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:20230101T000000 END:STANDARD END:VTIMEZONE BEGIN:VTIMEZONE TZID:America/New_York BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20230312T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20231105T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20240310T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20241103T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20250309T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20251102T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20260308T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20261101T060000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=UTC:20240324T150000 DTEND;TZID=UTC:20240324T170000 DTSTAMP:20260404T024028 CREATED:20231228T172953Z LAST-MODIFIED:20240321T184018Z UID:9527-1711292400-1711299600@hollandsymphony.org SUMMARY:HSYO Spring Concert DESCRIPTION:Concert Sponsors:\n \n \n \n \n Tickets\n \n\nProgram\nInformation\nArtist bio\n\nSunday\, March 24 at 3:00pm\nZeeland East High School \n\nHOLLAND AREA JUNIOR STRINGS\nKyle Nester\, Music Director and ConductorTori Zokoe\, General ManagerJaclyn Klinger\, ManagerKatie Rae Hayduk\, Rehearsal Manager \nSalisbury Overture by Terry McQuilkin \nPastoral Symphony by Ludwig van Beethoven/arr. Christina Hans \nBrandenburg Concerto No. 5\, 1st movement by Johann Sebastian Bach/arr. Merle J. Isaac \n  \nHOLLAND AREA CONCERT STRINGS\nKyle Nester\, Music Director and ConductorTori Zokoe\, General ManagerJaclyn Klinger\, ManagerKatie Rae Hayduk\, Rehearsal Manager \nAncient Wonders Suite by Todd Parrish \nI. Temple of Artemis at EphesusII. The Great Lighthouse at AlexandriaIII. The Great Pyramid at GizaIV. Statue of Zeus at Olympia \nLullaby by William Hofeldt \nJupiter from The Planets by Gustav Holst/arr. Deborah Baker Monday \nCOMBINED STRINGS\nFantasia Española by Soon Hee Newbold \nHOLLAND AREA YOUTH ORCHESTRA\nChristopher Fashun\, Music Director and ConductorTori Zokoe\, General ManagerJaclyn Klinger\, ManagerKatie Rae Hayduk\, Rehearsal Manager \nSymphony No. 8 in G Major\, by Antonín DvořákAllegro con brio AdagioAllegro ma non troppo \nLibertango\, by Astor Piazzolla/arr. Lito Valle \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. \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.   \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 [INSERT_ELEMENTOR id=”7527″] URL:https://hollandsymphony.org/events/hsyo-spring-concert-5/ LOCATION:DeWitt Auditorium\, Zeeland East High School\, 3333 96th Ave.\, Zeeland\, 49464\, United States ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2024/01/HAYO-photo-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20240427T193000 DTEND;TZID=UTC:20240427T213000 DTSTAMP:20260404T024028 CREATED:20230419T200524Z LAST-MODIFIED:20240417T205047Z UID:8283-1714246200-1714253400@hollandsymphony.org SUMMARY:Night at the Opera DESCRIPTION:Concert Sponsor:\n \n \n Tickets\n \n\nProgram\nInformation\nProgram Notes\nArtist bio\nPre-Concert Talk\n\nProgram\nSaturday\, April 27\, 2024\, 7:30 p.m.Jack H. Miller Center for Musical Arts\, Hope College \nJohannes Müller Stosch\, Music Director and Conductor \nMarina Harris\, soprano \nPrelude to Die MeistersingerRichard Wagner (1813-1883)\nFour Last SongsRichard Strauss (1864-1949)\nFrühling (Spring)SeptemberBeim Schlafengehen (At Bedtime)Im Abendroth (At Sunset) \nMarina Harris\, soprano \nIntermission \nSuite No. 1 from CarmenGeorges Bizet (1838-1875)PreludeAragonnaiseLes Toréadors \nAir for StringsArthur Foote (1853-1937)\nSuite from Der Rosenkavalier\, Op. 59Richard Strauss (1864-1949)\n\n\n\n\nExperience the epitome of Romantic music with colorful and expressive pieces from great operas. Marina Harris\, a California-based soprano\, will join HSO for Strauss’s masterpiece song cycle. \n\n\n\n\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 \nPrelude to Die Meistersinger von NürnbergRichard WagnerBorn: May 22\, 1813\, LeipzigDied: February 13\, 1883\, VeniceComposed: 1861-1862Approximate Duration: 9 minutesInstrumentation: 3 flutes (one doubling piccolo)\, 2 oboes\, 2 clarinets\, 2 bassoons\, 4 French horns\, 3 trumpets\, 3 trombones\, tuba\, timpani\, percussion (cymbals\, triangle)\, harp\, strings \nMost of Richard Wagner’s operas are based on mythological themes\, but he departed from this material in his opera\, Die Meistersinger von Nürnberg\, his only mature comedic opera.  In this work\, written in 1861-62\, he delves into the guild system of 16th century Nuremberg.  The Meistersingers were a guild of amateur poets and musicians who uphold traditional rules for composing and performing songs.  They organize a singing competition in which the winner wins the hand of Eva\, the daughter of a Meistersinger\, in marriage. Eva loves the young knight Walther von Stolzing\, who is not a Meistersinger but wants to participate in the contest to win her hand.  Despite lacking formal training in the Meistersingers’ rules\, Walther is talented and passionate about music.  Hans Sachs\, a guild member\, mentors Walter and helps him prepare for the competition.  Walter faces ridicule and attempts at sabotage by the established Meistersingers\, but he perseveres and ultimately wins the prize.  The opera concludes with a celebration of art\, love\, and the enduring traditions of the Meistersingers. \nThe opera’s overture\, composed in 1862\, introduces the spirit and themes of the opera.  It opens with a majestic brass fanfare\, depicting the regal and proud traditions of the Meistersingers.  This theme is juxtaposed with lighter\, more playful motifs\, representing the youthful energy and creativity of the apprentice singer\, Walther von Stolzing.  This contrast highlights the opera’s central conflict between innovation and tradition.  The middle section of the Prelude features a lyrical and expressive theme\, introducing the love story between Walther and Eva. This tender melody\, carried by strings and woodwinds\, captures the romance and emotional depth of their relationship.  Towards the end\, the music builds to a powerful climax\, with all the thematic elements converging in a triumphant and exultant finale.  \nTo watch a video of this piece\, click here. \nFour Last Songs\, Op. posth.Richard StraussBorn: June 11\, 1864\, Munich Died: September 8\, 1949\, Garmisch-PartenkirchenComposed: 1948Approximate Duration: 24 minutesInstrumentation: 4 flutes (two doubling piccolo)\, 3 oboes (one doubling English horn)\, 3 clarinets (one doubling bass clarinet)\, 3 bassoons (one doubling contrabassoon)\, 4 French horns\, 3 trumpets\, 3 trombones\, 1 tuba\, timpani\, harp\, celeste\, strings. \nStrauss composed his Four Last Songs in 1948\, using poetry by Hermann Hesse and Joseph von Eichendorff.  He probably had the voice of his wife\, soprano Pauline de Anha\, in mind when he wrote these emotional and nostalgic pieces.  He often accompanied her on piano.  Strauss didn’t know that these would be his “last songs.”  His publisher attached the title to the song cycle after Strauss’s death\, about a year after the songs were completed.   \nFamed soprano Renée Fleming described Strauss’s Four Last Songs as “an allegory of the passages of life.”  The music is deeply personal and universally resonant\, offering a profound meditation on the beauty of life\, the inevitability of its passing\, and the transition to whatever mystery lies beyond death.  Strauss is well known as one of the most brilliant masters of orchestral color.  In this work he uses a massive orchestra–one that\, in the hands of a lesser composer\, could easily overwhelm a singer–to create a remarkable sense of intimacy.  He is especially skilled at “word painting\,” using musical colors and themes to depict the words in the text.  In this work Strauss shows his remarkable ability to capture the complexities of human emotion in music. \nThe cycle opens with “Frühling” (Spring)\, an introspective and tender meditation on the arrival of spring and the renewal of life. The music is filled with a sense of wonder and awe\, as Strauss’s rich harmonies and soaring melodies paint a vivid picture of nature’s awakening.  The soprano’s voice goes higher as she dreams of the sky and trees.  The flute imitates bird calls.  Strauss also adds a solo trumpet in this song and “Im Abendrot” to provide a countermelody to the soprano’s voice. \n“September” follows\, capturing the melancholy beauty of autumn\, evoking themes of farewell and acceptance.  The text reflects on the passage of time and the inevitability of change\, while Strauss’s music evokes the wistful mood of the season with its poignant harmonies and delicate orchestration.  The use of muted brass creates a sense of distance and nostalgia\, enhancing the autumnal mood of the song. \n“Beim Schlafengehen” (“Going to Sleep”) is a profound reflection on the end of the day and the approach of night\, with its shimmering orchestration and ethereal vocal lines conveying a sense of calm resignation. The soprano’s soaring lines are supported by lush orchestral textures\, creating a sense of calm and serenity as the day comes to a close.  The sparkling celesta evokes a starry sky as the soprano yearns to forget all thoughts in slumber.  \nThe cycle concludes with “Im Abendrot” (At Sunset)\, a setting of Joseph von Eichendorff’s text that portrays an elderly couple reflecting on their lives together as they face the end of their days. Strauss’s music is achingly beautiful\, capturing both the sadness of farewell and the peaceful acceptance of life’s end. Two trilling flutes represent the poem’s pair of larks ascending into the sky (a metaphor for the souls of the old couple).  The use of cymbals and tam-tam adds a shimmering quality to the orchestration\, heightening the sense of mystery and awe in the music.  The light fades as the song unfolds\, until the soprano asks\, “Ist dies etwa der Tod?” (“Is this perhaps death?”). The orchestra whispers the wistful “transfiguration” theme from Strauss’s Death and Transfiguration\, written sixty years earlier.  \nTo watch a video of this piece\, click here. \n“Prélude & Aragonaise” and “Les Toréadors” from CarmenGeorges BizetBorn: October 25\, 1838\, ParisDied: June 3\, 1875\, near ParisComposed: 1873-1874Premiered: March 3\, 1875\, Opéra-Comique in ParisApproximate Duration: 5 minutesInstrumentation: 2 flutes (one doubling piccolo)\, 2 oboes (one doubling English horn)\, 2 clarinets\, 2 bassoons\, 4 French horns\, 2 trumpets\, 3 trombones\, timpani\, percussion (bass drum\, castanets\, cymbals\, snare drum\, tambourine\, triangle)\, harp\, strings \nWhen French people went to the comic opera in the nineteenth century\, they were used to fairy tale stories with “happily ever after” endings.  It is understandable\, then\, that most of them were shocked and appalled at Georges Bizet’s opera Carmen\, based on the play by Merimée.  In this opera\, Don José\, a young soldier\, is betrothed to Micaëla\, his childhood sweetheart.  She is good and faithful\, refusing the advances of other young men. Don José starts out as a “good” character.  He initially ignores the fiery Gypsy girl\, Carmen\, who works at the cigarette factory in Seville\, but Carmen is not used to being ignored and soon seduces him.  As Micaëla tries to rescue him\, Don José loses his ability to act rationally and becomes obsessed with Carmen.  Once Carmen wins Don José\, she quickly tires of him and pursues the vain and swaggering matador Escamillo.  Don José cannot give up his consuming love for Carmen\, but she cannot become tied down to him and give up her freedom.  Don José\, in a fit of jealous rage\, stabs her\, and she and the curtain fall. \nInitially\, Carmen met with mixed reviews.  Many at the time considered it a failure. Actually\, although the opera received some adverse criticism for the “indelicacy” of its subject\, it met with fair success at the box office\, being performed thirty-three times in the two-month period between its premiére and the death of Bizet from a ruptured artery.  Eventually an orchestral suite was extracted from themes throughout the opera.  Most of the movements come from orchestral interludes meant to entertain the audience while the scenery was changed.  The Prélude sets an ominous tone for the opera and introduces the “Fate” theme.  The “Aragonaise” is rhythmic and percussive\, and is the introduction to the final act of the opera.  The “Toréadors” movement contains two melodies from the opera.  Its opening theme comes from the prelude of the opera\, and it also reappears in the final scene outside the bullring in Seville.  This melody is charged with excitement.  The contrasting melody is from the suave “Toréador Song\,” an aria that Escamillo sings as he tries to interest Carmen.  In this aria\, Escamillo sings of the similarity of matadors to soldiers and sings prophetically of danger.  \nTo watch a video of this piece\, click here. \n  \nAir for StringsArthur FooteBorn: March 5\, 1853\, Salem\, MassachusettsDied: April 8\, 1937\, BostonComposed: 1891\, BostonApproximate Duration: 5 minutesInstrumentation: strings \nArthur Foote was born in Salem\, Massachusetts.  He showed musical talent at a young age and began studying piano and composition. He graduated from Harvard and is the first significant American composer who was trained in the US.  As a composer he was a member of the “Second New England School” of composers and the “Boston Six\,” which also included George Whitefield Chadwick\, Amy Beach\, Edward MacDowell\, John Knowles Paine\, and Horatio Parker.  This group of composers sought to create a distinct American musical identity by blending European Romantic traditions with American folk and indigenous music.  Foote was an organist at First Church in Boston for 32 years and one of the founders of the American Guild of Organists.  He was also a respected teacher\, serving on the faculty of the New England Conservatory of Music for many years. His influence extended to many younger American composers\, including Charles Ives\, who admired Foote’s music and considered him a mentor. \nFoote frequently programmed the music of the Romantic composers\, such as Brahms and Wagner\, who were influences on his own compositional style.  Foote’s music is characterized by its lyrical melodies\, rich harmonies\, and meticulous craftsmanship.  The “Air” for string orchestra showcases his gifts. It has a lyrical and flowing melody\, which is passed between the different sections of the orchestra. The gentle and contemplative mood of the “Air” creates a sense of serenity and introspection\, drawing the listener into its melodic beauty. \nTo listen to this piece\, click here. \nSuite from Der Rosenkavalier\, Op. 59Richard StraussBorn: June 11\, 1864\, Munich Died: September 8\, 1949\, Garmisch-PartenkirchenComposed: 1909-1910Premiered: Suite in 1945Approximate Duration: 22 minutesInstrumentation: 3 flutes (one doubling piccolo)\, 3 oboes (one doubling English horn)\, 3 clarinets (one doubling e-flat clarinet)\, bass clarinet\, 3 bassoons (one doubling contrabassoon)\, 4 French horns\, 3 trumpets\, 3 trombones\, 1 tuba\, timpani\, percussion (bass drum\, cymbals\, glockenspiel\, ratchet\, snare drum\, tambourine\, triangle)\, 2 harps\, celeste\, strings. \nRichard Strauss composed his opera\, Der Rosenkavalier\, between 1909 and 1910.  The romantic comedy is set in 18th century Vienna\, based on a libretto by Hugo von Hofmannsthal.  The plot revolves around a love triangle between three characters: the noblewoman Marschallin\, her young lover Octavian\, and Sophie\, who is in the process of getting engaged to Baron Ochs.  Octavian is tasked to present the engagement rose to Sophie at a formal party\, but at this ceremony\, the Baron flirts with a chambermaid\, who is actually Octavian in disguise.  Sophie also meets Octavian there\, while undisguised\, and they fall in love.  The action continues with a series of misunderstandings and comedic situations.  At the end\, the disguised Octavian conspires with the noblewoman Marschallin to expose the Baron’s unfaithfulness.  Sophie learns about Octavian’s dual identity and confronts him.  They eventually reconcile\, and their union is gracefully honored by the Marchallin. \nThe suite from Der Rosenkavalier is a collection of musical highlights from the opera.  Strauss himself arranged this work in the early 1940s\, capturing the essence of the opera’s rich orchestration\, lush harmonies\, and captivating melodies.  The music begins with the strings\, which are soon joined by the full orchestra. It features a rich\, romantic melody that is passed between the different sections of the orchestra\, building in intensity and grandeur as it progresses.  The next section\, “Presentation of the Rose\,” features a beautiful duet between the young lovers Octavian and Sophie. The music is tender and lyrical\, with lush harmonies and delicate textures\, reflecting the blossoming romance between the two characters. \nThe waltz has long been associated with Viennese elegance and sophistication\, and the lively and energetic “Waltz Sequence” captures that spirit perfectly. The graceful melodies\, swirling rhythms\, and elegant orchestration evoke the glamor and charm of a Viennese ball.  This movement is a showcase for Strauss’s skill as an orchestrator\, with its intricate textures and shimmering colors. \nThe final section\, from the final trio of the opera\, is a poignant and emotional conclusion to the suite. The voices sing a heartfelt farewell\, accompanied by lush orchestral textures. The music is tender and poignant\, with a bittersweet quality that reflects the characters’ conflicting emotions. The orchestration is rich and expressive\, with lush harmonies and soaring melodies that tug at the heartstrings. The trio builds to a dramatic climax before resolving in a peaceful and serene conclusion\, bringing the suite to a satisfying close. \nTo watch a video of this piece\, click here. \n  \n  \n \nMarina Harris\, soprano \nHeralded by the San Francisco Chronicle for her “knockout combination of vocal power and expressive eloquence\,” soprano Marina Harris is quickly establishing herself as a talent to watch. An alumna of the prestigious Adler Fellowship program at the San Francisco Opera\, Ms. Harris’ appearances with the company included four world premiere operas; Nolan Gasser’s The Secret Garden (in the role of Susan Sowerby)\, Mark Adamo’s The Gosepel of Mary Magdalene (Tamar/Girl/Seeker)\, Tobias Picker’s Dolores Claiborne (Maid)\, Jack Perla’s Love/Hate (Samantha)\, and covering numerous leading roles\, most notably the role of Elsa in Lohengrin. In September 2013\, she garnered national attention as a last-minute replacement for Patricia Racette in the role of Elena (Helen of Troy) in San Francisco Opera’s season-opening production of Boito’s Mefistofele. \nMarina has also joined the roster of the Los Angeles Opera to cover the verismo roles of Nedda in Pagliacci and the title role in Madama Butterfly. She has made leading role debuts with Opera Idaho (Tatiana in Eugene Onegin)\, Pacific Opera Project (title role in Ariadne auf Naxos) and the Southern Illinois Music Festival (Mathilde in Guillaume Tell). Ms. Harris’ international credits include the Festival der jugend Stimmen in Switzerland as Elisabeth in Tannhäuser and as a guest performer with the Sichuan Conservatory of Music in Chengdu\, China. 2021-22 saw performances with The Infinite Stage in her hometown of Long Beach\, a return to Southern Illinois in the role of Fiordiligi (Felicia) in Così fan tutte (aka Covid fan tutte)\, a company debut with GLOW Lyric Theater in their 2021 Festival\, Berta in The Barber of Seville with the Sacramento Philharmonic & Opera\, Colette in the world premiere of Laura Schwendiger’s Cabaret of Shadows with Musiqa Houston\, the Marquise of Berkenfield in La Fille du Regiment with the Opera Buffs at the Colburn School of Music\, and performances at Rockwood Music Hall in New York City with composer and pianist Felix Jarrar. In 2023\, Marina sang with the Sun Valley Opera in recital with crossover star Ashley Faatoalia\, the soprano solos in Mendelssohn’s Symphony No. 2 (Lobgesang) with the Sacramento Choral Society and Orchestra\, and released a debut EP with her band Bones & Teeth. \nFrom the baroque period to contemporary\, Marina has been featured as a soprano soloist in a diverse range of repertoire\, including Mahler’s Symphony No. 2 (Resurrection)\, Brahms’ Ein Deutsches Requiem\, Mozart’s Great Mass in C Minor\, Verdi’s Requiem\, Rossini’s Stabat Mater\, and J.S. Bach’s Mass in B Minor. Additionally\, she has performed in the West Coast premieres of Charles Stanford’s Stabat Mater and Cecelia MacDowall’s Magnificat with the Sacramento Choral Society and Orchestra. She originated the role of Angelina (wife of famous Portuguese diplomat Aristides de Sousa Mendes\, who helped at least 10\,000 Jews escape Nazi Germany during WWII) in Bruce Neely’s oratorio\, Circular 14. Ms. Harris has been a guest soloist with the Marin Symphony\, the California Symphony\, the West Los Angeles Symphony\, and the San Francisco Chamber Orchestra\, among many others. In recital\, Marina has appeared with Carnegie Hall’s Neighborhood Concert Series\, with the Brava! Opera Theater\, as part of The Song Continues with Marilyn Horne and the Weill Institute of Music\, and with San Francisco Performances. She has also been featured on WQRX\, New York’s leading classical radio station\, along with baritone Norman Garrett and Ken Noda of the Metropolitan Opera. \nIn 2015\, Ms. Harris was awarded the Dorothea-Glatt-Förderpreis in the triennial International Wagnerstimmen Competition\, securing her place as one of the top singers of Wagnerian repertoire worldwide. Marina has won numerous other awards for her performances of the Wagnerian repertoire\, including the 2015 George London Vienna Prize and the George London-Leonie Rysanek Award in 2014\, and the Gerda Lissner Foundation’s Vocal Competition in both 2015 and 2017. She has received additional grants and awards from the Wagner Society of Northern California\, the Merola Opera Program\, the Palm Springs Opera Guild\, and the Loren L. Zachary International Vocal Competition. \nMs. Harris resides in Long Beach\, California \nTo watch the pre-concert talk\, click here. \n [INSERT_ELEMENTOR id=”7518″] URL:https://hollandsymphony.org/events/night-at-the-opera/ 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/2024/01/MBH.HS_-scaled-e1705260013957.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20240620T190000 DTEND;TZID=UTC:20240620T210000 DTSTAMP:20260404T024028 CREATED:20240321T002804Z LAST-MODIFIED:20240620T220005Z UID:10492-1718910000-1718917200@hollandsymphony.org SUMMARY:Pops at the Pier: Broadway Our Way DESCRIPTION:Concert Sponsor:\n \n \n Tickets\n \n\nProgram\nInformation\nArtist bio\n\nProgram\nThursday\, June 20\, 2024Eldean Boat Shed #3 \nLisa Vroman & Doug LaBrecque\, soloists \n6:00 p.m.Holland Concert Jazz Orchestra \nProgram announced from the stage \n7:00 p.m.Holland Symphony Orchestra \nACT ONE\nBroadway Fantasy Overture\nWunderbar\nTrolley Song/I Could Have Danced All Night \nI Want to Go Back to Michigan \n76 Trombones\nTill There Was You\nS’Wonderful\nI Got Rhythm\nACT TWO\nWest Side Story Overture \nBegin the Beguine\nIn The Still of The Night\nJesus Christ Superstar Overture \nArt is Calling Me \nAll I Ask of You \nThursday\, June 20\, 2024 Eldean Boatshed #3\, Macatawa \nOnline ticket sales for Pops at the Pier: Back to Broadway have ended.  We have plenty of tickets available for sale at the door\, starting at 5:30 p.m. \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 Lisa Vroman and Doug LaBrecque \nPops at the Pier on Thursday\, June 20\, rain or shine! Two Broadway favorites join your symphony in an extraordinary evening revisiting classic songs from Broadway’s Golden Age and beyond. The most popular tunes from Porter\, Gershwin\, Berlin\, Hamlisch\, Lloyd Webber and more are sung by Phantom of the Opera stars Lisa Vroman and Doug LaBrecque.  With unforgettable melodies and beautiful lyrics\, their incredible vocal talents make this an elegant and memorable evening of beloved songs. \nFrequently Asked Questions \nWhere do I park?Parking is first come\, first served. \nWhat can I eat? \nFood trucks from Da Kidd Bar-B-Que\, Kitchen 55\, and Mezkla will open at 5:30. Beer\, wine\, and other beverages will also be available for sale. \nWhat time does everything happen? \n5:30: Doors open!  Food will be ready! \n6:00: Holland Jazz Orchestra performs \n7:00: Holland Symphony Orchestra begins\, joined by Broadway Stars Lisa Vroman and Doug LaBrecque \nDo I need to bring a chair? \nWe encourage you to bring a chair.  Many people like to bring their own chairs\, so they can sit close to the action\, on the sides\, or sit in the back of the shed or by the open windows to catch the breeze.  We have 700 chairs available on a first come\, first served basis.  \nWhat happens if it rains? \nEverything at this concert is inside the boat shed except the food trucks.  The concert will happen rain or shine.  Bring an umbrella to get your food. \nWhat about the heat? \nHSO will have all possible doors and windows open to encourage airflow.  Keep hydrated and dress lightly!  Beverages will be available.   Bring a chair so you can sit somewhere with the most breeze! \nWhere are my tickets? \nIf you selected “Will Call” tickets when you placed your order\, your tickets will be available to pick up at the “Will Call” table in the lobby.  All your tickets for the whole season will be stapled together.  Keep your tickets for future concerts.  HSO will not print your tickets again unless you request it. \nIf you selected “Print at Home” tickets when you placed your order\, click on the blue box that says “Print Tickets.”  Bring these tickets to the concert. \nIf you selected “Mobile Tickets” when you placed your order\, click on the blue box that says “View Mobile Tickets.”  Take ascreen shot of each of your tickets.  \nIf you know you bought tickets but don’t have them\, email adykhouse@hollandsymphony.org or call the office (616-796-6780) and we will take care of you. \nIf you have any questions regarding your order\, please contact the HSO office at hso@hollandsymphony.org or 616-796-6780. \nSome patrons are sensitive to perfumes\, colognes\, and other scented products.  Please consider minimizing your use of these products. \nThank you for your continued support of HSO! \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. \nDoug LaBrecque thrilled theatre audiences as The Phantom and Raoul in the Harold Prince production of The Phantom of the Opera. In addition\, Mr. LaBrecque has starred on Broadway as Ravenal in the Hal Prince revival of ShowBoat\, a role he also performed in Toronto and Chicago. He was featured in Oscar Hammerstein’s 100th Birthday Celebration Something Wonderful on Broadway at The Gershwin Theatre\, and toured nationally with Les Miserables. Regionally\, Mr. LaBrecque has performed leading roles in Candide\, A Chorus Line\, and Man of LaMancha among many others. A graduate of University of Michigan he was also featured in the world premiere of A Wonderful Life\, written by Sheldon Harnick and Joe Raposo\, and starred in the premiere revival of Kurt Weill and Alan Jay Lerner’s Love Life.  \nOne of the most prolific concert performers of his generation\, Mr. LaBrecque has been a soloist with some of the world’s finest symphony orchestras including The National Symphony\, The Israel Philharmonic (Tel Aviv)\, The Cleveland Orchestra\, The San Francisco Symphony\, The Detroit Symphony among many others. In the last few years\, Mr. LaBrecque’s U.S. appearances have included The Fort Worth Symphony\, Indianapolis Symphony\, Houston Symphony\, New Jersey Symphony\, Dallas Symphony\, and numerous engagements with The Minnesota Orchestra.  \nA frequent guest artist with Marvin Hamlisch\, he appeared with Hamlisch at the Ravinia Festival with The Chicago Symphony and with the symphonies of Pittsburgh\, San Diego\, Baltimore\, and numerous others. \nIn a tribute to Richard Rodgers\, Mr. LaBrecque made his Carnegie Hall debut as a soloist with the New York Pops and during that same season he debuted with The Boston Pops. Alongside frequent collaborator Jeff Tyzik\, he appeared with both the St. Louis and Seattle Symphony for their Holiday Celebrations as well as numerous performances with the Oregon Symphony\, Toronto Symphony and Rochester Philharmonic. Other special engagements have included starring in Cole Porter’s Ambassador Revue with the Opera de Rennes in France\, singing with Carole Bayer-Sager at Feinsteins’s in Manhattan and the Cinegrill in Los Angeles\, performing alongside Broadway legend Jerry Herman with the Naples Philharmonic\, and appearing onstage with Senators Ted Kennedy and Orrin Hatch (singing together!) at Hickory Hill\, the legendary home of Ethel Kennedy.  \nInternational engagements have included The Korean National Symphony in Seoul\, Korea\, The Shanghai Radio Orchestra in China\, The Hong Kong Philharmonic\, The Brazilian Symphony Orchestra in Rio De Janeiro\, The Jerusalem Symphony\, The Moscow Philharmonic\, The Malaysian Philharmonic\, The Reutlingen Symphony in Germany and numerous return engagements with the Israel Philharmonic and the International Music Festival in The Czech Republic. In 2011 he appeared alongside piano sensation Lang Lang in a concert with The Beijing Symphony broadcast on Chinese Television. In 2017 he sang with the BBC orchestra in Sunday Night is Music Night recorded live on the BBC and featuring the music of George Gershwin. \nHe has appeared in Alba\, Italy as a guest soloist in a tribute to Leonard Bernstein. Mr. LaBrecque has sung the role of Tony in West Side Story(Grant Park Music Festival)\, Candide (West Virginia Symphony) and Maximillian in Candide (Michigan Opera Theatre and Dayton Opera) and appeared with Osmo Vanska and the Minnesota orchestra in a tribute to Mr. Bernstein.  \nDoug’s numerous recordings include Holiday at Peace\, a live recording alongside Russian conductor Edvard Tchivzhel and The Greenville Symphony\, Broadway Showstoppers\, a live recording with Peter Nero and The Philly Pops\, Play it Again\, Marvin live with The Kalamazoo Symphony and Opening Doors a solo studio recording with The National Symphony of London on Jay Records. He appears on numerous Jay Record albums: I Believe My Heart\, My Personal Property\, Simply Musicals\, A Little Bit in Love\, and Showstoppers from Broadway.  \nAs the Director of Broadway Pops Programming for Greenberg Artists\, Doug maintains a busy schedule creating and co-producing original symphonic programs and directing numerous musicals in concert. Mr. LaBrecque is also the Artistic Director of the Oconee Performing Arts Society(OPAS)\, 80 miles east of Atlanta in Greensboro\, GA.  \nFor upcoming engagements or additional CD information log onto www.DougLaBrecque.com  \nFrom Broadway to Classics\, on stage and in concert\, Lisa Vroman has established herself as one of America’s most versatile voices.  She has been regarded as a “musical and theatrical marvel” by the San Francisco Chronicle\, as well as “one of American Musical Theater’s most beautiful voices” by acclaimed Broadway producer Sir Cameron Mackintosh. \nLisa starred for over eight years on Broadway\, in San Francisco and in Los Angeles as Christine Daaé in The Phantom of the Opera. Ms. Vroman starred as Rosabella in The Most Happy Fella\, making her New York City Opera debut with Paul Sorvino playing the title role.  She starred as Lili Vanessi in Kiss Me Kate with Glimmerglass Opera and the MUNY Theater of St. Louis\, Anna Leonowens in The King and I with Lyric Opera of Virginia\, and played Marian Paroo in The Music Man with Shirley Jones (Mrs. Paroo) and Patrick Cassidy (Harold Hill) at The Bushnell Theatre in Hartford CT.  Lisa sang the role of Birdie in Regina with Utah Opera\, conducted by Keith Lockhart\, made her New Jersey Opera debut as Rosalinde in Die Fledermaus (directed by Ira Siff)\, and premiered and recorded two Comic Operas by composers John Musto (Bastianello)and William Bolcom (Lucrezia) with the New York Festival of Song. \nHer many performances have included a multi-city concert tour in China\, concerts of Cole Porter’s  1928 La Revue des Ambassadeurs with L’Opera de Rennes in France\, and playing the role of Maria Callas in Terence McNally’s award winning play\, Master Class. \nLisa’s Broadway debut was in Aspects of Love. She was the first to play both Fantine and Cosette in Les Miserables. For PBS she was featured with Colm Wilkinson and Michael Ball in Cameron Mackintosh’s Hey\, Mr. Producer! at a Royal Gala at the Lyceum Theatre in London. She sang the role of Johanna in the San Francisco Symphony’s Emmy Award winning PBS production of Sweeney Todd in Concert\, with Patti Lupone and George Hearn.  Both are available on DVD. Lisa starred as Laurey in Oklahoma\, filmed live in concert for the BBC Proms Festival at Royal Albert Hall in London\, played Mary Turner in Gershwin’s Of Thee I Sing/Let ’em Eat Cake in concert with Michael Tilson Thomas conducting the San Francisco Symphony and Chorus\, and played Lucy Brown in Threepenny Opera at the American Conservatory Theatre in San Francisco with Bebe Neuwirth\, Nancy Dussault\, and Anika Noni Rose. Other roles have included Laurie in The Tender Land\, Maria in The Sound of Music\,  Josephine in HMS Pinafore\, Yum-Yum in The Mikado\, and Anna 1 in The Seven Deadly Sins. She has sung Maria in West Side Story\, Guenevere in Camelot\, Carrie Pipperidge in Carousel\, Eliza Doolittle in My Fair Lady\, and Amalia Balash in She Loves Me\, as well as many other well-known musical roles. \nLisa is a George London Competition Grant recipient and a 1999 Minerva Award recipient from the State University of New York at Potsdam. She received an Undergraduate degree in Music Education from the Crane School of Music\, SUNY Potsdam\, a Masters degree in Fine Arts\, Opera Performance from Carnegie Mellon University in Pittsburgh\, and was awarded an honorary Doctor of Music from SUNY Potsdam. Ms. Vroman has become an active mentor and sought-after clinician with many colleges and universities across the country and around the world.  She has acted as a judge in both the Lotte Lenya Competition for the Kurt Weill Foundation and UCLA’s Walter Jurmann Competition.  In the fall of 2019 Lisa joined the voice faculty of AMDA Los Angeles as part their Bachelor of Fine Arts program. \nWith a repertoire that ranges from Stravinsky to Weill to Broadway\, Lisa is a frequent guest soloist with theater and opera companies\, and orchestras including San Francisco\, Philadelphia\, Chicago\, Atlanta\, the National\, Malaysia\, Seattle\, Hong Kong\, Cleveland\, Nashville\, Pacific\, Utah\, Dallas\, the Boston Pops with Keith Lockhart\, the New York Pops at Carnegie Hall\, and the Philly Pops with Peter Nero. She made her debut at The Hollywood Bowl in Disney’s 75th celebration\, singing and dancing with legend Dick Van Dyke in a medley from Mary Poppins. Lisa has sung in concert with composer Stephen Schwartz\, organist David Higgs\, and the Empire Brass Quintet. Her solo CD\, Broadway Classic\, features Metropolitan Opera mezzo-soprano Stephanie Blythe and 47 of San Francisco’s finest orchestral players. Lisa had the honor of singing at the Profiles in Courage Award dinner in Boston at the JFK Library\, as a guest of the Kennedy family. She has also sung on separate occasions for Queen Elizabeth\, former presidents Gerald Ford\, George H.W. Bush\, and Bill Clinton\, former Vice President Al Gore\, and the Library of Congress. \nLisa is part of an ongoing multimedia symphony project produced by Music Unwound and the Kurt Weill Foundation which features the work of Kurt Weill\, Berthold Brecht and Marc Blitzstein. Upcoming engagements include celebrations of Broadway and the music of George Gershwin. \nLisa lives in Pasadena\, CA with husband Patrick O’Neil and their beautiful dog Barber. \n\nHSO thanks these business partners for their support of this concert! URL:https://hollandsymphony.org/events/pops-at-the-pier-broadway-our-way/ LOCATION:Eldean’s Boat Shed\, 2150 S. Shore Drive\, Holland\, 49423\, United States ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2024/03/Pops-web.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20240806T100000 DTEND;TZID=UTC:20240806T110000 DTSTAMP:20260404T024028 CREATED:20240715T231657Z LAST-MODIFIED:20240805T212410Z UID:11277-1722938400-1722942000@hollandsymphony.org SUMMARY:Music Moves Us: Sound Bath + Yoga at Tunnel Park DESCRIPTION:This event has been canceled due to inclement weather. We encourage you to join us for the Music Moves Us family-friendly events scheduled for this Wednesday through Saturday.\n  \nThis event is part of Holland Symphony Orchestra’s Music Moves Us weeklong festival from August 6-10\, 2024! \nWe’re hosting 10 free events that blend music and movement\, leading up to our grand finale concert Music Unites Us – Brazil! at Kollen Park on August 10\, 2024. \nTuesday\, August 6\, 2024 \n10-11 a.m. – Sound Bath + Yoga at Tunnel Park. Experience a blissful sound bath by Rebecca Wierks and a serene yoga session led by Jasmine Jelsema. Read more about Rebecca’s unique training and practice in this Lakeshore Article. Bring your yoga mat or towel. \nFree event. No registration is necessary. A special thank you to this event sponsor Women of Color and festival coordinators Shandra Martinez\, Jane Vander Meer\, Ketzi Chacon-Zylstra\, and Patricia Strachan with Smooth Running Event Planning. \n  URL:https://hollandsymphony.org/events/music-moves-us-sound-bath-yoga-at-tunnel-park/ LOCATION:Tunnel Park\, 192 North Lakeshore Drive\, Holland\, 49424\, United States CATEGORIES:Community Event ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2024/07/yogaJasmineJelsema.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20240806T120000 DTEND;TZID=UTC:20240806T124500 DTSTAMP:20260404T024028 CREATED:20240715T232553Z LAST-MODIFIED:20240805T212519Z UID:11307-1722945600-1722948300@hollandsymphony.org SUMMARY:Music Moves Us: Kids' Groove Dancing at Centennial Park DESCRIPTION:This event has been canceled due to inclement weather. We encourage you to join us for the Music Moves Us family-friendly events scheduled for this Wednesday through Saturday.\n  \nThis event is part of Holland Symphony Orchestra’s Music Moves Us festival from August 6-10\, 2024! We’re hosting 10 free events that blend music and movement\, leading up to our grand finale concert Music Unites Us – Brazil! at Kollen Park on August 10\, 2024. \nTuesday\, August 6\, 2024 \n12-12:45 p.m. – Kids’ GROOVE Dancing at Centennial Park. Donna Lowry will get children grooving with dance and storytime from Herrick District Library. Fun and movement all in one! \nThis is a free event. No registration is necessary. Special thanks go to event sponsors Herrick District Library\, the City of Holland\, and festival coordinators Shandra Martinez\, Jane Vander Meer\, Ketzi Chacon-Zylstra\, and Patricia Strachan with Smooth Running Event Planning. URL:https://hollandsymphony.org/events/music-moves-us-kids-groove-dancing-at-centennial-park/ LOCATION:Centennial Park\, 250 Central Ave\, Holland\, MI\, 49423\, United States CATEGORIES:Community Event ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2024/07/Centennial-Park-Oz-Wall.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20240806T130000 DTEND;TZID=UTC:20240806T140000 DTSTAMP:20260404T024028 CREATED:20240716T022721Z LAST-MODIFIED:20240805T212636Z UID:11312-1722949200-1722952800@hollandsymphony.org SUMMARY:Music Moves Us: Adults Groove Dance at Centennial Park DESCRIPTION:This event has been canceled due to inclement weather. We encourage you to join us for the Music Moves Us family-friendly events scheduled for this Wednesday through Saturday.\n  \nThis event is part of Holland Symphony Orchestra’s Music Moves Us\, a weeklong festival from August 6-10\, 2024! We’re hosting 10 free events that blend music and movement leading up to our grand finale concert Music Unites Us – Brazil! at Kollen Park on August 10\, 2024. All events are free so join us for live music\, dancing\, family-friendly activities\, and more! \nTuesday\, August 6\, 2024  \n1-2 p.m. – Adults’ GROOVE Dancing at Centennial Park. This is for the grown-ups to get their groove on with Heather Winia\, a master trainer from The World GROOVE Movement. Dress comfy and dance away under the shade of the beautiful Centennial Park trees. \nThis is a free event. No registration is necessary. Special thanks go to event sponsors Herrick District Library\, the City of Holland\, and festival coordinators Shandra Martinez\, Jane Vander Meer\, Ketzi Chacon-Zylstra\, and Patricia Strachan with Smooth Running Event Planning. URL:https://hollandsymphony.org/events/music-moves-us-adults-groove-dance-at-centennial-park/ LOCATION:Centennial Park\, 250 Central Ave\, Holland\, MI\, 49423\, United States CATEGORIES:Community Event ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2024/07/Centennial-Park-big.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20240807T093000 DTEND;TZID=UTC:20240807T103000 DTSTAMP:20260404T024028 CREATED:20240716T024409Z LAST-MODIFIED:20240725T184806Z UID:11284-1723023000-1723026600@hollandsymphony.org SUMMARY:Music Moves Us: Kids Polynesian Story & Dance at the Farmers Market DESCRIPTION:This event is part of Holland Symphony Orchestra’s Music Moves Us\, a weeklong festival from August 6-10\, 2024! We’re hosting 10 free events that blend music and movement leading up to our grand finale concert Music Unites Us – Brazil! at Kollen Park on August 10\, 2024. All events are free so join us for live music\, dancing\, family-friendly activities\, and more! \nWednesday\, August 7\, 2024 \n9:30-10:30 a.m. – Kids’ Polynesian Story and Dance at Holland Farmers Market. Minnie Morey and the Pacific Island Dancers will whisk young minds away to the exotic islands with music\, dance\, and captivating stories. Mahalo! \nPhoto by Minnie Morey. This is a free event. No registration is necessary. Special thanks go to event sponsor West Michigan Asian American Association \, food partner Community Action House\, and festival coordinators Shandra Martinez\, Jane Vander Meer\, Ketzi Chacon-Zylstra\, and Patricia Strachan with Smooth Running Event Planning. URL:https://hollandsymphony.org/events/music-moves-us-kids-polynesian-story-dance-at-the-farmers-market/ LOCATION:Holland Farmers Market\, 150 W 8th Street\, Holland\, 49423\, United States CATEGORIES:Community Event ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2024/07/image_50752257.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20240807T190000 DTEND;TZID=UTC:20240807T200000 DTSTAMP:20260404T024028 CREATED:20240711T233631Z LAST-MODIFIED:20240724T160855Z UID:11286-1723057200-1723060800@hollandsymphony.org SUMMARY:Music Moves Us: Salsa Dancing & Lesson at Holland State Park DESCRIPTION:This event is part of Holland Symphony Orchestra’s Music Moves Us\, a weeklong festival from August 6-10\, 2024! We’re hosting 10 free events that blend music and movement leading up to our grand finale concert Music Unites Us – Brazil! at Kollen Park on August 10\, 2024. All events are free so join us for live music\, dancing\, family-friendly activities\, and more! \nWednesday\, August 7\, 2024 \n7-8 p.m. – Salsa Dancing and Lesson at Holland State Park. Spice up your evening with a sizzling salsa session! Join Juan and Julie Mascorro from The Latin Americans United for Progress (LAUP) Salserines for a fun-filled salsa dance lesson on the beach. Read more about Juan and Julie’s dance legacy! \nThis is a free event. No registration is necessary. Special thanks go to event sponsor LAUP and festival coordinators Shandra Martinez\, Jane Vander Meer\, Ketzi Chacon-Zylstra\, and Patricia Strachan with Smooth Running Event Planning. URL:https://hollandsymphony.org/events/music-moves-us-salsa-dancing-lesson-at-holland-state-park/ LOCATION:Holland State Park\, 2215 Ottawa Beach Rd\, Holland\, 49424\, United States CATEGORIES:Community Event ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2024/07/TLsalsa1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20240808T100000 DTEND;TZID=UTC:20240808T104500 DTSTAMP:20260404T024028 CREATED:20240716T030526Z LAST-MODIFIED:20240724T160931Z UID:11289-1723111200-1723113900@hollandsymphony.org SUMMARY:Music Moves Us: Dutch Dance at Centennial Park DESCRIPTION:This event is part of Holland Symphony Orchestra’s Music Moves Us\, a weeklong festival from August 6-10\, 2024! We’re hosting 10 free events that blend music and movement leading up to our grand finale concert Music Unites Us – Brazil! at Kollen Park on August 10\, 2024. All events are free so join us for live music\, dancing\, family-friendly activities\, and more! \nThursday\, August 8\, 2024 \n10-10:45 a.m. – Dutch Dance Lesson at Centennial Park. Celebrate 90 years of Tulip Time’s Dutch Dance with a fun lesson from Jenn Ryckbost. Grab your wooden shoes or some funky footwear and join the fun! \nThis is a free event. No registration is necessary. Special thanks go to event sponsor Tulip Time and festival coordinators Shandra Martinez\, Jane Vander Meer\, Ketzi Chacon-Zylstra\, and Patricia Strachan with Smooth Running Event Planning. URL:https://hollandsymphony.org/events/music-moves-us-dutch-dance-at-centennial-park/ LOCATION:Centennial Park\, 250 Central Ave\, Holland\, MI\, 49423\, United States CATEGORIES:Community Event ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2024/07/tltulilptime3-updated.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20240808T183000 DTEND;TZID=UTC:20240808T203000 DTSTAMP:20260404T024028 CREATED:20240716T174713Z LAST-MODIFIED:20240724T161009Z UID:11291-1723141800-1723149000@hollandsymphony.org SUMMARY:Music Moves Us: Hip Hop Lesson & Dancing at GDK Park DESCRIPTION:This event is part of Holland Symphony Orchestra’s Music Moves Us\, a weeklong festival from August 6-10\, 2024! We’re hosting 10 free events that blend music and movement leading up to our grand finale concert Music Unites Us – Brazil! at Kollen Park on August 10\, 2024. All events are free so join us for live music\, dancing\, family-friendly activities\, and more! \nThursday\, August 8\, 2024 \n6:30-8:30 p.m. – Hip Hop Lesson and Dancing at GDK Park/Downtown Holland Street Performers. Learn hip-hop moves with Lauren Beck and the I AM Academy dance team. Learn more about I AM Academy and uniting communities through the hip-hop dance art form here. This event is open to all ages\, so bring your crew and get down! \nThis is a free event. No registration is necessary. Special thanks go to event sponsor I AM Academy and festival coordinators Shandra Martinez\, Jane Vander Meer\, Ketzi Chacon-Zylstra\, and Patricia Strachan with Smooth Running Event Planning. URL:https://hollandsymphony.org/events/music-moves-us-hip-hop-lesson-dancing-at-gdk-park/ LOCATION:GDK Park\, 5 West 8th Street\, Holland\, MI\, 49423\, United States CATEGORIES:Community Event ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2024/07/Hip-Hop-Dance-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20240809T101500 DTEND;TZID=UTC:20240809T110000 DTSTAMP:20260404T024028 CREATED:20240716T175450Z LAST-MODIFIED:20240724T161039Z UID:11294-1723198500-1723201200@hollandsymphony.org SUMMARY:Music Moves Us: Zumba Gold at Evergreen Commons DESCRIPTION:This event is part of Holland Symphony Orchestra’s Music Moves Us\, a weeklong festival from August 6-10\, 2024! We’re hosting 10 free events that blend music and movement leading up to our grand finale concert Music Unites Us – Brazil! at Kollen Park on August 10\, 2024. All events are free so join us for live music\, dancing\, family-friendly activities\, and more! \nFriday\, August 9\, 2024 \n10:15-11 a.m. – Zumba Gold Class at Evergreen Commons. Shake up your morning with Zumba Gold led by Amy Vande Poel. Wear your comfiest clothes and sneakers\, and be ready to move to the beat! \nThis is a free event. No registration is necessary. Special thanks go to event sponsor Evergreen Commons and festival coordinators Shandra Martinez\, Jane Vander Meer\, Ketzi Chacon-Zylstra\, and Patricia Strachan with Smooth Running Event Planning. URL:https://hollandsymphony.org/events/music-moves-us-zumba-gold-at-evergreen-commons/ LOCATION:Evergreen Commons\, 480 State St\, Holland\, Holland\, MI\, 49423\, United States CATEGORIES:Community Event ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2024/07/EvergreenCommonsbyShandra1-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20240809T173000 DTEND;TZID=UTC:20240809T183000 DTSTAMP:20260404T024028 CREATED:20240716T180508Z LAST-MODIFIED:20240724T161110Z UID:11355-1723224600-1723228200@hollandsymphony.org SUMMARY:Music Moves Us: Swing Dance Lesson at Kollen Park DESCRIPTION:This event is part of Holland Symphony Orchestra’s Music Moves Us\, a weeklong festival from August 6-10\, 2024! We’re hosting 10 free events that blend music and movement leading up to our grand finale concert Music Unites Us – Brazil! at Kollen Park on August 10\, 2024. All events are free so join us for live music\, dancing\, family-friendly activities\, and more! \nFriday\, August 9\, 2024 \n5:30-6 p.m. – Dance Lesson before Big Band Concert at Kollen Park. Warm up with a big band dance lesson from Walker Wilson\, of Wilson Dance Studio\, then show off your new moves during the Big Band Lakeshore concert from 6:30-8:30 p.m. Learn more about Walker Wilson’s history and approach to dance in this inspiring Lakeshore article. \nThis is a free event. No registration is necessary. Special thanks go to the event sponsors Wilson Dance Group\, the City of Holland\, and festival coordinators Shandra Martinez\, Jane Vander Meer\, Ketzi Chacon-Zylstra\, and Patricia Strachan with Smooth Running Event Planning. URL:https://hollandsymphony.org/events/music-moves-us-swing-dance-lesson-at-kollen-park/ LOCATION:Kollen Park Henry VanderLinde Bandshell\, 240 Kollen Park Dr.\, Holland\, MI\, 49423\, United States CATEGORIES:Community Event ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2024/07/SwingDanceWilsonWalker.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20240809T183000 DTEND;TZID=UTC:20240809T200000 DTSTAMP:20260404T024028 CREATED:20240716T181703Z LAST-MODIFIED:20240724T161151Z UID:11358-1723228200-1723233600@hollandsymphony.org SUMMARY:Music Moves Us: Lakeshore Big Band Concert DESCRIPTION:The Summer Concerts at Kollen Park are one of the most popular spots to be on Friday evenings in the summer in Holland. From 6:30 – 8:30 PM\, the park comes alive with music and dancing. Bring your lawn chairs\, blankets\, and a picnic basket and enjoy the sounds of summer at the Kollen Park Bandshell. Concerts are kid-friendly and FREE! Please have pets on a leash. Alcohol is prohibited at Kollen Park. One food truck each week from 5:30 – 8:30 PM. \nThis event is also part of Holland Symphony Orchestra’s Music Moves Us\, a weeklong festival from August 6-10\, 2024! We’re hosting 10 free events that blend music and movement leading up to our grand finale concert Music Unites Us – Brazil! at Kollen Park on August 10\, 2024. \nSpecial thanks go to the City of Holland and festival coordinators Shandra Martinez\, Jane Vander Meer\, Ketzi Chacon-Zylstra\, and Patricia Strachan with Smooth Running Event Planning. URL:https://hollandsymphony.org/events/music-moves-us-lakeshore-big-band-concert/ LOCATION:Kollen Park Henry VanderLinde Bandshell\, 240 Kollen Park Dr.\, Holland\, MI\, 49423\, United States CATEGORIES:Community Event ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2024/07/Lake-Shore-Big-Band.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20240810T100000 DTEND;TZID=UTC:20240810T110000 DTSTAMP:20260404T024028 CREATED:20240716T195522Z LAST-MODIFIED:20240806T164133Z UID:11361-1723284000-1723287600@hollandsymphony.org SUMMARY:Music Moves Us: Sensory Art & Concert at Holland Museum DESCRIPTION:MMU Kids Sensory Event Video \nThis event is part of Holland Symphony Orchestra’s Music Moves Us\, a weeklong festival from August 6-10\, 2024! We’re hosting 10 free events that blend music and movement leading up to our grand finale concert Music Unites Us – Brazil! \nSaturday\, August 10\, 2024 \n10-11 a.m. – Kids’ Sensory Art and Music Experience at Holland Museum. A sensory-friendly event sponsored by Disability Network Lakeshore filled with art\, music\, and fun for children with sensory needs. Led by Black River Arts teacher Liz Donoghue and featuring Maddit Dykehouse on the cello\, activities will include play dough sculpting\, spin-wheel creation\, sponge stamping\, and live music segments. \nSpace is limited for this free event so please register early via email to Ketzi Chacon-Zylstra at zylstraketzi@gmail.com (Subject: Music Moves Us). \nThis is a free event. Special thanks go to our lead event sponsor the Disability Network Lakeshore\, and supporters such as CultureWorks\, the City of Holland\, and event coordinator Ketzi Chacon-Zylstra. URL:https://hollandsymphony.org/events/music-moves-us-sensory-art-concert-at-holland-museum/ LOCATION:Holland Museum\, 31 W. 10 Street\, Holland\, MI\, 49423\, United States CATEGORIES:Community Event ATTACH;FMTTYPE=image/png:https://hollandsymphony.org/wp-content/uploads/2024/07/Sensory-Image-1-w-text.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20240810T160000 DTEND;TZID=UTC:20240810T203000 DTSTAMP:20260404T024028 CREATED:20240716T215627Z LAST-MODIFIED:20240725T184522Z UID:11373-1723305600-1723321800@hollandsymphony.org SUMMARY:Music Unites Us: Brazil! Finale at Kollen Park DESCRIPTION:This Kollen Park event is the finale of Holland Symphony Orchestra’s Music Moves Us\, a weeklong festival from August 6-10\, 2024\, featuring 10 free events blending live music\, movement\, dancing\, family-friendly activities\, and more! \nSaturday\, August 10\, 2024 \nBring your lawn chairs\, blankets\, and the whole family! Food will be available for purchase starting at 4 PM from Mezkla\, Robinson’s Popcorn\, Mac Shack\, 3 Gatos Brewery\, and Dolce Mini Cakes.  \n4-5 p.m. – Capoeira Dance Demonstration and Lesson. Discover the magic of the dancelike martial art form of Brazilian Capoeira in this lesson led by Leandro Leemos and sponsored by Lighthouse Immigrant Advocates. \n5-6 p.m. – Holland Samba School Performance. Feel the rhythm of Brazil and enjoy the sizzle of Samba with a lively performance led by percussionist Christopher Fashun and his students. \n7 p.m. – Music Unites Us: Holland Symphony Orchestra (HSO) with Choro das 3. Enjoy an unforgettable performance by this talented Brazilian folk music trio of sisters\, accompanied by your Holland Symphony Orchestra and guest conductor Christopher Fashun. \nRead more about the festival and finale in this Lakeshore West Michigan article. \nThis is a free event. No registration is necessary. Special thanks go to all our event sponsors and festival coordinators Shandra Martinez\, Jane Vander Meer\, Ketzi Chacon-Zylstra\, and Patricia Strachan with Smooth Running Event Planning. \nThe 7 PM HSO concert is made possible through the support of Corewell Health\, Macatawa Area Coordinating Council\, Gentex\, MillerKnoll Foundation\, and the Brooks Family Foundation. URL:https://hollandsymphony.org/events/music-unites-us-brazil-finale-at-kollen-park/ LOCATION:Kollen Park Henry VanderLinde Bandshell\, 240 Kollen Park Dr.\, Holland\, MI\, 49423\, United States CATEGORIES:Community Event ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2024/07/choro-das-3©-flavio-torres-scaled-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20240810T190000 DTEND;TZID=UTC:20240810T203000 DTSTAMP:20260404T024028 CREATED:20240321T002916Z LAST-MODIFIED:20240808T155751Z UID:10494-1723316400-1723321800@hollandsymphony.org SUMMARY:Community Concert: Music Unites Us - Brazil! DESCRIPTION:Concert Sponsors:\n \n \n \n \n \n\nProgram\nInformation\nArtist bios\n\nCommunity Concert: Music Unites Us – Brazil!\nSaturday\, August 10\, 2024\, 7:00 p.m. Henry P. VanderLinde Bandshell\, Kollen Park\nChoro das 3\, guest artists \nChristopher Fashun\, guest conductor \n \n \n \nTico-Tico no FubaZequinha de Abreu/arr. Marty Gold\nBoca de GoiabaChoro das 3/arr. Christopher Fashun \nFesta na LagoaChoro das 3/arr. Christopher Fashun \nViagantesChoro das 3/arr. Christopher Fashun \nPé de FrangoChoro das 3/arr. Josh Trentadue\nMourãoCesar Guerra-Peixe\nAlforriaElisa Meyer Ferreira/arr. Corina Meyer Ferreira/perc. arr. Christopher Fashun \nTucunareChoro das 3/arr. Josh Trentadue\nForró BarrocoLeroy Amêndola/arr. Corina Meyer Ferreira/Christopher Fashun \nRock da SilvaWaldir Azevedo/arr. Corina Meyer Ferreira/Christopher Fashun\nAdditional pieces announced from the stage. \nThe Music Unites Us concert will bring together Brazilian musical group Choro das 3 and the Holland Symphony Orchestra in a  celebration of music at 7:00 p.m. on Saturday\, August 10 in Kollen Park. This free community concert aims to showcase cultures that make up 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:Dolce Mini CakesMac Shack (free ice cream)Mezkla Taqeria & FruiteriaPac PizzeriaRobinson’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. This year the concert will showcase from Brazil. \nThis free community concert is made possible thanks to our concert sponsors: Brooks Family Foundation\, Corewell Health\, Gentex Corporation\, Macatawa Area Coordinating Council\, Macatawa Bank and the snack wagon. The concert is partially sponsored by Michigan Arts & Culture Council and the National Endowment for the Arts.   \n  \nChoro das 3 is a family based trio formed by the sisters: Corina (flute)\, Lia (7 string guitar) and Elisa (mandolin\, clarinet\, banjo\, accordion and piano). Tragically\, Eduardo\, the father of the three sisters\, lost his life to Covid early in the pandemic\, before vaccines were available in Brazil. Eduardo was the band’s percussionist from its founding. He played pandeiro (Brazilian tambourine). The trio’s mother\, Cristina\, stepped in to play a stronger role in band management. Bravely\, the sisters resolved to continue as Choro das 3\, but they play every song in their father’s memory. \nThey have released 11 albums and have been touring in North America\, Europe and Brazil for the past 21 years.  \nThe trio 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 midst of its eighth tour of the USA. \nFor more information\, visit their website: https://www.chorodas3.com.br/english \nListen their music on their YouTube channel: https://www.youtube.com/channel/UC1Y3mnm0S1vH5BRqx58cUkg URL:https://hollandsymphony.org/events/community-concert-music-unites-us-brazil/ LOCATION:Kollen Park Henry VanderLinde Bandshell\, 240 Kollen Park Dr.\, Holland\, MI\, 49423\, United States CATEGORIES:Community Event ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2024/03/choro-das-3-web.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20240812T100000 DTEND;TZID=America/New_York:20240812T120000 DTSTAMP:20260404T024028 CREATED:20240807T205630Z LAST-MODIFIED:20240807T205630Z UID:11590-1723456800-1723464000@hollandsymphony.org SUMMARY:Books and Blooms with HSO Brass DESCRIPTION:Join Books and Bloom and the Holland Symphony Brass Quintet at Windmill Island Gardens for children’s story times\, accompanied by live music\, and fun activities. Our friends at the Herrick District Library will present “Casey at the Bat” with live brass music as part of Windmill Island’s new summer storytime series. \nMonday\, August 10\, 2024\, from 10 AM to 12 PM at Windmill Island Gardens\, Holland\, Michigan \nChildren can create their own Living Necklace with help from the MSU Extension! Learn about plant germination and take your plant home to care for\, watch grow\, and… wear! \nFREE for Holland Residents \nNon-Residents: Adults $12\, Children (3-15) $6 \nMore information on FaceBook and at Books and Blooms. URL:https://hollandsymphony.org/events/books-and-blooms-with-hso-brass/ LOCATION:Windmill Island Gardens\, 1 Lincoln Avenue\, Holland\, MI\, 49423\, United States CATEGORIES:Community Event ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2024/08/Books-and-Blooms-8-12-24.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20240815T173000 DTEND;TZID=UTC:20240815T200000 DTSTAMP:20260404T024028 CREATED:20240719T211856Z LAST-MODIFIED:20240719T211856Z UID:11422-1723743000-1723752000@hollandsymphony.org SUMMARY:HSO Brass at Cappon House DESCRIPTION:Sounds of Summer: HSO Brass at Cappon House\nThursday\, August 15\, 2024\nCappon House Lawn – 228 W. 9th St.\, Holland\, MI \n5:30-6:45 PM – Celebrate 150 years of Cappon House legacy by taking a tour during the open house! \n7 PM – Bring your chairs and lawn blankets and enjoy the sounds of summer with the HSO Brass Ensemble in works by Sousa\, Cohan\, Gershwin\, Copland\, Neil Diamond\, and John William’s iconic Star Wars theme. \nBruce Formsma (trumpet)\, Gregory Alley (trumpet)\, Greg Bassett (horn)\, Adam Graham (trombone)\, and Brendan Bohnhorst (tuba). \nTickets: $7 adults\, $5 seniors\, $3 students. Museum members and children 5 and under are FREE. Click here to register.  \nRain date: Friday\, August 16 from 5:30-8 PM \nHosted by Holland Museum. Sponsors: Michigan Arts & Culture Council and the National Endowment of the Arts. URL:https://hollandsymphony.org/events/hso-brass-at-cappon-house/ LOCATION:Cappon House\, 228 W. 9th Street\, Holland\, MI\, 49423\, United States ATTACH;FMTTYPE=image/png:https://hollandsymphony.org/wp-content/uploads/2024/07/Sounds-of-Summer_FB-Post_940x788.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20240914T193000 DTEND;TZID=UTC:20240914T193000 DTSTAMP:20260404T024028 CREATED:20240115T010507Z LAST-MODIFIED:20240913T195837Z UID:10477-1726342200-1726342200@hollandsymphony.org SUMMARY:An American in Paris DESCRIPTION:Concert Sponsor:\nIn memory of Floyd Farmer\n \n Tickets\n \n\nProgram\nInformation\nProgram Notes\nArtist bio\nPre-Concert Talk\n\nProgram\nSaturday\, September 14\, 2024\, 7:30 p.m.Jack H. Miller Center for Musical Arts\, Hope College \nJohannes Müller Stosch\, Music Director and Conductor \nChristopher Houlihan\, organ \nIdylle (US Premiere)Joseph Marx (1882-1964)\nToccata Festiva for Organ and Orchestra\, Op. 36Samuel Barber (1910-1981)\nChristopher Houlihan\, Organ \nDances in the CanebrakesFlorence Price (1887-1953)\nNimble FeetTropical NoonSilk Hat and Walking Cane \nAn American in ParisGeorge Gershwin (1898-1937)\n \n“An American in Paris\,” the opening concert of the 24-25 season\, will be held Saturday\, September 14\, 2024\, 7:30 p.m. Jack H. Miller Center for Musical Arts\, Hope College\, Johannes Müller Stosch\, Music Director. Organ virtuoso Christopher Houlihan makes his HSO debut performing Samuel Barber’s magnificent Toccata Festiva for Organ and Orchestra.  The concert will also feature Florence Price’s delightful Dances in the Canebrakes and Josef Marx’s Idylle.  The evening will conclude with George Gershwin’s well-loved An American in Paris. \nTickets are $29 for adults and $10 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 \nClick here for Printable Program Notes\nIdylle: Concertino on the Pastoral FourthJoseph Marx\nBorn: May 11\, 1882\, GrazDied: September 3\, 1964\, GrazWritten: 1926Premiered: March 4\, 1926\, ViennaApproximate Duration: 15 minutesInstrumentation: 3 flutes\, 2 oboes\, English horn\, 3 clarinets\, bass clarinet\, 2 bassoons\, 4 French horns\, 2 trumpets\, timpani\, percussion (tambourine\, triangle\, xylophone)\, 2 harps\, celeste\, 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 went to Graz University.  His father wanted him to study law\, but Marx initially focused on philosophy\, earning a Ph.D. in that field.  When he turned more fully to musical studies it led to a break with his family\, who forbade him to go into music as a career.  He was a key figure in the emerging musical languages of the early twentieth century.  He wrote an important scholarly study of tonality in which he coined the term “atonal.”   \nMarx began composing as his primary occupation 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\, teaching over 1300 students from around the world.  He was also one of the most prominent music critics in Vienna\, particularly in the 1930s\, and published influential books on music theory.  When the Nazis came to power he had to resign his posts\, instead speaking on cultural topics\, but found various ways to secretly help Jewish families.    \nAs a composer Marx was concerned about upholding the Viennese classical tradition\, both in the forms he used\, such as waltzes\, and the use of Austrian folk music.  He also included 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. \nMarx wrote Idylle–Concertino on the Pastoral Fourth during a time in his life when he focused on impressionistic orchestral music.  This piece is the middle part of his Nature Trilogy\, which opens with Symphonic Night Music\, written in 1922\, and closes with Spring Music\, composed in 1925.  This trilogy is a blend of romantic lyricism and impressionism all trying to depict Marx’s homeland.  Marx uses more restraint in Idylle than in the other two movements\, writing for a traditional-sized orchestra and using a sensitive style.  His subtitle\, “Concertino on the Pastoral Fourth\,” refers to the “perfect fourth\,” a musical interval spanning a four note range.  With his gentle impressionistic tenderness\, he creates a pastoral fantasy in F Major (the same key as Beethoven’s sixth “pastoral” symphony) based on that interval.  The piece is inspired by Debussy’s “Afternoon of a Faun” and has been called its “Austrian counterpart.  Marx transports his listeners into dreamy atmospheres and southern landscapes\, all at a hazy distance.  The piece is framed by a solo clarinet\, which sets the feel and character of the work\, in an adaptation of the solo flute part in Debussy’s work. \nClick here to listen to Idylle. \nToccata Festiva for Organ and Orchestra\, Op. 36Samuel Barber\nBorn: March 9\, 1910\, Westchester\, PADied: January 23\, 1981\, New York CityWritten: 1960Approximate Duration: 14 minutesInstrumentation: 2 flutes\, piccolo\, 2 oboes\, English horn\, 2 clarinets\, bass clarinet\, 2 bassoons\, contrabassoon\, 4 French horns\, 3 trumpets\, 3 trombones\, 1 tuba\, timpani\, percussion (bass drum\, cymbals\, snare drum\, triangle\, tam-tam\, xylophone)\, strings \nIn 1906 the Philadelphia Academy of Music installed a new pipe organ.  Mary Curtis Zimbalist\, who had founded the Curtis Institute of Music in the 1920s\, funded the organ.  She told Eugene Ormandy\, conductor of the Philadelphia Orchestra at the time\, “I’m giving you that pipe organ you’ve been longing for\,” assuring him that cost was no obstacle.  The result was a massive Aeolian-Skinner organ which was said to be the largest movable pipe organ in the world.  It had three manuals and 4102 pipes\, and could be moved on stage for a performance and stored away afterward.  It cost $150\,000 at the time.   \nSamuel Barber was a natural choice to write a piece for the inauguration of this new instrument.  He was a son of Philadelphia and one of the first students at the Curtis Institute of Music\, soon becoming one of its most famous alumni.  Zimbalist offered Barber $2000 for the commission\, but Barber wanted to donate the piece to the orchestra and to the Curtis Institute.  He wrote it in the spring of 1960 at his summer home in Mt. Kisco\, New York.  It was premiered on September 30\, 1960\, with Paul Callaway\, the organist and choir director at the National Cathedral\, as the soloist.   \nBarber composed a single movement festive toccata for the occasion.  The term toccata is derived from the Italian word for touch.  As a musical form\, it is a loosely defined term for a piece written for a solo instrument\, usually a keyboard instrument\, that was full of fast passages\, chords\, and other virtuoso techniques intended to show off the performer’s “touch.”  Toccatas date back to the renaissance but found their peak in the time of Johann Sebastian Bach\, who wrote several difficult and groundbreaking toccatas.  Barber included many virtuosic elements\, including a cadenza just for the pedals\, along with his characteristic lyricism.  The organ and orchestra work together; a theme in the organ’s reed pipes is repeated by the English horn\, and the trumpets and trumpet stops echo each other’s melodies.  It has a celebratory quality and derives much of its energy from a motif in 5/8 time.  It was received with excitement and acclaim\, and has remained an important milestone in organists’ repertoire since its inception.   \nClick here to watch a video of Toccata Festiva. \nDances in the CanebrakesFlorence Price\nBorn: Little Rock\, Arkansas\, April 9\, 1887Died: Chicago\, Illinois\, June 3\, 1953Written: 1953 (solo piano version)Orchestrated: William Grant StillApproximate duration: 9 minutesInstrumentation: 2 flutes\, piccolo\, 2 oboes\, 2 clarinets\, bass clarinet\, 2 bassoons\, alto saxophone\, 3 French horns\, 3 trumpets\, 2 trombones\, timpani and percussion (castanets\, claves\, glockenspiel\, snare drum\, suspended cymbal\, triangle\, vibraphone)\, 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 high school as valedictorian at age fourteen\, 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 there 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\, spending 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.  Chicago honored her in 1964 by naming an elementary school after her. \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 that surrounded her.  She was a devoted Christian and used  a lot of spirituals–both their melodic sounds and rhythms–in her symphonic pieces.  Many of her works focused on the experience\, folk songs\, and dances of Black Americans.  This is true of Dances in the Canebrakes\, a collection of three piano pieces.  Canebrakes are dense clusters or fields of tall cane plants that grow in marshy areas.  They resemble thick bamboo patches.  They are common in the south\, and often had to be cleared before cultivating land for cotton crops.   \nThese three pieces are based on stage and ballroom dances that were common in the early 1900s\, when Scott Joplin’s music was popular.  The first movement\, “Nimble Feet\,” is a rag with a cheerful melody.  The second dance\, “Tropical Noon\,” is a “slow drag” with a dream-like melody\, contrasted by a more assertive middle section.  The last movement\, “Silk Hat and Walking Cane\,” is based on the “cakewalk\,” full of the excitement and whirling energy of a crowded Harlem ballroom.  These dances were orchestrated by William Grant Still shortly after Price’s death. \nClick here to listen to Dances in the Canebrakes. \nAn American in ParisGeorge Gershwin\nBorn: September 26\, 1898\, Brooklyn\, NYDied: July 11\, 1937\, Hollywood\, CAWritten: March – June 1928\, while Gershwin and his siblings were vacationing in ParisPremiered: December 13\, 1928\, New York PhilharmonicApproximate Duration: 17 minutesInstrumentation: 3 flutes\, one doubling piccolo\, 2 oboes\, English Horn\, 2 clarinets\, bass clarinet\, 2 bassoons\, 4 French horns\, 3 trumpet\, 3 trombones\, tuba\, 3 saxophones (alto\, tenor\, baritone) timpani\, percussion (bass drum\, cymbals\, glockenspiel\, 4 taxi horns\, 2 tom-toms\, triangle\, wood block\, xylophone)\, celeste\, strings \nGeorge Gershwin\, born Jacob Gershwine\, is one of America’s most beloved composers\, known for incorporating popular music and jazz into classical music.  He began his musical career as a pianist and “song plugger\,” usually a singer or pianist employed by a department store\, music store or song publisher to promote and sell new sheet music\, which is how publishers advertised before recordings were readily available.  Gershwin also wrote Broadway songs along with his brother Ira.  During this time\, from 1915 to 1921\, he took “classical” harmony and counterpoint lessons to improve his compositional skills.   \nGershwin\, looking to advance his compositional career\, moved to Paris\, hoping to study with Nadia Boulanger or Maurice Ravel.  Boulanger refused him\, saying that too much “classical” training would ruin his jazz-influenced style.  Ravel had recently been impressed by Gershwin’s compositional abilities and his skill as a pianist during a performance of Rhapsody in Blue in Ravel’s honor.  Ravel also turned down Gershwin’s request for composition lessons\, telling Gershwin that he should be “a first rate Gershwin rather than a second-rate Ravel.”  Ravel also complimented Gershwin by writing his Piano Concerto in G in the style of Gershwin the following year.   \nAn American in Paris was an important compositional milestone for Gershwin.  He wrote Rhapsody in Blue a few years earlier\, but Ferde Grofé orchestrated the piece\, for which Gershwin was criticized.  With An American in Paris\, the first piece that Gershwin composed and orchestrated\, he quieted the skeptics who doubted his abilities\, demonstrating his skill at using the diverse palate of orchestral colors.  The premiere by the New York Philharmonic was a big success.  Some critics doubted the piece’s longevity.  A writer for the New York Evening Post’s suggested that while An American in Paris might be popular in 1928\, “to conceive of a symphony audience listening to it with any degree of pleasure or patience twenty years from now\, when whoopee is no longer even a word\, is another matter.”  Those critics have been proven wrong by almost a century of ongoing performances and recordings.  As Gershwin said\, “It’s not a Beethoven symphony\, you know.  If it pleases symphony audiences as a light\, jolly piece\, a series of impressions musically expressed\, it succeeds.” \nAn American in Paris doesn’t have a formal structure\, but instead follows an “episodic” path.  Gershwin said\, “My purpose here is to portray the impression of an American visitor in Paris\, as he strolls about the city and listens to various street noises and absorbs the French atmosphere….  As in my other orchestral compositions\, I’ve not endeavored to represent any definite scenes in this music. The rhapsody is programmatic only in a general impressionistic way\, so that the individual listener can read into the music such as his imagination pictures for him.”  It is structured in three large sections with a concluding coda\, interspersed with a lot of themes meant to portray walking.  The opening section is based on the maxixe\, a Brazilian dance\, evoking the busyness of Paris with many short rhythmic cells\, including those produced by taxi-horns\, and a big variety of pitched percussion instruments.  Of this first section\, Gershwin noted: “it will be developed in typical French style\, in the manner of Debussy and the Six [Les Six]\, though all the themes are original.”  A violin cadenza leads into “a rich blues…  Our American friend\, perhaps after strolling into a cafe and having a couple of drinks\, has succumbed to a spasm of homesickness.”  This is portrayed by a bluesy trumpet solo.  This “American” section concludes with a Charleston played by a couple of trumpets.  The concluding section is an energetic finale meant to portray all the excitement and glitter of nightfall in the City of Light.  \nClick here to watch a video of An American in Paris. \nChristopher Houlihan \nThe organist Christopher Houlihan has established an international reputation as an “intelligently virtuoso musician” (Gramophone)\, hailed for his “glowing\, miraculously life-affirming performances” (Los Angeles Times). Houlihan has concertized at major venues throughout the United States\, including the Kennedy Center (Washington\, D.C.)\, the Kimmel Center (Philadelphia)\, Davies Symphony Hall (San Francisco)\, and Walt Disney Concert Hall\, where he performed with the principal Brass of the Los Angeles Philharmonic. The Los Angeles Times raved about his Disney Hall debut\, proclaiming\, “Houlihan is the next big organ talent.” \nHoulihan’s performances in 2024 include a return invitation to the Aspen Music Festival (Colorado) and orchestral performances with the Hartford Symphony Orchestra (Carolyn Kuan\, conductor). Performances in recent seasons included solo recitals presented by the Madison Symphony Orchestra (Wisconsin)\, the Pacific Symphony (Costa Mesa\, CA)\, and the Celebrity Recital Series at St. Paul’s Cathedral (London). \nNoted for his compelling performances of Louis Vierne’s organ works\, Houlihan’s “Vierne 2012” tour attracted international attention and critical acclaim for marathon recitals of Vierne’s six organ symphonies in six major North American cities. The Los Angeles Times called his performance there “a major surprise of the summer\, a true revelation.” Building on this excitement and acclaim\, Houlihan’s latest recording on Azica Records (released in 2023) features Vierne’s Symphony No. 6 and César Franck’s Grande Piece Symphonique. The recording was praised by The American Organist\, which remarked\, “as for Houlihan himself\, he just keeps getting better.” \nChristopher Houlihan’s orchestral performances in past seasons include Joseph Jongen’s Symphonie Concertante (Carolyn Kuan\, conductor) and Barber’s Toccata Festiva (Edward Cumming\, conductor) with the Hartford Symphony\, Poulenc’s Organ Concerto with the Waterbury (CT) and Columbus (GA) Symphonies\, and the Organ Concerto by Robert Edward Smith with the Boston Chamber Orchestra (David Feltner\, conductor). He has been presented in recital at numerous conventions of the American Guild of Organists and the Organ Historical Society. In 2017 he was the featured performer at the closing concert of the AGO Southeast Regional Convention at Jacoby Symphony Hall in Jacksonville\, where he presented the world premiere of Han Lash’s Ludus (written specifically for Houlihan). In 2014\, he performed in a prime-time slot of WQXR’s All-Day Bach Organ Marathon in New York City which was webcast live and seen by thousands. \nIn 2017\, Houlihan released Christopher Houlihan plays Bach (Azica). Recorded at Trinity College\, the album was praised as “playful\, celebratory and sparkling with color” (The Whole Note)\, and American Record Guide stated\, “there’s no denying Houlihan’s extraordinary achievement.” Houlihan’s other recordings include music by Maurice Duruflé and Jehan Alain\, and Organ Symphony No. 2 by Louis Vierne\, both on Towerhill Records. \nChristopher Houlihan is the John Rose Distinguished College Organist and Director of Chapel Music\, and Artist-in-Residence at Trinity College\, Hartford\, where he succeeds his former teacher\, John Rose. Since 2022\, he also serves as Artistic Director of the Albert Schweitzer Organ Festival Hartford which presents one of the premier North American organ performance competitions for young organists. \nIn addition to his studies at Trinity College\, Houlihan studied with Grammy Award-winning organist Paul Jacobs at The Juilliard School and with Jean-Baptiste Robin at the French National Regional Conservatory in Versailles. In 2015 he was selected for The Diapason’s “20 Under 30\,” a distinguished list of young leaders in the organ world. More information is at ChristopherHoulihan.com. \nTo listen to the pre-concert talk\, click here.\n [INSERT_ELEMENTOR id=”7643″] URL:https://hollandsymphony.org/events/an-american-in-paris/ 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/2024/08/Organist-Photo-Houlihan-B-credit-Christian-Steiner.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20241102T193000 DTEND;TZID=UTC:20241102T210000 DTSTAMP:20260404T024028 CREATED:20240321T002143Z LAST-MODIFIED:20241018T151916Z UID:10482-1730575800-1730581200@hollandsymphony.org SUMMARY:Sounds of the Sea DESCRIPTION:Concert Sponsors:\nAnn & John Query andRuth & David Crouch\nSheet music sponsored by a generous gift from the Franklin Kraai Trust. \n\nProgram\nInformation\nProgram Notes\nArtist bio\nPre-Concert Talk\n\nProgram\nSaturday\, November 2\, 2024\, 7:30 p.m.Jack H. Miller Center for Musical Arts\, Hope College \nJohannes Müller Stosch\, Music Director and ConductorAndrew Le\, Piano \nAngels of Fire and Ice Ana Lara (b. 1959)\nAngel of DarknessAngel of the DawnAngel of LightAngel of the Sunset \nPiano Concerto in G MajorMaurice Ravel (1875-1937)\nAllegrettoAndante con moto: Commencer très calmamentRondeau a La Française: Presto giocoso \nRestless OceansAnna Clyne (b. 1980)\nLa Mer (The Sea)Claude Debussy (1862-1918)\nFrom Dawn to Noon on the Sea: très lent – animez peu à peuPlay of the Waves: Allegro (dans un rythme très souple) – animéDialogue of the Wind and the Sea: Animé et tumultueux – cédez très légèrement \n \nThe concert on Saturday\, November 2\, 2024\, 7:30 p.m. at the Jack H. Miller Center for Musical Arts\, Hope College will feature the return to Holland of one of our favorite artists\, Andrew Le\, pianist.  He will perform Francis Poulenc’s Concerto for Piano and Orchestra with Johannes Müller Stosch\, Music Director and Conductor\, conducting. The concert will open with Ana Lara’s striking Fire and Ice.  Anne Clyne’s Restless Oceans will lead the way to Claude Debussy’s epic masterpiece\, La Mer. \nTickets are $29 for adults and $10 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 \nAngels of Fire and Ice (Ángeles del llama y hielo)Ana Lara\nBorn: November 30\, 1959Written: 1994Premiered: September 2\, 1994\, Mexico City\, Orquesta Sinfónica Nacional de MéxicoApproximate Duration: 20 minutesInstrumentation: 2 flutes\, piccolo\, alto flute\, 2 oboes\, English horn\, 2 clarinets\, bass clarinet\, 2 bassoons\, contrabassoon\, 4 horns\, 3 trumpets\, 3 trombones\, tuba\, timpani\, percussion (bass drum\, cymbals\, snare drum\, tam-tam\, thunder sheet\, tom-toms\, triangle\, tubular bells\, vibraphone\, wind machine)\, 2 harps\, celeste\, and strings \nAna Lara is one of the most respected composers in Mexico today.  She studied piano and composition in Mexico City\, Warsaw\, and Baltimore.  She has been composer in residence with the Mexico National Symphony Orchestra.  She composes in a variety of genres\, ranging from chamber music to musical theater to choreographed dance works.  Lara says that the composers who influenced her most are Arvo Pärt and Henryk Górecki.  She likes to explore the use of continuous sound in her work\, as well as exploring microtonality and heterophony.  Lara describes her music as “international and abstract\, but deeply Mexican in its soul.”  \nLara composed Angels of Fire and Ice in 1994.  It is a spiritual reflection on time\, with four angels representing stages in human life: darkness\, dawn\, light\, and sunset.  She uses huge sounds to represent the inexorable\, ongoing cycle of life\, and she uses quiet sounds to evoke awe\, elemental powers\, and deep silence.  The piece starts with very quiet low notes\, describing a quiet beginning.  Energy begins to gather with swooping string gestures\, bird-like woodwinds\, booming percussion\, and interjections from the brass instruments.  This finally subsides back into silence. She based the piece on poetry by Mexican poet Francisco Serrano.  Lara said\, “Francisco Serrano’s poems speak of four angels\, four cardinal points\, four states of being\, four moments of the day\, and this gave me the idea to approach the orchestra in four different forms. It was never my intention to compose songs from the poems\, but to take from them the basis for an orchestral work in four parts that alludes to the spirit of each poem and\, in a way\, to the structure of the poems: sonnet form. I tried to stay very true to the texts during the composition process and I had many conversations with the poet in which we discussed our respective interpretations. This work emerged\, whose parts have a very close relationship between the literary origins and my musical version.” \nAngels of Fire and Ice was premiered on September 2\, 1994 by the National Symphony Orchestra of Mexico in Mexico City.  Lara dedicated it to their music director\, Arturo Diemecke\, who later became the Music Director of Long Beach Symphony in California from 2001-2014.  The two orchestras jointly commissioned another piece by Lara in 2004.   \nTo listen to a recording of Angels of Fire and Ice\, click here. \nAngels of Flame and Ice Francisco Serrano \nTo Ana Lara  \nAngel of Darkness  \nImperious\, glacial\, like a bare blade of cold steel He suddenly appears\, dark in the place of shadows\, On the edge of silence\, unrelenting\, unvanquished\, Terrible messenger of an existence that has not been reached.  \nHe is a wind born of the void to gnaw at the body (Body itself) to leave it in an instant\, intact. Prisoner perhaps of an excessive bliss\,There is no passion in the angel: He is the stranger.  \nAn acrid air precedes him\, a limitless fog\, A being without limits\, coalesced shadow\, breath of the breath.    Being of silence\, angel so sad\, do you grieve for us?  \nDo you take for yourself what you need\, or get back what is yours? Will this flesh be of use when death  Finally breathes under your incomprehensible light?  \nAngel of Dawn  \nIs there no place for the angels to spread their wings? In the loose breeze of the first light He sparkles\, indelible\, a face  Kneaded from water and fire and air and salt.    \nHe hovers over time\, like a flowing sky\, Wing and skin undulating at the edge of bright water. With very gentle hands\, a sketch of gold in each finger\, He reaches towards light that fulfills its promise.  \nAngel\, sacred vessel of being\, incandescent condensation of the cosmos\, Prescient space\, in your grace everything is about to be born.  Would you accept a prayer addressed to you?  \nThe world is like rain that does not sustain you.  The angel has no roots: he moves among us Detached from the earthly heart\, like a hostage.  \nAngel of Light  \nAngels\, birds of the abyss\, are they so different from us? A breath of crystals coming from afar\, A superior command\, shining and hidden\, Pure love unlimited within the boundaries of the spirit?  \nMaybe your diaphanous nature is not inaccessible to us. In the exact center of the heart\, Beyond pleasure and grief\, You exist alongside of anguish\, like an act of love.   \nAnd if we shouted\, would you hear us? If you descended upon us\, could we keep silent? We can only guess at your strength\, at your pitiless mediation.  \nThe song of the earth is the trace of his passing; The white light of noon\, his shadow. He is stillness. He does not last.  \nAngel of Dusk  \nLike a window opened on an untended garden\,  Like a wasteland beneath the open sky\,     They are beings that see with their eyes closed\,  Shadows of a body in search of its form.  \nThey wander among us\, sleepwalkers\, Extravagant\, like the blind without a face\,    Fire greedy for light\, impenetrable fire surrounded by water. Where they alight\, dancing ceases.  \nAngels of dusk\, messengers Of who knows what vacant and higher kingdom\, They turn into night with each one of us.  \nIn the boundaries of time\, in the crack between life and death\, They stalk in the crevices of consciousness\, formless\, While a dove flutters in a frightfully severed sky… \nPiano Concerto in GMaurice Ravel\nBorn: March 7\, 1875\, Ciboure\, FranceDied: December 28\, 1937\, Paris\, FranceWritten: 1931 \nPremiered: January 14\, 1932\, Paris\, Lamoureux Orchestra\, Ravel conducting\, soloist Marguerite Long Approximate Duration: 23 minutesInstrumentation: solo piano\, piccolo\, flute\, oboe\, English horn\, clarinet\, E-flat clarinet\, 2 bassoons\, 2 horns\, trumpets\, trombone\, timpani\, percussion (bass drum\, snare drum\, suspended cymbal\, tam-tam\, triangle\, whip\, woodblock)\, harp\, strings \nMaurice Ravel was born on the French side of the border with Spain when his father\, an engineer and inventor\, was working on railroad construction projects.  Shortly thereafter\, his family returned to Paris\, but Ravel always felt strongly connected to the Basque area on the Spanish border.  He began his musical studies at age seven and started composing when he was eighteen\, publishing his first works at age twenty. \nRavel thought about writing a piano concerto for a long time\, but didn’t start until he was in his fifties.  He toured the United States in 1928\, receiving a lot of acclaim for Boléro.  When he got home he started writing his concerto and planned on performing it on a grand tour that would include not only the United States but also South America\, East Asia\, and Europe.  Right after he started this piece he received a commission from Paul Wittgenstein\, an Austrian pianist who had lost his right arm in World War I\, asking Ravel to compose a concerto for the left hand.  After he completed his commission Ravel returned to his G Major concerto.  He shut himself off from the rest of the world\, working long hours each day to finish it.  It ended up being his last orchestral composition.  Later in 1932 he developed a neurological disease that no longer allowed him to play piano\, speak\, compose\, or conduct. \nRavel had strong feelings about concertos.  He wrote in the summer of 1931\, as he was finishing this concerto\, that his piece was a “concerto in the strict sense\, written in the spirit of Mozart and Saint-Saëns\,” and that “the music of a concerto should\, in my opinion\, be lighthearted and brilliant\, and not aim at profundity or at dramatic effects. It has been said of certain classics that their concertos were written not ‘for’ but ‘against’ the piano. I heartily agree. I had intended to title this concerto ‘Divertissement.’ Then it occurred to me that there was no need to do so because the title ‘Concerto’ should be sufficiently clear.”  With this statement he was criticizing weighty pieces like Brahms’ second concerto.  He was much more in favor of writing in the style of Mozart and Saint-Saëns\, who wrote to showcase the virtuosity of the soloist.  Ravel definitely wrote a piece that embraces flash and spectacle\, and was in fact so difficult that he did not feel he would do it justice as its soloist.  Marguerite Long premiered the piece on January 14\, 1932\, and Ravel conducted.   \nThe concerto opens with the crack of a whip followed by the opening theme in the piccolo and trumpet.  Soon the English horn changes the mood to a slower\, Spanish-sounding theme\, accompanied by a strumming piano figure that imitates Spanish guitars.  Then the clarinet introduces a jazz and blues melody\, inspired by American jazz as reflected by George Gershwin.  Ravel and Gershwin greatly admired each other.  This concerto by Ravel borrows so much from Gershwin that some have called it the sequel to Rhapsody in Blue (1924) and Gershwin’s Concerto in F (1925).   \nRavel claimed that the slow movement of this concerto was one of the most difficult things he ever wrote\, and he was only able to compose one or two measures at a time.  He lamented\, “that flowing phrase! How I worked over it bar by bar! It nearly killed me!”  The result was one of his most expressive and beautifully crafted melodies\, inspired by Mozart’s clarinet quintet.  The piano begins alone\, playing a stately sarabande in the right hand and a leisurely waltz in the left hand.  The orchestra enters in a mournful dialogue with the piano.   \nThe final movement is a short whirlwind.  It begins with a drum roll and a fanfare\, and then proceeds like a circus race\, lasting only about four minutes.  Like the first movement\, it has many elements of jazz\, including clarinet riffs\, trombone slides\, and brass fanfares.  A sharp percussion crack recalls the opening\, leading the music to an exciting and abrupt end.   \nTo watch a video of Ravel’s Piano Concerto in G\, click here. \nRestless OceansAnna Clyne\nBorn: March 9\, 1980\, LondonWritten: 2018Premiered: January 22\, 2019\, World Economic Forum\, Davos SwitzerlandApproximate Duration: 4 minutesInstrumentation: 2 flutes\, 2 oboes\, 2 clarinets\, 2 bassoons\, 2 French horns\, 2 trumpets\, timpani\, percussion (bass drum and snare drum)\, strings \nBritish composer Anna Clyne is one of the most frequently performed contemporary composers today.  She is known for collaborating with artists from a variety of disciplines–visual art\, dance\, film\, and poetry–to compose a variety of creative musical works.  She studied at University of Edinburgh and Manhattan School of Music.  She was nominated for a GRAMMY award in 2015.  She has been a composer-in-residence for the Chicago\, Baltimore\, Berkeley\, BBC\, and Helsinki symphonies.  For a long time she has been interested in using symphony instruments to portray sounds from nature.  She even recorded a piece written for cellist Yo-Yo Ma in a forest.  She noted in a 2021 interview\, “I think orchestration is like painting—you combine different instruments to create your own orchestral colours.” \nShe composed Restless Oceans In 2018\, drawing on a variety of traditions of “pastoral” music.  The piece includes a gentle flute melody over bubbling woodwing parts.  Borrowing from a very different tradition of nature-inspired music\, exemplified in Stravinsky’s Rite of Spring\, she also includes heavily accented notes and unpredictable rhythms.  She asks performers to sing as well as play their instruments\, adding stomps and sharper syllables for punctuation of dramatic moments.   \nShe writes about the piece: “I composed Restless Oceans for Marin Alsop and the Taki Concordia Orchestra for performance at the World Economic Forum Annual Meeting in Davos. The piece received its world premiere at the opening ceremony in 2019 where Marin Alsop was presented with the Forum’s prestigious Crystal Award in recognition of her championship of diversity in music. This work draws inspiration and its title from A Woman Speaks – a poem by Audre Lorde and was composed with this particular all-women orchestra in mind. In addition to playing their instruments\, the musicians are also called to use their voices in song and strong vocalizations\, and their feet to stomp and to bring them to stand united at the end. My intention was to write a defiant piece that embraces the power of women. Restless Oceans is dedicated with thanks to Marin Alsop.” \nClyne takes her title for this piece from a line in the poem and includes the full poem in the printed conductor’s score for this piece.  She doesn’t intend for her piece to portray the poem in any precise way\, but hopes her audiences will read the poem to give hearers another way to connect to the auditory experience of the piece.   \nTo watch a performance  of Restless Oceans by Johannes’s university orchestra\, click here. \nA Woman Speaks Audre Lorde \nMoon marked and touched by sunmy magic is unwrittenbut when the sea turns backit will leave my shape behind.I seek no favoruntouched by bloodunrelenting as the curse of lovepermanent as my errorsor my prideI do not mixlove with pitynor hate with scornand if you would know melook into the entrails of Uranuswhere the restless oceans pound. \nI do not dwellwithin my birth nor my divinitieswho am ageless and half-grownand still seekingmy sisterswitches in Dahomeywear me inside their coiled clothsas our mother didmourning. \nI have been womanfor a long timebeware my smileI am treacherous with old magicand the noon’s new furywith all your wide futurespromisedI amwomanand not white. \nLa Mer (The Sea)Claude Debussy\nBorn: August 22\, 1862\, Saint Germain-en-Laye\, Départment of Seine-et-Oise\, FranceDied: March 25\, 1918\, ParisWritten: 1903-05Premiered: October 15\, 1905\, Paris\, Lamoureux Orchestra\, conductor Camille ChevillardApproximate Duration: 24 minutesInstrumentation: 2 flutes\, piccolo\, 2 oboes\, English horn\, 2 clarinets\, 3 bassoons\, contrabassoon\, 4 horns\, 3 trumpets\, 2 cornets\, 3 trombones\, tuba\, timpani\, percussion (bass drum\, cymbals\, glockenspiel\, tam-tam\, and triangle)\, 2 harps\, and strings \nClaude Debussy loved the sea.  He grew up listening to his father\, a sailor\, tell dramatic stories of his life on the water.  He spent some of his holidays at the seaside\, in Cannes and Arcachon and at the Villa Medici near Rome.  He had one frightening voyage in a small boat near Brittany.  He visited London a few times\, crossing via the English Channel.  On these trips he spent a lot of time with paintings by J. M. W. Turner\, whose work he admired and studied.  These and other paintings\, especially by French Impressionist artists\, added to his romantic fascination with the sea.  Debussy wrote to his publisher\, “I have loved the ocean and listened to it passionately….  The sea is always endless and beautiful. It is really the thing in nature which best puts you in your place….  The sea has been very good to me.  She has shown me all her moods.  You do not know perhaps that I was intended for the fine career of a sailor and only the chances of life led me away from it.…  I have an endless store of memories….  Music is a free art\, boundless as the elements\, the wind\, the sky\, and the sea.” \nDebussy began working on La Mer in 1903.  He subtitled it\, “Symphonic Sketches.”  This musical triptych gives listeners three “portraits” of the sea.  His first movement\, “From Dawn to Noon on the Sea\,” depicts the movement of the sun from below the horizon to directly overhead the listeners.  The cellos usher in the dawn with a quiet\, rising two note motive.  Muted brass instruments add a small theme that also appears in the last movement.  The ocean is quiet in this movement\, but the power is present beneath the calm surface\, as motion emerges as dawn emerges.  Eventually flutes and clarinets suggest splashing waves\, momentum builds\, and then cellos sing a lyrical tune that rises and falls with the waves.  As the morning progresses the water becomes livelier\, with quickly appearing melodic phrases.  A brass chorale ushers in the bright light of noon.   \nThe second movement\, “The Play of the Waves\,” also begins quietly\, but soon this music gets faster and more energetic.  This music functions as a scherzo or intermezzo\, with lighter textures than the weight and density found in the outer movements.  The waves and the rhythms are irregular and full of quick melodies.  Woodwinds are featured.  The sea’s force is tangible under light woodwind textures.  The sea becomes silent at the end.   \nIn the third section\, “Dialogue of the Wind and the Sea\,” the low strings open with an ominous and foreboding mood\, as if promising that a storm will appear soon.  An exquisite melody arises out of the musical forces\, possibly suggesting a mermaid’s song.  Various woodwind instruments continue the dialogue until the horns usher in a climax of surging water and waves\, recalling the first movement in the form of a stormy dialogue.   \nTo watch a video of La Mer\, click here. \n  \nTo watch the pre-concert video\, click here.\n \n Tickets\n \n [INSERT_ELEMENTOR id=”7643″] URL:https://hollandsymphony.org/events/sounds-of-the-sea/ 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/2024/03/Drew-web.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20241117T150000 DTEND;TZID=America/New_York:20241117T163000 DTSTAMP:20260404T024028 CREATED:20241018T153925Z LAST-MODIFIED:20241108T184247Z UID:11929-1731855600-1731861000@hollandsymphony.org SUMMARY:HSYO Fall Concert DESCRIPTION:Concert Sponsors: \n \n \n \nHolland Symphony Youth Orchestras\nFall ConcertSunday\, November 17\, 2024\, 3:00pmWest Ottawa Performing Arts Center\nHarbor Lights Middle School\nTickets are $10 at the door \nProgram\nHolland Area Concert StringsKyle Nester\, Music Director/Conductor \nHANDEL    Entrance of the Queen of Sheba (arr. H. B. Fisher)TCHAIKOVSKY    Swan Lake\, Act II\, No. 10 (arr. Michael Hopkins)R. MEYER    Idylls of PegasusB. RIDEOUT    Scottish Mist (Arr. Bob Phillips) \nHolland Area Youth OrchestraJosh Zallar\, Music Director/Conductor \nSelections from Schubert’s Symphony No. 8 “Unfinished” and Beethoven’s Symphony No. 7 \nhttps://youtu.be/Kj6Wxz6Gpcs[INSERT_ELEMENTOR id=”7643″] URL:https://hollandsymphony.org/events/hsyo-fall-concert-5/ 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/2024/10/hsyo-combined-string-pic.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20241214T153000 DTEND;TZID=UTC:20241214T170000 DTSTAMP:20260404T024028 CREATED:20240321T002313Z LAST-MODIFIED:20241021T170748Z UID:10484-1734190200-1734195600@hollandsymphony.org SUMMARY:Home for the Holidays (3:30pm) DESCRIPTION:Concert Sponsor:\nPat & Camy Thompson\n \n Tickets\n \n\nProgram\nInformation\nArtist bio\n\nProgram\nSaturday\, December 14\, 2024\, 3:30 p.m.Dimnent Chapel\, Hope College \nJohannes Müller Stosch\, Music Director and ConductorJennie Judd Reyes\, Soprano \nSuite from Sleeping Beauty\, Op. 66aPeter Ilyich Tchaikovsky     Apotheosis     Panorama     Valse \nO Holy NightAdolph Adam\, arr. David T. Clydesdale \nDusk WaltzCecil Armstrong Gibbs \n“Alleluia” From Exsultate jubilateWolfgang Amadeus Mozart \nOverture to Hansel and GretelEngelbert Humperdinck \nStill\, Still\, StillTrad. German\, arr. Robert Sterling \nSee Amid the Winter’s SnowEdward Caswall & John Goss\, arr. Dan Forrest \nPlaces Far AwayDaniel Fisher \nChristmas SingalongJohn Finnegan \nI’ll Be Home for ChristmasWalter Kent\, arr. Marty Gold \n“My Favorite Things” from The  Sound of Music \nRichard Rodgers\, Robert Russell Bennett \nBreath of HeavenChris Eaton & Amy Grant\, arr. Lloyd Larson \nSleigh RideLeroy Anderson \nConcert Suite from The Polar ExpressAlan Silvestri\, arr. Jerry Brubaker \n \nHolland Symphony Orchestra presents a concert of tradiitonal holiday classics as we celebrate the season.  Local favorite Jennie Reyes will join HSO to share her gifts with us.   \nTickets are $29 for adults and $10 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 \nSoprano\, Jennie Judd Reyes is recognized for her vocal versatility and stage artistry\, singing repertoire that spans from the baroque to the present as a soloist\, chamber musician\, and stage performer. Upcoming performances include Frasquita in Carmen; a collaboration with Deos Contemorary Ballet in their Ember series; Baroque Meditations\, featuring works by Telemann\, Bach\, and Couperin; Pergolesi’s Stabat Mater; and Free at Three Concert Series in Holland\, Michigan.  \nRecent engagements as a featured soloist include Herz und Mund und Tat und Leben BWV147 (VoxGR); Nun komm\, der Heiden Heiland BWV 61 (Holland Bach Society); Considering Matthew Shepard (Fountain Street Church); Handel’s Messiah (Zeeland Civic Chorus); Broadway Holiday (Williamsport Symphony Orchestra); and Showtime: A Tribute to Marvin Hamlisch (Illinois Valley Symphony). \nJudd is equally at home performing both operatic and musical theatre works. Recent stage credits include Blonde in Die Entführung aus dem Serail (Opera Grand Rapids)\, Mabel in Pirates of Penzance (Opera Grand Rapids 2022; Gilbert & Sullivan Opera Company\, Chicago 2020)\, Dew Fairy in Hansel and Gretel (West Michigan Opera Project)\, Maria in The Sound of Music (Shadblow Theatre)\, Cunegonde in Bernstein’s Candide\, Proserpine in Charpentier’s La descente d’Orphée aux enfers (UM Opera)\, Susanna (cover) and Barbarina in Le Nozze di Figaro (Janiec Opera Company)\, and ensemble in NOAH and Miracle of Christmas (Sight & Sound Theatres).  \nJudd is a proud alumna of the University of Michigan (M.M.) where she peformed with the Contemporary Directions Ensemble\, premiering new works such as George Lewis’\, P. Multitudinis with members of the International Contemporary Ensemble\, Steve Reich’s\, “Tehilim\,” and she sang the US premiere of Oliver Knussen’s\, “O Hototogisu!” Judd worked closely with composer\, Shuying Li performing the title role of Older Sister in “Who Married Star Husbands.” \nJudd graduated from Wheaton College Conservatory of Music (B.M.) and spent two summers with the Janiec Opera Company at the Brevard Music Center\, where she received the Linda Candler Award for Outstanding Opera Student in 2016. \nIn addition to performing\, Judd is the Operations Manager for the Holland Chorale and is an Adjunct Professor of Voice at Hope College. \n [INSERT_ELEMENTOR id=”7643″] URL:https://hollandsymphony.org/events/home-for-the-holidays/ LOCATION:Dimnent Chapel\, 277 College Ave.\, Holland\, MI\, 49423\, United States END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20241214T193000 DTEND;TZID=UTC:20241214T210000 DTSTAMP:20260404T024028 CREATED:20240321T002425Z LAST-MODIFIED:20241021T170619Z UID:10486-1734204600-1734210000@hollandsymphony.org SUMMARY:Home for the Holidays (7:30pm) DESCRIPTION:Concert Sponsor:\nPat & Camy Thompson\n \n Tickets\n \n\nProgram\nInformation\nArtist bio\n\nProgram\nSaturday\, December 14\, 2024\, 7:30 p.m.Dimnent Chapel\, Hope College \nJohannes Müller Stosch\, Music Director and ConductorJennie Judd Reyes\, Soprano \nSuite from Sleeping Beauty\, Op. 66aPeter Ilyich Tchaikovsky     Apotheosis     Panorama     Valse \nO Holy NightAdolph Adam\, arr. David T. Clydesdale \nDusk WaltzCecil Armstrong Gibbs \n“Alleluia” From Exsultate jubilateWolfgang Amadeus Mozart \nOverture to Hansel and GretelEngelbert Humperdinck \nStill\, Still\, StillTrad. German\, arr. Robert Sterling \nSee Amid the Winter’s SnowEdward Caswall & John Goss\, arr. Dan Forrest \nPlaces Far AwayDaniel Fisher \nChristmas SingalongJohn Finnegan \nI’ll Be Home for ChristmasWalter Kent\, arr. Marty Gold \n“My Favorite Things” from The  Sound of Music \nRichard Rodgers\, Robert Russell Bennett \nBreath of HeavenChris Eaton & Amy Grant\, arr. Lloyd Larson \nSleigh RideLeroy Anderson \nConcert Suite from The Polar ExpressAlan Silvestri\, arr. Jerry Brubaker \n \nHolland Symphony Orchestra presents a concert of tradiitonal holiday classics as we celebrate the season.  Local favorite Jennie Reyes will join HSO to share her gifts with us.   \nTickets are $29 for adults and $10 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 \nSoprano\, Jennie Judd Reyes is recognized for her vocal versatility and stage artistry\, singing repertoire that spans from the baroque to the present as a soloist\, chamber musician\, and stage performer. Upcoming performances include Frasquita in Carmen; a collaboration with Deos Contemorary Ballet in their Ember series; Baroque Meditations\, featuring works by Telemann\, Bach\, and Couperin; Pergolesi’s Stabat Mater; and Free at Three Concert Series in Holland\, Michigan.  \nRecent engagements as a featured soloist include Herz und Mund und Tat und Leben BWV147 (VoxGR); Nun komm\, der Heiden Heiland BWV 61 (Holland Bach Society); Considering Matthew Shepard (Fountain Street Church); Handel’s Messiah (Zeeland Civic Chorus); Broadway Holiday (Williamsport Symphony Orchestra); and Showtime: A Tribute to Marvin Hamlisch (Illinois Valley Symphony). \nJudd is equally at home performing both operatic and musical theatre works. Recent stage credits include Blonde in Die Entführung aus dem Serail (Opera Grand Rapids)\, Mabel in Pirates of Penzance (Opera Grand Rapids 2022; Gilbert & Sullivan Opera Company\, Chicago 2020)\, Dew Fairy in Hansel and Gretel (West Michigan Opera Project)\, Maria in The Sound of Music (Shadblow Theatre)\, Cunegonde in Bernstein’s Candide\, Proserpine in Charpentier’s La descente d’Orphée aux enfers (UM Opera)\, Susanna (cover) and Barbarina in Le Nozze di Figaro (Janiec Opera Company)\, and ensemble in NOAH and Miracle of Christmas (Sight & Sound Theatres).  \nJudd is a proud alumna of the University of Michigan (M.M.) where she peformed with the Contemporary Directions Ensemble\, premiering new works such as George Lewis’\, P. Multitudinis with members of the International Contemporary Ensemble\, Steve Reich’s\, “Tehilim\,” and she sang the US premiere of Oliver Knussen’s\, “O Hototogisu!” Judd worked closely with composer\, Shuying Li performing the title role of Older Sister in “Who Married Star Husbands.” \nJudd graduated from Wheaton College Conservatory of Music (B.M.) and spent two summers with the Janiec Opera Company at the Brevard Music Center\, where she received the Linda Candler Award for Outstanding Opera Student in 2016. \nIn addition to performing\, Judd is the Operations Manager for the Holland Chorale and is an Adjunct Professor of Voice at Hope College. \n [INSERT_ELEMENTOR id=”7643″] URL:https://hollandsymphony.org/events/home-for-the-holidays-2/ LOCATION:Dimnent Chapel\, 277 College Ave.\, Holland\, MI\, 49423\, United States ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2024/03/Holiday-web.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20250111T130000 DTEND;TZID=America/New_York:20250111T140000 DTSTAMP:20260404T024028 CREATED:20241217T174544Z LAST-MODIFIED:20241219T183034Z UID:12087-1736600400-1736604000@hollandsymphony.org SUMMARY:HSO 2025 Norbert Mueller Memorial Young Artist Competition DESCRIPTION:HSO 2025 Norbert Mueller Memorial Young Artist Competition\nSaturday\, January 11\, 2025\, at 1 PM\nJack H. Miller Center for Music Arts – Recital Hall\nAdmission is Free. No RSVP is required.\nExperience passionate performances by rising stars as talented young musicians from West Michigan compete for the grand prize. A panel of hand-picked judges and a live audience will enjoy approximately 10 minutes of musical performance from each applicant. The winner will be announced at the conclusion of the concert. Featured instrumentalists included two violins\, cello\, clarinet\, French horn \, and bassoon. \nGenerously sponsored by the Mueller Fund. URL:https://hollandsymphony.org/events/hso-2025-young-artist-competition/ LOCATION:Jack H. Miller Center for Musical Arts at Hope College\, 221 Columbia Ave.\, Holland\, MI\, 49423\, United States CATEGORIES:Community Event ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2024/12/HSO-Young-Artist-Competition.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20250208T110000 DTEND;TZID=America/New_York:20250208T120000 DTSTAMP:20260404T024028 CREATED:20241121T211641Z LAST-MODIFIED:20241121T211641Z UID:12058-1739012400-1739016000@hollandsymphony.org SUMMARY:Family Event: Musical Adventures of Ferdinand the Bull DESCRIPTION:Free Kids Concert: The Musical Adventures of Ferdinand the Bull\nSaturday\, February 8\, 2025\n11 AM – 12 PM\nHerrick North Branch Library\, Holland\nCommunity Room\nIdeal for families with kids who love music and story time.\nBack by popular demand! Join Herrick and a string quartet from your Holland Symphony Orchestra to enjoy a free performance of the beloved classic The Story of Ferdinand by Munro Leaf accented with beautiful and dramatic music from the opera Carmen!\nFunded by the National Endowment for the Arts\, Michigan Arts and Culture Council\, and the Holland Symphony Orchestra Annual Fund. URL:https://hollandsymphony.org/events/family-event-musical-adventures-of-ferdinand-the-bull/ LOCATION:Herrick North Branch Library Holland\, 155 Riley Street\, Holland\, MI\, 49424\, United States CATEGORIES:Community Event ATTACH;FMTTYPE=image/png:https://hollandsymphony.org/wp-content/uploads/2024/11/Ferdinand-the-Bull-Image.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20250209T140000 DTEND;TZID=America/New_York:20250209T150000 DTSTAMP:20260404T024028 CREATED:20250131T192024Z LAST-MODIFIED:20250131T192024Z UID:12135-1739109600-1739113200@hollandsymphony.org SUMMARY:FREE Chamber Concert: Celebrating Black History Month DESCRIPTION:Sunday\, February 9\, 2025\, at 2 PM \nSaugatuck Douglas Library – Admission is FREE \n174 Center St\, Douglas\, MI 49406 \nHolland Symphony Orchestra String Quartet\nAmanda Dykhouse\, violin\nKatie Bast\, violin\nLauren Garza\, viola\nLee Copenhaver\, cello \n“A Celebration of Black History Month”\nProgram \nSAMUEL COLERIDGE-TAYLOR    Fantasy Pieces for String Quartet\, Op. 5 \nGEORGE WALKER    Lyric for Strings George Walker \nANTONIN DVORÁK    String Quartet No. 12 in F Major\, Op. 96\, “American” \n  \nARTISTS \nAmanda Walvoord Dykhouse began to study the violin at age five with Ellen Rizner. She went on to graduate from Interlochen Arts Academy and attend Oberlin Conservatory in Ohio. She graduated with highest honors from Rice University in Houston\, Texas\, with degrees in music and religious studies. She pursued further training at the Meadowmount School of Music and Music Academy of the West. Her primary teacher was Kathleen Winkler. She subsequently pursued a Master of Divinity at Western Theological Seminary in Holland.  \nAmanda is currently the concertmaster of the Holland Symphony Orchestra and the principal second violin of the West Michigan Symphony in Muskegon. She performs frequently throughout the area\, including several appearances as a soloist with the Holland Symphony Orchestra. She also plays regularly on the Free@3 recital series and the Chamber Music Festival of Saugatuck. She maintains a violin studio in Holland. Her students have won numerous local awards\, including the Holland Symphony Orchestra’s concerto competition\, have appeared on the NPR program\, “From the Top\,” and have been admitted into highly competitive undergraduate music programs. In addition to her musical activities\, Amanda has served as a pastor (RCA) at two churches in Holland\, Michigan.  \nHolland resident Katie Bast received her Bachelor’s of Music in Violin Performance from Southern Methodist University and her Master’s of Music in Violin Performance and Suzuki Pedagogy from the University of Minnesota. She is an Assistant Concertmaster of the Holland Symphony\, a member of the West Michigan Symphony and the Holland Bach Society. Katie has published articles in the American Suzuki Journal\, been awarded the Suzuki Association of the Americas “Certificate of Achievement” for teaching excellence and teaches in her home studio as well as at workshops around the country including the Blue Lake Suzuki Family Camp.  \nLauren Garza is a Holland native and principal violist of the Holland Symphony. While she enjoys playing with her talented colleagues\, her true joy is teaching.  She maintains a private studio and facilitates experiential music programs with community partners through her Harmony Scholars Mobile Studio. She is the lead teaching artist and program manager for Tune Up\, in Muskegon\, MI. Lauren is also an artist in residence with the West Ottawa public schools orchestras. She is a graduate of Michigan State University (DMA and MM) and Hope College (BM).  \nLee Copenhaver taught music theory/analysis\, ear-training\, counterpoint\, and orchestration courses at Grand Valley State University. He has presented sessions on hymnody at Westminster Presbyterian Church and has conducted many small ensembles. He earned a BS and an MM (music education) and then an MA (cello) and a PhD (music theory) from the University of Iowa URL:https://hollandsymphony.org/events/free-chamber-concert-celebrating-black-history-month/ LOCATION:Saugatuck-Douglas Library\, 174 Center Street\, Douglas\, MI\, 49406\, United States CATEGORIES:Community Event ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2025/01/Coleridge-Taylor.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20250320T180000 DTEND;TZID=America/New_York:20250320T193000 DTSTAMP:20260404T024028 CREATED:20250303T203024Z LAST-MODIFIED:20250303T212220Z UID:12263-1742493600-1742499000@hollandsymphony.org SUMMARY:Holland Community Strings Symphony of Togetherness: A Friends & Family Night DESCRIPTION:Holland Community Strings Symphony of Togetherness: A Friends and Family Night \nThursday\, March 20\, 2025\, from 6-7:30 PM \nA FREE Holland Community Strings Concert at Quincy Place Senior Living\n12300 Quincy Street\, Holland\, MI\, United States\, Michigan 49424  \nLive Mini Concert with Holland Community Strings\, Happy Hour & Appetizers!  \nJoin us at Quincy Place Senior Living for a heartwarming evening of music\, laughter\, and connection. Enjoy a special performance by the Holland Community Strings\, where beautiful melodies will fill the air. This evening is all about celebrating togetherness and making lasting memories with friends and family. Don’t miss this chance to share in a night of joy and music that brings us all closer!  \nHolland Community String Orchestra \nJohn Reikow\, Conductor & Music Director \nJ.S.BACH    Double Violin Concerto in D Minor (Kathryn Reikow & Ruth Crouch) \nRaff-Pochon    The Mill \nBIZET    Farandole\nIgnaz Pleyel    Sonatina No. 1 for String Quartet\nHAYDN    Andante from Symphony No. 94\nAlan Menkin    Kingdom Dance from the film Tangled (Arr. Robert Longfield) \nDuration: 1 hour\, 30 min (no intermission)  URL:https://hollandsymphony.org/events/hso-symphony-of-togetherness-a-friends-family-night/ LOCATION:Quincy Place Senior Living\, 12300 Quincy Street\, Holland\, MI\, 49424\, United States ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2025/03/Quincy-Place-Image-for-HSO-Comm-Strings.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20250322T193000 DTEND;TZID=UTC:20250322T210000 DTSTAMP:20260404T024028 CREATED:20240321T002526Z LAST-MODIFIED:20250310T160923Z UID:10488-1742671800-1742677200@hollandsymphony.org SUMMARY:Scottish Influence DESCRIPTION:Tickets\n \n\nProgram\nInformation\nProgram Notes\nArtist bio\nPre-Concert Talk\n\nSponsored by the Padnos Family Foundations.\nProgram\nSaturday\, March 22\, 2025\, 7:30 p.m.Jack H. Miller Center for Musical Arts\, Hope College \nJohannes Müller Stosch\, Music Director and Conductor \nHebrides Overture\, Op. 26\,  “Fingal’s Cave”Felix Mendelssohn (1809-1847)\nIntroduction and Rondo Capriccioso\, Op. 28Camille Saint-Saëns (1835-1932)\nLetitia Jap\, violin \n“Andante moderato” from String Quartet in G majorFlorence Price (1887-1953)\nSymphony No.3 in A major\, op.56 “Scottish”Felix Mendelssohn (1809-1847)\nAndante con moto – Allegro un poco agitatoVivace non troppoAdagioAllegro vivacissimo — Allegro maestoso assai \nThe “Scottish Influence” concert will be performed on Saturday\, March 22\, 2025\, 7:30 p.m. at the Jack H. Miller Center for Musical Arts\, Hope College\, conducted by Johannes Müller Stosch\, Music Director. The concert open’s with Felix Mendelssohn’s musical depiction of The Hebrides and concludes with his Scottish Symphony will be Florence Price’s beautiful Andante Moderato for strings will be followed Camille Saint-Saëns’s Introduction and Rondo and Capriccioso\, performed by Letitia Jap\, violinist. \nTickets are $29 for adults and $10 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 \nFelix MendelssohnBorn: February 3\, 1809\, HamburgDied: November 4\, 1847\, Leipzig \nThe Hebrides\, “Fingal’s Cave\,” Op. 26Written: 1830Premiered: May 14\, 1832\, LondonApproximate Duration: 10 minutesInstrumentation: 2 flutes\, 2 oboes\, 2 clarinets\, 2 bassoons\, 2 horns\, 2 trumpets\, timpani\, strings \nSymphony No. 3 in A minor\, Op. 56\, “Scottish”Written: 1829-42\, rev. 1843Premiered: March 3\, 1842\, LeipzigApproximate Duration: 40 minutesInstrumentation: 2 flutes\, 2 oboes\, 2 clarinets\, 2 bassoons\, 2 horns\, 2 trumpets\, timpani\, stringsMusic donated by Mark Dykstra. \nScotland was the inspiration for a lot of nineteenth century art and music in France and Germany.  It seemed exotic–far away\, mysterious\, full of picturesque and rugged landscapes\, rainy and misty\, and inhabited by people wearing kilts and plaids and speaking in the seemingly unintelligible Gaelic language.  Many students\, writers\, and artists traveled there seeking inspiration from this beautiful and foreign place.   \nIn 1829 Mendelssohn’s father sent him on a tour of Europe to complete his education and gain cultural understanding.  This was common for young men of fortune at the time.  Mendelssohn and a friend began their travels in England and Scotland.  In Edinburgh they immersed themselves in the stories of Queen Mary and her personal secretary\, David Rizzio.  Mendelssohn wrote\, “We went to the palace of Holyrood where Queen Mary lived and loved. There is a little room to be seen there with a winding staircase leading up to it. This\, the murderers ascended and\, finding Rizzio\, drew him out. Three chambers away is where they killed him . . . Everything is broken and moldering and the bright sky shines in. I believe I found today in the old chapel the beginning of my Scottish Symphony.”  As they traveled farther north\, Mendelssohn wrote that the Scottish highlands “brew nothing but whiskey\, fog\, and foul weather.”  Eventually they made their way to the west coast of Scotland and to the island of Jaffa. \nFingal’s Cave is on the uninhabited island of Jaffa in the inner Hebrides.  The cave has a giant arched roof and is filled with the eerie sounds produced by the breaking waves. Its Celtic name means “cave of melody.”  Many Romantic artists and writers travelled there.  Sir Walter Scott’s reaction was typical: “…one of the most extraordinary places I ever beheld. It exceeded\, in my mind\, every description I had heard of it….  composed entirely of basaltic pillars as high as the roof of a cathedral\, and running deep into the rock\, eternally swept by a deep and swelling sea\, and paved\, as it were\, with ruddy marble\, baffles all description.”   \nAfter seeing the stunning scenery Mendelssohn composed the opening bars of his overture and sent it to his sister Fanny\, saying\, “In order to make you understand how extraordinarily the Hebrides affected me\, I send you the following\, which came into my head there.” He continued to work on the overture as he traveled\, finally completing it a year later in Rome. It premiered in London in 1832.  Critics\, including Wagner and Schumann\, praised the overture as a masterpiece. Mendelssohn originally entitled it “The Lonely Island\,” but soon changed the name\, rather confusingly using the title “Hebrides Overture” on the orchestral parts but “Fingal’s Cave” on the full score.  \nMendelssohn’s work was a new type of overture which emerged during the nineteenth-century\, referred to as the concert overture.  These overtures are not drawn from a stage work or opera\, but rather\, are stand-alone works to be programmed as an opening piece in a concert hall.  Mendelssohn’s Hebrides Overture evokes a whole seascape including the grandeur of the cave\, the swelling of the sea\, the light on the water and the fury of the waves breaking on the cliffs. It was one of the first works of music to evoke nature in this way\, a hallmark of the emerging romanticism of Mendelssohn’s time\, and remains one of the greatest of its genre. \nThough Mendelssohn sketched the opening phrase of what would become his “Scottish Symphony” on his travels\, he did not focus on this piece until 1841.  Later on his trip\, in Rome in 1831\, he wrote that he could not “find his way back into the Scottish fog mood.”  For the next decade he wrote two symphonies (the “Italian” and “Reformation”)\, two piano concertos\, an oratorio\, several books of “Songs Without Words\,” and much of his chamber music.  He returned to his Scottish symphony while conducting in Berlin.  The piece opens with a brooding and somber introduction.  The main theme is introduced by the clarinet and violins.  After a song-like second theme\, a stormy development leads to a stormier recap of the main themes.  Mendelssohn had a gift for portraying places through his music\, and these sweeping melodies\, introspective lyrical moments\, and tumult evoke the ancient ruins\, grand landscapes\, and powerful storms of Scotland.   \nThe second movement follows the first movement without pause.  This vivacious scherzo recalls Scottish folk dances\, traditional Scottish music\, and celebratory gatherings.  This unfolds into the slow movement\, which goes back and forth between a lyrical melody and a more ominous mood.  Here listeners can experience Mendelssohn’s gift for melody.  He seemingly invites listeners into a space that is tender\, introspective\, and nostalgic\, as if he is dreaming of the romantic lure of Scotland’s old legends and history.  Mendelssohn labels the fourth movement “Allegro guerriero\,” literally referring to war and soldiers.  It is fiercely energetic\, animated by a Scotch snap.  The music and frenzied energy build in grandeur and celebration to a climax that flows into a final noble hymn\, leaving audiences full of awe\, triumph\, and joyful solemnity.  \nTo watch a video of Hebrides Overture\, click here. \nTo watch a video of Symphony No. 3\, “Scottish\,” click here. \n“Andante moderato” from String Quartet No. 1 in G MajorFlorence PriceBorn: Little Rock\, Arkansas\, April 9\, 1887Died: Chicago\, Illinois\, June 3\, 1953Written: 1929Arranged: Peter Stanley MartinApproximate duration:  7 minutesInstrumentation: 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 high school as valedictorian at age fourteen\, she attended New England Conservatory in Boston\, majoring in organ and piano teaching.  She also studied composition. \nUpon her graduation in 1906\, Price taught piano instruction 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 there 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\, spending 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.  Chicago honored her in 1964 by naming an elementary school after her. \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 2009 discovery of over 200 pieces in an abandoned house outside St. Anne\, Illinois\, that Price used as a summer home late in her life.  Her two-movement String Quartet No. 1 was one of those pieces.  In recent years many of her works have been re-published or published for the first time.  Many orchestras\, in an effort to recognize underrepresented composers\, have helped audiences discover and enjoy her delightful music. \nPrice drew heavily on the American musical sounds that surrounded her.  She was a devoted Christian and used  a lot of spirituals–both their melodic sounds and rhythms–in her symphonic pieces.  Many of her works focused on the experience\, folk songs\, and dances of Black Americans.  This movement from her first string quartet brings together European classical traditions and elements of African American spirituals.  She draws on the harmonic language of Antonín Dvořák and other romantic composers\, but the melodic language is based in American folk songs and spirituals.  It begins in an improvisatory and lyrical manner before some spritely music marked by pizzicato and a final section that sounds like a folk dance.   \nTo watch a video of “Andante moderato” from String Quartet No. 1 in G Major\, click here. \nIntroduction and Rondo Capriccioso\, Op. 23Camille Saint-SaënsBorn: October 9\, 1835\, ParisDied: December 16\, 1921\, AlgiersWritten: 1863Premiered: April 4\, 1867\, Paris\, Pablo SarasateApproximate Duration: 10 minutesInstrumentation: 2 flutes\, 2 oboes\, 2 clarinets\, 2 bassoons\, 2 horns\, 2 trumpets\, timpani\, stringsMusic donated by Mark Dykstra. \nCamille Saint-Saëns was one of the most talented musical child prodigies of all time.  He began piano lessons with his great-aunt at age two and composed his first piece at age three.  His precociousness was not limited to music; he could read and write by the time he was three\, and learned Latin four years later.  On his first public performance\, at age five\, he accompanied a Beethoven violin sonata.  At his formal debut at age ten he dazzled a Parisian audience with an extremely difficult piano program.  As an encore he offered to play any of Beethoven’s thirty-two piano sonatas from memory.  He wrote his first symphony at age sixteen.  From there he continued to perform and compose\, and his abilities were legendary all over Europe and even in America.  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. \nWhen Saint-Saëns was twenty four\, the fifteen year old Spanish violin virtuoso Pablo Sarasate (1844–1908) commissioned a violin concerto from him.  Four years later Saint-Saëns wrote another piece for Sarasate\, Introduction and Rondo Capriccioso\, also designed to feature Sarasate’s impressive technique.  The piece opens slowly\, in the style of an operatic recitative.  It is sentimental\, reflective\, occasionally showy\, and casts the soloist in the role of a coloratura soprano.  The faster rondo section showcases a wide range of violin techniques.  It has a slightly Spanish flavor\, in honor of Sarasate.  There are two main themes–one lyrical and one fast and leaping.  A brief cadenza leads to an even more dazzling coda.   \nTo watch a video of Introduction and Rondo Capriccioso\, click here. \nLetitia Jap\, violinist\, enjoys a career as a performer and educator. She finds most joy using music to connect with people and makes it her life mission to create programs or platforms that will help people engage with music in fun and accessible ways. \nWinning numerous concerto competitions\, Letitia has been a featured soloist with orchestras like the Seattle Symphony\, Austin Civic Orchestra\, Bellevue Philharmonic Orchestra\, and has performed solo recitals at festivals such as the Chelsea Music Festival\, Lake George Music Festival\, and the 21st Century Artist Initiative. \nAdditionally\, Letitia has served as concertmaster with the Seoul International Community Orchestra in 2017\, the Boston Chamber Orchestra from 2015-2016\, Masterworks Music Festival in 2013\, and various other orchestras since 2008. She also performed with orchestras such as Boston Philharmonic Orchestra\, Seattle Symphony Orchestra\, and Masterworks Festival Orchestra.  \nLetitia also maintains an active schedule as an educator\, hoping to inspire the next generation of musicians. Her experience draws on years spent teaching at the University of Texas String Project Program in Austin\, Texas and at the New England Conservatory Preparatory School in Boston\, Massachusetts. In Boston\, she was an ensemble coach for the Greater Boston Asian American Symphony Orchestra and served on faculty for Youth and Family Enrichment Services Inc.\, teaching music to children from a lower-income\, Haitian community. Currently\, Letitia is a member of the Suzuki Association of the Americans. Letitia was Head Chamber Ensemble Coach at the University of Rochester\, held two teaching assistant positions at the Eastman School of Music\, faculty at the Eastman Community Music School\, was Music History Lecturer at Nazareth College\, and Artist in Residence at Hong Kong Baptist University. She is currently Affiliate Faculty of Violin at Grand Valley State University. \nLetitia received her Bachelor of Music from the University of Texas at Austin\, her Master of Music from the New England Conservatory\, and her Doctorate of Musical Arts at the Eastman School of Music. \nIn her free time\, she enjoys reading\, eating good food\, exploring different cities\, and watching Shark Tank.  \nTo learn more\, visit https://www.letitiajap.com/ \nTo watch the pre-concert video\, click here. \n [INSERT_ELEMENTOR id=”7643″] URL:https://hollandsymphony.org/events/scottish-influence/ 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/2024/03/Jap-Headshot-web.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20250323T150000 DTEND;TZID=America/New_York:20250323T170000 DTSTAMP:20260404T024028 CREATED:20250206T163804Z LAST-MODIFIED:20250319T190922Z UID:12188-1742742000-1742749200@hollandsymphony.org SUMMARY:Holland Youth Symphony Orchestra Spring Concert 2025 DESCRIPTION:Sunday\, March 23\, 2025\, at 3 PM \nZeeland East DeWitt Auditorium \n3333 96th Avenue\, Zeeland\, MI  49464 \nKyle Nester\, Josh Zallar\, & Tori Zokoe\, Conductors  \nTori Zokoe\, Jaclyn Klinger\, & Katie Rae Hayduk\, Managers  \n  \nHolland Symphony Junior Strings  \nTori Zokoe\, Conductor \nSoon Hee Newbold Honor & Glory  \nKathryn Griesinger Lotus Dance  \nKevin Sluder Not All Who Wander  \nRichard Meyer Incantations   \nHolland Area Concert Strings  \nKyle Nester\, Conductor \nFour Royal Dances by Eric Ewazen  \nThe Lord – The Lady – The Jester – The Knight  \nBrandenburg Concerto No. 3 by J.S. Bach\, arr. Merle J. Isaac  \nFrom Amadeus Symphony No. 25 in G Minor\, Movement 1\, by W.A. Mozart\, arr. Jamin Hoffman  \nHolland Symphony Youth Orchestra  \nJosh Zallar\, Conductor \nRIMSKY-KORSAKOV Procession of the Nobles (Arr. Merle J. Isaac)   \nTCHAIKOVSKY Romeo & Juliet Fantasy Overture  \n Rimsky-Korsakov’s Procession of the Nobles begins with a festival of tradespeople. The music bursts to life with a rousing brass flourish\, soon followed by the processional music\, a noble tune for strings\, and a rousing close of energy and color. Arguably one of his most beloved works next to the Nutcracker and his first Piano Concerto\, Tchaikovsky’s fantasy overture packs Shakespear’s love-soaked Romeo and Juliet tragedy into a passionate 20-minute homage to his own life’s ups and downs. The beloved work features iconic brass fanfares\, and many recognizable melodies used in countless movies and cartoons including A Christmas Story and the 1996 version of Romeo & Juliet starring Leonardo DiCaprio and Claire Danes.   \nTickets sold at the door:   \nAges 6 – College: $5  \nAdults: $10  \nFor information on enrolling in a Holland Symphony Orchestra youth ensemble click here. \nThese programs are funded by the generous support from the Michigan Arts & Culture Council\, the National Endowment for the Arts\, and individual gifts to the Holland Symphony Orchestra Annual Fund. THANK YOU for your thoughtful generosity. Join your fellow community leaders in investing in music education by donating through this link. URL:https://hollandsymphony.org/events/hso-youth-ensemble-spring-concerts-2025/ LOCATION:DeWitt Auditorium\, Zeeland East High School\, 3333 96th Ave.\, Zeeland\, 49464\, United States CATEGORIES:Community Event ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2025/02/PB172652-1-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20250410T063000 DTEND;TZID=America/New_York:20250410T193000 DTSTAMP:20260404T024028 CREATED:20250228T004719Z LAST-MODIFIED:20250331T174218Z UID:12249-1744266600-1744313400@hollandsymphony.org SUMMARY:Spring for Music: Mozart & Poulenc DESCRIPTION:Spring for Music: Mozart & Poulenc \nThursday\, April 10\, 2025\, at 6:30 PM  \nHarderwyk Church (1627 W Lakewood Blvd\, Holland\, MI 49424)  \nThe Zeeland High School Quartet will open the program performing selections from Beethoven’s String Quartet No. 4 in C minor\, Op. 18.   \nEli Zheng\, violin 1\, Sophia Reese\, violin 2\, Jailen Nesbitt\, viola\, Zachary Schoudt\, cello.   \nHolland Symphony Wind Ensemble \nRebecca VanDeWalker\, flute  \nCaitlin Kramer\, oboe  \nGary June\, clarinet  \nNoelle Harrity\, bassoon  \nGreg Bassett\, horn \nChristina Krause\, piano  \nMOZART Quintet for Piano and Winds in E Flat\, K. 452  \nPOULENC Sextet for Piano and Winds  \nWritten to inspire one of his wealthy employers to invest in a wind ensemble\, Mozart’s charming 1784 quintet has all the elements allowing each instrument to shine bright in duets and trios\, especially highlighting the piano\, ending in a finale that awards each instrument a long cadenza. French composer Francis Poulenc composed his sextet 150 years after Mozart’s K452 but still quotes a Mozart sonata in the melodious second movement. Jazz was the big rage in France in the 1930s\, inspiring Poulenc to make his whimsical sextet a juxtaposition of rickytick jazziness and near teary songfulness.        \n Tickets: $10   \nTo purchase tickets\, click HERE or call 616-796-6780.  \n \n Purchase Spring for Music Tickets\n \n \n \nLooking for a quality piano?\nOur friends at Market Masters pianos are having a piano sale April 11 & 12. This is a rare opportunity for Holland Symphony friends and supporters to select a piano for considerably less than a traditional piano store. A portion of all piano and chamber concert ticket sales will be donated to the Holland Symphony Orchestra education programs!  \nBY APPOINTMENT ONLY: This sale is by appointment only. Please call 269-506-3356 to secure your piano appointment. By scheduling your appointment as early as possible in advance\, Market Masters Piano will have the opportunity to showcase pianos that best align with your musical needs and interests\, ensuring a personalized experience with the best selection and pricing.  \nWhat to Expect:  \n\nNew and pre-owned pianos from Steinway\, Baldwin\, Yamaha\, Kawai\, and other top brands \n\n\nPlayer Grands\, Baby Grands\, and Vertical uprights offered at favorable discounts \n\n\nFull 5-year warranty on all major components included on all pianos \n\n\nFinancing options available \n\n\nProfessional moving services provided \n\n\nEnjoy and support your HSO—a portion of all proceeds will be donated to HSO education programs!  \n\nWe hope you take this opportunity to consider finding the perfect piano for your home\, studio\, or performance space while making a meaningful contribution to HSO.  URL:https://hollandsymphony.org/events/spring-for-music-mozart-poulenc/ LOCATION:Harderwyk Church\, 1627 W Lakewood Blvd\, Holland\, MI\, 49424\, United States ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2025/02/Mozart-at-piano.jpg END:VEVENT END:VCALENDAR