoven’s audience\, the scale\, harmonies\, and “perpetual motion” intensity was totally new.  The structure of the scherzo is huge\, with driving\, almost martial rhythms that occasionally give way to lighter moments and anticipation-filled pauses that tease the listener.  The light\, folk-like trio provides needed contrast.  The slow movement alternates between two themes of contrasting key\, meter\, and mood.  They grow ever more fanciful in their decoration until the movement ends peacefully.   \n         After a disruptive chord shatters the peace\, a carefully staged drama unfolds.  Cellos and basses imitate operatic recitative\, the music of the three previous movements is quickly reviewed and dismissed\, and a new theme is suggested\, which\, when it finally takes shape\, is a simple song that sounds like a hymn or a folk tune. (Beethoven\, in fact\, labored painstakingly over this theme.)  And then—in a move that must have stunned his first audience—Beethoven welcomes the sound of the human voice into the symphony. The earlier recitative returns and now is sung.   \nFor many years Beethoven had wanted to write music for Schiller’s “Ode to Joy\,” a glorified drinking song with a strong humanistic message. He toyed with it several times\, sketched a number of musical ideas\, and even included two lines from Schiller in his opera Fidelio.  Beethoven himself wrote the “preface to Schiller’s poem: “oh friends\, not these tones…  Rather\, let us raise our voices more pleasingly\, and more joyfully.”  When the voices enter\, Beethoven’s wonderful melody is finally given words. (In the end\, Beethoven used only half of Schiller’s poem\, deleting in the process any obvious drinking-song references.)  And from there Beethoven creates a totally new symphonic movement\, combining elements of symphony and concerto (with a big\, virtuosic cadenza for the four soloists)\, classical variations\, Turkish marches (complete with cymbals\, triangle\, and bass drum)\, majestic slow meditations\, and\, finally\, a gigantic double fugue. \nTo listen to Beethoven’s Symphony No. 9\, click here. \n  \nSchyler Sheltrown\, sopranoSchyler Sheltrown is a soprano from West Michigan. Heralded as one of “the country’s most vibrant up-and-coming singers” and “a lovely lyric soprano” by the Toledo Blade for her title role in The Ballad of Baby Doe\, you have likely heard her in performances across the Great Lakes Region. These performances include the roles of Pamina in The Magic Flute\, Musetta in La boheme\, Fiordiligi in Cosi fan tutte\, Romilda in Serse\, Mabel in Pirates of Penzance\, The Page in Rigoletto\, and Mrs. Hayes in Susannah. She has also performed as the soprano soloist in Beethoven’s Symphony No. 9\, Mozart’s Requiem\, and Debussy’s La damoiselle élue. She also had the pleasure of voicing Joan of Arc as a soprano soloist in Voices of Light with the Rackham Choir at the Detroit Film Theatre. She was a finalist in the Harold Haugh Light Opera Vocal Competition (2017) and\, in the same year\, lent her talents to The Library of Congress through the Comic Opera Guild for the first recording of The Free Lance by John Philip Sousa. She has received national recognition\, gaining an Encouragement Award in the Michigan District of the Metropolitan Opera Council Auditions in 2015 and 2016\, First Place in the Scholarship Division of the National Opera Association’s solo voice competition (2014)\, as well as numerous other competitions and prizes.Miss Sheltrown is a graduate of Michigan State University\, where she received her Master of Music (2016) as a Mackey Scholar under the tutelage of Melanie Helton\, along with her Bachelor of Music (2014). \nKaren Albert\, altoEqually at home on the opera stage and in intimate concert settings\, Karen’s work covers a variety of disciplines and styles. Recent opera roles include “Katisha” in The Mikado\, the dasterdly “Mrs. McClean” in Susannah\, and “Cio Cio San’s Mother” in Madama Butterfly. Actively pursuing opportunities to share the unique beauty of the art song tradition\, Karen has performed works such as Edward Elgar’s Sea Pictures and Libby Larsen’s Raspberry Island Dreaming. Her love for choral music is evident in her work as well\, and she regularly sings both solo and ensemble works with historic Park Church in Grand Rapids\, MI and other professional ensembles around the country. \nHer scholarship has led to lecture recitals spanning from early French-Canadian folksongs to theological interpretations of Bach arias. Karen has also presented papers at the Midwest Gradatue Music Consortium and at the University of Calgary.  \nKaren is an adjunct faculty member at Cornerstone University where she teaches music history and vocal technique courses as well as a studio of voice students. \nKaren is also the creator of The Barber & The Singer\, a lifestyle blog seeking to serve and inspire musicians\, artists\, and others in the freelance/self-employed community. The Barber & The Singer can be found in the blog section of this website.  \nJon Lovegrove\, tenorTenor Jon Lovegrove has performed with West Michigan Opera Project as Sam in Susannah\, as well as with Opera Grand Rapids as 2nd Priest and 2nd Man in Armor in The Magic Flute\, the tenor soloist in Rossini’s Stabat Mater\, Shem in Noah’s Flood\, and Remendado in Carmen. He has also been a member of the OGR chorus since 2007\, appearing in multiple productions\, including The Mikado\, La Traviata\, The Marriage of Figaro\, and I Dream. Other West Michigan performances have been with GVSU Opera Theatre as Rinuccio in Gianni Schicchi\, the Kent Philharmonic Orchestra as Rodolfo in La Bohème\, and Timothy in 2nd Act Opera’s production of Help\, Help\, the Globolinks! \nMr. Lovegrove was a soloist for the Michigan premier of Benjamin Britten’s The World of the Spirit with the Evangelical Choral Society in 2013\, and has performed with the ECS on multiple other occasions. \nMr. Lovegrove holds an Associate’s Degree in Vocal Performance from Grand Rapids Community College. While pursuing that degree\, he was a member of the Grand Rapids Community College Choir\, Madrigal Singers\, and Shades of Blue Vocal Jazz Ensemble. \nDavid Grogan\, baritoneThe American baritone and music pedagogue\, David Grogan\, holds Bachelor of Music Education and Master of Music degrees from Texas Christian University\, where he studied voice with Sheila Allen and pedagogy with Vincent Russo. His love of choral music was solidified under the tutelage of the late Ronald Shirey\, who taught Grogan much of his musicality. He earned his Doctor of Musical Arts in Vocal Performance and Pedagogy in 2010 from the University of North Texas\, where he studied voice with Jeffrey Snider\, pedagogy with Stephen Austin\, and worked closely with Lyle Nordstrom in the early music program. Grogan’s dissertation was on the vocal pedagogy of Frederic W. Root\, who was an American vocal pedagogue of the 19th century. A shorter version of the dissertation was published in the January 2010 Journal of Singing under the title\, “The Roots of American Pedagogy.” \nDavid Grogan joined the faculty at the University of Texas Arlington in the fall of 2009\, first as visiting professor and in 2010 as tenure-track Assistant Professor of Voice. In addition to providing private vocal instruction for voice majors\, Grogan teaches vocal pedagogy\, voice class\, and choral methods. His background in choral music education is extensive\, including experience directing programs in both private and public schools across the metroplex. As choir director at Dallas Christian School from 1996 to 2000\, Grogan increased choir participation from 15 members to 115\, and took the choir to one of the first TPSMEA competitions. He has taught voice and served as assistant choral director in some of the most prominent programs in the area\, including at Arlington High School under Dinah Menger\, and Manor Middle School under Tommy Haygood. \nHolland Symphony Orchestra Musicians\nViolin 1Amanda DykhouseSara GoodKatie BastJennifer TuinengaJaclyn BurkeAnna SpixJosh ZallarKatie LefevreMichelle KellisSheri DwyerAlison Sal \nViolin 2Michelle Bessemer Irina KaganPatricia WunderLinssey MaRuth Vanden BosBecky DykKaren-Jane HenryEmma BieniewiczEllen RiznerSusan FormsmaJay SheridanRoger White \nViolaLauren GarzaDavid LeeKennedy DixonDaniel GriswoldSean BrennanJamie ListhConnie MeekhofMary HoflandLaurie Van Ark \nCelloPablo Mahave-VegliaJacob ResendezJohn ReikowSilvia SidoraneDawn Van ArkKevin SweersAnne ThompsonMatthew HeyboerEsther PetersonAlex Bowers \nBassMarcy MarcellettiChuck PageSam DykhouseJmar BongadoAiden Harmon \nFluteGabe SouthardJayne GortGay Landstrom \nOboeSarah SouthardRebecca WilliamsAnn Hepfer-Isaacson \nClarinetGary JuneLindsey Bos \nBassoonCynthia Duda PantLaura DiazRuth Wilson \nHornGreg BassettKarin YamaguchiMichael WrightFred GordonTucker Supplee \nTrumpetBruce FormsmaAaron GoodGregory Alley \nTrombonePaul WesselinkPhilip MitchellAdam Graham \nTubaBrendan Bohnhorst \nTimpaniSue Gainforth \nPercussionEric PetersonShanley KruizengaChris JonesRachel Coussens \nHolland Chorale\nDr. Patrick Coyle\, Artistic DirectorKristin Goodyke\, Principal Accompanist \nMartin AmonKerri BakerAndrew BroussardSarah BrownJay BylsmaKaren BylsmaBrian CarderEvan CuperusJill DeVriesRobert Edwards\, guestJessica Fashun\, guestVincent Frank\, guestJay GainforthChristopher GrapisJohn GriffinJeff HelderSteve HookElizabeth HudsonChandra HronchekCasey LampenKit LeggettJean LemmenesJo MeeuwsenJanet MorrowSverre OlsenPatricia Easa PersenaireMike PikaartAndrew PlummerShela RitchieAmanda RobbertDavid SchallertEd SchmidtJennie SchmidtJoe TerpstraJustin VandenBrinkKent VanTilStan WitteveenCarol Zeh \nSpera\nEric D. Reyes\, conductorBethany Dame\, keyboardist \nSopranoMaicee BishopEmma BoschCaitlyn BrownDarian DavisSeanna DeWittElisa FulperAletheia HoffmanAlli MitchellYessi MorenoChloe Roberts \nAltoLauren BryanEllie DirkseAllyson FennemaLeah FrittsEmma HakkenTaylor HofmanBeata HuntingtonKendall MaesNatalie PlittLily-Kate PritchardRachel Thomas \nChapel Choir\nEric D. Reyes\, conductorAlex Cross\, keyboardist \nSopranoJane AltevogtEmma ClarkMJ CockingGrace CritchfieldLottie-Brooke MimsChloe SmithAbby VonkGretchen Woell \nAltoMegan BartaKatie DonahueEmlin MunchKelli TrudeauRebecca Yurschak \nTenorEliseo BustillosAlex CrossDavid HallockLorenzo LumettaBryce RobinsonWesley StewartSpencer Whittington \nBassBryce GroverChristian LundyGarett ShrodeAndrew SilagiBen WaltersSawyer Winstead \nCollege Chorus\nEric D. Reyes\, ConductorAlex Cross\, Keyboardist \nSopranosMakenzie ChapmanCarola DettmarNatalie GestMacy KerrHannah PastJennie Judd ReyesJennie StatonLeyang Xu \nAltosBethany DameKatherine HaydukAnne KlippAllison MaleMargaret PromAnna TriezenbergBeth VandenbroekDeb VandenHeuvelJoanna VandenHeuvelAngela WagenveldAna Wong \nTenorsTodd SchuilingRyan VanDoeselaar \nBassesGary BogleSamuel GrosskreuzJim KleinhekselIsaac SandovalNoah Wohlfert \nTo listen to the pre-concert video\, click here.\nLearn more about the music…\nWe will be hosting not only the Classical Chat series at Freedom Village\, but also Pre-Concert Talks!  Details below: \nClassical Chats at Freedom Village:  These informative and fun talks are led by Johannes Müller-Stosch and take place at 3:00pm on the Thursday before each Classics concert.  (Freedom Village\, 6th Floor Auditorium\, 145 Columbia Ave.) \nPre-Concert Talks: These talks\, led by Johannes Müller Stosch and Amanda Dykhouse\, will be posted online this year\, approximately one week before each Classics concert.  Look under the “Pre-Concert Talk” tab. \nNew to the Symphony?  Check out the Frequently Asked Question page… \nParking Map at the Miller Center \nHolland Symphony Orchestra will reserve and monitor Lot 40 for handicapped parking.  The faculty parking lots are available for parking after 5pm \n \nHSO thanks these business partners for their support of this concert! URL:https://hollandsymphony.org/events/classics-iii-beethoven-9-330pm/ LOCATION:Jack H. Miller Center for Musical Arts at Hope College\, 221 Columbia Ave.\, Holland\, MI\, 49423\, United States ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2021/05/04-22-2016-HSO-Classics-III-2-83-copy-2-e1622130256103.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20220413T080000 DTEND;TZID=UTC:20220413T170000 DTSTAMP:20260403T152919 CREATED:20210315T225149Z LAST-MODIFIED:20220330T233602Z UID:2463-1649836800-1649869200@hollandsymphony.org SUMMARY:Link Up: The Orchestra Rocks! School Fourth Grade Concert DESCRIPTION:Concert Sponsor:\nJohn & Judy Spoelhof Foundation \nSamuel Westerman Foundation \nApril 13\, 2022 – School Concerts \nThese concerts are part of the Carnegie Hall Link Up program and are created for area 4th grade students and teachers.  They are not open to the public. URL:https://hollandsymphony.org/events/link-up-the-orchestra-rocks/ LOCATION:DeWitt Auditorium\, Zeeland East High School\, 3333 96th Ave.\, Zeeland\, 49464\, United States ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2021/05/Link-Up-Orchestra-Pic.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20220320T153000 DTEND;TZID=UTC:20220320T170000 DTSTAMP:20260403T152919 CREATED:20210322T215604Z LAST-MODIFIED:20220315T165958Z UID:2551-1647790200-1647795600@hollandsymphony.org SUMMARY:Classics Discovery: Out of this World DESCRIPTION:Concert Sponsor:\n \n \n Tickets\n \n\nProgram\nInformation\nArtist Bio\nProgram Notes\nParticipants\n\nSunday\, March 20th 2022 at 3:30 p.m.DeWitt Auditorium Zeeland East High School\nScott Wiessinger\, NASA Videographer\nDenise Hill\, NASA Heliophysics Communications and Outreach Lead\nMark Moldwin\, Professor of Climate and Space Sciences and Engineering at the University of Michigan and Director of NASA’s Michigan Space Grant Consortium \n\nProgram\nThemes from Also Sprach ZarathustraRichard Strauss (1864-1949)\, arr. J. F. Lehmeier\nHelios Overture\, op. 17Carl Nielsen (1865-1931)\nStar Wars SuiteJohn Williams (b. 1932)     Main Title     Imperial March\nApollo 13 SelectionsJames Horner (1953-2015)\, arr. John Moss\n“Morning Mood” from Peer Gynt Suite No. 1Edvard Grieg (1843-1907)\nThe Planets\, Op. 32Gustav Holst (1874-1934)     Mars     Venus     Jupiter\n  \n  \n \n  \nScott Wiessinger is an award-winning multimedia producer for astrophysics\, heliophysics\, and the Nancy Grace Roman Space Telescope at NASA’s Goddard Space Flight Center.  Scott received a Masters of Fine Arts in Science and Natural History Filmmaking from Montana State University in 2009 and has been at NASA ever since.  His work with Solar Dynamics Observatory (SDO) imagery has been widely featured in the media and he has pioneered innovative ways of displaying solar footage\, including the art installation called Solarium.  Much of Scott’s time is spent communicating the complex science of high-energy astrophysics\, which includes topics like black holes\, supernovas\, neutron stars and gravitational waves. \nThemes from Also Sprach ZarathustraRichard Strauss\, arr. Jerry Lehmeier\nBorn: June 11\, 1864\, Munich\, BavariaDied: September 8\, 1949\, Garmisch\, GermanyWritten: Between February 4\, 1895\, and August 24\, 1896\, MunichPremiered: November 27\, 1896\, Frankfurt City OrchestraApproximate duration (this version): 5 minutesInstrumentation (this version): 2 flutes\, oboe\, two clarinets\, bassoon\, 4 French horns\, 3 trumpets\, 3 trombones\, tuba\, timpani\, snare drum\, bass drum\, crash cymbal\, suspended cymbal\, triangle\, glockenspiel strings \nGerman composer Richard Strauss is known for his huge tone poems: pieces of programmatic music that\, in his case\, tell a story or elaborate on an extra-musical idea. In Also sprach Zarathustra he expanded the scale of his tone poems.  The complete work is around forty minutes\, uses a massive orchestra\, and pushes various instruments to new levels of difficulty.  As a result\, the full\, original version of this piece is rarely played. \nIn the 1890s Strauss spent a lot of time reading the works of Friedrich Nietzsche (1844-1900).  Nietzsche articulated his philosophy extensively in his four-part treatise Also sprach Zarathustra\, published in 1883-85.  Here Nietzsche speaks through Zarathustra\, his version of the Persian prophet Zoroaster\, who has been removed to a mountaintop for years to meditate and then returns to share his insights with humanity.  Strauss was very attracted to Nietzsche’s philosophy\, and used this work to “convey in music an idea of the evolution of the human race from its origin\, through the various phases of development\, religious as well as scientific\, up to Nietzsche’s idea of the Superman.”  \nToday’s arrangement captures several themes from the full tone poem\, including the opening theme\, made famous in Stanley Kubrick’s 1968 film\, 2001: A Space Odyssey.  It opens in darkness\, with the lowest instruments intoning a low C.  Brass instruments represent the sun rising over the horizon in a rising three note motif: C-G-C.  This “Nature” or “World Riddle” theme is an evocative introduction to the musical journey that follows. \nHelios Overture\, Op. 17 Carl Nielsen \nMusic donated by Brian and Gay Landstrom in honor of Darlene Dugan \nBorn: June 9\, 1865\, Funen\, DenmarkDied: October 3\, 1931\, in CopenhagenWritten: March 10–April 23\, 1903\, Athens\, GreecePremiered: World premiere: October 8\, 1903\, Copenhagen\, Danish Royal OrchestraApproximate duration: 9 minutesInstrumentation: 2 flutes\, piccolo\, 2 oboes\, 2 clarinets\, 2 bassoons\, 4 horns\, 3 trumpets\, 3 trombones\, tuba\, timpani\, and strings \nCarl Nielsen grew up in a large family on the island of Funen in Denmark.  His father was an amateur violinist and trumpeter.  Carl also played the violin and eventually attended the Copenhagen Conservatory.  In 1889 he became a violinist in Copenhagen’s opera orchestra.  He started conducting the ensemble part time in 1905 and became its primary conductor in 1908.  In 1915 he began teaching music theory and composition at the Copenhagen Conservatory\, and was named its director in 1930.  He was never able to support himself as a composer full time\, but he was so well loved for his works that his death in 1931 was named a day of national mourning.  He was not well known as a composer outside of Denmark during his lifetime\, but his reputation grew after his death\, mainly through his orchestral works\, including six symphonies and other thematic pieces. \nLike many of his contemporaries\, Nielsen grappled with one of the biggest musical debates of his time.  Should music be “pure\,” unattached to any outside idea or story?  Or should music be “programmatic\,” that is\, music that would paint a picture\, tell a story\, depict something in nature\, or express some other non-musical idea?  In general\, NIelsen was wary of going too far into the “programmatic” music camp\, stating that music should be based on its internal logic and telling its own “story” rather than just narrating someone else’s story.  But in the winter of 1903\, his wife\, a sculptor\, received a grant to study ancient art in Athens.  They rented rooms overlooking the Aegean sea\, and the hot sun of Greece inspired Nielsen to compose his Helios Overture\, named for the Greek god of the Sun. He described his new piece to a friend: “Now it is scorchingly hot; Helios burns all day and I am writing away at my new solar system. A long introduction with sunrise and morning song is finished\, and I have begun on the allegro…. My overture describes the movement of the sun through the heavens from morning to evening\, but it is only called Helios and no explanation is necessary.” Nielsen later added this description to the score\, summarizing the overture’s scene: “Stillness and darkness – Then the sun rises to joyous songs of praise – Wanders its golden way – Quietly sinks in the sea.” \nThe piece opens with hushed low notes\, quiet horn calls\, and smooth melodic fragments that capture the “stillness and darkness” of the early morning.  A horn melody and subsequent trumpet fanfare evoke Helios\, riding his golden chariot through the sky.  The main body of the overture\, with fast and high melodies\, portrays the sun in all its glory. The piece ends in the original slow\, quiet manner as the sun “quietly sinks in the sea\,” leaving only a distant\, low hum. \nStar Wars Suite: Main Title and Imperial MarchJohn Williams\nMusic donated by James Strickland \nBorn: February 8\, 1932\, Flushing\, Queens\, New York CityWritten: Star Wars: A New Hope\, 1977Approximate duration: complete suite: 24 mins; Main Title: 5 minutes; Imperial March: 3 minutesInstrumentation (complete suite): 2 flutes\, piccolo\, 2 oboes\, English horn\, 2 clarinets\, bass clarinet\, 2 bassoons\, 4 horns\, 3 trumpets\, 3 trombones\, bass tuba\, timpani\, triangle\, snare drum\, tambourine\, cymbals\, suspended cymbal\, bass drum\, tam‑tam\, chimes\, glockenspiel\, celesta\, xylophone\, vibraphone\, harp\, piano\, celeste\, and strings.  \nJohn Williams is the most recognized and decorated composer of music for the movies.  He has received 51 Oscar nominations\, 24 Grammys\,  4 Golden Globes\, 7 BAFTAs\, and at least 12 honorary doctorates.  He has more Oscar nominations than anyone else alive–second only to Walt Disney.  His score for the earliest Star Wars film was recognized as the greatest movie score of all time.  Over 20 of his albums have achieved gold or platinum status. \nWilliams was the son of a Jazz drummer and percussionist.  Though born in New York City\, his family moved to Los Angeles when he was twelve.  He studied music and composition in college and joined the Air Force\, where he played various instruments\, conducted\, and arranged music for the U. S. Air Force Band.  He then concluded his musical studies at Julliard and Eastman\, studying piano and composition and playing jazz piano in many night clubs.  After his studies he returned to Los Angeles and worked as an orchestrator for film studios and played piano as a studio musician.  He was also the primary conductor of the Boston Pops from 1908-1993. \nWilliams composed many “concert” works in addition to his film scores\, including concertos\, song cycles\, and other orchestral pieces.  He is certainly most known and loved for his cinematic music.  His style is very romantic\, with expansive themes and colorful orchestration very well suited to Fantasy and Science Fiction films.  He follows in the footsteps of late Romantic composers like Richard Wagner with his use of leitmotifs–melodic themes that represent characters such as Princess Leia\, Darth Vader\, or Jaws.  \nMusic from Apollo 13James Horner\, arr. John Moss\nBorn: August 14\, 1953Died: June 22\, 2015Premiered: 1995Approximate duration (this version): 5 minutesInstrumentation (this version): 2 flutes\, 1 oboe\, 2 clarinets\, bass clarinet\, 1 bassoon\, 4 French horns\, 3 trumpets\, 3 trombones\, tuba\, timpani\, field drum\, bass drum\, suspended cymbal\, tambourine\, crash cymbal\, snare drum\, chimes\, bells\, triangle\, piano\, strings \nJames Horner is a celebrated composer and orchestrator of film scores.  He is well known for his use of Celtic melodic motifs in his music.  His score for Titanic is the best-selling movie soundtrack ever.  His music is varied and has wide appeal\, in movies ranging from Avatar to A Beautiful Mind to The Karate Kid\, and also some of the Star Trek\, Zorro\, and Spiderman movies.   \nHorner started playing the violin at an early age.  He spent most of his life\, including his education\, in the Los Angeles area.  He was also an avid pilot and owned several small planes.  He died in a single airplane crash at the age of 61. \nThe movie Apollo 13\, directed by Ron Howard\, tells the story of one of the most watched and suspenseful missions of the U.S. Space program.  In this movie\, set in 1970\, astronauts played by Tom Hanks\, Kevin Bacon\, and Bill Paxton are en route to the moon when an explosion causes a critical system failure.  Mission Control aborts the moon landing and the team proceeds with a desperate attempt to bring the crew home safely despite dwindling oxygen and electric power and other perils.  This movie is the source of the famous line\, “Houston\, we have a problem!”  It was released in U.S. theaters in 1995 and was nominated for many awards.” \n“Morning Mood” from Peer Gynt Suite No. 1\, Op. 46Edvard Grieg\nBorn: June 15\, 1843\, Bergen\, NorwayDied:  September 4\, 1907\, Bergen Written: May 1874–September 1875Premiered: Ibsen’s play Peer Gynt premiered in Oslo\, Norway\, February 24\, 1876Approximate duration: Entire suite: 15 minutes; Morning Mood: 4 minutesInstrumentation (complete suite): 2 flutes\, piccolo\, 2 oboes\, 2 clarinets\, 2 bassoons\, 4 horns\, 3 trumpets\, 3 trombones\, bass tuba\, timpani\, triangle\, cymbals\, bass drum\, and strings.  \nIn 1874\, the playwright Henrik Ibsen invited Edvard Grieg to write incidental music for his poetic satire\, Peer Gynt.  In this play\, Peer\, the only son of poor peasants\, follows some bad advice from a group of trolls.  Instead of staying home to help his widowed mother and marry his girlfriend Solveig\, he embarks on a series of reckless adventures\, including carrying off brides from weddings\, seducing the daughter of a mountain king\, and wandering among foreign countries.  Throughout his adventures\, Peer finds wealth and fame\, but he is unhappy.  He moves farther away from being a caring person and seeks only to satisfy himself by lying and taking advantage of others.  At one point he returned home just in time to see his mother\, Aase\, die from her worry for Peer\, but he immediately departed again.  He finally returns as a remorseful old man\, welcomed by his first love\, Solveig\, who has waited for him all these years.  \nWhen Ibsen asked Grieg to compose this music\, Grieg was well known in his country but not abroad.  He was hesitant to accept\, feeling that Ibsen’s portrayal of the Norwegian people\, represented by Peer\, was insulting.  He needed the money\, though\, so he finally agreed to participate in this project\, thinking that he could use it as a vehicle to bring Scandinavian—especially Norwegian—musical and literary culture to the attention of the rest of Europe.  He succeeded in this endeavor\, and this assignment that established Grieg’s fame around the world. \n“Morning Mood” portrays the day on which Peer Gynt started his adventure.  Grieg captures the calm spirit of dawn\, the songs of birds\, the rippling water of a stream\, and the glory of a majestic sunrise. \nGustav Holst  The Planets\, Op. 32: Mars\, Venus\, and Jupiter\nMusic donated by David Heuvelhorst\, in memory of James and Henrietta Heuvelhorst \nBorn: September 21\, 1874. Cheltenham\, Gloucestershire\, EnglandDied: May 25\, 1934. LondonWritten: Mars\, Venus\, and Jupiter: 1914; Saturn\, Uranus\, and Neptune: 1915; Mercury 1916Premiered: First performance of complete work: November 15\, 1920\, in LondonApproximate duration: 51 mins (complete work); Mars: 6 minutes; Venus: 10 minutes; Jupiter: 7 minutesInstrumentation (complete work): 2 flutes\, piccolo\, alto flute)\, 2 oboes\, English horn\, bass oboe\, 3 clarinets\, bass clarinet\, 3 bassoon\, contrabassoon\, 6 horns\, 4 trumpets\, 3 trombones\, tenor tuba\, bass tuba\, 6 timpani (2 players)\, triangle\, snare drum\, tambourine\, cymbals\, bass drum\, tam‑tam\, chimes\, glockenspiel\, celesta\, xylophone\, 2 harps\, organ\, and strings. Off-stage female chorus  \nGustav Holst was born into a very musical family and showed early promise as a concert pianist\, organist\, and choirmaster.  He also played the violin and trombone.  After neuritis in his right arm put an end to his solo career\, he pursued composition\, teaching\, and choir directing.  Like his friend Ralph Vaughan Williams\, Holst sought to infuse his music with English folk music and wrote pieces in a cosmopolitan\, accessible style.  \nSometime after the turn of the century\, Holst became fascinated by astrology.  Initially he was reluctant to speak of this\, though he admitted that his “pet vice” was reading horoscopes for his friends.  Ultimately he transformed this interest into his best-known work\, The Planets\, written between 1914 and 1917.  This large suite of subtly interrelated tone poems\, or as Holst preferred\, “mood pictures\,” depicts the astrological characters of seven planets in our solar system and their influence on human character\, though a few mythological and astronomical elements enter in as well.  \nWorld War I was on the horizon when Holst wrote Mars\, the Bringer of War in August\, 1914.  Strings begin this strange march in 5/4 meter by tapping their strings with their bow sticks.   Brass and percussion soon dominate\, sounding brutal and implacable chords over a relentless martial ostinato.  After a dissonant climax\, the machine pauses desolately for a moment\, only to push towards a devastating conclusion.  Holst instructed that “Mars” be played as fast and brutally as possible.   \nA solo horn summons Venus\, the Bringer of Peace. In The Principles and Practices of Astrology\, Noel Tyl writes that\, to astrologers\, “when the disorder of Mars is past\, Venus restores peace and harmony.” This movement is total contrast: a calm\, tranquil reverie\, set far from the scene of any conflict.  The dominant instrumental colors come from flutes\, harps\, celeste\, and high violins. \nThe most massive of the Planets is Jupiter\, the Bringer of Jollity\, named for the light‑bringer\, the rain‑god\, the god of thunderbolts\, of the grape and the tasting of the new wine\, of oaths\, treaties\, and contracts.  The opening and closing sections were inspired by Edwardian vaudeville\, folk songs\, and dance halls.  In the central section\, the strings introduce a stately\, British melody evoking a more ceremonial type of rejoicing.  Holst later gave this tune words and it became the English patriotic hymn\, “I Vow to Thee\, My Country.” \nViolin 1Amanda DykhouseSara GoodKatie BastLetitia JapJosh ZallarPatricia WunderKatie LeFevreEmma HakkenMIchelle KellisSheri Dwyer \nViolin 2Michelle BessemerJaclyn BurkeRuth VandenBosSarah CovellKaren Jane HenryBecky DykEllen RiznerSusan FormsmaDiane LewisEmma Bieniewicz \nViolaLauren GarzaSean BrennanDan GriswoldJamie ListhConnie MeekhofLaurie VanArk \nCelloAnna KuceraJacob ResendezMac WynJohn ReikowDawn VanArkKevin SweersAlex BowersMatt Heyboer \nBassMarcy MarcellettiChuck PageAiden HarmonJmar Bongado \nFlute \nGabe SouthardJayne GortRebecca VanDeWalker \nOboeSarah SouthardRebecca Williams \nClarinetVanessa HeuckLindsey Bos \nBassoonWei-Tzu WangLaura Diaz \nFrench HornMichael WrightReed FitzpatrickKarin YamaguchiFred GordonTucker Supplee \nTrumpetBruce FormsmaAaron GoodGreg Alley \nTromboneSteve LillyJames GroelsmaAdam Graham \nTubaBrendan Bohnhorst \nTenor tubaWill Sutton \nTimpaniSue Gainforth \nPercussionEric PetersonShanley KruizengaMark LopezBrandon Gainforth \nHarpMartha Waldvogel \nPiano/CelesteLinda Strouf \nHSO thanks these business partners for their support of this concert! URL:https://hollandsymphony.org/events/classics-discovery-out-of-the-world/ LOCATION:DeWitt Auditorium\, Zeeland East High School\, 3333 96th Ave.\, Zeeland\, 49464\, United States ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2021/05/Planets-Family-e1621630304854.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20220313T150000 DTEND;TZID=UTC:20220313T170000 DTSTAMP:20260403T152919 CREATED:20210617T200457Z LAST-MODIFIED:20220308T190014Z UID:5162-1647183600-1647190800@hollandsymphony.org SUMMARY:HSYO Spring Concert DESCRIPTION:Program\nInformation\nParticipants\nBios\n\nSunday\, March 13\, 2022 at 3:00pm\nLokers Auditorium\, Cityside Middle SchoolZeeland\, Michigan \n\nHOLLAND AREA JUNIOR STRINGS\nKyle Nester\, Music Director and ConductorTori Zokoe\, General ManagerKatie Rae Hayduk\, Rehearsal Manager \nPastoral SymphonyLudwig van Beethoven\, arr. Christina Hans \nShepherd’s Hymn from the Pastoral SymphonyLudwig van Beethoven\, arr. Richard Meyer \nFinale from Symphony No. 5Ludwig van Beethoven\, arr. Richard Meyer \nHOLLAND AREA CONCERT STRINGS\nKyle Nester\, Music Director and ConductorTori Zokoe\, General ManagerKatie Rae Hayduk\, Rehearsal Manager \nArith-Metric No. 1Brian Balmages \nBrandenburg Concerto No. 3\, Second MovementJohann Sebastian Bach\, arr. Merle Isaac \nSymphony No. 1 in D Major\, Second MovementGustav Mahler\, arr. Sandra Dackow \nCOMBINED STRINGS FROM HAJS\, HACS\, HAYO\nVariations on a Theme from ThailandRichard Meyer \nHOLLAND AREA YOUTH ORCHESTRA\nChristopher Fashun\, Music Director and ConductorTori Zokoe\, General ManagerKatie Rae Hayduk\, Rehearsal Manager \nSymphony No. 1 in C major\, op. 2: Adagio molto-Allegro con brioLudwig van Beethoven (1770-1827) \nSymphony No. 6 in B minor\, op. 74\, “Pathétique”: Allegro con graziaPeter Ilych Tchaikovsky (1840-1893) \nEnigma\, Variations on an Original Theme\, Opus 3: Variation IX\, NimrodEdward Elgar (1857-1934) \nSymphony No. 9 in E minor\, op. 95\, “From the New World”: Allegro con fuocoAntonín Dvořák (1841-1904) \n  \nMasks will be required for all audience members at this concert. Our students have been making it all semester long and our season does not end until our concert is finished. All students and audience members will be required to mask during the concert. \nDress rehearsal for the concert will take place on Saturday morning\, March 12th. This will take place at Lokers Auditorium at Cityside Middle School on Main Street in Zeeland (320 E Main St\, Zeeland\, MI 49464). Junior Strings will rehearse from 9:00-9:45\, Concert Strings from 10:00-10:45\, ALL HSYO STRINGS from 10:45-11:15\, and HAYO from 11:15-12:00. Students DO NOT need to be in concert dress for dress rehearsal. Per the HSYO Handbook\, DRESS REHEARSAL IS REQUIRED AND FAILURE TO ATTEND CAN MEAN INABILITY TO PARTICIPATE IN THE CONCERT. Concert dress is not required for this rehearsal. Please see the breakdown of the schedule below for further clarification. \n\nJunior Strings students should arrive no later than 8:45am\, and will be done with their first block of rehearsal by 9:45am. They MUST return for rehearsal at 10:45am and will be dismissed for the day by 11:15am. Students may stay at the venue between their two rehearsal blocks\, but must have a book to read or sit quietly in the auditorium while Concert Strings rehearses.\nConcert Strings students should arrive no later than 9:45am and will be done with their rehearsal block by 11:15am.\nHAYO String players should arrive no later than 10:30am and will be done with their rehearsal block by 12:00pm.\nHAYO Winds\, Brass\, and Percussion players should arrive no later than 11:00am and will be done with their rehearsal block by 12:00pm.\n\nConcert dress is as follows: \n\n Junior and Concert Strings: Men: Black pants\, black socks\, and black shoes\, with long sleeved white shirt (no ties); Women: Tea length (below knees) black skirt\, white long sleeved dress blouse\, and black shoes with black nylons or tights. Dressy long pants are permissible for women (no jeans or leggings). Black mask required.\nHAYO: Men: Black pants\, black socks\, and black shoes\, with long sleeved black shirt (no ties); Women: Tea length (below knees) black skirt\, black long sleeved dress blouse\, and black shoes with black nylons or tights. Dressy long pants are permissible for women (no jeans or leggings). Black mask required.\n\nSpring Concert warm-up schedule on Sunday\, March 13: \n\nCall time for students is 1:30pm\, dressed and ready to perform at Lokers Auditorium (320 E Main St\, Zeeland\, MI 49464).\nStudents should plan to arrive no later than 1:15pm. We will do sound checks on stage and the concert will begin promptly at 3:00pm.\n\nTickets will be available for purchase at dress rehearsal and at the door – $10 for adults and $5 for students ages 6-college. Children under 6 are free. You can preorder tickets using this link and then pay and pick up at dress rehearsal or the door before the concert. HSYO Spring Concert Ticket Orders \n  \nSpring Auditions: Video submissions are due by August 1st for Concert Strings and HAYO students. Interested students can inquire and/or send video submissions to our General Manager\, Tori Zokoe\, at victoriazokoe@gmail.com. \nHOLLAND AREA JUNIOR STRINGS\nAurea DeKuiper\, 5\, Homeschool\, violinAnna Richert\, 6\, Homeschool\, violinDan Thach\, 7\, West Ottawa\, violinHailey Moorman\, 5\, Byron Center\, violinDavid Steenwyk\, 6\, Holland Christian\, violinRebecca Haig\, 6\, Holland Christian\, violinJosiah DeVries\, 6\, Holland Christian\, violinMatthew Yang\, 7\, West Ottawa\, violinDiana Linares\, 7\, West Ottawa\, violinRyan Park\, 7\, West Ottawa\, violinElLeigh Frame\, 7\, West Ottawa\, violinEvangeline Figueroa\, 7\, West Ottawa\, violinAidric Gomez\, 2\, Black River\, violinJennifer Goding\, 7\, West Ottawa\, violaCat Kraus\, 7\, Black River\, violaEzra Rozema\, 7\, Holland Christian\, violaGwendolyn Bedwell\, 7\, West Ottawa\, violaGrace Meade\, 4\, Reeths Puffer\, celloDavina VanIwaarden\, 7\, Holland Christian\, celloJoseph Yang\, 8\, West Ottawa\, celloAmalia Noble\, 7\, West Ottawa\, celloMadison Goodenough\, 7\, West Ottawa\, cello \nHOLLAND AREA CONCERT STRINGS\nLeila Sundararajan\, 8\, Holland\, violinNorrah Campbell\, 9\, Zeeland\, violinChristiana Franzon\, 7\, Homeschool\, violinAxel Franzon\, 7\, Homeschool\, violinCharlotte Beckman\, 7\, Holland Christian\, violinJack Bolt\, 8\, Holland\, violinLayla Vinten-Johansen\, 9\, SaugatuckJack Sherman\, 6\, HomeschoolDane Kolk\, 8\, Holland Christian\, violaAlan Juarez\, 9\, Holland\, violaAlexis Goodell\, 8\, West Ottawa\, violaOak DeKuiper\, 8\, Homeschool\, celloAndrew Elwood\, 8\, West Ottawa\, celloAbby Kuiper\, 8\, West Ottawa\, cello \nHOLLAND AREA YOUTH ORCHESTRA\nRebekah Dykema\, 12\, Zeeland\, violin 1Lindsay Brncick\, 12\, Black River\, violin 1Aeja DeKuiper\, 12\, Homeschool\, violin 1Olivia Wilcox\, 12\, Hudsonville\, violin 1Greta Bast\, 9\, Black River\, violin 1Aliz Pusztai\, 11\, Libertas\, violin 1Noah Marroquin\, 11\, West Ottawa\, violin 1Elyse Schurman\, 12\, West Ottawa\, violin 2Claire Kaercher\, 12\, Unity Christian\, violin 2Carlina Franzon\, 11\, Homeschool\, violin 2AmySue Harlow\, 11\, Homeschool\, violin 2Paige Bomhof\, 12\, West Ottawa\, violin 2Mason Sybesma\, 8\, Holland Christian\, violin 2Kate Wehrman\, 10\, Libertas\, violin 2Ariana Ramirez\, 10\, West Ottawa\, violin 2Sophia Postma\, 12\, Homeschool\, violaElla Pusztai\, 11\, Libertas\, violaElla Vanden Berg\, 11\, Holland Christian\, violaBarrett Huffman\, 10\, Holland Christian\, violaBrandon Blake\, 12\, West Ottawa\, celloSamuel Nicely\, 12\, Holland Christian\, celloDaniel Hotchkiss\, 10\, West Ottawa\, celloMadeline Benson\, 11\, Black River\, celloChase Veldink\, 10\, West Ottawa\, celloMaggie Bast\, 10\, Black River\, celloAbigail Fahrion\, 12\, Holland\, celloSophie Fenwick\, 11\, Homeschool\, celloAbram Vanden Berg\, 8 Holland Christian\, celloSam Dykhouse\, 12\, Black River\, bassJenna Ly\, 12\, Holland Christian\, fluteJilaena Weesies\, 12\, Grand Haven\, fluteStephanie VanKuiken\, 11\, Grand Haven\, fluteCarlos Marroquin-Lozada\, 12\, West Ottawa\, oboeJoshua Woolsey\, 11\, Holland Christian\, clarinetNoelle Harrity\, mentor\, bassoonSydney Brander\, 12\, Zeeland\, French hornIsaiah Theonugraha\, 9\, Zeeland\, French hornJaclyn Klinger\, mentor\, French hornAnnika Johnson\, 8\, Hamilton\, French hornKaleb Gomez Corder\, 11\, trumpetKeith Walker\, mentor\, trumpetNolan Meier\, 12\, Black River\, tromboneCaroline Johnson\, 10\, Hamilton\, tubaPeyton Brennan\, 12\, Zeeland\, percussion \nRehearsal Manager: Katie Rae Hayduk \nSet Up Crew: Brandon Blake\, Aeja DeKuiper\, Carlina Franzon\, Rebekah Dykema \nHAYO Graduating Seniors: Brandon Blake\, Paige Bomhof\, Sydney Brander\, Peyton Brennan\, Lindsay Brncick\, Aeja DeKuiper\, Rebekah Dykema\, Sam Dykhouse\, Abigail Fahrion\, Claire Kaercher\, Jenna Ly\, Carlos Marroquin-Lozada\, Nolan Meier\, Sam Nicely\, Sophia Postma\, Elyse Schurman\, Jillaena Weesies\, Olivia Wilcox \n \nKyle Nester \nKyle Nester graduated from Alma College in 2004 with a Bachelor of Music in Music Education degree.  While in college\, he participated in orchestra\, marching band\, jazz band\, percussion ensemble\, and choir.  Mr. Nester spent a term in Vienna\, Austria and studied violin with Maeve Auer from the Universitat fur Musik und Darstellende Kunst.  After college\, he was a soloist in the Baroque on Beaver Music Festival and performed with Josh Groban a few times.  After a long-term substitute teacher position in Fremont\, Michigan\, he taught 5th – 12th grade orchestra at Chippewa Hills School District for seven years.  After his wife Andrea finished her law degree at Michigan State University\, the couple moved to West Michigan. He started teaching at Holland Christian in 2012 and Andrea was employed in a law firm in downtown Grand Rapids.  Recently\, Mr. Nester has been interested in fiddling and started the Michigan Academy of Folk Music with Nate Roberts from Hope College.   \nMr. Nester enjoys running races\, enjoying nature\, playing music\, and traveling.  They have three “interesting” cats and a planted freshwater fish tank.   \n  \nChristopher H. Fashun \nChristopher H. Fashun is an incredibly diverse and versatile conductor\, performer\, and educator. He brings over two decades of experience as a music educator leading middle school\, high school and collegiate band and orchestra programs in addition to directing jazz and percussion ensembles. \nA 2018 recipient of a U.S. Postdoctoral Fulbright Award in All Disciplines\, Dr. Fashun will be living and researching Afro-Brazilian music in Salvador da Bahia\, Brazil during the summer of 2019.  His project will focus on the dissemination of Afro-Brazilian music and culture in the city of Salvador.  \nAn Assistant Professor of Music at Hope College\, he serves as the Director of Orchestras\, the founder and Music Director of the Brazilian Drumming Ensemble\, teaches applied percussion\, world music\, and is an Instructor of Instrumental Music Education. \nAn accomplished percussionist and violist\, he has several years of orchestral and chamber music experience and has enjoyed success in both areas as a soloist by winning three concerto competitions\, one on viola and two on marimba. \nDr. Fashun is an active guest conductor\, clinician\, adjudicator\, and percussionist.  He is a frequent presenter at music education conferences and is a highly sought after clinician and conductor.  Notable engagements include the La Porte County Symphony Orchestra\, Holland Symphony Orchestra\, Elkhart Symphony Orchestra\, St. Ambrose University Community Symphony Orchestra\, the University of Iowa Philharmonia and All-University Orchestras.  Dr. Fashun has conducted the Symphony String Orchestra at the Iowa IMEA Conference for the All-State Iowa Junior Honors String Orchestra Festival Concert and the Midwest Mennonite Festival Orchestra and Concert Band.  He has served on the music faculties at St. Ambrose University and Goshen College.  \nHis research in conducting combines developing musicianship from the podium and health and wellness for music educators.  \nWhen he’s not making music\, he is either cycling\, paddle boarding\, or practicing Pilates and enjoying the fabulous beaches in Holland (in the summer\, of course) with his wife and daughter.  \nHSO thanks these business partners for their support of this concert! URL:https://hollandsymphony.org/events/hsyo-spring-concert-3/ LOCATION:Lokers Auditorium\, Cityside Middle School\, 320 East Main\, Zeeland\, MI\, 49464\, United States ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2021/05/HAYO-pic-fall-2019-small-1024x737-1-e1623945205856.jpeg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20211211T193000 DTEND;TZID=UTC:20211211T210000 DTSTAMP:20260403T152919 CREATED:20200331T221153Z LAST-MODIFIED:20211207T212522Z UID:2160-1639251000-1639256400@hollandsymphony.org SUMMARY:Holiday Concert: Home for the Holidays (7:30pm) DESCRIPTION:Purchase\n \n\nProgram\nInformation\nArtist bio\n\nSaturday\, December 11\, 2021 3:30 & 7:30pm\nDimnent Chapel\, Hope College (general seating)\nHelen Welch\, guest artist\nA Canadian Brass ChristmasArr. Henderson & Custer  \nI’ve Got the World on a StringKoehler/Arlen\, arr. Dave Hanson  \nIt Happened in Sun ValleyWarren & Gordon  \nThe Christmas SongWells & Torme\, arr. Kempers \nWinter Weather MedleyArr. Dave Hanson \nTrepak & Waltz of the Flowers from The NutcrackerTchaikovsky  \nA Christmas FestivalAnderson  \nFeeling GoodNewley & Bricusse\, arr. Ferguson \nHappy Holidays/Holiday SeasonBerlin\, orch. Kempers \nSleigh RideAnderson \nI’ll Be Home for ChristmasGannon\, Kent & Ram\, arr. Hanson  \nOn a Wonderful Day Like TodayBricusse & Newley   \n Wonderful WorldWeiss & Thiele \nThe concert is held twice: 3:30 and 7:30pm. Seating is general.\nWe hope you will make this special concert part of your family Christmas. \nTickets are non-refundable.  HSO will exchange holiday tickets for another concert. \nHelen Welch is an internationally acclaimed vocalist\, entertainer\, producer and band-leader. Her unique talent for arranging songs to make them her own\, coupled with her ability to intimately engage her audience\, has quickly earned her a large and devoted following around the globe. \nA native of England\, Helen began her career on television’s Romper Room. Since her early success\, she has headlined with world-class organizations such as the BBC Big Band\, Glenn Miller Europe\, Opus One and others at some of the UK’s most prestigious venues including: The Ritz\, The Savoy\, Blenheim Palace\, The Grosvenor House Great Room\, Claridges and many theatres in London’s West End. Additionally\, she held starring roles in a variety of popular musicals including: Hello Dolly\, Barnum\, Carousel\, 42nd Street\, Calamity Jane\, and Oliver Twist. \n After a very successful run in the U.K.\, Helen relocated to the United States to guest star in the Broadway musical Smokey Joe’s Cafe. Her immediate success landed her as a fronting vocalist for The Cleveland Orchestra\, The Breckenridge Summer Orchestra\, The Cleveland Jazz Orchestra\, The Grant Park Symphony Orchestra (Chicago)\, The Florida Symphony and the Columbus Jazz Orchestra. Since that time\, Helen has been producing her own shows for Cleveland’s Playhouse Square\, The Akron Civic Theatre\, The Chautauqua Institution and many other theatres and performing arts centers around the country. \nIn 2006 Helen produced her big band CD One Dream using the nationally renowned Cleveland Jazz Orchestra. Rosemary Riddle\, daughter of famed arranger Nelson Riddle\, gave Helen the original Nelson Riddle arrangement of “Zing Went the Strings of my Heart” for her to perform and record on this CD. Apart from Judy Garland\, Helen is the only other vocalist to have used and performed this arrangement on a recording and she still uses it today in her big band performances. \nHelen has had world-class symphony pops arrangements for 3 of her productions and has performed with many different symphony orchestras throughout the U.S. and in England. Helen was invited twice to perform with the Blossom Festival Orchestra\, which is part of the Cleveland Orchestra. For these particular concerts the Ella Fitzgerald Foundation gave Helen permission to go to the Library of Congress in Washington to go through Ella’s collection of music which she then used for these special symphony orchestra concerts at Blossom. \nIn 2016\, her musical release\, “Spellbound” was an entry for the Traditional Pop Category of the Grammy Awards. \nHSO thanks these business partners for their support of this concert! URL:https://hollandsymphony.org/events/holiday-concert-home-for-the-holidays-730pm/ LOCATION:Dimnent Chapel\, 277 College Ave.\, Holland\, MI\, 49423\, United States ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2021/05/Holiday-scaled-e1621630599145.jpeg END:VEVENT END:VCALENDAR