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SUMMARY:Pulling Out the Stops
DESCRIPTION:Concert Sponsor\n\n\nTickets\n \n\nProgram\nInformation\nProgram Notes\nArtist bio\nPre-Concert Talk\n\nProgram\nSaturday September 24\, 2022\, 7:30 p.m. \nJack H. Miller Center for Musical Arts\, Hope College \nConcert Overture No. 2\nFlorence Price (1887-1953) \nSymphony No. 2\, Op. 30\, “Romantic”\nHoward Hanson (1896-1981) \n\n Adagio; Allegro moderato\nAndante con tenerezza\nAllegro con brio\n\nIntermission \nCamille Saint-Saëns (1835-1921)\nSymphony No. 3\, op. 78\, in C minor\, “Organ Symphony” \nPART I\nAdagio – Allegro moderato\nPoco adagio\nPART II\nAllegro moderato – Presto\nMaestoso – Allegro \nTickets: Adults – $25\, Students through college – $5 \nSeason Ticket Series \nThe concert opens with Florence Price’s “Concert Overture No. 2.” This piece is a beautiful meditation on three spirituals\, “Go Down\, Moses\, Ev’ry Time I Feel the Spirit\,” and “Nobody Knows the Trouble I’ve Seen.” Price was an American composer in the early 1900s whose music has recently been discovered and celebrated. The orchestra will continue with another American work\, the “Romantic” Symphony by Howard Hanson. Full of sweeping melodies\, nostalgic tenderness\, and majestic brass\, this work captures a hopeful American spirit. The concert will conclude with the well-known “Organ Symphony” by Camille Saint-Saens. \nThe stage will be full with a large orchestra\, harp\, colorful percussion\, and a piano played by two people\, as well as the majestic Casavant organ in the concert hall played by Peter Kurdziel. The concert will substitute soloist Peter Kurdziel performing on the Saint-Saens Organ Symphony as the artist Huw Lewis is unable to perform due to covid-related illness and two broken fingers. \nPeter Kurdziel has been the Director of Music at the Basilica of St. Adalbert in Grand Rapids\, Michigan since August of 2010. He earned degrees in organ from Hope College where he was a student of Huw Lewis and the University of Notre Dame where he was a student of Craig Cramer. He earned the Doctor of Musical Arts from the University of Illinois (Urbana-Champaign) where he was a student of Dana Robinson. In addition to the organ\, Peter has also studied voice\, conducting\, harpsichord\, and theology at the graduate level. He is the past dean of the Grand Rapids and Muskegon-Lakeshore Chapters of the American Guild of Organists. He has also served on the executive boards of the Grand Rapids Chapter of the National Pastoral Musicians and the West Michigan Symphony. \nThe concert opens with Florence Price’s “Concert Overture No. 2.” This piece is a beautiful meditation on three spirituals\, “Go Down\, Moses\, Ev’ry Time I Feel the Spirit\,” and “Nobody Knows the Trouble I’ve Seen.” Price was an American composer in the early 1900s whose music has recently been discovered and celebrated. The orchestra will continue with another American work\, the “Romantic” Symphony by Howard Hanson. Full of sweeping melodies\, nostalgic tenderness\, and majestic brass\, this work captures a hopeful American spirit. The concert will conclude with the well-known “Organ Symphony” by Camille Saint-Saens. \nThe stage will be full with a large orchestra\, harp\, colorful percussion\, and a piano played by two people\, as well as the majestic Casavant organ in the concert hall played by Peter Kurdziel. The concert will substitute soloist Peter Kurdziel performing on the Saint-Saens Organ Symphony as the artist Huw Lewis is unable to perform due to covid-related illness and two broken fingers. \nLearn more about the music…\nWe will be hosting not only the Classical Chat series at Freedom Village\, but also Pre-Concert Talks!  Details below: \nClassical Chats at Freedom Village:  These informative and fun talks are led by Johannes Müller-Stosch and take place at 3:00pm on the Thursday before each Classics concert.  (Freedom Village\, 6th Floor Auditorium\, 145 Columbia Ave.) \nPre-Concert Talks:  These talks\, led by Johannes Müller-Stosch and Amanda Dykhouse\, will be online this year under the “Pre-Concert Talk” Tab.  There are opportunities for you to ask questions about upcoming programs on that tab.  We look forward to resuming live Pre-Concert Talks when the pandemic lessens. \nNew to the Symphony?  Check out the Frequently Asked Question page… \nParking Map at the Miller Center \nHolland Symphony Orchestra will reserve and monitor Lot 40 for handicapped parking.  The faculty parking lots are available for parking after 5pm \n \nConcert Overture No. 2\nFlorence Price\nBorn: Little Rock\, Arkansas\, April 9\, 1887\nDied: Chicago\, Illinois\, June 3\, 1953\nWritten: 1943\nApproximate duration: 15 minutes\nInstrumentation: 3 flutes\, piccolo\, 2 oboes\, English horn\, 2 clarinets\, bass clarinet\, 2 bassoons\, 4 French horns\, 3 trumpets\, 3 trombones\, tuba\, timpani and percussion (bass drum\, cymbals\, suspended cymbal\, snare drum)\, harp\, and strings \nFlorence Price was born in Little Rock\, Arkansas.  Her mother was a music teacher and her father was the only African-American dentist in the city.  Even though Little Rock had lots of racial issues\, the family was well-respected.  Florence’s mother guided her early musical studies.  At age four she performed for the first time on the piano\, and published her first composition at age eleven.  After graduating at the top of her class from high school she attended New England Conservatory of Music in Boston\, majoring in organ and piano teaching.  She also studied composition. \nUpon her graduation in 1906\, Price taught at Clark Atlanta University\, becoming head of the music department.  She eventually got married and moved back to Little Rock\, where she raised two daughters.  She had trouble finding work in that segregated town.  After a series of racial incidents\, including a lynching in 1927\, the Price family moved to Chicago.  Price met a lot of other musicians in Chicago and began her composition career.  She also worked for a time as an organist for silent film showings.  She studied with many of the city’s leading teachers\, spent time at Chicago Musical College\, University of Chicago\, and American Conservatory of Music\, and became part of the Chicago Black Renaissance.  Ultimately she composed over 300 works.  In 1932 she became the first African American woman to have a work played by a major orchestra when the Chicago Symphony played her first symphony. \nAfter she died\, much of Price’s work fell out of favor as new styles emerged.  A lot of her music was lost until the discovery of over 200 pieces in an abandoned house in 2009 outside St. Anne\, Illinois\, that Price used as a summer home late in her life.  In recent years many of her works have been re-published or published for the first time.  Orchestras\, in an effort to recognize underrepresented composers\, have helped audiences discover and enjoy her delightful music. \nPrice’s music draws heavily on the American musical sounds surrounding her.  She was a devoted Christian and used  a lot of spirituals–both their melodic sounds and rhythms–in her symphonic pieces.  This is true of her “Concert Overture No. 2\,” written in 1943.  This piece\, one of the compositions found in the dilapidated house\, features “Go Down Moses\,” “Ev’ry Time I Feel the Spirit\,” and “Nobody Knows the Trouble I’ve Seen.” \nTo listen to the Price\, click here. \nSymphony No. 2\, Op. 30 “Romantic”\nHoward Hanson\nBorn: Wahoo\, Nebraska\, October 28\, 1896\nDied: Rochester\, New York\, February 26\, 1981\nWritten: 1930\nPremiered: 1930\, Boston Symphony Orchestra\nApproximate duration: 28 minutes\nInstrumentation: 2 flutes\, piccolo\, 2 oboes\, English horn\, 2 clarinets\, bass clarinet\, 2 bassoons\, contrabassoon\, 4 French horns\, 3 trumpets\, 3 trombones\, tuba\, timpani and percussion (bass drum\, cymbals\, suspended cymbal\, snare drum)\, harp\, and strings \nHanson was born in Wahoo\, Nebraska\, to Swedish immigrants who wanted him to become a Lutheran pastor.  His mother was his first music teacher\, and he excelled so much in music that he decided to make it his career.  He studied at the Julliard School of Music and Northwestern University\, and took a teaching position at a college in California when he was only nineteen years old.  In 1921\, he was the first American composer to win the prestigious Prix de Rome and enter the American Academy in Rome.  After returning to the United States\, he met George Eastman\, the founder of Kodak\, while he was conducting at the University of Rochester.  Eastman was fabulously wealthy and wanted to start a music school at the University.  He asked Hanson to be its first director.  Hanson accepted\, and remained at the University of Rochester’s Eastman School of Music for forty years as its director and composer-in-residence.  During that time\, he composed frequently\, but he also encouraged other composers\, conducting over 1\,500 new compositions by approximately 700 students.  Hanson also instituted an annual American Music Festival where he conducted the premieres of works by composers such as Samuel Barber\, Aaron Copland and Virgil Thomson.  In these roles Hanson influenced more American composers in the twentieth century than any other teacher or conductor.  He was justly called the “Dean of American Composers” and became a spokesman for music in America. \nAs a composer\, Hanson’s style is romantic\, tonal\, and rich in the low instrument registers.  He departed from many of his contemporaries\, including Debussy\, Stravinsky\, and Schoenberg\, who were challenging the traditions of Western music.  With the influence of his Scandinavian background and his deeply felt concern to create an “American” voice in the world of music\, Hanson decided that experimentation and dissonance were not for him. Instead he created appealing works based on traditional harmony and melody.  Hanson’s most significant contribution to the American repertoire was his cycle of seven symphonies\, which rank among the most widely appreciated American works in the genre. \nThe Symphony No. 2 is Hanson’s best-known and most frequently performed work. The Boston Symphony gave the world premiere of the work in 1930 as part of the orchestra’s 50th Anniversary.  Hanson gave the symphony the subtitle of “Romantic” to distinguish it from much of the experimental music by other composers that was being performed at the time.  As the nickname implies\, Hanson intended the symphony to be unabashedly beautiful and emotional. “I do not believe that music is primarily a matter of intellect\,” he said\, “but rather a manifestation of the emotions. I have\, therefore\, aimed in the Symphony to create a work that was young in spirit\, lyrical and romantic in temperament\, and simple and direct in expression… definitely warm-blooded music.” \nThe entire symphony is based\, harmonically and melodically\, upon only one theme\, which reappears in different guises throughout all three movements.  Those who are acquainted with Interlochen’s summer camp will recognize this theme immediately.  Hanson was intimately associated with this music camp and “donated” the principal theme of his Second Symphony to the camp as the “Interlochen Theme.”  The first movement starts slowly and gently with an introduction that is mysterious and grand.  The sound dies\, then leads to a faster section interspersed with rich melodic writing and sweeping fanfares interrupted by lyrical passages.  Ending with the primary theme in the dark key of D flat\, the music leads directly to the tender slow movement and the clarity of C major.  Hanson called this tender melody “a song without words.”  It is interrupted by a brass interlude featuring two main tunes from the first movement.  The opening tune returns\, this time sounding more like a hymn.  The Finale is a grand “summing up.”  This energetic movement’s opening idea is derived directly from the slow movement’s main melody.  The music is driven forward with great excitement; a triumphal statement of the theme by the brass finishes the piece in a grand manner. \nTo listen to the Hanson\, click here. \nSymphony No. 3 in C Minor\, “Organ”\nCamille Saint-Saëns\nBorn: Paris\, 9 Oct 1835\nDied: Algiers\, 16 Dec 1921\nWritten: 1883-1886\nPremiered: Philharmonic Society of London\, 1886\nApproximate duration: 36 minutes\nInstrumentation: 2 flutes\, piccolo\, 2 oboes\, English horn\, 2 clarinets\, bass clarinet\, 2 bassoons\, contrabassoon\, 4 French horns\, 3 trumpets\, 3 trombones\, tuba\, timpani and percussion (bass drum\, cymbals\, suspended cymbal\, triangle)\, piano 4 hands\, organ\, and strings \nMusic donated by Dorothy and Judy Voss \nAs a child\, Camille Saint-Saëns displayed a prodigious talent that would have rivaled Mozart’s.  He started piano lessons at age two and composing at three.  At age ten he dazzled a Parisian audience with an extremely difficult piano program at his formal debut.   As an encore he offered to play any of Beethoven’s thirty-two piano sonatas from memory.  He was as skilled on the organ as he was on the piano\, and served as the organist of Paris’ most prestigious church\, La Madeleine\, for nineteen years. \nSaint-Saëns’s third and final symphony was commissioned by the Philharmonic Society of London in 1883.  He did not give the symphony its nickname\, “Organ\,” which is misleading.  At that time several French composers wrote large-scale solo pieces that they called “Organ Symphonies.”  Saint-Saëns did not consider the organ to occupy a solo role in this symphony; rather\, he considered it an additional orchestral color.  The organ’s first entrance\, about ten minutes into the piece\, is so subtle that it is easy to miss.  The symphony premiered in London in May\,1886\, with the composer conducting.  He also played Beethoven’s Fourth Piano Concerto in the first half of the program.  Saint-Saëns reported on the concert: “The Symphony enjoyed a colossal success.  [It was] “spiced up by just enough opposition to make the success more intense.”  Saint-Saëns then dedicated the new piece to Franz Liszt\, whom he greatly admired. \nSaint-Saëns provided these comments on the structure of his symphony: “This symphony is divided into two parts. Nevertheless it embraces in principle the four traditional movements\, but the first is altered in its development to serve as the introduction to the Adagio\, and the scherzo is connected by the same process to the finale.”  After a brief introduction\, Saint-Saëns introduces his core theme.  In a process of “thematic transformation” that he had learned from Liszt\, he builds almost every melody of the entire piece from this initial restless theme.  Later in the movement the violins present a rocking\, tranquil melody that gives listeners a rest from the opening\, rushing figure.  The nervous music flows directly into the beautiful slow movement\, which Saint-Saëns described as an “extremely peaceful\, contemplative theme.”  Next the energetic scherzo alternates with two contrasting trios.  In the second trio\, a “grave and austere” slow theme emerges from the low brass.  Saint-Saëns wrote: “There is a struggle for mastery\, which ends in the defeat of the restless diabolical element.”  The music builds and quiets\, and in a moment of suspense\, the organ enters with a hair-raising C Major chord.  The strings play a chorale based on a brilliantly transformed version of the opening\, restless melody\, accompanied by glittering arpeggios played by two pianists (a theme that was featured in the movie Babe).  After the organ and brass have their turn\, string melodies\, brass fanfares\, and fugues take the audience to the triumphant ending. \nTo listen to the Saint-Saëns\, click here. \nPeter Kurdziel\, Organ\nPeter Kurdziel has been the Director of Music at the Basilica of St. Adalbert in Grand Rapids\, Michigan since August of 2010. He earned degrees in organ from Hope College where he was a student of Huw Lewis and the University of Notre Dame where he was a student of Craig Cramer. He earned the Doctor of Musical Arts from the University of Illinois (Urbana-Champaign) where he was a student of Dana Robinson. In addition to the organ\, Peter has also studied voice\, conducting\, harpsichord\, and theology at the graduate level. He is the past dean of the Grand Rapids and Muskegon-Lakeshore Chapters of the American Guild of Organists. He has also served on the executive boards of the Grand Rapids Chapter of the National Pastoral Musicians and the West Michigan Symphony. \nTo listen to the pre-concert talk\, click here. \n[INSERT_ELEMENTOR id=”7518″]
URL:https://hollandsymphony.org/events/pulling-out-the-stops/
LOCATION:Jack H. Miller Center for Musical Arts at Hope College\, 221 Columbia Ave.\, Holland\, MI\, 49423\, United States
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LAST-MODIFIED:20220908T190249Z
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SUMMARY:Onstage with HSO
DESCRIPTION:Tickets\n					 \n\nProgram\nInformation\nProgram Notes\nArtist bio\nPre-Concert Talk\n\nProgram\nSaturday\, September 10\, 2022 at 7:30 p.m. \nJack H. Miller Center for Musical Arts\, Hope College \n  \nLe Tombeau de CouperinMaurice Ravel (1875-1937)1. Prélude2. Forlane3. Menuet4. Rigaudon                                \nPremiére Rhapsodie for Clarinet and OrchestraClaude Debussy (1862-1918) \nGary June\, clarinet \nIntermission \nPavane\, op. 50Gabriel Fauré (1845-1924) \nAdagio for StringsGuillaume Lekeu (1870-1894) \nLe Boeuf sur le Toit (“The Bull on the Roof”)\, op. 58Darius Milhaud (1892-1974) \n  \nTickets: Adults – $25\, Students through college – $5Onstage seating upcharge: $50 \nMake onstage reservations through the HSO office. \nThis first concert of the season\, formerly known as “Classics Up Close\,” will move to the Jack H. Miller Center for Musical Arts. A limited number of “Up Close” on-stage seats will be available on a first come\, first served basis. Call the HSO office at 616-796-6780 to reserve stage seating.  This program will feature favorite French classics such as Ravel’s “Le Tombeau de Couperin\,” Faure’s “Pavane\,” and Milhaud’s “The Bull on the Roof.” Clarinetist Gary June will be the featured artist on Debussy’s First Rhapsody for clarinet and orchestra. \nTickets: Adults – $25\, Students through college – $5Onstage seating upcharge: $50 \nMake onstage reservations through the HSO office. \nAs of September 1\, masks will not be required for concerts.  This may be subject to change based on the evolution of the pandemic or venue requirements. \nLearn more about the music… \nWe will be hosting not only the Classical Chat series at Freedom Village\, but also Pre-Concert Talks!  Details below: \nClassical Chats at Freedom Village:  These informative and fun talks are led by Johannes Müller-Stosch and take place at 3:00pm on the Thursday before each Classics concert.  (Freedom Village\, 6th Floor Auditorium\, 145 Columbia Ave.) \nPre-Concert Talks:  These talks\, led by Johannes Müller-Stosch and Amanda Dykhouse\, will be online this year under the “Pre-Concert Talk” Tab.  There are opportunities for you to ask questions about upcoming programs on that tab.  We look forward to resuming live Pre-Concert Talks when the pandemic lessens. \nNew to the Symphony?  Check out the Frequently Asked Question page… \nParking Map at the Miller Center \nHolland Symphony Orchestra will reserve and monitor Lot 40 for handicapped parking.  The faculty parking lots are available for parking after 5pm \n \nLe Tombeau de CouperinMaurice Ravel\nBorn: March 7\, 1875\, Ciboure\, near Saint-Jean-de-Luz\, Basses-PyrénéesDied: December 28\, 1937\, ParisWritten: piano suite started July 1914; completed June 1917Orchestrated: 1919Premiered: February 28\, 1920\, Pasdeloup Orchestra of ParisApproximate duration: 17 minutesInstrumentation: 2 flutes\, 2 oboes and English horn\, 2 clarinets\, 2 bassoons\, 2 horns\, trumpet\, harp\, and strings \nThe French word “tombeau” literally means “tomb\,” but it is also used to describe a piece of music written as a memoir.  Maurice Ravel began his “Tombeau\,” a piano suite\, in 1914.  He wrote the work as an homage to the French composer and keyboardist François Couperin.  Ravel wasn’t just paying his respects to Couperin.  He wanted to honor the genre that Couperin perfected and popularized–the French baroque keyboard suite containing a variety of dances.   \nWorld War I interrupted his composition.  Ravel tried to enlist in the military\, but he was very small and often sick\, so he was deemed unfit for military service.  He instead served as a nurse’s aid and ambulance and truck driver for the 13th Artillery Regiment.  Those experiences took a physical toll on Ravel\, but gave him a lot of time to think about compositions\, including this suite.  His mother died in 1917\, causing Ravel’s mental and physical health to decline significantly\, and he was discharged.  After he recovered he returned to this keyboard suite\, but expanded his original intent and used each movement of this “tombeau” to memorialize friends who had died in the war.  Ravel orchestrated four of the movements in 1919.  He gave each movement a lot of personal attention to details and instrumental colors–he is considered one of the greatest orchestrators of all time.  He also sketched the original cover for the piece\, a picture of a draped funeral urn.   \nThe work opens with a Prélude dedicated to Lieutenant Jacques Charlot.  Rapid triplets evoke Couperin’s harpsichord music\, though the harmonic language definitely belongs to Ravel.  The Forlane is dedicated to Lieutenant Gabriel DeLuc. It is based on a Venetian passamezzo\, thought to be popular with gondoliers in the seventeenth century.  This hopping\, quirky melody is in 6/8 meter.  The Menuet is dedicated to Jean Dreyfus\, the stepson of one of Ravel’s friends. It has the stately form of the baroque minuet but is colored with melancholy.  A contrasting musette\, a rustic dance over a drone\, provides a lighter break.  The Rigaudon is dedicated to the brothers Pierre and Pascal Gaudin\, who died on the first day of their service on the front in 1914.  This lively Provençal dance was full of hopping steps and became very popular in the French courts.  A contrasting pastoral section provides a break before the energetic conclusion.   \nMusic donated by Doug and Jennifer Griffith. \nTo listen to the Ravel\, click here. \nPremière Rhapsodie for Clarinet and OrchestraClaude Debussy\nBorn: August 22\, 1862\, St Germain-en-Laye\, FranceDied: March 25\, 1920\, ParisWritten: 1909-1910Premiered: January\, 1911Approximate duration: 8 minutesInstrumentation: 2 flutes and piccolo\, 2 oboes and English horn\, 2 clarinets\, 2 bassoons\, 4 horns\, 2 trumpets\, 2 percussionists (suspended cymbal and triangle)\, harp\, and strings \nIn 1909\, Gabriel Fauré\, then director of the Paris Conservatoire\, appointed Claude Debussy to the governing council of the school.  This was somewhat controversial.  Debussy was “at odds” with the French musical establishment.  He hadn’t been an easy student or colleague\, and his compositional style definitely challenged the status quo.  Debussy needed the stipend that came with this position\, though\, and faithfully did this job.  One of his duties was to write pieces for performance exams and serve as one of the judges.  When he was assumed the position in 1909 he was asked to write two pieces for the 1910 clarinet juries.  One was a sight reading piece\, which he wrote quickly and at the last minute.  He spent much more time on his solo de concours (contest solo)\, which he called Première Rhapsodie.  He wasn’t looking forward to hearing numerous students perform his piece\, but he was pleased with the results\, noting to his publisher that “to judge by the looks on the the faces of my colleagues\, the Rhapsody was a success\,” further saying that it was “one of the most charming [pieces] I have ever written.”  Debussy dedicated the rhapsody to Prosper Mimart\, professor of clarinet at the Paris Conservatoire from 1904-1918\, who gave its public premiere in 1911. It has become one of the most performed works for accompanied solo clarinet.   \nDebussy’s rhapsody opens with quiet music that he marked\, “slowly dreaming.”  The solo line grows out of the beginning motive\, heard over quiet strings and a harp.  The colors are truly Impressionistic–transparent\, fluttering\, quiet\, and dreamy.  In the middle of the piece Debussy changes the mood\, instructing performers to be “sweet and penetrating\,” and the soloist playfully shares ideas back and forth with other woodwind players.  The piece ends with a quick virtuosic display and a short cadenza.  Debussy uses the variety of moods in this piece to challenge the soloist to explore the full range of a clarinet’s possibilities: varied colors\, soaring melodies\, rapid changes of articulation\, and fast technical displays.  \nTo listen to the Debussy\, click here.  \nPavane\, Opus 50Gabriel Fauré\nBorn: May 12\, 1845; Pamiers\, FranceDied: November 4\, 1924; ParisWritten: 1887Approximate duration: 7 minutesInstrumentation: 2 flutes\, 2 oboes and English horn\, 2 clarinets\, 2 bassoons\, 2 horns\, and strings \nGabriel Fauré was born into a large\, poor family.  He spent some of his earliest years with a foster mother and was accepted as a free boarder at the Niedermeyer school in Paris at age ten.  While at that school Fauré gained an excellent general and musical education\, including composition study with Camille Saint-Saëns.  As a young adult he composed and served as a church organist in several small French towns\, eventually becoming the chief organist at the Madeleine\, one of the largest churches in Paris\, and a composition professor at the Paris Conservatory.  In 1905 he became the director of the conservatory.  He had a lot of influence in this role\, shaping countless composition students including Maruice Ravel and Nadia Boulanger. \nGabriel Fauré wrote this pavane in 1887\, the same year he wrote his requiem.  It is one of Fauré’s most famous works.  A pavane was originally a dance from Spain that entered the European tradition of courtly dance from the sixteenth and seventeenth centuries.  Pavanes have a slow\, gentle character with simple steps\, intending to imitate the strut of a peacock (pavo).  It begins with a nostalgic flute melody.  Its somber mood might reflect Faure’s grief over his father’s death.  He included optional chorus parts to a text by Robert\, comte de Montesquiou-Fezensac (1855-1921).  The text isn’t usually included since the voices double the instrumental parts (and it creates many logistical challenges for orchestras to include a choir!).   \nTo listen to the Fauré\, click here. \nAdagio for StringsGuillaume Lekeu\nBorn: January 20\, 1870 Verviers\, BelgiumDied: January 21\, 1894\, Angers\, FranceWritten: 1891Approximate duration: 12 minutesInstrumentation: solo violin\, solo viola\, solo cello\, strings  \nBelgian composer Guillaume Lekeu was the son of a wool merchant in the small town of Verviers. He had some early music instruction and violin and piano lessons at the school there.  His family moved to Poiters\, France\, in 1879\, where he continued his studies and published his first work at age fifteen.  On a trip to Paris with his family in 1888 he met César Franck.  Franck was impressed with Lekeu and accepted him as his final music student.  Their time together was short\, since Franck died in 1890.  In the fall of 1893 Lekeu ate at a restaurant with some friends and consumed some contaminated water.  All his friends also got sick\, but they recovered.  Lekeu died the day after his twenty-fourth birthday.   \nThe vast majority of Lekeu’s music was written between 1891 and 1894. His most famous piece is a violin sonata commissioned by Eugène Ysaÿe.  He wrote this “Adagio for Strings” in 1891\, subtitled “The Pale Flowers of Remembrance.”  The language of this Adagio–deeply romantic melodies and forward-looking harmonies–reflects his fascination with the music and operas of Richard Wagner.  It is thick and complex\, with ten separate string parts.   \nMusic donated by Mark Dykstra. \nTo listen to the Lekeu\, click here. \nLe Boeuf sur le toit (or\, “The Nothing-Doing Bar”)\, Op. 58Darius Milhaud\nBorn: September 4\, 1892; Marseille\, FranceDied: June 22\, 1974; Geneva\, SwitzerlandWritten: 1919Premiered: February 21\, 1920\, at the Théâtre des Champs-Élysées\, ParisApproximate duration: 15 minutesInstrumentation: Instrumentation: Two flutes (one doubling piccolo)\, oboe\, two clarinets\, bassoon\, two horns\, two trumpets\, trombone\, percussion (guiro\, tambourine\, bass drum\, tambourin provençal) and strings \nDarius Milhaud was born into a musical family.  By age three he could play simple piano duets with his father.  At age seven started learning the violin\, and began to study harmony and composition at age thirteen.  He enrolled at the Paris Conservatory in his late teens.  Due to rheumatoid arthritis\, he was unable to serve in a military role in World War I\, so he offered to be a secretary to a friend who served as poet and dramatist at the French embassy in Brazil.  After the war he visited in New York\, spending a lot of time in Harlem jazz clubs\, before returning to Paris. \nMilhaud was an incredibly prolific composer\, writing over 450 pieces.  He was a member of “Les Six\,” a group of six composers intentionally moving away from the impressionistic style of Debussy and Ravel and the heavy German romanticism of Wagner and his contemporaries.  They were considered scandalous by the “establishment” because they incorporated jazz and café music into their serious pieces.  Milhaud’s style evolved a lot over the years but it was always eclectic\, combining music from Provence\, the United States (Jazz and ragtime)\, folk songs from Brazil and America\, and other music he heard on his extensive travels around the world.   \nMilhaud loved the music he heard in Brazil\, and incorporated a lot of Brazilian melodies and rhythms into the music he wrote in the decade after his time there.  After he returned to France in 1919 he began a piece in the style of a silent film accompaniment.  He described “a piece [originally a cinéma fantasie] about the carnival in Rio\, which will be called “Le Bœuf sur le toit\,” from the name of the samba that the band was playing this evening while the women\, dressed in blue\, were dancing.”  He said\, “I assembled a few popular melodies\, tangos\, maxixes [fast Brazilian tangos in 2/4 time]\, sambas\, even a Portuguese fado\, and transcribed them with a rondo-like theme recurring between each pair.” One of Milhaud’s friends turned it into a ballet-pantomime set in a Manhattan speakeasy called Le Bœuf sur le toit.  Prohibition had just begun\, and in this ballet the establishment was immediately turned into a milk-bar (a “nothing-doing bar”) as soon as police appeared.  It was very successful\, later re-envisioned in a Parisian nightclub called “Le Boeuf sur le Toit” for a French audience.   \nMilhaud created this piece as a rondo\, with a jaunty syncopated theme that repeats a dozen times\, each time in a different key\, until it returns to the home key at the end of the piece.  Between statements of the rondo theme\, Milhaud quotes the Brazilian tunes with a wonderful variety of orchestral color and character\, sometimes in different keys at the same time\, to give it a kaleidoscopic effect that resembles a Brazilian Carnival.   \nTo listen to the Milhaud\, click here. \nDr. Gary June is a clarinetist and educator based in Grand Rapids\, Michigan. He holds teaching positions at both Saginaw Valley State University\, where he is the Adjunct Professor of Clarinet\, and Grand Valley State University\, where he teaches clarinet and general music courses. As an orchestral musician\, he has held the position of 2nd/Eb clarinet with the Sioux City Symphony Orchestra and was an Associate Member of the Civic Orchestra of Chicago. He has likewise regularly played with Sinfonia da Camera\, the Champaign-Urbana Symphony Orchestra\, and the Millikin-Decatur Symphony Orchestra. As a committed educator of primary and secondary-aged students\, he spends summers teaching and playing at Blue Lake Fine Arts Camp and the Illinois Summer Youth Music Pre-College Clarinet Camp. \nDr. June can be heard on the GVSU New Music Ensemble’s celebrated recording of Terry Riley’s In C: Remixed and Sinfonia da Camera’s to-be-released recording of Bohuslav Martin’s ballet\, Stin. He holds degrees from Grand Valley State University and the University of Colorado-Boulder\, and recently completed his Doctorate of Musical Arts at the University of Illinois at Urbana-Champaign\, where he served as the clarinet studio Teaching Assistant and wrote his thesis on contemporary Finnish clarinet music. His principal teachers include Dr. Arthur Campbell\, Daniel Silver\, and J. David Harris.  \n  \n  \nTo listen to the pre-concert video\, click here. \nHSO thanks these business partners for their support of this concert!
URL:https://hollandsymphony.org/events/onstage-with-hso/
LOCATION:Jack H. Miller Center for Musical Arts at Hope College\, 221 Columbia Ave.\, Holland\, MI\, 49423\, United States
ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2022/05/Gary-June-e1652994233903.jpg
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BEGIN:VEVENT
DTSTART;TZID=UTC:20220430T153000
DTEND;TZID=UTC:20220430T173000
DTSTAMP:20260403T140053
CREATED:20190429T222102Z
LAST-MODIFIED:20220428T200344Z
UID:1652-1651332600-1651339800@hollandsymphony.org
SUMMARY:Classics III: Beethoven 9 (3:30pm) sponsored by University of Michigan Health-West
DESCRIPTION:Concert Sponsor:\n															\n			\n						Tickets\n					 \n\nProgram\nProgram Notes\nArtist Bios\nParticipants\nPre-Concert Video\nInformation\n\nSaturday\, April 30\, 2022 at 3:30pm & 7:30pm \nConcert Hall at the Jack H. Miller Center for Musical Arts\, Hope College \nProgram\n  \nFestive Overture\, Op. 96Dmitri Shostakovich (1906-1975)\n \nSymphony No. 9 in D Minor\, Op. 125 Ludwig van Beethoven (1770-1827)\n1. Allegro ma non troppo; un poco maestoso2. Molto vivace3. Adagio molto e cantabile4. Presto – Allegro assai – Allegro assai vivace \nSchyler Sheltrown\, sopranoKaren Albert\, altoJon Lovegrove\, tenorDavid Grogan\, baritone \nChoirs of Hope College & Holland Chorale \nText and translation of Schiller’s poem\, “Ode to Joy”: Beethoven-Symphony-No.-9-text-and-translation-PDF \nFestive OvertureDmitri Shostakovich\nBorn: September 25\, 1906\, Saint Petersburg\, RussiaDied: August 9\, 1975\, Moscow\, USSRWritten: 1954Premiered: November 6\, 1954\, MoscowApproximate duration: 7 minutesInstrumentation: 2 flutes\, piccolo\, 3 oboes\, 3 clarinets\, 2 bassoons\, contrabassoon\, 4 horns\, 3 trumpets\, 3 trombones\, tuba\, timpani\, bass drum\, cymbals\, snare drum\, triangle\, strings\, and off-stage brass \nLike many Soviet composers of his generation\, Dmitri Shostakovich spent his career trying to balance the current musical trends\, his own creative expression\, and the necessity of working within the government’s limits and expressing his country’s revolutionary socialism. This was easy early in his career\, when the cultural climate in the Soviet Union was remarkably free; he and other composers could experiment with avant-garde trends\, Western influences\, and satirical works.  Soon the composers’ musical language became too radical; the only acceptable music was a direct\, accessible\, and popular style. Avant-garde music\, jazz\, and even Tchaikovsky were banished. \nShostakovich experienced this censure firsthand.  When Stalin became angry at what he heard in one of Shostakovich’s operas\, Shostakovich and his opera were officially condemned.  Later\, when the Cold War was raging\, Soviet authorities sought to impose a firmer ideological control over cultural expression. At a notorious conference in Moscow\, the leading figures of Soviet music\, including Shostakovich\, were attacked and disgraced.  Shostakovich was fired from his teaching positions at the Leningrad and Moscow Conservatories.   He was attacked in print\, called a “musical charlatan” and criticized for ignoring “the demand of Soviet culture that coarseness and savagery be abolished from every corner of Soviet life.”  In the two years following his opera\, Lady Macbeth of the Mstensk District\, Shostakovich was so sure that he would be exiled to Siberia that he kept a packed suitcase by the door and slept wearing his daytime clothes.  He was shunned by society; as an “enemy of the people\,” others were afraid to be associated with him. \nShostakovich managed to escape arrest and figured out how to write music that maintained his artistic integrity and pushed up against the limits of what was “acceptable” without crossing the line.  He could somehow portray the heaviness of life while maintaining enough ironic humor to suggest lightheartedness.  Even though Shostakovich spent his life and career in this delicate balancing act\, he seemed to flourish in this tension\, writing music that could be received by the authorities and also displayed his fiercely creative thought in challenging and hopeful ways. \nDespite the brooding quality of much of Shostakovich’s music\, he was also noted for his gregariousness.  This quality is evident in his Festive Overture\, written in 1954 to commemorate the 37th anniversary of the October Revolution in Russia.  After an introduction dominated by the brass\, the overture consists of two primary themes: one is fast and brilliant\, and the other is optimistic and lyrical.  \nTo listen to the Festive Overture\, click here. \nSymphony No. 9 in D Minor\, Op. 125 Ludwig van Beethoven \nMusic donated by Teresa Owen \nBorn: December 17\, 1770Died: March 26\, 1827\, ViennaWritten: Spring\, 1823 – January\, 1824Premiered: May 7\, 1824\,  Kärnthnerthor TheaterViennaApproximate duration: 65 minutesInstrumentation: ​​Soprano\, alto\, tenor\, and bass soloists\, mixed chorus\, piccolo\, 2 flutes\, 2 oboes\, 2 clarinets\, 2 bassoons\, contrabassoon\, 4 horns\, 2 trumpets\, 3 trombones\, timpani\, bass drum\, cymbals\, triangle\, and strings \nWith his ninth symphony\, Beethoven expanded the concept of a “symphony” far beyond what it had been in the past and set an intimidatingly high bar for centuries of composers who followed him.  Beethoven’s grandest and most influential work was not initially recognized as a landmark\, though.  In 1822\, when he started the work\, Beethoven was nearly deaf and had hardly written anything for a decade.  The 1824 premiere had been staged to prove that Beethoven could still draw a crowd in Vienna\, but he was disappointed by the meager profits and mixed reviews.  Beethoven had conducted the work himself\, beating his arms and turning pages\, but the musicians had been cautioned beforehand to ignore him and instead follow the concertmaster’s beat.  When the audience burst into applause Beethoven couldn’t hear it and kept beating; one of the singers had to turn him around for a bow.  The second performance was even less successful.  The work that Beethoven had written to surpass everything he already had accomplished in the field of the symphony had seemingly failed him. For several years after his death\, the ninth symphony was considered too difficult to perform and too long to program easily.  Although it won early supporters\, it was not established in the repertoire until the middle of the nineteenth century.  \n         The trajectory of Beethoven’s masterpiece follows darkness to light\, chaos to order\, despair to joy.  It opens with sound emerging from silence—a poignant gesture from a composer who couldn’t hear what he was writing.  The first sixteen measures have no secure sense of key or rhythm.  The music gradually builds to a decisive\, loud arrival that catapults musicians and listeners into a tumultuous journey.  While the overarching structure would have been familiar to Beethoven’s audience\, the scale\, harmonies\, and “perpetual motion” intensity was totally new.  The structure of the scherzo is huge\, with driving\, almost martial rhythms that occasionally give way to lighter moments and anticipation-filled pauses that tease the listener.  The light\, folk-like trio provides needed contrast.  The slow movement alternates between two themes of contrasting key\, meter\, and mood.  They grow ever more fanciful in their decoration until the movement ends peacefully.   \n         After a disruptive chord shatters the peace\, a carefully staged drama unfolds.  Cellos and basses imitate operatic recitative\, the music of the three previous movements is quickly reviewed and dismissed\, and a new theme is suggested\, which\, when it finally takes shape\, is a simple song that sounds like a hymn or a folk tune. (Beethoven\, in fact\, labored painstakingly over this theme.)  And then—in a move that must have stunned his first audience—Beethoven welcomes the sound of the human voice into the symphony. The earlier recitative returns and now is sung.   \nFor many years Beethoven had wanted to write music for Schiller’s “Ode to Joy\,” a glorified drinking song with a strong humanistic message. He toyed with it several times\, sketched a number of musical ideas\, and even included two lines from Schiller in his opera Fidelio.  Beethoven himself wrote the “preface to Schiller’s poem: “oh friends\, not these tones…  Rather\, let us raise our voices more pleasingly\, and more joyfully.”  When the voices enter\, Beethoven’s wonderful melody is finally given words. (In the end\, Beethoven used only half of Schiller’s poem\, deleting in the process any obvious drinking-song references.)  And from there Beethoven creates a totally new symphonic movement\, combining elements of symphony and concerto (with a big\, virtuosic cadenza for the four soloists)\, classical variations\, Turkish marches (complete with cymbals\, triangle\, and bass drum)\, majestic slow meditations\, and\, finally\, a gigantic double fugue. \nTo listen to Beethoven’s Symphony No. 9\, click here. \n  \nSchyler Sheltrown\, sopranoSchyler Sheltrown is a soprano from West Michigan. Heralded as one of “the country’s most vibrant up-and-coming singers” and “a lovely lyric soprano” by the Toledo Blade for her title role in The Ballad of Baby Doe\, you have likely heard her in performances across the Great Lakes Region. These performances include the roles of Pamina in The Magic Flute\, Musetta in La boheme\, Fiordiligi in Cosi fan tutte\, Romilda in Serse\, Mabel in Pirates of Penzance\, The Page in Rigoletto\, and Mrs. Hayes in Susannah. She has also performed as the soprano soloist in Beethoven’s Symphony No. 9\, Mozart’s Requiem\, and Debussy’s La damoiselle élue. She also had the pleasure of voicing Joan of Arc as a soprano soloist in Voices of Light with the Rackham Choir at the Detroit Film Theatre. She was a finalist in the Harold Haugh Light Opera Vocal Competition (2017) and\, in the same year\, lent her talents to The Library of Congress through the Comic Opera Guild for the first recording of The Free Lance by John Philip Sousa. She has received national recognition\, gaining an Encouragement Award in the Michigan District of the Metropolitan Opera Council Auditions in 2015 and 2016\, First Place in the Scholarship Division of the National Opera Association’s solo voice competition (2014)\, as well as numerous other competitions and prizes.Miss Sheltrown is a graduate of Michigan State University\, where she received her Master of Music (2016) as a Mackey Scholar under the tutelage of Melanie Helton\, along with her Bachelor of Music (2014). \nKaren Albert\, altoEqually at home on the opera stage and in intimate concert settings\, Karen’s work covers a variety of disciplines and styles. Recent opera roles include “Katisha” in The Mikado\, the dasterdly “Mrs. McClean” in Susannah\, and “Cio Cio San’s Mother” in Madama Butterfly. Actively pursuing opportunities to share the unique beauty of the art song tradition\, Karen has performed works such as Edward Elgar’s Sea Pictures and Libby Larsen’s Raspberry Island Dreaming. Her love for choral music is evident in her work as well\, and she regularly sings both solo and ensemble works with historic Park Church in Grand Rapids\, MI and other professional ensembles around the country. \nHer scholarship has led to lecture recitals spanning from early French-Canadian folksongs to theological interpretations of Bach arias. Karen has also presented papers at the Midwest Gradatue Music Consortium and at the University of Calgary.  \nKaren is an adjunct faculty member at Cornerstone University where she teaches music history and vocal technique courses as well as a studio of voice students. \nKaren is also the creator of The Barber & The Singer\, a lifestyle blog seeking to serve and inspire musicians\, artists\, and others in the freelance/self-employed community. The Barber & The Singer can be found in the blog section of this website.  \nJon Lovegrove\, tenorTenor Jon Lovegrove has performed with West Michigan Opera Project as Sam in Susannah\, as well as with Opera Grand Rapids as 2nd Priest and 2nd Man in Armor in The Magic Flute\, the tenor soloist in Rossini’s Stabat Mater\, Shem in Noah’s Flood\, and Remendado in Carmen. He has also been a member of the OGR chorus since 2007\, appearing in multiple productions\, including The Mikado\, La Traviata\, The Marriage of Figaro\, and I Dream. Other West Michigan performances have been with GVSU Opera Theatre as Rinuccio in Gianni Schicchi\, the Kent Philharmonic Orchestra as Rodolfo in La Bohème\, and Timothy in 2nd Act Opera’s production of Help\, Help\, the Globolinks! \nMr. Lovegrove was a soloist for the Michigan premier of Benjamin Britten’s The World of the Spirit with the Evangelical Choral Society in 2013\, and has performed with the ECS on multiple other occasions. \nMr. Lovegrove holds an Associate’s Degree in Vocal Performance from Grand Rapids Community College. While pursuing that degree\, he was a member of the Grand Rapids Community College Choir\, Madrigal Singers\, and Shades of Blue Vocal Jazz Ensemble. \nDavid Grogan\, baritoneThe American baritone and music pedagogue\, David Grogan\, holds Bachelor of Music Education and Master of Music degrees from Texas Christian University\, where he studied voice with Sheila Allen and pedagogy with Vincent Russo. His love of choral music was solidified under the tutelage of the late Ronald Shirey\, who taught Grogan much of his musicality. He earned his Doctor of Musical Arts in Vocal Performance and Pedagogy in 2010 from the University of North Texas\, where he studied voice with Jeffrey Snider\, pedagogy with Stephen Austin\, and worked closely with Lyle Nordstrom in the early music program. Grogan’s dissertation was on the vocal pedagogy of Frederic W. Root\, who was an American vocal pedagogue of the 19th century. A shorter version of the dissertation was published in the January 2010 Journal of Singing under the title\, “The Roots of American Pedagogy.” \nDavid Grogan joined the faculty at the University of Texas Arlington in the fall of 2009\, first as visiting professor and in 2010 as tenure-track Assistant Professor of Voice. In addition to providing private vocal instruction for voice majors\, Grogan teaches vocal pedagogy\, voice class\, and choral methods. His background in choral music education is extensive\, including experience directing programs in both private and public schools across the metroplex. As choir director at Dallas Christian School from 1996 to 2000\, Grogan increased choir participation from 15 members to 115\, and took the choir to one of the first TPSMEA competitions. He has taught voice and served as assistant choral director in some of the most prominent programs in the area\, including at Arlington High School under Dinah Menger\, and Manor Middle School under Tommy Haygood. \nHolland Symphony Orchestra Musicians\nViolin 1Amanda DykhouseSara GoodKatie BastJennifer TuinengaJaclyn BurkeAnna SpixJosh ZallarKatie LefevreMichelle KellisSheri DwyerAlison Sal \nViolin 2Michelle Bessemer Irina KaganPatricia WunderLinssey MaRuth Vanden BosBecky DykKaren-Jane HenryEmma BieniewiczEllen RiznerSusan FormsmaJay SheridanRoger White \nViolaLauren GarzaDavid LeeKennedy DixonDaniel GriswoldSean BrennanJamie ListhConnie MeekhofMary HoflandLaurie Van Ark \nCelloPablo Mahave-VegliaJacob ResendezJohn ReikowSilvia SidoraneDawn Van ArkKevin SweersAnne ThompsonMatthew HeyboerEsther PetersonAlex Bowers \nBassMarcy MarcellettiChuck PageSam DykhouseJmar BongadoAiden Harmon \nFluteGabe SouthardJayne GortGay Landstrom \nOboeSarah SouthardRebecca WilliamsAnn Hepfer-Isaacson \nClarinetGary JuneLindsey Bos \nBassoonCynthia Duda PantLaura DiazRuth Wilson \nHornGreg BassettKarin YamaguchiMichael WrightFred GordonTucker Supplee \nTrumpetBruce FormsmaAaron GoodGregory Alley \nTrombonePaul WesselinkPhilip MitchellAdam Graham \nTubaBrendan Bohnhorst \nTimpaniSue Gainforth \nPercussionEric PetersonShanley KruizengaChris JonesRachel Coussens \nHolland Chorale\nDr. Patrick Coyle\, Artistic DirectorKristin Goodyke\, Principal Accompanist \nMartin AmonKerri BakerAndrew BroussardSarah BrownJay BylsmaKaren BylsmaBrian CarderEvan CuperusJill DeVriesRobert Edwards\, guestJessica Fashun\, guestVincent Frank\, guestJay GainforthChristopher GrapisJohn GriffinJeff HelderSteve HookElizabeth HudsonChandra HronchekCasey LampenKit LeggettJean LemmenesJo MeeuwsenJanet MorrowSverre OlsenPatricia Easa PersenaireMike PikaartAndrew PlummerShela RitchieAmanda RobbertDavid SchallertEd SchmidtJennie SchmidtJoe TerpstraJustin VandenBrinkKent VanTilStan WitteveenCarol Zeh \nSpera\nEric D. Reyes\, conductorBethany Dame\, keyboardist \nSopranoMaicee BishopEmma BoschCaitlyn BrownDarian DavisSeanna DeWittElisa FulperAletheia HoffmanAlli MitchellYessi MorenoChloe Roberts \nAltoLauren BryanEllie DirkseAllyson FennemaLeah FrittsEmma HakkenTaylor HofmanBeata HuntingtonKendall MaesNatalie PlittLily-Kate PritchardRachel Thomas \nChapel Choir\nEric D. Reyes\, conductorAlex Cross\, keyboardist \nSopranoJane AltevogtEmma ClarkMJ CockingGrace CritchfieldLottie-Brooke MimsChloe SmithAbby VonkGretchen Woell \nAltoMegan BartaKatie DonahueEmlin MunchKelli TrudeauRebecca Yurschak \nTenorEliseo BustillosAlex CrossDavid HallockLorenzo LumettaBryce RobinsonWesley StewartSpencer Whittington \nBassBryce GroverChristian LundyGarett ShrodeAndrew SilagiBen WaltersSawyer Winstead \nCollege Chorus\nEric D. Reyes\, ConductorAlex Cross\, Keyboardist \nSopranosMakenzie ChapmanCarola DettmarNatalie GestMacy KerrHannah PastJennie Judd ReyesJennie StatonLeyang Xu \nAltosBethany DameKatherine HaydukAnne KlippAllison MaleMargaret PromAnna TriezenbergBeth VandenbroekDeb VandenHeuvelJoanna VandenHeuvelAngela WagenveldAna Wong \nTenorsTodd SchuilingRyan VanDoeselaar \nBassesGary BogleSamuel GrosskreuzJim KleinhekselIsaac SandovalNoah Wohlfert \nTo listen to the pre-concert video\, click here.\nLearn more about the music…\nWe will be hosting not only the Classical Chat series at Freedom Village\, but also Pre-Concert Talks!  Details below: \nClassical Chats at Freedom Village:  These informative and fun talks are led by Johannes Müller-Stosch and take place at 3:00pm on the Thursday before each Classics concert.  (Freedom Village\, 6th Floor Auditorium\, 145 Columbia Ave.) \nPre-Concert Talks: These talks\, led by Johannes Müller Stosch and Amanda Dykhouse\, will be posted online this year\, approximately one week before each Classics concert.  Look under the “Pre-Concert Talk” tab. \nNew to the Symphony?  Check out the Frequently Asked Question page… \nParking Map at the Miller Center \nHolland Symphony Orchestra will reserve and monitor Lot 40 for handicapped parking.  The faculty parking lots are available for parking after 5pm \n \nHSO thanks these business partners for their support of this concert!
URL:https://hollandsymphony.org/events/classics-iii-beethoven-9-330pm/
LOCATION:Jack H. Miller Center for Musical Arts at Hope College\, 221 Columbia Ave.\, Holland\, MI\, 49423\, United States
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DTSTART;TZID=UTC:20220413T080000
DTEND;TZID=UTC:20220413T170000
DTSTAMP:20260403T140053
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:20260403T140053
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:20260403T140053
CREATED:20210617T200457Z
LAST-MODIFIED:20220308T190014Z
UID:5162-1647183600-1647190800@hollandsymphony.org
SUMMARY:HSYO Spring Concert
DESCRIPTION:Program\nInformation\nParticipants\nBios\n\nSunday\, March 13\, 2022 at 3:00pm\nLokers Auditorium\, Cityside Middle SchoolZeeland\, Michigan \n\nHOLLAND AREA JUNIOR STRINGS\nKyle Nester\, Music Director and ConductorTori Zokoe\, General ManagerKatie Rae Hayduk\, Rehearsal Manager \nPastoral SymphonyLudwig van Beethoven\, arr. Christina Hans \nShepherd’s Hymn from the Pastoral SymphonyLudwig van Beethoven\, arr. Richard Meyer \nFinale from Symphony No. 5Ludwig van Beethoven\, arr. Richard Meyer \nHOLLAND AREA CONCERT STRINGS\nKyle Nester\, Music Director and ConductorTori Zokoe\, General ManagerKatie Rae Hayduk\, Rehearsal Manager \nArith-Metric No. 1Brian Balmages \nBrandenburg Concerto No. 3\, Second MovementJohann Sebastian Bach\, arr. Merle Isaac \nSymphony No. 1 in D Major\, Second MovementGustav Mahler\, arr. Sandra Dackow \nCOMBINED STRINGS FROM HAJS\, HACS\, HAYO\nVariations on a Theme from ThailandRichard Meyer \nHOLLAND AREA YOUTH ORCHESTRA\nChristopher Fashun\, Music Director and ConductorTori Zokoe\, General ManagerKatie Rae Hayduk\, Rehearsal Manager \nSymphony No. 1 in C major\, op. 2: Adagio molto-Allegro con brioLudwig van Beethoven (1770-1827) \nSymphony No. 6 in B minor\, op. 74\, “Pathétique”: Allegro con graziaPeter Ilych Tchaikovsky (1840-1893) \nEnigma\, Variations on an Original Theme\, Opus 3: Variation IX\, NimrodEdward Elgar (1857-1934) \nSymphony No. 9 in E minor\, op. 95\, “From the New World”: Allegro con fuocoAntonín Dvořák (1841-1904) \n  \nMasks will be required for all audience members at this concert. Our students have been making it all semester long and our season does not end until our concert is finished. All students and audience members will be required to mask during the concert. \nDress rehearsal for the concert will take place on Saturday morning\, March 12th. This will take place at Lokers Auditorium at Cityside Middle School on Main Street in Zeeland (320 E Main St\, Zeeland\, MI 49464). Junior Strings will rehearse from 9:00-9:45\, Concert Strings from 10:00-10:45\, ALL HSYO STRINGS from 10:45-11:15\, and HAYO from 11:15-12:00. Students DO NOT need to be in concert dress for dress rehearsal. Per the HSYO Handbook\, DRESS REHEARSAL IS REQUIRED AND FAILURE TO ATTEND CAN MEAN INABILITY TO PARTICIPATE IN THE CONCERT. Concert dress is not required for this rehearsal. Please see the breakdown of the schedule below for further clarification. \n\nJunior Strings students should arrive no later than 8:45am\, and will be done with their first block of rehearsal by 9:45am. They MUST return for rehearsal at 10:45am and will be dismissed for the day by 11:15am. Students may stay at the venue between their two rehearsal blocks\, but must have a book to read or sit quietly in the auditorium while Concert Strings rehearses.\nConcert Strings students should arrive no later than 9:45am and will be done with their rehearsal block by 11:15am.\nHAYO String players should arrive no later than 10:30am and will be done with their rehearsal block by 12:00pm.\nHAYO Winds\, Brass\, and Percussion players should arrive no later than 11:00am and will be done with their rehearsal block by 12:00pm.\n\nConcert dress is as follows: \n\n Junior and Concert Strings: Men: Black pants\, black socks\, and black shoes\, with long sleeved white shirt (no ties); Women: Tea length (below knees) black skirt\, white long sleeved dress blouse\, and black shoes with black nylons or tights. Dressy long pants are permissible for women (no jeans or leggings). Black mask required.\nHAYO: Men: Black pants\, black socks\, and black shoes\, with long sleeved black shirt (no ties); Women: Tea length (below knees) black skirt\, black long sleeved dress blouse\, and black shoes with black nylons or tights. Dressy long pants are permissible for women (no jeans or leggings). Black mask required.\n\nSpring Concert warm-up schedule on Sunday\, March 13: \n\nCall time for students is 1:30pm\, dressed and ready to perform at Lokers Auditorium (320 E Main St\, Zeeland\, MI 49464).\nStudents should plan to arrive no later than 1:15pm. We will do sound checks on stage and the concert will begin promptly at 3:00pm.\n\nTickets will be available for purchase at dress rehearsal and at the door – $10 for adults and $5 for students ages 6-college. Children under 6 are free. You can preorder tickets using this link and then pay and pick up at dress rehearsal or the door before the concert. HSYO Spring Concert Ticket Orders \n  \nSpring Auditions: Video submissions are due by August 1st for Concert Strings and HAYO students. Interested students can inquire and/or send video submissions to our General Manager\, Tori Zokoe\, at victoriazokoe@gmail.com. \nHOLLAND AREA JUNIOR STRINGS\nAurea DeKuiper\, 5\, Homeschool\, violinAnna Richert\, 6\, Homeschool\, violinDan Thach\, 7\, West Ottawa\, violinHailey Moorman\, 5\, Byron Center\, violinDavid Steenwyk\, 6\, Holland Christian\, violinRebecca Haig\, 6\, Holland Christian\, violinJosiah DeVries\, 6\, Holland Christian\, violinMatthew Yang\, 7\, West Ottawa\, violinDiana Linares\, 7\, West Ottawa\, violinRyan Park\, 7\, West Ottawa\, violinElLeigh Frame\, 7\, West Ottawa\, violinEvangeline Figueroa\, 7\, West Ottawa\, violinAidric Gomez\, 2\, Black River\, violinJennifer Goding\, 7\, West Ottawa\, violaCat Kraus\, 7\, Black River\, violaEzra Rozema\, 7\, Holland Christian\, violaGwendolyn Bedwell\, 7\, West Ottawa\, violaGrace Meade\, 4\, Reeths Puffer\, celloDavina VanIwaarden\, 7\, Holland Christian\, celloJoseph Yang\, 8\, West Ottawa\, celloAmalia Noble\, 7\, West Ottawa\, celloMadison Goodenough\, 7\, West Ottawa\, cello \nHOLLAND AREA CONCERT STRINGS\nLeila Sundararajan\, 8\, Holland\, violinNorrah Campbell\, 9\, Zeeland\, violinChristiana Franzon\, 7\, Homeschool\, violinAxel Franzon\, 7\, Homeschool\, violinCharlotte Beckman\, 7\, Holland Christian\, violinJack Bolt\, 8\, Holland\, violinLayla Vinten-Johansen\, 9\, SaugatuckJack Sherman\, 6\, HomeschoolDane Kolk\, 8\, Holland Christian\, violaAlan Juarez\, 9\, Holland\, violaAlexis Goodell\, 8\, West Ottawa\, violaOak DeKuiper\, 8\, Homeschool\, celloAndrew Elwood\, 8\, West Ottawa\, celloAbby Kuiper\, 8\, West Ottawa\, cello \nHOLLAND AREA YOUTH ORCHESTRA\nRebekah Dykema\, 12\, Zeeland\, violin 1Lindsay Brncick\, 12\, Black River\, violin 1Aeja DeKuiper\, 12\, Homeschool\, violin 1Olivia Wilcox\, 12\, Hudsonville\, violin 1Greta Bast\, 9\, Black River\, violin 1Aliz Pusztai\, 11\, Libertas\, violin 1Noah Marroquin\, 11\, West Ottawa\, violin 1Elyse Schurman\, 12\, West Ottawa\, violin 2Claire Kaercher\, 12\, Unity Christian\, violin 2Carlina Franzon\, 11\, Homeschool\, violin 2AmySue Harlow\, 11\, Homeschool\, violin 2Paige Bomhof\, 12\, West Ottawa\, violin 2Mason Sybesma\, 8\, Holland Christian\, violin 2Kate Wehrman\, 10\, Libertas\, violin 2Ariana Ramirez\, 10\, West Ottawa\, violin 2Sophia Postma\, 12\, Homeschool\, violaElla Pusztai\, 11\, Libertas\, violaElla Vanden Berg\, 11\, Holland Christian\, violaBarrett Huffman\, 10\, Holland Christian\, violaBrandon Blake\, 12\, West Ottawa\, celloSamuel Nicely\, 12\, Holland Christian\, celloDaniel Hotchkiss\, 10\, West Ottawa\, celloMadeline Benson\, 11\, Black River\, celloChase Veldink\, 10\, West Ottawa\, celloMaggie Bast\, 10\, Black River\, celloAbigail Fahrion\, 12\, Holland\, celloSophie Fenwick\, 11\, Homeschool\, celloAbram Vanden Berg\, 8 Holland Christian\, celloSam Dykhouse\, 12\, Black River\, bassJenna Ly\, 12\, Holland Christian\, fluteJilaena Weesies\, 12\, Grand Haven\, fluteStephanie VanKuiken\, 11\, Grand Haven\, fluteCarlos Marroquin-Lozada\, 12\, West Ottawa\, oboeJoshua Woolsey\, 11\, Holland Christian\, clarinetNoelle Harrity\, mentor\, bassoonSydney Brander\, 12\, Zeeland\, French hornIsaiah Theonugraha\, 9\, Zeeland\, French hornJaclyn Klinger\, mentor\, French hornAnnika Johnson\, 8\, Hamilton\, French hornKaleb Gomez Corder\, 11\, trumpetKeith Walker\, mentor\, trumpetNolan Meier\, 12\, Black River\, tromboneCaroline Johnson\, 10\, Hamilton\, tubaPeyton Brennan\, 12\, Zeeland\, percussion \nRehearsal Manager: Katie Rae Hayduk \nSet Up Crew: Brandon Blake\, Aeja DeKuiper\, Carlina Franzon\, Rebekah Dykema \nHAYO Graduating Seniors: Brandon Blake\, Paige Bomhof\, Sydney Brander\, Peyton Brennan\, Lindsay Brncick\, Aeja DeKuiper\, Rebekah Dykema\, Sam Dykhouse\, Abigail Fahrion\, Claire Kaercher\, Jenna Ly\, Carlos Marroquin-Lozada\, Nolan Meier\, Sam Nicely\, Sophia Postma\, Elyse Schurman\, Jillaena Weesies\, Olivia Wilcox \n \nKyle Nester \nKyle Nester graduated from Alma College in 2004 with a Bachelor of Music in Music Education degree.  While in college\, he participated in orchestra\, marching band\, jazz band\, percussion ensemble\, and choir.  Mr. Nester spent a term in Vienna\, Austria and studied violin with Maeve Auer from the Universitat fur Musik und Darstellende Kunst.  After college\, he was a soloist in the Baroque on Beaver Music Festival and performed with Josh Groban a few times.  After a long-term substitute teacher position in Fremont\, Michigan\, he taught 5th – 12th grade orchestra at Chippewa Hills School District for seven years.  After his wife Andrea finished her law degree at Michigan State University\, the couple moved to West Michigan. He started teaching at Holland Christian in 2012 and Andrea was employed in a law firm in downtown Grand Rapids.  Recently\, Mr. Nester has been interested in fiddling and started the Michigan Academy of Folk Music with Nate Roberts from Hope College.   \nMr. Nester enjoys running races\, enjoying nature\, playing music\, and traveling.  They have three “interesting” cats and a planted freshwater fish tank.   \n  \nChristopher H. Fashun \nChristopher H. Fashun is an incredibly diverse and versatile conductor\, performer\, and educator. He brings over two decades of experience as a music educator leading middle school\, high school and collegiate band and orchestra programs in addition to directing jazz and percussion ensembles. \nA 2018 recipient of a U.S. Postdoctoral Fulbright Award in All Disciplines\, Dr. Fashun will be living and researching Afro-Brazilian music in Salvador da Bahia\, Brazil during the summer of 2019.  His project will focus on the dissemination of Afro-Brazilian music and culture in the city of Salvador.  \nAn Assistant Professor of Music at Hope College\, he serves as the Director of Orchestras\, the founder and Music Director of the Brazilian Drumming Ensemble\, teaches applied percussion\, world music\, and is an Instructor of Instrumental Music Education. \nAn accomplished percussionist and violist\, he has several years of orchestral and chamber music experience and has enjoyed success in both areas as a soloist by winning three concerto competitions\, one on viola and two on marimba. \nDr. Fashun is an active guest conductor\, clinician\, adjudicator\, and percussionist.  He is a frequent presenter at music education conferences and is a highly sought after clinician and conductor.  Notable engagements include the La Porte County Symphony Orchestra\, Holland Symphony Orchestra\, Elkhart Symphony Orchestra\, St. Ambrose University Community Symphony Orchestra\, the University of Iowa Philharmonia and All-University Orchestras.  Dr. Fashun has conducted the Symphony String Orchestra at the Iowa IMEA Conference for the All-State Iowa Junior Honors String Orchestra Festival Concert and the Midwest Mennonite Festival Orchestra and Concert Band.  He has served on the music faculties at St. Ambrose University and Goshen College.  \nHis research in conducting combines developing musicianship from the podium and health and wellness for music educators.  \nWhen he’s not making music\, he is either cycling\, paddle boarding\, or practicing Pilates and enjoying the fabulous beaches in Holland (in the summer\, of course) with his wife and daughter.  \nHSO thanks these business partners for their support of this concert!
URL:https://hollandsymphony.org/events/hsyo-spring-concert-3/
LOCATION:Lokers Auditorium\, Cityside Middle School\, 320 East Main\, Zeeland\, MI\, 49464\, United States
ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2021/05/HAYO-pic-fall-2019-small-1024x737-1-e1623945205856.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=UTC:20211211T193000
DTEND;TZID=UTC:20211211T210000
DTSTAMP:20260403T140053
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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