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DTSTART;TZID=UTC:20220430T153000
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SUMMARY:Classics III: Beethoven 9 (3:30pm) sponsored by University of Michigan Health-West
DESCRIPTION:Concert Sponsor:\n															\n			\n						Tickets\n					 \n\nProgram\nProgram Notes\nArtist Bios\nParticipants\nPre-Concert Video\nInformation\n\nSaturday\, April 30\, 2022 at 3:30pm & 7:30pm \nConcert Hall at the Jack H. Miller Center for Musical Arts\, Hope College \nProgram\n  \nFestive Overture\, Op. 96Dmitri Shostakovich (1906-1975)\n \nSymphony No. 9 in D Minor\, Op. 125 Ludwig van Beethoven (1770-1827)\n1. Allegro ma non troppo; un poco maestoso2. Molto vivace3. Adagio molto e cantabile4. Presto – Allegro assai – Allegro assai vivace \nSchyler Sheltrown\, sopranoKaren Albert\, altoJon Lovegrove\, tenorDavid Grogan\, baritone \nChoirs of Hope College & Holland Chorale \nText and translation of Schiller’s poem\, “Ode to Joy”: Beethoven-Symphony-No.-9-text-and-translation-PDF \nFestive OvertureDmitri Shostakovich\nBorn: September 25\, 1906\, Saint Petersburg\, RussiaDied: August 9\, 1975\, Moscow\, USSRWritten: 1954Premiered: November 6\, 1954\, MoscowApproximate duration: 7 minutesInstrumentation: 2 flutes\, piccolo\, 3 oboes\, 3 clarinets\, 2 bassoons\, contrabassoon\, 4 horns\, 3 trumpets\, 3 trombones\, tuba\, timpani\, bass drum\, cymbals\, snare drum\, triangle\, strings\, and off-stage brass \nLike many Soviet composers of his generation\, Dmitri Shostakovich spent his career trying to balance the current musical trends\, his own creative expression\, and the necessity of working within the government’s limits and expressing his country’s revolutionary socialism. This was easy early in his career\, when the cultural climate in the Soviet Union was remarkably free; he and other composers could experiment with avant-garde trends\, Western influences\, and satirical works.  Soon the composers’ musical language became too radical; the only acceptable music was a direct\, accessible\, and popular style. Avant-garde music\, jazz\, and even Tchaikovsky were banished. \nShostakovich experienced this censure firsthand.  When Stalin became angry at what he heard in one of Shostakovich’s operas\, Shostakovich and his opera were officially condemned.  Later\, when the Cold War was raging\, Soviet authorities sought to impose a firmer ideological control over cultural expression. At a notorious conference in Moscow\, the leading figures of Soviet music\, including Shostakovich\, were attacked and disgraced.  Shostakovich was fired from his teaching positions at the Leningrad and Moscow Conservatories.   He was attacked in print\, called a “musical charlatan” and criticized for ignoring “the demand of Soviet culture that coarseness and savagery be abolished from every corner of Soviet life.”  In the two years following his opera\, Lady Macbeth of the Mstensk District\, Shostakovich was so sure that he would be exiled to Siberia that he kept a packed suitcase by the door and slept wearing his daytime clothes.  He was shunned by society; as an “enemy of the people\,” others were afraid to be associated with him. \nShostakovich managed to escape arrest and figured out how to write music that maintained his artistic integrity and pushed up against the limits of what was “acceptable” without crossing the line.  He could somehow portray the heaviness of life while maintaining enough ironic humor to suggest lightheartedness.  Even though Shostakovich spent his life and career in this delicate balancing act\, he seemed to flourish in this tension\, writing music that could be received by the authorities and also displayed his fiercely creative thought in challenging and hopeful ways. \nDespite the brooding quality of much of Shostakovich’s music\, he was also noted for his gregariousness.  This quality is evident in his Festive Overture\, written in 1954 to commemorate the 37th anniversary of the October Revolution in Russia.  After an introduction dominated by the brass\, the overture consists of two primary themes: one is fast and brilliant\, and the other is optimistic and lyrical.  \nTo listen to the Festive Overture\, click here. \nSymphony No. 9 in D Minor\, Op. 125 Ludwig van Beethoven \nMusic donated by Teresa Owen \nBorn: December 17\, 1770Died: March 26\, 1827\, ViennaWritten: Spring\, 1823 – January\, 1824Premiered: May 7\, 1824\,  Kärnthnerthor TheaterViennaApproximate duration: 65 minutesInstrumentation: ​​Soprano\, alto\, tenor\, and bass soloists\, mixed chorus\, piccolo\, 2 flutes\, 2 oboes\, 2 clarinets\, 2 bassoons\, contrabassoon\, 4 horns\, 2 trumpets\, 3 trombones\, timpani\, bass drum\, cymbals\, triangle\, and strings \nWith his ninth symphony\, Beethoven expanded the concept of a “symphony” far beyond what it had been in the past and set an intimidatingly high bar for centuries of composers who followed him.  Beethoven’s grandest and most influential work was not initially recognized as a landmark\, though.  In 1822\, when he started the work\, Beethoven was nearly deaf and had hardly written anything for a decade.  The 1824 premiere had been staged to prove that Beethoven could still draw a crowd in Vienna\, but he was disappointed by the meager profits and mixed reviews.  Beethoven had conducted the work himself\, beating his arms and turning pages\, but the musicians had been cautioned beforehand to ignore him and instead follow the concertmaster’s beat.  When the audience burst into applause Beethoven couldn’t hear it and kept beating; one of the singers had to turn him around for a bow.  The second performance was even less successful.  The work that Beethoven had written to surpass everything he already had accomplished in the field of the symphony had seemingly failed him. For several years after his death\, the ninth symphony was considered too difficult to perform and too long to program easily.  Although it won early supporters\, it was not established in the repertoire until the middle of the nineteenth century.  \n         The trajectory of Beethoven’s masterpiece follows darkness to light\, chaos to order\, despair to joy.  It opens with sound emerging from silence—a poignant gesture from a composer who couldn’t hear what he was writing.  The first sixteen measures have no secure sense of key or rhythm.  The music gradually builds to a decisive\, loud arrival that catapults musicians and listeners into a tumultuous journey.  While the overarching structure would have been familiar to Beethoven’s audience\, the scale\, harmonies\, and “perpetual motion” intensity was totally new.  The structure of the scherzo is huge\, with driving\, almost martial rhythms that occasionally give way to lighter moments and anticipation-filled pauses that tease the listener.  The light\, folk-like trio provides needed contrast.  The slow movement alternates between two themes of contrasting key\, meter\, and mood.  They grow ever more fanciful in their decoration until the movement ends peacefully.   \n         After a disruptive chord shatters the peace\, a carefully staged drama unfolds.  Cellos and basses imitate operatic recitative\, the music of the three previous movements is quickly reviewed and dismissed\, and a new theme is suggested\, which\, when it finally takes shape\, is a simple song that sounds like a hymn or a folk tune. (Beethoven\, in fact\, labored painstakingly over this theme.)  And then—in a move that must have stunned his first audience—Beethoven welcomes the sound of the human voice into the symphony. The earlier recitative returns and now is sung.   \nFor many years Beethoven had wanted to write music for Schiller’s “Ode to Joy\,” a glorified drinking song with a strong humanistic message. He toyed with it several times\, sketched a number of musical ideas\, and even included two lines from Schiller in his opera Fidelio.  Beethoven himself wrote the “preface to Schiller’s poem: “oh friends\, not these tones…  Rather\, let us raise our voices more pleasingly\, and more joyfully.”  When the voices enter\, Beethoven’s wonderful melody is finally given words. (In the end\, Beethoven used only half of Schiller’s poem\, deleting in the process any obvious drinking-song references.)  And from there Beethoven creates a totally new symphonic movement\, combining elements of symphony and concerto (with a big\, virtuosic cadenza for the four soloists)\, classical variations\, Turkish marches (complete with cymbals\, triangle\, and bass drum)\, majestic slow meditations\, and\, finally\, a gigantic double fugue. \nTo listen to Beethoven’s Symphony No. 9\, click here. \n  \nSchyler Sheltrown\, sopranoSchyler Sheltrown is a soprano from West Michigan. Heralded as one of “the country’s most vibrant up-and-coming singers” and “a lovely lyric soprano” by the Toledo Blade for her title role in The Ballad of Baby Doe\, you have likely heard her in performances across the Great Lakes Region. These performances include the roles of Pamina in The Magic Flute\, Musetta in La boheme\, Fiordiligi in Cosi fan tutte\, Romilda in Serse\, Mabel in Pirates of Penzance\, The Page in Rigoletto\, and Mrs. Hayes in Susannah. She has also performed as the soprano soloist in Beethoven’s Symphony No. 9\, Mozart’s Requiem\, and Debussy’s La damoiselle élue. She also had the pleasure of voicing Joan of Arc as a soprano soloist in Voices of Light with the Rackham Choir at the Detroit Film Theatre. She was a finalist in the Harold Haugh Light Opera Vocal Competition (2017) and\, in the same year\, lent her talents to The Library of Congress through the Comic Opera Guild for the first recording of The Free Lance by John Philip Sousa. She has received national recognition\, gaining an Encouragement Award in the Michigan District of the Metropolitan Opera Council Auditions in 2015 and 2016\, First Place in the Scholarship Division of the National Opera Association’s solo voice competition (2014)\, as well as numerous other competitions and prizes.Miss Sheltrown is a graduate of Michigan State University\, where she received her Master of Music (2016) as a Mackey Scholar under the tutelage of Melanie Helton\, along with her Bachelor of Music (2014). \nKaren Albert\, altoEqually at home on the opera stage and in intimate concert settings\, Karen’s work covers a variety of disciplines and styles. Recent opera roles include “Katisha” in The Mikado\, the dasterdly “Mrs. McClean” in Susannah\, and “Cio Cio San’s Mother” in Madama Butterfly. Actively pursuing opportunities to share the unique beauty of the art song tradition\, Karen has performed works such as Edward Elgar’s Sea Pictures and Libby Larsen’s Raspberry Island Dreaming. Her love for choral music is evident in her work as well\, and she regularly sings both solo and ensemble works with historic Park Church in Grand Rapids\, MI and other professional ensembles around the country. \nHer scholarship has led to lecture recitals spanning from early French-Canadian folksongs to theological interpretations of Bach arias. Karen has also presented papers at the Midwest Gradatue Music Consortium and at the University of Calgary.  \nKaren is an adjunct faculty member at Cornerstone University where she teaches music history and vocal technique courses as well as a studio of voice students. \nKaren is also the creator of The Barber & The Singer\, a lifestyle blog seeking to serve and inspire musicians\, artists\, and others in the freelance/self-employed community. The Barber & The Singer can be found in the blog section of this website.  \nJon Lovegrove\, tenorTenor Jon Lovegrove has performed with West Michigan Opera Project as Sam in Susannah\, as well as with Opera Grand Rapids as 2nd Priest and 2nd Man in Armor in The Magic Flute\, the tenor soloist in Rossini’s Stabat Mater\, Shem in Noah’s Flood\, and Remendado in Carmen. He has also been a member of the OGR chorus since 2007\, appearing in multiple productions\, including The Mikado\, La Traviata\, The Marriage of Figaro\, and I Dream. Other West Michigan performances have been with GVSU Opera Theatre as Rinuccio in Gianni Schicchi\, the Kent Philharmonic Orchestra as Rodolfo in La Bohème\, and Timothy in 2nd Act Opera’s production of Help\, Help\, the Globolinks! \nMr. Lovegrove was a soloist for the Michigan premier of Benjamin Britten’s The World of the Spirit with the Evangelical Choral Society in 2013\, and has performed with the ECS on multiple other occasions. \nMr. Lovegrove holds an Associate’s Degree in Vocal Performance from Grand Rapids Community College. While pursuing that degree\, he was a member of the Grand Rapids Community College Choir\, Madrigal Singers\, and Shades of Blue Vocal Jazz Ensemble. \nDavid Grogan\, baritoneThe American baritone and music pedagogue\, David Grogan\, holds Bachelor of Music Education and Master of Music degrees from Texas Christian University\, where he studied voice with Sheila Allen and pedagogy with Vincent Russo. His love of choral music was solidified under the tutelage of the late Ronald Shirey\, who taught Grogan much of his musicality. He earned his Doctor of Musical Arts in Vocal Performance and Pedagogy in 2010 from the University of North Texas\, where he studied voice with Jeffrey Snider\, pedagogy with Stephen Austin\, and worked closely with Lyle Nordstrom in the early music program. Grogan’s dissertation was on the vocal pedagogy of Frederic W. Root\, who was an American vocal pedagogue of the 19th century. A shorter version of the dissertation was published in the January 2010 Journal of Singing under the title\, “The Roots of American Pedagogy.” \nDavid Grogan joined the faculty at the University of Texas Arlington in the fall of 2009\, first as visiting professor and in 2010 as tenure-track Assistant Professor of Voice. In addition to providing private vocal instruction for voice majors\, Grogan teaches vocal pedagogy\, voice class\, and choral methods. His background in choral music education is extensive\, including experience directing programs in both private and public schools across the metroplex. As choir director at Dallas Christian School from 1996 to 2000\, Grogan increased choir participation from 15 members to 115\, and took the choir to one of the first TPSMEA competitions. He has taught voice and served as assistant choral director in some of the most prominent programs in the area\, including at Arlington High School under Dinah Menger\, and Manor Middle School under Tommy Haygood. \nHolland Symphony Orchestra Musicians\nViolin 1Amanda DykhouseSara GoodKatie BastJennifer TuinengaJaclyn BurkeAnna SpixJosh ZallarKatie LefevreMichelle KellisSheri DwyerAlison Sal \nViolin 2Michelle Bessemer Irina KaganPatricia WunderLinssey MaRuth Vanden BosBecky DykKaren-Jane HenryEmma BieniewiczEllen RiznerSusan FormsmaJay SheridanRoger White \nViolaLauren GarzaDavid LeeKennedy DixonDaniel GriswoldSean BrennanJamie ListhConnie MeekhofMary HoflandLaurie Van Ark \nCelloPablo Mahave-VegliaJacob ResendezJohn ReikowSilvia SidoraneDawn Van ArkKevin SweersAnne ThompsonMatthew HeyboerEsther PetersonAlex Bowers \nBassMarcy MarcellettiChuck PageSam DykhouseJmar BongadoAiden Harmon \nFluteGabe SouthardJayne GortGay Landstrom \nOboeSarah SouthardRebecca WilliamsAnn Hepfer-Isaacson \nClarinetGary JuneLindsey Bos \nBassoonCynthia Duda PantLaura DiazRuth Wilson \nHornGreg BassettKarin YamaguchiMichael WrightFred GordonTucker Supplee \nTrumpetBruce FormsmaAaron GoodGregory Alley \nTrombonePaul WesselinkPhilip MitchellAdam Graham \nTubaBrendan Bohnhorst \nTimpaniSue Gainforth \nPercussionEric PetersonShanley KruizengaChris JonesRachel Coussens \nHolland Chorale\nDr. Patrick Coyle\, Artistic DirectorKristin Goodyke\, Principal Accompanist \nMartin AmonKerri BakerAndrew BroussardSarah BrownJay BylsmaKaren BylsmaBrian CarderEvan CuperusJill DeVriesRobert Edwards\, guestJessica Fashun\, guestVincent Frank\, guestJay GainforthChristopher GrapisJohn GriffinJeff HelderSteve HookElizabeth HudsonChandra HronchekCasey LampenKit LeggettJean LemmenesJo MeeuwsenJanet MorrowSverre OlsenPatricia Easa PersenaireMike PikaartAndrew PlummerShela RitchieAmanda RobbertDavid SchallertEd SchmidtJennie SchmidtJoe TerpstraJustin VandenBrinkKent VanTilStan WitteveenCarol Zeh \nSpera\nEric D. Reyes\, conductorBethany Dame\, keyboardist \nSopranoMaicee BishopEmma BoschCaitlyn BrownDarian DavisSeanna DeWittElisa FulperAletheia HoffmanAlli MitchellYessi MorenoChloe Roberts \nAltoLauren BryanEllie DirkseAllyson FennemaLeah FrittsEmma HakkenTaylor HofmanBeata HuntingtonKendall MaesNatalie PlittLily-Kate PritchardRachel Thomas \nChapel Choir\nEric D. Reyes\, conductorAlex Cross\, keyboardist \nSopranoJane AltevogtEmma ClarkMJ CockingGrace CritchfieldLottie-Brooke MimsChloe SmithAbby VonkGretchen Woell \nAltoMegan BartaKatie DonahueEmlin MunchKelli TrudeauRebecca Yurschak \nTenorEliseo BustillosAlex CrossDavid HallockLorenzo LumettaBryce RobinsonWesley StewartSpencer Whittington \nBassBryce GroverChristian LundyGarett ShrodeAndrew SilagiBen WaltersSawyer Winstead \nCollege Chorus\nEric D. Reyes\, ConductorAlex Cross\, Keyboardist \nSopranosMakenzie ChapmanCarola DettmarNatalie GestMacy KerrHannah PastJennie Judd ReyesJennie StatonLeyang Xu \nAltosBethany DameKatherine HaydukAnne KlippAllison MaleMargaret PromAnna TriezenbergBeth VandenbroekDeb VandenHeuvelJoanna VandenHeuvelAngela WagenveldAna Wong \nTenorsTodd SchuilingRyan VanDoeselaar \nBassesGary BogleSamuel GrosskreuzJim KleinhekselIsaac SandovalNoah Wohlfert \nTo listen to the pre-concert video\, click here.\nLearn more about the music…\nWe will be hosting not only the Classical Chat series at Freedom Village\, but also Pre-Concert Talks!  Details below: \nClassical Chats at Freedom Village:  These informative and fun talks are led by Johannes Müller-Stosch and take place at 3:00pm on the Thursday before each Classics concert.  (Freedom Village\, 6th Floor Auditorium\, 145 Columbia Ave.) \nPre-Concert Talks: These talks\, led by Johannes Müller Stosch and Amanda Dykhouse\, will be posted online this year\, approximately one week before each Classics concert.  Look under the “Pre-Concert Talk” tab. \nNew to the Symphony?  Check out the Frequently Asked Question page… \nParking Map at the Miller Center \nHolland Symphony Orchestra will reserve and monitor Lot 40 for handicapped parking.  The faculty parking lots are available for parking after 5pm \n \nHSO thanks these business partners for their support of this concert!
URL:https://hollandsymphony.org/events/classics-iii-beethoven-9-330pm/
LOCATION:Jack H. Miller Center for Musical Arts at Hope College\, 221 Columbia Ave.\, Holland\, MI\, 49423\, United States
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DTSTART;TZID=UTC:20220413T080000
DTEND;TZID=UTC:20220413T170000
DTSTAMP:20260403T142144
CREATED:20210315T225149Z
LAST-MODIFIED:20220330T233602Z
UID:2463-1649836800-1649869200@hollandsymphony.org
SUMMARY:Link Up: The Orchestra Rocks!  School Fourth Grade Concert
DESCRIPTION:Concert Sponsor:\nJohn & Judy Spoelhof Foundation \nSamuel Westerman Foundation \nApril 13\, 2022 – School Concerts \nThese concerts are part of the Carnegie Hall Link Up program and are created for area 4th grade students and teachers.  They are not open to the public.
URL:https://hollandsymphony.org/events/link-up-the-orchestra-rocks/
LOCATION:DeWitt Auditorium\, Zeeland East High School\, 3333 96th Ave.\, Zeeland\, 49464\, United States
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DTSTART;TZID=UTC:20220320T153000
DTEND;TZID=UTC:20220320T170000
DTSTAMP:20260403T142144
CREATED:20210322T215604Z
LAST-MODIFIED:20220315T165958Z
UID:2551-1647790200-1647795600@hollandsymphony.org
SUMMARY:Classics Discovery: Out of this World
DESCRIPTION:Concert Sponsor:\n															\n			\n						Tickets\n					 \n\nProgram\nInformation\nArtist Bio\nProgram Notes\nParticipants\n\nSunday\, March 20th 2022 at 3:30 p.m.DeWitt Auditorium Zeeland East High School\nScott Wiessinger\, NASA Videographer\nDenise Hill\, NASA Heliophysics Communications and Outreach Lead\nMark Moldwin\, Professor of Climate and Space Sciences and Engineering at the University of Michigan and Director of NASA’s Michigan Space Grant Consortium \n\nProgram\nThemes from Also Sprach ZarathustraRichard Strauss (1864-1949)\, arr. J. F. Lehmeier\nHelios Overture\, op. 17Carl Nielsen (1865-1931)\nStar Wars SuiteJohn Williams (b. 1932)     Main Title     Imperial March\nApollo 13 SelectionsJames Horner (1953-2015)\, arr. John Moss\n“Morning Mood” from Peer Gynt Suite No. 1Edvard Grieg (1843-1907)\nThe Planets\, Op. 32Gustav Holst (1874-1934)     Mars     Venus     Jupiter\n  \n  \n \n  \nScott Wiessinger is an award-winning multimedia producer for astrophysics\, heliophysics\, and the Nancy Grace Roman Space Telescope at NASA’s Goddard Space Flight Center.  Scott received a Masters of Fine Arts in Science and Natural History Filmmaking from Montana State University in 2009 and has been at NASA ever since.  His work with Solar Dynamics Observatory (SDO) imagery has been widely featured in the media and he has pioneered innovative ways of displaying solar footage\, including the art installation called Solarium.  Much of Scott’s time is spent communicating the complex science of high-energy astrophysics\, which includes topics like black holes\, supernovas\, neutron stars and gravitational waves. \nThemes from Also Sprach ZarathustraRichard Strauss\, arr. Jerry Lehmeier\nBorn: June 11\, 1864\, Munich\, BavariaDied: September 8\, 1949\, Garmisch\, GermanyWritten: Between February 4\, 1895\, and August 24\, 1896\, MunichPremiered: November 27\, 1896\, Frankfurt City OrchestraApproximate duration (this version): 5 minutesInstrumentation (this version): 2 flutes\, oboe\, two clarinets\, bassoon\, 4 French horns\, 3 trumpets\, 3 trombones\, tuba\, timpani\, snare drum\, bass drum\, crash cymbal\, suspended cymbal\, triangle\, glockenspiel strings \nGerman composer Richard Strauss is known for his huge tone poems: pieces of programmatic music that\, in his case\, tell a story or elaborate on an extra-musical idea. In Also sprach Zarathustra he expanded the scale of his tone poems.  The complete work is around forty minutes\, uses a massive orchestra\, and pushes various instruments to new levels of difficulty.  As a result\, the full\, original version of this piece is rarely played. \nIn the 1890s Strauss spent a lot of time reading the works of Friedrich Nietzsche (1844-1900).  Nietzsche articulated his philosophy extensively in his four-part treatise Also sprach Zarathustra\, published in 1883-85.  Here Nietzsche speaks through Zarathustra\, his version of the Persian prophet Zoroaster\, who has been removed to a mountaintop for years to meditate and then returns to share his insights with humanity.  Strauss was very attracted to Nietzsche’s philosophy\, and used this work to “convey in music an idea of the evolution of the human race from its origin\, through the various phases of development\, religious as well as scientific\, up to Nietzsche’s idea of the Superman.”  \nToday’s arrangement captures several themes from the full tone poem\, including the opening theme\, made famous in Stanley Kubrick’s 1968 film\, 2001: A Space Odyssey.  It opens in darkness\, with the lowest instruments intoning a low C.  Brass instruments represent the sun rising over the horizon in a rising three note motif: C-G-C.  This “Nature” or “World Riddle” theme is an evocative introduction to the musical journey that follows. \nHelios Overture\, Op. 17 Carl Nielsen \nMusic donated by Brian and Gay Landstrom in honor of Darlene Dugan \nBorn: June 9\, 1865\, Funen\, DenmarkDied: October 3\, 1931\, in CopenhagenWritten: March 10–April 23\, 1903\, Athens\, GreecePremiered: World premiere: October 8\, 1903\, Copenhagen\, Danish Royal OrchestraApproximate duration: 9 minutesInstrumentation: 2 flutes\, piccolo\, 2 oboes\, 2 clarinets\, 2 bassoons\, 4 horns\, 3 trumpets\, 3 trombones\, tuba\, timpani\, and strings \nCarl Nielsen grew up in a large family on the island of Funen in Denmark.  His father was an amateur violinist and trumpeter.  Carl also played the violin and eventually attended the Copenhagen Conservatory.  In 1889 he became a violinist in Copenhagen’s opera orchestra.  He started conducting the ensemble part time in 1905 and became its primary conductor in 1908.  In 1915 he began teaching music theory and composition at the Copenhagen Conservatory\, and was named its director in 1930.  He was never able to support himself as a composer full time\, but he was so well loved for his works that his death in 1931 was named a day of national mourning.  He was not well known as a composer outside of Denmark during his lifetime\, but his reputation grew after his death\, mainly through his orchestral works\, including six symphonies and other thematic pieces. \nLike many of his contemporaries\, Nielsen grappled with one of the biggest musical debates of his time.  Should music be “pure\,” unattached to any outside idea or story?  Or should music be “programmatic\,” that is\, music that would paint a picture\, tell a story\, depict something in nature\, or express some other non-musical idea?  In general\, NIelsen was wary of going too far into the “programmatic” music camp\, stating that music should be based on its internal logic and telling its own “story” rather than just narrating someone else’s story.  But in the winter of 1903\, his wife\, a sculptor\, received a grant to study ancient art in Athens.  They rented rooms overlooking the Aegean sea\, and the hot sun of Greece inspired Nielsen to compose his Helios Overture\, named for the Greek god of the Sun. He described his new piece to a friend: “Now it is scorchingly hot; Helios burns all day and I am writing away at my new solar system. A long introduction with sunrise and morning song is finished\, and I have begun on the allegro…. My overture describes the movement of the sun through the heavens from morning to evening\, but it is only called Helios and no explanation is necessary.” Nielsen later added this description to the score\, summarizing the overture’s scene: “Stillness and darkness – Then the sun rises to joyous songs of praise – Wanders its golden way – Quietly sinks in the sea.” \nThe piece opens with hushed low notes\, quiet horn calls\, and smooth melodic fragments that capture the “stillness and darkness” of the early morning.  A horn melody and subsequent trumpet fanfare evoke Helios\, riding his golden chariot through the sky.  The main body of the overture\, with fast and high melodies\, portrays the sun in all its glory. The piece ends in the original slow\, quiet manner as the sun “quietly sinks in the sea\,” leaving only a distant\, low hum. \nStar Wars Suite: Main Title and Imperial MarchJohn Williams\nMusic donated by James Strickland \nBorn: February 8\, 1932\, Flushing\, Queens\, New York CityWritten: Star Wars: A New Hope\, 1977Approximate duration: complete suite: 24 mins; Main Title: 5 minutes; Imperial March: 3 minutesInstrumentation (complete suite): 2 flutes\, piccolo\, 2 oboes\, English horn\, 2 clarinets\, bass clarinet\, 2 bassoons\, 4 horns\, 3 trumpets\, 3 trombones\, bass tuba\, timpani\, triangle\, snare drum\, tambourine\, cymbals\, suspended cymbal\, bass drum\, tam‑tam\, chimes\, glockenspiel\, celesta\, xylophone\, vibraphone\, harp\, piano\, celeste\, and strings.  \nJohn Williams is the most recognized and decorated composer of music for the movies.  He has received 51 Oscar nominations\, 24 Grammys\,  4 Golden Globes\, 7 BAFTAs\, and at least 12 honorary doctorates.  He has more Oscar nominations than anyone else alive–second only to Walt Disney.  His score for the earliest Star Wars film was recognized as the greatest movie score of all time.  Over 20 of his albums have achieved gold or platinum status. \nWilliams was the son of a Jazz drummer and percussionist.  Though born in New York City\, his family moved to Los Angeles when he was twelve.  He studied music and composition in college and joined the Air Force\, where he played various instruments\, conducted\, and arranged music for the U. S. Air Force Band.  He then concluded his musical studies at Julliard and Eastman\, studying piano and composition and playing jazz piano in many night clubs.  After his studies he returned to Los Angeles and worked as an orchestrator for film studios and played piano as a studio musician.  He was also the primary conductor of the Boston Pops from 1908-1993. \nWilliams composed many “concert” works in addition to his film scores\, including concertos\, song cycles\, and other orchestral pieces.  He is certainly most known and loved for his cinematic music.  His style is very romantic\, with expansive themes and colorful orchestration very well suited to Fantasy and Science Fiction films.  He follows in the footsteps of late Romantic composers like Richard Wagner with his use of leitmotifs–melodic themes that represent characters such as Princess Leia\, Darth Vader\, or Jaws.  \nMusic from Apollo 13James Horner\, arr. John Moss\nBorn: August 14\, 1953Died: June 22\, 2015Premiered: 1995Approximate duration (this version): 5 minutesInstrumentation (this version): 2 flutes\, 1 oboe\, 2 clarinets\, bass clarinet\, 1 bassoon\, 4 French horns\, 3 trumpets\, 3 trombones\, tuba\, timpani\, field drum\, bass drum\, suspended cymbal\, tambourine\, crash cymbal\, snare drum\, chimes\, bells\, triangle\, piano\, strings \nJames Horner is a celebrated composer and orchestrator of film scores.  He is well known for his use of Celtic melodic motifs in his music.  His score for Titanic is the best-selling movie soundtrack ever.  His music is varied and has wide appeal\, in movies ranging from Avatar to A Beautiful Mind to The Karate Kid\, and also some of the Star Trek\, Zorro\, and Spiderman movies.   \nHorner started playing the violin at an early age.  He spent most of his life\, including his education\, in the Los Angeles area.  He was also an avid pilot and owned several small planes.  He died in a single airplane crash at the age of 61. \nThe movie Apollo 13\, directed by Ron Howard\, tells the story of one of the most watched and suspenseful missions of the U.S. Space program.  In this movie\, set in 1970\, astronauts played by Tom Hanks\, Kevin Bacon\, and Bill Paxton are en route to the moon when an explosion causes a critical system failure.  Mission Control aborts the moon landing and the team proceeds with a desperate attempt to bring the crew home safely despite dwindling oxygen and electric power and other perils.  This movie is the source of the famous line\, “Houston\, we have a problem!”  It was released in U.S. theaters in 1995 and was nominated for many awards.” \n“Morning Mood” from Peer Gynt Suite No. 1\, Op. 46Edvard Grieg\nBorn: June 15\, 1843\, Bergen\, NorwayDied:  September 4\, 1907\, Bergen Written: May 1874–September 1875Premiered: Ibsen’s play Peer Gynt premiered in Oslo\, Norway\, February 24\, 1876Approximate duration: Entire suite: 15 minutes; Morning Mood: 4 minutesInstrumentation (complete suite): 2 flutes\, piccolo\, 2 oboes\, 2 clarinets\, 2 bassoons\, 4 horns\, 3 trumpets\, 3 trombones\, bass tuba\, timpani\, triangle\, cymbals\, bass drum\, and strings.  \nIn 1874\, the playwright Henrik Ibsen invited Edvard Grieg to write incidental music for his poetic satire\, Peer Gynt.  In this play\, Peer\, the only son of poor peasants\, follows some bad advice from a group of trolls.  Instead of staying home to help his widowed mother and marry his girlfriend Solveig\, he embarks on a series of reckless adventures\, including carrying off brides from weddings\, seducing the daughter of a mountain king\, and wandering among foreign countries.  Throughout his adventures\, Peer finds wealth and fame\, but he is unhappy.  He moves farther away from being a caring person and seeks only to satisfy himself by lying and taking advantage of others.  At one point he returned home just in time to see his mother\, Aase\, die from her worry for Peer\, but he immediately departed again.  He finally returns as a remorseful old man\, welcomed by his first love\, Solveig\, who has waited for him all these years.  \nWhen Ibsen asked Grieg to compose this music\, Grieg was well known in his country but not abroad.  He was hesitant to accept\, feeling that Ibsen’s portrayal of the Norwegian people\, represented by Peer\, was insulting.  He needed the money\, though\, so he finally agreed to participate in this project\, thinking that he could use it as a vehicle to bring Scandinavian—especially Norwegian—musical and literary culture to the attention of the rest of Europe.  He succeeded in this endeavor\, and this assignment that established Grieg’s fame around the world. \n“Morning Mood” portrays the day on which Peer Gynt started his adventure.  Grieg captures the calm spirit of dawn\, the songs of birds\, the rippling water of a stream\, and the glory of a majestic sunrise. \nGustav Holst  The Planets\, Op. 32: Mars\, Venus\, and Jupiter\nMusic donated by David Heuvelhorst\, in memory of James and Henrietta Heuvelhorst \nBorn: September 21\, 1874. Cheltenham\, Gloucestershire\, EnglandDied: May 25\, 1934. LondonWritten: Mars\, Venus\, and Jupiter: 1914; Saturn\, Uranus\, and Neptune: 1915; Mercury 1916Premiered: First performance of complete work: November 15\, 1920\, in LondonApproximate duration: 51 mins (complete work); Mars: 6 minutes; Venus: 10 minutes; Jupiter: 7 minutesInstrumentation (complete work): 2 flutes\, piccolo\, alto flute)\, 2 oboes\, English horn\, bass oboe\, 3 clarinets\, bass clarinet\, 3 bassoon\, contrabassoon\, 6 horns\, 4 trumpets\, 3 trombones\, tenor tuba\, bass tuba\, 6 timpani (2 players)\, triangle\, snare drum\, tambourine\, cymbals\, bass drum\, tam‑tam\, chimes\, glockenspiel\, celesta\, xylophone\, 2 harps\, organ\, and strings. Off-stage female chorus  \nGustav Holst was born into a very musical family and showed early promise as a concert pianist\, organist\, and choirmaster.  He also played the violin and trombone.  After neuritis in his right arm put an end to his solo career\, he pursued composition\, teaching\, and choir directing.  Like his friend Ralph Vaughan Williams\, Holst sought to infuse his music with English folk music and wrote pieces in a cosmopolitan\, accessible style.  \nSometime after the turn of the century\, Holst became fascinated by astrology.  Initially he was reluctant to speak of this\, though he admitted that his “pet vice” was reading horoscopes for his friends.  Ultimately he transformed this interest into his best-known work\, The Planets\, written between 1914 and 1917.  This large suite of subtly interrelated tone poems\, or as Holst preferred\, “mood pictures\,” depicts the astrological characters of seven planets in our solar system and their influence on human character\, though a few mythological and astronomical elements enter in as well.  \nWorld War I was on the horizon when Holst wrote Mars\, the Bringer of War in August\, 1914.  Strings begin this strange march in 5/4 meter by tapping their strings with their bow sticks.   Brass and percussion soon dominate\, sounding brutal and implacable chords over a relentless martial ostinato.  After a dissonant climax\, the machine pauses desolately for a moment\, only to push towards a devastating conclusion.  Holst instructed that “Mars” be played as fast and brutally as possible.   \nA solo horn summons Venus\, the Bringer of Peace. In The Principles and Practices of Astrology\, Noel Tyl writes that\, to astrologers\, “when the disorder of Mars is past\, Venus restores peace and harmony.” This movement is total contrast: a calm\, tranquil reverie\, set far from the scene of any conflict.  The dominant instrumental colors come from flutes\, harps\, celeste\, and high violins. \nThe most massive of the Planets is Jupiter\, the Bringer of Jollity\, named for the light‑bringer\, the rain‑god\, the god of thunderbolts\, of the grape and the tasting of the new wine\, of oaths\, treaties\, and contracts.  The opening and closing sections were inspired by Edwardian vaudeville\, folk songs\, and dance halls.  In the central section\, the strings introduce a stately\, British melody evoking a more ceremonial type of rejoicing.  Holst later gave this tune words and it became the English patriotic hymn\, “I Vow to Thee\, My Country.” \nViolin 1Amanda DykhouseSara GoodKatie BastLetitia JapJosh ZallarPatricia WunderKatie LeFevreEmma HakkenMIchelle KellisSheri Dwyer \nViolin 2Michelle BessemerJaclyn BurkeRuth VandenBosSarah CovellKaren Jane HenryBecky DykEllen RiznerSusan FormsmaDiane LewisEmma Bieniewicz \nViolaLauren GarzaSean BrennanDan GriswoldJamie ListhConnie MeekhofLaurie VanArk \nCelloAnna KuceraJacob ResendezMac WynJohn ReikowDawn VanArkKevin SweersAlex BowersMatt Heyboer \nBassMarcy MarcellettiChuck PageAiden HarmonJmar Bongado \nFlute \nGabe SouthardJayne GortRebecca VanDeWalker \nOboeSarah SouthardRebecca Williams \nClarinetVanessa HeuckLindsey Bos \nBassoonWei-Tzu WangLaura Diaz \nFrench HornMichael WrightReed FitzpatrickKarin YamaguchiFred GordonTucker Supplee \nTrumpetBruce FormsmaAaron GoodGreg Alley \nTromboneSteve LillyJames GroelsmaAdam Graham \nTubaBrendan Bohnhorst \nTenor tubaWill Sutton \nTimpaniSue Gainforth \nPercussionEric PetersonShanley KruizengaMark LopezBrandon Gainforth \nHarpMartha Waldvogel \nPiano/CelesteLinda Strouf \nHSO thanks these business partners for their support of this concert!
URL:https://hollandsymphony.org/events/classics-discovery-out-of-the-world/
LOCATION:DeWitt Auditorium\, Zeeland East High School\, 3333 96th Ave.\, Zeeland\, 49464\, United States
ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2021/05/Planets-Family-e1621630304854.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20220313T150000
DTEND;TZID=UTC:20220313T170000
DTSTAMP:20260403T142144
CREATED:20210617T200457Z
LAST-MODIFIED:20220308T190014Z
UID:5162-1647183600-1647190800@hollandsymphony.org
SUMMARY:HSYO Spring Concert
DESCRIPTION:Program\nInformation\nParticipants\nBios\n\nSunday\, March 13\, 2022 at 3:00pm\nLokers Auditorium\, Cityside Middle SchoolZeeland\, Michigan \n\nHOLLAND AREA JUNIOR STRINGS\nKyle Nester\, Music Director and ConductorTori Zokoe\, General ManagerKatie Rae Hayduk\, Rehearsal Manager \nPastoral SymphonyLudwig van Beethoven\, arr. Christina Hans \nShepherd’s Hymn from the Pastoral SymphonyLudwig van Beethoven\, arr. Richard Meyer \nFinale from Symphony No. 5Ludwig van Beethoven\, arr. Richard Meyer \nHOLLAND AREA CONCERT STRINGS\nKyle Nester\, Music Director and ConductorTori Zokoe\, General ManagerKatie Rae Hayduk\, Rehearsal Manager \nArith-Metric No. 1Brian Balmages \nBrandenburg Concerto No. 3\, Second MovementJohann Sebastian Bach\, arr. Merle Isaac \nSymphony No. 1 in D Major\, Second MovementGustav Mahler\, arr. Sandra Dackow \nCOMBINED STRINGS FROM HAJS\, HACS\, HAYO\nVariations on a Theme from ThailandRichard Meyer \nHOLLAND AREA YOUTH ORCHESTRA\nChristopher Fashun\, Music Director and ConductorTori Zokoe\, General ManagerKatie Rae Hayduk\, Rehearsal Manager \nSymphony No. 1 in C major\, op. 2: Adagio molto-Allegro con brioLudwig van Beethoven (1770-1827) \nSymphony No. 6 in B minor\, op. 74\, “Pathétique”: Allegro con graziaPeter Ilych Tchaikovsky (1840-1893) \nEnigma\, Variations on an Original Theme\, Opus 3: Variation IX\, NimrodEdward Elgar (1857-1934) \nSymphony No. 9 in E minor\, op. 95\, “From the New World”: Allegro con fuocoAntonín Dvořák (1841-1904) \n  \nMasks will be required for all audience members at this concert. Our students have been making it all semester long and our season does not end until our concert is finished. All students and audience members will be required to mask during the concert. \nDress rehearsal for the concert will take place on Saturday morning\, March 12th. This will take place at Lokers Auditorium at Cityside Middle School on Main Street in Zeeland (320 E Main St\, Zeeland\, MI 49464). Junior Strings will rehearse from 9:00-9:45\, Concert Strings from 10:00-10:45\, ALL HSYO STRINGS from 10:45-11:15\, and HAYO from 11:15-12:00. Students DO NOT need to be in concert dress for dress rehearsal. Per the HSYO Handbook\, DRESS REHEARSAL IS REQUIRED AND FAILURE TO ATTEND CAN MEAN INABILITY TO PARTICIPATE IN THE CONCERT. Concert dress is not required for this rehearsal. Please see the breakdown of the schedule below for further clarification. \n\nJunior Strings students should arrive no later than 8:45am\, and will be done with their first block of rehearsal by 9:45am. They MUST return for rehearsal at 10:45am and will be dismissed for the day by 11:15am. Students may stay at the venue between their two rehearsal blocks\, but must have a book to read or sit quietly in the auditorium while Concert Strings rehearses.\nConcert Strings students should arrive no later than 9:45am and will be done with their rehearsal block by 11:15am.\nHAYO String players should arrive no later than 10:30am and will be done with their rehearsal block by 12:00pm.\nHAYO Winds\, Brass\, and Percussion players should arrive no later than 11:00am and will be done with their rehearsal block by 12:00pm.\n\nConcert dress is as follows: \n\n Junior and Concert Strings: Men: Black pants\, black socks\, and black shoes\, with long sleeved white shirt (no ties); Women: Tea length (below knees) black skirt\, white long sleeved dress blouse\, and black shoes with black nylons or tights. Dressy long pants are permissible for women (no jeans or leggings). Black mask required.\nHAYO: Men: Black pants\, black socks\, and black shoes\, with long sleeved black shirt (no ties); Women: Tea length (below knees) black skirt\, black long sleeved dress blouse\, and black shoes with black nylons or tights. Dressy long pants are permissible for women (no jeans or leggings). Black mask required.\n\nSpring Concert warm-up schedule on Sunday\, March 13: \n\nCall time for students is 1:30pm\, dressed and ready to perform at Lokers Auditorium (320 E Main St\, Zeeland\, MI 49464).\nStudents should plan to arrive no later than 1:15pm. We will do sound checks on stage and the concert will begin promptly at 3:00pm.\n\nTickets will be available for purchase at dress rehearsal and at the door – $10 for adults and $5 for students ages 6-college. Children under 6 are free. You can preorder tickets using this link and then pay and pick up at dress rehearsal or the door before the concert. HSYO Spring Concert Ticket Orders \n  \nSpring Auditions: Video submissions are due by August 1st for Concert Strings and HAYO students. Interested students can inquire and/or send video submissions to our General Manager\, Tori Zokoe\, at victoriazokoe@gmail.com. \nHOLLAND AREA JUNIOR STRINGS\nAurea DeKuiper\, 5\, Homeschool\, violinAnna Richert\, 6\, Homeschool\, violinDan Thach\, 7\, West Ottawa\, violinHailey Moorman\, 5\, Byron Center\, violinDavid Steenwyk\, 6\, Holland Christian\, violinRebecca Haig\, 6\, Holland Christian\, violinJosiah DeVries\, 6\, Holland Christian\, violinMatthew Yang\, 7\, West Ottawa\, violinDiana Linares\, 7\, West Ottawa\, violinRyan Park\, 7\, West Ottawa\, violinElLeigh Frame\, 7\, West Ottawa\, violinEvangeline Figueroa\, 7\, West Ottawa\, violinAidric Gomez\, 2\, Black River\, violinJennifer Goding\, 7\, West Ottawa\, violaCat Kraus\, 7\, Black River\, violaEzra Rozema\, 7\, Holland Christian\, violaGwendolyn Bedwell\, 7\, West Ottawa\, violaGrace Meade\, 4\, Reeths Puffer\, celloDavina VanIwaarden\, 7\, Holland Christian\, celloJoseph Yang\, 8\, West Ottawa\, celloAmalia Noble\, 7\, West Ottawa\, celloMadison Goodenough\, 7\, West Ottawa\, cello \nHOLLAND AREA CONCERT STRINGS\nLeila Sundararajan\, 8\, Holland\, violinNorrah Campbell\, 9\, Zeeland\, violinChristiana Franzon\, 7\, Homeschool\, violinAxel Franzon\, 7\, Homeschool\, violinCharlotte Beckman\, 7\, Holland Christian\, violinJack Bolt\, 8\, Holland\, violinLayla Vinten-Johansen\, 9\, SaugatuckJack Sherman\, 6\, HomeschoolDane Kolk\, 8\, Holland Christian\, violaAlan Juarez\, 9\, Holland\, violaAlexis Goodell\, 8\, West Ottawa\, violaOak DeKuiper\, 8\, Homeschool\, celloAndrew Elwood\, 8\, West Ottawa\, celloAbby Kuiper\, 8\, West Ottawa\, cello \nHOLLAND AREA YOUTH ORCHESTRA\nRebekah Dykema\, 12\, Zeeland\, violin 1Lindsay Brncick\, 12\, Black River\, violin 1Aeja DeKuiper\, 12\, Homeschool\, violin 1Olivia Wilcox\, 12\, Hudsonville\, violin 1Greta Bast\, 9\, Black River\, violin 1Aliz Pusztai\, 11\, Libertas\, violin 1Noah Marroquin\, 11\, West Ottawa\, violin 1Elyse Schurman\, 12\, West Ottawa\, violin 2Claire Kaercher\, 12\, Unity Christian\, violin 2Carlina Franzon\, 11\, Homeschool\, violin 2AmySue Harlow\, 11\, Homeschool\, violin 2Paige Bomhof\, 12\, West Ottawa\, violin 2Mason Sybesma\, 8\, Holland Christian\, violin 2Kate Wehrman\, 10\, Libertas\, violin 2Ariana Ramirez\, 10\, West Ottawa\, violin 2Sophia Postma\, 12\, Homeschool\, violaElla Pusztai\, 11\, Libertas\, violaElla Vanden Berg\, 11\, Holland Christian\, violaBarrett Huffman\, 10\, Holland Christian\, violaBrandon Blake\, 12\, West Ottawa\, celloSamuel Nicely\, 12\, Holland Christian\, celloDaniel Hotchkiss\, 10\, West Ottawa\, celloMadeline Benson\, 11\, Black River\, celloChase Veldink\, 10\, West Ottawa\, celloMaggie Bast\, 10\, Black River\, celloAbigail Fahrion\, 12\, Holland\, celloSophie Fenwick\, 11\, Homeschool\, celloAbram Vanden Berg\, 8 Holland Christian\, celloSam Dykhouse\, 12\, Black River\, bassJenna Ly\, 12\, Holland Christian\, fluteJilaena Weesies\, 12\, Grand Haven\, fluteStephanie VanKuiken\, 11\, Grand Haven\, fluteCarlos Marroquin-Lozada\, 12\, West Ottawa\, oboeJoshua Woolsey\, 11\, Holland Christian\, clarinetNoelle Harrity\, mentor\, bassoonSydney Brander\, 12\, Zeeland\, French hornIsaiah Theonugraha\, 9\, Zeeland\, French hornJaclyn Klinger\, mentor\, French hornAnnika Johnson\, 8\, Hamilton\, French hornKaleb Gomez Corder\, 11\, trumpetKeith Walker\, mentor\, trumpetNolan Meier\, 12\, Black River\, tromboneCaroline Johnson\, 10\, Hamilton\, tubaPeyton Brennan\, 12\, Zeeland\, percussion \nRehearsal Manager: Katie Rae Hayduk \nSet Up Crew: Brandon Blake\, Aeja DeKuiper\, Carlina Franzon\, Rebekah Dykema \nHAYO Graduating Seniors: Brandon Blake\, Paige Bomhof\, Sydney Brander\, Peyton Brennan\, Lindsay Brncick\, Aeja DeKuiper\, Rebekah Dykema\, Sam Dykhouse\, Abigail Fahrion\, Claire Kaercher\, Jenna Ly\, Carlos Marroquin-Lozada\, Nolan Meier\, Sam Nicely\, Sophia Postma\, Elyse Schurman\, Jillaena Weesies\, Olivia Wilcox \n \nKyle Nester \nKyle Nester graduated from Alma College in 2004 with a Bachelor of Music in Music Education degree.  While in college\, he participated in orchestra\, marching band\, jazz band\, percussion ensemble\, and choir.  Mr. Nester spent a term in Vienna\, Austria and studied violin with Maeve Auer from the Universitat fur Musik und Darstellende Kunst.  After college\, he was a soloist in the Baroque on Beaver Music Festival and performed with Josh Groban a few times.  After a long-term substitute teacher position in Fremont\, Michigan\, he taught 5th – 12th grade orchestra at Chippewa Hills School District for seven years.  After his wife Andrea finished her law degree at Michigan State University\, the couple moved to West Michigan. He started teaching at Holland Christian in 2012 and Andrea was employed in a law firm in downtown Grand Rapids.  Recently\, Mr. Nester has been interested in fiddling and started the Michigan Academy of Folk Music with Nate Roberts from Hope College.   \nMr. Nester enjoys running races\, enjoying nature\, playing music\, and traveling.  They have three “interesting” cats and a planted freshwater fish tank.   \n  \nChristopher H. Fashun \nChristopher H. Fashun is an incredibly diverse and versatile conductor\, performer\, and educator. He brings over two decades of experience as a music educator leading middle school\, high school and collegiate band and orchestra programs in addition to directing jazz and percussion ensembles. \nA 2018 recipient of a U.S. Postdoctoral Fulbright Award in All Disciplines\, Dr. Fashun will be living and researching Afro-Brazilian music in Salvador da Bahia\, Brazil during the summer of 2019.  His project will focus on the dissemination of Afro-Brazilian music and culture in the city of Salvador.  \nAn Assistant Professor of Music at Hope College\, he serves as the Director of Orchestras\, the founder and Music Director of the Brazilian Drumming Ensemble\, teaches applied percussion\, world music\, and is an Instructor of Instrumental Music Education. \nAn accomplished percussionist and violist\, he has several years of orchestral and chamber music experience and has enjoyed success in both areas as a soloist by winning three concerto competitions\, one on viola and two on marimba. \nDr. Fashun is an active guest conductor\, clinician\, adjudicator\, and percussionist.  He is a frequent presenter at music education conferences and is a highly sought after clinician and conductor.  Notable engagements include the La Porte County Symphony Orchestra\, Holland Symphony Orchestra\, Elkhart Symphony Orchestra\, St. Ambrose University Community Symphony Orchestra\, the University of Iowa Philharmonia and All-University Orchestras.  Dr. Fashun has conducted the Symphony String Orchestra at the Iowa IMEA Conference for the All-State Iowa Junior Honors String Orchestra Festival Concert and the Midwest Mennonite Festival Orchestra and Concert Band.  He has served on the music faculties at St. Ambrose University and Goshen College.  \nHis research in conducting combines developing musicianship from the podium and health and wellness for music educators.  \nWhen he’s not making music\, he is either cycling\, paddle boarding\, or practicing Pilates and enjoying the fabulous beaches in Holland (in the summer\, of course) with his wife and daughter.  \nHSO thanks these business partners for their support of this concert!
URL:https://hollandsymphony.org/events/hsyo-spring-concert-3/
LOCATION:Lokers Auditorium\, Cityside Middle School\, 320 East Main\, Zeeland\, MI\, 49464\, United States
ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2021/05/HAYO-pic-fall-2019-small-1024x737-1-e1623945205856.jpeg
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BEGIN:VEVENT
DTSTART;TZID=UTC:20211211T193000
DTEND;TZID=UTC:20211211T210000
DTSTAMP:20260403T142144
CREATED:20200331T221153Z
LAST-MODIFIED:20211207T212522Z
UID:2160-1639251000-1639256400@hollandsymphony.org
SUMMARY:Holiday Concert: Home for the Holidays (7:30pm)
DESCRIPTION:Purchase\n					 \n\nProgram\nInformation\nArtist bio\n\nSaturday\, December 11\, 2021 3:30 & 7:30pm\nDimnent Chapel\, Hope College (general seating)\nHelen Welch\, guest artist\nA Canadian Brass ChristmasArr. Henderson & Custer  \nI’ve Got the World on a StringKoehler/Arlen\, arr. Dave Hanson  \nIt Happened in Sun ValleyWarren & Gordon  \nThe Christmas SongWells & Torme\, arr. Kempers \nWinter Weather MedleyArr. Dave Hanson \nTrepak & Waltz of the Flowers from The NutcrackerTchaikovsky  \nA Christmas FestivalAnderson  \nFeeling GoodNewley & Bricusse\, arr. Ferguson \nHappy Holidays/Holiday SeasonBerlin\, orch. Kempers \nSleigh RideAnderson \nI’ll Be Home for ChristmasGannon\, Kent & Ram\, arr. Hanson  \nOn a Wonderful Day Like TodayBricusse & Newley   \n Wonderful WorldWeiss & Thiele \nThe concert is held twice: 3:30 and 7:30pm. Seating is general.\nWe hope you will make this special concert part of your family Christmas. \nTickets are non-refundable.  HSO will exchange holiday tickets for another concert. \nHelen Welch is an internationally acclaimed vocalist\, entertainer\, producer and band-leader. Her unique talent for arranging songs to make them her own\, coupled with her ability to intimately engage her audience\, has quickly earned her a large and devoted following around the globe. \nA native of England\, Helen began her career on television’s Romper Room. Since her early success\, she has headlined with world-class organizations such as the BBC Big Band\, Glenn Miller Europe\, Opus One and others at some of the UK’s most prestigious venues including: The Ritz\, The Savoy\, Blenheim Palace\, The Grosvenor House Great Room\, Claridges and many theatres in London’s West End. Additionally\, she held starring roles in a variety of popular musicals including: Hello Dolly\, Barnum\, Carousel\, 42nd Street\, Calamity Jane\, and Oliver Twist. \n After a very successful run in the U.K.\, Helen relocated to the United States to guest star in the Broadway musical Smokey Joe’s Cafe. Her immediate success landed her as a fronting vocalist for The Cleveland Orchestra\, The Breckenridge Summer Orchestra\, The Cleveland Jazz Orchestra\, The Grant Park Symphony Orchestra (Chicago)\, The Florida Symphony and the Columbus Jazz Orchestra. Since that time\, Helen has been producing her own shows for Cleveland’s Playhouse Square\, The Akron Civic Theatre\, The Chautauqua Institution and many other theatres and performing arts centers around the country. \nIn 2006 Helen produced her big band CD One Dream using the nationally renowned Cleveland Jazz Orchestra. Rosemary Riddle\, daughter of famed arranger Nelson Riddle\, gave Helen the original Nelson Riddle arrangement of “Zing Went the Strings of my Heart” for her to perform and record on this CD. Apart from Judy Garland\, Helen is the only other vocalist to have used and performed this arrangement on a recording and she still uses it today in her big band performances. \nHelen has had world-class symphony pops arrangements for 3 of her productions and has performed with many different symphony orchestras throughout the U.S. and in England. Helen was invited twice to perform with the Blossom Festival Orchestra\, which is part of the Cleveland Orchestra. For these particular concerts the Ella Fitzgerald Foundation gave Helen permission to go to the Library of Congress in Washington to go through Ella’s collection of music which she then used for these special symphony orchestra concerts at Blossom. \nIn 2016\, her musical release\, “Spellbound” was an entry for the Traditional Pop Category of the Grammy Awards. \nHSO thanks these business partners for their support of this concert!
URL:https://hollandsymphony.org/events/holiday-concert-home-for-the-holidays-730pm/
LOCATION:Dimnent Chapel\, 277 College Ave.\, Holland\, MI\, 49423\, United States
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