Lansing Symphony Orchestra 94th Season Program Book

THE NINETY-FOURTH ANNUAL SEASON

LANSING SYMPHONY ORCHESTRA 2023-2024

Let Adna ORCHESTRAte Your Business I.T. Our team of experts will become your outsourced I.T. department, responding to issues quickly, o�en before you even know about them. Covering everything from your servers and network infrastructure, to cloud services, computers, worksta�ons, and cybersecurity management, we provide end-to-end solu�ons for all of your technology needs.

Already have an in-house I.T. Team? Our Co-Managed I.T. offerings can supplement your team on day-to-day management, projects, and more!

adna A Fresh Approach to I.T.

adna.com

SUPPORT | SECURITY | PLANNING

Member of the League of American Orchestras

NINETY-FOURTH SEASON

CONTACT US

OUR MISSION

104 S. Washington Sq., Ste 300

Enriching lives through excellence in

Lansing, MI 48933

music and in educational outreach.

517-487-5001 lansingsymphony.org

OUR VISION To be the premier choice for people who appreciate and enjoy the power of music.

Seasonal concept & design by

FROM OUR PRESIDENT KATIE THORNTON

Welcome to the Lansing Symphony

Thank you for joining us for tonight’s

Orchestra’s 94th Season! Thank

performance. Our success depends

you for supporting this year’s

on your support since your ticket

incredible season, which includes

price only covers a fraction of the

classical and pops concerts,

total concert cost. I invite you to

chamber music, and more!

consider contributing to the LSO in any way that you can. Your

I’m especially proud of the LSO

contribution will help us continue to

for developing our Composer-In-

bring you the best performances,

Residence program, which partners

musicians, and opportunity for our

a composer with the Orchestra in

youth and community to experience

development of outstanding and

the magic of music, all under the

unique new works, even a world

direction of Maestro Timothy Muffitt.

premiere performance. We are proud to welcome Jared Miller as

Lastly, I want to thank our

our Composer-In-Residence for the

dedicated and hard-working

next three years. I look forward to

team at the LSO, who ensure that

hearing what Jared will create for us.

each performance is flawless.

This season also provides surprisingly intimate performances at The Robin Theatre, where our musicians collaborate, create, and perform unique

Katie Thornton

contemporary chamber music.

Board Chair, Lansing Symphony

This is an unbelievable opportunity

Association, Inc.

to engage with the LSO in a new

Partner, Plante Moran

way in Lansing’s REO Town.

LANSING SYMPHONY ORCHESTRA

FROM OUR EXECUTIVE DIRECTOR

COURTNEY MILLBROOK Dear Friends, Welcome to the 94th Season of

Symphony Orchestra strives to

the Lansing Symphony Orchestra,

be very much a reflection of our

I am so pleased you have chosen

community’s time and place but also

to spend your time with us. I

reflective of many influences that

hope your experience here is

have come before us. As an audience

the highlight of your week!

member, you are an important part of our identity. Thank you.

I am very excited about this season.

There are pieces of music that

As you enjoy the music this season

you already know and love as well

- whether it is in a grand hall or

as brand new works for you to

cozy theatre or on a lawn outside - I

experience. As we planned and

hope you find your place among

reflected on the season program,

the comfort and beauty that is your

many descriptions came to mind:

Lansing Symphony Orchestra.

colorful, textured, beautiful, independent yet connected.

Sincerely,

It felt a lot like a favorite quilt - something comfortable but intricate, familiar yet exquisite.

I think of quilts as an American folk-

Courtney Millbrook

art tradition, but I am sure many

Executive Director

techniques have originated from cultures across the globe. That also reminds me of our season program and orchestra. The Lansing FROM OUR PRESIDENT/FROM OUR EXECUTIVE DIRECTOR

5

TIMOTHY MUFFITT

MUSIC DIRECTOR & CONDUCTOR

This season marks Timothy Muffitt’s

concluded a 21-year tenure as

18th season as Music Director and

Music Director of the Baton

Conductor of the Lansing Symphony

Rouge Symphony Orchestra for

Orchestra. In addition to his work

which he was honored with the

in Lansing, he continues to appear

title Music Director Laureate.

with other prominent orchestras around the country. Recent seasons

Other guest appearances have

have included concerts with the

taken Muffitt to the podiums of

St. Louis, Flint, Tulsa, Atlanta, and

The Hollywood Bowl, Edmonton,

Ann Arbor Symphonies. Prior years

and Spokane Symphonies,

have included return engagements

Columbus Ohio’s Pro Musica

with the San Francisco, Houston,

Chamber Orchestra, the Grant

Long Beach, Phoenix and Virginia

Park Music Festival Orchestra

Symphonies as well as the Buffalo

in Chicago and the Harrisburg

Philharmonic. Muffitt recently

(PA) Symphony among others.

LANSING SYMPHONY ORCHESTRA

Muffitt is also Artistic Director

Yo Ma, Renee Fleming, Dame Kiri

of the School of Music for

Te Kanawa, Andre Watts, Alicia de

the Chautauqua Institution in

Larrocha, Pinchas Zukerman, Van

Chautauqua, New York where he

Cliburn, Lynn Harrell, Itzhak Perlman,

conducts the Music School Festival

and composers John Cage, Joseph

Orchestra, one of the country’s

Schwantner, Ellen Taffe Zwilich,

premiere training ensembles for

John Harbison, Joan Tower and

conservatory and university students

Bernard Rands among many others.

aspiring for careers in music.

Along with the continued artistic growth of his orchestras, Muffitt’s work has been noted for its innovative and imaginative programming, broadly diverse repertoire, and fresh, engaging, audience experiences. A strong proponent of community arts education, Muffitt has been very active in musical outreach through the venues of radio, lecture, and social media, presenting arts-enrichment programs through a variety of formats for diverse audiences.

Formerly Associate Conductor with the Austin Symphony, Muffitt was also Artistic Director of the Louisiana Philharmonic’s Casual Classics Series in New Orleans for over a decade. It was for his work in that position, that Mr. Muffitt was awarded a Certificate of Meritorious Service from the American Federation of Musicians.

Prominent performers and composers with whom Mr. Muffitt has worked include Lang Lang, Yo MUSIC DIRECTOR & CONDUCTOR

7

JARED MILLER

COMPOSER-INRESIDENCE

Described as a “rising star” by

Philharmonic’s Biennial (2014),

MusicWorks magazine, JUNO-

the ISCM World Music Days (2017

Nominated composer Jared

& 2019), Vancouver’s Queer Arts

Miller has collaborated with the

Festival (2010, 2015 & 2019),

American Composers Orchestra, the

and the Festival Internacional

Victoria and Nashville Symphonies,

de Jóvenes Orquestas (2019).

the symphony orchestras of Vancouver, Toronto, Detroit and

Recent accolades include SOCAN’s

New Jersey, The Attacca Quartet,

Jan V. Matejcek Award, young

Latitude 49, the New York City

composer prizes from the SOCAN

Ballet’s Choreographic Institute,

and ASCAP Foundations, and a

Exponential Ensemble, the Emily

nomination for the 2020 JUNO

Carr String Quartet and Standing

Award for Classical Composition

Wave. His music has been featured

of the Year. He has also held

and recognized in the New York

residencies at the Banff Centre,

LANSING SYMPHONY ORCHESTRA

I-Park’s International Artist-InResidence Program, and with the Victoria Symphony from 2014-2017.

An advocate for musical education and outreach, Miller has taught and performed in several initiatives including The Juilliard School’s Music Advancement Program, the Vancouver Symphony Orchestra Connects Program, BC’s Health Arts Society, Vancouver’s Opera in the Schools, and New York’s Opportunity Music Project.

Miller holds Masters and Doctor of Musical Arts degrees from the Juilliard School where he studied with Samuel Adler and John Corigliano. He has also studied at the University of British Columbia with Stephen Chatman, Dorothy Chang, Sara Davis Buechner, and Corey Hamm. He is currently Assistant Professor of Music Composition at the University of North Carolina School of the Arts.

Visit jaredmillermusic.wordpress.com

THE LSO’S COMPOSER-INRESIDENCE PROGRAM is made possible with a lead gift from the Sam & Mary Austin Fund for New Music at the Lansing Symphony.

COMPOSER-IN-RESIDENCE

9

ORCHESTRA PERSONNEL VIOLIN

Emelyn Bashour**

VACANT

Allyson Cohen

CONCERTMASTER

Susanne Garber

Tom And Wendy Hofman‡

Lauren Hansen

Michael Bechtel

Emily Hauer

ASSISTANT CONCERTMASTER

Stefan Hubenov

April Clobes And Glen Brough‡

Ji Hyun Kim**

Florina Petrescu

Yuanmaio Li

PRINCIPAL VIOLIN II

Yung-Hsuan Lo

Richard & Lorayne Otto‡

Ying-Li Pan

VACANT

Meg Rohrer

ASSISTANT PRINCIPAL VIOLIN II

Tigran Shiganyan William Thain Chase Ward Hsin-Ju Yu

LANSING SYMPHONY ORCHESTRA

VIOLA

FLUTE

VACANT

Richard Sherman

PRINCIPAL

PRINCIPAL

Cliff & Sue Haka‡

Virginia P. & the Late

Elinore Morin

Bruce T. Allen‡

ASSISTANT PRINCIPAL Ron & Carol Dooley‡ Christine Bastian

Bryan Guarnuccio Kathryne Salo THIRD FLUTE/PICCOLO

Hannah Breyer Linda Gregorian

OBOE

David Schultz

Stephanie Shapiro

Madeline Warner Kristina Zeinstra

PRINCIPAL David & Patricia Brogan‡ Gretchen Morse

CELLO Jinhyun Kim

SECOND OBOE/ENGLISH HORN Hari Kern‡

PRINCIPAL Jenny Bond‡

CLARINET

VACANT

Guy Yehuda

ASSISTANT PRINCIPAL Sam & Mary Austin‡

PRINCIPAL Don & Jan Hines‡

Imjeong Choi Willis Koa

BASSOON

Stefan Koch

Michael Kroth

Dooeun Lee

PRINCIPAL

Tom Sullivan**

Eileen Ellis‡ Christian Green

BASS Edward Fedewa PRINCIPAL John & Fran Loose‡ Matthew Boothe ASSISTANT PRINCIPAL Albert Daschle

HORN Corbin Wagner PRINCIPAL Joe & Beth Anthony‡ Stephen Foster Paul Clifton-O’Donnell

Adam Har-zvi Wen Peng

TRUMPET

Aaron Tenney

Neil Mueller PRINCIPAL Lyn Donaldson Zynda‡

ORCHESTRA PERSONNEL

11

ORCHESTRA PERSONNEL

94TH SEASON

TROMBONE

**On Leave

Ava Ordman

‡ Chair Sponsors

PRINCIPAL

Bill & Shirley Paxton‡

John Robinson

Section string players are listed alphabetically. The Lansing Symphony incorporates a rotational

BASS TROMBONE Bryan Pokorney

TUBA Philip Sinder PRINCIPAL Sue Davis‡

TIMPANI Vacant PRINCIPAL

PERCUSSION Matthew Beck PRINCIPAL Catherine Claypool & the Late Allan Claypool‡ Andrew Fritz Andrew Cierny

HARP Brittany DeYoung PRINCIPAL Jonathan & Amy Riekse‡

KEYBOARD Patrick Johnson PRINCIPAL Sam & Jean Holland‡

LANSING SYMPHONY ORCHESTRA

seating policy in the string sections.

ORCHESTRA PERSONNEL

13

LANSING SYMPHONY

ASSOCIATION, INC.

PAST PRESIDENTS 1933-34 Dr. LeMoyne Snyder

1979-82 Mrs. David Kahn

1934-35 Mrs. John Brisbin

1982-84 Mr. H. Perry Driggs

1935-37 Mrs. L. G. Bailey

1984-86 Mr. Gerald M. Finch

1937-38 Mrs. C. L. Brody

1986-88 Mrs. Richard Byerrum

1938-40 Mrs. Malcolm Denise

1988-89 Mr. R. Kenneth Gruber

1940-41 Mrs. Grover O. Truxell

1989-91 Mr. Edward B. McRee

1941-42 Mr. O. W. Mourer

1991-92 Mr. Craig Ruff

1942-44 Mrs. George Kieppe

1992-93 Mr. Ronald Pentecost

1944-46 Mrs. E. A. Mackey

1993-94 Mr. James Miller

1946-48 Miss Pauline Austin

1994-95 Mr. Thomas Fraser

1948-49 Mrs. William King, Jr.

1995-99 Mr. Craig Ruff

1949-51 Mrs. Harold S. Cole

1999-01 Mr. James Savage

1951-53 Dr. Peter Treleaven

2001-06 Mrs. Virginia P. Allen

1953-55 Mrs. Gilbert Burrell

2006-07 Mr. William MacLeod

1955-56 Mrs. Leonard Mayhew

2007-08 Mr. Christopher Day

1956-57 Mrs. B. Newlon Barber

2008-09 Mr. James F. Anderton, IV

1957-59 Dr. Sydney R. Govons

2009-11 Mr. Charles R. Hillary

1959-61 Mr. C. Vincent Wright

2011-13 Dr. R. Samuel Holland

1961-63 Mr. Lee H. Witter

2013-15 Mr. Brian J. Lefler

1963-65 Mr. Donavan A. Eastin

2015-17 Mr. Michael Rhodes

1965-67 Dr. William Lazer

2017-19 Mr. Jonathan Riekse

1967-69 Mr. Raymond Joseph

2019-21 Ms. April Clobes

1969-71 Mr. Max C. Ploughman

2021-23 Ms. Darcy Kerr

1971-72 Mr. C. Vincent Wright 1972-74 Mr. George G. Clemeson 1974-76 Judge Michael G. Harrison 1976-77 Mr. William Straub 1977-79 Mr. Max C. Ploughman

LANSING SYMPHONY ORCHESTRA

BOARD OF DIRECTORS Katie Thornton PRESIDENT Tom Hofman PRESIDENT-ELECT Darcy Kerr IMMEDIATE PAST PRESIDENT Karlis Austrins TREASURER Randy Rasch

Christine Bastian Jenny Bond Chris Buck Bruce Caltrider Carol Dooley Kris Drake Jim Engelkes Nancy Johnson

SECRETARY

Catrice Lane

Bill Jaconette

John Loose

EXECUTIVE COMMITTEE Ryan Opel EXECUTIVE COMMITTEE Jake Przybyla EXECUTIVE COMMITTEE Kevin Roragen EXECUTIVE COMMITTEE

Betty Moore Jamie Paisley Steve Robinson Renee Roth Jeff Theuer Bob Thomas Bethany Verble Jane Vieth Richard Witter

SYMPHONY ADMINISTRATION Courtney Millbrook EXECUTIVE DIRECTOR Karen Dichoza FINANCE & OPERATIONS DIRECTOR Olivia Beebe MARKETING & COMMUNICATIONS COORDINATOR

Ashleigh Lore EDUCATION & OUTREACH COORDINATOR Nicholas Buonanni MUSIC LIBRARIAN / BOX-OFFICE & OPERATIONS ASSISTANT Vince Muffitt STAGE MANAGER Vacant DEVELOPMENT MANAGER

LANSING SYMPHONY ASSOCIATION, INC.

15

LANSING SYMPHONY ORCHESTRA

01

09.14.23

MASTERWORKS SERIES

DVORÁK NEW WORLD SYMPHONY

MASTERWORKS SERIES PRESENTED BY

MILLER, RAVEL, DVORÁK Timothy Muffitt, conductor Claire Huangci, piano

Jared Miller

ADDITIONAL

(Composer-In-Residence) Surge and Swell (US Premiere)

SUPPORT PROVIDED BY Don & Jan Hines

Maurice Ravel Piano Concerto in G

Allegramente Adagio assai Presto

Symphony No. 9, op. 95, E minor “From the New World”

Loose Chalgian &

INTERMISSION Antonín Dvorák

John & Fran

Adagio – Allegro molto Largo Molto vivace Allegro con fuoco

Tripp Law Offices, PLLC Michigan Arts and Culture Council National Endowment for the Arts

MASTERWORKS 01 | DVORÁK NEW WORLD SYMPHONY

17

CLAIRE HUANGCI PIANO

With an irrepressible curiosity and penchant for unusual repertoire, Claire Huangci proves her versatility with a wide range of repertoire.

Renowned American pianist Claire

Claire’s journey began at nine,

Huangci, winner of the 2018 Geza

achieving acclaim in competitions

Anda Competition, mesmerizes

and making her mark as a Chopin

audiences with her radiant virtuosity,

interpreter. Studying under

artistic sensitivity, and diverse

eminent mentors, she expanded her

repertoire. From Bach to Bernstein,

horizons. Her diverse discography,

her performances reflect versatility

including Scarlatti sonatas and

and curiosity. In the 2022/23

complete works by Chopin and

season, Claire debuts at Alte

Rachmaninoff, garners praise. Mozart

Oper and performs globally with

concertos with the Mozarteum

orchestras like the Nordic Chamber

Orchestra Salzburg will soon

Orchestra and Pacific Symphony.

join her acclaimed recordings.

Huangci’s solo recitals and orchestral

Notably, she’s a Henle Verlag

collaborations grace prestigious

ambassador, further reflecting

venues including Carnegie Hall,

her musical dedication. Claire

Berlin Philharmonie, and Vienna

Huangci’s remarkable career

Konzerthaus. She’s a festival favorite

continues to shine through

at Lucerne, Rheingau, and Klavier

her captivating performances

Festival Ruhr. Collaborations with

and remarkable recordings.

eminent conductors and orchestras showcase her musical prowess.

LANSING SYMPHONY ORCHESTRA

01

MASTERWORKS SERIES

PROGRAM NOTES

SURGE AND SWELL (US PREMIERE)

PIANO CONCERTO IN G MAJOR

Jared Miller (1988-)

Maurice Ravel (1875–1937)

WRITTEN / 2017

WRITTEN / 1929–31

MOVEMENTS / One

MOVEMENTS / Three

STYLE / Post-Minimalist

STYLE / Post-Impressionist

DURATION / Seven Minutes

DURATION / Twenty-Three Minutes

Written as a tribute to Canadian

One of the complaints leveled

conductor Tania Miller (no relation),

against Ravel’s music is that it

Surge and Swell was composed

lacks “sentiment.” In spite of all

just as I had handed in the final

the brilliant writing, the sensuous

copy of my doctoral dissertation

tone color, the exotic melodies, the

on the expressive and thorny music

music misses heartfelt emotion. “I

of Alfred Schnittke. While I will

am Basque,” he admitted, “and while

always love Schnittke’s work, after

the Basques feel deeply they seldom

intensively analyzing his music for

show it, and then only to a very few.”

the better part of a year and a half,

Here is his forthright confession

I needed a change, so I started

about what he felt his Piano

to explore different nightclubs in

Concerto should really be about:

NYC and celebrate this milestone in my education. I was particularly

“The music of a concerto should,

captivated by the reverb, stereo,

in my opinion, be lighthearted and

and polyrhythmic effects found in

brilliant, and not aim at profundity

some of the electronic dance music

or at dramatic effects. It has been

I heard at these venues and so I

said of certain classics that their

sought to reimagine these elements

concertos were written not “for” but

in my acoustic language through

“against” the piano. I heartily agree.

a series of orchestral works. The

I had intended to title this concerto

first of these, Surge and Swell is a

‘Divertissement.’ Then it occurred

quirky, heroic, occasionally dark,

to me that there was no need to

and ultimately reflective overture

do so because the title ‘Concerto’

that I hope brings a smile to the

should be sufficiently clear.”

face of anyone who listens to it. ©2023 Jared Miller

MASTERWORKS 01 | DVORÁK NEW WORLD SYMPHONY

19

01

MASTERWORKS SERIES

Ravel started work on a piano

requisite solo cadenza for the piano

concerto for himself in preparation

in the first movement. The second

for a tour to the United States.

movement is a beautiful thing (full

Paul Wittgenstein, the great pianist

of sentiment) that Ravel admits

who lost his right arm during the

was composed with the “help” of

‘Great War,’ interrupted him with a

Mozart’s Clarinet Quintet. In terms

request to write a concerto for the

of highlighting brilliant and facile

left hand only. Ravel was intrigued

piano technique, this concerto does

by the idea and so he set to work

resemble those of Mozart and Saint-

on both concertos. “It was an

Saëns. But there the resemblance

interesting experiment to conceive

end. Mozart probably would not

and to realize simultaneously the

have started his concertos with

two concertos,” Ravel conceded.

a whip-crack! The smears of the

He finished the Left Hand Concerto

trombone and the shrieks of the

first and the two-hand concerto

tiny piccolo clarinet belong to the

about a year later. But by then

nightclub, not the salons of Saint-

Ravel was too ill to perform it, “The

Saëns. All of the “blue-notes” and

concerto is nearly finished and I

jazzy rhythms seem more a tip of

am not far from being so myself.”

the hat to George Gershwin than

The Piano Concerto in G Major

to Mozart. The raucous good time

premiered with Marguerite Long

that everybody has is just plain fun.

performing and Ravel conducting.

©2023 John P. Varineau

Ravel claimed that this piano concerto “is a concerto in the most exact sense of the term and is written in the spirit of Mozart and Saint-Saëns . . . It includes some elements borrowed from jazz, but only in moderation.” The three movements of the concerto do follow the standard templates that Mozart helped develop. The first and third movements both have contrasting themes with a central development section. There is the LANSING SYMPHONY ORCHESTRA

PROGRAM NOTES SYMPHONY NO. 9 IN E MINOR, OP. 95 “FROM THE NEW WORLD”

said that he based the symphony on plantation, Creole, or southern tunes, and that he infused the symphony with “characteristics that are distinctly American.” Henry Burleigh, an African-American

Antonín Dvořák (1841–1904)

student at the National Conservatory

WRITTEN / 1893

often sang for Dvořák. He said that

MOVEMENTS / Four

“one song in particular, ‘Swing Low,

STYLE / Romantic

Sweet Chariot,’ greatly pleased him,

DURATION / Forty Minutes

and part of this old spiritual will be found in the second theme of the

When Mrs. Jeannette Thurber,

first movement of the symphony.”

founder of the National

Dvořák also said that Longfellow’s

Conservatory of Music in America

Song of Hiawatha and even Native

(later known as the Juilliard

American music inspired the

School) needed a director for her

second and third movements.

new school, she went straight to the top. She wanted a figurehead

The audience was well prepared

rather than an administrator for her

for the premiere of the symphony.

conservatory, and the world famous

All of the leading daily newspapers

Czech composer Antonin Dvořák

in New York carried preliminary

would do very nicely. She offered

articles and analyses complete with

the position to him at a salary of

musical quotations! Following the

$15,000 a year. (Wow!) Dvořák

first performance a debate raged in

picked his family up and plopped

the papers about what aspects of

them into the heart of New York City

the Symphony were American. In

for three years, from 1892 to 1895.

what was hopefully an attempt at humor, James Huneker wrote in the

The first work that Dvořák wrote

Musical Courier, “Its extremely Celtic

while in America was his Ninth

character was patent to numerous

Symphony. He claimed that the title

people, and the general opinion

simply signified “Impressions and

seemed to be that Dvořák had not

greetings from the New World”

been long in discovering what a

but that the work is not really

paramount factor the Irish were

“American” in character. He also

in the political life of the country.”

MASTERWORKS 01 | DVORÁK NEW WORLD SYMPHONY

21

01

MASTERWORKS SERIES

PROGRAM NOTES

Reading the various reviews,

beat of each measure. Then comes

Dvořák commented, “It seems that

the robust finale, full of martial flare

I have got them all confused.”

that dissolves into a tender melody played by the clarinet. The final

A common theme or “motto”

moments bring back the motto

connects the four movements of

theme, played by the horns at the

the symphony. The violas and cellos

same time the trumpets play the

play it first in the slow introduction

fourth movement’s main theme.

of the first movement. Later the horns play it in the faster section.

More than a century after the

It is the primary theme of the first

premiere, scholars still debate the

movement, contrasted with a more

“American-ness” of this symphony

dance-like tune played by oboes and

written by a Czech. Dvořák’s

flutes. The second movement was

explanation was: “I should never

inspired by Longfellow’s Song of

have written the symphony like I

Hiawatha, specifically the “Funeral

have if I hadn’t seen America.”

Scene in the Forest.” Somber brass

©2023 John P. Varineau

chords start and end this movement.

(Incidentally, these chords reappear at the very end of the symphony.)

The English horn plays the justifiably famous melody, and then the strings take over. The orchestra plays a more lively and jaunty middle section before the return of the English horn melody. The third movement is also based upon Longfellow, this time “Hiawatha’s Wedding Feast,” in which the Indians dance. It has three main themes.

Quality woodwind and brass instrument repair since 1984.

The first melody, played by the woodwinds, always seems to come after the beat. The second melody is more sustained and flowing, and the third is a rollicking dance tune with its emphasis on the strong LANSING SYMPHONY ORCHESTRA

www.meridianwinds.com (517)339-7333

02

11.10.23

MASTERWORKS SERIES

CARMINA BURANA

MASTERWORKS SERIES PRESENTED BY

Timothy Muffitt, conductor University Chorale, directed by Sandra Snow Choral Union, directed by Jonathan Reed State Singers, directed by Jonathan Reed Penelope Shumate, soprano David Shaler, tenor Babatunde Akinboboye, baritone

Valerie Coleman Umoja: Anthem of Unity

ADDITIONAL SUPPORT PROVIDED BY

Carl Orff Carmina Burana (Songs of Beuren)

See Page 24 AF Group Michigan Arts and Culture Council National Endowment for the Arts

MASTERWORKS 02 | CARMINA BURANA

23

CARMINA BURANA (SONGS OF BEUREN) FORTUNA IMPERATRIX MUNDI (Fortune, Empress of the World) I. PRIMO VERE (In Springtime) UF DEM ANGER (On the Green)

II. IN TABERNA (In the Tavern)

III. COUR D’AMOURS (The Court of Love) BLANZIFLOR ET HELENA (Blanziflor and Helena)

FORTUNA IMPERATRIX MUNDI (Fortune, Empress of the World)

LANSING SYMPHONY ORCHESTRA

1. O Fortuna 2. Fortune plango vulnera 3. Veris leta facies 4. Omnia Sol temperat 5. Ecce gratum 6. Tanz 7. Floret silva 8. Chramer, gip die varwe mir 9. Reie 10. Were diu werlt alle min 11. Estuans interius 12. Cignus ustus cantat 13. Ego sum abbas 14. In taberna quando sumus 15. Amor volat undique 16. Dies, nox et omnia 17. Stetit puella 18. Circa mea pectora 19. Si puer com puellula 20. Veni, veni, venias 21. In trutina 22. Tempus est iocundum 23. Dulcissime 24. Ave formosissima 25. O Fortuna

UNIVERSITY CHORALE DIRECTED BY

SANDRA SNOW The University Chorale is the university’s premiere choral ensemble, comprised of the best graduate and upper-level undergraduate singers in the College of Music.

One of eight choral ensembles

Orchestra in performances of

at Michigan State University, the

Handel’s Messiah (2000, 2002,

University Chorale is the university’s

2003, 2005, 2007, 2009, 2013,

premiere choral ensemble,

2015), Bach’s Mass in B-Minor

comprised of the best graduate

(2001), Mozart’s Requiem (2003)

and upper-level undergraduate

and Holst’s The Planets (2013).

singers in the College of Music.

Under the baton of David Rayl, the

Under the baton of Charles K.

Chorale sang for the 2007 American

Smith, the Chorale appeared at

Choral Directors Association

the ACDA National Conferences

National Conference, 2006 ACDA

of 1983 and 1989, at Lincoln

Central Division Conference, the

Center for the Mozart Bicentennial

2002 National Meeting of the

Masses-In-Concert Series in 1992

College Music Society, and on

and at Chicago’s Orchestra Hall,

the Tuesday Matinee Series at

for the CBS Radio Network’s

New York’s Merkin Concert Hall in

Cavalcade of Christmas Music,

2015. The Chorale has performed

and at the Eisteddfod (Wales)

with the Detroit Symphony

International Choral Festival.

MASTERWORKS 02 | CARMINA BURANA

25

CHORAL UNION DIRECTED BY

JONATHAN REED The Choral Union, a large mixed

MSU Symphony Orchestra. Recent

chorus of 125 voices, is designed to

master works include Bruckner Te

bring the campus and community

Deum, Schubert Mass in G, Mahler

together in a joint musical effort.

Symphony No. 2, Brahms Requiem,

The repertoire focuses on the

Handel Messiah, Mozart Requiem,

major choral and orchestral works,

Verdi Requiem, Orff Carmina

performed with both the Lansing

Burana, Bach St. John Passion,

Symphony Orchestra and the

and Beethoven Symphony No. 9.

STATE SINGERS DIRECTED BY

JONATHAN REED The MSU State Singers, an

organization on campus. The State

auditioned undergraduate ensemble,

Singers ensemble appears in concert

includes music majors and some

throughout Michigan, frequently

talented non-music majors. This

joining the University Chorale and

choir enjoys a proud heritage and

University Symphony for major

is recognized as the oldest singing

works and convention appearances.

LANSING SYMPHONY ORCHESTRA

PENELOPE SHUMATE SOPRANO

Praised by The New York Times for singing with “bell-like clarity and surpassing sweetness,” The New York Concert Review for “her sparkling coloratura perfection,” ... and in Opera News magazine,

Opera, Opera on the James, Opera

“the mellifluous soprano Penelope

in the Heights, Santa Fe Symphony

Shumate puts her lines across with

Orchestra, Oklahoma Philharmonic,

sincerity and attractive lucidity,”

Distinguished Concerts International

Penelope Shumate’s recent

New York, Hilton Head Symphony

engagements include numerous

Orchestra, Heartland Festival

soprano soloist appearances at

Orchestra, Rapides Symphony

Carnegie Hall and David Geffen Hall

Orchestra, Berkshire Choral Festival,

at Lincoln Center in New York. She

Chamber Orchestra of Philadelphia,

can be heard on “Messiah Refreshed”

and the Kennett Symphony

(Signum Records) recorded at

Orchestra, among others. She is an

historic Abbey Road Studios with

award winner with the Gerda Lissner

the Royal Philharmonic Orchestra

Foundation, The American Prize,

in London, performing the title role

the Camille Coloratura Awards,

on “Kassandra” (Parma Records),

the MacAllister Awards, the Marie

and as the soprano soloist on “As

E. Crump Vocal Arts Competition,

the fireflies watched . . .the chamber

the New Jersey Association of

music of James Stephenson” (Klavier

Verismo Opera Vocal Competition,

Records). She has performed with

and the Annapolis Opera Vocal

opera companies and orchestras

Competition, among others.

across America including Opera Company of Philadelphia, Opera

Visit penelopeshumate.com

Roanoke, Des Moines Metro Opera,

to learn more.

Utah Festival Opera, Annapolis MASTERWORKS 02 | CARMINA BURANA

27

DAVID SHALER TENOR

David Shaler has been a member of professional choral workshops and concerts at Carnegie Hall with conductors Robert Shaw, Peter Schreier, and Helmuth Rilling.

Born and raised in Saginaw,

the professional male ensemble,

Michigan, David is the full-time

Chanticleer, touring nationally and

Director of Music at Broadmoor

internationally in concerts and

United Methodist Church in Baton

making several recordings. As a

Rouge, Louisiana where he has

countertenor soloist, he has sung for

served since 2001 as conductor of

various collegiate and community

choral and instrumental ensembles

groups. He also sang as a chorister

and as a singer, pianist, and trumpet

with the Atlanta Symphony Chorus

player. He has also served as a

under Robert Shaw for two seasons,

church music director in Georgia

which included a European tour

and Iowa. Since 2010, he has been

and several recordings. He has been

the chorusmaster of the Baton

a member of professional choral

Rouge Symphony Chorus and

workshops and concerts at Carnegie

currently serves as a professional

Hall with conductors Robert Shaw,

evaluator for the East Baton Rouge

Peter Schreier, and Helmuth Rilling.

Parish Talented Music program.

Mr. Shaler received the Doctor of Musical Arts degree from the University of Iowa and has conducted collegiate choirs at that institution as well as at Coe College in Iowa. He sang as a countertenor for five years with LANSING SYMPHONY ORCHESTRA

BABATUNDE AKINBOBOYE BARITONE

Babatunde Akinboboye, a Nigerian American Baritone, is renowned for his captivating stage presence and innovative fusion of genres.

He has performed on distinguished

In 2018, Babatunde’s viral “Hip

stages like the Los Angeles

Hopera” video garnered over 10

Opera and Portland Opera, with

million views, spotlighting his

standout roles in the Pulitzer Prize-

trailblazing blend of classical opera

winning opera Central Park Five

and hip-hop. This innovation was

and the world premiere of Sweet

featured on Time.com, Classic FM,

Land. A passionate advocate,

and MSN.com. His acclaimed EP,

Babatunde promotes works by

Del la Citta, further established

African and African American

him as a social media sensation

composers, merging opera with

under “Babatunde_HipHopera.”

traditional African music at

As an opera influencer, Babatunde

events like the Lagos Chamber of

continues to enlighten and

Commerce & Industry awards.

inspire with his unique take on the classical art form.

He’s championed the diversity of classical music at platforms like the African American Art Song Alliance Conference. His accolades encompass being a Regional Finalist of the Metropolitan Opera National Council Audition and a finalist at the International Eisteddfod Vocal Solo Competition in Wales.

MASTERWORKS 02 | CARMINA BURANA

29

02

MASTERWORKS SERIES

UMOJA: ANTHEM OF UNITY

competitions. After graduating from

Valerie Coleman (1970–)

University where she received her

WRITTEN / 2001, 2019

bachelor’s degrees in both theory/

MOVEMENTS / One

composition and flute performance.

STYLE / Contemporary American

She then attended the Mannes

DURATION / Ten Minutes

School of Music for her master’s

high school, she attended Boston

degree in flute performance.

Valerie Coleman was born and raised in Louisville, Kentucky.

While she was in college she came

In an interview on NPR in 2006,

face-to-face with the lack of diversity

she detailed her upbringing:

in “classical” music education:

“I grew up in Muhammad Ali’s

“I used to be in the youth orchestra,

neighborhood, the west end of

and there were so many African

Louisville. And that is about as

Americans. But somewhere along

inner-city as any inner-city can get.

the line, when I got to college, I

And my mom, she raised me right,

was the only one in the orchestra.

and she worked hard at it. . . . My

So I wondered what in the world

dad died when I was nine years

happened here? It came to my mind

old, so for the most part, when

that role models are needed.”

he died, me and my sisters—you know, my mom became a single

Valerie became that role model by

mom at that point and she picked

forming Imani Winds, a woodwind

up the pieces. And somehow, she

quintet dedicated to highlighting

sent us all to college and just pulled

the work of underrepresented

it together and made it possible

composers and performers.

for us to get our education. . . “

Since their founding, the group has won numerous awards and

Early on Valerie developed a love

commissioned many pieces.

for music by playing the flute. She started her formal music education

Valerie was named as one of the

in the fourth grade. By the time

“Top 35 Women Composers” by

she was fourteen, she had already

The Washington Post, and she was

written three full-length symphonies

named Performance Today’s 2020

and had won several local and state

Classical Woman of the Year. Her

LANSING SYMPHONY ORCHESTRA

PROGRAM NOTES most recent compositions have

to the short and sweet melody,

been performed by orchestras all

beginning with sustained ethereal

across the country; and she was

passages that float and shift from

recently named to the Metropolitan

a bowed vibraphone, supporting

Opera/Lincoln Center Theater New

the introduction of the melody

Works dual commissioning program.

by solo violin. Here the melody is

Umoja, her signature work for wind

sweetly singing in its simplest form

quintet, was listed as one of the

with an earnestness reminiscent of

“Top 101 Great American Works”

Appalachian style music. From there,

by Chamber Music America. The

the melody dances and weaves

orchestral version of Umoja was

throughout the instrument families,

commissioned by the Philadelphia

interrupted by dissonant viewpoints

Orchestra and premiered by them

led by the brass and percussion

in 2019. Coleman comments:

sections, which represent the clash of injustices, racism and hate that

“In its original form, Umoja, the

threatens to gain a foothold in the

Swahili word for “Unity” and the first

world today. Spiky textures turn into

principle of the African Diaspora

an aggressive exchange between

holiday Kwanzaa, was composed as

upper woodwinds and percussion

a simple song for women’s choir. It

before a return to the melody as

embodied a sense of ‘tribal unity’,

a gentle reminder of kindness and

through the feel of a drum circle,

humanity. Through the brass-led

the sharing of history through

ensemble tutti, the journey ends

traditional “call and response” form

with a bold call of unity that harkens

and the repetition of a memorable

back to the original anthem.

sing-song melody. It was rearranged into woodwind quintet form during

Umoja has seen the creation of many

the genesis of [the] chamber

versions that are like siblings to

music ensemble, Imani Winds,

one another: similar in many ways,

with the intent of providing an

but each with a unique voice that

anthem that celebrated the diverse

is informed by [my] ever evolving

heritages of the ensemble itself.”

creativity and perspective.

Almost two decades later from the

This version honors the simple

original, the orchestral version brings

melody that ever was but is now

an expansion and sophistication

a full exploration into the meaning

MASTERWORKS 02 | CARMINA BURANA

31

02

MASTERWORKS SERIES

of freedom and unity. Now more

13th century church music, most

than ever, Umoja has to ring as

notably plainchant, to give an air

a strong and beautiful anthem

of seriousness and reverence to

for the world we live in today.

the texts that their actual meaning

©2023 John P. Varineau and Valerie Coleman

could hardly demand. In addition to plainchant, however, the eclectic

CARMINA BURANA

music material relies upon all kinds of historical antecedents— from flamenco rhythms (no. 17, “Stetit

Carl Orff (1895–1982)

puella”) to operatic arias (no. 21,

WRITTEN / 1935–1936

“Intrutina”) to chorale texture

STYLE / Contemporary

(no. 24, “Ave formosissima”).

DURATION / Fifty-Eight Minutes

The 24 poems that compose The Latin title of tonight’s major

Carmina Burana are divided into

work, translated literally as “Songs

three large sections— “Springtime,”

of Beuren,” comes from the Abby

“In the Tavern,” and “Court of

of Benediktbeuren where a book

Love”—plus a prologue and

of poems was discovered in 1803.

epilogue. The work begins with the

The Abbey is located about 30

chorus “Fortuna imperatrix mundi”

miles south of Munich, where the

(“Fortune, Empress of the World”),

composer Carl Orff was born,

which bemoans humankind’s

educated, and spent most of his life.

helplessness in the face of the fickle wheel of fate. “Rising first,

The 13th century book contains

then declining, hateful life treats us

roughly 200 secular poems that

badly, then with kindness, making

describe medieval times. The poems,

sport of our desires.” After a brief

written by wandering scholars and

morality tale, “Fortune plango

clerics known as Goliards, attack

vunera,” the “Springtime” section

and satirize the hypocrisy of the

begins. As one would expect of

Church while praising the self-

springtime, the choruses and dances

indulgent virtues of love, food, and

are spritely and optimistic. “Behold

drink. Their language and form

the welcome, long-awaited spring,

often parody liturgical phrases and

which brings back pleasure and with

conventions. Similarly, Orff often

crimson flowers adorns the fields.”

uses the styles and conventions of LANSING SYMPHONY ORCHESTRA

PROGRAM NOTES Only men sing the second part,

normal sense of the term. Instead,

“In the Tavern.” It begins and

primeval forces are invoked, such as

ends with a lusty drinking song,

the ever-turning wheel of fortune,

between which two stories are

the reviving power of spring, the

told, including the famously

intoxicating effect of love, and

difficult “Olim lacus colueram,” a

those elements in man that prompt

wailing tenor song, sung from the

him to the enjoyment of earthly

perspective of a swan being roasted,

and all-too-earthly pleasures.”

served, and eaten at a feast!

©2023 John P. Varineau

The third part, “Cour d’amours,” celebrates sensual, erotic pleasures.

“If a boy and girl linger together, happy is their union. Increasing love leaves tedious good sense far behind, and inexpressible pleasure fills their limbs, their arms, their limbs.” The music for this section is more gentle and seductive. The soprano sings stories of love, while the baritone soloist offers himself as a solution to her longings.

Eventually she submits, singing the rapturous “Dulcissime.” The work ends as it began: with an awareness of the intervening and ever-present wheel of fate.

The drama of Carmina Burana comes not from the novelty of its characters or plot, but rather from the listener’s own understanding of the human condition. As Karl Schumann wrote, “No individual destiny is touched upon—there are no dramatic personae in the MASTERWORKS 02 | CARMINA BURANA

33

Building a successful future.

Our legacy. Your future. Unstoppable.

Plante Moran and Plante Moran Financial Advisors are proud to sponsor Lansing’s influential musical contribution to the community.

Together, we’re creating a legacy that’s unstoppable.

For the 2023-24 concert series, we look forward to “Star Wars: May the Fourth Be With You.”

plantemoran.com

LANSING SYMPHONY ORCHESTRA

03

01.12.24

MASTERWORKS SERIES

MOZART AND BIZET

MASTERWORKS SERIES PRESENTED BY

MOZART, BIEDENBENDER, BIZET Timothy Muffitt, conductor Neil Mueller, trumpet

W.A. Mozart Allegro con spirito Symphony No. 35 “Haffner” Andante in D major, K. 385 Menuetto Presto David Biedenbender River of Time (World Premiere)

Becoming Flowing Crossing

ADDITIONAL SUPPORT PROVIDED BY Darcy & Hudson Kerr Clark Schaefer & Hackett

INTERMISSION Georges Bizet Symphony No. 1 in C major

Allegro vivo Adagio Allegro vivace Allegro vivace

Michigan Arts and Culture Council National Endowment for the Arts

MASTERWORKS 03 | MOZART AND BIZET

35

NEIL MUELLER TRUMPET

Neil Mueller enjoys a career performing and teaching music, currently as Professor of Trumpet at Central Michigan University and Principal Trumpet of the LSO. Prior to his position with Lansing

in 2015 from White Pine Recording,

Symphony Orchestra, he spent

featuring new music for trumpet

four years as a member of the

and piano, and for two trumpets.

Grand Rapids Symphony Orchestra trumpet section. He has previously

The education of the next generation

held Principal Trumpet chairs in

of trumpeters and educators shares

Cleveland’s BlueWater Chamber

equal importance with performing

Orchestra, the Eastern Connecticut

for Mueller. His students have been

Symphony Orchestra, and the

finalists for competitions at both

Fargo-Moorhead Symphony

the International Trumpet Guild

Orchestra, ensembles that also

as well as the National Trumpet

featured Mueller as concerto soloist.

Competition. Prior teaching includes

He also performed concerti with

stints at North Dakota State, Case

the Boston Pops and the Boston

Western, and Cleveland State

University Symphony Orchestra,

Universities, Boston University’s

while completing doctoral studies.

Tanglewood Institute, and high schools in Ohio and Minnesota.

Mueller has collaborated with groups including the Berkshire Bach

Neil’s greatest accomplishment is the

Ensemble, the Brass Ring Quintet,

continued forbearance of his family,

Burning River Brass, and the River

including his wife Shawnthea Monroe

Raisin Ragtime Revue. He has made

and three adult children, Walter,

numerous recordings of chamber

Clara, and Renold. They can sing

music, including Call and Response

most trumpet excerpts on command.

LANSING SYMPHONY ORCHESTRA

03

PROGRAM NOTES

MASTERWORKS SERIES

SYMPHONY NO. 35 IN D MAJOR, K. 385

In March of the following year, Mozart was preparing a concert of his works and needed a new symphony to fill out the program.

Wolfgang Amadeus Mozart

He wrote to his father and asked

(1756–1791)

him to send a copy of the Haffner

WRITTEN / 1782

Symphony. “[It] has positively

MOVEMENTS / Four

amazed me,” he wrote, “for I had

STYLE / Classical

forgotten every single note of it. It

DURATION / Nineteen Minutes

must surely produce a good effect…”

He reworked it into his Symphony

When Mozart was just nineteen, he

No. 35- now subtitled “Haffner”-

endeared himself to the mayor of

first by trimming off the opening

Salzburg by writing the delightful

march and the second minuet

“Haffner” Serenade (K. 250) for

to reduce the symphony to the

the wedding of Haffner’s daughter

conventional four movements, and

Elizabeth. Several years later, after

then reworking the orchestration

Mozart had moved to Vienna,

to include flutes and clarinets. The

Haffner found out that he was to be

result was a great success. At the

elevated to the nobility. Mozart’s

premiere, the Emperor himself

father asked Wolfgang to provide

was in attendance. Delighted by

a new “symphony” to mark the

the symphony, “[he] applauded

occasion. Mozart understood the

me loudly.” Mozart’s immediate

importance of such a commission

future in Vienna was secure.

but was worried that he didn’t have the time. After all, he was getting

No doubt owing to the occasion

married in just a few weeks, was

of its inception, the symphony

in the midst of finishing his new

has a festive character. The first

opera (The Abduction from the

movement offers a single theme

Seraglio) and wasn’t on particularly

that is “spun out” rather than

good terms with his dad. He

developed. Its boisterous treatment

accepted reluctantly, and in less

resembles Handel’s Music for the

than two weeks churned out a

Royal Fireworks. In contrast, the

six-movement serenade, which he

tender second movement is elegant

called his “Haffner Symphony.”

and dance-like. The third movement captures the spirit, elegance, and

MASTERWORKS 03 | MOZART AND BIZET

37

03

MASTERWORKS SERIES

courtly grace that pervades the

College of Music at Michigan

music of Mozart’s era. For the

State University. He received the

last movement, Mozart returns to

Doctor of Musical Arts and Master

the vigor and energy of the first

of Music degrees in composition

movement, even indicating that it

from the University of Michigan and

should be played “as fast

the Bachelor of Music degree in

as possible.”

composition and theory from Central

© 2023 John P. Varineau

Michigan University. He has also studied at the Swedish Collegium for

RIVER OF TIME

Advanced Study in Uppsala, Sweden, the Aspen Music Festival and School, and in Mysore, India where

David Biedenbender (1984–)

he studied South Indian Carnatic

WRITTEN / 2023

music. He provides the following

MOVEMENTS / Three

comments about tonight’s world

STYLE / Contemporary

premiere of his trumpet concerto:

DURATION / Sixteen Minutes

“River of Time was commissioned David Biedenbender’s work is often

by and written for my friend Neil

influenced by his diverse musical

Mueller and the Lansing Symphony

experiences in rock and jazz bands as

Orchestra. I was at a conducting

an electric bassist; in wind, jazz, and

workshop working with my friend

New Orleans-style brass bands as a

Kevin Noe when I heard him use the

euphonium, bass trombone, and tuba

phrase “river of time.” I found it to

player; and by his study of Indian

be an incredibly rich and interesting

Carnatic music. His present creative

metaphor, and I also happened to

interests include working with

be reading Marcus Aurelius’

everyone from classically trained

Meditations around the same

musicians to improvisers, composing

time, when this line from Book

for acoustic chamber music to large

Five jumped right off the page:

ensembles, and experimenting with interactive electronic

Keep in mind how fast things

interfaces to live brain data.

pass by and are gone—those that are now, and those to come.

Mr. Biedenbender is Associate

Existence flows past us like a river:

Professor of Composition in the

the “what” is in constant flux, the

LANSING SYMPHONY ORCHESTRA

PROGRAM NOTES “why” has a thousand variations.

Nothing is stable, not even what’s right here. The infinity of past and future gapes before us—a chasm

SYMPHONY NO. 1 IN C MAJOR

whose depths we cannot see…

George Bizet (1838–1875)

(translation by Gregory Hays)

WRITTEN / 1855 MOVEMENTS / Four

The first movement is called

STYLE / Romantic

Becoming. I imagine a kind of

DURATION / Twenty-Seven Minutes

primordial clock from which time flows—swirling—becoming an

Music history seems to be full of

infinity of matter and moments.

composers who started out as c

The second movement, Flowing,

hild prodigies, began composing at

is a meditation on being part of

an early age, and then died tragically

the river of time—being present.

young. Wolfgang Amadeus Mozart

Imagine a beautiful moment that

is the most famous example. The

you simply don’t want to end. For

French composer Georges Bizet is

me, I imagine something like holding

another. However, Bizet wrote far

my infant son, listening to his slow,

fewer works than Mozart, and when

relaxed breathing as he sleeps

he died, he was not nearly

peacefully on my chest. Of course,

as famous.

these moments are often shaded with just a tinge of melancholy, as

Bizet’s parents were musicians

my thoughts slip toward the past or

themselves and wanted George

the future, thinking about whether

to follow in their footsteps. His

a moment just like this might ever

father enrolled him at the Paris

occur again. And the third movement

Conservatory when he was just nine

is called Crossing. Our perception

and, six months later, Georges won

of time is often linear, but what if

a premier prix—first prize—in sight

it was circular or it could be bent?

singing. He won three more first

What if we could exist outside of it?

prizes—in piano, organ, and fugue—

What if we could traverse time?”

by the time he was fifteen. He won

©2023 David Biedenbender;

the most coveted prize of all, the

compiled by John P. Varineau

Prix de Rome, at the ripe old age of nineteen.

MASTERWORKS 03 | MOZART AND BIZET

39

03

MASTERWORKS SERIES

PROGRAM NOTES

Bizet’s real musical love was opera:

models. The three fast movements,

“I am not made for the symphony;

full of sparkle and lots of frenzied

I need the theatre, I can do nothing

finger-work for the violins, frame

without it.” None of his operas

a beautiful slow movement that

received any real audience or

contains one of the most famous

critical acclaim, but perhaps Bizet’s

of symphonic oboe solos.

greatest disappointment came

©2023 John P. Varineau

with his final opera, Carmen. The audience was shocked at its premier, and the critics were universal in their derision. One described it as “This inferno of ridiculous and uninteresting corruption.” Another wrote, “If it were possible to imagine His Satanic Majesty writing an opera, Carmen would be the sort of work he might be expected to turn out.” Exactly three months after the premier, Bizet suffered a fatal heart attack, never realizing that Carmen would become one of the most popular operas of all time.

In 1933, the French composer Reynaldo Hahn—who was a close friend of Bizet’s son—gave some of Bizet’s manuscripts to the

MASON SYMPHONY ORCHESTRA MASON PHILHARMONIC ORCHESTRA

2023-2024

Paris Conservatory. Hidden in the

JOIN US FOR OUR 49TH SEASON!

manuscripts was tonight’s Symphony

For more information, please visit: masonorchestras.org

in C Major that Bizet wrote when he was just seventeen. Audiences heard it for the first time eighty years after he wrote it. It shares the same sort of youthful ebullience and clarity found in the works by the young Mozart and Mendelssohn, clearly Bizet’s role LANSING SYMPHONY ORCHESTRA

04

03.24.24

MASTERWORKS SERIES

BEETHOVEN VIOLIN CONCERTO

MASTERWORKS SERIES PRESENTED BY

GIBSON, BEETHOVEN, WAGER, STRAUSS Timothy Muffitt, conductor Bella Hristova, violin

Sarah Gibson to make this mountain taller (Michigan Premiere)

Commissioned by the League of American Orchestras with the support of the Virginia B. Toulmin Foundation

L.V. Beethoven

Allegro ma non troppo Larghetto Rondo: Allegro

ADDITIONAL SUPPORT PROVIDED BY Loomis Law

Violin Concerto in D major, op. 61

Michigan Arts and Culture Council

INTERMISSION Richard Wagner Tristan und Isolde, WWV 90:

National Endowment for the Arts

Prelude & Liebestod Richard Strauss Till Eulenspiegel’s Merry Pranks, op. 28

MASTERWORKS 04 | BEETHOVEN VIOLIN CONCERTO

41

BELLA HRISTOVA VIOLIN

Internationally acclaimed violinist Bella Hristova is known for her passionate and powerful performances, beautiful sound, and compelling command of her instrument.

Her numerous prizes include a 2013

composers Joan Tower and

Avery Fisher Career Grant, First Prize

Nokuthula Ngwenyama to write

in the Young Concert Artists Susan

unaccompanied violin pieces,

Wadsworth International Auditions,

which she premiered and performs

and First Prize in the Michael Hill

in recitals throughout the United

International Violin Competition.

States and abroad. She further

She has performed extensively as

collaborated with her husband David

a soloist with orchestras including

Serkin Ludwig on a violin concerto

the Orchestra of St. Luke’s, the New

written for her through a consortium

York String Orchestra, and the Forth

of eight major orchestras across

Worth, Kansas City, and Milwaukee

the country. Hristova began violin

symphony orchestras. She has

studies at the age of six in her native

performed recitals at Carnegie Hall,

Bulgaria, studied with Ida Kavafian

Merkin Concert Hall, the Kennedy

at the Curtis Institute of Music, and

Center in Washington, D.C., and

received her Artist Diploma under

regularly appears with the Chamber

the tutelage of Jaime Laredo at

Music Society of Lincoln Center.

Indiana University. She performs

In 2017, she and renowned pianist

on a 1655 Nicolò Amati violin.

Michael Houstoun toured New Zealand performing and recording the complete Beethoven sonatas for violin and piano on the Rattle label. A committed proponent of new music, she has commissioned LANSING SYMPHONY ORCHESTRA

04

MASTERWORKS SERIES

to make this mountain taller

PROGRAM NOTES different orchestras (thirty in all, drawn from nineteen US states and Canada). One of those composers is Sarah Gibson. Her

Sarah Gibson (1987–)

to make this mountain taller was

WRITTEN / 2023

premiered by the Sarasota Orchestra

MOVEMENTS / One

in March of 2023. The four other

STYLE / Contemporary

orchestras that will perform

DURATION / Nine Minutes

the work include the Pittsburgh Symphony, the Knoxville Symphony,

If composing music isn’t hard

the Idaho State Civic Symphony

enough already, there is the problem

and the Lansing Symphony.

of getting people to play your works more than once. Most new orchestral

Sarah Gibson is a Los Angeles

music is written on commission,

based composer and pianist

so the first performance of a work

whose works draw on her breadth

is almost a given. But after that,

of experience as a collaborative

then what? It really takes multiple

performer. Her compositions reflect

performances of a new work by

her deep interest in the creative

different orchestras in order to

process across various artistic

create the “buzz” needed to create

mediums—especially from the female

demand. (Audience response is

perspective. She is co-founder of

critical in this story: If audiences

the new music piano duo, HOCKET,

really like a work, orchestras will

and is a core artist for the inimitable

program it!) The League of American

Los Angeles Series, Piano Spheres.

Orchestras’ Virginia B. Toulmin

Sarah received degrees in Piano

Foundation Orchestral Commissions

and Composition from Indiana

Program seeks to ensure that new

University and the University of

works by women composers, each

Southern California. She is Assistant

commissioned by the League, will

Director for the esteemed Los

be infused into orchestra seasons to

Angeles Philharmonic Composer

come, with multiple performances

Fellowship Program and Assistant

throughout the country. In 2022, the

Professor in Composition/Theory

League commissioned works from

at the California State University,

six different women composers.

Long Beach Bob Cole Conservatory

Each will be performed by five

of Music where she also directs

MASTERWORKS 04 | BEETHOVEN VIOLIN CONCERTO

43

04

MASTERWORKS SERIES

upon Aristide Maillol’s La Montagne:

I stand on the sacrifices of one million women before me thinking what can I do to make this mountain taller so the women after me can see farther

an immense statue of a sitting

©2023 John P. Varineau and Sarah Gibson

the New Music Ensemble. She provided these comments about to make this mountain taller: “On the day Roe v. Wade was overturned in the U.S., I went to the Norton Simon Museum where I came

woman with hair blowing in the wind.

Struck initially by the monumental size of the work, I was then attracted to the contrast between the statue’s angular features against her windswept hair and concerned expression. Historically, it seemed to me uncommon to relate a woman to

CONCERTO IN D MAJOR FOR VIOLIN AND ORCHESTRA, OP. 61

a mountain—normally such a large

Ludwig van Beethoven (1770-1827)

and bold figure would be given

WRITTEN / 1806

masculine characteristics. I saw this

MOVEMENTS / Three

woman as being strong, capable,

STYLE / Classical and Romantic

and feminine all at once. Figuratively,

DURATION / Forty-Two Minutes

I also pondered the number of mountains that women and non-

Many of us share a personality

male identifying people have had

flaw with Beethoven. In spite of his

to climb simply to access the most

greatness, Ludwig van Beethoven

basic rights. While it was painful

was a procrastinator, especially

to realize that each generation

when somebody was paying for his

may have to fight the same fights

work. Consider poor Franz Clement

all over again, I was comforted

and Beethoven’s Violin Concerto.

by the trailblazers who have shown us what can be achieved.

Franz Clement was a virtuoso

Later that day, I found a poem by

violinist who made his fame as a

Rupi Kaur which summarized my

child prodigy. Later he became the

feelings about this experience:

concertmaster and conductor of the prestigious Theater an der Wien.

LANSING SYMPHONY ORCHESTRA

PROGRAM NOTES Clement conducted the premiere

also sight-reading. One might feel

of Beethoven’s Eroica Symphony

some pity for the conductor, except

and was the concertmaster at the

that it was Beethoven himself!

premiere of his only opera, Fidelio.

His “ear” was legendary; there are

Beethoven’s Violin Concerto reflects

tales of Clement’s ability to play

the qualities of Clement’s playing,

back almost any piece of music

making it “among the most perfect”

after only a single hearing. Unlike

violin concertos. Nevertheless,

many violinists of the day who were

it is not a typical concerto: (i.e.,

known for “bold, robust, powerful

a technical show-off piece for a

playing,” Clement was known for an

soloist). Performing it is difficult but,

“indescribable delicacy, neatness,

even in the more robust sections,

and elegance, and extremely

it has a sweet, serene character.

delightful tenderness and purity.”

Beginning with the timpani—which

He was “indisputably . . . among

play a central role throughout the

the most perfect violinists.”

first movement—the orchestra plays for an extended period and gets

One way to make money as a

to introduce all of the melodies

musician during the eighteenth and

before the violinist even enters.

nineteenth centuries was to hold

After he finally comes in with a short

a benefit concert—for yourself.

cadenza, he embellishes everything

Clement held his benefit concert on

that has come before. Even the

December 23, 1806. In spite of his

cadenza at the end of this movement

“delicacy and neatness,” he wasn’t

finishes without the typical soloist

above mere showmanship; he ended

flourish. Instead, it gently melts

the concert playing a piece while

into the final orchestral utterance.

holding the instrument upside down and using only one of the violin’s

The second movement is a series of

strings! For that same concert, he

variations on a simple little theme

asked Beethoven to write a concerto.

resembling a chorale. A short

Beethoven barely finished it in time.

cadenza at the end leads directly into

Legend has it that Clement’s first

the finale. Like the beginning of the

time through the concerto was when

concerto itself, it begins delicately.

he sight-read it at the concert, in

This time, however, it builds into a

front of the paying audience! Pity

vigorous and virtuosic showpiece.

the poor orchestra players who were

©2023 John P. Varineau

MASTERWORKS 04 | BEETHOVEN VIOLIN CONCERTO

45

04

MASTERWORKS SERIES

PRELUDE AND LIEBESTOD FROM “TRISTAN UND ISOLDE”

was meant for the King and Isolde.

Their eyes are opened and, in the words of Wagner’s own synopsis: “For the future they only belong to each other. . . . The World,

Richard Wagner (1813–1883)

power, fame, splendor, honor,

WRITTEN / 1857–59

knighthood, fidelity, friendship,

MOVEMENTS / One

all are dissipated like an empty

STYLE / Romantic

dream. One thing remains: longing,

DURATION / Seventeen Minutes

longing, insatiable longing; forever springing up anew, pining and

The legend of Tristan and Isolde—that

thirsting. Death, which means

tale of intense romantic yearning—is

passing away, perishing, never

probably of Celtic origin, but it was

awakening, is their only deliverance.”

the decidedly Teutonic composer Richard Wagner who re-invented

That longing is what the Prelude is

it for the world of opera. He was in

all about. In a long, slow crescendo,

the midst of writing his monumental

the tension builds to a tremendous

four-opera The Ring of the Niebelung

climax and then slowly subsides.

when he first read the legend of

The never-resolving harmonies of

Tristan. He was also in the midst of an

the Prelude themselves imply that

intense relationship with the very-

insatiable longing. As the Prelude

much-married Mathilde Wesendonk.

subsides, the Liebstod (Love-death)

Soon he was taking a sabbatical

begins. It contains melodic material

from The Ring and working on a

from the famous second act duet

new opera: Tristan und Isolde.

between Tristan and Isolde. That duet is the longest in all of opera,

It is difficult to encapsulate all of

lasting nearly 40 minutes—with

the psychological sub-texts of the

nearly no action. The gist of those 40

opera, but the basic plot is this:

minutes? “Thus we died, undivided,

Tristan goes on a journey to bring

one forever, without end, never

Isolde back to wed his master,

waking, never fearing, embraced

King Marke. Of course, Tristan falls

namelessly, in love, given entirely to

in love with Isolde, and somehow

each other, living only in our love!”

the two drink a love potion that LANSING SYMPHONY ORCHESTRA

PROGRAM NOTES Wagner’s affair with Mathilde

died in 1350 C.E. in the province of

Wesendonk didn’t last. She couldn’t

Schleswig-Holstein where the locals

leave her husband. But Wagner was

still point out his gravestone. Folk

soon at it again, this time wooing

and literary tales associated with Till

and eventually marrying Cosima

and his pranks appeared in German,

von Bülow, the daughter of Franz

Dutch, French, Latin and English

Liszt and the wife of the man who

starting in about 1500. Most of these

conducted the premiere of Tristan

tales are about the practical jokes

und Isolde. While Cosima was still

Till plays, and they depend upon

married to Hans von Bülow, she

the sort of slapstick violence still

and Wagner had two daughters.

found in today’s children’s cartoons.

One of them was named Isolde.

And in the unexpurgated versions

©2023 John P. Varineau

of the tales, there is a good dose of obscene and scatological humor.

TILL EULENSPIEGELS LUSTIGE STREICHE, OP. 28 (TILL EULENSPIEGEL’S MERRY PRANKS)

Fortunately for us, Richard Strauss’s version of Till’s merry pranks is “G” rated. It is a hilarious musical romp.

Throughout the nineteenth century, composers and critics debated whether music could or even should portray such concrete characters as Till and his tricks. On the one

Richard Strauss (1864–1949)

hand there were the “absolute”

WRITTEN / 1895

composers, like Johannes Brahms,

MOVEMENTS / One

who felt that although music was

STYLE / Romantic

a profound emotional language,

DURATION / Fifteen Minutes

its purpose was not to portray such things. Then there were those

A short spin through the collected

composers of “program” music.

tales of the medieval prankster Till

Franz Liszt invented the symphonic

Eulenspiegel demonstrates that

tone poem— complete symphonic

teenage bathroom humor has a long

works that could musically detail

and “colorful” history. The “real”

specific people, places, things and

Till is said to have been born in

ideas. As a young man, Strauss

Kneitlingen, Germany and to have

wrote a series of brilliant tone

MASTERWORKS 04 | BEETHOVEN VIOLIN CONCERTO

47

04

MASTERWORKS SERIES

PROGRAM NOTES

poems: Don Juan; A Hero’s Life; Don

whole orchestra is a-tumble. Out of

Quixote; Death and Transfiguration.

the chaos comes the little piccolo

These works are not just descriptive.

clarinet with the second motive,

They are also brilliant showcases

a sneering little giggle. Those two

for orchestras. Every player must

motives form the backbone for

rise to the level of a virtuoso.

the entire work. As soon as they are introduced, we are off on our

Strauss was careful not to print (in

merry way. For most of us who

words) exactly what was going on in

aren’t familiar with the list of all of

his Till Eulenspiegel. He explained,

Till’s pranks, here are a few hints: Till rides his horse through a busy

“It is impossible for me to furnish a

marketplace upsetting everything

program to Eulenspiegel. . . Let me

in his wake; he dons the robes of a

leave it, therefore, to my hearers

priest and poses as a preacher of

to crack the hard nut which the

morals; Till becomes a lady’s man

Rogue has prepared for them. By

but storms away in a rage when

way of helping them to a better

his advances are spurned; he

understanding, it seems sufficient

makes fun of professors—here by

to point out the two “Eulenspiegel”

a fugue which goes awry. Finally

motives, which, in the most manifold

Till goes too far with his jesting

disguises, moods and situations,

and is hauled before the court. To

pervade the whole up to the

the ominous condemnation from

catastrophe, when, after he has

the low brass, the piccolo clarinet

been condemned to death, Till is

pleads for mercy. Till is strung up

strung to the gibbet. For the rest,

(unmistakable in the music). The

let them guess at the musical joke

orchestra ends the piece as it began

which a Rogue has offered them.”

as if to say, “It is really only a story.” ©2023 John P. Varineau

You’ll hear those two motives immediately after a short introduction by the orchestra which seems to say, “Once upon a time . . .”. The first is a roguish tune played by the horn. It gets all twisted up in the rhythm. Other instruments come in with the tune and soon the LANSING SYMPHONY ORCHESTRA

05

05.10.24

MASTERWORKS SERIES

RACHMANINOFF SYMPHONY NO. 3

MASTERWORKS SERIES PRESENTED BY

MILLER, MOZART, RACHMANINOFF Timothy Muffitt, conductor

Harmony Zhu, piano, 2024 Gilmore Young Artist

Jared Miller

ADDITIONAL

(Composer-In-Residence) Luster

SUPPORT

W.A. Mozart Piano Concerto No. 21 in C major, K. 467

PROVIDED BY Allegro Andante Allegro vivace assai

Ken & Mary West Michigan Arts and Culture

INTERMISSION

Council

Sergei Rachmaninoff

Lento – Allegro Moderato

Symphony No. 3

Adagio ma non troppo

in A minor, op. 44

Allegro

National Endowment for the Arts

MASTERWORKS 05 | RACHMANINOFF SYMPHONY NO. 3

49

HARMONY ZHU PIANO

Harmony Zhu has performed at prestigious festivals such as the Ravinia Festival and Aspen Music Festival, and made her debut at Carnegie Hall’s Stern Auditorium at age 14.

Hailed as “a deeply musical soul

Show, NPR’s From the Top, CBS,

and nimble technician [with]

and ABC. Last season, Harmony

probing sensitivity” (Chicago

jumped in at 24-hour notice for the

Tribune), having “airtight technique

late maestro Alexander Toradze,

[and] coruscating brilliance”

performing Prokofiev Concerto

(Chicago Classical Review), and

No. 3 with the Illinois Philharmonic

“an impressive soloist, a sparkling

to great acclaim, praised by the

and happy presence... unflappable”

Chicago Classical Review as having

(Times Union), pianist and composer

the “stellar technique and musical

Harmony Zhu won the 2021 Young

insight to have a major professional

Concert Artists International

career”. Studying at Juilliard since

Auditions, becoming the youngest

age eight with Emanuel Ax and Veda

artist on the YCA roster. Recognized

Kaplinsky, Harmony is also a versatile

as a Young Steinway Artist since

composer and an accomplished

age 10, Harmony has appeared as

improviser. In the realm of chess,

soloist with esteemed orchestras

she was awarded the title of Woman

worldwide, including the Philadelphia

Candidate Master at the tender age

Orchestra, Chicago Symphony

of 7 and holds the title of World

Orchestra, Israel Philharmonic, and

Champion of her age group after

more, under renowned conductors

winning the World Youth Chess

such as Leonard Slatkin, Marin

Championships. She attends the

Alsop, and Yannick Nézet-Séguin.

prestigious Brearley School in NYC.

Harmony has also been featured on NBC’s The Ellen DeGeneres LANSING SYMPHONY ORCHESTRA

05

PROGRAM NOTES

MASTERWORKS SERIES

LUSTER Jared Miller (1988-) WRITTEN / 2018 MOVEMENTS / One

CONCERTO IN C MAJOR FOR PIANO AND ORCHESTRA, K. 467

STYLE / Contemporary DURATION / Seven Minutes

Wolfgang Amadeus Mozart (1756–1791)

When I received this commission

WRITTEN / 1785

to write for the Detroit Symphony

MOVEMENTS / Three

Orchestra, I immediately knew that

STYLE / Classical

I wanted to pay homage to the

DURATION / Twenty-Nine Minutes

city’s vibrant musical past. After all, in addition to the DSO’s world-

When Mozart finally escaped from

class music making under Leonard

the oppressive clutches of his father

Slatkin over the past decade, Detroit

and the stifling atmosphere of

is known for its invention and/or

Salzburg and settled in Vienna, he

cultivation of many popular music

had one major problem. He didn’t

genres including Motown, rap, and

have a job. So, Mozart set out to

rock music. Upon reading more

do what few, if any, composers

on the musical history of Detroit, I

in the eighteenth century could

was pleasantly surprised to learn

do: make a living as a freelance

that one of my favorite musical

performer and composer. He filled

genres – techno music – was also

his mornings teaching piano lessons

invented in Detroit. The sound-

to the children of the upper class

world of Luster is inspired by the

and aristocracy. Then he would play

thumping bass, instrumental colors,

piano in the salons of the hoi-poloi.

reverberation effects and multi-

To make even more money he would

layered rhythmic texture that is

present an “academy”—a benefit

found in techno, house and EDM

concert for himself in one of the

music from the past 35 years.

large halls in the city. Competition

©2023 Jared Miller

for such a space was fierce. The only time he could get into one of these halls was during Advent or Lent (when staged productions like operas were prohibited), so he could

MASTERWORKS 05 | RACHMANINOFF SYMPHONY NO. 3

51

05

MASTERWORKS SERIES

normally give only one or two a year.

piano concerto. He described his

He made a lot of money at these

early attempts at the concerto to

concerts; but to make more, Mozart

his father. The same paragraph

presented a series of concerts

explains why he remains so popular:

in smaller locations, like inns or ballrooms, and sold subscriptions

“They are a happy medium, between

for the whole group in advance—

too hard and too easy—very brilliant,

much like your season ticket

pleasing to the ear, natural, without

subscriptions. He recounted his life

lapsing into vapidity. There are

in Vienna in a letter to his father:

passages here and there from which connoisseurs alone can derive

“You must forgive me if I don’t write

satisfaction, but they are written

very much, but it is impossible to

so that the non-connoisseurs

find time to do so, as I am giving

cannot fail to be pleased even

three subscription concerts in

if they don’t know why.”

Trattner’s room on the last three Wednesdays of Lent, beginning

Mozart wrote the Piano Concerto

on March 17. I have a hundred

in C Major for his academy in the

subscribers already and shall easily

Burgtheater on March 10, 1785. It

get another thirty. The price for

is a festive one, using trumpets

the three concerts is six florins. I

and timpani. The first movement

shall probably give two concerts

has its surprises. It begins quietly

in the theater this year. Well, as

and in spite of the overall major

you may imagine, I must play some

quality, there are a few poignant

new works—and therefore I must

twists in minor. After the big

compose. The whole morning is

orchestral fanfare, the solo piano

taken up with pupils and almost

has to delay its entrance because

every evening I have to play. . .

the woodwinds keep going!

. Well, haven’t I enough to do? I don’t think that in this way I can

The slow middle movement has one

possibly get out of practice.”

of Mozart’s greatest melodies. The noted musicologist Alfred Einstein

Mozart had to deal with the problem

(and brother of the famous physicist)

of playing something that would

says that this movement, “with its

draw an audience. He hit on a

muted strings, its quivering triplets

brilliant solution: He invented the

and its pizzicato accompaniment

LANSING SYMPHONY ORCHESTRA

PROGRAM NOTES against the broad arch of the

compliment as well: “He was the

soloist’s cantilena [song], is like an

only pianist I have ever seen who did

ideal aria freed of all the limitations

not grimace. This is a great deal.”

of the human voice.” No voice could sing the large jumps Mozart writes

In spite of his demeanor, Sergei

for the piano. (Incidentally, the title

Rachmaninoff was a commanding

Elvira Madigan is often appended

presence in the music world as a

to this concerto, only because this

virtuoso pianist, conductor, and

slow movement was used in the

composer. As the first half of the

1967 movie by that name. Mozart

twentieth century grappled with

had nothing to do with it!) The

modernism in all of its forms,

last movement, again beginning

Rachmaninoff remained an

softly, is a sprightly rondo full of

unrepentant romantic. “I feel like a

witty and light-hearted brilliance.

ghost wandering in a world grown

©2023 John P. Varineau

alien. I cannot cast out the old way of writing, and I cannot acquire the

SYMPHONY NO. 3 IN A MINOR, OP. 44

new,” he said. “I have made intense efforts to feel the musical manner of today, but it will not come to me.”

Rachmaninoff began his Third

Sergei Rachmaninoff (1873–1943)

Symphony in the summer of 1935.

WRITTEN / 1936–38

It was not easy going. He wrote

MOVEMENTS / Three

to his friend Vladimir Wilshaw:

STYLE / Romantic DURATION / Forty Minutes

“My health has been wretched. I’m breaking up rapidly! When I had

“Some people achieve a kind of

health – I possessed extraordinary

immortality just by the totality with

laziness; as that begins to disappear—

which they do or do not possess

all I can think of is work. . . . Rebirth

some quality or characteristic.

can’t be expected in old age! Thus,

Rachmaninoff’s immortalizing totality

to increase the total of my activity is

was his scowl. He was a six-and-a-

now difficult. This means that in my

half-foot-tall scowl.” That was Igor

lifetime I have not done all I could

Stravinsky’s summation of his fellow

have done, and this realization will

Russian. He had a contradictory

not make my remaining days happy.”

MASTERWORKS 05 | RACHMANINOFF SYMPHONY NO. 3

53

05

MASTERWORKS SERIES

PROGRAM NOTES

Another year of concertizing

and develops both themes. The

interrupted his work on the

second movement is actually two

symphony. Still, he managed to

combined. The slower outer sections

complete it the following summer.

are pure, constant melody. The music

Leopold Stokowski and the

expands and eventually weaves its

Philadelphia Orchestra premiered

way into a faster central section

it in November 1936. Critics were

that starts as a scherzo and ends

not encouraging: “No, the critics

as a march. The melodic material

are not helpful. When my first

for the last movement comes from

symphony was played, they said

the first movement, again with a

that it was so-so. Then when my

contrast between a driving dance-

second was played they said the

like rhythm and soaring melody.

first was good, but that the second

Ever the pessimist, Rachmaninoff

was so-so. Now that my third has

injects a snippet of the Dies Irae, a

been played – just this fall – they say

sung prayer from the Mass for the

my first and second are good but

Dead (and something of a signature

that my – oh, well, you see how it

tune for him) into the proceedings.

is.” Rachmaninoff was discouraged.

It turns out it has been hiding

He wrote to his secretary, “Since

in the main theme all along.

I began a record of those who

©2023 John P. Varineau

love this work, I have turned down three fingers. Its second lover is the violinist Busch, and the third – excuse me – is I! When I run out of fingers on both hands, I’ll give up counting! Only – when will this be?”

The symphony is in three movements.

The first begins very quietly and then suddenly explodes as the orchestra plays an extended theme starting like an Orthodox chant and ending with flash and dash. It gives way to a second melody, first played by the cellos, full of ache and nostalgia.

The rest of the movement explores LANSING SYMPHONY ORCHESTRA

Committed to helping businesses and individuals be in tune with a stronger financial future. We are proud to support the Lansing Symphony Orchestra as they present their 94th Annual Season.

608 South Washington Ave. Suite 200 Lansing, Michigan 48933 D: 517.485.9350

Proud to Support the

MASTERWORKS 05 | RACHMANINOFF SYMPHONY NO. 3

55

LANSING SYMPHONY ORCHESTRA

57

LANSING SYMPHONY ORCHESTRA

A Name You Can Trust Travis Millbrook, Owner

Gladstone Printing is committed to supporting Greater Lansing’s business and arts community.

We wish the Lansing Symphony Orchestra a very successful 2023–2024 season.

GLADSTONEPRINTING.COM 517 S. WAVERLY ROAD, LANSING • 517-323-2111 59

LANSING SYMPHONY ORCHESTRA

ORCHESTRATING A GREATER UNDERSTANDING.

Inspired minds uplift themselves and the world around them. Through communications, we’re broadening horizons, one community at a time.

FOR THE GREATER

FPO QR CODE

61

LANSING TOWN HALL

CELEBRITY SERIES Eagle Eye Banquet Center Hear ye!

Hear ye!

Molly Fletcher

Steve Hartman

November 6, 2023

October 9, 2023 “On the Road”

He brings to audiences some of the uplifting and inspirational segments he has produced for CBS as part of his ”On the Road” series.

Motivational Speaker As President of CSE, a sports and entertainment agency, she has negotiated millions in contracts and represented many of sports’ biggest names.

TomToro

William Burke-White

Cartoonist

American Jurist

A cartoonist and author who has published over 200 cartoons in The New Yorker, co-authored several books and contributed to many publications.

Who are the most powerful people in the world? As professor of law at the University of Pennsylvania, an international lawyer and political scientist, he has the answer.

April 15, 2024

May 6, 2024

For information and tickets, call (517) 543-3041 2023-’24 Season Sponsors

FD Hayes YEARS

Electric Co. Since 1923

Lansing Town Hall Series, Inc. is a non-profit organization. Proceeds support the Lansing Symphony Orchestra.

LANSING SYMPHONY ORCHESTRA

More than a job.

A purpose.

When you go to work, you want more than a job to do. You want a purpose you can believe in—and confidence that what’s meaningful to you is meaningful to your employer. That’s why we take extra care to invest in our communities with help from our associates who represent them. Join our team and discover how, together, we can make a difference that resonates beyond the office.

Explore career opportunities at Jackson.com/careers

Jackson® is the marketing name for Jackson Financial Inc., Jackson National Life Insurance Company® (Home Office: Lansing, Michigan), and Jackson National Life Insurance Company of New York® (Home Office: Purchase, New York).

CMC26842 02/23

63

LANSING SYMPHONY ORCHESTRA

SUPPORTING THE ARTS As a long-time supporter of the arts, Honigman’s Lansing Office celebrates the work of the Lansing Symphony Orchestra.

Lauren Kevin M. Babbage Blair Kevin Blair Kenneth T.M. Brooks Kenneth T. Brooks Li Gao MarkA.A.Garcia Burton Joseph June Summers Haas Li Gao, Ph.D

AndreaHansen Hansen Dennis RyanMuchmore B. Opel Andrea Mark A. Hilpert Ryan Opel Peter B.B.Ruddell Mark A. Hilpert BrianA. A.Kandler Kandler Angela Peter B. Ruddell Epolito Sprecher Brian Daniel L. L.Stanley Stanley DouglasE. E.Mains Mains Daniel Douglas Dennis MelissaMuchmore Malerman

WWW.HONIGMAN.COM

www.lansingartgallery.org

Exhibiting and selling the work of Michigan artists for over 50 years!

65

A WELL ORCHESTRATED HEALTH PLAN... FOR YOU. Composed of 78,000 providers and 143 hospitals. The Right Plan for Right Now. With McLaren Health Plan, you have talented people dedicated to helping your family stay healthy - including providers in major health systems all over Michigan.

Learn more at McLarenHealthPlan.org.

LANSING SYMPHONY ORCHESTRA

2023–2024 CONCERT SEASON

MSU MUSIC Choose from a variety of classical and jazz performance series featuring top musicians, ensembles, and guest artists.

ORCHESTRA // CHOIR // BAND // OPERA // JAZZ CHAMBER MUSIC // EARLY MUSIC // NEW MUSIC

MUSIC.MSU.EDU/EVENTS WHARTON CENTER | FAIRCHILD THEATRE | MURRAY HALL | COOK RECITAL HALL

67

October 13 & 14, 2023

The Abduction from the Seraglio W.A. Mozart

February 9 & 10, 2024

The Tibetan Book of the Dead Ricky Ian Gordon

April 19 & 20, 2024

La Bohème Giacomo Puccini

operagr.org

LANSING SYMPHONY ORCHESTRA

Medicare from a name you know and trust Learn more

SparrowAdvantage.com 844.908.0051 (TTY:711)* *8 a.m. to 8 p.m., seven days a week. You may reach a messaging service on weekends from April 1 to Sept. 30 and holidays. Please leave a message, and your call will be returned the next business day. Sparrow Advantage is an HMOPOS plan with a Medicare contract. Enrollment in Sparrow Advantage depends on contract renewal. H7646_23-2242_C

Enjoy a world-class experience at the Serra Auto Campus and you’ll love what you drive.

Love wha you drive

2743 Jolly Road | Okemos, MI 48864 | Mon-Fri 9A - 6P | Sat 9A - 3P 1.800.215.6944 | www.serraautocampus.com

69

Messaging that strikes a chord.

B RA N D I N G & A DV E RT I S I N G

REDHEAD.STUDIO

Showcasing curated art in Downtown Lansing. thenelsongallery.com

LANSING SYMPHONY ORCHESTRA

Amplifying our impact The Sparrow partnership with the nationally-recognized University of Michigan Health System expands local services, increases access to the highest level of care, and accelerates innovation.

Our unique abilities and combined strengths come together in perfect harmony for our people, our patients and our region. For you.

Learn more at: SPARROW.ORG/NEWCHAPTER

71

Williams Hyundai 2845 East Saginaw St. Lansing, MI 48912 www.williamshyundai.com Phone 517-484-1341

LANSING SYMPHONY ORCHESTRA

Your Hosts for Classical Music

Jody Knol

Linda Kernohan

Jamie Paisley

Weekdays | 90.5 FM and streaming

wkar.org

73

very first verse

From the

final note

to the

The Lansing State Journal is a proud supporter of the Lansing Symphony Orchestra and other cultural events that make Greater Lansing special. To stay up-to-date on all the wonderful things to do in your community, pick up your copy of the Lansing State Journal today or visit www.lsj.com/subscribe

LANSING SYMPHONY ORCHESTRA

75

with Refreshed Rewards MSUFCU’s Visa Signature® Credit Card offers more rewards wherever you go. From starting a new hobby to buying tickets for the show, earn cash back on all of your purchases.

With 3% cash back on groceries; 2% cash back on gas, travel, and universities; and 1% cash back on all other purchases, you can make the most of your dreams.

Start earning more cash back today!

msufcu.org | 800-678-4968

Cardholders will earn the following cash back rewards: 3% on groceries; 2% on gas, travel (airlines, hotels, motels, resorts, taxi/limo, and car rental) and universities; and 1% on all other purchases for every one U.S. dollar in eligible net purchases made on their Visa Signature Credit Cards, rounded to the nearest whole dollar. Cash back is not earned on tax payments, any unauthorized charges or transactions, cash advances, convenience checks, balance transfers, or fees of any kind. Account must be in good standing to redeem cash back. Returns result in the loss of cash back equal to amount returned. Negative cash back will be given if returns or credits exceed purchases. Certain restrictions, limitations, and exclusions apply. Visa Signature Credit Card has a $10,000 minimum limit. Visit msufcu.org/visasignature for full terms and conditions.

LANSING SYMPHONY ORCHESTRA

MICHIGAN STATE UNIVERSITY

We make dining a work of art...

Come taste a masterpiece!

U-Club membership is open to all. Contact us to learn more.

Offering more than you might imagine, for less than you might expect.

3435 Forest Rd. Lansing, MI 48910 . (517) 353-5111 . www.universityclubofmsu.org

77

We are a Proud Sponsor of the Lansing Symphony Orchestra.

AFGroup.com

LANSING SYMPHONY ORCHESTRA

Loomis is proud to be a sponsor of the Lansing Symphony Orchestra.

For over 65 years, Loomis has excelled at providing legal strategies and solutions for businesses and individuals to help them achieve success. www.loomislaw.com (517) 482-2400 124 W. Allegan St., Ste. 700, Lansing, MI 48933

79

Order Online at pizzahouse.com

Voted Best Pizza by MSU students & faculty – State News

Reservations for Large e! bl ro G ups Availa 33 0 0 633 517-

Seating for up to 420!

www.pizzahouse.com • 4790 S. Hagadorn • 517-336-0033

DINING AND DELIVERY UNTIL 4 am EVERYDAY!

LANSING SYMPHONY ORCHESTRA

(517) 339-7255 • MortonsFineCatering.com Weddings • Corporate Events • Private Functions

Be the maestro of your website.

MASTERWORKS SERIES

81

ARRIVALS

WE’RE PROUD TO SUPPORT OUR COMMUNITY’S CULTURE DESTINATION

#FlyLansing

LANSING SYMPHONY ORCHESTRA

BRD AD MASTERWORKS SERIES

83

01

POPS SERIES

HOLIDAY POPS!

12.17.23 POPS SERIES PRESENTED BY

Timothy Muffitt, conductor Teri Hansen, vocalist

Feel the joy of the season with your favorite holiday tunes and traditional carols. The afternoon features Broadway Star and Michigan Native, Teri Hansen, singing festive classics and popular songs. Bring your friends and family to be a part of this community tradition.

ORCHESTRA LANSING SYMPHONY PERSONNEL ORCHESTRA

ADDITIONAL SUPPORT PROVIDED BY Plas-Labs, Inc. Michigan.com

TERI HANSEN VOCALIST

Teri Hansen has received international recognition for her crossover abilities as a singing actress from Opera to Broadway and concert stages around the world.

Miss Hansen made her Broadway

Scene. Miss Hansen also toured

debut in The Boys From Syracuse

for years with Marvin Hamlisch,

and starred in London’s West End

appeared at the Lincoln Center

as ‘Magnolia’ in Hal Prince’s Tony

singing Rodgers and Hammerstein,

award winning production of Show

as well as regular appearances there

Boat. Most recently she starred in

as a part of the prestigious “Meet

the National Tours of The Sound Of

the Artist” series. Her solo CD “Into

Music (Elsa) and the Tony Award

Your Arms…Love Songs of Richard

winning An American In Paris. Miss

Rodger’s” is available worldwide.

Hansen starred in tours of The Music Man as ‘Marian Paroo’, ‘Guenevere’ in Camelot and as ‘Magnolia’ in Show Boat. Internationally recognized as an interpreter of Weill, Miss Hansen starred as “Rose” in the film version of Kurt Weill’s Street

POPS 01 | HOLIDAY POPS

85

02

02.16.24

POPS SERIES

THE MUSIC OF THE BEATLES

POPS SERIES PRESENTED BY

Timothy Muffitt, conductor

James Owen Presents: Classical Mystery Tour Jim Owen

Paul Curatolo

Rhythm guitar,

Bass guitar,

piano, vocals

piano, vocals

Robbie Berg

Chris McBurney

Lead guitar, vocals

Drums, vocals

ADDITIONAL SUPPORT PROVIDED BY Neogen Traction

Selections from the following: A Day In the Life A Hard Day’s Night All You Need is Love Come Together Eleanor Rigby Golden Slumbers Good Night Got to Get You Into My Life Here Comes the Sun

Let it Be Magical Mystery Tour Ob-la-di, ob-la-da Penny Lane Sgt. Pepper’s Lonely Hearts Club Band The Long and Winding Road While My Guiltar Gently Weeps With a Little Help

I Am the Walrus

From My Friends

I Saw Her Standing There

Yellow Submarine

Imagine

Yesterday

Lady Madonna

*Program subject to change*

LANSING SYMPHONY ORCHESTRA

CLASSICAL MYSTERY TOUR Imagine The Beatles playing in concert with a symphony orchestra. What would that have sounded like? Find out for yourself when Classical Mystery Tour performs live in concert.

A tribute to The Beatles, backed

piano, and vocals; Robbie Berg on

by a Symphony Orchestra.

lead guitar and vocals; and Chris McBurney on drums and vocals.

The four musicians in Classical

Martin Herman, who transcribed the

Mystery Tour look and sound just like

musical scores note for note from

The Beatles, but Classical Mystery

Beatles recordings, conducts many of

Tour is more than just a rock concert.

the Classical Mystery Tour concerts.

The full show presents some two dozen Beatles tunes sung, played,

Classical Mystery Tour has been

and performed exactly as they were

delighting pops audiences for more

written. Hear “Penny Lane” with a

than 22 years, performing concerts

live trumpet section; experience

with more than 100 orchestras in

the beauty of “Yesterday” with an

the U.S., Canada, Europe, Asia, and

acoustic guitar and string quartet;

Australia. The group played sold out

enjoy the rock/classical blend on the

concerts at the Sydney Opera House,

hard edged “I Am the Walrus.” From

and has performed with America’s

early Beatles music on through the

most prestigious orchestras,

solo years, Classical Mystery Tour is

including the Cleveland Orchestra,

the best of The Beatles like you’ve

The Boston Pops, The Philadelphia

never heard them: totally live.

Orchestra, The San Francisco Symphony, and many more.

Classical Mystery Tour features Jim Owen on rhythm guitar, piano, and

Visit classicalmysterytour.com.

vocals; Paul Curatolo on bass guitar, POPS 02 | THE MUSIC OF THE BEATLES

87

03

05.04.24

POPS SERIES

MAY THE 4TH BE WITH YOU:

THE MUSIC OF STAR WARS

POPS SERIES PRESENTED BY

Stuart Chafetz, conductor

20 Century Fox Fanfare Main Title Princess Leia’s Theme Cantina Band

ADDITIONAL

The Empire Strikes Back

Yoda’s Theme Imperial March

Güd Marketing

Return of the Jedi

Parade of Ewoks The Forest Battle

The Phantom Menace

Anakin’s Theme Adventures of Jar Jar Duel of the Fates

A New Hope

SUPPORT PROVIDED BY

Honigman Michigan Radio Plante Moran

INTERMISSION Theme From 2001 Attack of the Clones

Across the Stars

Revenge Of The Sith

Battle of the Heroes

The Force Awakens

The March of the Resistance Rey’s Theme Scherzo for X-Wings

Rogue One

The Imperial Suite

The Last Jedi

The Rebellion is Born

A New Hope

Throne Room/End Title

LANSING SYMPHONY ORCHESTRA

*Program subject to change*

STUART CHAFETZ CONDUCTOR

Stuart Chafetz is the Principal Pops Conductor of the Columbus Symphony and Principal Pops Conductor of the Chautauqua and Marin Symphonies.

Celebrated for his vibrant podium

directed various Spring Ballet

presence, Chafetz is sought

productions at Indiana University’s

after by orchestras nationwide,

prestigious Jacobs School of Music.

conducting this season in cities including Detroit, Naples, and

Off the podium, Chafetz resides

Seattle. He shares a unique bond

near San Francisco with his wife,

with The Phoenix Symphony, leading

Ann Krinitsky. He earned his

multiple programs each year.

bachelor’s from the University of Cincinnati’s College-Conservatory

Chafetz has collaborated with

of Music and a master’s from

luminaries like Leslie Odom, Jr.,

the Eastman School of Music.

Kenny G, David Foster, The O’Jays, Chris Botti, Michael Bolton, and Bernadette Peters. His previous roles include resident conductor for the Milwaukee Symphony Orchestra and associate conductor for the Louisville Orchestra. As the Honolulu Symphony’s principal timpanist for two decades, he conducted the annual Nutcracker performances featuring Ballet Hawaii and American Ballet Theatre principals. Moreover, Chafetz has POPS 03 | MAY THE 4TH BE WITH YOU: THE MUSIC OF STAR WARS

89

2023-2024 Season

LOVE is in the air this season!

Williamston Theatre

122 S Putnam Street ~ Williamston MI 48895 517-655-SHOW (7469) www.williamstontheatre.org

LANSING SYMPHONY ORCHESTRA

Offering a Symphony of...

Mechanical and electrical engineering and design services since 1961

• HVAC • Power • Plumbing • Fire Alarm • Fire Protection • Lighting • Lighting Controls • Temperature Controls • Building Systems (AV, Data, Security)

ctrmep.com | 833-930-1634 Serving Mid-Michigan with offices in Grand Rapids, Lansing and Mt. Pleasant

Music to your ears, back, neck and more Massage, Acupuncture, Chiropractic and Classes Open 7 days, 6 nights a week 2045 Asher Ct., East Lansing, Ml 48823 517-351-9240 www.creativewellness.net Proud Sponsor of the Lansing Symphony Orchestra

PROUDLY SUPPORTING

888-873-2640 | HorizonBank.com

91

CHAMBER 01

09.24.23

STRING QUARTET Michael Bechtel, violin William Thain, violin Elinore Morin, viola Jinhyun Kim, cello

CHAMBER 02

10.15.23

BRASS QUINTET Neil Mueller, trumpet Heather Zweifel, trumpet

CHAMBER SERIES

Corbin Wagner, horn John Gruber, trombone Phil Sinder, tuba

CHAMBER 03

11.19.23

The Chamber Series is designed to showcase

FLUTE, VIOLA, & HARP TRIO

the artistry of Lansing Symphony musicians

Bryan Guarnuccio, flute

in a special setting and to introduce

Hannah Breyer, viola

audiences to talented artists and classical

Brittany DeYoung, harp

TIMOTHY MUFFITT, ARTISTIC DIRECTOR

programming. All Chamber Series concerts are performed at Molly Grove Chapel at First Presbyterian Church of Lansing.

CHAMBER 04

01.21.24

PIANO QUARTET Ji Hyun Kim, violin

CHAMBER SERIES

Christine Bastian, viola

SPONSORED BY

David Peshlakai, cello

Virginia Allen and the late Bruce T. Allen

Patrick Johnson, piano

LANSING SYMPHONY ORCHESTRA

WINTERLUDE

TIMOTHY MUFFITT, ARTISTIC DIRECTOR

WINTERLUDE CONCERT 02.04.24

ADDITIONAL SUPPORT PROVIDED BY

Join musicians from the Lansing Symphony

Tom & Jean Shawver

for an afternoon of glorious brass ensemble

Memorial Fund at

and organ music. The concert will feature

St. Paul’s Episcopal Church

both large brass ensemble music and solo brass and organ works, all in the stunning sanctuary of St. Paul’s Episcopal Church.

LSO AT THE ROBIN THEATRE TIMOTHY MUFFITT, ARTISTIC DIRECTOR

Concert 01 01.25.24

Concert 02 02.22.24

Concert 03 03.28.24

Join musicians of the Lansing Symphony for unique, intimate concerts of contemporary

Concert 04

chamber music. All composers and works

04.25.24

selected for this series have distinct compositional voices that will connect with audience members in new and unexpected ways. Performances take place in the

SPONSORED BY

Robin Theatre in Lansing’s REO Town.

Karen Lewis

CHAMBER SERIES, LSO AT THE ROBIN, WINTERLUDE

93

A HOME FOR MUSIC & COMMUNITY Lansing Symphony Orchestra is honored to have been part of the community’s rich cultural fabric for more than 90 years. We are pleased to offer music that extends beyond the concert hall and comes to our neighborhoods.

The LSO is committed to taking

we hope students will acquire

an active role in the development

an interest in and appreciation

of music education programming

for orchestral music and their

for Greater Lansing area youth. By

community’s symphony.

bringing music into the lives and classrooms of young audiences,

Visit lansingsymphony.org for more information

LANSING SYMPHONY ORCHESTRA

CONCERTS ON THE LAWN

STUDENT ACCESS PROGRAM

Bring your lawn chairs or blankets

The StudentAccess Program offers

to enjoy a wonderful casual concert

$15 tickets to MasterWorks Series

of chamber music outside. Picnic

performances and $10 tickets to

baskets are encouraged! Concerts

Chamber Series performances.

take place at MSUFCU Headquarters

Students must possess a valid

in East Lansing.

student ID. Fees not included.

Summer 2024 Dates: TBA YOUNG PEOPLE’S FAMILY SERIES

CONCERT: LINK UP

LSO partners with community

Conductor Timothy Muffitt and

organizations to present an

the Lansing Symphony Orchestra

interactive series that connects

present a complete, interactive

families and their children

orchestra concert on the Wharton

with music, art, and literature.

Center stage. Link Up is a partnership

Performances are held on

with Carnegie Hall and has become a

Sunday afternoons throughout

model for implementing high-quality

the Lansing area.

arts education in schools nationwide.

October 22, December 3,

Schools are provided with student

February 11, April 14

workbooks, teacher guides, and a professional development course

SIDE BY SIDE PERFORMANCE

for in-class lessons on the Link Up

This program provides an

materials for a small per-student

opportunity for student

fee. For an additional fee, teachers

instrumentalists to perform

receive recorders that students can

alongside LSO musicians. Students

play during the concert. Students

participate in an audition process

perform what they have learned from

similar to that of a professional

their teachers in the classroom in an

orchestra, and those chosen join the

exciting performance with the LSO.

LSO in a rehearsal and the Holiday Pops concert. Students gain the

FAMILY FUN CARD

invaluable experience of being

The Family Fun Card offers $15

part of a professional orchestra.

MasterWorks and $10 Chamber

The Side by Side Auditions are

tickets for the entire family with

held in November.

a $25 yearly membership fee.

Limited availability. Fees not included.

A HOME FOR MUSIC & COMMUNITY

95

VOLUNTEERING FOR THE LSO If you are interested in volunteering, please call the office at 517-487-5001 or fill out the form on lansingsymphony.org and let us know your interests. The tasks can be yearlong or for one event only. Why not become an active part of the LSO family?

GENERAL OFFICE SUPPORT

PUBLIC RELATIONS/MARKETING

Our staff often needs help with

We need volunteers to help

general office tasks such as filing,

distribute posters and brochures

mailings, and answering phones.

throughout the Lansing area to advertise our performances.

CONCERT/PROGRAM ASSISTANCE

EDUCATION

We need ushers and general

Our staff appreciates any

assistance for our Chamber, Jazz

assistance for educational

Band, and Young People’s Concerts.

programs throughout the season.

LANSING SYMPHONY ORCHESTRA

LANSING TOWN HALL

PRO SYMPHONY

Carol Dooley, PRESIDENT

The Pro Symphony organization

Ruth Ann Brunet, VICE PRESIDENT

was founded in 1947. Over the

Cooley, SECRETARY

years, our members have been

Mara Lud, TREASURER

loyal supporters of the Lansing Symphony, raising and contributing

Through its Celebrity Lecture Series,

substantial monies from fundraising

Lansing Town Hall has supported

projects and serving in various

the Symphony’s annual operations

capacities. For fundraising, we have

since 1953. Patrons meet at the

an annual Geranium Sale in May

Eagle Eye Golf and Banquet Center

and a Poinsettia Sale in November.

in Bath, Michigan, for a one-hour

We invite new members to join this

lecture, an optional luncheon, and

group who enjoy working together

an opportunity to ask the guest

for a common cause. Pro Symphony

speaker questions. Subscriptions are

is an excellent opportunity to invest

$230 for the Lecture and Luncheon

in the Orchestra in satisfying ways.

Series (including Q & A with the speaker) and $125 for lectures only.

Individual tickets can be purchased at the door, subject to availability.

The 2023-2024 70th season features CBS’s “On the Road” host Steve Hartman (October 9, 2023), motivational speaker Molly Fletcher (November 6, 2023), cartoonist Tom Toro (April 15, 2024), and American jurist William Burke-White (May 6, 2024).

Additional information about Sue the series is available at lansingsymphony.org or by contacting Ticket Chair Margaret Hedlund at (517) 323-1045, Lansing Town Hall President Carol Dooley at (517) 256-8542, or the Lansing Symphony office at (517) 487-5001.

EXPLORE THE POSSIBILITIES THROUGH MUSIC MSU Community Music School offers music education and music therapy for all ages and abilities. Programs include: • Private Lessons • Choirs • Early Childhood Music

• Music Therapy • Adult Beginning Band • String Ensemble

• Suzuki • Folk • Summer Camps

For more information visit www.cms.msu.edu or call (517) 355-7661

ENROLL TODAY! MSU COMMUNITY MUSIC SCHOOL, 4930 S. HAGADORN RD., EAST LANSING, MI CMS is the outreach arm of the MSU College of Music.

VOLUNTEERING FOR THE LSO

97

CORPORATE LEADERS FOR THE ARTS AF GROUP

LISA CORLESS, PRESIDENT & CEO “The Greater Lansing area is a dynamic business and cultural hub for mid-Michigan, and AF Group is proud to partner with the Lansing Symphony Orchestra to help make our community an exceptional place to live, work and play. By promoting the arts, we are strengthening our community for generations to come.”

AUTO-OWNERS INSURANCE JAMIE WHISNANT, CEO

“Auto-Owners is proud to support local arts and culture through our continued commitment to the Lansing Symphony Orchestra. As a Lansing-based company, we are fortunate to have a top notch musical organization so close to home.”

CHALGIAN & TRIPP LAW OFFICES, PLLC

DOUGLAS G. CHALGIAN, PARTNER “ Chalgian & Tripp Law Offices is pleased to support the Symphony.”

LANSING SYMPHONY ORCHESTRA

GÜD MARKETING

DEBBIE HORAK, PARTNER “The Lansing Symphony Orchestra reminds us all that when we gather as a community, we compose a melody far greater than the sum of its parts.”

HONIGMAN

RYAN B. OPEL, PARTNER, HONIGMAN LLP “As Michigan’s largest law firm, Honigman has been investing time, resources, and experience in the communities where we live, work, and serve for over 75 years. We are pleased to support the Lansing Symphony Orchestra in its efforts to enrich lives through excellence in music and educational outreach.”

JACKSON NATIONAL LIFE

FAM OLOWOLAFE, ASST. VICE PRESIDENT, FINANCIAL PLANNING & ANALYSIS, JACKSON® “As a mid-Michigan resident, I am glad Lansing Symphony Orchestra exists to contribute to our community’s vibrant arts and culture scene. I am grateful to work for an employer, that also supports LSO, especially their outreach and education programs, increasing access to the arts in Lansing.”

CORPORATE LEADERS FOR THE ARTS

99

CORPORATE LEADERS FOR THE ARTS LOOMIS LAW FIRM

JEFFREY S. THEUER, SHAREHOLDER “Congratulations to the LSO and Maestro Muffitt on an exciting upcoming season!

We are fortunate to have such an outstanding orchestra and musicians in our community, and we look forward to many more successful seasons in the future.”

MSU FEDERAL CREDIT UNION APRIL CLOBES, PRESIDENT/CEO

“For 85 years, MSUFCU has believed that access to the arts is the cornerstone of a vibrant community. We are pleased to support the MasterWorks Series this season, and look forward to another inspiring year of LSO performances.”

NEOGEN CORPORATION

JOHN ADENT, PRESIDENT/CEO “Neogen is proud to call Lansing our home, and to support our talented friends and neighbors at the Lansing Symphony Orchestra.”

LANSING SYMPHONY ORCHESTRA

94TH SEASON

PLANTE MORAN “Plante Moran and Plante Moran Financial Advisors are proud to be a sponsor of the Lansing Symphony Orchestra. Together, we’re creating a legacy that’s unstoppable!”

PLAS-LABS, INC.

DAVE REGAN, PRESIDENT “Plas-Labs believes that the arts play a critical role in enriching a community, bringing music education and culture to residents. We are proud to support the LSO as they carry out their mission.”

TRACTION

CAMRON GNASS, FOUNDER/PRINCIPAL

“LSO is one of the most important and impactful players in Lansing’s cultural landscape. Traction is proud to help them deliver their transformative experiences to our community.”

CORPORATE LEADERS FOR THE ARTS

101

CORPORATE LEADERS FOR THE ARTS WKAR

SHAWN TURNER, GENERAL MANAGER

& DIRECTOR OF BROADCASTING “Keeping art and culture accessible to our community is a passion and priority for WKAR Public Media. WKAR is proud to support the 2023-2024 season of the Lansing Symphony Orchestra as we continue our longstanding partnership serving the dynamic and culturally vibrant community of mid-Michigan.”

Conducting harmony across a full continuum of care, and lifestyles.

As your needs change, make a smooth transition to different levels of care just like a masterful crescendo.

Burcham Hills provides: • Independent Living, Including Our StoneBriar Expansion • Assisted Living • Memory Care • Inpatient and Outpatient Rehabilitation • Long-Term Care • Respite Stays Available at All Levels Call or scan the QR code to learn how we’ll help you compose a beautiful life.

(517) 731-0403 2700 Burcham Drive East Lansing, MI 48823 BurchamHills.com

LANSING SYMPHONY ORCHESTRA

PREVIEW CONVERSATIONS WITH JODY KNOL

6:45 PM | JACKSON LOUNGE

Jody Knol blends insightful information about the featured composers, music, and guest artists. PreView Conversations give you a chance to hear selected passages of music, learn some of the histories of the music, and listen to the artists performing. PreViews are an excellent opportunity to feel more connected to the evening’s program and the musicians performing it.

Jody Knol began announcing

Symphony Orchestra began in 1986

classical music on 90.5 WKAR

when he hosted LSO broadcasts on

while a student at MSU in 1982.

90.5 Classical. Lansing Symphony

After receiving his degree in

recordings are now part of Great

Interdisciplinary Humanities-music,

Lakes Concerts which Jody

theater, and political science-

produces and hosts. Great Lakes

Jody worked as chief announcer

Concerts air Saturdays at 12:00

for WMUK in Kalamazoo for two

pm on 90.5 FM and WKAR.org,

years before returning to WKAR

Sundays at 10:00 am on WRCJ,

in 1986. He currently hosts the

Detroit, and Mondays at 6 pm on

morning classical program from

Classical IPR, Interlochen. This is

9:00 am to 1:00 pm on weekdays.

Jody’s fifteenth year hosting Lansing

Jody’s association with the Lansing

Symphony PreView Conversations.

PREVIEW CONVERSATIONS PRESENTED BY

PREVIEW CONVERSATIONS

103

SYMPHONY SUPPORTERS MAESTRO SOCIETY

PRINCIPAL PLAYER CIRCLE

GOLDEN BATON CIRCLE

$5,000 TO $9,999

$25,000+

AF Group

Auto-Owners Insurance

Jenny Bond*

The Estate of

Sue Davis & the Late Jack C. Davis

Jerome & Joanne McCarthy MSU Federal Credit Union

Ronald & Carol Dooley Eileen Ellis Enterprise Holdings Foundation

CONCERTMASTER CIRCLE

Granger Foundation

$10,000 TO $24,999

Cliff & Sue Haka

Virginia P. and

Loomis, Ewert, Parsley, Davis & Gotting

the Late Bruce T. Allen Joseph & Beth Anthony*

John & Fran Loose

Arts Council of Greater Lansing

Richard & Lorayne Otto*

Sam & Mary Austin*

Bill & Shirley Paxton

Mary Ann Beekhuis

Joe D. Pentecost Foundation

David Brogan

Plante Moran

City of Lansing

PNC Foundation

Cathy & the Late Allan Claypool

Randy Rasch

April Clobes & Glen Brough*

R.E. Olds Foundation

Donald & Jan Hines

Jonathan & Amy Riekse

Thomas & Wendy Hofman

Anonymous

Ingham County Jackson

MUSICIAN CIRCLE

Hari Kern

$3,500 TO $4,999

Darcy & Hudson Kerr

Chalgian & Tripp Law Offices PLLC

Lansing Town Hall Series, Inc.

James Engelkes

Michigan Council for Arts

Güd Marketing

& Cultural Affairs

Charles & Nadean Hillary

Traction

R. Samuel & Jean Holland

Lyn Donaldson Zynda*

Michael & Betty Moore Timothy & Elise Muffitt Neogen David & Marilyn Nussdorfer Plas-Labs, Inc.

LANSING SYMPHONY ORCHESTRA

Katie Thornton

Sulin Campbell

Richard Witter*

Maria Costa-Fox Karen Dichoza

COMPOSER CIRCLE

Conrad & Judith Donakowski

$2,500 TO $3,499

Kristopher Drake

Karlis & Mariana Austrins

Tim & Susi Elkins

Charles Ballard & June Youatt

Financial Technology, Inc.

Daniel & Leona Bronstein

Hiram & Dolores Fitsgerald

Don Leduc & Sue Coley*

John & Gretchen Forsyth

Don & Christine Cooley

Dave & Kathryn Gillison

John & Martha Couretas

John & Tammie Gingas

Dewpoint Inc.

Charles Gliozzo

Donald Dickmann

Roger & Marilyn Grove

& Kathleen McKevitt

Richard Johnson

Sam & Liz Febba*

Ron & Mary Junttonen

Travis & Courtney Millbrook

Jody Knol

Robert & Shelagh Miller

Michael & Paula Koppisch

George & Marilyn Nugent

Catrice Lane

Fam & Theresa Olowolafe

Karen Lewis

Richard & Susan Patterson

Mary Liechty*

Ronald & Helen Priest

Sarah Maldonado

Steve & Kathryn Robinson

David & Mandi Meyen

Zoe Slagle

James & Sue Miller

Tri-Star Trust Bank

Elinore Morin & Norman Birge

Jane Vieth

Dawn & Ryan Opel

John & Susan Wallace

George Orban & Rae Ramsdell

Clarence Weiss

Michael Kamrin

Wells Fargo - Kahl, Kahl, Caltrider Joan Wright

& Katherine O’Sullivan See Janet Patrick James Phillips

CONDUCTOR CIRCLE

Mark Reckase

$1,250 TO $2,499

Kevin & Jill Roragen

Pat Barnes-McConnell

Brian & Renee Roth

Edgar & Darlene Brown

Judith & Bud Shulman

Bruce & Suzanne Caltrider

Jeffrey Theuer & Sally Sproat

SYMPHONY SUPPORTERS

105

SYMPHONY SUPPORTERS Otto & Marcia Stockmeyer

Lyle S Mindlin & Julie LaFramboise

Jeff & Angela Straus

Clare Mackey

Greg & Joan Uitvlugt

David & Catherine Marr

Ralph & Albertine Votapek

Michelle Massey

Bill & Paula Weiner*

Jim & Sally McCoy

Rose & Jim Zacks

Richard & Sue Mermelstein

Joel & Linda Zylstra

Irv Nichols

Anonymous

Richard & Katie Norton Edgar & Mary Ploor

NOTEWORTHY SOCIETY

Jake Przybyla

WHOLE NOTE SOCIETY

Phyllis & Jamie Riley

$600 TO $1,249

Robert & Rosemary Schaffer

Carol Beals-Kruger

Dotti Shonkwiler

Tom McCulloch & Jeff Benoit

J. Clyde & Marcia Spencer

John & Susan Brewster

Robert Thomas

Suzanne Brouse

Ilene Tomber

Anita Calcagno

Robert & Joan Trezise, Sr.

Renate Carey

Rick Wendorf

Thomas & Denise Carr

Robert & Charlotte Wilks

Gary & Terri Climes Manya Constant

HALF NOTE SOCIETY

Mary Jo Corbett

$300 TO $599

Ed Fedewa

N.L. Abramson

Sharon Feldman

Jill Andringa

Christina & Mike Ferland

Kenneth C. Beachler*

Clyde & Karen Flory

Thomas & David Block-Easterday

Linda & Leon Gregorian

Emmett & Karen Braselton

Jeff & Sally Harrold

Charles & Barbara Breneman

Chris Buck & Martha Hentz

Ruth Ann Brunet

Ralph & Pat Hepp

Sandy & Carol Bryson

Mark & Marcia Hooper

Tom Burchman

Bill & Valerie Jaconette*

Paul Pratt & Denise Chrysler

John & Margaret Jones

Robert & Connie Cullum

Marilyn S. Kesler Manoochehr

Bryce & Judith Forester

& Laurie Koochesfahani LANSING SYMPHONY ORCHESTRA

Betty Francis

94TH SEASON

Diane Gartung

David & Bette Shattler

Ken & Karen Glickman

David & Sharon Sinclair

Thea Glicksman

Linda L. Smith

Norman & Karen Grannemann

David & Michelle Solorio

James & Tina Grant

Robert Walter & Madeline Trimby

Jack & Laurie Harkema

Randall Fotiu & Josie Wojtowicz

Deborah Harrison*

Kevin & Jennifer Zielke

Ronald & Carol Horowitz

Ellen Zienert

Anne House

Anonymous

Nancy Johnson Kaleb Kimerer

QUARTER NOTE SOCIETY

Boyd Kinzley

$100 TO $299

Greater Lansing Convention

Gerald & Jean Aben

& Visitors Bureau

Robert Dewaal & Christine Aiello

Erik Lindquist

Arlene Allan

Gus & Katie Lo

William & Jane Allen

David & Laurie Lockman

Bonnie Allmen

Drs. John & Diane MacDonald

Sara Allswede

Bill & Sue MacLeod

Kevin & Lea Ammerman

Peggy Malovrh

William Archer

Mary McCulloch

Michael Arrieta & Amy Worges

Roger & Kay Millbrook

Rachel Asbury

Brandon & Summer Minnick

Melissa Aste

Harry & Susie Moore

Girts & Arija Austrins

Jamie Paisley

Philip & Jacqie Babcock

Jeffrey Wooldridge & Leslie Papke

Walter & Marilyn Baird

Karen Jurgensen & Robert Parks

Patty & John Barnas

Vicki Paski

Robert & Laurie Barnhart

Jacqueline Payne

Dale Bartlett

David & Kathleen Peters

Susan Woods & Johannes Bauer

Bill Potter

Christopher Behrens

John Roberts

Robin Bessette

Roy Saper & Nell Kuhnmuench

Susan MacKenzie & David Betts

James & Mary Savage

Donald & Pam Bishop

Andrew & Erin Schor

Ronald Bishop

SYMPHONY SUPPORTERS

107

SYMPHONY SUPPORTERS Gerald & Linda Blair

Dennis & Suzanne Dudley

Basil & Coralene Bloss

Darrell F. Duffield

Douglas Moffat & Cara Boeff

John & Lori Durling

Charles & Kathleen Bonneau

Sal Durso

Howard & Susy Bradshaw

Tim Durso

Carol Bray

Timothy Eaton

Lynn Brissette

James Eisele

David Brower

Jeffrey & Susan Ellsworth

Alex & Mary J. Brown

Jamie Essenmacher

Dr. Phillip Brown

Nancy Eyde

Karl & Brigitta Bruning

Suzanne S. Fabian

Jan Calkins

Joe Findlater

Karla Campbell

Nicola & Steve Findley

Claudia Carter

Maureen Fitzsimmons

Michael & Camillia Cavanaugh

Mary Anne Ford & Scott Schrager

Mary F. Chaliman

Linda Foster

Debra Chamerlain

Stephen & Shelby Foster

Eric Chatfield

Barbara Free

Dominic Cochran

Sam Ghannam

Daniel & Geralyn Cogan

Gary & Elaine Gillespie

Nick & Karen Colovos

Joseph P Gillotte Jr.

Brian & Renee Conklin

Camron & Lisa Gnass

Rebecca Bahar-Cook & Todd Cook

Doris Goad

George A. Grof & Ann Cool

D. J. & Leontine Goff

Lisa Corless

Diana Gover

Jane Crowner

Susan Grettenberger

Barb Cutshaw

& Nicole Springer

Ken & Elly David

Margaret Ann Griffith

Gary Dawson

Stephen & Joanne Guertin

Tony Dean

Leta Guild

C. B. & Jill Dehlin

Sara Haase

Nicholas & Greta Dewolf

Cindy Hales

Sara Dolan

Kenneth & Linda Hanson

Tiffany Dowling

Tom & Linda Hardenbergh

Erik Drake

Judith Harlin

LANSING SYMPHONY ORCHESTRA

94TH SEASON

Lauren Julius Harris

Ron & Suzanne Kregel

Stephen & Karen Harsh

J.D. & Linda Krehbiel

Steve & Pam Hawkins

Jeff Kressler

J.R. & Molly Haywood

Mary Ellen Lane

David & Margaret Hedlund

Stephen & Nancy Lange

Mary & Larry Hennessey

Jay Lannin

Mike Hicks

Beth & John Lawrence

Richard & Susan Hill

Steven & Maria Leiby

Rene Hinjosa

Kenneth Zielinski & Catherine Lein

Ronit Hoffman

Richard & Madeleine Lenski

Thomas & Lynne Hoffmeyer

Carl & Margaret Liedholm

Meegan Holland

Andrea Lindemeyer

David & Christine Hollister

Ann Lipkowitz

Mae Holmes

Ralph Long

Chris & Deb Horak

Willie Longshore & Margaret

Allison & Daniel Horn

Fankhauser

Daniel A. Horn

Chris & Krista Loose

Julie Horn Alexander

Sherry Lothschutz

Beth Hubbell

Mary Elizabeth Low

Kathy Humphrys

Gary & Carol Lundquist

James & Krista Hunsanger

Lois Lynch

Ami Iceman

Wayne Lynn

Meredith Jagutis

Robert & Melany Mack

Jeffrey Johnson

Todd Maneval

Paul Jurczak

Wally & Linda Markham

Donna Kachmarchik - Kregelka

Maija Martin

Doug & Alison Kahl

Lisa Martino-Cook

William & Janice Kahl

Chris Massey

Tim & Melissa Kaltenbach

Barb McLean

David Kaufman

Pat McPharlin

Don & Liz Kaufman

John Meara, Jr.

Paul Kearney

Cheryl Medler

Jim & Michelle Kelly

Paul & Bettie Menchik

Keri Kittmann

Grace Menzel & J.B. McCombs

Christine Knapp

Bob & Nancy Metzger

SYMPHONY SUPPORTERS

109

SYMPHONY SUPPORTERS Tim Miclak

Catherine Purdum

Tim & Tracy Mielak

Elaine Putvin

Stephanie Miller

Siri Rainone

James Miller

David Rayl

Gary Mitchell

Ted Reinbold

Neil Mueller & Shawnthea Monroe

Earl & Jane Reisdorff

James Forger & Deborah Moriarty

Thomas & Martie Repaskey

Kenneth Morrison

Michelle & Andy Reynaert

William & Sharon Myers

Michael & Kathleen Rhodes

Maggie Narayan

Karen Risch

Nancy Nay

Lolo Robison

Robert & Carol Nelson

Roberta Roden

Kevin & Barbara Nilsen

JoEllyn Roe

Elaine Noffze

Dennis & Gretchen Rosenbrook

Gregory & Anne Nolan

William Saul

Anthony Nolosco

William & Mary Savage

Marion Norwood

Jane Schoneman

Maureen O’Higgins

Kevin Schumacher

James & Joanne Olin

Rachel Schumann

Bruce K. & Lois Omundson

Ben Schwendener

Jeffrey & Mary O’Neill

Leo & Amy Scoby

John & June Osmer

Mary Shankland

Steve Owen

Mary Sharp

Emily Pantera

Robert Hughes & Dianne Sheppard

Lois Park

Richard Sherman

Steven & Janet Peters

James Sinadinos

Tony Phillips

Philip & Carolyn Sinder

Mike Pike

John Dale Smith

Julie Pingston

Noah & Jennifer Smith

Jason Pisarik

Inverve Marketing

Howard & Nell Pizzo

Tom & Kay Sparks

Ellen Pollak & Nigel Paneth

Marc & Mary Speiser

Chloe Polzin

Mary Jo Stacks

Michael & Maria Presocki

Deborah Starnes

Joyce Preston

Patty Sterba

LANSING SYMPHONY ORCHESTRA

94TH SEASON

Dr. Karen Hinkle & Thomas Sullivan

Catherine Zell

Emily Sutton-Smith & John Lepard

Susan Zimmerman

Emily Tabuteau

Diane Zoellner

Bill Tansil

Vivian & Anson Zwick

Judy Tant

Anonymous

Bob Thomas Julie Thomasma

*Donors who are also members of

Amy & Dave Tratt

the Gustav Meier Legacy Society.

Peter & Sherry Trezise Stacey Trzeciak George & Georgia Valaoras Charlene Vanacker John Varilek Walter & Elsa Verdehr

The donor listing includes gifts received

William & Virginia Vincent

between July 1, 2021 and June 30, 2022

Marion Walsh Darryl Warncke Jane Waun Jane Wei Victor Weipert Judy Green & Ron Welch Jamie Whisnant Carolyn White Barb & Jon Whitney

THE GUSTAV MEIER LEGACY SOCIETY

Jeff Williams & Joy Whitten David M. & Beverly Wiener Donald & Sally Wilcox Eric Wildfang Marilyn Wiley Ron Newman & Sunny Wilkinson Bill & Carol Ann Wilkinson Denise Williams Karen & Elizabeth Willis Amy Winans

Achieve your financial goals while leaving a lifetime gift to the Lansing Symphony Orchestra through Planned Giving, securing both tax benefits and a lasting impact.

Join The Gustav Meier Legacy Society for exclusive recognition and access, celebrating your influence on the Orchestra's future.

Learn more at lansingsymphony.org

Gary & Frances Wolfe SYMPHONY SUPPORTERS

111

GIFTS IN MEMORY The Lansing Symphony Orchestra received gifts in memory and in honor of the following individuals.

IN MEMORY OF MR. & MRS. JOSEPH LEZAK

GEORGE & JANE ANDERSON

Josephine Michelakis

Jeffrey Anderson & Jason Joostberns

CHARLES & BARBARA DE GOLIA Cheree De Golia

JAN MCREE Deborah Harrison

PAT BROGAN Robert & Barbara Newman

LAURALEE CAMPBELL

Alliance Bernstein

Leon & Linda Gregorian

Mrs. John Dietrich

Tom & Lorraine Kitts

Rachel Sampson

Gail Levinsky

Hari Kern

Bill & Mary Ann Tortolano

George & Marilyn Nugent Stephen & Mary Jo Scofes

SHIRLEY SLIKER

Amy Jarrad-Wibert

Pamela Baker

Suzanne Mills Charles & Nadean Hillary

KEN BEACHLER

Travis & Courtney Millbrook

Travis & Courtney Millbrook

Donald & Jan Hines

Karen Dichoza

Duane & Maureen Mayhew Small Business Association Michael & Betty Moore James Engelkes John & Anne Dillon

LANSING SYMPHONY ORCHESTRA

“ Music expresses that which cannot be put into words and that which cannot remain silent ” - Victor Hugo

We are proud to support the Lansing Symphony Orchestra! dart.bank

GIFTS IN MEMORY

517.676.3661

113

PROGRAM BOOK ADVERTISERS Adna Technologies...Inside Front Cover

Lansing Symphony Orchestra................111

AF Group....................................................... 78

Lansing Town Hall..................................... 62

Auto-Owners.............................Back Cover

Loomis Law Firm........................................ 79

BRD................................................................. 83

Mason Orchestral Society...................... 40

Burcham Hills............................................. 102

Maxson Dental.............................................66

Capital Region

McLaren Health Plan.................................66

International Airport................................. 82

Meridian Winds........................................... 22

Centennial Group-Principal

Michigan Radio........................................... 75

Financial Group...........................................54

Morton’s Fine Catering............................. 81

CMU College of Arts and Media...........64

MSU College of Music............................... 67

Chalgian and Tripp.................................... 55

MSU Community Music School............. 97

Clark Shaefer Hackett

MSUFCU........................................................ 76

CPAs & Advisors........................................ 56

Neogen...........................................................113

Clark Trombley Randers........................... 91

Opera Grand Rapids.................................68

Creative Wellness....................................... 91

Physicians Health Plan.............................69

Dart Bank......................................................113

Pizza House..................................................80

Eagle Eye Golf

Plante Moran................................................34

& Banquet Center.......Inside Back Cover

Plas Labs........................................................ 16

First National Bank of Michigan........... 57

Redhead Creative Consultancy &

Gilmore Keyboard Festival..................... 58

Nelson Gallery.............................................70

Gladstone Printing..................................... 59

Saper Galleries

Granger Waste Services..........................64

and Custom Framing................................. 91

Gravity Works Design and

Serra Auto Campus...................................69

Development................................................ 81

Sparrow Foundation.................................. 71

Great Lakes Center

The Plant Professionals...........................34

of Rheumatology.......................................60

Traction........................................................... 13

GÜD Marketing............................................. 61

University Club............................................ 77

Honigman LLP............................................. 65

Wharton Center for

Horizon Bank................................................ 91

Performing Arts..........................................90

InVerve Marketing & Web...................... 33

Williams Hyundai....................................... 72

Jackson National Life Insurance.......... 63

Williamston Theatre..................................90

LaFontaine Automotive

WKAR............................................................. 73

Group Lansing.............................................. 12 Lansing Art Gallery.................................... 65 Lansing State Journal............................... 74

LANSING SYMPHONY ORCHESTRA

MID-MICHIGAN’S PREMIER DESTINATION

PLAN AN EVENT OR BOOK A TEE TIME eagleeyegolfclub.com eagleeyegolfclub.com || (517) (517)641-4570 641-4570

115