BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Holland Symphony Orchestra - ECPv6.15.18//NONSGML v1.0//EN CALSCALE:GREGORIAN METHOD:PUBLISH X-WR-CALNAME:Holland Symphony Orchestra X-ORIGINAL-URL:https://hollandsymphony.org X-WR-CALDESC:Events for Holland Symphony Orchestra REFRESH-INTERVAL;VALUE=DURATION:PT1H X-Robots-Tag:noindex X-PUBLISHED-TTL:PT1H BEGIN:VTIMEZONE TZID:America/New_York BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20230312T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20231105T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20240310T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20241103T060000 END:STANDARD BEGIN:DAYLIGHT TZOFFSETFROM:-0500 TZOFFSETTO:-0400 TZNAME:EDT DTSTART:20250309T070000 END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:-0400 TZOFFSETTO:-0500 TZNAME:EST DTSTART:20251102T060000 END:STANDARD END:VTIMEZONE BEGIN:VTIMEZONE TZID:UTC BEGIN:STANDARD TZOFFSETFROM:+0000 TZOFFSETTO:+0000 TZNAME:UTC DTSTART:20220101T000000 END:STANDARD END:VTIMEZONE BEGIN:VEVENT DTSTART;TZID=America/New_York:20241117T150000 DTEND;TZID=America/New_York:20241117T163000 DTSTAMP:20260417T160644 CREATED:20241018T153925Z LAST-MODIFIED:20241108T184247Z UID:11929-1731855600-1731861000@hollandsymphony.org SUMMARY:HSYO Fall Concert DESCRIPTION:Concert Sponsors: \n \n \n \nHolland Symphony Youth Orchestras\nFall ConcertSunday\, November 17\, 2024\, 3:00pmWest Ottawa Performing Arts Center\nHarbor Lights Middle School\nTickets are $10 at the door \nProgram\nHolland Area Concert StringsKyle Nester\, Music Director/Conductor \nHANDEL    Entrance of the Queen of Sheba (arr. H. B. Fisher)TCHAIKOVSKY    Swan Lake\, Act II\, No. 10 (arr. Michael Hopkins)R. MEYER    Idylls of PegasusB. RIDEOUT    Scottish Mist (Arr. Bob Phillips) \nHolland Area Youth OrchestraJosh Zallar\, Music Director/Conductor \nSelections from Schubert’s Symphony No. 8 “Unfinished” and Beethoven’s Symphony No. 7 \nhttps://youtu.be/Kj6Wxz6Gpcs[INSERT_ELEMENTOR id=”7643″] URL:https://hollandsymphony.org/events/hsyo-fall-concert-5/ LOCATION:West Ottawa Harbor Lights Middle School\, 1024 136th Ave\, Holland\, MI\, 49424\, United States ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2024/10/hsyo-combined-string-pic.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20241102T193000 DTEND;TZID=UTC:20241102T210000 DTSTAMP:20260417T160644 CREATED:20240321T002143Z LAST-MODIFIED:20241018T151916Z UID:10482-1730575800-1730581200@hollandsymphony.org SUMMARY:Sounds of the Sea DESCRIPTION:Concert Sponsors:\nAnn & John Query andRuth & David Crouch\nSheet music sponsored by a generous gift from the Franklin Kraai Trust. \n\nProgram\nInformation\nProgram Notes\nArtist bio\nPre-Concert Talk\n\nProgram\nSaturday\, November 2\, 2024\, 7:30 p.m.Jack H. Miller Center for Musical Arts\, Hope College \nJohannes Müller Stosch\, Music Director and ConductorAndrew Le\, Piano \nAngels of Fire and Ice Ana Lara (b. 1959)\nAngel of DarknessAngel of the DawnAngel of LightAngel of the Sunset \nPiano Concerto in G MajorMaurice Ravel (1875-1937)\nAllegrettoAndante con moto: Commencer très calmamentRondeau a La Française: Presto giocoso \nRestless OceansAnna Clyne (b. 1980)\nLa Mer (The Sea)Claude Debussy (1862-1918)\nFrom Dawn to Noon on the Sea: très lent – animez peu à peuPlay of the Waves: Allegro (dans un rythme très souple) – animéDialogue of the Wind and the Sea: Animé et tumultueux – cédez très légèrement \n \nThe concert on Saturday\, November 2\, 2024\, 7:30 p.m. at the Jack H. Miller Center for Musical Arts\, Hope College will feature the return to Holland of one of our favorite artists\, Andrew Le\, pianist.  He will perform Francis Poulenc’s Concerto for Piano and Orchestra with Johannes Müller Stosch\, Music Director and Conductor\, conducting. The concert will open with Ana Lara’s striking Fire and Ice.  Anne Clyne’s Restless Oceans will lead the way to Claude Debussy’s epic masterpiece\, La Mer. \nTickets are $29 for adults and $10 for students through college. \nLearn more about the music…\nWe will be hosting not only the Classical Chat series at Freedom Village\, but also Pre-Concert Talks!  Details below: \nClassical Chats at Freedom Village:  These informative and fun talks are led by Johannes Müller-Stosch and take place at 3:00pm on the Thursday before each Classics concert.  (Freedom Village\, 6th Floor Auditorium\, 145 Columbia Ave.) \nPre-Concert Talks:  These talks\, led by Johannes Müller-Stosch and Amanda Dykhouse\, are online under the “Pre-Concert Talk” Tab.   \nNew to the Symphony?  Check out the Frequently Asked Question page… \nParking Map at the Miller Center \nHolland Symphony Orchestra will reserve and monitor Lot 40 for handicapped parking.  The faculty parking lots are available for parking after 5pm \n \nAngels of Fire and Ice (Ángeles del llama y hielo)Ana Lara\nBorn: November 30\, 1959Written: 1994Premiered: September 2\, 1994\, Mexico City\, Orquesta Sinfónica Nacional de MéxicoApproximate Duration: 20 minutesInstrumentation: 2 flutes\, piccolo\, alto flute\, 2 oboes\, English horn\, 2 clarinets\, bass clarinet\, 2 bassoons\, contrabassoon\, 4 horns\, 3 trumpets\, 3 trombones\, tuba\, timpani\, percussion (bass drum\, cymbals\, snare drum\, tam-tam\, thunder sheet\, tom-toms\, triangle\, tubular bells\, vibraphone\, wind machine)\, 2 harps\, celeste\, and strings \nAna Lara is one of the most respected composers in Mexico today.  She studied piano and composition in Mexico City\, Warsaw\, and Baltimore.  She has been composer in residence with the Mexico National Symphony Orchestra.  She composes in a variety of genres\, ranging from chamber music to musical theater to choreographed dance works.  Lara says that the composers who influenced her most are Arvo Pärt and Henryk Górecki.  She likes to explore the use of continuous sound in her work\, as well as exploring microtonality and heterophony.  Lara describes her music as “international and abstract\, but deeply Mexican in its soul.”  \nLara composed Angels of Fire and Ice in 1994.  It is a spiritual reflection on time\, with four angels representing stages in human life: darkness\, dawn\, light\, and sunset.  She uses huge sounds to represent the inexorable\, ongoing cycle of life\, and she uses quiet sounds to evoke awe\, elemental powers\, and deep silence.  The piece starts with very quiet low notes\, describing a quiet beginning.  Energy begins to gather with swooping string gestures\, bird-like woodwinds\, booming percussion\, and interjections from the brass instruments.  This finally subsides back into silence. She based the piece on poetry by Mexican poet Francisco Serrano.  Lara said\, “Francisco Serrano’s poems speak of four angels\, four cardinal points\, four states of being\, four moments of the day\, and this gave me the idea to approach the orchestra in four different forms. It was never my intention to compose songs from the poems\, but to take from them the basis for an orchestral work in four parts that alludes to the spirit of each poem and\, in a way\, to the structure of the poems: sonnet form. I tried to stay very true to the texts during the composition process and I had many conversations with the poet in which we discussed our respective interpretations. This work emerged\, whose parts have a very close relationship between the literary origins and my musical version.” \nAngels of Fire and Ice was premiered on September 2\, 1994 by the National Symphony Orchestra of Mexico in Mexico City.  Lara dedicated it to their music director\, Arturo Diemecke\, who later became the Music Director of Long Beach Symphony in California from 2001-2014.  The two orchestras jointly commissioned another piece by Lara in 2004.   \nTo listen to a recording of Angels of Fire and Ice\, click here. \nAngels of Flame and Ice Francisco Serrano \nTo Ana Lara  \nAngel of Darkness  \nImperious\, glacial\, like a bare blade of cold steel He suddenly appears\, dark in the place of shadows\, On the edge of silence\, unrelenting\, unvanquished\, Terrible messenger of an existence that has not been reached.  \nHe is a wind born of the void to gnaw at the body (Body itself) to leave it in an instant\, intact. Prisoner perhaps of an excessive bliss\,There is no passion in the angel: He is the stranger.  \nAn acrid air precedes him\, a limitless fog\, A being without limits\, coalesced shadow\, breath of the breath.    Being of silence\, angel so sad\, do you grieve for us?  \nDo you take for yourself what you need\, or get back what is yours? Will this flesh be of use when death  Finally breathes under your incomprehensible light?  \nAngel of Dawn  \nIs there no place for the angels to spread their wings? In the loose breeze of the first light He sparkles\, indelible\, a face  Kneaded from water and fire and air and salt.    \nHe hovers over time\, like a flowing sky\, Wing and skin undulating at the edge of bright water. With very gentle hands\, a sketch of gold in each finger\, He reaches towards light that fulfills its promise.  \nAngel\, sacred vessel of being\, incandescent condensation of the cosmos\, Prescient space\, in your grace everything is about to be born.  Would you accept a prayer addressed to you?  \nThe world is like rain that does not sustain you.  The angel has no roots: he moves among us Detached from the earthly heart\, like a hostage.  \nAngel of Light  \nAngels\, birds of the abyss\, are they so different from us? A breath of crystals coming from afar\, A superior command\, shining and hidden\, Pure love unlimited within the boundaries of the spirit?  \nMaybe your diaphanous nature is not inaccessible to us. In the exact center of the heart\, Beyond pleasure and grief\, You exist alongside of anguish\, like an act of love.   \nAnd if we shouted\, would you hear us? If you descended upon us\, could we keep silent? We can only guess at your strength\, at your pitiless mediation.  \nThe song of the earth is the trace of his passing; The white light of noon\, his shadow. He is stillness. He does not last.  \nAngel of Dusk  \nLike a window opened on an untended garden\,  Like a wasteland beneath the open sky\,     They are beings that see with their eyes closed\,  Shadows of a body in search of its form.  \nThey wander among us\, sleepwalkers\, Extravagant\, like the blind without a face\,    Fire greedy for light\, impenetrable fire surrounded by water. Where they alight\, dancing ceases.  \nAngels of dusk\, messengers Of who knows what vacant and higher kingdom\, They turn into night with each one of us.  \nIn the boundaries of time\, in the crack between life and death\, They stalk in the crevices of consciousness\, formless\, While a dove flutters in a frightfully severed sky… \nPiano Concerto in GMaurice Ravel\nBorn: March 7\, 1875\, Ciboure\, FranceDied: December 28\, 1937\, Paris\, FranceWritten: 1931 \nPremiered: January 14\, 1932\, Paris\, Lamoureux Orchestra\, Ravel conducting\, soloist Marguerite Long Approximate Duration: 23 minutesInstrumentation: solo piano\, piccolo\, flute\, oboe\, English horn\, clarinet\, E-flat clarinet\, 2 bassoons\, 2 horns\, trumpets\, trombone\, timpani\, percussion (bass drum\, snare drum\, suspended cymbal\, tam-tam\, triangle\, whip\, woodblock)\, harp\, strings \nMaurice Ravel was born on the French side of the border with Spain when his father\, an engineer and inventor\, was working on railroad construction projects.  Shortly thereafter\, his family returned to Paris\, but Ravel always felt strongly connected to the Basque area on the Spanish border.  He began his musical studies at age seven and started composing when he was eighteen\, publishing his first works at age twenty. \nRavel thought about writing a piano concerto for a long time\, but didn’t start until he was in his fifties.  He toured the United States in 1928\, receiving a lot of acclaim for Boléro.  When he got home he started writing his concerto and planned on performing it on a grand tour that would include not only the United States but also South America\, East Asia\, and Europe.  Right after he started this piece he received a commission from Paul Wittgenstein\, an Austrian pianist who had lost his right arm in World War I\, asking Ravel to compose a concerto for the left hand.  After he completed his commission Ravel returned to his G Major concerto.  He shut himself off from the rest of the world\, working long hours each day to finish it.  It ended up being his last orchestral composition.  Later in 1932 he developed a neurological disease that no longer allowed him to play piano\, speak\, compose\, or conduct. \nRavel had strong feelings about concertos.  He wrote in the summer of 1931\, as he was finishing this concerto\, that his piece was a “concerto in the strict sense\, written in the spirit of Mozart and Saint-Saëns\,” and that “the music of a concerto should\, in my opinion\, be lighthearted and brilliant\, and not aim at profundity or at dramatic effects. It has been said of certain classics that their concertos were written not ‘for’ but ‘against’ the piano. I heartily agree. I had intended to title this concerto ‘Divertissement.’ Then it occurred to me that there was no need to do so because the title ‘Concerto’ should be sufficiently clear.”  With this statement he was criticizing weighty pieces like Brahms’ second concerto.  He was much more in favor of writing in the style of Mozart and Saint-Saëns\, who wrote to showcase the virtuosity of the soloist.  Ravel definitely wrote a piece that embraces flash and spectacle\, and was in fact so difficult that he did not feel he would do it justice as its soloist.  Marguerite Long premiered the piece on January 14\, 1932\, and Ravel conducted.   \nThe concerto opens with the crack of a whip followed by the opening theme in the piccolo and trumpet.  Soon the English horn changes the mood to a slower\, Spanish-sounding theme\, accompanied by a strumming piano figure that imitates Spanish guitars.  Then the clarinet introduces a jazz and blues melody\, inspired by American jazz as reflected by George Gershwin.  Ravel and Gershwin greatly admired each other.  This concerto by Ravel borrows so much from Gershwin that some have called it the sequel to Rhapsody in Blue (1924) and Gershwin’s Concerto in F (1925).   \nRavel claimed that the slow movement of this concerto was one of the most difficult things he ever wrote\, and he was only able to compose one or two measures at a time.  He lamented\, “that flowing phrase! How I worked over it bar by bar! It nearly killed me!”  The result was one of his most expressive and beautifully crafted melodies\, inspired by Mozart’s clarinet quintet.  The piano begins alone\, playing a stately sarabande in the right hand and a leisurely waltz in the left hand.  The orchestra enters in a mournful dialogue with the piano.   \nThe final movement is a short whirlwind.  It begins with a drum roll and a fanfare\, and then proceeds like a circus race\, lasting only about four minutes.  Like the first movement\, it has many elements of jazz\, including clarinet riffs\, trombone slides\, and brass fanfares.  A sharp percussion crack recalls the opening\, leading the music to an exciting and abrupt end.   \nTo watch a video of Ravel’s Piano Concerto in G\, click here. \nRestless OceansAnna Clyne\nBorn: March 9\, 1980\, LondonWritten: 2018Premiered: January 22\, 2019\, World Economic Forum\, Davos SwitzerlandApproximate Duration: 4 minutesInstrumentation: 2 flutes\, 2 oboes\, 2 clarinets\, 2 bassoons\, 2 French horns\, 2 trumpets\, timpani\, percussion (bass drum and snare drum)\, strings \nBritish composer Anna Clyne is one of the most frequently performed contemporary composers today.  She is known for collaborating with artists from a variety of disciplines–visual art\, dance\, film\, and poetry–to compose a variety of creative musical works.  She studied at University of Edinburgh and Manhattan School of Music.  She was nominated for a GRAMMY award in 2015.  She has been a composer-in-residence for the Chicago\, Baltimore\, Berkeley\, BBC\, and Helsinki symphonies.  For a long time she has been interested in using symphony instruments to portray sounds from nature.  She even recorded a piece written for cellist Yo-Yo Ma in a forest.  She noted in a 2021 interview\, “I think orchestration is like painting—you combine different instruments to create your own orchestral colours.” \nShe composed Restless Oceans In 2018\, drawing on a variety of traditions of “pastoral” music.  The piece includes a gentle flute melody over bubbling woodwing parts.  Borrowing from a very different tradition of nature-inspired music\, exemplified in Stravinsky’s Rite of Spring\, she also includes heavily accented notes and unpredictable rhythms.  She asks performers to sing as well as play their instruments\, adding stomps and sharper syllables for punctuation of dramatic moments.   \nShe writes about the piece: “I composed Restless Oceans for Marin Alsop and the Taki Concordia Orchestra for performance at the World Economic Forum Annual Meeting in Davos. The piece received its world premiere at the opening ceremony in 2019 where Marin Alsop was presented with the Forum’s prestigious Crystal Award in recognition of her championship of diversity in music. This work draws inspiration and its title from A Woman Speaks – a poem by Audre Lorde and was composed with this particular all-women orchestra in mind. In addition to playing their instruments\, the musicians are also called to use their voices in song and strong vocalizations\, and their feet to stomp and to bring them to stand united at the end. My intention was to write a defiant piece that embraces the power of women. Restless Oceans is dedicated with thanks to Marin Alsop.” \nClyne takes her title for this piece from a line in the poem and includes the full poem in the printed conductor’s score for this piece.  She doesn’t intend for her piece to portray the poem in any precise way\, but hopes her audiences will read the poem to give hearers another way to connect to the auditory experience of the piece.   \nTo watch a performance  of Restless Oceans by Johannes’s university orchestra\, click here. \nA Woman Speaks Audre Lorde \nMoon marked and touched by sunmy magic is unwrittenbut when the sea turns backit will leave my shape behind.I seek no favoruntouched by bloodunrelenting as the curse of lovepermanent as my errorsor my prideI do not mixlove with pitynor hate with scornand if you would know melook into the entrails of Uranuswhere the restless oceans pound. \nI do not dwellwithin my birth nor my divinitieswho am ageless and half-grownand still seekingmy sisterswitches in Dahomeywear me inside their coiled clothsas our mother didmourning. \nI have been womanfor a long timebeware my smileI am treacherous with old magicand the noon’s new furywith all your wide futurespromisedI amwomanand not white. \nLa Mer (The Sea)Claude Debussy\nBorn: August 22\, 1862\, Saint Germain-en-Laye\, Départment of Seine-et-Oise\, FranceDied: March 25\, 1918\, ParisWritten: 1903-05Premiered: October 15\, 1905\, Paris\, Lamoureux Orchestra\, conductor Camille ChevillardApproximate Duration: 24 minutesInstrumentation: 2 flutes\, piccolo\, 2 oboes\, English horn\, 2 clarinets\, 3 bassoons\, contrabassoon\, 4 horns\, 3 trumpets\, 2 cornets\, 3 trombones\, tuba\, timpani\, percussion (bass drum\, cymbals\, glockenspiel\, tam-tam\, and triangle)\, 2 harps\, and strings \nClaude Debussy loved the sea.  He grew up listening to his father\, a sailor\, tell dramatic stories of his life on the water.  He spent some of his holidays at the seaside\, in Cannes and Arcachon and at the Villa Medici near Rome.  He had one frightening voyage in a small boat near Brittany.  He visited London a few times\, crossing via the English Channel.  On these trips he spent a lot of time with paintings by J. M. W. Turner\, whose work he admired and studied.  These and other paintings\, especially by French Impressionist artists\, added to his romantic fascination with the sea.  Debussy wrote to his publisher\, “I have loved the ocean and listened to it passionately….  The sea is always endless and beautiful. It is really the thing in nature which best puts you in your place….  The sea has been very good to me.  She has shown me all her moods.  You do not know perhaps that I was intended for the fine career of a sailor and only the chances of life led me away from it.…  I have an endless store of memories….  Music is a free art\, boundless as the elements\, the wind\, the sky\, and the sea.” \nDebussy began working on La Mer in 1903.  He subtitled it\, “Symphonic Sketches.”  This musical triptych gives listeners three “portraits” of the sea.  His first movement\, “From Dawn to Noon on the Sea\,” depicts the movement of the sun from below the horizon to directly overhead the listeners.  The cellos usher in the dawn with a quiet\, rising two note motive.  Muted brass instruments add a small theme that also appears in the last movement.  The ocean is quiet in this movement\, but the power is present beneath the calm surface\, as motion emerges as dawn emerges.  Eventually flutes and clarinets suggest splashing waves\, momentum builds\, and then cellos sing a lyrical tune that rises and falls with the waves.  As the morning progresses the water becomes livelier\, with quickly appearing melodic phrases.  A brass chorale ushers in the bright light of noon.   \nThe second movement\, “The Play of the Waves\,” also begins quietly\, but soon this music gets faster and more energetic.  This music functions as a scherzo or intermezzo\, with lighter textures than the weight and density found in the outer movements.  The waves and the rhythms are irregular and full of quick melodies.  Woodwinds are featured.  The sea’s force is tangible under light woodwind textures.  The sea becomes silent at the end.   \nIn the third section\, “Dialogue of the Wind and the Sea\,” the low strings open with an ominous and foreboding mood\, as if promising that a storm will appear soon.  An exquisite melody arises out of the musical forces\, possibly suggesting a mermaid’s song.  Various woodwind instruments continue the dialogue until the horns usher in a climax of surging water and waves\, recalling the first movement in the form of a stormy dialogue.   \nTo watch a video of La Mer\, click here. \n  \nTo watch the pre-concert video\, click here.\n \n Tickets\n \n [INSERT_ELEMENTOR id=”7643″] URL:https://hollandsymphony.org/events/sounds-of-the-sea/ LOCATION:Jack H. Miller Center for Musical Arts at Hope College\, 221 Columbia Ave.\, Holland\, MI\, 49423\, United States ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2024/03/Drew-web.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20240914T193000 DTEND;TZID=UTC:20240914T193000 DTSTAMP:20260417T160644 CREATED:20240115T010507Z LAST-MODIFIED:20240913T195837Z UID:10477-1726342200-1726342200@hollandsymphony.org SUMMARY:An American in Paris DESCRIPTION:Concert Sponsor:\nIn memory of Floyd Farmer\n \n Tickets\n \n\nProgram\nInformation\nProgram Notes\nArtist bio\nPre-Concert Talk\n\nProgram\nSaturday\, September 14\, 2024\, 7:30 p.m.Jack H. Miller Center for Musical Arts\, Hope College \nJohannes Müller Stosch\, Music Director and Conductor \nChristopher Houlihan\, organ \nIdylle (US Premiere)Joseph Marx (1882-1964)\nToccata Festiva for Organ and Orchestra\, Op. 36Samuel Barber (1910-1981)\nChristopher Houlihan\, Organ \nDances in the CanebrakesFlorence Price (1887-1953)\nNimble FeetTropical NoonSilk Hat and Walking Cane \nAn American in ParisGeorge Gershwin (1898-1937)\n \n“An American in Paris\,” the opening concert of the 24-25 season\, will be held Saturday\, September 14\, 2024\, 7:30 p.m. Jack H. Miller Center for Musical Arts\, Hope College\, Johannes Müller Stosch\, Music Director. Organ virtuoso Christopher Houlihan makes his HSO debut performing Samuel Barber’s magnificent Toccata Festiva for Organ and Orchestra.  The concert will also feature Florence Price’s delightful Dances in the Canebrakes and Josef Marx’s Idylle.  The evening will conclude with George Gershwin’s well-loved An American in Paris. \nTickets are $29 for adults and $10 for students through college. \nLearn more about the music…\nWe will be hosting not only the Classical Chat series at Freedom Village\, but also Pre-Concert Talks!  Details below: \nClassical Chats at Freedom Village:  These informative and fun talks are led by Johannes Müller-Stosch and take place at 3:00pm on the Thursday before each Classics concert.  (Freedom Village\, 6th Floor Auditorium\, 145 Columbia Ave.) \nPre-Concert Talks:  These talks\, led by Johannes Müller-Stosch and Amanda Dykhouse\, are online under the “Pre-Concert Talk” Tab.   \nNew to the Symphony?  Check out the Frequently Asked Question page… \nParking Map at the Miller Center \nHolland Symphony Orchestra will reserve and monitor Lot 40 for handicapped parking.  The faculty parking lots are available for parking after 5pm \n \nClick here for Printable Program Notes\nIdylle: Concertino on the Pastoral FourthJoseph Marx\nBorn: May 11\, 1882\, GrazDied: September 3\, 1964\, GrazWritten: 1926Premiered: March 4\, 1926\, ViennaApproximate Duration: 15 minutesInstrumentation: 3 flutes\, 2 oboes\, English horn\, 3 clarinets\, bass clarinet\, 2 bassoons\, 4 French horns\, 2 trumpets\, timpani\, percussion (tambourine\, triangle\, xylophone)\, 2 harps\, celeste\, strings \nJoseph Marx was born in Graz\, Austria.  His mother taught him piano at an early age\, and he taught himself how to play violin and cello.  He went to Graz University.  His father wanted him to study law\, but Marx initially focused on philosophy\, earning a Ph.D. in that field.  When he turned more fully to musical studies it led to a break with his family\, who forbade him to go into music as a career.  He was a key figure in the emerging musical languages of the early twentieth century.  He wrote an important scholarly study of tonality in which he coined the term “atonal.”   \nMarx began composing as his primary occupation in 1908\, ultimately writing over 150 songs.  He focused on orchestral pieces in the 1920s and 1930s\, followed by a time devoted to chamber music.  He assumed a faculty position at the Vienna Music Academy in 1914 and eventually became the director.  He had a lot of influence on many musicians and composers\, teaching over 1300 students from around the world.  He was also one of the most prominent music critics in Vienna\, particularly in the 1930s\, and published influential books on music theory.  When the Nazis came to power he had to resign his posts\, instead speaking on cultural topics\, but found various ways to secretly help Jewish families.    \nAs a composer Marx was concerned about upholding the Viennese classical tradition\, both in the forms he used\, such as waltzes\, and the use of Austrian folk music.  He also included Impressionist\, Slavonic\, and Italian elements.  Following World War II he thought of himself as a “father figure” for conservative\, tonal music.  He was well known in his lifetime but much of his music fell out of notice due to cultural and political upheaval. \nMarx wrote Idylle–Concertino on the Pastoral Fourth during a time in his life when he focused on impressionistic orchestral music.  This piece is the middle part of his Nature Trilogy\, which opens with Symphonic Night Music\, written in 1922\, and closes with Spring Music\, composed in 1925.  This trilogy is a blend of romantic lyricism and impressionism all trying to depict Marx’s homeland.  Marx uses more restraint in Idylle than in the other two movements\, writing for a traditional-sized orchestra and using a sensitive style.  His subtitle\, “Concertino on the Pastoral Fourth\,” refers to the “perfect fourth\,” a musical interval spanning a four note range.  With his gentle impressionistic tenderness\, he creates a pastoral fantasy in F Major (the same key as Beethoven’s sixth “pastoral” symphony) based on that interval.  The piece is inspired by Debussy’s “Afternoon of a Faun” and has been called its “Austrian counterpart.  Marx transports his listeners into dreamy atmospheres and southern landscapes\, all at a hazy distance.  The piece is framed by a solo clarinet\, which sets the feel and character of the work\, in an adaptation of the solo flute part in Debussy’s work. \nClick here to listen to Idylle. \nToccata Festiva for Organ and Orchestra\, Op. 36Samuel Barber\nBorn: March 9\, 1910\, Westchester\, PADied: January 23\, 1981\, New York CityWritten: 1960Approximate Duration: 14 minutesInstrumentation: 2 flutes\, piccolo\, 2 oboes\, English horn\, 2 clarinets\, bass clarinet\, 2 bassoons\, contrabassoon\, 4 French horns\, 3 trumpets\, 3 trombones\, 1 tuba\, timpani\, percussion (bass drum\, cymbals\, snare drum\, triangle\, tam-tam\, xylophone)\, strings \nIn 1906 the Philadelphia Academy of Music installed a new pipe organ.  Mary Curtis Zimbalist\, who had founded the Curtis Institute of Music in the 1920s\, funded the organ.  She told Eugene Ormandy\, conductor of the Philadelphia Orchestra at the time\, “I’m giving you that pipe organ you’ve been longing for\,” assuring him that cost was no obstacle.  The result was a massive Aeolian-Skinner organ which was said to be the largest movable pipe organ in the world.  It had three manuals and 4102 pipes\, and could be moved on stage for a performance and stored away afterward.  It cost $150\,000 at the time.   \nSamuel Barber was a natural choice to write a piece for the inauguration of this new instrument.  He was a son of Philadelphia and one of the first students at the Curtis Institute of Music\, soon becoming one of its most famous alumni.  Zimbalist offered Barber $2000 for the commission\, but Barber wanted to donate the piece to the orchestra and to the Curtis Institute.  He wrote it in the spring of 1960 at his summer home in Mt. Kisco\, New York.  It was premiered on September 30\, 1960\, with Paul Callaway\, the organist and choir director at the National Cathedral\, as the soloist.   \nBarber composed a single movement festive toccata for the occasion.  The term toccata is derived from the Italian word for touch.  As a musical form\, it is a loosely defined term for a piece written for a solo instrument\, usually a keyboard instrument\, that was full of fast passages\, chords\, and other virtuoso techniques intended to show off the performer’s “touch.”  Toccatas date back to the renaissance but found their peak in the time of Johann Sebastian Bach\, who wrote several difficult and groundbreaking toccatas.  Barber included many virtuosic elements\, including a cadenza just for the pedals\, along with his characteristic lyricism.  The organ and orchestra work together; a theme in the organ’s reed pipes is repeated by the English horn\, and the trumpets and trumpet stops echo each other’s melodies.  It has a celebratory quality and derives much of its energy from a motif in 5/8 time.  It was received with excitement and acclaim\, and has remained an important milestone in organists’ repertoire since its inception.   \nClick here to watch a video of Toccata Festiva. \nDances in the CanebrakesFlorence Price\nBorn: Little Rock\, Arkansas\, April 9\, 1887Died: Chicago\, Illinois\, June 3\, 1953Written: 1953 (solo piano version)Orchestrated: William Grant StillApproximate duration: 9 minutesInstrumentation: 2 flutes\, piccolo\, 2 oboes\, 2 clarinets\, bass clarinet\, 2 bassoons\, alto saxophone\, 3 French horns\, 3 trumpets\, 2 trombones\, timpani and percussion (castanets\, claves\, glockenspiel\, snare drum\, suspended cymbal\, triangle\, vibraphone)\, harp\, and strings \nFlorence Price was born in Little Rock\, Arkansas.  Her mother was a music teacher and her father was the only African-American dentist in the city.  Even though Little Rock had lots of racial issues\, the family was well-respected.  Florence’s mother guided her early musical studies.  At age four she performed for the first time on the piano\, and published her first composition at age eleven.  After graduating high school as valedictorian at age fourteen\, she attended New England Conservatory of Music in Boston\, majoring in organ and piano teaching.  She also studied composition. \nUpon her graduation in 1906\, Price taught at Clark Atlanta University\, becoming head of the music department.  She eventually got married and moved back to Little Rock\, where she raised two daughters.  She had trouble finding work in that segregated town.  After a series of racial incidents\, including a lynching in 1927\, the Price family moved to Chicago.  Price met a lot of other musicians there and began her composition career.  She also worked for a time as an organist for silent film showings.  She studied with many of the city’s leading teachers\, spending time at Chicago Musical College\, University of Chicago\, and American Conservatory of Music\, and became part of the Chicago Black Renaissance.  Ultimately she composed over 300 works.  In 1932 she became the first African American woman to have a work played by a major orchestra when the Chicago Symphony played her first symphony.  Chicago honored her in 1964 by naming an elementary school after her. \nAfter she died\, much of Price’s work fell out of favor as new styles emerged.  A lot of her music was lost until the discovery of over 200 pieces in an abandoned house in 2009 outside St. Anne\, Illinois\, that Price used as a summer home late in her life.  In recent years many of her works have been re-published or published for the first time.  Orchestras\, in an effort to recognize underrepresented composers\, have helped audiences discover and enjoy her delightful music. \nPrice’s music draws heavily on the American musical sounds that surrounded her.  She was a devoted Christian and used  a lot of spirituals–both their melodic sounds and rhythms–in her symphonic pieces.  Many of her works focused on the experience\, folk songs\, and dances of Black Americans.  This is true of Dances in the Canebrakes\, a collection of three piano pieces.  Canebrakes are dense clusters or fields of tall cane plants that grow in marshy areas.  They resemble thick bamboo patches.  They are common in the south\, and often had to be cleared before cultivating land for cotton crops.   \nThese three pieces are based on stage and ballroom dances that were common in the early 1900s\, when Scott Joplin’s music was popular.  The first movement\, “Nimble Feet\,” is a rag with a cheerful melody.  The second dance\, “Tropical Noon\,” is a “slow drag” with a dream-like melody\, contrasted by a more assertive middle section.  The last movement\, “Silk Hat and Walking Cane\,” is based on the “cakewalk\,” full of the excitement and whirling energy of a crowded Harlem ballroom.  These dances were orchestrated by William Grant Still shortly after Price’s death. \nClick here to listen to Dances in the Canebrakes. \nAn American in ParisGeorge Gershwin\nBorn: September 26\, 1898\, Brooklyn\, NYDied: July 11\, 1937\, Hollywood\, CAWritten: March – June 1928\, while Gershwin and his siblings were vacationing in ParisPremiered: December 13\, 1928\, New York PhilharmonicApproximate Duration: 17 minutesInstrumentation: 3 flutes\, one doubling piccolo\, 2 oboes\, English Horn\, 2 clarinets\, bass clarinet\, 2 bassoons\, 4 French horns\, 3 trumpet\, 3 trombones\, tuba\, 3 saxophones (alto\, tenor\, baritone) timpani\, percussion (bass drum\, cymbals\, glockenspiel\, 4 taxi horns\, 2 tom-toms\, triangle\, wood block\, xylophone)\, celeste\, strings \nGeorge Gershwin\, born Jacob Gershwine\, is one of America’s most beloved composers\, known for incorporating popular music and jazz into classical music.  He began his musical career as a pianist and “song plugger\,” usually a singer or pianist employed by a department store\, music store or song publisher to promote and sell new sheet music\, which is how publishers advertised before recordings were readily available.  Gershwin also wrote Broadway songs along with his brother Ira.  During this time\, from 1915 to 1921\, he took “classical” harmony and counterpoint lessons to improve his compositional skills.   \nGershwin\, looking to advance his compositional career\, moved to Paris\, hoping to study with Nadia Boulanger or Maurice Ravel.  Boulanger refused him\, saying that too much “classical” training would ruin his jazz-influenced style.  Ravel had recently been impressed by Gershwin’s compositional abilities and his skill as a pianist during a performance of Rhapsody in Blue in Ravel’s honor.  Ravel also turned down Gershwin’s request for composition lessons\, telling Gershwin that he should be “a first rate Gershwin rather than a second-rate Ravel.”  Ravel also complimented Gershwin by writing his Piano Concerto in G in the style of Gershwin the following year.   \nAn American in Paris was an important compositional milestone for Gershwin.  He wrote Rhapsody in Blue a few years earlier\, but Ferde Grofé orchestrated the piece\, for which Gershwin was criticized.  With An American in Paris\, the first piece that Gershwin composed and orchestrated\, he quieted the skeptics who doubted his abilities\, demonstrating his skill at using the diverse palate of orchestral colors.  The premiere by the New York Philharmonic was a big success.  Some critics doubted the piece’s longevity.  A writer for the New York Evening Post’s suggested that while An American in Paris might be popular in 1928\, “to conceive of a symphony audience listening to it with any degree of pleasure or patience twenty years from now\, when whoopee is no longer even a word\, is another matter.”  Those critics have been proven wrong by almost a century of ongoing performances and recordings.  As Gershwin said\, “It’s not a Beethoven symphony\, you know.  If it pleases symphony audiences as a light\, jolly piece\, a series of impressions musically expressed\, it succeeds.” \nAn American in Paris doesn’t have a formal structure\, but instead follows an “episodic” path.  Gershwin said\, “My purpose here is to portray the impression of an American visitor in Paris\, as he strolls about the city and listens to various street noises and absorbs the French atmosphere….  As in my other orchestral compositions\, I’ve not endeavored to represent any definite scenes in this music. The rhapsody is programmatic only in a general impressionistic way\, so that the individual listener can read into the music such as his imagination pictures for him.”  It is structured in three large sections with a concluding coda\, interspersed with a lot of themes meant to portray walking.  The opening section is based on the maxixe\, a Brazilian dance\, evoking the busyness of Paris with many short rhythmic cells\, including those produced by taxi-horns\, and a big variety of pitched percussion instruments.  Of this first section\, Gershwin noted: “it will be developed in typical French style\, in the manner of Debussy and the Six [Les Six]\, though all the themes are original.”  A violin cadenza leads into “a rich blues…  Our American friend\, perhaps after strolling into a cafe and having a couple of drinks\, has succumbed to a spasm of homesickness.”  This is portrayed by a bluesy trumpet solo.  This “American” section concludes with a Charleston played by a couple of trumpets.  The concluding section is an energetic finale meant to portray all the excitement and glitter of nightfall in the City of Light.  \nClick here to watch a video of An American in Paris. \nChristopher Houlihan \nThe organist Christopher Houlihan has established an international reputation as an “intelligently virtuoso musician” (Gramophone)\, hailed for his “glowing\, miraculously life-affirming performances” (Los Angeles Times). Houlihan has concertized at major venues throughout the United States\, including the Kennedy Center (Washington\, D.C.)\, the Kimmel Center (Philadelphia)\, Davies Symphony Hall (San Francisco)\, and Walt Disney Concert Hall\, where he performed with the principal Brass of the Los Angeles Philharmonic. The Los Angeles Times raved about his Disney Hall debut\, proclaiming\, “Houlihan is the next big organ talent.” \nHoulihan’s performances in 2024 include a return invitation to the Aspen Music Festival (Colorado) and orchestral performances with the Hartford Symphony Orchestra (Carolyn Kuan\, conductor). Performances in recent seasons included solo recitals presented by the Madison Symphony Orchestra (Wisconsin)\, the Pacific Symphony (Costa Mesa\, CA)\, and the Celebrity Recital Series at St. Paul’s Cathedral (London). \nNoted for his compelling performances of Louis Vierne’s organ works\, Houlihan’s “Vierne 2012” tour attracted international attention and critical acclaim for marathon recitals of Vierne’s six organ symphonies in six major North American cities. The Los Angeles Times called his performance there “a major surprise of the summer\, a true revelation.” Building on this excitement and acclaim\, Houlihan’s latest recording on Azica Records (released in 2023) features Vierne’s Symphony No. 6 and César Franck’s Grande Piece Symphonique. The recording was praised by The American Organist\, which remarked\, “as for Houlihan himself\, he just keeps getting better.” \nChristopher Houlihan’s orchestral performances in past seasons include Joseph Jongen’s Symphonie Concertante (Carolyn Kuan\, conductor) and Barber’s Toccata Festiva (Edward Cumming\, conductor) with the Hartford Symphony\, Poulenc’s Organ Concerto with the Waterbury (CT) and Columbus (GA) Symphonies\, and the Organ Concerto by Robert Edward Smith with the Boston Chamber Orchestra (David Feltner\, conductor). He has been presented in recital at numerous conventions of the American Guild of Organists and the Organ Historical Society. In 2017 he was the featured performer at the closing concert of the AGO Southeast Regional Convention at Jacoby Symphony Hall in Jacksonville\, where he presented the world premiere of Han Lash’s Ludus (written specifically for Houlihan). In 2014\, he performed in a prime-time slot of WQXR’s All-Day Bach Organ Marathon in New York City which was webcast live and seen by thousands. \nIn 2017\, Houlihan released Christopher Houlihan plays Bach (Azica). Recorded at Trinity College\, the album was praised as “playful\, celebratory and sparkling with color” (The Whole Note)\, and American Record Guide stated\, “there’s no denying Houlihan’s extraordinary achievement.” Houlihan’s other recordings include music by Maurice Duruflé and Jehan Alain\, and Organ Symphony No. 2 by Louis Vierne\, both on Towerhill Records. \nChristopher Houlihan is the John Rose Distinguished College Organist and Director of Chapel Music\, and Artist-in-Residence at Trinity College\, Hartford\, where he succeeds his former teacher\, John Rose. Since 2022\, he also serves as Artistic Director of the Albert Schweitzer Organ Festival Hartford which presents one of the premier North American organ performance competitions for young organists. \nIn addition to his studies at Trinity College\, Houlihan studied with Grammy Award-winning organist Paul Jacobs at The Juilliard School and with Jean-Baptiste Robin at the French National Regional Conservatory in Versailles. In 2015 he was selected for The Diapason’s “20 Under 30\,” a distinguished list of young leaders in the organ world. More information is at ChristopherHoulihan.com. \nTo listen to the pre-concert talk\, click here.\n [INSERT_ELEMENTOR id=”7643″] URL:https://hollandsymphony.org/events/an-american-in-paris/ LOCATION:Jack H. Miller Center for Musical Arts at Hope College\, 221 Columbia Ave.\, Holland\, MI\, 49423\, United States ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2024/08/Organist-Photo-Houlihan-B-credit-Christian-Steiner.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20240815T173000 DTEND;TZID=UTC:20240815T200000 DTSTAMP:20260417T160644 CREATED:20240719T211856Z LAST-MODIFIED:20240719T211856Z UID:11422-1723743000-1723752000@hollandsymphony.org SUMMARY:HSO Brass at Cappon House DESCRIPTION:Sounds of Summer: HSO Brass at Cappon House\nThursday\, August 15\, 2024\nCappon House Lawn – 228 W. 9th St.\, Holland\, MI \n5:30-6:45 PM – Celebrate 150 years of Cappon House legacy by taking a tour during the open house! \n7 PM – Bring your chairs and lawn blankets and enjoy the sounds of summer with the HSO Brass Ensemble in works by Sousa\, Cohan\, Gershwin\, Copland\, Neil Diamond\, and John William’s iconic Star Wars theme. \nBruce Formsma (trumpet)\, Gregory Alley (trumpet)\, Greg Bassett (horn)\, Adam Graham (trombone)\, and Brendan Bohnhorst (tuba). \nTickets: $7 adults\, $5 seniors\, $3 students. Museum members and children 5 and under are FREE. Click here to register.  \nRain date: Friday\, August 16 from 5:30-8 PM \nHosted by Holland Museum. Sponsors: Michigan Arts & Culture Council and the National Endowment of the Arts. URL:https://hollandsymphony.org/events/hso-brass-at-cappon-house/ LOCATION:Cappon House\, 228 W. 9th Street\, Holland\, MI\, 49423\, United States ATTACH;FMTTYPE=image/png:https://hollandsymphony.org/wp-content/uploads/2024/07/Sounds-of-Summer_FB-Post_940x788.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=America/New_York:20240812T100000 DTEND;TZID=America/New_York:20240812T120000 DTSTAMP:20260417T160644 CREATED:20240807T205630Z LAST-MODIFIED:20240807T205630Z UID:11590-1723456800-1723464000@hollandsymphony.org SUMMARY:Books and Blooms with HSO Brass DESCRIPTION:Join Books and Bloom and the Holland Symphony Brass Quintet at Windmill Island Gardens for children’s story times\, accompanied by live music\, and fun activities. Our friends at the Herrick District Library will present “Casey at the Bat” with live brass music as part of Windmill Island’s new summer storytime series. \nMonday\, August 10\, 2024\, from 10 AM to 12 PM at Windmill Island Gardens\, Holland\, Michigan \nChildren can create their own Living Necklace with help from the MSU Extension! Learn about plant germination and take your plant home to care for\, watch grow\, and… wear! \nFREE for Holland Residents \nNon-Residents: Adults $12\, Children (3-15) $6 \nMore information on FaceBook and at Books and Blooms. URL:https://hollandsymphony.org/events/books-and-blooms-with-hso-brass/ LOCATION:Windmill Island Gardens\, 1 Lincoln Avenue\, Holland\, MI\, 49423\, United States CATEGORIES:Community Event ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2024/08/Books-and-Blooms-8-12-24.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20240810T190000 DTEND;TZID=UTC:20240810T203000 DTSTAMP:20260417T160644 CREATED:20240321T002916Z LAST-MODIFIED:20240808T155751Z UID:10494-1723316400-1723321800@hollandsymphony.org SUMMARY:Community Concert: Music Unites Us - Brazil! DESCRIPTION:Concert Sponsors:\n \n \n \n \n \n\nProgram\nInformation\nArtist bios\n\nCommunity Concert: Music Unites Us – Brazil!\nSaturday\, August 10\, 2024\, 7:00 p.m. Henry P. VanderLinde Bandshell\, Kollen Park\nChoro das 3\, guest artists \nChristopher Fashun\, guest conductor \n \n \n \nTico-Tico no FubaZequinha de Abreu/arr. Marty Gold\nBoca de GoiabaChoro das 3/arr. Christopher Fashun \nFesta na LagoaChoro das 3/arr. Christopher Fashun \nViagantesChoro das 3/arr. Christopher Fashun \nPé de FrangoChoro das 3/arr. Josh Trentadue\nMourãoCesar Guerra-Peixe\nAlforriaElisa Meyer Ferreira/arr. Corina Meyer Ferreira/perc. arr. Christopher Fashun \nTucunareChoro das 3/arr. Josh Trentadue\nForró BarrocoLeroy Amêndola/arr. Corina Meyer Ferreira/Christopher Fashun \nRock da SilvaWaldir Azevedo/arr. Corina Meyer Ferreira/Christopher Fashun\nAdditional pieces announced from the stage. \nThe Music Unites Us concert will bring together Brazilian musical group Choro das 3 and the Holland Symphony Orchestra in a  celebration of music at 7:00 p.m. on Saturday\, August 10 in Kollen Park. This free community concert aims to showcase cultures that make up West Michigan. \nBring your lawn chairs and blankets and arrive early to scope out your spot for this one-of-a-kind concert experience. \nFood and beverages will be available for purchase from:Dolce Mini CakesMac Shack (free ice cream)Mezkla Taqeria & FruiteriaPac PizzeriaRobinson’s Popcorn \nMusic Unites Us is a collaborative musical effort between the Holland Symphony Orchestra and Holland community to celebrate diversity and showcase the musical gifts of frequently underrepresented groups of people. This year the concert will showcase from Brazil. \nThis free community concert is made possible thanks to our concert sponsors: Brooks Family Foundation\, Corewell Health\, Gentex Corporation\, Macatawa Area Coordinating Council\, Macatawa Bank and the snack wagon. The concert is partially sponsored by Michigan Arts & Culture Council and the National Endowment for the Arts.   \n  \nChoro das 3 is a family based trio formed by the sisters: Corina (flute)\, Lia (7 string guitar) and Elisa (mandolin\, clarinet\, banjo\, accordion and piano). Tragically\, Eduardo\, the father of the three sisters\, lost his life to Covid early in the pandemic\, before vaccines were available in Brazil. Eduardo was the band’s percussionist from its founding. He played pandeiro (Brazilian tambourine). The trio’s mother\, Cristina\, stepped in to play a stronger role in band management. Bravely\, the sisters resolved to continue as Choro das 3\, but they play every song in their father’s memory. \nThey have released 11 albums and have been touring in North America\, Europe and Brazil for the past 21 years.  \nThe trio plays Brazilian instrumental music based on choro\, an instrumental music genre that emerged in Brazil in the 19th century to become the foundation for all Brazilian music. Choro das 3 is in the midst of its eighth tour of the USA. \nFor more information\, visit their website: https://www.chorodas3.com.br/english \nListen their music on their YouTube channel: https://www.youtube.com/channel/UC1Y3mnm0S1vH5BRqx58cUkg URL:https://hollandsymphony.org/events/community-concert-music-unites-us-brazil/ LOCATION:Kollen Park Henry VanderLinde Bandshell\, 240 Kollen Park Dr.\, Holland\, MI\, 49423\, United States CATEGORIES:Community Event ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2024/03/choro-das-3-web.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20240810T160000 DTEND;TZID=UTC:20240810T203000 DTSTAMP:20260417T160644 CREATED:20240716T215627Z LAST-MODIFIED:20240725T184522Z UID:11373-1723305600-1723321800@hollandsymphony.org SUMMARY:Music Unites Us: Brazil! Finale at Kollen Park DESCRIPTION:This Kollen Park event is the finale of Holland Symphony Orchestra’s Music Moves Us\, a weeklong festival from August 6-10\, 2024\, featuring 10 free events blending live music\, movement\, dancing\, family-friendly activities\, and more! \nSaturday\, August 10\, 2024 \nBring your lawn chairs\, blankets\, and the whole family! Food will be available for purchase starting at 4 PM from Mezkla\, Robinson’s Popcorn\, Mac Shack\, 3 Gatos Brewery\, and Dolce Mini Cakes.  \n4-5 p.m. – Capoeira Dance Demonstration and Lesson. Discover the magic of the dancelike martial art form of Brazilian Capoeira in this lesson led by Leandro Leemos and sponsored by Lighthouse Immigrant Advocates. \n5-6 p.m. – Holland Samba School Performance. Feel the rhythm of Brazil and enjoy the sizzle of Samba with a lively performance led by percussionist Christopher Fashun and his students. \n7 p.m. – Music Unites Us: Holland Symphony Orchestra (HSO) with Choro das 3. Enjoy an unforgettable performance by this talented Brazilian folk music trio of sisters\, accompanied by your Holland Symphony Orchestra and guest conductor Christopher Fashun. \nRead more about the festival and finale in this Lakeshore West Michigan article. \nThis is a free event. No registration is necessary. Special thanks go to all our event sponsors and festival coordinators Shandra Martinez\, Jane Vander Meer\, Ketzi Chacon-Zylstra\, and Patricia Strachan with Smooth Running Event Planning. \nThe 7 PM HSO concert is made possible through the support of Corewell Health\, Macatawa Area Coordinating Council\, Gentex\, MillerKnoll Foundation\, and the Brooks Family Foundation. URL:https://hollandsymphony.org/events/music-unites-us-brazil-finale-at-kollen-park/ LOCATION:Kollen Park Henry VanderLinde Bandshell\, 240 Kollen Park Dr.\, Holland\, MI\, 49423\, United States CATEGORIES:Community Event ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2024/07/choro-das-3©-flavio-torres-scaled-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20240810T100000 DTEND;TZID=UTC:20240810T110000 DTSTAMP:20260417T160644 CREATED:20240716T195522Z LAST-MODIFIED:20240806T164133Z UID:11361-1723284000-1723287600@hollandsymphony.org SUMMARY:Music Moves Us: Sensory Art & Concert at Holland Museum DESCRIPTION:MMU Kids Sensory Event Video \nThis event is part of Holland Symphony Orchestra’s Music Moves Us\, a weeklong festival from August 6-10\, 2024! We’re hosting 10 free events that blend music and movement leading up to our grand finale concert Music Unites Us – Brazil! \nSaturday\, August 10\, 2024 \n10-11 a.m. – Kids’ Sensory Art and Music Experience at Holland Museum. A sensory-friendly event sponsored by Disability Network Lakeshore filled with art\, music\, and fun for children with sensory needs. Led by Black River Arts teacher Liz Donoghue and featuring Maddit Dykehouse on the cello\, activities will include play dough sculpting\, spin-wheel creation\, sponge stamping\, and live music segments. \nSpace is limited for this free event so please register early via email to Ketzi Chacon-Zylstra at zylstraketzi@gmail.com (Subject: Music Moves Us). \nThis is a free event. Special thanks go to our lead event sponsor the Disability Network Lakeshore\, and supporters such as CultureWorks\, the City of Holland\, and event coordinator Ketzi Chacon-Zylstra. URL:https://hollandsymphony.org/events/music-moves-us-sensory-art-concert-at-holland-museum/ LOCATION:Holland Museum\, 31 W. 10 Street\, Holland\, MI\, 49423\, United States CATEGORIES:Community Event ATTACH;FMTTYPE=image/png:https://hollandsymphony.org/wp-content/uploads/2024/07/Sensory-Image-1-w-text.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20240809T183000 DTEND;TZID=UTC:20240809T200000 DTSTAMP:20260417T160644 CREATED:20240716T181703Z LAST-MODIFIED:20240724T161151Z UID:11358-1723228200-1723233600@hollandsymphony.org SUMMARY:Music Moves Us: Lakeshore Big Band Concert DESCRIPTION:The Summer Concerts at Kollen Park are one of the most popular spots to be on Friday evenings in the summer in Holland. From 6:30 – 8:30 PM\, the park comes alive with music and dancing. Bring your lawn chairs\, blankets\, and a picnic basket and enjoy the sounds of summer at the Kollen Park Bandshell. Concerts are kid-friendly and FREE! Please have pets on a leash. Alcohol is prohibited at Kollen Park. One food truck each week from 5:30 – 8:30 PM. \nThis event is also part of Holland Symphony Orchestra’s Music Moves Us\, a weeklong festival from August 6-10\, 2024! We’re hosting 10 free events that blend music and movement leading up to our grand finale concert Music Unites Us – Brazil! at Kollen Park on August 10\, 2024. \nSpecial thanks go to the City of Holland and festival coordinators Shandra Martinez\, Jane Vander Meer\, Ketzi Chacon-Zylstra\, and Patricia Strachan with Smooth Running Event Planning. URL:https://hollandsymphony.org/events/music-moves-us-lakeshore-big-band-concert/ LOCATION:Kollen Park Henry VanderLinde Bandshell\, 240 Kollen Park Dr.\, Holland\, MI\, 49423\, United States CATEGORIES:Community Event ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2024/07/Lake-Shore-Big-Band.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20240809T173000 DTEND;TZID=UTC:20240809T183000 DTSTAMP:20260417T160644 CREATED:20240716T180508Z LAST-MODIFIED:20240724T161110Z UID:11355-1723224600-1723228200@hollandsymphony.org SUMMARY:Music Moves Us: Swing Dance Lesson at Kollen Park DESCRIPTION:This event is part of Holland Symphony Orchestra’s Music Moves Us\, a weeklong festival from August 6-10\, 2024! We’re hosting 10 free events that blend music and movement leading up to our grand finale concert Music Unites Us – Brazil! at Kollen Park on August 10\, 2024. All events are free so join us for live music\, dancing\, family-friendly activities\, and more! \nFriday\, August 9\, 2024 \n5:30-6 p.m. – Dance Lesson before Big Band Concert at Kollen Park. Warm up with a big band dance lesson from Walker Wilson\, of Wilson Dance Studio\, then show off your new moves during the Big Band Lakeshore concert from 6:30-8:30 p.m. Learn more about Walker Wilson’s history and approach to dance in this inspiring Lakeshore article. \nThis is a free event. No registration is necessary. Special thanks go to the event sponsors Wilson Dance Group\, the City of Holland\, and festival coordinators Shandra Martinez\, Jane Vander Meer\, Ketzi Chacon-Zylstra\, and Patricia Strachan with Smooth Running Event Planning. URL:https://hollandsymphony.org/events/music-moves-us-swing-dance-lesson-at-kollen-park/ LOCATION:Kollen Park Henry VanderLinde Bandshell\, 240 Kollen Park Dr.\, Holland\, MI\, 49423\, United States CATEGORIES:Community Event ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2024/07/SwingDanceWilsonWalker.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20240809T101500 DTEND;TZID=UTC:20240809T110000 DTSTAMP:20260417T160644 CREATED:20240716T175450Z LAST-MODIFIED:20240724T161039Z UID:11294-1723198500-1723201200@hollandsymphony.org SUMMARY:Music Moves Us: Zumba Gold at Evergreen Commons DESCRIPTION:This event is part of Holland Symphony Orchestra’s Music Moves Us\, a weeklong festival from August 6-10\, 2024! We’re hosting 10 free events that blend music and movement leading up to our grand finale concert Music Unites Us – Brazil! at Kollen Park on August 10\, 2024. All events are free so join us for live music\, dancing\, family-friendly activities\, and more! \nFriday\, August 9\, 2024 \n10:15-11 a.m. – Zumba Gold Class at Evergreen Commons. Shake up your morning with Zumba Gold led by Amy Vande Poel. Wear your comfiest clothes and sneakers\, and be ready to move to the beat! \nThis is a free event. No registration is necessary. Special thanks go to event sponsor Evergreen Commons and festival coordinators Shandra Martinez\, Jane Vander Meer\, Ketzi Chacon-Zylstra\, and Patricia Strachan with Smooth Running Event Planning. URL:https://hollandsymphony.org/events/music-moves-us-zumba-gold-at-evergreen-commons/ LOCATION:Evergreen Commons\, 480 State St\, Holland\, Holland\, MI\, 49423\, United States CATEGORIES:Community Event ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2024/07/EvergreenCommonsbyShandra1-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20240808T183000 DTEND;TZID=UTC:20240808T203000 DTSTAMP:20260417T160644 CREATED:20240716T174713Z LAST-MODIFIED:20240724T161009Z UID:11291-1723141800-1723149000@hollandsymphony.org SUMMARY:Music Moves Us: Hip Hop Lesson & Dancing at GDK Park DESCRIPTION:This event is part of Holland Symphony Orchestra’s Music Moves Us\, a weeklong festival from August 6-10\, 2024! We’re hosting 10 free events that blend music and movement leading up to our grand finale concert Music Unites Us – Brazil! at Kollen Park on August 10\, 2024. All events are free so join us for live music\, dancing\, family-friendly activities\, and more! \nThursday\, August 8\, 2024 \n6:30-8:30 p.m. – Hip Hop Lesson and Dancing at GDK Park/Downtown Holland Street Performers. Learn hip-hop moves with Lauren Beck and the I AM Academy dance team. Learn more about I AM Academy and uniting communities through the hip-hop dance art form here. This event is open to all ages\, so bring your crew and get down! \nThis is a free event. No registration is necessary. Special thanks go to event sponsor I AM Academy and festival coordinators Shandra Martinez\, Jane Vander Meer\, Ketzi Chacon-Zylstra\, and Patricia Strachan with Smooth Running Event Planning. URL:https://hollandsymphony.org/events/music-moves-us-hip-hop-lesson-dancing-at-gdk-park/ LOCATION:GDK Park\, 5 West 8th Street\, Holland\, MI\, 49423\, United States CATEGORIES:Community Event ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2024/07/Hip-Hop-Dance-1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20240808T100000 DTEND;TZID=UTC:20240808T104500 DTSTAMP:20260417T160644 CREATED:20240716T030526Z LAST-MODIFIED:20240724T160931Z UID:11289-1723111200-1723113900@hollandsymphony.org SUMMARY:Music Moves Us: Dutch Dance at Centennial Park DESCRIPTION:This event is part of Holland Symphony Orchestra’s Music Moves Us\, a weeklong festival from August 6-10\, 2024! We’re hosting 10 free events that blend music and movement leading up to our grand finale concert Music Unites Us – Brazil! at Kollen Park on August 10\, 2024. All events are free so join us for live music\, dancing\, family-friendly activities\, and more! \nThursday\, August 8\, 2024 \n10-10:45 a.m. – Dutch Dance Lesson at Centennial Park. Celebrate 90 years of Tulip Time’s Dutch Dance with a fun lesson from Jenn Ryckbost. Grab your wooden shoes or some funky footwear and join the fun! \nThis is a free event. No registration is necessary. Special thanks go to event sponsor Tulip Time and festival coordinators Shandra Martinez\, Jane Vander Meer\, Ketzi Chacon-Zylstra\, and Patricia Strachan with Smooth Running Event Planning. URL:https://hollandsymphony.org/events/music-moves-us-dutch-dance-at-centennial-park/ LOCATION:Centennial Park\, 250 Central Ave\, Holland\, MI\, 49423\, United States CATEGORIES:Community Event ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2024/07/tltulilptime3-updated.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20240807T190000 DTEND;TZID=UTC:20240807T200000 DTSTAMP:20260417T160644 CREATED:20240711T233631Z LAST-MODIFIED:20240724T160855Z UID:11286-1723057200-1723060800@hollandsymphony.org SUMMARY:Music Moves Us: Salsa Dancing & Lesson at Holland State Park DESCRIPTION:This event is part of Holland Symphony Orchestra’s Music Moves Us\, a weeklong festival from August 6-10\, 2024! We’re hosting 10 free events that blend music and movement leading up to our grand finale concert Music Unites Us – Brazil! at Kollen Park on August 10\, 2024. All events are free so join us for live music\, dancing\, family-friendly activities\, and more! \nWednesday\, August 7\, 2024 \n7-8 p.m. – Salsa Dancing and Lesson at Holland State Park. Spice up your evening with a sizzling salsa session! Join Juan and Julie Mascorro from The Latin Americans United for Progress (LAUP) Salserines for a fun-filled salsa dance lesson on the beach. Read more about Juan and Julie’s dance legacy! \nThis is a free event. No registration is necessary. Special thanks go to event sponsor LAUP and festival coordinators Shandra Martinez\, Jane Vander Meer\, Ketzi Chacon-Zylstra\, and Patricia Strachan with Smooth Running Event Planning. URL:https://hollandsymphony.org/events/music-moves-us-salsa-dancing-lesson-at-holland-state-park/ LOCATION:Holland State Park\, 2215 Ottawa Beach Rd\, Holland\, 49424\, United States CATEGORIES:Community Event ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2024/07/TLsalsa1.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20240807T093000 DTEND;TZID=UTC:20240807T103000 DTSTAMP:20260417T160644 CREATED:20240716T024409Z LAST-MODIFIED:20240725T184806Z UID:11284-1723023000-1723026600@hollandsymphony.org SUMMARY:Music Moves Us: Kids Polynesian Story & Dance at the Farmers Market DESCRIPTION:This event is part of Holland Symphony Orchestra’s Music Moves Us\, a weeklong festival from August 6-10\, 2024! We’re hosting 10 free events that blend music and movement leading up to our grand finale concert Music Unites Us – Brazil! at Kollen Park on August 10\, 2024. All events are free so join us for live music\, dancing\, family-friendly activities\, and more! \nWednesday\, August 7\, 2024 \n9:30-10:30 a.m. – Kids’ Polynesian Story and Dance at Holland Farmers Market. Minnie Morey and the Pacific Island Dancers will whisk young minds away to the exotic islands with music\, dance\, and captivating stories. Mahalo! \nPhoto by Minnie Morey. This is a free event. No registration is necessary. Special thanks go to event sponsor West Michigan Asian American Association \, food partner Community Action House\, and festival coordinators Shandra Martinez\, Jane Vander Meer\, Ketzi Chacon-Zylstra\, and Patricia Strachan with Smooth Running Event Planning. URL:https://hollandsymphony.org/events/music-moves-us-kids-polynesian-story-dance-at-the-farmers-market/ LOCATION:Holland Farmers Market\, 150 W 8th Street\, Holland\, 49423\, United States CATEGORIES:Community Event ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2024/07/image_50752257.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20240806T130000 DTEND;TZID=UTC:20240806T140000 DTSTAMP:20260417T160644 CREATED:20240716T022721Z LAST-MODIFIED:20240805T212636Z UID:11312-1722949200-1722952800@hollandsymphony.org SUMMARY:Music Moves Us: Adults Groove Dance at Centennial Park DESCRIPTION:This event has been canceled due to inclement weather. We encourage you to join us for the Music Moves Us family-friendly events scheduled for this Wednesday through Saturday.\n  \nThis event is part of Holland Symphony Orchestra’s Music Moves Us\, a weeklong festival from August 6-10\, 2024! We’re hosting 10 free events that blend music and movement leading up to our grand finale concert Music Unites Us – Brazil! at Kollen Park on August 10\, 2024. All events are free so join us for live music\, dancing\, family-friendly activities\, and more! \nTuesday\, August 6\, 2024  \n1-2 p.m. – Adults’ GROOVE Dancing at Centennial Park. This is for the grown-ups to get their groove on with Heather Winia\, a master trainer from The World GROOVE Movement. Dress comfy and dance away under the shade of the beautiful Centennial Park trees. \nThis is a free event. No registration is necessary. Special thanks go to event sponsors Herrick District Library\, the City of Holland\, and festival coordinators Shandra Martinez\, Jane Vander Meer\, Ketzi Chacon-Zylstra\, and Patricia Strachan with Smooth Running Event Planning. URL:https://hollandsymphony.org/events/music-moves-us-adults-groove-dance-at-centennial-park/ LOCATION:Centennial Park\, 250 Central Ave\, Holland\, MI\, 49423\, United States CATEGORIES:Community Event ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2024/07/Centennial-Park-big.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20240806T120000 DTEND;TZID=UTC:20240806T124500 DTSTAMP:20260417T160644 CREATED:20240715T232553Z LAST-MODIFIED:20240805T212519Z UID:11307-1722945600-1722948300@hollandsymphony.org SUMMARY:Music Moves Us: Kids' Groove Dancing at Centennial Park DESCRIPTION:This event has been canceled due to inclement weather. We encourage you to join us for the Music Moves Us family-friendly events scheduled for this Wednesday through Saturday.\n  \nThis event is part of Holland Symphony Orchestra’s Music Moves Us festival from August 6-10\, 2024! We’re hosting 10 free events that blend music and movement\, leading up to our grand finale concert Music Unites Us – Brazil! at Kollen Park on August 10\, 2024. \nTuesday\, August 6\, 2024 \n12-12:45 p.m. – Kids’ GROOVE Dancing at Centennial Park. Donna Lowry will get children grooving with dance and storytime from Herrick District Library. Fun and movement all in one! \nThis is a free event. No registration is necessary. Special thanks go to event sponsors Herrick District Library\, the City of Holland\, and festival coordinators Shandra Martinez\, Jane Vander Meer\, Ketzi Chacon-Zylstra\, and Patricia Strachan with Smooth Running Event Planning. URL:https://hollandsymphony.org/events/music-moves-us-kids-groove-dancing-at-centennial-park/ LOCATION:Centennial Park\, 250 Central Ave\, Holland\, MI\, 49423\, United States CATEGORIES:Community Event ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2024/07/Centennial-Park-Oz-Wall.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20240806T100000 DTEND;TZID=UTC:20240806T110000 DTSTAMP:20260417T160644 CREATED:20240715T231657Z LAST-MODIFIED:20240805T212410Z UID:11277-1722938400-1722942000@hollandsymphony.org SUMMARY:Music Moves Us: Sound Bath + Yoga at Tunnel Park DESCRIPTION:This event has been canceled due to inclement weather. We encourage you to join us for the Music Moves Us family-friendly events scheduled for this Wednesday through Saturday.\n  \nThis event is part of Holland Symphony Orchestra’s Music Moves Us weeklong festival from August 6-10\, 2024! \nWe’re hosting 10 free events that blend music and movement\, leading up to our grand finale concert Music Unites Us – Brazil! at Kollen Park on August 10\, 2024. \nTuesday\, August 6\, 2024 \n10-11 a.m. – Sound Bath + Yoga at Tunnel Park. Experience a blissful sound bath by Rebecca Wierks and a serene yoga session led by Jasmine Jelsema. Read more about Rebecca’s unique training and practice in this Lakeshore Article. Bring your yoga mat or towel. \nFree event. No registration is necessary. A special thank you to this event sponsor Women of Color and festival coordinators Shandra Martinez\, Jane Vander Meer\, Ketzi Chacon-Zylstra\, and Patricia Strachan with Smooth Running Event Planning. \n  URL:https://hollandsymphony.org/events/music-moves-us-sound-bath-yoga-at-tunnel-park/ LOCATION:Tunnel Park\, 192 North Lakeshore Drive\, Holland\, 49424\, United States CATEGORIES:Community Event ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2024/07/yogaJasmineJelsema.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20240620T190000 DTEND;TZID=UTC:20240620T210000 DTSTAMP:20260417T160644 CREATED:20240321T002804Z LAST-MODIFIED:20240620T220005Z UID:10492-1718910000-1718917200@hollandsymphony.org SUMMARY:Pops at the Pier: Broadway Our Way DESCRIPTION:Concert Sponsor:\n \n \n Tickets\n \n\nProgram\nInformation\nArtist bio\n\nProgram\nThursday\, June 20\, 2024Eldean Boat Shed #3 \nLisa Vroman & Doug LaBrecque\, soloists \n6:00 p.m.Holland Concert Jazz Orchestra \nProgram announced from the stage \n7:00 p.m.Holland Symphony Orchestra \nACT ONE\nBroadway Fantasy Overture\nWunderbar\nTrolley Song/I Could Have Danced All Night \nI Want to Go Back to Michigan \n76 Trombones\nTill There Was You\nS’Wonderful\nI Got Rhythm\nACT TWO\nWest Side Story Overture \nBegin the Beguine\nIn The Still of The Night\nJesus Christ Superstar Overture \nArt is Calling Me \nAll I Ask of You \nThursday\, June 20\, 2024 Eldean Boatshed #3\, Macatawa \nOnline ticket sales for Pops at the Pier: Back to Broadway have ended.  We have plenty of tickets available for sale at the door\, starting at 5:30 p.m. \nClick below to see a video from last year’s Pops at the Pier concert! \nhttps://hollandsymphony.org/wp-content/uploads/2023/06/Pops-on-the-Pier-1-2.mp4 \n6:00pm Holland Concert Jazz Orchestra7:00pm Holland Symphony Orchestra with Lisa Vroman and Doug LaBrecque \nPops at the Pier on Thursday\, June 20\, rain or shine! Two Broadway favorites join your symphony in an extraordinary evening revisiting classic songs from Broadway’s Golden Age and beyond. The most popular tunes from Porter\, Gershwin\, Berlin\, Hamlisch\, Lloyd Webber and more are sung by Phantom of the Opera stars Lisa Vroman and Doug LaBrecque.  With unforgettable melodies and beautiful lyrics\, their incredible vocal talents make this an elegant and memorable evening of beloved songs. \nFrequently Asked Questions \nWhere do I park?Parking is first come\, first served. \nWhat can I eat? \nFood trucks from Da Kidd Bar-B-Que\, Kitchen 55\, and Mezkla will open at 5:30. Beer\, wine\, and other beverages will also be available for sale. \nWhat time does everything happen? \n5:30: Doors open!  Food will be ready! \n6:00: Holland Jazz Orchestra performs \n7:00: Holland Symphony Orchestra begins\, joined by Broadway Stars Lisa Vroman and Doug LaBrecque \nDo I need to bring a chair? \nWe encourage you to bring a chair.  Many people like to bring their own chairs\, so they can sit close to the action\, on the sides\, or sit in the back of the shed or by the open windows to catch the breeze.  We have 700 chairs available on a first come\, first served basis.  \nWhat happens if it rains? \nEverything at this concert is inside the boat shed except the food trucks.  The concert will happen rain or shine.  Bring an umbrella to get your food. \nWhat about the heat? \nHSO will have all possible doors and windows open to encourage airflow.  Keep hydrated and dress lightly!  Beverages will be available.   Bring a chair so you can sit somewhere with the most breeze! \nWhere are my tickets? \nIf you selected “Will Call” tickets when you placed your order\, your tickets will be available to pick up at the “Will Call” table in the lobby.  All your tickets for the whole season will be stapled together.  Keep your tickets for future concerts.  HSO will not print your tickets again unless you request it. \nIf you selected “Print at Home” tickets when you placed your order\, click on the blue box that says “Print Tickets.”  Bring these tickets to the concert. \nIf you selected “Mobile Tickets” when you placed your order\, click on the blue box that says “View Mobile Tickets.”  Take ascreen shot of each of your tickets.  \nIf you know you bought tickets but don’t have them\, email adykhouse@hollandsymphony.org or call the office (616-796-6780) and we will take care of you. \nIf you have any questions regarding your order\, please contact the HSO office at hso@hollandsymphony.org or 616-796-6780. \nSome patrons are sensitive to perfumes\, colognes\, and other scented products.  Please consider minimizing your use of these products. \nThank you for your continued support of HSO! \nThis concert is sponsored by University of Michigan Health – West.  Special thanks for the in-kind support of Eldean Shipyard\, Waterfront Film Festival and Anchorage Marina Yacht Club. \nDoug LaBrecque thrilled theatre audiences as The Phantom and Raoul in the Harold Prince production of The Phantom of the Opera. In addition\, Mr. LaBrecque has starred on Broadway as Ravenal in the Hal Prince revival of ShowBoat\, a role he also performed in Toronto and Chicago. He was featured in Oscar Hammerstein’s 100th Birthday Celebration Something Wonderful on Broadway at The Gershwin Theatre\, and toured nationally with Les Miserables. Regionally\, Mr. LaBrecque has performed leading roles in Candide\, A Chorus Line\, and Man of LaMancha among many others. A graduate of University of Michigan he was also featured in the world premiere of A Wonderful Life\, written by Sheldon Harnick and Joe Raposo\, and starred in the premiere revival of Kurt Weill and Alan Jay Lerner’s Love Life.  \nOne of the most prolific concert performers of his generation\, Mr. LaBrecque has been a soloist with some of the world’s finest symphony orchestras including The National Symphony\, The Israel Philharmonic (Tel Aviv)\, The Cleveland Orchestra\, The San Francisco Symphony\, The Detroit Symphony among many others. In the last few years\, Mr. LaBrecque’s U.S. appearances have included The Fort Worth Symphony\, Indianapolis Symphony\, Houston Symphony\, New Jersey Symphony\, Dallas Symphony\, and numerous engagements with The Minnesota Orchestra.  \nA frequent guest artist with Marvin Hamlisch\, he appeared with Hamlisch at the Ravinia Festival with The Chicago Symphony and with the symphonies of Pittsburgh\, San Diego\, Baltimore\, and numerous others. \nIn a tribute to Richard Rodgers\, Mr. LaBrecque made his Carnegie Hall debut as a soloist with the New York Pops and during that same season he debuted with The Boston Pops. Alongside frequent collaborator Jeff Tyzik\, he appeared with both the St. Louis and Seattle Symphony for their Holiday Celebrations as well as numerous performances with the Oregon Symphony\, Toronto Symphony and Rochester Philharmonic. Other special engagements have included starring in Cole Porter’s Ambassador Revue with the Opera de Rennes in France\, singing with Carole Bayer-Sager at Feinsteins’s in Manhattan and the Cinegrill in Los Angeles\, performing alongside Broadway legend Jerry Herman with the Naples Philharmonic\, and appearing onstage with Senators Ted Kennedy and Orrin Hatch (singing together!) at Hickory Hill\, the legendary home of Ethel Kennedy.  \nInternational engagements have included The Korean National Symphony in Seoul\, Korea\, The Shanghai Radio Orchestra in China\, The Hong Kong Philharmonic\, The Brazilian Symphony Orchestra in Rio De Janeiro\, The Jerusalem Symphony\, The Moscow Philharmonic\, The Malaysian Philharmonic\, The Reutlingen Symphony in Germany and numerous return engagements with the Israel Philharmonic and the International Music Festival in The Czech Republic. In 2011 he appeared alongside piano sensation Lang Lang in a concert with The Beijing Symphony broadcast on Chinese Television. In 2017 he sang with the BBC orchestra in Sunday Night is Music Night recorded live on the BBC and featuring the music of George Gershwin. \nHe has appeared in Alba\, Italy as a guest soloist in a tribute to Leonard Bernstein. Mr. LaBrecque has sung the role of Tony in West Side Story(Grant Park Music Festival)\, Candide (West Virginia Symphony) and Maximillian in Candide (Michigan Opera Theatre and Dayton Opera) and appeared with Osmo Vanska and the Minnesota orchestra in a tribute to Mr. Bernstein.  \nDoug’s numerous recordings include Holiday at Peace\, a live recording alongside Russian conductor Edvard Tchivzhel and The Greenville Symphony\, Broadway Showstoppers\, a live recording with Peter Nero and The Philly Pops\, Play it Again\, Marvin live with The Kalamazoo Symphony and Opening Doors a solo studio recording with The National Symphony of London on Jay Records. He appears on numerous Jay Record albums: I Believe My Heart\, My Personal Property\, Simply Musicals\, A Little Bit in Love\, and Showstoppers from Broadway.  \nAs the Director of Broadway Pops Programming for Greenberg Artists\, Doug maintains a busy schedule creating and co-producing original symphonic programs and directing numerous musicals in concert. Mr. LaBrecque is also the Artistic Director of the Oconee Performing Arts Society(OPAS)\, 80 miles east of Atlanta in Greensboro\, GA.  \nFor upcoming engagements or additional CD information log onto www.DougLaBrecque.com  \nFrom Broadway to Classics\, on stage and in concert\, Lisa Vroman has established herself as one of America’s most versatile voices.  She has been regarded as a “musical and theatrical marvel” by the San Francisco Chronicle\, as well as “one of American Musical Theater’s most beautiful voices” by acclaimed Broadway producer Sir Cameron Mackintosh. \nLisa starred for over eight years on Broadway\, in San Francisco and in Los Angeles as Christine Daaé in The Phantom of the Opera. Ms. Vroman starred as Rosabella in The Most Happy Fella\, making her New York City Opera debut with Paul Sorvino playing the title role.  She starred as Lili Vanessi in Kiss Me Kate with Glimmerglass Opera and the MUNY Theater of St. Louis\, Anna Leonowens in The King and I with Lyric Opera of Virginia\, and played Marian Paroo in The Music Man with Shirley Jones (Mrs. Paroo) and Patrick Cassidy (Harold Hill) at The Bushnell Theatre in Hartford CT.  Lisa sang the role of Birdie in Regina with Utah Opera\, conducted by Keith Lockhart\, made her New Jersey Opera debut as Rosalinde in Die Fledermaus (directed by Ira Siff)\, and premiered and recorded two Comic Operas by composers John Musto (Bastianello)and William Bolcom (Lucrezia) with the New York Festival of Song. \nHer many performances have included a multi-city concert tour in China\, concerts of Cole Porter’s  1928 La Revue des Ambassadeurs with L’Opera de Rennes in France\, and playing the role of Maria Callas in Terence McNally’s award winning play\, Master Class. \nLisa’s Broadway debut was in Aspects of Love. She was the first to play both Fantine and Cosette in Les Miserables. For PBS she was featured with Colm Wilkinson and Michael Ball in Cameron Mackintosh’s Hey\, Mr. Producer! at a Royal Gala at the Lyceum Theatre in London. She sang the role of Johanna in the San Francisco Symphony’s Emmy Award winning PBS production of Sweeney Todd in Concert\, with Patti Lupone and George Hearn.  Both are available on DVD. Lisa starred as Laurey in Oklahoma\, filmed live in concert for the BBC Proms Festival at Royal Albert Hall in London\, played Mary Turner in Gershwin’s Of Thee I Sing/Let ’em Eat Cake in concert with Michael Tilson Thomas conducting the San Francisco Symphony and Chorus\, and played Lucy Brown in Threepenny Opera at the American Conservatory Theatre in San Francisco with Bebe Neuwirth\, Nancy Dussault\, and Anika Noni Rose. Other roles have included Laurie in The Tender Land\, Maria in The Sound of Music\,  Josephine in HMS Pinafore\, Yum-Yum in The Mikado\, and Anna 1 in The Seven Deadly Sins. She has sung Maria in West Side Story\, Guenevere in Camelot\, Carrie Pipperidge in Carousel\, Eliza Doolittle in My Fair Lady\, and Amalia Balash in She Loves Me\, as well as many other well-known musical roles. \nLisa is a George London Competition Grant recipient and a 1999 Minerva Award recipient from the State University of New York at Potsdam. She received an Undergraduate degree in Music Education from the Crane School of Music\, SUNY Potsdam\, a Masters degree in Fine Arts\, Opera Performance from Carnegie Mellon University in Pittsburgh\, and was awarded an honorary Doctor of Music from SUNY Potsdam. Ms. Vroman has become an active mentor and sought-after clinician with many colleges and universities across the country and around the world.  She has acted as a judge in both the Lotte Lenya Competition for the Kurt Weill Foundation and UCLA’s Walter Jurmann Competition.  In the fall of 2019 Lisa joined the voice faculty of AMDA Los Angeles as part their Bachelor of Fine Arts program. \nWith a repertoire that ranges from Stravinsky to Weill to Broadway\, Lisa is a frequent guest soloist with theater and opera companies\, and orchestras including San Francisco\, Philadelphia\, Chicago\, Atlanta\, the National\, Malaysia\, Seattle\, Hong Kong\, Cleveland\, Nashville\, Pacific\, Utah\, Dallas\, the Boston Pops with Keith Lockhart\, the New York Pops at Carnegie Hall\, and the Philly Pops with Peter Nero. She made her debut at The Hollywood Bowl in Disney’s 75th celebration\, singing and dancing with legend Dick Van Dyke in a medley from Mary Poppins. Lisa has sung in concert with composer Stephen Schwartz\, organist David Higgs\, and the Empire Brass Quintet. Her solo CD\, Broadway Classic\, features Metropolitan Opera mezzo-soprano Stephanie Blythe and 47 of San Francisco’s finest orchestral players. Lisa had the honor of singing at the Profiles in Courage Award dinner in Boston at the JFK Library\, as a guest of the Kennedy family. She has also sung on separate occasions for Queen Elizabeth\, former presidents Gerald Ford\, George H.W. Bush\, and Bill Clinton\, former Vice President Al Gore\, and the Library of Congress. \nLisa is part of an ongoing multimedia symphony project produced by Music Unwound and the Kurt Weill Foundation which features the work of Kurt Weill\, Berthold Brecht and Marc Blitzstein. Upcoming engagements include celebrations of Broadway and the music of George Gershwin. \nLisa lives in Pasadena\, CA with husband Patrick O’Neil and their beautiful dog Barber. \n\nHSO thanks these business partners for their support of this concert! URL:https://hollandsymphony.org/events/pops-at-the-pier-broadway-our-way/ LOCATION:Eldean’s Boat Shed\, 2150 S. Shore Drive\, Holland\, 49423\, United States ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2024/03/Pops-web.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20240427T193000 DTEND;TZID=UTC:20240427T213000 DTSTAMP:20260417T160644 CREATED:20230419T200524Z LAST-MODIFIED:20240417T205047Z UID:8283-1714246200-1714253400@hollandsymphony.org SUMMARY:Night at the Opera DESCRIPTION:Concert Sponsor:\n \n \n Tickets\n \n\nProgram\nInformation\nProgram Notes\nArtist bio\nPre-Concert Talk\n\nProgram\nSaturday\, April 27\, 2024\, 7:30 p.m.Jack H. Miller Center for Musical Arts\, Hope College \nJohannes Müller Stosch\, Music Director and Conductor \nMarina Harris\, soprano \nPrelude to Die MeistersingerRichard Wagner (1813-1883)\nFour Last SongsRichard Strauss (1864-1949)\nFrühling (Spring)SeptemberBeim Schlafengehen (At Bedtime)Im Abendroth (At Sunset) \nMarina Harris\, soprano \nIntermission \nSuite No. 1 from CarmenGeorges Bizet (1838-1875)PreludeAragonnaiseLes Toréadors \nAir for StringsArthur Foote (1853-1937)\nSuite from Der Rosenkavalier\, Op. 59Richard Strauss (1864-1949)\n\n\n\n\nExperience the epitome of Romantic music with colorful and expressive pieces from great operas. Marina Harris\, a California-based soprano\, will join HSO for Strauss’s masterpiece song cycle. \n\n\n\n\nTickets are $28 for adults and $5 for students through college. \nLearn more about the music…\nWe will be hosting not only the Classical Chat series at Freedom Village\, but also Pre-Concert Talks!  Details below: \nClassical Chats at Freedom Village:  These informative and fun talks are led by Johannes Müller-Stosch and take place at 3:00pm on the Thursday before each Classics concert.  (Freedom Village\, 6th Floor Auditorium\, 145 Columbia Ave.) \nPre-Concert Talks:  These talks\, led by Johannes Müller-Stosch and Amanda Dykhouse\, are online under the “Pre-Concert Talk” Tab.   \nNew to the Symphony?  Check out the Frequently Asked Question page… \nParking Map at the Miller Center \nHolland Symphony Orchestra will reserve and monitor Lot 40 for handicapped parking.  The faculty parking lots are available for parking after 5pm \n \nPrelude to Die Meistersinger von NürnbergRichard WagnerBorn: May 22\, 1813\, LeipzigDied: February 13\, 1883\, VeniceComposed: 1861-1862Approximate Duration: 9 minutesInstrumentation: 3 flutes (one doubling piccolo)\, 2 oboes\, 2 clarinets\, 2 bassoons\, 4 French horns\, 3 trumpets\, 3 trombones\, tuba\, timpani\, percussion (cymbals\, triangle)\, harp\, strings \nMost of Richard Wagner’s operas are based on mythological themes\, but he departed from this material in his opera\, Die Meistersinger von Nürnberg\, his only mature comedic opera.  In this work\, written in 1861-62\, he delves into the guild system of 16th century Nuremberg.  The Meistersingers were a guild of amateur poets and musicians who uphold traditional rules for composing and performing songs.  They organize a singing competition in which the winner wins the hand of Eva\, the daughter of a Meistersinger\, in marriage. Eva loves the young knight Walther von Stolzing\, who is not a Meistersinger but wants to participate in the contest to win her hand.  Despite lacking formal training in the Meistersingers’ rules\, Walther is talented and passionate about music.  Hans Sachs\, a guild member\, mentors Walter and helps him prepare for the competition.  Walter faces ridicule and attempts at sabotage by the established Meistersingers\, but he perseveres and ultimately wins the prize.  The opera concludes with a celebration of art\, love\, and the enduring traditions of the Meistersingers. \nThe opera’s overture\, composed in 1862\, introduces the spirit and themes of the opera.  It opens with a majestic brass fanfare\, depicting the regal and proud traditions of the Meistersingers.  This theme is juxtaposed with lighter\, more playful motifs\, representing the youthful energy and creativity of the apprentice singer\, Walther von Stolzing.  This contrast highlights the opera’s central conflict between innovation and tradition.  The middle section of the Prelude features a lyrical and expressive theme\, introducing the love story between Walther and Eva. This tender melody\, carried by strings and woodwinds\, captures the romance and emotional depth of their relationship.  Towards the end\, the music builds to a powerful climax\, with all the thematic elements converging in a triumphant and exultant finale.  \nTo watch a video of this piece\, click here. \nFour Last Songs\, Op. posth.Richard StraussBorn: June 11\, 1864\, Munich Died: September 8\, 1949\, Garmisch-PartenkirchenComposed: 1948Approximate Duration: 24 minutesInstrumentation: 4 flutes (two doubling piccolo)\, 3 oboes (one doubling English horn)\, 3 clarinets (one doubling bass clarinet)\, 3 bassoons (one doubling contrabassoon)\, 4 French horns\, 3 trumpets\, 3 trombones\, 1 tuba\, timpani\, harp\, celeste\, strings. \nStrauss composed his Four Last Songs in 1948\, using poetry by Hermann Hesse and Joseph von Eichendorff.  He probably had the voice of his wife\, soprano Pauline de Anha\, in mind when he wrote these emotional and nostalgic pieces.  He often accompanied her on piano.  Strauss didn’t know that these would be his “last songs.”  His publisher attached the title to the song cycle after Strauss’s death\, about a year after the songs were completed.   \nFamed soprano Renée Fleming described Strauss’s Four Last Songs as “an allegory of the passages of life.”  The music is deeply personal and universally resonant\, offering a profound meditation on the beauty of life\, the inevitability of its passing\, and the transition to whatever mystery lies beyond death.  Strauss is well known as one of the most brilliant masters of orchestral color.  In this work he uses a massive orchestra–one that\, in the hands of a lesser composer\, could easily overwhelm a singer–to create a remarkable sense of intimacy.  He is especially skilled at “word painting\,” using musical colors and themes to depict the words in the text.  In this work Strauss shows his remarkable ability to capture the complexities of human emotion in music. \nThe cycle opens with “Frühling” (Spring)\, an introspective and tender meditation on the arrival of spring and the renewal of life. The music is filled with a sense of wonder and awe\, as Strauss’s rich harmonies and soaring melodies paint a vivid picture of nature’s awakening.  The soprano’s voice goes higher as she dreams of the sky and trees.  The flute imitates bird calls.  Strauss also adds a solo trumpet in this song and “Im Abendrot” to provide a countermelody to the soprano’s voice. \n“September” follows\, capturing the melancholy beauty of autumn\, evoking themes of farewell and acceptance.  The text reflects on the passage of time and the inevitability of change\, while Strauss’s music evokes the wistful mood of the season with its poignant harmonies and delicate orchestration.  The use of muted brass creates a sense of distance and nostalgia\, enhancing the autumnal mood of the song. \n“Beim Schlafengehen” (“Going to Sleep”) is a profound reflection on the end of the day and the approach of night\, with its shimmering orchestration and ethereal vocal lines conveying a sense of calm resignation. The soprano’s soaring lines are supported by lush orchestral textures\, creating a sense of calm and serenity as the day comes to a close.  The sparkling celesta evokes a starry sky as the soprano yearns to forget all thoughts in slumber.  \nThe cycle concludes with “Im Abendrot” (At Sunset)\, a setting of Joseph von Eichendorff’s text that portrays an elderly couple reflecting on their lives together as they face the end of their days. Strauss’s music is achingly beautiful\, capturing both the sadness of farewell and the peaceful acceptance of life’s end. Two trilling flutes represent the poem’s pair of larks ascending into the sky (a metaphor for the souls of the old couple).  The use of cymbals and tam-tam adds a shimmering quality to the orchestration\, heightening the sense of mystery and awe in the music.  The light fades as the song unfolds\, until the soprano asks\, “Ist dies etwa der Tod?” (“Is this perhaps death?”). The orchestra whispers the wistful “transfiguration” theme from Strauss’s Death and Transfiguration\, written sixty years earlier.  \nTo watch a video of this piece\, click here. \n“Prélude & Aragonaise” and “Les Toréadors” from CarmenGeorges BizetBorn: October 25\, 1838\, ParisDied: June 3\, 1875\, near ParisComposed: 1873-1874Premiered: March 3\, 1875\, Opéra-Comique in ParisApproximate Duration: 5 minutesInstrumentation: 2 flutes (one doubling piccolo)\, 2 oboes (one doubling English horn)\, 2 clarinets\, 2 bassoons\, 4 French horns\, 2 trumpets\, 3 trombones\, timpani\, percussion (bass drum\, castanets\, cymbals\, snare drum\, tambourine\, triangle)\, harp\, strings \nWhen French people went to the comic opera in the nineteenth century\, they were used to fairy tale stories with “happily ever after” endings.  It is understandable\, then\, that most of them were shocked and appalled at Georges Bizet’s opera Carmen\, based on the play by Merimée.  In this opera\, Don José\, a young soldier\, is betrothed to Micaëla\, his childhood sweetheart.  She is good and faithful\, refusing the advances of other young men. Don José starts out as a “good” character.  He initially ignores the fiery Gypsy girl\, Carmen\, who works at the cigarette factory in Seville\, but Carmen is not used to being ignored and soon seduces him.  As Micaëla tries to rescue him\, Don José loses his ability to act rationally and becomes obsessed with Carmen.  Once Carmen wins Don José\, she quickly tires of him and pursues the vain and swaggering matador Escamillo.  Don José cannot give up his consuming love for Carmen\, but she cannot become tied down to him and give up her freedom.  Don José\, in a fit of jealous rage\, stabs her\, and she and the curtain fall. \nInitially\, Carmen met with mixed reviews.  Many at the time considered it a failure. Actually\, although the opera received some adverse criticism for the “indelicacy” of its subject\, it met with fair success at the box office\, being performed thirty-three times in the two-month period between its premiére and the death of Bizet from a ruptured artery.  Eventually an orchestral suite was extracted from themes throughout the opera.  Most of the movements come from orchestral interludes meant to entertain the audience while the scenery was changed.  The Prélude sets an ominous tone for the opera and introduces the “Fate” theme.  The “Aragonaise” is rhythmic and percussive\, and is the introduction to the final act of the opera.  The “Toréadors” movement contains two melodies from the opera.  Its opening theme comes from the prelude of the opera\, and it also reappears in the final scene outside the bullring in Seville.  This melody is charged with excitement.  The contrasting melody is from the suave “Toréador Song\,” an aria that Escamillo sings as he tries to interest Carmen.  In this aria\, Escamillo sings of the similarity of matadors to soldiers and sings prophetically of danger.  \nTo watch a video of this piece\, click here. \n  \nAir for StringsArthur FooteBorn: March 5\, 1853\, Salem\, MassachusettsDied: April 8\, 1937\, BostonComposed: 1891\, BostonApproximate Duration: 5 minutesInstrumentation: strings \nArthur Foote was born in Salem\, Massachusetts.  He showed musical talent at a young age and began studying piano and composition. He graduated from Harvard and is the first significant American composer who was trained in the US.  As a composer he was a member of the “Second New England School” of composers and the “Boston Six\,” which also included George Whitefield Chadwick\, Amy Beach\, Edward MacDowell\, John Knowles Paine\, and Horatio Parker.  This group of composers sought to create a distinct American musical identity by blending European Romantic traditions with American folk and indigenous music.  Foote was an organist at First Church in Boston for 32 years and one of the founders of the American Guild of Organists.  He was also a respected teacher\, serving on the faculty of the New England Conservatory of Music for many years. His influence extended to many younger American composers\, including Charles Ives\, who admired Foote’s music and considered him a mentor. \nFoote frequently programmed the music of the Romantic composers\, such as Brahms and Wagner\, who were influences on his own compositional style.  Foote’s music is characterized by its lyrical melodies\, rich harmonies\, and meticulous craftsmanship.  The “Air” for string orchestra showcases his gifts. It has a lyrical and flowing melody\, which is passed between the different sections of the orchestra. The gentle and contemplative mood of the “Air” creates a sense of serenity and introspection\, drawing the listener into its melodic beauty. \nTo listen to this piece\, click here. \nSuite from Der Rosenkavalier\, Op. 59Richard StraussBorn: June 11\, 1864\, Munich Died: September 8\, 1949\, Garmisch-PartenkirchenComposed: 1909-1910Premiered: Suite in 1945Approximate Duration: 22 minutesInstrumentation: 3 flutes (one doubling piccolo)\, 3 oboes (one doubling English horn)\, 3 clarinets (one doubling e-flat clarinet)\, bass clarinet\, 3 bassoons (one doubling contrabassoon)\, 4 French horns\, 3 trumpets\, 3 trombones\, 1 tuba\, timpani\, percussion (bass drum\, cymbals\, glockenspiel\, ratchet\, snare drum\, tambourine\, triangle)\, 2 harps\, celeste\, strings. \nRichard Strauss composed his opera\, Der Rosenkavalier\, between 1909 and 1910.  The romantic comedy is set in 18th century Vienna\, based on a libretto by Hugo von Hofmannsthal.  The plot revolves around a love triangle between three characters: the noblewoman Marschallin\, her young lover Octavian\, and Sophie\, who is in the process of getting engaged to Baron Ochs.  Octavian is tasked to present the engagement rose to Sophie at a formal party\, but at this ceremony\, the Baron flirts with a chambermaid\, who is actually Octavian in disguise.  Sophie also meets Octavian there\, while undisguised\, and they fall in love.  The action continues with a series of misunderstandings and comedic situations.  At the end\, the disguised Octavian conspires with the noblewoman Marschallin to expose the Baron’s unfaithfulness.  Sophie learns about Octavian’s dual identity and confronts him.  They eventually reconcile\, and their union is gracefully honored by the Marchallin. \nThe suite from Der Rosenkavalier is a collection of musical highlights from the opera.  Strauss himself arranged this work in the early 1940s\, capturing the essence of the opera’s rich orchestration\, lush harmonies\, and captivating melodies.  The music begins with the strings\, which are soon joined by the full orchestra. It features a rich\, romantic melody that is passed between the different sections of the orchestra\, building in intensity and grandeur as it progresses.  The next section\, “Presentation of the Rose\,” features a beautiful duet between the young lovers Octavian and Sophie. The music is tender and lyrical\, with lush harmonies and delicate textures\, reflecting the blossoming romance between the two characters. \nThe waltz has long been associated with Viennese elegance and sophistication\, and the lively and energetic “Waltz Sequence” captures that spirit perfectly. The graceful melodies\, swirling rhythms\, and elegant orchestration evoke the glamor and charm of a Viennese ball.  This movement is a showcase for Strauss’s skill as an orchestrator\, with its intricate textures and shimmering colors. \nThe final section\, from the final trio of the opera\, is a poignant and emotional conclusion to the suite. The voices sing a heartfelt farewell\, accompanied by lush orchestral textures. The music is tender and poignant\, with a bittersweet quality that reflects the characters’ conflicting emotions. The orchestration is rich and expressive\, with lush harmonies and soaring melodies that tug at the heartstrings. The trio builds to a dramatic climax before resolving in a peaceful and serene conclusion\, bringing the suite to a satisfying close. \nTo watch a video of this piece\, click here. \n  \n  \n \nMarina Harris\, soprano \nHeralded by the San Francisco Chronicle for her “knockout combination of vocal power and expressive eloquence\,” soprano Marina Harris is quickly establishing herself as a talent to watch. An alumna of the prestigious Adler Fellowship program at the San Francisco Opera\, Ms. Harris’ appearances with the company included four world premiere operas; Nolan Gasser’s The Secret Garden (in the role of Susan Sowerby)\, Mark Adamo’s The Gosepel of Mary Magdalene (Tamar/Girl/Seeker)\, Tobias Picker’s Dolores Claiborne (Maid)\, Jack Perla’s Love/Hate (Samantha)\, and covering numerous leading roles\, most notably the role of Elsa in Lohengrin. In September 2013\, she garnered national attention as a last-minute replacement for Patricia Racette in the role of Elena (Helen of Troy) in San Francisco Opera’s season-opening production of Boito’s Mefistofele. \nMarina has also joined the roster of the Los Angeles Opera to cover the verismo roles of Nedda in Pagliacci and the title role in Madama Butterfly. She has made leading role debuts with Opera Idaho (Tatiana in Eugene Onegin)\, Pacific Opera Project (title role in Ariadne auf Naxos) and the Southern Illinois Music Festival (Mathilde in Guillaume Tell). Ms. Harris’ international credits include the Festival der jugend Stimmen in Switzerland as Elisabeth in Tannhäuser and as a guest performer with the Sichuan Conservatory of Music in Chengdu\, China. 2021-22 saw performances with The Infinite Stage in her hometown of Long Beach\, a return to Southern Illinois in the role of Fiordiligi (Felicia) in Così fan tutte (aka Covid fan tutte)\, a company debut with GLOW Lyric Theater in their 2021 Festival\, Berta in The Barber of Seville with the Sacramento Philharmonic & Opera\, Colette in the world premiere of Laura Schwendiger’s Cabaret of Shadows with Musiqa Houston\, the Marquise of Berkenfield in La Fille du Regiment with the Opera Buffs at the Colburn School of Music\, and performances at Rockwood Music Hall in New York City with composer and pianist Felix Jarrar. In 2023\, Marina sang with the Sun Valley Opera in recital with crossover star Ashley Faatoalia\, the soprano solos in Mendelssohn’s Symphony No. 2 (Lobgesang) with the Sacramento Choral Society and Orchestra\, and released a debut EP with her band Bones & Teeth. \nFrom the baroque period to contemporary\, Marina has been featured as a soprano soloist in a diverse range of repertoire\, including Mahler’s Symphony No. 2 (Resurrection)\, Brahms’ Ein Deutsches Requiem\, Mozart’s Great Mass in C Minor\, Verdi’s Requiem\, Rossini’s Stabat Mater\, and J.S. Bach’s Mass in B Minor. Additionally\, she has performed in the West Coast premieres of Charles Stanford’s Stabat Mater and Cecelia MacDowall’s Magnificat with the Sacramento Choral Society and Orchestra. She originated the role of Angelina (wife of famous Portuguese diplomat Aristides de Sousa Mendes\, who helped at least 10\,000 Jews escape Nazi Germany during WWII) in Bruce Neely’s oratorio\, Circular 14. Ms. Harris has been a guest soloist with the Marin Symphony\, the California Symphony\, the West Los Angeles Symphony\, and the San Francisco Chamber Orchestra\, among many others. In recital\, Marina has appeared with Carnegie Hall’s Neighborhood Concert Series\, with the Brava! Opera Theater\, as part of The Song Continues with Marilyn Horne and the Weill Institute of Music\, and with San Francisco Performances. She has also been featured on WQRX\, New York’s leading classical radio station\, along with baritone Norman Garrett and Ken Noda of the Metropolitan Opera. \nIn 2015\, Ms. Harris was awarded the Dorothea-Glatt-Förderpreis in the triennial International Wagnerstimmen Competition\, securing her place as one of the top singers of Wagnerian repertoire worldwide. Marina has won numerous other awards for her performances of the Wagnerian repertoire\, including the 2015 George London Vienna Prize and the George London-Leonie Rysanek Award in 2014\, and the Gerda Lissner Foundation’s Vocal Competition in both 2015 and 2017. She has received additional grants and awards from the Wagner Society of Northern California\, the Merola Opera Program\, the Palm Springs Opera Guild\, and the Loren L. Zachary International Vocal Competition. \nMs. Harris resides in Long Beach\, California \nTo watch the pre-concert talk\, click here. \n [INSERT_ELEMENTOR id=”7518″] URL:https://hollandsymphony.org/events/night-at-the-opera/ LOCATION:Jack H. Miller Center for Musical Arts at Hope College\, 221 Columbia Ave.\, Holland\, MI\, 49423\, United States ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2024/01/MBH.HS_-scaled-e1705260013957.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20240324T150000 DTEND;TZID=UTC:20240324T170000 DTSTAMP:20260417T160644 CREATED:20231228T172953Z LAST-MODIFIED:20240321T184018Z UID:9527-1711292400-1711299600@hollandsymphony.org SUMMARY:HSYO Spring Concert DESCRIPTION:Concert Sponsors:\n \n \n \n \n Tickets\n \n\nProgram\nInformation\nArtist bio\n\nSunday\, March 24 at 3:00pm\nZeeland East High School \n\nHOLLAND AREA JUNIOR STRINGS\nKyle Nester\, Music Director and ConductorTori Zokoe\, General ManagerJaclyn Klinger\, ManagerKatie Rae Hayduk\, Rehearsal Manager \nSalisbury Overture by Terry McQuilkin \nPastoral Symphony by Ludwig van Beethoven/arr. Christina Hans \nBrandenburg Concerto No. 5\, 1st movement by Johann Sebastian Bach/arr. Merle J. Isaac \n  \nHOLLAND AREA CONCERT STRINGS\nKyle Nester\, Music Director and ConductorTori Zokoe\, General ManagerJaclyn Klinger\, ManagerKatie Rae Hayduk\, Rehearsal Manager \nAncient Wonders Suite by Todd Parrish \nI. Temple of Artemis at EphesusII. The Great Lighthouse at AlexandriaIII. The Great Pyramid at GizaIV. Statue of Zeus at Olympia \nLullaby by William Hofeldt \nJupiter from The Planets by Gustav Holst/arr. Deborah Baker Monday \nCOMBINED STRINGS\nFantasia Española by Soon Hee Newbold \nHOLLAND AREA YOUTH ORCHESTRA\nChristopher Fashun\, Music Director and ConductorTori Zokoe\, General ManagerJaclyn Klinger\, ManagerKatie Rae Hayduk\, Rehearsal Manager \nSymphony No. 8 in G Major\, by Antonín DvořákAllegro con brio AdagioAllegro ma non troppo \nLibertango\, by Astor Piazzolla/arr. Lito Valle \nTickets will be available for purchase at dress rehearsal and at the door – $10 for adults and $5 for students ages 6-college. Children under 6 are free. \nKyle Nester \nKyle Nester graduated from Alma College in 2004 with a Bachelor of Music in Music Education degree.  While in college\, he participated in orchestra\, marching band\, jazz band\, percussion ensemble\, and choir.  Mr. Nester spent a term in Vienna\, Austria and studied violin with Maeve Auer from the Universitat fur Musik und Darstellende Kunst.  After college\, he was a soloist in the Baroque on Beaver Music Festival and performed with Josh Groban a few times.  After a long-term substitute teacher position in Fremont\, Michigan\, he taught 5th – 12th grade orchestra at Chippewa Hills School District for seven years.  After his wife Andrea finished her law degree at Michigan State University\, the couple moved to West Michigan. He started teaching at Holland Christian in 2012 and Andrea was employed in a law firm in downtown Grand Rapids.  Recently\, Mr. Nester has been interested in fiddling and started the Michigan Academy of Folk Music with Nate Roberts from Hope College.   \nMr. Nester enjoys running races\, enjoying nature\, playing music\, and traveling.  They have three “interesting” cats and a planted freshwater fish tank.   \nChristopher H. Fashun \nChristopher H. Fashun is an incredibly diverse and versatile conductor\, performer\, and educator. He brings over two decades of experience as a music educator leading middle school\, high school and collegiate band and orchestra programs in addition to directing jazz and percussion ensembles. \nA 2018 recipient of a U.S. Postdoctoral Fulbright Award in All Disciplines\, Dr. Fashun will be living and researching Afro-Brazilian music in Salvador da Bahia\, Brazil during the summer of 2019.  His project will focus on the dissemination of Afro-Brazilian music and culture in the city of Salvador.  \nAn accomplished percussionist and violist\, he has several years of orchestral and chamber music experience and has enjoyed success in both areas as a soloist by winning three concerto competitions\, one on viola and two on marimba. \nDr. Fashun is an active guest conductor\, clinician\, adjudicator\, and percussionist.  He is a frequent presenter at music education conferences and is a highly sought after clinician and conductor.  Notable engagements include the La Porte County Symphony Orchestra\, Holland Symphony Orchestra\, Elkhart Symphony Orchestra\, St. Ambrose University Community Symphony Orchestra\, the University of Iowa Philharmonia and All-University Orchestras.  Dr. Fashun has conducted the Symphony String Orchestra at the Iowa IMEA Conference for the All-State Iowa Junior Honors String Orchestra Festival Concert and the Midwest Mennonite Festival Orchestra and Concert Band.  He has served on the music faculties at St. Ambrose University\, Goshen College\, and Hope College.  \nHis research in conducting combines developing musicianship from the podium and health and wellness for music educators.  \nWhen he’s not making music\, he is either cycling\, paddle boarding\, or practicing Pilates and enjoying the fabulous beaches in Holland (in the summer\, of course) with his wife and daughter.  \n [INSERT_ELEMENTOR id=”7527″] URL:https://hollandsymphony.org/events/hsyo-spring-concert-5/ LOCATION:DeWitt Auditorium\, Zeeland East High School\, 3333 96th Ave.\, Zeeland\, 49464\, United States ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2024/01/HAYO-photo-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20240311T090000 DTEND;TZID=UTC:20240311T120000 DTSTAMP:20260417T160644 CREATED:20231229T005734Z LAST-MODIFIED:20240115T001452Z UID:9556-1710147600-1710158400@hollandsymphony.org SUMMARY:Link Up - The Orchestra Moves DESCRIPTION: URL:https://hollandsymphony.org/events/link-up-the-orchestra-moves/ 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/2022/06/1314_Lockup_Moves_Transparent_RGB_lightBG-e1705259675104.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20240309T193000 DTEND;TZID=UTC:20240309T213000 DTSTAMP:20260417T160644 CREATED:20230419T200413Z LAST-MODIFIED:20240304T031333Z UID:8279-1710012600-1710019800@hollandsymphony.org SUMMARY:Surprise Symphony DESCRIPTION:Concert Sponsor:\n \n \n Tickets\n \n\nProgram\nInformation\nProgram Notes\nArtist bio\nPre-Concert Talk\n\nProgram\nSaturday\, March 9\, 20234\, 7:30 p.m.Jack H. Miller Center for Musical Arts\, Hope College \nJohannes Müller Stosch\, Music Director and Conductor \nSarah Southard\, Oboe \nTwo Pieces for Small OrchestraFrederick Delius (1862-1934)\nOn Hearing the First Cuckoo in SpringSummer Night on the River \nDanzas de PanamaWilliam Grant Still (1895-1978)\nTamborito: ModeratoMejorana y Socavón: Allegro moderatoPunto: Allegretto con graziaCumbia y Congo: Allegro con moto \nOboe Concerto\, Op. 45Eugene Goosens (1897-1988)\nSarah Southard\, oboe \nIntermission \nSymphony No. 94 in G Major\, “Surprise”Franz Joseph Haydn (1732-1809)\nAdagio; Vivace assaiAndanteMenuetto: Allegro moltoAllegro di molto \n\n\n\n\nEnjoy the relaxing quality of Delius’s pieces\, the delightful Latin rhythms of William Grant Still’s set of dances\, and the musicality of HSO principal oboist Sarah Southard in the first half of this concert. The second half will delight you with Haydn’s playful and well-known “Surprise Symphony.” \nTickets are $28 for adults and $5 for students through college. \nLearn more about the music…\nWe will be hosting not only the Classical Chat series at Freedom Village\, but also Pre-Concert Talks!  Details below: \nClassical Chats at Freedom Village:  These informative and fun talks are led by Johannes Müller-Stosch and take place at 3:00pm on the Thursday before each Classics concert.  (Freedom Village\, 6th Floor Auditorium\, 145 Columbia Ave.) \nPre-Concert Talks:  These talks\, led by Johannes Müller-Stosch and Amanda Dykhouse\, are online under the “Pre-Concert Talk” Tab.   \nNew to the Symphony?  Check out the Frequently Asked Question page… \nParking Map at the Miller Center \nHolland Symphony Orchestra will reserve and monitor Lot 40 for handicapped parking.  The faculty parking lots are available for parking after 5pm \n \n\n\n\n\nTwo Pieces for Small OrchestraFrederick Delius\nBorn: January 29\, 1862 in Bradford\, EnglandDied: June 10\, 1934 in Grez-sur-Loing\, FranceComposed: 1912Premiered: October 23\, 1913\, in LeipzigApproximate Duration: 7 minutesInstrumentation: 2 flutes\, 1 oboe\, 2 clarinets\, 2 bassoons\, 2 French horns\, strings \nEnglish composer Frederick Delius tried his hand at a lot of things in his young adulthood.  He failed in an attempt to run an orange grove in Florida.  He taught music in Virginia\, and spent some time as an organist in New York.  He also pursued a musical apprenticeship at the Leipzig Conservatory\, where he befriended Edvard Grieg and met his wife\, a German painter.  After receiving an inheritance from his father\, a wealthy German wool merchant who found a lot of success in Manchester\, England\, he moved to France and bought a villa in Grez-sur-Loing.  He and his wife lived in relative isolation there\, supported largely by inheritances that they both received.  He composed pieces that were well-received in parts of continental Europe and Scandinavia\, but he had more trouble gaining a foothold in his native England.  Two friends gave him similar advice.  Peter Warlock said\, “Write some short pieces for small orchestra\, and English orchestras will devour them.”  Percy Grainger advised him\, “I do wish you had in print some piece for not too big orchestra & not too wildly hard … that could be performed with an hour’s rehearsal & then form part of the general repertory.” \nDelius wrote these orchestral miniatures–two short tone poems–in 1912.  “On Hearing the First Cuckoo in Spring” is one of Delius’s most played and beloved works.  It combines a French Impressionist language with English lyricism.  It has a bittersweet mood\, reflecting the inevitable passing of seasons and time.  Composers often assign cuckoo calls to the clarinet\, and Delius is no exception.  After this beginning the violins then introduce a Norwegian folk song\, “In Ola Valley\,” which Percy Grainger had introduced to Delius.  This piece is a dialogue between strings and woodwinds\, between the cuckoo call\, played sixteen times by the clarinet\, and the folk tune.  “Summer Night on the River” depicts the Loing River near the French village of Grez where Delius lived.  His gardens bloomed along the edge of the river.  This piece is particularly Impressionistic\, portraying mist over the river and the gentle rocking of boats.  A peaceful cello solo depicts the quiet river on a warm summer evening. \nTo watch video of “On Hearing the First Cuckoo in Spring\,” click here.  \nTo listen to “Summer Night on the River\,” click here. \nDanzas de PanamáWilliam Grant Still\nBorn: May 11\, 1895\, Woodville\, MississippiDied: December 3\, 1978\, Los AngelesComposed: 1948Approximate Duration: 15 minutesInstrumentation: strings \nWilliam Grant Still\, Jr. was born in a small Mississippi town.  His parents were teachers and musicians.  HIs father\, William Grant Still\, Sr.\, died when he was three months old.  His mother moved to Little Rock\, Arkansas and continued teaching high school English.  She eventually remarried in 1904\, and Still’s stepfather nurtured his interest in music\, buying him records and taking him to concerts and operettas.  Still began violin lessons at age fifteen and also taught himself to play clarinet\, saxophone\, oboe\, viola\, cello\, and bass.   \nFollowing his mother’s wishes\, Still pursued pre-medical training at Wilberforce University\, a historically black college in Ohio.  While there he conducted the band\, started composing and orchestrating music\, and learned several more instruments.  He left Wilberforce before graduating and pursued musical studies at Oberlin College\, funded by a small inheritance from his father.  That money didn’t last long\, and he had to work a lot to pay for his education.  Eventually some faculty\, who were impressed with his musical abilities\, noticed his challenges and created a scholarship just for him.  Still subsequently studied composition with the modern French composer Edgard Varése and American composer George Whitefield Chadwick. \nEarly in Still’s career he spent a lot of time in New York City.  He worked for W. C. Handy’s band and performed with many notable pit orchestras.  He arranged a lot of music for the popular NBC radio broadcasts Deep River Hour and Old Gold Show.  He was prominent in the Harlem Renaissance movement and is known as the “Dean of African-American composers.”   He eventually moved to Los Angeles\, where he continued performing and composing and arranged music for films including Pennies from Heaven and Lost Horizon.   \nDuring a time in the United States when Jim Crow laws were common\, William Grant Still attained a level of musical prominence that would have seemed impossible for almost any other person of color.  He claims many “firsts” for African-American composers. \n\nHe was the first black man to conduct a major American orchestra\, leading the Los Angeles Philharmonic at the Hollywood Bowl in 1936.  \nHe was the first black composer to have a symphony performed by a major American orchestra.  The Rochester Philharmonic\, conducted by Howard Hanson\, performed Still’s Afro-American Symphony in 1931.\nHe was the first black man to conduct an orchestra in the deep south\, leading the New Orleans Philharmonic in 1955.  \nHe was the first to have an opera performed by a major company (Troubled Island\, 1949\, in NYC)\, and the first to have an opera performed on national television (Bayou Legend in 1981).\n\nAs a composer\, Still is known for blending European art music and African-American melodies like those in spirituals and scales and harmonies from jazz and blues.  This is evident in his Danzas de Panamá\, a suite of dances based on Panamanian dance themes originally collected by Elizabeth Waldo.  The first movement\, “Tamborito\,” is based on an African theme probably brought to Panama by enslaved peoples.  This traditional Panamanian dance uses a familiar habañera rhythm (3+2) and is performed with voice or strings and percussion.  Still includes a percussive statement at the beginning and end of the movement.  This music alternates between two dances\, one thoughtful and chromatic and one rhythmic and fast.  “Mejorana y Socavón” reflects two types of Panamanian guitars.  The melody is innocent and relaxed\, with an improvisatory style.  The middle section is rhythmically aggressive.  The third movement\, “Punto\,” is a graceful dance characterized by Zapateo (shoe-tapping) and Paseo (Promenade)\, which also occur in the Mejorana.  It has the feel of courtship enacted by two dancers.  The last movement also has African origins and is the most sensual of all the dances.  Still uses non-traditional percussive ways of playing string instruments to add additional colors and effects to his music.  These two folk dances\, cumbia and congo\, feature a driving tempo that suggests pounding feet and swirling colorful dresses\, leading to a fast and exciting conclusion.   \nTo listen to Danzas de Panamá\, click here. \nConcerto in One Movement for Oboe & Orchestra\, Op. 45Eugene Goossens\nBorn: May 26\, 1893\, LondonDied: June 13\, 1962\, Hillingdon\, Middlesex\, EnglandComposed: 1927Approximate Duration: 11 minutesInstrumentation: 2 flutes (one doubling piccolo)\, 2 clarinets (one doubling bass clarinet)\, 1 bassoon\, 2 French horns\, 1 trumpet\, harp\, celeste\, bass drum\, cymbals\, glockenspiel\, tam tam\, xylophone\, strings  \nFollowing World War I\, Sir Eugene Goosens emerged as one of the most prominent young British Composers.  He was part of an influential musical family.  His father and grandfather\, Eugene I and Eugene II\, were conductors.  His brother Leon was an oboist–one of the most distinguished of the twentieth century–and his sisters\, Marie and Sidonie\, were harpists.  His brother Adolph\, a horn player\, was killed in World War I. \nEugene (the composer) was sent to boarding school at age eight in Bruge.  He returned to England in 1906\, where he studied at Liverpool College of Music and then earned a scholarship to attend the Royal College of Music in London in 1907\, where he studied violin\, piano\, theory\, and composition.  He spent his early career as an orchestral and opera violinist\, and then gained a strong reputation as a conductor.  He spent some time in the US as the first conductor of the Rochester Symphony Orchestra from 1923-1931 and taught at the Eastman School of Music\, and then became music director of the Cincinnati Symphony Orchestra until 1946\, before moving to Australia to direct a conservatory in New South Wales and became the chief conductor of the Sydney Symphony Orchestra.  There he worked diligently for a performing arts center that ultimately led to the Sydney Opera House.  He was knighted in 1955 and lived in London for the remainder of his life.   \nAs a composer Goossens experimented with “modern” music early in his career\, but spent most of his time thoroughly grounded in the language of romantic composers.  He wrote two symphonies\, two operas\, and many other works for orchestra\, soloists\, and chamber music ensembles.  He wrote his oboe concerto for his brother Leon in 1927.  \nTo listen to the Goossens concerto\, click here. \nFranz Joseph HaydnSymphony No. 94 in G Major\, Hob. I:94\, “Surprise” or “With the Drum Strike”\nBorn: March 31\, 1732\, Rohrau\, Lower Austria Died: May 31\, 1809\, ViennaComposed: 1791Approximate Duration: 23 minutesInstrumentation: 2 flutes\, 2 oboes\, 2 bassoons\, 2 horns\, 2 trumpets\, timpani\, and strings \nMusic donated by Stuart and Lynette Fall \nFranz Joseph Haydn spent much of his career (1761-1790) working for the Esterházy family–initially\, for Paul Anton and then for his brother Prince Nicolaus.  The family loved music and was very supportive of Haydn.  Haydn enjoyed the freedom to compose\, the financial security to experiment\, and strong musicians who could play what he wrote well.  The Esterházy estate\, described by a traveler as “having no place but Versailles to compare with for magnificence\,” became known as a major center for music.  While on this estate he developed the four-movement structure that composers have used ever since.  Over the decades on the Esterházy estate the size of his orchestra grew and the complexity of Haydn’s music.   \nToward the end of Haydn’s employment with the Esterházy family\, he became increasingly isolated.  In a letter to a friend Haydn wrote\, “Well\, here I sit in my wilderness – forsaken – like a poor waif – almost without any human society – melancholy – full of the memories of past glorious days.… ”  When Prince Nicolaus died\, Haydn was freed from his obligations to the family.  In 1790 he decided to leave Austria and settle in London.  He spent the next two years there.   \nIn London Haydn composed his last twelve symphonies.  The concerts at which these symphonies were performed could go on for hours\, and even though Haydn was the star attraction\, the length of the evenings often took its toll on audience members.  After the premiere of Haydn’s Symphony No. 94\, a newspaper described the second movement\, a theme with four variations\, in this way: “The second movement was the happiest of this great Master’s conceptions.  The surprise might not be unaptly likened to the situation of a beautiful shepherdess\, who\, lulled to slumber by the murmur of a distant waterfall\, starts alarmed by the unexpected firing of a fowling-piece.  The flute obligato was delicious.”  Haydn denied the rumor that he wrote this movement to wake up audience members who fell asleep at his concerts.  The famous chord wasn’t even in the earliest versions of this symphony.  Allegedly\, Haydn claimed that he wanted to make a grand statement to outshine other composers\, but no one really knows why he added the gratuitous chord.  “No\, rather it was my wish to surprise the public with something new\, and to make a debut in a brilliant manner so as not to be outdone by my pupil Pleyel [Pleyel was giving concerts in London at the same time as Haydn] … the enthusiasm reached its highest point in the Andante with the kettledrum beat. ‘Encore\, Encore’ sounded from every throat\, and even Pleyel complimented me on my idea.” \nThe symphony opens with a slow introduction\, like all but one of Haydn’s London symphonies.  Alternating wind and string chorales give way to a brisk\, joyful movement in A-B-A form.  The second movement is a theme and variations on the famous theme\, a tune that is marked by its simplicity.  The third movement\, Menuet and Trio\, is really an Austrian ländler\, a peasant dance in triple meter.  The finale is fast and exciting–a rondo that alternates between the opening theme and other tunes\, ending with an energetic conclusion.  \nTo watch a video of the “Surprise Symphony\,” click here. \nSarah Hustad Southard joined the Hope College Music Department faculty as instructor of oboe in fall 2007. She has taught as temporary instructor of oboe at Central Michigan University and as adjunct professor at the University of Michigan-Flint and Northern Kentucky University. Along with her collegiate teaching\, Sarah keeps an active studio of area oboists and has enjoyed working with many youth programs like the Interlochen Center for the Arts All-State Orchestra and All-State Band\, the Holland Area Youth Orchestra Chamber Music Program\, the Cincinnati Youth Wind Ensemble and the Wisconsin Youth Symphony Orchestras. \nBesides teaching\, Sarah is an active performer\, playing regularly with the Midland and Holland symphony orchestras. She has also had the pleasure of performing with other groups such as the Lansing Symphony in Lansing\, Michigan; the New World Symphony Orchestra in Miami\, Florida; the Cincinnati Symphony Opera Orchestra in Cincinnati\, Ohio; and the Madison Symphony and Chamber Orchestras in Madison\, Wisconsin. As well as her orchestral playing\, Sarah has performed in chamber groups at Hope College\, the Chamber Music Festival of Saugatuck and the Free at Three Concert Series (formerly the Herrick Library series in Holland\, which she also took part in) and has soloed nationally and internationally at locations including Italy\, England and Scotland. \nSarah received her Doctorate of Musical Arts from Michigan State University with oboist Jan Eberle\, her Master’s of Music at the University of Cincinnati College-Conservatory of Music with Mark Ostoich\, and her Bachelor of Music from the University of Wisconsin-Madison studying with Marc Fink. \nTo watch the pre-concert video\, click here. \n [INSERT_ELEMENTOR id=”7518″] URL:https://hollandsymphony.org/events/surprise-symphony/ LOCATION:Jack H. Miller Center for Musical Arts at Hope College\, 221 Columbia Ave.\, Holland\, MI\, 49423\, United States ATTACH;FMTTYPE=image/png:https://hollandsymphony.org/wp-content/uploads/2023/04/23-24-Event-Pics.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20240127T130000 DTEND;TZID=UTC:20240127T150000 DTSTAMP:20260417T160644 CREATED:20231226T175725Z LAST-MODIFIED:20240118T201647Z UID:9524-1706360400-1706367600@hollandsymphony.org SUMMARY:Young Artists Competition Public Recital DESCRIPTION: URL:https://hollandsymphony.org/events/young-artists-competition-public-recital/ 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/2023/12/YoungArtistCompetition-scaled.jpg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20231209T193000 DTEND;TZID=UTC:20231209T210000 DTSTAMP:20260417T160644 CREATED:20231108T152520Z LAST-MODIFIED:20231108T153604Z UID:9419-1702150200-1702155600@hollandsymphony.org SUMMARY:Celebrate the Season DESCRIPTION:  \nConcert Sponsors:\n \n \n\nProgram\nInformation\nProgram Notes\nArtist bio\nPre-Concert Talk\n\nProgram\nmake edits \ntest \n [INSERT_ELEMENTOR id=”7518″] URL:https://hollandsymphony.org/events/celebrate-the-season-3/ LOCATION:Dimnent Chapel\, 277 College Ave.\, Holland\, MI\, 49423\, United States ATTACH;FMTTYPE=image/png:https://hollandsymphony.org/wp-content/uploads/2023/04/3.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20231209T153000 DTEND;TZID=UTC:20231209T170000 DTSTAMP:20260417T160644 CREATED:20230703T171711Z LAST-MODIFIED:20231108T224016Z UID:8894-1702135800-1702141200@hollandsymphony.org SUMMARY:Celebrate the Season DESCRIPTION:Concert Sponsors:\n \n \n\nProgram\nInformation\nArtist bios\n\nCelebrate the Season\nSaturday\, December 9\, 20233:30 & 7:30 p.m.Dimnent Memorial Chapel\, Hope College \nJohannes Müller Stosch\, Music Director and ConductorAllison and Steven Martin\, soloists \nProgram \nOn Christmas Day Steven Amundson \nThe Snowman OvertureErich Wolfgang Korngold   \nJesu Joy of Man’s DesiringJohann Sebastian Bach\, arr. Arthur Luck  \nAve MariaJohann Sebastian Bach & Charles Gounod \nThe Nutcracker Peter Ilyich Tchaikovsky     March     Arabian Dance     Trepak     Waltz of the Flowers \nFantasia on GreensleevesRalph Vaughan Williams   \nHave Yourself A Merry Little ChristmasHugh Martin\, arr. Calvin Custer \nChristmas SingalongJohn Finnegan \nO Holy NightAdolphe Adam\, arr. René Clausen \nDona Nobis Pacem from Silent NightKevin Puts \nSleigh RideLeroy Anderson \nThe PrayerCarole Bayer-Sager & David Foster\, arr. Larry Goss \nStraussianaErich Wolfgang Korngold \n  \nHSO presents two traditional holiday concerts of seasonal classics and carols as we celebrate the season. Local favorites Steve & Allison Martin join HSO to share their gifts with us. \nSaturday\, December 9\, 2023 at 3:30 & 7:30 p.m. \nDimnent Memorial Chapel\, Hope College \nTickets are $28 for adults and $5 for students through college. \nParking is available on the streets or in Faculty/Staff parking lots (not during regular business hours). \nAllison Martin received her Masters of Music in Vocal Performance from Michigan State University and Bachelors of Arts in Music Performance from Goshen College. She has performed throughout the U.S. and in Italy singing both opera and musical theater. She has performed roles such as Annina in Verdi’s La Traviata\, Countess Charlotte in Sondheim’s A Little Night Music\, Casilda in Gilbert & Sullivan’s The Gondoliers\, Laetitia in Menotti’s The Old Maid and the Thief\, and Catherine in Schwartz’s Pippin with companies such as Opera in the Rock\, Opera Grand Rapids\, and The Other Mirror Production Company. On the oratorio stage\, she was the soprano soloist for Mozart’s Missa Brevis in Fmajor in Vienna and Saltzburg\, Austria\, Handel’s Messiah with the Mennonite Choral Society\, Brahms’ Ein Deutches Requiem with the St. Joseph Valley Camerata\, and Beethoven’s Symphony No. 9 at Goshen College where she was also an invited masterclass clinician. Martin currently serves as Interim Managing Director for the Next Festival of Emerging Artists (www.next-fest.org).  \nStephen Martin has enjoyed engagements spanning throughout Italy\, China\, Austria\, and the United States singing leading roles in staged works such as La Traviata\, La Bohème\, The Tales of Hoffmann\, Gianni Schicchi\, The Grapes of Wrath\, Les Misérables\, and many more. He has performed with companies such as The Santa Fe Opera\, The Glimmerglass Festival Opera\, Sarasota Opera\, Minnesota Opera\, Opera in the Rock\, Chicago Summer Opera Festival\, Kenosha Opera\, The Detroit Symphony Orchestra\, Motor City Brass Band\, Flint Symphony Orchestra\, Saginaw Symphony\, and others. Stephen has twice won the East Tennessee District Metropolitan Opera Competition and is the recipient of an Encouragement Award at the Mid-South Regional Metropolitan Opera competition. He was a grand finalist in the Rochester International Voice Competition\, a semi-finalist in the Mildred Miller International Voice Competition\, Opera Index Competition\, and Birmingham Opera competitions\, was awarded the Mandelker/Harris Award for Outstanding Returning Studio Artist at Sarasota Opera\, and won the Charlotte Ruppel Memorial Voice Competition. \nIn 2019 Stephen took a step back from full-time performing and became an Assistant Professor of Voice at the University of Central Arkansas where he served for two years until transitioning into full time music ministry. He currently serves as the Director of Music and Fine Arts at Memorial Drive United Methodist Church in Houston\, Texas. \nStephen holds a Doctorate in Voice Performance\, Masters Degrees in Voice Performance and Music Theory Pedagogy\, and a Bachelor’s degree in Voice Performance all from Michigan State University.  \nYou can learn more about Stephen at StephenMartinTenor.com \n  \n [INSERT_ELEMENTOR id=”7518″] URL:https://hollandsymphony.org/events/celebrate-the-season-2/ LOCATION:Dimnent Chapel\, 277 College Ave.\, Holland\, MI\, 49423\, United States ATTACH;FMTTYPE=image/png:https://hollandsymphony.org/wp-content/uploads/2023/04/3.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20231119T150000 DTEND;TZID=UTC:20231119T170000 DTSTAMP:20260417T160644 CREATED:20231101T003040Z LAST-MODIFIED:20231108T001552Z UID:9352-1700406000-1700413200@hollandsymphony.org SUMMARY:HSYO Fall Concert DESCRIPTION:Concert Sponsors:\n \n \n \n\nProgram\nInformation\nArtist bio\n\nSunday\, November 19\, 2023 at 3:00pm\nWest Ottawa Performing Arts CenterHolland\, Michigan\nHOLLAND AREA JUNIOR STRINGS\nKyle Nester\, Music Director and ConductorTori Zokoe\, General ManagerJaclyn Klinger\, ManagerKatie Rae Hayduk\, Rehearsal Manager \nBella Bocca Polka Op. 163 Emile Waldteufel/arr. Bob Phillips\nBartok Song and Dance for String OrchestraBela Bartok/arr. Deborah Baker Monday\nShamrock Polkasarr. Andrew H. Dabczynski\nHOLLAND AREA CONCERT STRINGS\nKyle Nester\, Music Director and ConductorTori Zokoe\, General ManagerJaclyn Klinger\, ManagerKatie Rae Hayduk\, Rehearsal Manager \nPrelude from Holberg SuiteEdvard Grieg/arr. Brendan McBrien\nAshokan FarewellJay Ungar\, arr. Calvin Custer\nThemes from The Rite of SpringIgor Stravinsky/arr. Bob Lipton\nConcerto Grosso Op. 6\, No. 1AllegroGeorge Frideric Handel/arr. Sandra Dackow\nHOLLAND AREA YOUTH ORCHESTRA\nChristopher Fashun\, Music Director and ConductorTori Zokoe\, General ManagerJaclyn Klinger\, ManagerKatie Rae Hayduk\, Rehearsal Manager \nSymphony No. 94 in G major (“The Surprise”)Franz Joseph Haydn \n\n Adagio cantabile – Vivace assai\n Andante\nMenuetto\nAllegro di molto\n\nBrazilian choros featuring guest artist Choro das 3\nBoca de Goiaba        Elisa\, Lia\, Corina\, e Eduardo Meyer Ferreira/arr. Christopher Fashun\nPé de Frango            Elisa\, Corina a\, e Lia\, Meyer Ferreira/arr. Josh Trentadue \nTucunaré         Elisa Meyer Ferreira/arr. Josh Trentadue\nTico-Tico no Fuba  Zequinha Abreu/arr. Marty Gold\nTickets will be available for purchase at dress rehearsal and at the door – $10 for adults and $5 for students ages 6-college. Children under 6 are free. \nChoro das 3 Artist Biography \nChoro das 3 is a Brazilian band of three sisters. The band plays Brazilian instrumental music based on choro\, an instrumental music genre that emerged in Brazil in the 19th century to become the foundation for all Brazilian music. Choro das 3 is in the US playing their 8th USA Tour. \nOf the three sisters in the band\, Corina\, the oldest\, plays flute and piccolo\, Lia plays acoustic 7 string guitar\, Elisa\, the youngest sister\, plays mandolin\, clarinet\, banjo\, piano and accordion. \nIn Brazil\, Choro das 3 has played for presidents and for huge audiences such as São Paulo’s New Year’s Eve Party (2 million people). It has been on national TV many times\, including the Jo Soares show (the Brazilian version of “The Tonight Show”). \nFrom 2013 to 2019\, Choro das 3 toured in the USA annually. Reviewers say the band is\, “superbly talented\,” “cohesive\,” and “beguiling.” Renowned musician Mike Marshall says that Choro das 3 plays “. . . some of the most inspired and inspiring music . . . the highest level of musicianship and presentation . . . the highest quality of Brazilian Choro music that can be heard any place today.” The Covid pandemic caused Choro das 3 to cancel plans for their 2020 USA tour. Tragically\, Eduardo\, the father of the three sisters\, lost his life to Covid early in the pandemic\, before vaccines were available. Eduardo was the band’s percussionist from its beginning. He played pandeiro (Brazilian tambourine). Bravely\, the sisters resolved to continue as Choro das 3\, but they play every song in their father’s memory. \nKyle Nester \nKyle Nester graduated from Alma College in 2004 with a Bachelor of Music in Music Education degree.  While in college\, he participated in orchestra\, marching band\, jazz band\, percussion ensemble\, and choir.  Mr. Nester spent a term in Vienna\, Austria and studied violin with Maeve Auer from the Universitat fur Musik und Darstellende Kunst.  After college\, he was a soloist in the Baroque on Beaver Music Festival and performed with Josh Groban a few times.  After a long-term substitute teacher position in Fremont\, Michigan\, he taught 5th – 12th grade orchestra at Chippewa Hills School District for seven years.  After his wife Andrea finished her law degree at Michigan State University\, the couple moved to West Michigan. He started teaching at Holland Christian in 2012 and Andrea was employed in a law firm in downtown Grand Rapids.  Recently\, Mr. Nester has been interested in fiddling and started the Michigan Academy of Folk Music with Nate Roberts from Hope College.   \nMr. Nester enjoys running races\, enjoying nature\, playing music\, and traveling.  They have three “interesting” cats and a planted freshwater fish tank.   \n  \nChristopher H. Fashun \nChristopher H. Fashun is an incredibly diverse and versatile conductor\, performer\, and educator. He brings over two decades of experience as a music educator leading middle school\, high school and collegiate band and orchestra programs in addition to directing jazz and percussion ensembles. \nA 2018 recipient of a U.S. Postdoctoral Fulbright Award in All Disciplines\, Dr. Fashun will be living and researching Afro-Brazilian music in Salvador da Bahia\, Brazil during the summer of 2019.  His project will focus on the dissemination of Afro-Brazilian music and culture in the city of Salvador.  \nAn accomplished percussionist and violist\, he has several years of orchestral and chamber music experience and has enjoyed success in both areas as a soloist by winning three concerto competitions\, one on viola and two on marimba. \nDr. Fashun is an active guest conductor\, clinician\, adjudicator\, and percussionist.  He is a frequent presenter at music education conferences and is a highly sought after clinician and conductor.  Notable engagements include the La Porte County Symphony Orchestra\, Holland Symphony Orchestra\, Elkhart Symphony Orchestra\, St. Ambrose University Community Symphony Orchestra\, the University of Iowa Philharmonia and All-University Orchestras.  Dr. Fashun has conducted the Symphony String Orchestra at the Iowa IMEA Conference for the All-State Iowa Junior Honors String Orchestra Festival Concert and the Midwest Mennonite Festival Orchestra and Concert Band.  He has served on the music faculties at St. Ambrose University\, Goshen College\, and Hope College.  \nHis research in conducting combines developing musicianship from the podium and health and wellness for music educators.  \nWhen he’s not making music\, he is either cycling\, paddle boarding\, or practicing Pilates and enjoying the fabulous beaches in Holland (in the summer\, of course) with his wife and daughter.  \n \n Tickets\n \n [INSERT_ELEMENTOR id=”7527″] URL:https://hollandsymphony.org/events/hsyo-fall-concert-4/ LOCATION:MI ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2021/05/HAYO-pic-fall-2019-small-1024x737-1-e1623945205856.jpeg END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20231028T193000 DTEND;TZID=UTC:20231028T213000 DTSTAMP:20260417T160644 CREATED:20230419T194717Z LAST-MODIFIED:20231016T215404Z UID:8274-1698521400-1698528600@hollandsymphony.org SUMMARY:Brahms 3 DESCRIPTION:Concert Sponsor:\n \n\nProgram\nInformation\nProgram Notes\nArtist bio\nPre-Concert Talk\n\nProgram\nSaturday\, October 28\, 2023\, 7:30 p.m.Jack H. Miller Center for Musical Arts\, Hope College \nJohannes Müller Stosch\, Music Director and Conductor \nAaron Berofsky\, violin \nAlone TogetherJohn Wineglass (b. 1973)\nStrange Pandemic TimesA Ray of Hope \nConcerto for Violin and Orchestra in E minor\, Op. 64Felix Mendelssohn (1809-1847)\nAllegro molto appassionatoAndanteAllegretto non troppo – Allegro molto vivace \nAaron Berofsky\, violin \nIntermission \nSymphony No. 3 in F Major\, Op. 90Johannes Brahms (1833-1897)\nAllegro con brioAndantePoco allegrettoAllegro \nExperience an intimate and reflective piece by Emmy-winning composer John Wineglass and the dazzling and expressive virtuosity of Aaron Berofsky in Mendelssohn’s violin concerto. The evening will culminate with the powerful emotion of Brahms’s third symphony. \nTickets are $28 for adults and $5 for students through college. \nLearn more about the music…\nWe will be hosting not only the Classical Chat series at Freedom Village\, but also Pre-Concert Talks!  Details below: \nClassical Chats at Freedom Village:  These informative and fun talks are led by Johannes Müller-Stosch and take place at 3:00pm on the Thursday before each Classics concert.  (Freedom Village\, 6th Floor Auditorium\, 145 Columbia Ave.) \nPre-Concert Talks:  These talks\, led by Johannes Müller-Stosch and Amanda Dykhouse\, are online under the “Pre-Concert Talk” Tab.   \nNew to the Symphony?  Check out the Frequently Asked Question page… \nParking Map at the Miller Center \nHolland Symphony Orchestra will reserve and monitor Lot 40 for handicapped parking.  The faculty parking lots are available for parking after 5pm \n \nAlone TogetherJohn Wineglass (b. 1973)\nBorn: 1973\, Washington\, DCComposed: 2021Approximate Duration: 11 minutesInstrumentation: harp\, timpani\, percussion (bass drum\, glockenspiel\, sizzle cymbal\, suspended cymbal\, tamtam\, tubular bells\, 2 vibraphones)\, strings \nJohn Christopher Wineglass was born in Washington DC\, played viola in the DC youth orchestra\, and earned a Bachelor’s degree in composition from American Univeristy.  He also earned a master’s degree in Music Composition: Film Scoring for Motion Pictures\, Television and Multi-Media at New York University.  He has written several scores for documentaries\, shows on MSNBC\, CNN\, NBC\, CBS and ABC\, independent films\, and several of his nationally syndicated commercials.  He is a recipient of three Daytime Emmy Awards for Outstanding Achievement in Music Direction and Composition for a Drama Series (for All My Children)\, and three ASCAP Film and Television Music Awards.   \nWineglass’s compositions are inspired by the beauty of creation and the splendor of nature\, as well as bringing to light social issues of the past and present. He has received major commissions from orchestras\, festivals\, and foundations in the US and Europe.  Mr. Wineglass is currently serving as Composer-In-Residence with the Monterey Symphony where both of his pandemic response works\, Alone for Solo Violin\, Live EFX and Electronica and Alone Together for Percussion\, Harp and Strings have been curated to be included in the permanent collection of the COVID-19 response art at the Library of Congress.  \nWineglass provides the following notes about “Alone Together”:  \nInitially a zoomed brainchild collaboration between composer John Wineglass\, Maestra Barbara Day Turner (San Jose Chamber Orchestra) and Maestra Rei Hotoda (Fresno Philharmonic) – this work was ultimately co-commissioned by two more additional California orchestras as well – Monterey Symphony where Wineglass is in residency and with great support of the subject matter from Maestro Carl St. Clair of Pacific Symphony – all coming together to express a shared interest of new music that responds to the extraordinary nature of life during the 2020 pandemic and the catastrophic circumstances accompanying this global crisis. \nIn a joint-statement from Wineglass and Fresno Philharmonic conductor Rei Hotoda in the San Francisco Classical Voice\, Alone Together addresses the social issues we are all facing during this pandemic – from not being able to perform together ot even the systemic racial disparities given a world stage due to shelter-in-place.  Despite all the setbacks of our present limitations\, we are moving forward.  This work is allowing us to continue our work as performers – to never lose sight of just how important the arts are and have always been.  By creating this work\, we are providing a way to connect to one another which is so valuable and something most of us probably once took for granted.  We may feel alone at this moment but we as four performing arts organizations are coming to move forward together as one. \nAdditionally\, this very work can also be aptly summed up in a few excerpt journal entries by the composer during the creation of this work.  In his own words… \nAlone Together (Journal entry) \nNovember 20th\, 2020 8:08 pm \nAs i sequestered “alone” quite literally to finish writing this work in walking to a market store near my sponsored beachfront quarters\, I was verbally accosted by two laughing males who thought it would be funny with a bullhorn on top of their sport Audi SUV to go around this pristine neighborhood and spew out expletives in\, of ALL places\, where I normally do a lot of writing–Shell Beach\, CA–a beautiful central coastline between LA and San Francisco.  Truly–what world are we living in?  Let me rephrase that–what world are some of us living in and others (millions\, in fact) choose to turn a blind eye? \nAs I dwelled heavily into this work this particular week–there were parts of America that I recognized and parts that I knew were always there BUT certainly didn’t recognize… in this extremely politically divided time and in the midst of a global pandemic.  Was I still in the times of my just recently deceased parents last year of the 60s and the riots during MLK or was this 2020?  Have we NOT as a nation grown… at all?  It was dreamlike for me–an unbelievable seeping dystopian euphoria in a way….  Indeed\, “Strange Pandemic Times”… my working title of the first movement.  And this is just personally what was happening to me in composing this work… with everyday MAJOR unstable shifts in the temperature of this country.  This present-day world of 2020 without tonality… without centeredness… swelling major-minor chords in the strings without times of possible brilliance–yet brought back to a current dismal reality.  A longing for common ground but finding no footing… no continuity.  Abrupt silences… alone… many intubated.  No foundation… lost in a midst of unbelief of what I was witnessing with my very own eyes in this land of “equality.  The universe repeatedly brings this up… again… and again before our very own eyes–until we learn. \nBut… I still believe in and have hope… A Ray of Hope (working title for 2nd movement)… A hope deferred at the moment but a hope nonetheless.  A hope that in this struggle together–we will come out TOGETHER somehow and in some way–stronger\, more wise and vigilant. \nProgram note by John Wineglass \nThere is no recording of this piece.  To listen to an interview with Wineglass\, including some excerpts from “Alone Together\,” click here. \nViolin Concerto in E minor\, Op. 64Felix Mendelssohn\nBorn: February 3\, 1809\, HamburgDied: November 4\, 1847\, LeipzigComposed: 1844\, revised 1845Premiered: March 13\, 1845\, LeipzigApproximate Duration: 26 minutesInstrumentation: two flutes\, two oboes\, two clarinets\, two bassoons\, two French horns\, two trumpets\, timpani\, strings \nMusic donated by Diane Lewis \nIn 1838 Mendelssohn wrote to his friend Ferdinand David\, one of the leading violinists of the mid-nineteenth century: “I should like to write a violin concerto for you next winter. One in E minor runs through my head\, the opening of which gives me no peace.”  Mendelssohn worked closely with David while composing the concerto.  Both men disliked the “empty showpiece concerto” of the early Romantic era that contained little more than what Mendelssohn called “juggler’s tricks and rope dancer’s feats.”  The two sought to produce a serious musical piece in the manner of Beethoven’s Violin Concerto.  The result is a piece wonderfully suited to the violin\, both musically and technically.  \nUnlike Classical concertos\, with long orchestral introductions\, Mendelssohn’s work begins with the soloist presenting the initial soaring theme that “haunted” the composer.  This melody is contrasted with a tender second theme\, introduced by the woodwinds.  Mendelssohn took an innovative approach to the cadenza; instead of putting it at the end of the movement\, he used it as a bridge leading from the development into the restatement of the movement’s opening themes.  Furthermore\, instead of leaving it to the soloist to improvise or write his or her own cadenza\, Mendelssohn provides a cadenza\, probably written by David. \nA single thread—a note sustained by one bassoon—provides the seamless bridge to the lyrical second movement\, an endearing song.  The melodies are harmonized and scored beautifully—sometimes peacefully\, sometimes restlessly.  Another brief transition\, which recalls the impassioned first movement\, introduces the Finale\, a brilliant and sunny scherzo that recalls Mendelssohn’s Midsummer Night’s Dream.  The soloist is called upon to display light-hearted virtuosity alternating with long\, lyrical passages\, leading to a rousing conclusion.  \nTo listen to the Mendelssohn\, click here.  \nSymphony No. 3\, Op. 90\, in F MajorJohannes Brahms\nBorn: May 7\, 1833 HamburgDied: April 3\, 1897\, ViennaComposed: Summer 1883\, WiesbadenPremiered: December 2\, 1883\, ViennaApproximate Duration: 33 minutesInstrumentation: two flutes\, two oboes\, two clarinets\, two bassoons\, contrabassoon\, four French horns\, two trumpets\, three trombones\, timpani\, strings \nMusic donated by Mark Dykstra \nJohannes Brahms was recognized for his compositional skill at a young age.  In his young twenties\, Robert Schumann described him in Europe’s most important journal of music as “the one . . . chosen to express the most exalted spirit of the times in an ideal manner\, one who [sprang] fully armed from the head of Jove… [A] youth at whose cradle the graces and heroes of old stood guard.”   As much as Brahms appreciated the recognition\, the high expectations were almost paralyzing.  Brahms was his own harshest critic.  He had incredibly high standards for himself.   \nBrahms is well-known among musicologists and music history students for his reluctance to write a symphony.  In 1872\, he famously stated\, “I shall never write a symphony!  You can’t have any idea what it’s like to hear such a giant marching behind you.”  That giant was Beethoven\, who had taken the symphony structure introduced by earlier composers and had pushed it to new limits of complexity\, refinement\, and emotional depth.  Many late nineteenth century composers thought that Beethoven’s symphonies were so perfect that subsequent composers shouldn’t try to innovate further\, instead turning to new genres.  Brahms fundamentally disagreed\, exploring the forms of the past and discovering new layers\, colors\, and complexity.  He wanted to make sure the symphony remained a relevant genre.  After writing a couple orchestral serenades\, a concerto\, and the German Requiem\, he ultimately conquered his feelings of intimidation and composed his first symphony in 1876–a work raw with power\, sound\, and emotion. He wrote his second\, a joyful and optimistic work\, in 1877.  His third\, the most introspective\, came in 1882-3. \nBrahms was very fond of this symphony\, and his good friend Clara Schumann said that “all the movements seem to be of one piece\, one beat of a heart.”  The first movement opens with three broad chords that have been called “heroic\,” even causing some to label this symphony Brahms’s “Eroica.”  The chords also suggest the tonal ambiguity that Brahms weaves through this symphony–is it in F major or F minor?  The opening “F-A-flat-F” tonality spells Frei aber fröh (Free\, but happy)\, Brahms’ adaptation of his friend Joseph Joachim’s personal motto\, Frei aber einsam (Free\, but lonely).  After the enticing opening\, Brahms presents a broad melody that leaps\, builds\, and pushes forward before transforming into an intimate second theme introduced by woodwinds.  This gentle dance-like melody encounters a brief song and then proceeds to a dense development section.  When Brahms recaps this material it becomes more tense\, complicated\, and dissonant before the movement ends in peace. \nThe second movement begins with a folk-like melody in the clarinet that forms the basis for the entire movement.  The character is rocking and gentle\, with occasional call-and-response moments in the strings.  The third movement is also based on a single melody\, a melancholy tune introduced by the cellos set to gentle triplets that gradually build momentum.  There is a short dance-like section in the middle\, the only part that sounds like most symphonic scherzo movements.   \nThe final movement begins with quiet\, nervous energy.  A chorale from the second movement is heard before Brahms unleashes his turbulent\, yet heroic\, melodic energy.  Much of the movement is in a stormy F minor\, but this alternates with hushed themes.  The movement resolves into a calmer F Major section\, ending with three chords on F-A-F\, as the music settles into peaceful silence.  \nTo listen to the Brahms\, click here. \nViolinist Aaron Berofsky has toured extensively throughout the United States and abroad\, gaining wide recognition as a soloist and chamber musician. As soloist\, he has performed with orchestras in the United States\, Germany\, Italy\, Spain and Canada. He has performed the complete cycle of Mozart violin sonatas at the International Festival Deia in Spain and all of the Beethoven sonatas at New York’s Merkin Concert Hall.  His 2011 recording of the complete Beethoven sonatas with Phillip Bush has been met with great acclaim. \nFrance’s Le Figaro calls his playing “Beautiful\, the kind of music-making that gives one true pleasure”.  He has appeared in such renowned venues as Carnegie Hall\, Alice Tully Hall\, the 92nd Street Y\, the Corcoran Gallery\, Het Doelen\, L’Octogone\, Seoul National University\, the Teatro San Jose and the Museo de Bellas Artes. Mr. Berofsky has been featured on NPR’s Performance Today and on the Canadian Broadcasting Company. His acclaimed recordings can be found on the Sony\, Naxos\, New Albion\, ECM\, Audio Ideas\, Blue Griffin and Chesky labels.  Recent recital tours have taken him to Germany\, Italy and Korea\, and he was featured soloist on the 2009 NAXOS recording of music by Paul Fetler\, performed by the Ann Arbor Symphony\, including the debut recording of his Concerto No. 2.  His recording of the complete chamber music of Franz Xavier Mozart was released in 2013 on Equilibrium. \nMr. Berofsky was the first violinist of the Chester String Quartet for fifteen years. The quartet has been acclaimed as “one of the country’s best young string quartets” by the Boston Globe. Tours have taken them throughout the Americas and Europe and the quartet members have collaborated with such artists as Robert Mann\, Arnold Steinhardt\, Franco Gulli\, members of the Alban Berg quartet\, Andres Diaz\, Eugene Istomin and Ruth Laredo. Some notable projects over the years have included the complete cycles of the quartets by Beethoven and Dvorak\, and numerous recordings by such composers as Mozart\, Haydn\, Barber\, Porter\, Piston\, Kernis and Tenenbom. The Chester Quartet has served as resident quartet at the University of Michigan and at Indiana University South Bend. \nAn alumnus of the Juilliard School\, Mr. Berofsky was a scholarship student of Dorothy DeLay. Other important teachers have included Robert Mann\, Felix Galimir\, Glenn Dicterow\, Lorand Fenyves and Elaine Richey. Mr. Berofsky is known for his commitment to teaching and is Professor of Violin at the University of Michigan and served as visiting Professor at the Hochschule fur Musik in Detmold\, Germany. He taught at the Meadowmount School of Music for many summers and is currently on the violin faculty of the Chautauqua Institution.  He has also given masterclasses throughout the world\, including a 2013 tour of Korea which included classes at Seoul National University\, Ewha Women’s University\, Seoul Arts High School and many others.  He has also given class at the Cleveland Institute\, Oberlin\, Eastman\, the Peter de Grote festival in the Netherlands\, Domaine Forget in Quebec\, Interlochen\, the Adriatic Chamber Music Festival and the Conservatorio Palma Mallorca. \nMr. Berofsky’s interest in early music led him to perform with the acclaimed chamber orchestra Tafelmusik on period instruments\, also making several recordings with them for the Sony label.  He co-runs University of Michigan’s Baroque Chamber Orchestra with harpsichordist Joseph Gascho.  With a strong dedication to new music as well\, he has worked extensively with many leading composers of the twentieth and twenty-first centuries\, performing\, commissioning and recording music by John Cage\, William Bolcom\, Zhou Long\, Michael Daugherty\, Aaron Jay Kernis\, Susan Botti\, Morton Subotnick\, Paul Fetler and Bright Sheng. \nAaron Berofsky has been concertmaster of the Ann Arbor Symphony since 2003.   He has also served as guest concertmaster for many orchestras throughout the US and Europe. \nTo listen to the pre-concert talk\, click here. \n [INSERT_ELEMENTOR id=”7518″] URL:https://hollandsymphony.org/events/brahms-3/ LOCATION:Jack H. Miller Center for Musical Arts at Hope College\, 221 Columbia Ave.\, Holland\, MI\, 49423\, United States ATTACH;FMTTYPE=image/png:https://hollandsymphony.org/wp-content/uploads/2023/04/2.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20230930T193000 DTEND;TZID=UTC:20230930T213000 DTSTAMP:20260417T160644 CREATED:20230419T194431Z LAST-MODIFIED:20230922T002856Z UID:8267-1696102200-1696109400@hollandsymphony.org SUMMARY:The Planets DESCRIPTION:Concert Sponsors:\n \n \n\nProgram\nInformation\nProgram Notes\nArtist bio\nPre-Concert Talk\n\nProgram\nSaturday\, September 30\, 2023\, 7:30 p.m.Jack H. Miller Center for Musical Arts\, Hope College \nJohannes Müller Stosch\, Music Director and Conductor \nAlon Goldstein\, Piano \nPiano Concerto No. 5 in E-flat Major\, Op. 73\, “Emperor”Ludwig van Beethoven (1770-1827)\nAllegroAdagio un poco mossoRondo: Allegro \nAlon Goldstein\, piano \nIntermission \nThe Planets\nGustav Holst (1872-1934)Mars\, the Bringer of WarVenus\, the Bringer of PeaceMercury\, the Winged MessengerJupiter\, the Bringer of JollitySaturn\, the Bringer of Old AgeUranus\, the MagicianNeptune\, the Mystic \nHSO’s opening night presents two masterpieces. World-renowned concert pianist Alon Goldstein will stun you with a performance of Beethoven’s mighty “Emperor” piano concerto.The second half will feature the raw power\, colorful orchestration\, and memorable tunes of Gustav Holst’s epic set of tone poems\, The Planets. \nTickets are $28 for adults and $5 for students through college. \nLearn more about the music…\nWe will be hosting not only the Classical Chat series at Freedom Village\, but also Pre-Concert Talks!  Details below: \nClassical Chats at Freedom Village:  These informative and fun talks are led by Johannes Müller-Stosch and take place at 3:00pm on the Thursday before each Classics concert.  (Freedom Village\, 6th Floor Auditorium\, 145 Columbia Ave.) \nPre-Concert Talks:  These talks\, led by Johannes Müller-Stosch and Amanda Dykhouse\, are online under the “Pre-Concert Talk” Tab.   \nNew to the Symphony?  Check out the Frequently Asked Question page… \nParking Map at the Miller Center \nHolland Symphony Orchestra will reserve and monitor Lot 40 for handicapped parking.  The faculty parking lots are available for parking after 5pm \n \nConcerto No. 5 in E-flat Major for Piano and Orchestra\, Op. 73\, “Emperor”Ludwig van Beethoven \nMusic donated by Doug & Jennifer Griffith \nBorn (Baptized): December 17\, 1770\, Bonn Died: March 26\, 1827\, ViennaComposed: 1809\, ViennaPremiered: November 28\, 1811\, in LeipzigApproximate Duration: 40 minutesInstrumentation: 2 flutes\, 2 oboes\, 2 clarinets\, 2 bassoons\, 2 French horns\, 2 trumpets\, timpani\, strings \nThe year 1809 was difficult for Vienna and for Beethoven.  In May\, Napoleon invaded the city with enough firepower to send the residents scurrying.  Beethoven retreated into the basement of his brother’s house.  The bombardment was close enough that he covered his deaf ears with pillows to protect them from the din.  On July 29\, he wrote\, “We have passed through a great deal of misery. I tell you that since May 4th\, I have brought into the world little that is connected; only here and there a fragment. The whole course of events has affected me body and soul…. What a disturbing\, wild life around me; nothing but drums\, cannons\, men\, misery of all sorts.”  Austria’s finances were in shambles\, and Beethoven barely received any of the annual stipend he had been promised by several noblemen who supported his work.  Yet by the end of that year\, Beethoven had completed his “Emperor Concerto.” \nBeethoven himself did not label the concerto the “Emperor\,” and probably never heard it labeled as such.  Even though he had originally dedicated his Symphony No. 3\, “Eroica\,” to Napoleon\, by 1809 the ruler had fallen from Beethoven’s esteem.  Beethoven remarked to a student\, “This man will trample the rights of men underfoot and become a greater tyrant than any other.”  There are many explanations for this title.  It may have been tacked on by an early publisher or pianist because of the grand character of the work.  Perhaps it came from a French officer\, who allegedly exclaimed at the première\, “C’est l’Empereur!”  The most likely exclamation is that the Viennese premiere took place at a celebration of the Emperor’s birthday. \nBeethoven departed from the norm with this concerto by having the soloist enter right at the beginning of the piece.  After a few grand chords\, the soloist plays a cadenza.  Then the orchestra proceeds into the customary opening “tutti.”   The first theme is martial in character.  The second\, contrasting theme\, in E-flat minor\, is a soft step-wise slow “march” immediately reprised in E-flat major as a beautiful melody played by two horns.  The piano then repeats all this exposition material\, accompanied by the orchestra.  Toward the end of the movement\, the point at which soloists would ordinarily play their own cadenzas\, Beethoven wrote into the piano part\, “Do not play a cadenza\, but begin immediately what follows.”  At this point\, he supplied a written-out solo passage that begins the coda.  Since this was the first of his concertos that Beethoven himself did not play\, he wanted to have more control over the finished product\, and so he prescribed exactly what the soloist was to do.  Eventually this became the standard method used by most composers in their concertos. \nThe second movement begins with a chorale for strings in the surprising key of B Major.  Beethoven originally wrote this tune for a military band.   The piano responds to the chorale with an expressive second theme that moves faster than the chorale. The two motions are then combined as the piano takes over the chorale melody (the strings play along pizzicato).  Here the melody’s slow quarter-notes are accompanied by the faster triplets derived from the second theme.  After a further variation where the motion intensifies (the triplets are replaced by faster sixteenth-notes)\, the music comes to a halt on the note B.  Beethoven simply lowers this note by a half-step to B-flat\, to prepare the return of E-flat major in the last movement. \nThere is no pause between the second and third movements.  Beethoven introduces the Finale theme in a slow tempo at the end of the second movement. The piano hesitatingly plays two measures of ascending E-flat major harmonies amidst an atmosphere of suspense\, followed immediately by an exuberant restatement of the same material as the main theme of the Finale.  This buoyant\, hunting-theme unfolds as a boisterous rondo.  The rondo theme is repeated four times\, interspersed with variations by soloist and orchestra.  In the coda\, the piano part grows ever slower and quieter\, with only the timpani as accompaniment.  Once it reaches a slow tempo\, the music suddenly accelerates again and the piano and orchestra dash to the concerto’s grand conclusion. \nTo watch a video of Alon Goldstein playing the first movement\, click here. \nTo watch a video of Alon Goldstein playing the second and third movements\, click here. \nThe Planets\, Op. 32Gustav Holst \nMusic donated by David Heuvelhorst\, in memory of James and Henrietta Heuvelhorst \nBorn: September 21\, 1874\, CheltenhamDied: May 25\, 1934\, LondonComposed: 1914-1916Premiered: September 29\, 2928\, LondonApproximate Duration: 51 minutesInstrumentation: 3 flutes\, piccolo\, 3 oboes\, English Horn\, 3 clarinets\, bass clarinet\, 2 bassoons\, contrabassoon\, 4 French horns\, 3 trumpets\, 3 trombones\, tenor tuba\, bass tuba\, 2 timpani\, 2 harps\, percussion [bass drum\, chimes\, cymbals\, glockenspiel\, snare drum\, tambourine\,  tamtam\, triangle\, xylophone]\, celeste\, organ\, female chorus\, strings \nGustav Holst was born into a very musical family and showed early promise as a concert pianist\, organist\, and choirmaster.  He also played the violin and trombone.  After neuritis in his right arm put an end to his solo career\, he pursued composition\, teaching\, and choir directing.  Like his friend Ralph Vaughan Williams\, Holst sought to infuse his music with English folk music and wrote pieces in a cosmopolitan\, accessible style.  \nSometime after the turn of the century\, Holst became fascinated by astrology.  Initially he was reluctant to speak of this\, though he admitted that his “pet vice” was reading horoscopes for his friends.  Ultimately he transformed this interest into his best-known work\, The Planets\, written between 1914 and 1917.  This large suite of subtly interrelated tone poems\, or as Holst preferred\, “mood pictures\,” depicts the astrological characters of seven planets in our solar system and their influence on human character\, though a few mythological and astronomical elements enter in as well.  \nWorld War I was on the horizon when Holst wrote Mars\, the Bringer of War in August\, 1914.  Strings begin this strange march in 5/4 meter by tapping their strings with their bow sticks.   Brass and percussion soon dominate\, sounding brutal and implacable chords over a relentless martial ostinato.  After a dissonant climax\, the machine pauses desolately for a moment\, only to push towards a devastating conclusion.  Holst instructed that “Mars” be played as fast and brutally as possible.   \nA solo horn summons Venus\, the Bringer of Peace. In The Principles and Practices of Astrology\, Noel Tyl writes that\, to astrologers\, “when the disorder of Mars is past\, Venus restores peace and harmony.”  This movement is total contrast: a calm\, tranquil reverie\, set far from the scene of any conflict.  The dominant instrumental colors come from flutes\, harps\, celeste\, and high violins. \nMercury\, the Winged Messenger\, follows.  In this scherzo\, it is easy to imagine Hermes\, deity of dreams and conductor of the dead\, clad in his winged cap and sandals.  To astrologers\, Mercury is “the thinker.”  Holst associated this character with the process of human thought.  He uses chuckling woodwinds\, darting strings\, and tinkling celeste and glockenspiel to portray this character with music that is unstable\, mercurial\, and nervously changeable in meter and harmony.  \nThe most massive of the Planets is Jupiter\, the Bringer of Jollity\, named for the light‑bringer\, the rain‑god\, the god of thunderbolts\, of the grape and the tasting of the new wine\, of oaths\, treaties\, and contracts.  The opening and closing sections were inspired by Edwardian vaudeville\, folk songs\, and dance halls.  In the central section\, the strings introduce a stately\, British melody evoking a more ceremonial type of rejoicing.  Holst later gave this tune words and it became the English patriotic hymn\, “I Vow to Thee\, My Country.” \nAs we get farther out in the solar system\, the character of the music gets noticeably stranger.  Saturn\, the Bringer of Old Age was Holst’s favorite movement.  Harps and flutes toll the relentless passing of time under restless melodic fragments\, perhaps representing the uncertain early stages of life.   Then a solemn march builds slowly to a harsh climax\, portraying the struggles and heartbreaks of maturation.  Another march\, even more bowed with age\, starts in the flutes and grows to a mighty climax above the heavy thud of timpani and low strings.  The movement ends in the wisdom of later years\, with its serene acceptance of imperfection and mortality. \nAnother scherzo\, Uranus\, the Magician\, opens with a magician’s incantation played three times by trumpets and trombones\, then tubas\, then timpani.  In astrology\, Uranus rules invention\, innovation\, and astrology itself.  This movement is full of magic\, menace\, and mischief with troll-like bassoons and mocking\, heavy-footed marches.  A serene vision of Neptune interrupts\, then with a sardonic laugh the magician utters a final incantation before the apparitions disappear into the night. \nOnce again in 5/4 meter\, Neptune\, the Mystic completes the circle begun by “Mars.”  In astrology\, Neptune means confusion and mystic rapport with other worlds.  In Holst’s lifetime\, Neptune was thought to be the most distant planet in our solar system\, invisible to the naked eye\, so to Holst it represents distance\, mystery\, and unanswerable questions.  This slow movement has a swaying\, irregular meter\, and is softly dissonant in harmony.  Holst uses weaving flutes\, high violins\, celesta\, and harps to conjure a cool\, distant world and state of mind\, beyond ordinary human understanding.  An ethereal women’s chorus sings wordlessly offstage in mysterious\, overlapping lines.  In the final bars\, the orchestra falls silent and the voices echo\, over and over\, until they fade into silent infinity. \nTo watch a video of The Planets\, click here. \nAlon Goldstein is one of the most original and sensitive pianists of his generation\, admired for his musical intelligence\, dynamic personality\, artistic vision and innovative programming. He has played with the Philadelphia orchestra\, the Chicago Symphony\, the San Francisco\, Baltimore\, St. Louis\, Dallas\, Houston\, Toronto and Vancouver symphonies as well as the Israel Philharmonic\, London Philharmonic \, Los Angeles and Radio France Orchestra. He played under the baton of such conductors as Zubin Mehta\, Herbert Blomstedt\, Vladimir Jurowski\, Rafael Frübeck de Burgos\, Peter Oundjian\, Yoel Levi\, Yoav Talmi\, Leon Fleisher and others. \nThis upcoming season Mr. Goldstein will be performing in cities across the world including New York (Rockefeller university and Salon di Virtuosi)\, Ravinia Festival\, Vienna (Bösendorfer salon)\, Berlin (Salon Christophori)\, including return engagements with the Haifa Symphony\, Jerusalem Camerata\, Bach festival Orchestra and Shreveport Symphony. He will make his debut with the Portland Symphony and the Orquestra Filarmonica Minas Gerais in Brazil playing Brahms Concerto no. 2\, as well as with the  Bogota Philharmonic playing Mozart Concerto no. 25.  Mr. Goldstein will also continue his highly acclaimed recording project for the Naxos label of all piano concerti by Mozart\, with the Fine Arts Quartet. The upcoming recording will feature Concerti nos. 19 and 25. The last season saw the release of two CDs on the Naxos label: Mozart Piano Concerti Nos. 9 and 17 with the Fine Arts Quartet (a follow-up to their two critically acclaimed recordings of Nos. 20 & 21 and Nos. 23 & 24) and Scarlatti 19 Piano Sonatas. \nDuring the 2019-2020 season Mr. Goldstein performed Beethoven’s “Emperor” Concerto at the New Year concert with the Beijing Symphony at the Forbidden City Concert Hall. He returned to play with the Kansas City\, Ann Arbor\, Illinois\, Spokane\, Bangor\, Augusta\, and Pensacola Symphony Orchestras\, as well as a performance of Beethoven’s Emperor Concerto on fortepiano with Mercury Houston. He played Bernstein’s “Age of Anxiety” with the Jerusalem symphony as well with the Xalapa Symphony in Mexico to celebrate the composer’s centennial\, and performed the New Year’s concert with the Beijing symphony in China. He gave recitals and chamber music\, including tours with the Goldstein-Peled-Fiterstein Trio\, the Tempest Trio\, and the Fine Arts Quartet at the Mendelssohn International festival in Hamburg Germany\, as well as in Cleveland\, Washington DC\, New York\, Burlington\, Key West\, Sarasota\, Melbourne\, Duluth\, and other cities. \nOther recent highlights include appearances with the Indianapolis Symphony as part of a Prokofiev Festival performing the composer’s Piano concerti nos.1&4\, as well as a 17-concert Latin American tour with the Israel Chamber Orchestra including concerts at Teatro Colón in Buenos Aires\, Teatro de Bellas Arts in Mexico city\, Teatro Nacional in San Jose\, Teatro Solis in Montevideo etc. He also played with the Chicago Symphony at Ravinia\, and at the prestigious Ruhr Piano Festival in Germany performing Mozart\, Britten and Poulenc in one evening with Leon Fleisher\, his former teacher\, conducting. He gave the premiere of Lost Souls with the Kansas City Symphony and Michael Stern written for him by the noted Israeli composer Avner Dorman and debuted with the London Philharmonic Orchestra and Vladimir Jurowski. \nA passionate advocate for music education\, his recent teaching engagements have included the Steans Institute of the Ravinia Festival\, International Keyboard Festival and Institute in New York\, Music@Menlo\, The Gilmore Festival\, Piano Texas\, PYPA in Curtis\, International Piano Festival in Gijon Spain\, and “Tel Hai” masterclasses in Israel. \nMr. Goldstein was recently honored with the “Society of Scholars” award given to him by his alma mater – the Johns Hopkins University. This was given in recognition of his accomplishments and contributions over the years. He serves as the Artistic Director of the “Lieven Piano Foundation” summer school in Vienna\, as well as the Artistic Director of the Mt. Angel Abbey Bach Festival in Oregon\, and Co-Director of The Distinguished Artists Concert & Lecture Series in Santa Cruz\, CA. He created the Emerald Coast Music Alliance\, whose annual festival in Florida is devoted to sharing the beauty of classical music to under-served communities\, at no charge. Last year the festival featured 12 musicians performing 63 concerts. He received his undergraduate degree from the Tel Aviv University where he studied under Prof. Victor Derevianko and Prof. Arie Vardi. He went on to study at the Peabody Conservatory of Music with Leon Fleisher and was his teaching assistant. He received scholarships from the America Israel Cultural Foundation. Following his graduation he became a “Performer Fellow” at the Guildhall School of Music and Drama in London where he initiated chamber music concerts involving staff and students\, as well as an annual festival dedicated to the piano duet repertoire. He was an artist in residence at the “Theo Lieven” piano academy in Como Italy. He currently holds the position of “Distinguished Visiting Professor” at the University of Missouri – Kansas City. \nTo listen to the pre-concert talk\, click here. \n [INSERT_ELEMENTOR id=”8657″] URL:https://hollandsymphony.org/events/the-planets/ LOCATION:Jack H. Miller Center for Musical Arts at Hope College\, 221 Columbia Ave.\, Holland\, MI\, 49423\, United States ATTACH;FMTTYPE=image/png:https://hollandsymphony.org/wp-content/uploads/2023/04/1-1.png END:VEVENT BEGIN:VEVENT DTSTART;TZID=UTC:20230812T190000 DTEND;TZID=UTC:20230812T210000 DTSTAMP:20260417T160644 CREATED:20230419T183745Z LAST-MODIFIED:20230811T163223Z UID:8264-1691866800-1691874000@hollandsymphony.org SUMMARY:Community Concert: Our Wonderful World DESCRIPTION:Concert Sponsors:\n \n \n \n \n& the snack wagon\n \n \n \n \n\nProgram\nInformation\nArtist bios\n\nOur Wonderful World\nSaturday\, August 12\, 2023\, 7:00 p.m. Henry P. VanderLinde Bandshell\, Kollen Park\nAdditional solo pieces announced from the stage \nWest Side Story SelectionsLeonard Bernstein\, arr. Mason\nMinka VariationsUkrainian folk song\, arr. Scheer\nSufro Por Tu AmorChristian Paul Garcia\, arr. Scheer\nSufro Por Tu Amor / How Long Must I Suffer for Your Love? 1. How long must I suffer for your love?You broke my heart–is that enough?I know you’ll only hurt me\,but I just can’t give you up. Why did your love for me grow cold? You know I gave you my heart and soul. If I could read your mind would I find that you don’t know? I want to start again.I don’t think this is the end.I believe there’s something more to our love. 2. They’re telling you I don’t deservethe love of such a perfect girl\, but I know you know the truthif you’d just listen to your heart. You’re still with me in my memories.When I fall asleep you’re in my dreams.I’m waiting for you to wake upand realize you love me.  I want to start again.I don’t think this is the end.I believe there’s something more to our love.  \nIntroduction and Rondo CapricciosoCamille Saint-Saens\nBabiryeSamuel Nalangira\, arr. Scheer\nBabirye* It’s time to be going\, and where we are going is so far\, so far away.  Our journey will lead into the mountains and into the forest where evening gets so dark.  If the way grows too dark our journey may be over; It may be too dangerous; there is so much to fear.  Please remember my precious daughter\, my baby girl you must be you must be very careful.  You must go where I go\, you must step where I step. I don’t always know what lies ahead.  There’s no time; now we must go. Just pack what you can carry and we’ll walk out the door.  Hurry\, my love. My daughter\, my child\, we must go now.  Babirye\, my little girl. Babirye\, we must go away. Babirye\, my little girl. Babirye\, we must go away.  Stay by me. Stay very close. I will keep you safe though the way is long. We must keep moving on.  Hurry\, my love. My daughter\, my child\, we must go now.  Babirye\, my little girl. Babirye\, we must go away. Babirye\, my little girl. Babirye\, we must go away.  *”Babirye” means “the first born girl among twins.”   \nDóng máu Lạc Hồng (The Children of Lac Hong)Vietnamese patriotic song\, arr. Scheer\nDòng máu Lạc Hồng / The Children of Lac Hong We bear the blood of Lac Hong. Four thousand years\, it still runs strong. Our hearts are one; heart of the dragon beats forevermore.  Throughout the land\, we hear its drum\, through generations echoes on. The hero’s call\, the mother’s song\, tell the proud tale once more.  Vietnam\, we’re filled with love as bamboo sways and rivers run. Birds take flight; they’re soaring on. We’ll sing the song of great Lac Hong.  Vietnam\, we sing the song\, and hand in hand\, we’re marching on. We’re the children of Lac Hong; heart of the dragon beating strong for love of Vietnam!   \nWonderful Worldsarr. Victor López\nThe Music Unites Us concert will bring together local musical talent and the Holland Symphony Orchestra in a groundbreaking celebration of diversity at 7:00 p.m. on Saturday\, August 12 in Kollen Park. This free community concert aims to showcase cultures that make up Our Wonderful World here in West Michigan. \nBring your lawn chairs and blankets and arrive early to scope out your spot for this one-of-a-kind concert experience. \nFood and beverages will be available for purchase from:Abeshia Ghanian CuisineCrepes by the LakeMezkla Taqeria & FruiteriaRobinson’s Popcorn \nMusic Unites Us is a collaborative musical effort between the Holland Symphony Orchestra and Holland community to celebrate diversity and showcase the musical gifts of frequently underrepresented groups of people. The concert will showcase Cumbia\, Vietnamese\, Ukrainian and Ugandan pieces reimagined with the support of a symphony orchestra\, as composed by Greg Scheer. We are also honored to feature Julia LaGrand as a guest violinist bringing attention and awareness to disability and inclusivity within our community. \nThis free community concert is made possible thanks to our concert sponsors: MillerKnoll Foundation\, Gentex Corporation\, Macatawa Area Coordinating Council\, the Brooks family\, Macatawa Bank and the snack wagon. The concert is partially sponsored by Michigan Arts & Culture Council and the National Endowment for the Arts.   \nAdditional thanks to our partner organizations: I AM Academy\, Lakeshore Ethnic Diversity Alliance\, Latin Americans United for Progress\, West Michigan Asian American Association\, Lakeshore Disability Network \nGrupo Super Nova is a Cumbia band of brothers from Puebla\, Mexico. Nate\, Christian\, Hector\, and Juan Garcia grew up in Holland\, Michigan after immigrating here in 1990. This family-centered band has adapted and grown over the years\, learning new instruments\, and trying new venues and events. They reflected that as Holland has become more diverse\, a lot of the community has become more interested in learning about other cultures. Playing with the symphony orchestra is a bucket list item!  \nCuong Luong is a Vietnamese singer and performer who immigrated to West Michigan in 2015. In Vietnam\, he regularly competed in singing competitions and won numerous competitions\, including first place in Vietnam’s “The Voice.” He continues to compete in American Vietnamese vocal competitions with a growing following on YouTube. Luong uses his operatic influence and choreography to tell stories through music. He has dreamt of performing in front of an American audience and is excited that the Holland Symphony Orchestra has provided him this unique opportunity.  \nNina Tritenichenko is a Ukrainian singer and Bayan accordion player who has lived in Holland for the past 12 years\, and fondly referring to the area as “New Ukraine” due to its similarity in climate. Tritenichenko has a master’s degree in music education and performance\, has taught lessons and grown a YouTube following with over 800 videos\, and accompanied an orchestra for the first time at the age of 9. She believes love is a language we can understand without translation and prefers to communicate through the power of music.  \nSamuel Nalangira is a Ugandan born musician and educator who relocated his talents to West Michigan in 2018. He uses his passion for and experience in traditional African music and dance to spread awareness and love through performances and lessons. He is constantly writing music\, inspired by everything around him\, and feels very blessed to be able to grow his music career here. Nalangia did not plan on staying in Michigan long term but was surprised by how welcoming and loving the people are here and cannot imagine leaving at this point. He is inspired by the good people in this community to continue to work hard and bring people together through music\, especially music that makes you want to dance!  \nJulia LaGrand is a classical violinist and disability advocate from Grand Rapids\, MI. LaGrand is passionate about exploring what disability can bring to classical music. Being blind has forced her to know the music inside and out\, including pieces that musicians don’t usually memorize as she cannot read and play at the same time. She believes “music can be a powerful social force.” Music can be transformative\, but in order to meet its full potential\, LaGrand notes that “it has to be a really\, really inclusive space.” These dual passions of music and inclusivity continue to drive her activism and educational pursuits as she begins Conservatory in the fall.  \nGreg Scheer is a composer\, author\, and speaker. His life’s work includes two sons (Simon and Theo)\, two books (The Art of Worship\, 2006\, and Essential Worship\, 2016)\, and hundreds of compositions\, songs\, and arrangements in a dizzying variety of styles. \nGreg is well-known for his sacred music\, with congregational songs in numerous hymnals\, dozens of choral anthems available from traditional and online publishers\, settings of 75 Psalms\, a hundred global song translations/editions\, and arrangements for choir\, orchestra\, piano\, and jazz ensemble.  \nGreg has composed for just about every ensemble: symphony orchestra\, string quartet\, brass quintet\, choir\, piano\, cello septet\, organ\, and electronic compositions. He has received commissions from Baylor University\, The Chagall String Quartet\, the Calvin Community Symphony\, and many others.  Greg has written pop\, rock\, jazz\, folk\, and punk for years. Currently\, he leads the St. Sinner Orchestra\, described as “a grand fusion of classical and rock music” and “Eleanor Rigby’s favorite band.” You can visit St. Sinner’s website to learn more and listen to our music. Also online is Greg’s 2013 solo album Half the Man.  \nGreg’s music blog is where he posts all his latest musical creations: demos of news songs\, live recordings\, experiments\, outtakes–anything he’s working on at the moment. Posts often include lyrics and the story behind the music. If you want to be the first to hear it\, you need to subscribe to the Musical Diary of Greg Scheer. \n [INSERT_ELEMENTOR id=”7643″] URL:https://hollandsymphony.org/events/8264/ LOCATION:Kollen Park Henry VanderLinde Bandshell\, 240 Kollen Park Dr.\, Holland\, MI\, 49423\, United States ATTACH;FMTTYPE=image/jpeg:https://hollandsymphony.org/wp-content/uploads/2023/05/5-2-23_MUU-FB-Event-Photo.jpg END:VEVENT END:VCALENDAR