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2021-2022

92ND ANNUAL SEASON OUR MISSION Enriching lives through excellence in music and in educational outreach. OUR VISION To be the premier choice for people who appreciate and enjoy the power of music.

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Member of the League of American Orchestras

Book design by

FROM OUR PRESIDENT DARCY KERR

On behalf of the LSO Board of Directors, it is my pleasure to welcome you to the 92nd season of the Lansing Symphony Orchestra. It goes without saying that the last year and a half has tested us in ways we never dreamed, while instilling in us a new appreciation for activities we may have taken for granted. And perhaps, most importantly, it has reminded us of our resilience, creativity and the importance of community.

legacy reaches far beyond the stage of the concert hall by bringing music to our neighborhoods, libraries and schools -- enriching our communities through education and engagement.

Our new LSO concert season is a time for celebration and begins with the perfectly themed “Gathering Together.” We will be the recipients of inspiring, thoughtful and relevant musical experiences throughout the season under the direction of Maestro Timothy Muffitt and with the talented musicians of the LSO who will share the power of new music from our Composer in Residence Patrick Harlin. We are especially thankful for the LSO staff who make all of this possible.

Whatever you do, and however you contribute, know you are giving the gift of music to many and enriching the lives of all in the greater Lansing area now and for years to come.

As you enjoy your time with the LSO, consider helping to support it. The LSO 4

I encourage you to become more involved with LSO through volunteer opportunities and financial support. Please visit our website, lansingsymphony.org or call our office at 517-487-5001 to learn more.

Enjoy the music,

Darcy Kerr Board President, Lansing Symphony Association, Inc. Senior Vice President Human Resources, Emergent Holdings, Inc.

LANSING SYMPHONY ORCHESTRA

FROM OUR EXECUTIVE DIRECTOR COURTNEY MILLBROOK

This season’s theme, “Gathering Together,” could have been a good description for any of our previous seasons. We have always been an organization that brings people together - on the stage, in the audience, in the community. We have always celebrated and embraced the shared experience of live music. However, this season gathering feels different. I have written many letters during my time as LSO Executive Director and I think it is fair to say that most of them mention the power of the shared experience that live music provides. It is one of the things I love most about the orchestra - being in a space and moment that will not be repeated, sometimes with friends and family and sometimes with strangers. Our concerts offer a rare opportunity to be present and connected. To gather. So this season “Gathering Together” is more than a title – it’s a feeling, an emotion, an idea, and sometimes it feels like an unreachable goal or

a memory of how we used to do things. Most importantly for me “gathering together” has become an ever-present reminder of our mission. Despite the fear, isolation, anger, division, and deep loss that many of us have felt over the past two years, I return to the words from Ms. Goedicke’s poem: “all over the earth we keep coming together.” As we move through our 92nd season to meet the challenges and celebrate the triumphs that we are sure to encounter, LSO will remember who we are and look ahead to what we can become as Lansing’s orchestra. We will continue to focus on our unique ability to be a place where everyone can gather together. Thank you for being a part of our journey,

Courtney Millbrook Executive Director

FROM THE PRESIDENT / FROM THE EXECUTIVE DIRECTOR

TIMOTHY MUFFITT

MUSIC DIRECTOR & CONDUCTOR

Timothy Muffitt first appeared with the Lansing Symphony Orchestra in 2005 and was appointed Music Director in 2006.

experiences in great music. Past guest

Timothy Muffitt continues to appear

and the Symphonies of Houston,

as a guest with leading orchestras

Phoenix, Edmonton, and Spokane

throughout the country and is

among others. He has worked with

recognized as a strong proponent of

many prominent performers, including

community arts education using not

Renee Fleming, Lang Lang,Yo Yo

only public appearances, but also radio

Ma, Dame Kiri Te Kanawa, Alicia de

and social media to share insights and

Larrocha, Pinchas Zukerman, Van

conducting engagements have taken him to the San Francisco Symphony, the Atlanta Symphony, the St. Louis Symphony, the Hollywood Bowl Orchestra, the Long Beach Symphony, Columbus Ohio’s Pro Musica Chamber Orchestra, the Buffalo Philharmonic, the Virginia Symphony, the Grant Park Music Festival Orchestra in Chicago,

LANSING SYMPHONY ORCHESTRA

Cliburn, Lynn Harrell, and Itzhak Perlman. In addition to his role with the LSO, Muffitt also serves as Artistic Director

the Louisiana Philharmonic’s Casual Classics Series in New Orleans, for which he was awarded a Certificate of Meritorious Service from the American Federation of Musicians.

of the Chautauqua Institution’s School of Music in Chautauqua, NY and conductor of its Music School Festival Orchestra, one of the country’s premier orchestral training ensembles. In 2019, Muffitt was named Music Director Laureate of the Baton Rouge Symphony Orchestra after 21 seasons as the organization’s Music Director. Muffitt has also served as the Associate

Born in Bridgeport, Connecticut, and raised in Hillsdale, Michigan, Muffitt began his musical studies at age seven on the piano and later added the viola and trumpet. He studied at the Eastman School of Music, where he earned the Doctor of Musical Arts degree and earned Bachelor’s and Master’s degrees in music from The Ohio State University.

Conductor of the Austin (TX) Symphony and as Artistic Director of

CONDUCTOR & MUSIC DIRECTOR / TIMOTHY MUFFITT

PATRICK HARLIN

COMPOSER IN RESIDENCE Patrick Harlin’s “aesthetics capture a sense of tradition and innovation…” -The New York Times Harlin’s music is permeated by

draw parallels between the sounds

classical, jazz, and electronic music

of the natural world and those of

traditions, all underpinned with a love

the concert hall, seeking to bring

and respect for the great outdoors.

awareness to the importance of

His works have been performed

sound in our environment. Patrick’s

by the St. Louis Symphony, Kansas

work in this field has been supported

City Symphony, the Rochester and

by a Graham Sustainability Institute

Calgary Philharmonic Orchestras,

Doctoral Fellowship, Theodore

Collegium Cincinnati, and Calidore String Quartet, among others. Patrick’s interdisciplinary research in soundscape ecology—a field that aims to better understand ecosystems through sound—has taken him to imperiled regions around the world, including the Amazon rainforest and the Book Cliffs of Utah. His baseline recordings for ecological

Presser Award, and a University of Michigan Predoctoral Fellowship, resulting in an ongoing body of works called The Wilderness Anthology. Patrick’s composition teachers include Michael Daugherty, Roger Briggs, Alexei Girsh, and Evan Chambers. He was raised in Seattle and earned a bachelor’s degree from Western Washington University and doctorate from the University Michigan.

impact studies are also the fodder for artistic inspiration. These pieces

Visit www.patrickharlin.com.

THE LANSING SYMPHONY COMPOSER IN RESIDENCE PROGRAM is made possible with a lead gift from the Sam & Mary Austin Fund for New Music at the Lansing Symphony. 8

LANSING SYMPHONY ORCHESTRA

THE PEOPLE GATHERING TOGETHER PATRICIA GOEDICKE

For all over the earth I can see them, In every city and town The people gathering together, Sailing the dark waters In great glowing patches of brightness, Islands of floating flowers.

So that thinking of it I could weep, For now none of us knows where he is going Any more than he ever did,

Once a week they swing And dip and bend together,

There are these huge distances between us, Over the blank, heaving waves, The vast trenches of the sea

Garlands of party-going faces Wallowing in the troughs Or high up on the crests

Therefore we stick to the surface, Floating along like huge colonies of water lilies

Refusing to think about the feet Dangling beneath them,

Whether it is Paris or London Or a primitive tribe in New Zealand

The long wavering roots Loose now, forever

All over the earth we keep coming together, We keep giving each other these parties, These heartbreakingly beautiful parties.

They are as dazzlingly brave And brilliant as coats of arms, All week they work hard, Each in the boat of himself commands As much of the ocean as he can

— Patricia Goedicke from Crossing the Same River University of Massachusetts Press, 1980

COMPOSER IN RESIDENCE / THE PEOPLE GATHERING TOGETHER

ORCHESTRA PERSONNEL VIOLIN

VIOLA

Brian Allen CONCERTMASTER Tom And Wendy Hofman‡ Michelle Kim ASSISTANT CONCERTMASTER April Clobes And Glen Brough‡ Florina Petrescu PRINCIPAL VIOLIN II Charley Ballard & June Youatt‡ Mallory Tabb ASSISTANT PRINCIPAL VIOLIN II Richard & Lorayne Otto‡ Emelyn Bashour Michael Bechtel Anna Black Nathaniel Cornell Susanne Garber Lauren Hansen Emily Hauer Ji Hyun Kim Konrad Kowal Yung-Hsuan Lo Judith Palac Ying-Li Pan Michael Romans Tigran Shiganyan Sam Spurbeck** Kisa Uradomo Chase Ward Hsin-Ju Yu

Samuel Koeppe PRINCIPAL Sam & Mary Austin‡ Elinore Morin ASSISTANT PRINCIPAL Ron & Carol Dooley‡ Christine Beamer Hannah Breyer Linda Gregorian David Schultz Madeline Warner Kristina Zeinstra

CELLO Hong Hong PRINCIPAL Jenny Bond‡ JinHyun Kim ASSISTANT PRINCIPAL Yuliya Kim Willis Koa Stefan Koch* Tom Sullivan

BASS Edward Fedewa PRINCIPAL John & Fran Loose‡ Matthew Boothe ASSISTANT PRINCIPAL Albert Daschle Wen Peng Isaiah Simons Aaron Tenney

LANSING SYMPHONY ORCHESTRA

HARP

HORN

Brittany DeYoung PRINCIPAL Jonathan & Amy Riekse‡

Corbin Wagner PRINCIPAL Joe & Beth Anthony‡ Stephen Foster Aidan Alcocer Lorenzo Robb

FLUTE Richard Sherman PRINCIPAL Virginia P. & the Late Bruce T. Allen‡ Bryan Guarnuccio Kathryne Salo

OBOE Stephanie Shapiro PRINCIPAL David & Patricia Brogan‡ Gretchen Morse 2ND OBOE Hari Kern‡

CLARINET Guy Yehuda PRINCIPAL Don & Jan Hines‡ Trevor Young

BASS TROMBONE Bryan Pokorney

TUBA Philip Sinder PRINCIPAL Bill & Shirley Paxton‡

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

TIMPANI Andrew Spencer PRINCIPAL Sue Coley & Don LeDuc‡

BASSOON Michael Kroth PRINCIPAL Eileen Ellis‡ Myles Mingyuan Yang

KEYBOARD

TRUMPET

MUSIC LIBRARIAN

Neil Mueller PRINCIPAL Randy Rasch‡ Garrett Lindholm**

Nicholas Buonanni

TROMBONE Ava Ordman PRINCIPAL Lyn Donaldson Zynda‡ John Gruber

ORCHESTRA PERSONNEL

Patrick Johnson PRINCIPAL Sam & Jean Holland‡

*Personnel Manager **On Leave ‡ Chair Sponsors – These individuals have made at least a 3-year financial commitment to support the musicians of the orchestra. 11

LANSING SYMPHONY ASSOCIATIO PAST PRESIDENTS 1933-34 Dr. LeMoyne Snyder 1934-35 Mrs. John Brisbin 1935-37 Mrs. L. G. Bailey 1937-38 Mrs. C. L. Brody 1938-40 Mrs. Malcolm Denise 1940-41 Mrs. Grover O. Truxell 1941-42 Mr. O. W. Mourer 1942-44 Mrs. George Kieppe 1944-46 Mrs. E. A. Mackey 1946-48 Miss Pauline Austin 1948-49 Mrs. William King, Jr. 1949-51 Mrs. Harold S. Cole 1951-53 Dr. Peter Treleaven 1953-55 Mrs. Gilbert Burrell 1955-56 Mrs. Leonard Mayhew 1956-57 Mrs. B. Newlon Barber 1957-59 Dr. Sydney R. Govons 1959-61 Mr. C. Vincent Wright 1961-63 Mr. Lee H. Witter 1963-65 Mr. Donavan A. Eastin 1965-67 Dr. William Lazer 1967-69 Mr. Raymond Joseph 1969-71 Mr. Max C. Ploughman 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 1979-82 Mrs. David Kahn 1982-84 Mr. H. Perry Driggs 1984-86 Mr. Gerald M. Finch 1986-88 Mrs. Richard Byerrum 1988-89 Mr. R. Kenneth Gruber 1989-91 Mr. Edward B. McRee 1991-92 Mr. Craig Ruff 1992-93 Mr. Ronald Pentecost 1993-94 Mr. James Miller 1994-95 Mr. Thomas Fraser 1995-99 Mr. Craig Ruff 1999-01 Mr. James Savage 2001-06 Mrs. Virginia P. Allen 2006-07 Mr. William MacLeod 2007-08 Mr. Christopher Day 2008-09 Mr. James F. Anderton, IV 2009-11 Mr. Charles R. Hillary 2011-13 Dr. R. Samuel Holland 2013-15 Mr. Brian J. Lefler 2015-17 Mr. Michael Rhodes 2017-19 Mr. Jonathan Riekse 2019-21 Ms. April Clobes

LANSING SYMPHONY ORCHESTRA

ON, INC. BOARD OF DIRECTORS Darcy Kerr PRESIDENT Katie Thornton PRESIDENT-ELECT April Clobes IMMEDIATE PAST PRESIDENT Jeff Straus TREASURER Tom Hofman SECRETARY Charley Ballard EXECUTIVE COMMITTEE Bill Given EXECUTIVE COMMITTEE Bill Jaconette EXECUTIVE COMMITTEE Hari Kern EXECUTIVE COMMITTEE Kevin Roragen EXECUTIVE COMMITTEE

SYMPHONY ADMINISTRATION Courtney Millbrook EXECUTIVE DIRECTOR Karen Dichoza DIRECTOR OF FINANCE & OPERATIONS David Solorio DEVELOPMENT & MARKETING MANAGER

Karlis Austrins Jenny Bond Chris Buck Bruce Caltrider Sue Coley* Kris Drake Jim Engelkes David Gillison Nancy Johnson Jody Knol Catrice Lane Paula Latovick Weiner* John Loose Betty Moore Jim Phillips Jake Przybyla Randy Rasch Marcia Stockmeyer* Jane Vieth Richard Wendorf Richard Witter *Affiliate Organization Representative

Ashleigh Miller EDUCATION COORDINATOR Nicholas Buonanni MUSIC LIBRARIAN / BOX-OFFICE AND OPERATIONS ASSISTANT Stefan Koch PERSONNEL MANAGER

LANSING SYMPHONY ASSOCIATION, INC.

92ND ANNUAL SEASON Page 17

Masterworks 01 October 09, 2021, 7:30pm

Page 23

GATHERING TOGETHER

HOPE, FROM DARKNESS

Briggs, Bernstein, Tchaikovsky

Page 41

Masterworks 05 May 13, 2022, 7:30pm

Lucia Micarelli Plays Sibelius

Page 71

PASSION & EMOTION

Chamber 01 October 17, 2021, 3:00pm

Season’s Greetings

Page 84

FLUTE, OBOE & PIANO

Jazz Band 01 November 21, 2021, 4:00pm

The Element of Surprise

Page 85

AUTUMN STROLL To Be Announced

Chamber 02 December 05, 2021, 3:00pm

CONTEMPUS QUARTET

Damase, Dring, Ginastera, Telemann

Page 85

Pops 01 December 19, 2021, 3:00pm

HOLIDAY POPS

Brahms Symphony No. 2

Page 84

Masterworks 02 November 12, 2021, 7:30pm

LANSING SYMPHONY ORCHESTRA

Jazz Band 02 February 27, 2022, 4:00pm

SPRING SWING To Be Announced

Page 29

Masterworks 03 January 14, 2022, 7:30pm

Page 35

FOR THE PEOPLE

WIT & BALANCE

Shostakovich Cello Concerto No. 1

Page 75

Pops 02 February 12, 2022, 7:30pm

Haydn, Mozart, Poulenc

Page 81

BROADWAY ROCKS

Chamber 03 January 30, 2022, 3:00pm

CHAMBER MUSIC WITH PERCUSSION

SEASON AT A GLANCE

Pops 03 April 23, 2022, 7:30pm

THE MUSIC OF ABBA

From The 80’s to Today

Page 84

Masterworks 04 March 19, 2022, 7:30pm

MAMMA MIA! & MORE

Page 84

Chamber 04 April 10, 2022, 3:00pm

THE ARTNOVA PROJECT Dohnanyl and Brahms

LANSING SYMPHONY ORCHESTRA

10.09.21

Masterworks Concert Series

GATHERING TOGETHER

MASTERWORKS SERIES PRESENTED BY LOOMIS LAW FIRM In Memory Of Jack Davis

BRIGGS, BERNSTEIN, TCHAIKOVSKY Timothy Muffitt, conductor Michael Brown, piano

Bernstein On The Town Three Dance Episodes

The Great Lover Lonely Town (Pas de deux) Times Square: 1944

Briggs Gathering Together Tchaikovsky Piano Concerto No. 1, op. 23, B-flat minor

TONIGHT’S CONCERT GENEROUSLY SPONSORED BY Chalgian & Tripp Law Offices, PLLC

Allegro non troppo e molto maestoso Andantino semplice Allegro con fuoco

Clark Schaefer Hackett

ADDITIONAL SUPPORT PROVIDED BY Michigan Council For Arts And Cultural Affairs National Endowment For The Arts

MASTERWORKS 01 | GATHERING TOGETHER

MICHAEL BROWN, PIANO Michael Brown has been hailed by The New York Times as “one of the leading figures in the current renaissance of performer-composers.” His artistry is shaped by his

Caramoor. Brown is an artist of the

creative voice as a pianist and

Chamber Music Society of Lincoln

composer, praised for his “fearless

Center, performing frequently at Alice

performances” (The New York Times)

Tully Hall and on tour. He was selected

and “exceptionally beautiful”

by András Schiff to perform on an

compositions (The Washington Post).

international tour making solo debuts in Berlin, Milan, Florence, Zurich’s

Winner of the 2018 Emerging Artist

Tonhalle and New York’s 92nd Street Y.

Award from Lincoln Center and a 2015 Avery Fisher Career Grant, Brown has

Brown was First Prize winner of the

recently performed as soloist with

Concert Artists Guild Competition,

the Seattle Symphony, the National

a winner of the Bowers Residency

Philharmonic, and the Grand Rapids,

from the Chamber Music Society of

North Carolina, New Haven, and Albany

Lincoln Center (formerly CMS Two),

Symphonies; and recitals at Carnegie

a recipient of the Juilliard Petschek

Hall, the Mostly Mozart Festival, and

Award, and is a Steinway Artist.

LANSING SYMPHONY ORCHESTRA

PROGRAM NOTES

Masterworks Concert Series

THREE DANCE EPISODES FROM “ON THE TOWN”

LEONARD BERNSTEIN (1918–1990) WRITTEN / 1918-1919 MOVEMENTS / Three STYLE / Contemporary American DURATION / Eleven minutes Leonard Bernstein is a towering figure in American music. As musicologist Jeremy Rudkin puts it, “Bernstein was enormously versatile, and he had the energy of three men. He used to sleep only two or three hours a night. He could have been a great pianist, a great conductor, or a great composer. Instead, he was all three.”

card games. Pieces of On the Town were sung full voice. But they did a lot of work.” “He may be God’s gift to music,” a nurse remarked, “but I’d hate to tell you where he gives me a pain.” George Abbott, one of the leading theater directors in New York, directed the production. He mercilessly trimmed the show, much to the chagrin of Bernstein: What I was very much afraid of was cutting a lot of the so-called symphonic music—which was quite long and complicated and would entail a lot of extra rehearsal time and a slightly larger and more expensive orchestra. . . . Mr. Abbott used to make sort of friendly fun of some of my music by calling it “that Prokofiev stuff,” and I was afraid all “that

In 1944, while acting as the assistant

Prokofiev stuff ” would go, but it didn’t—not a

conductor of the New York

bar of it. This man George Abbott is such an

Philharmonic under Artur Rodzinski,

extraordinary creature, such an absolutely

Bernstein collaborated with friends

practical man of the theater, that I was amazed

Arthur Green and Betty Comden

to find how deeply esthetic his instincts were.

to convert Fancy Free, a ballet that Bernstein wrote for Jerome Robbins, into a Broadway musical titled On the Town. Green needed to have his tonsils out at the same time Bernstein needed surgery for a deviated septum. They arranged to have the procedures done at the same hospital and share a room so that they could continue working on the musical. The biographer Joan Peyser described the chaos that ensued: “It was quite a scene in that hospital room—rather

Abbott had his own frustrations: I was the father figure there and the only problem I can recall with Bernstein was that he would seem to over-commit himself. When we were trying out in Boston, he would have to rush back to New York one day. The next day he would have to make a speech for a cause. Twice he left for a distant city to conduct orchestras. Since, at that time, he did his work perfectly—wrote a new song and ballet music—none of us objected to this.

like a Marx Brothers movie. Radios

The play is about three sailors in New

blared. Arguments accelerated over

York City on a 24-hour leave. One of

MASTERWORKS 01 | GATHERING TOGETHER

Masterworks Concert Series

them falls in love with the woman on

beautiful parties.” What a wonderful

the subway poster, Miss Turnstiles.

metaphor of concert audiences re-

His friends take him all over the city

assembling after eighteen months

trying to find her. When they do, she

of a pandemic-caused isolation!

isn’t quite what was advertised. In 1981, Bernstein reflected on the show:

In 1985, Roger Briggs wrote Gathering

The subject matter was light, but the show

the poem. Originally for chamber

was serious. . . . We were very much influenced

orchestra, Briggs rescored it ten years

by our masters . . . who were trying to goad

later for larger orchestra. It is a single

us into doing more serious things . . . what we accomplished was a happy and moving show about wartime, in the lightest possible

Together, a musical response to

movement divided into four connected sections. The first section begins with spacious punctuated chords.

vein but with a most serious esthetic means.

Soon, “driving metrically diversified

Getting back to the roots of the

The second section “superimposes

musical, Bernstein extracted three

a long lyrical theme over variations

short dance movements from On

in the original rhythmic strata,”

the Town, perfectly encapsulating

reminiscent of Goedicke’s “islands of

the gist of the whole production.

floating flowers.” The rhythmic pulsing

eventually dies away to dark, stratified

rhythmic strata” get added to the mix.

chords. The piece slowly builds in

GATHERING TOGETHER Roger Briggs (1952–) WRITTEN / 1985

intensity. Once again there is a long, lyrical theme floating over pulsating rhythms. Eventually the piece winds down, ending in a joyous calm.

MOVEMENTS / One

Born in 1952 in Florence, Alabama,

STYLE / Contemporary American

Roger Briggs began piano studies

DURATION / Sixteen minutes

at age eight. By the time he was a teenager, he was “conducting,

In Patricia Goedicke’s (1931–2006) poem The People Gathering Together, she

composing, and arranging for school, community productions, and for

writes of humanity coming together

private performances.” He attended

“from all over the earth.” Using the

the University of Memphis where he

image of the ocean, she writes of

earned Bachelor’s degrees in both

vast distances separating us, and

piano and composition. He did his

the trials of confronting “heaving

graduate work at the Eastman School

waves.” Yet despite it all, “we keep

of Music, earning both Master’s and

coming together” and keep giving

Doctoral degrees in composition.

each other “these heartbreakingly

In his mid-twenties Briggs joined

LANSING SYMPHONY ORCHESTRA

PROGRAM NOTES the faculty at Saint Mary’s College

popular of any work. But why would

in Indiana, teaching piano and

this concerto, written in 1874 by a

composition. While there he founded

leading young Russian composer,

the Michiana New Music Ensemble.

get its premiere performance in

In 1989 he moved to the Pacific

what was then a cultural backwater:

Northwest to teach at Western

Boston, Massachusetts?

Washington University. He founded the Contemporary Chamber Players

There were two “camps” of composers

and conducted the University

in Russia during Tchaikovsky’s time.

Symphony and Opera Programs.

One group emulated the European

He has been the Artistic Director of

classical masters. The other, the

the Whatcom Symphony Orchestra

Russian nationalists, felt that Russia

in Bellingham, WA since 1996.

deserved serious music based on

Russian subjects and folk-song. Tchaikovsky successfully straddled

CONCERTO NO. 1 IN B-FLAT MINOR FOR PIANO AND ORCHESTRA, OP. 23

Pyotr Il’yich Tchaikovsky (1840–1893)

both groups. He had been a student of Anton Rubinstein in St. Petersburg, and Anton’s brother, Nikolay, hired Tchaikovsky to teach at the Moscow Conservatory. Both Rubinsteins were part of the “European” camp. Yet by 1874, Tchaikovsky had already written

WRITTEN / 1874-1875

two symphonies, each based on

MOVEMENTS / Three

Russian folk-melodies. Now a well-

STYLE / Romantic

established composer, he was ready

DURATION / Thirty-two minutes

to try his hand at a piano concerto.

“This extremely difficult, strange, wild,

Not quite sure of his piano writing

ultramodern Russian Concerto is the

skills, he took the concerto to his boss

composition of Peter Tchaikovsky, a

Nikolay Rubinstein. A letter to his

young professor at the Conservatory

patron, Nadezhda von Meck, gives a

of Moscow. . . . We had the wild

picture of the painful consequences:

Cossack fire and impetus without stint, extremely brilliant and exciting, but could we ever learn to love such music?” That is from a review in a Boston paper following the premiere of Tchaikovsky’s First Piano Concerto. The answer to the critic’s question is an unequivocal “YES,” because this concerto is one of the most loved and MASTERWORKS 01 | GATHERING TOGETHER

PROGRAM NOTES

Masterworks Concert Series

I played the first movement. Not a single word, not a single comment! He was preparing his thunder. . . . I took patience and played the concerto to the end. Again silence. “Well?” I said. It was then that there began to flow from Rubinstein’s mouth a stream of words, quiet at first, but subsequently assuming more and more the tone of Zeus hurling thunderbolts. It appeared that my concerto was worthless, that it was unplayable, that passages were trite, awkward, and so clumsy that putting them right was impossible, that as a composition it was bad and tawdry, that I had filched this bit from here and that bit from there, that there were only two or three pages that could be retained, and that the rest would have to be scrapped or completely revised. “I won’t change a single note,” I replied, “and I’ll publish it just as it is now!” And so I did.

The first audiences destined to hear the concerto were American, because Bülow took it with him on a tour of North America. The premiere was in Boston with an orchestra made up of players from Harvard (the Boston symphony hadn’t been formed yet). In spite of some harsh reviews in the papers, the concerto had a fantastic reception in this country. Even Rubinstein eventually admitted that he had made a mistake, learned the concerto, and made it a staple of his repertoire, as have all great pianists ever since. ©2021 John P. Varineau

He sent the concerto to Hans von Bülow, the eminent German pianist and conductor. His response was a bit more encouraging: “The ideas are so original, so noble, so powerful, the details are so interesting. . . . I would weary you if I were to enumerate all the characteristics of your work, characteristics which compel me to congratulate equally the composer and those who are destined to enjoy it.” Tchaikovsky scratched out the dedication on the score to Nikolay Rubinstein and replaced it with one to Hans von Bülow.

LANSING SYMPHONY ORCHESTRA

11.12.21

Masterworks Concert Series

HOPE, FROM DARKNESS

MASTERWORKS SERIES PRESENTED BY LOOMIS LAW FIRM In Memory Of Jack Davis

LUCIA MICARELLI PLAYS SIBELIUS Timothy Muffitt, conductor Lucia Micarelli, violin

Montgomery Strum

ADDITIONAL SUPPORT PROVIDED BY

Sibelius Violin Concerto, op. 47, D minor

Allegro moderato Adagio di molto Allegro, ma non tanto

Schumann Symphony No. 4, op. 120, D minor

Ziemlich langsam – Lebhaft Romanze: Siemlich langsam Scherzo: Lebhaft Langsam – Lebhaft

MASTERWORKS 02 | HOPE, FROM DARKNESS

Michigan Council For Arts And Cultural Affairs National Endowment For The Arts

LUCIA MICARELLI, VIOLIN

A violinist and vocalist, Lucia Micarelli has performed with jazz trumpeter Chris Botti, singer Josh Groban, rock ensemble Trans-Siberian Orchestra and Grammy Award-winning English rock band Jethro Tull. Lucia Micarelli is most famous for

appeared in her first PBS concert

her portrayal of fiddle-playing street

special, which aired throughout the

musician Annie Talarico on “Treme,”

US and spawned a live album. In

HBO’s critically acclaimed series

2020, Lucia joined the Hallmark Family

about post-Katrina New Orleans.

and starred in the Hallmark Movies &

Esquire called her “the woman who

Mysteries holiday movie “The Christmas

makes ‘Treme’ worth watching,”

Bow” alongside Michael Rady.

and exclaimed, “this charming violin-impresario-turned-actress will

Whether on stage or screen, Lucia is

make you feel a helluva lot better.”

sure to take you on an eclectic journey

The actress has since returned to

through her many musical influences

her musical roots as a violinist.

- from classical to jazz to traditional fiddle music and Americana - all bound

Since then, Lucia’s profile has

together by her trademark emotional

continued to soar. In 2018, Lucia

vulnerability and technical wizardry.

LANSING SYMPHONY ORCHESTRA

PROGRAM NOTES

Masterworks Concert Series

STRUM

Jessie Montgomery (1981–) WRITTEN / 2006, revised 2008, 2012 MOVEMENTS / One STYLE / Romantic DURATION / Seven minutes Montgomery was born and raised in Manhattan’s Lower East Side in the 1980s during a time when the neighborhood was at a major turning point in its history. Artists gravitated to the hotbed of artistic experimentation and community development. Her parents—her father a musician, her mother a theater artist and storyteller—were engaged in the activities of the neighborhood and regularly brought Montgomery to rallies, performances, and parties

to assist in the development of her debut album, Strum: Music for Strings (Azica Records). She has received additional grants and awards from the ASCAP Foundation, Chamber Music America, American Composers Orchestra, the Joyce Foundation, and the Sorel Organization. Montgomery began her violin studies at the Third Street Music School Settlement, one of the oldest community organizations in the country. A founding member of PUBLIQuartet and currently a member of the Catalyst Quartet, she continues to maintain an active performance career as a violinist appearing regularly with her own ensembles, as well as with the Silkroad Ensemble and Sphinx Virtuosi.

where neighbors, activists, and

Montgomery’s teachers and mentors

artists gathered to celebrate and

include Sally Thomas, Ann Setzer,

support the movements of the time.

Alice Kanack, Joan Tower, Derek

It is from this unique experience that

Bermel, Mark Suozzo, Ira Newborn,

Montgomery has created a life that

and Laura Kaminsky. She holds

merges composing, performance,

degrees from the Juilliard School and

education, and advocacy.

New York University and is currently a

Since 1999, Montgomery has been affiliated with The Sphinx Organization, which supports young

Graduate Fellow in Music Composition at Princeton University. Here are some of her remarks about Strum:

African-American and Latinx string

Strum is the culminating result of several

players. She currently serves as

versions of a string quintet I wrote in 2006. It

composer-in-residence for the Sphinx

was originally written for the Providence String

Virtuosi, the Organization’s flagship

Quartet and guests of Community MusicWorks

professional touring ensemble.

Players, then arranged for string quartet in

She was a two-time laureate of the

2008 with several small revisions. In 2012

annual Sphinx Competition and was

the piece underwent its final revisions with a

awarded a generous MPower grant

rewrite of both the introduction and the ending

MASTERWORKS 02 | HOPE, FROM DARKNESS

Masterworks Concert Series

for the Catalyst Quartet in a performance

Sibelius became the most celebrated

celebrating the 15th annual Sphinx Competition.

composer from Finland. He wrote

Originally conceived for the formation of

seven symphonies and many other

a cello quintet, the voicing is often spread

orchestral works, a host of songs

wide over the ensemble, giving the music an

and choral works, lots of incidental

expansive quality of sound. Within Strum I

music for the theater, a fair number

utilized texture motives, layers of rhythmic

of chamber and piano pieces, and

or harmonic ostinati that string together to

only one concerto—for the violin.

form a bed of sound for melodies to weave in and out. The strumming pizzicato serves as a texture motive and the primary driving rhythmic underpinning of the piece. Drawing on American folk idioms and the spirit of dance and movement, the piece has a kind of narrative that begins with fleeting nostalgia and transforms into ecstatic celebration. ©2021 Jessie Montgomery and compiled by John P. Varineau

VIOLIN CONCERTO IN D MINOR, OP. 47

Jean Sibelius (1865–1957)

He began work on his Violin Concerto in 1902 at the pleading of the violinist Willy Burmester, the concertmaster in Helsingfors. Sibelius’ life was in turmoil. He was heavily in debt, his marriage was in trouble and, as his friends put it, he preferred partying and drinking to composing. When he finally finished the concerto, he sent it off to Burmester. “Wonderful! Masterful!” was his reply. “Only once before have I spoken in such terms to a composer and that was when Tchaikovsky showed me his concerto.” But, for some strange reason, Sibelius

Written / 1902–04

intentionally scheduled the premiere

Movements / Three

on a date when Burmester couldn’t

Style / Romantic

appear. Instead, Victor Novàřek, a

Duration / Thirty-one minutes

violin teacher of little repute, gave

“I wanted to be a celebrated violinist,” Jean Sibelius told a friend. “From the age of fifteen, I played my violin for ten years practically from morning to night. I hated pen and ink and, unfortunately, preferred an elegant violin bow. My preference for the violin lasted quite long, and it was

the premiere and the results were disastrous. Sibelius revised the concerto. Again Burmester offered to play it and again Sibelius passed him over, this time in favor of Karl Halir, the concertmaster in Berlin. Offended, Burmester never touched the work for the rest of his life.

a very painful awakening when I

In spite of Bermester’s initial

had to admit that I had begun my

appreciation of the concerto, others

training for the exacting career of an

were not quite so positive. The great

eminent performer too late.” Instead,

Joachim, for whom Brahms wrote his

LANSING SYMPHONY ORCHESTRA

PROGRAM NOTES violin concerto, called it “abominable

major key! Finally, the last movement

and boring.” One critic wrote:

lets loose with a relentless driving

Even in its revised form the concerto will not, I think, win wide appreciation. With the exception of the Adagio, the concerto is far too complex, far too busy, dark and dingy, rhapsodic in spite of its tauter form, and above all it is laden with technical and rhythmic difficulties of such a kind that even the greatest master of the instrument will be hard put to make a successful repertoire work of it that will really catch the public ear.

SYMPHONY NO. 4 IN D MINOR, OP. 120

Robert Schumann (1810–1856) Written / 1841; revised in 1851 Movements / Four, played

The critic was right about the

without pause.

technical demands. It is one of the

Style / Romantic

most challenging in the repertoire.

Duration / Twenty-nine minutes

He was wrong about its fate. It stands as the greatest violin concerto of the 20th century. The entire first movement is in minor.

Robert Schumann had an almost manic way of working on music. In the same year that he married Clara Wieck—after a prolonged and bitter

It has a haunting and somber quality.

battle with her father—he wrote

The low instruments—the clarinets and

his first symphony (in four days),

bassoons and the low brass—seem

started his piano concerto, wrote the

to predominate. Even the violins play

Overture, Scherzo and Finale for orchestra,

in their low register. The solo violin

finished his second symphony and

spins out its rhapsodic statements

started a third. Then he started

over this somber accompaniment.

working on an opera. Incidentally,

There are two solo cadenzas: one near

his “real” job was as editor and chief

the beginning of the movement and

writer of the New Journal for Music.

the other right in the middle where a development section would normally

In her diary entry for May 1841, Clara

occur. Olin Downes, one of this work’s

wrote, “Robert began yesterday

early champions, described this first

another symphony, which will be

movement as, “Bardic songs heard

in one movement, and yet contain

against a background of torches or

an adagio and a finale. I have heard

pagan fires in some wild Northern

nothing about it, yet I see Robert’s

night.” The second movement is

activity and I hear the D minor

broad, and deeply expressive. While

sounding wildly from a distance, so that

still dark in quality, it’s at least in a

I know in advance that another work will

MASTERWORKS 02 | HOPE, FROM DARKNESS

PROGRAM NOTES

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be fashioned in the depths of his soul.”

that an audience could experience the

Robert presented the symphony “which

work as a whole. By carrying themes

I have quietly finished” to his wife on

and motives over from one movement

September 13, 1841—her birthday. The

to the next and by insisting that the

premiere took place three months

movements be played without pause,

later. Ferdinand David—a prominent

a symphony can be less disjointed.

violinist, a teacher of Joachim, and

Schumann did just that. There are four

the dedicatee of Mendelssohn’s violin

movements to this symphony, but

concerto—conducted it. Apparently,

there aren’t the normal opportunities

things did not go well. On the same

for audiences to change positions,

concert, Robert and Clara performed

cough, etc. (At least there will be

a now forgotten work by Liszt for two

no doubt when to applaud!)

pianos. Audiences love husband and wife teams, so they had to repeat the

The symphony begins with a somber

performance without delay, upstaging

introduction played by the strings. It

the new symphony. The Schumann’s

leads to a lively faster section where the

complained about each other’s

violins play a flashy theme made up of

playing and about David’s conducting.

short, fast notes—the basis of the first

The orchestra did not perform the

movement. The second movement is

symphony well. Schumann put the

a melancholy romance with a plaintive

symphony—which he called his Second

melody played by the oboe and cello.

Symphony—away without publishing it.

The theme from the introduction returns

Over the next ten years, Schumann wrote two other symphonies and had them published. Then, in 1851, Schumann began work on revising his second symphony, principally by reorchestrating it. It was later performed, well received, and finally published. Schumann felt that his musical style had changed over the past ten years so he was uncomfortable calling it a new symphony. However, his publishers insisted that he rename it as his fourth.

here, then there is a gorgeous violin solo. The third movement is a standard scherzo and trio. The scherzo is robust, featuring the strings. The woodwinds get the tune in the trio. A solemn and mysterious transition leads to the fourth movement. The theme from the first movement returns, but this time in a smoother rendition. The brass proclaim in strong chords an important motive of the upcoming finale. It is a fantasia alternating between a march-like tune and a more playful melody. The

Romantic composers such as Schumann

symphony ends with a final outburst of

experimented with symphonic form.

flamboyant scales played by the strings

They were concerned with connecting

and woodwinds.

the “movements” of a symphony so

LANSING SYMPHONY ORCHESTRA

01.14.22

Masterworks Concert Series

FOR THE PEOPLE

MASTERWORKS SERIES PRESENTED BY LOOMIS LAW FIRM In Memory Of Jack Davis

SHOSTAKOVICH CELLO CONCERTO NO. 1 Timothy Muffitt, conductor Suren Bagratuni, cello

Harlin River of Doubt

River of Doubt Cloud Forest Rondon

Shostakovich Allegretto Violoncello Concerto No. 1, Moderato op. 107, E-flat major Cadenza Allegro con moto INTERMISSION Dvořák Symphony No. 6, op. 60, D major

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Allegro non tanto Adagio Scherzo (Furiant): Presto Finale: Allegro con spirito

MASTERWORKS 03 | FOR THE PEOPLE

SUREN BAGRATUNI, CELLO Born in Yerevan, Armenia, Mr. Bagratuni began his musical education there at the age of six. Winner of the Silver Medal at the 1986

Suren Bagratuni won critical acclaim

International Tchaikovsky Competition

for his CD releases on the Marco Polo,

while still a student at the Moscow

Ongaku, and BGR labels, and also

Conservatory, Suren Bagratuni

appears on Russian Disc, Centaur,

has gone on to a distinguished

Cambria and CMH labels. He has

international career as a soloist,

recorded for “Melodiya”, and has been

recitalist, and chamber musician.

featured on ARD (Germany), CBC

After winning several national and international competitions he continued

Radio Canada, WNYC in New York, NPR, Radio France and NHK TV Japan.

his studies at the Moscow Conservatory

In addition to his performing activities,

and later in the United States, at

Mr. Bagratuni is professor of cello at

the New England Conservatory of

Michigan State University, founding

Music. He has performed solo recitals

member of the NOBILIS trio, and

and, as a soloist, with all the major

artistic director of the “Cello Plus…”

orchestras in the former Soviet Union,

International music festival.

throughout Europe, North and South America, Asia and South Africa. 30

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RIVER OF DOUBT

Patrick Harlin (1984–) Written / 2014 Movements / Three Style / Contemporary Duration / Twenty minutes After losing re-election to the presidency running as a third-party candidate, the habitually peripatetic Theodore Roosevelt went on his last foreign expedition, this time to South America to find the headwaters of the Rio da Duvida (River of Doubt). Composer Patrick Harlin elaborates: In 1913, with the exception of Antarctica, South America was the least charted continent. The Teddy Roosevelt/Rondon expedition — named after Cândido Rondon (1865–1958), a Brazilian military officer who remains as important a figure in Brazil as Roosevelt does in the U.S.— was in many ways a disaster. One member of the team turned on another and was murdered. The killer was left behind to die. Even the legendarily tough Roosevelt barely made it out alive. After suffering a major injury in one of the rapids, Roosevelt had to be persuaded to continue down river. (Teddy feared his continuation would slow things down and put the remainder of the members in mortal peril.) By the end of the ordeal, Roosevelt was a ghost of his former self, fifty pounds lighter and thought to have sustained injuries that ultimately shortened his life. The Amazon is full of mystery: Expedition members nearly starved in one of the most lush and biodiverse MASTERWORKS 03 | FOR THE PEOPLE

PROGRAM NOTES regions in the world. It was later uncovered that the expedition was shadowed by indigenous tribes living in the dense jungle (for whom Cândido Rondon was a tireless advocate) over a large portion of their expedition. Expedition member and naturalist George Cherrie wrote of the night soundscape, “Let there be the least break of harmony of sound, and instantly there succeeds a deathlike silence, while all living things wait in dread for the inevitable shriek that follows the night prowler’s stealthy spring.” In 2014, Patrick Harlin wrote a grant to travel to the Amazon to record soundscapes. He hired indigenous guides to help lead him into remote parts of this basin, not unlike those experienced by Roosevelt and Rondon. He then wrote River of Doubt to celebrate the 100th anniversary of the Roosevelt/Rondon expedition. Harlin gives further explanation of his work: I agree with George Cherrie. It is not the sounds but rather the sudden cessation of sound that causes alarm. While the historical record of the River of Doubt expedition is rich, the music is not strictly programmatic. Rather the story of this expedition serves as a launching point for a musical journey into the unknown, a portrait of foreign landscapes, of fog on an unexplored river punctuated by birdcalls, the grandeur of the cloud forest landscapes, and the lives of two extraordinary figures Cândido Rondon and Theodore Roosevelt. 31

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Each of the three movements takes on a different aspect of this story: I. River of Doubt is an entry into the unknown, a decision which offers no option of turning back II. A urally depicts the grandeur and continually evolving landscapes of the Amazonian Cloud Forest

CELLO CONCERTO NO. 1 IN E-FLAT MAJOR, OP. 107

Dmitri Shostakovich (1906–1975) Written / 1959 Movements / Four Style / 20th Century Russian Duration / Twenty-nine minutes If you were a composer in the Soviet

III. I s an examination of excitement

Union during most of the twentieth

of exploration through the

century, the sort of music you wrote

boundless energy and influence

could get you in a lot of trouble. Dmitri

of the indigenous advocate and

Shostakovich twice found himself

explorer Cândido Rondon.

in such a situation with the Soviet

Patrick Harlin is the Lansing Symphony’s first ever Composer in Residence. He was raised in the Pacific Northwest and earned his bachelor’s degree from Western Washington University and doctorate from the University of Michigan. Patrick’s interdisciplinary research in soundscape ecology—a field that aims to better understand ecosystems through sound—has taken him to imperiled regions around the world. Lansing Symphony audiences will

authorities. The first time came in the mid-1930’s during what is now called “The Terror.” In an article entitled “Muddle Instead of Music”—probably written by Stalin himself—Shostakovich was accused of the worst possible artistic crimes. He was a “bourgeois aesthete” and a “Formalist.” Curiously, the dreaded knock on the door never came. Then, in 1937, after the premiere of his Fifth Symphony—his supposed “Practical Creative Reply to Just Criticism”—his reputation was restored.

have the opportunity to hear the

The second condemnation came in

world premiere of a work written

1948. This time, Andrei Zhdanov,

especially for the orchestra at the

Stalin’s henchman in the cultural

end of this season.

bureau, announced “Soviet music was

threatened by an invidious ‘Formalist School’ whose methods were radically wrong.” The composer Krennikov declared almost everything written by Shostakovich to be “frantically gloomy and neurotic” and “alien to the Soviet

LANSING SYMPHONY ORCHESTRA

PROGRAM NOTES People.” The bureaucrats ordered the destruction of all of Shostakovich’s recordings. His scores were recycled

vodka. The third time I think I played the Saint-Saëns Concerto, but he still accompanied his Concerto. We were enormously happy . . .

to save paper. He “waited for his arrest

Shostakovich wrote his First Cello

The cello begins the concerto with a sardonic march-theme. Biting figures in the orchestra accompany the more lyrical sections, and the intensity rarely lets up in the first movement. The second movement, tender and sad, often has the cellist playing very high harmonics on the strings—a favorite sound of Shostakovich. The third movement is an impassioned monologue for the cellist. It leads directly into the fourth movement, bringing back the orchestra and its sardonic flavor. A rollicking waltz intrudes and tries to lighten up the character. Instead, the march from the first movement returns and brings the concerto to a twisted and frenetic close.

Concerto for his friend Mstislav

at night out on the landing by the lift, so that at least his family wouldn’t be disturbed.” Nadezhda Mandelstam described the mood of the times: “Nobody trusted anyone else, and every acquaintance was a suspected police informer. It sometimes seemed as though the whole country was suffering from persecution mania. . . .” For Shostakovich, it meant that he essentially quit composing serious music for public performance for the next five years— until Stalin’s death in 1953. (Even then, the political “thaw” overseen by Stalin’s successor Nikita Kruschev didn’t completely ease the pressure on the arts and artists, as the furor over Boris Pasternak’s Doctor Zhivago attests.)

Rostropovich. “[He] is a real Russian; he knows everything and he can do anything,” Shostakovich said about him. “I’m not even talking about music here, I mean that Rostropovich can do almost any manual or physical work and he understands technology.” For his part, Rostropovich describes the first encounter with the concerto: Shostakovich gave me the manuscript of the First Cello Concerto on August 2, 1959. On August 6, I played it for him from memory, three times. After the first time he was so excited, and of course we drank a little bit of vodka. The second time I played it not so perfect, and afterwards we drank even more MASTERWORKS 03 | FOR THE PEOPLE

SYMPHONY NO. 6 IN D MAJOR, OP. 60

Antonín Dvořák (1841-1904) Written / 1880 Movements / Four Style / Romantic Duration / Forty-three minutes Dvořák’s Ninth Symphony (commonly known as the New World Symphony) is easily one of the most popular symphonic works in America. Surprisingly, not everyone thinks that it is Dvořák’s best symphony. 33

PROGRAM NOTES

Masterworks Concert Series

In an extended review of the Ninth

to presenting the works of a young,

Symphony’s premiere in the Musical

new composer two seasons in a row.

Courier, James Huneker wrote “Antonín

Instead, Adolph řech conducted

Dvorak is a genius—no question

the first performance in Prague.

about that. His new symphony does not, however, prove it, as much as the two earlier ones in D [major] and D minor. . .” That symphony in D Major is tonight’s Symphony No. 6. When Antonín Dvořák wrote his Symphony in D Major in 1880, he was in the midst of a particularly fruitful period of his life. He was finally a wellknown composer in his own country, and thanks to the efforts of Johannes Brahms and others, he was gaining a reputation outside of Bohemia. He was now somewhat financially secure, too, thanks to yearly stipends he received from the state. Dvořák was writing a lot of music, most notably his Slavonic Rhapsody and his Slavonic Dances, which made him something

This symphony, although the sixth symphony that Dvořák wrote, was the first one to be published. It was originally called Symphony No. 1. In it Dvořák demonstrates a full command of the symphonic form and you will hear what James Huneker meant when he wrote: Dr. Dvorak has much of the naïve, sunny and fertile qualities of Franz Schubert, and he is to be praised for not giving us huge doses of pessimism we find in the spirit of Brahms and Tchaikovsky’s music. He is still a child at heart, and he takes you into his forest, where there are also many-colored flowers, and bids you pluck and be gay. The sun is bathing naked in the azure and God is yet with the world. ©2021 John P. Varineau

of an international phenomenon. In 1879, Dvořák was in Vienna to hear a performance of his Slavonic Rhapsody No. 3. The orchestra and audience loved it, and the conductor, Hans Richter, was so thrilled with the work that he asked Dvořák to write a symphony for the Vienna Philharmonic. He started work on the symphony in August and finished it two months later. Hans Richter never got to conduct the premiere, however. It seems that the players objected

LANSING SYMPHONY ORCHESTRA

03.19.22

Masterworks Concert Series

WIT & BALANCE

MASTERWORKS SERIES PRESENTED BY LOOMIS LAW FIRM In Memory Of Jack Davis

HAYDN, MOZART, POULENC Timothy Muffitt, conductor Conrad Tao, piano

Poulenc Suite Française

Haydn Symphony No. 90, C major

Bransle de Bourgogne Pavane Petite marche militaire Complainte Bransle de Champagne Sicilienne Carillon Adagio – Allegro assai Andante Menuet Allegro assa

ADDITIONAL SUPPORT PROVIDED BY Michigan Council For Arts And Cultural Affairs National Endowment For The Arts

INTERMISSION Mozart Piano Concerto No. 24,K. 491, C minor

Allegro Larghetto Allegretto

MASTERWORKS 04 | WIT & BALANCE

CONRAD TAO, PIANO

Conrad Tao has been dubbed a musician of “probing intellect and open-hearted vision” by The New York Times. Conrad Tao has appeared worldwide as a pianist and composer. He is the recipient of the prestigious Avery Fisher Career Grant and was named a Gilmore Young Artist. Conrad Tao has recently appeared with the Los Angeles Philharmonic, Cleveland Orchestra, New York Philharmonic, and Boston Symphony. He was the focus of a series of television concerts and interviews with the Finnish Radio Symphony, performing Beethoven’s Piano Concerto No. 4 with Hannu Lintu and Andrew Norman’s Suspend with Sakari Oramo.

A Warner Classics recording artist, Tao’s debut disc Voyages was declared a “spiky debut” by The New Yorker’s Alex Ross. Of the album, NPR wrote: “Tao proves himself to be a musician of deep intellectual and emotional means– as the thoughtful programming on this album… proclaims.” His next album, Pictures, with works by David Lang, Toru Takemitsu, Elliott Carter, Mussorgsky, and Tao himself, was hailed by The New York Times as “a fascinating album [by] a thoughtful artist and dynamic performer…played with enormous imagination, color and command.” His third album released in 2019, American Rage, featuring works by Julia Wolfe, Frederic Rzewski, and Aaron Copland.

LANSING SYMPHONY ORCHESTRA

Masterworks Concert Series

SUITE FRANÇAISE

Francis Poulenc (1899–1963) Written / 1935

PROGRAM NOTES principle qualities of this new French music were “dryness, brevity, and straightforwardness”—and a great deal of irreverence and flippancy.

Movements / Seven

The most flippant member of “Les

Style / Neo-classical

Six” was Francis Poulenc. Much of

Duration / Twelve minutes

his music is light, airy, witty, and

Paris in the early part of the twentieth century was in the front lines of modern art. Countless artists from all over the globe flocked there. The Russian composer Igor Stravinsky made a big splash in Paris with his Rite of Spring. The Spanish artist Pablo Picasso developed his influential

effervescent. Complexity is not part of his vocabulary. Easily understandable melodies permeate his music. Only after 1936, when his friend and fellow composer Pierre-Octave Ferroud died in an automobile accident, did Poulenc seem to get serious and lose some of his irreverence—but not entirely.

cubist style there. The American

Francis Poulenc grew up in

poet Gertrude Stein (“A rose is a

comfortable circumstances. His

rose is a rose”) lived in Paris during

father was a wealthy businessman

this time. Native French composers

who managed the family firm. His

were also making their mark in Paris.

mother was a fine pianist who was

An iconoclastic bunch of young

also part of the Parisian cultural elite.

composers, labeled “Les Six” by a

She encouraged Francis towards

newspaper, gathered themselves

the piano while is father steered him

around the composer Eric Satie and

towards a more classical education.

the poet Jean Cocteau. Members of

In his later teen years, he hooked

“Les Six” included Georges Auric,

up with the other composers

Darius Milhaud, Arthur Honegger,

of “Les Six” and also studied

Germaine Tailleferre, Louis Durey

composition with Charles Koechlin.

and Francis Poulenc. The organizing principle of this group was that

In the 1930s, Poulenc started

French music must free itself from

experimenting with “neo-classicism,”

foreign traits, particularly the

an attempt to return to the directness

German ones. These composers

and simplicity of the music of the

used common life as their subject

1800s. The arch-modernist Igor

matter, and they celebrated and

Stravinsky had started his neo-classical

exploited machines in their music.

phase in the 1920s, and now it was

They emulated the music hall and

Poulenc’s turn. One of Poulenc’s first

circus bands. They incorporated

neo-classical works was his Concerto

jazz into their “serious” music. The

for Two Pianos written for Winnaretta

MASTERWORKS 04 | WIT & BALANCE

Masterworks Concert Series

Singer, the heiress to the sewing

Esterháza, which rivaled Versailles

machine fortune. As a result of its

and Schönbrunn in its grandeur.

success, Poulenc was commissioned

Music was continually present at

to write incidental music for a play by

Esterháza (there were 1,038 opera

Edouard Boudet about Margot, the

performances between 1780 and

wife of Henri Navarre. Because this

1790), and it was Haydn’s job to

play was about a sixteenth-century

provide it. Haydn’s contract with the

Frenchwoman, Poulenc decided to

Prince detailed his responsibilities:

use the music of a sixteenth-century French composer, Claude Gervaise. He simply took seven short pieces from Gervaise’s Libre de Danceries and dressed them up with twentiethcentury style. The melodies and rhythms (for the most part) are all Gervaise’s. The scoring for two oboes, two bassoons, two trumpets, three trombones, harpsichord and percussion is all Poulenc’s idea as are the piquant harmonies, so indicative of Poulenc’s wit. ©2021 John P. Varineau

SYMPHONY NO. 90 IN C MAJOR

Franz Joseph Haydn (1732–1809)

Joseph Haydn will daily, whether in Vienna or elsewhere in his territories, appear both morning and afternoon at the princely antechamber to inquire whether his Highness wishes a concert be given. If he be so commanded, he will notify the other musicians and be attentive to be sure that not only he but the other musicians as well appear at the stipulated time . . . [he] should take charge of all musical activities and all musical instruments with assiduousness . . . [ he] will be bound to compose such music as his Serene Highness shall command, and not let such compositions be communicated to any other party, much less be copied, but they shall remain for his use only and his rightful ownership, and he shall not, without knowledge and permission, compose for any other person. Initially the artistic atmosphere was exhilarating – “where I should

Written / 1788

like to live and die.” However,

Movements / Four

toward the end of his tenure at

Style / Classical

Esterháza, Haydn began to chafe

Duration / Twenty-four minutes

at the relative isolation of the place

Haydn worked for nearly thirty years for the famed Esterházy family, the

– “I am forced to remain here . . . it really is sad always to be a slave.”

richest in all Hungary. Its head, Prince

He wrote literally thousands of works

Nikolaus, was an ardent music fan

for Prince Esterházy. How is it that

and an amateur musician himself. He

the prince never got bored with

built a spectacular “summer home,”

Haydn’s style and hired someone

LANSING SYMPHONY ORCHESTRA

PROGRAM NOTES else? Haydn explained the trick to his

final movement begins quietly but

biographer Georg August Griesinger:

is filled with flash-and-dash and

The Prince was satisfied with all my works, I received applause, as head of the orchestra I was able to experiment, to observe what made a strong impression and what weakened this, in other words, to correct, supplement, cut, take risks. I was cut off from the world. No one could cause me to doubt myself and torment me, and so I had to be original. In spite of his isolation in the “country,” Haydn’s reputation spread

PIANO CONCERTO NO. 24 IN C MINOR, K. 491 Wolfgang Amadeus Mozart (1756–1791)

throughout Europe. A new contract with his prince allowed him to write for

Written / 1786

others. Thus, in 1788, Haydn received

Movements / Three

a sumptuous commission for three

Style / Classical

symphonies from the Count d’Ogny

Duration / Thirty minutes

for the Concert de la Loge Olympique. (An earlier six-symphony set, now

When Mozart finally escaped from the

known as the “Paris Symphonies,”

oppressive clutches of his father and

was also commissioned by the

the stifling atmosphere of Salzburg

Concert de la Loge Olympique. The

and settled in Vienna, he had one

Symphony no. 90 in C Major is the

major problem. He didn’t have a job.

first of the later set of three.)

To make money he would present

This symphony follows the typical plan that Haydn settled on for most of his later symphonies. The first movement begins hesitatingly with a slow introduction that dissolves into a cheery and brilliant fast tempo. The flute introduces a second theme into the movement. The second movement is a set of variations on two themes, one in major and the other in minor.

an “academy”—a benefit concert for himself—in one of the large halls in the city. Competition 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. He made a lot of money at those concerts, but to make even more Mozart presented a series of concerts in smaller locations, like inns or ballrooms, and sold

The menuetto has a stately feel

subscriptions for the whole group

to it. The oboe introduces and

in advance. He recounted his life

dominates the trio section. The

in Vienna in a letter to his father:

MASTERWORKS 04 | WIT & BALANCE

PROGRAM NOTES

Masterworks Concert Series

You must forgive me if I don’t write very much, but it is impossible to find time to do so, as I am giving three subscription concerts in Trattner’s room on the last three Wednesdays of Lent, beginning on March 17. I have a hundred subscribers already and shall easily get another thirty. . . . Well, as you may imagine, I must play some new works—and therefore I must compose. The whole morning is taken up with pupils and almost every evening I have to play. . . . Well, haven’t I enough to do?

The last movement is a set of eight variations based on an understated minor melody. There are brief flashes of happiness, but the concerto insists on ending in a tempestuous and minor mood. When Beethoven heard this concerto, considered by many to be Mozart’s finest, he reportedly said to a friend “[we] shall never be able to do anything like that.” © 2021 John P. Varineau

Mozart probably performed his Piano Concerto in C Minor at his academy on April 7, 1786. It is one of only two piano concertos in a minor key that Mozart wrote. It has the largest orchestra of any concerto by Mozart. Because Mozart played the solo himself, he didn’t bother writing out much of the piano part and improvised as he went along. The dark and stormy first movement has an atypical triple meter. It begins with a hushed sense and then erupts with vehemence, never really escaping its serious tone. The piano starts the second movement with an understated melody that returns often, framing episodes featuring the woodwinds.

LANSING SYMPHONY ORCHESTRA

05.13.22

Masterworks Concert Series

PASSION & EMOTION

MASTERWORKS SERIES PRESENTED BY LOOMIS LAW FIRM In Memory Of Jack Davis

BRAHMS SYMPHONY NO. 2

Timothy Muffitt, conductor To be announced, 2022 Gilmore Young Artist

Harlin To Be Announced Beethoven Piano Concerto No. 1, op. 15, C major

ADDITIONAL SUPPORT PROVIDED BY Allegro con brio Largo Rondo: Allegro

INTERMISSION Brahms Symphony No. 2, op. 73, D major

Allegro non troppo Adagio non troppo Allegretto grazioso (Quasi andantino) Allegro con spirito

MASTERWORKS 05 | PASSION & EMOTION

Michigan Council For Arts And Cultural Affairs National Endowment For The Arts

Masterworks Concert Series

TO BE ANNOUNCED Patrick Harlin (1984- )

In whatever company he might chance to be, he knew how to produce such an effect upon every hearer that frequently not an eye remained dry, while many would break out into loud sobs; for there was something wonderful in his expression in addition

PIANO CONCERTO NO. 1 IN C MAJOR, OP. 15

Ludwig van Beethoven (1770-1827)

to the beauty and originality of his ideas and his spirited style of rendering them. As was typical of composerperformers of the time, Beethoven wrote his concertos to feature

Written / 1798

himself, often at self-produced

Movements / Three

concerts. The clues as to when and

Style / Classical

where Beethoven first performed

Duration / Thirty-six minutes

this concerto are sketchy, but it may have been at a concert organized

The title says that this is Beethoven’s

by his teacher Joseph Haydn who

First Piano Concerto but it really is his

had recently returned to Vienna

second. He wrote a concerto in B-flat

after a long stay in London. Three

major for piano before he moved

of Haydn’s “London” symphonies

to Vienna and perhaps as early as

were also on that program!

1785. However, Beethoven had this concerto in C Major published first—

When Beethoven wrote his first

in March of 1801—a full nine months

two piano concertos he was still

before the one in B-flat. The first

following the models established by

published concerto thus became

that other great Viennese composer,

known as Beethoven’s Piano Concerto No. 1.

Mozart. The first movement has a

Beethoven moved to Vienna in 1792 and quickly gained a reputation as one of its premiere pianists. This was no mean feat as Vienna was a “city of pianists” with at least 300 performers teaching up to 6,000 pupils. Carl Czerny explained Beethoven’s popularity:

long orchestral introduction that introduces the themes that the piano will expound upon after it enters. The central section that develops those themes is played almost entirely at a soft dynamic. After a restatement of the themes, there is a spot where Beethoven would have launched into a solo improvisation—a cadenza. Several years after the publication of the concerto, he wrote out three cadenzas for other performers to use.

LANSING SYMPHONY ORCHESTRA

SYMPHONY NO. 2 IN D MAJOR, OP. 7

Johannes Brahms (1833–1897) Written / 1877 Movements / Four Style / Romantic Duration / Forty minutes These days, the popular characterization of Brahms is that of a melancholy, forever-old man: balding, with a long, disheveled gray beard. We listen to his music as if he were always stuck in the autumn of his life. Still, Brahms was young once and, at the time he wrote his Second Symphony, even happy! In the summer of 1877, he was in the village of Pörtschach in southern Austria. There were inspirational views of snow-capped peaks towering over the lake, the eating was good and, as Brahms wrote to the critic Eduard Hanslick, “The melodies fly so thick here that you have to be careful not to step on one.” Just the year before, Brahms finally broke his decades-long symphonic writer’s block by finishing his First Symphony—what Hans von Bülow called “Beethoven’s Tenth.” He was in a cheery mood and produced

this light-hearted work, his Second Symphony, in about four months. He was also in a playful mood. Although, this is undoubtedly Brahms’s cheeriest symphony, he claimed to a friend that the orchestra would play “with crepe bands on their sleeves because of its dirge-like effect.” He wrote to his publisher, “The new symphony is so melancholic that you can’t stand it. I have never written anything so sad, so minor-ish: the score must appear with a black border.” Writing to another friend, he claimed that his Second Symphony wasn’t really a symphony, but more like a serenade: You have only to sit down at the piano and with your little feet on both pedals alternatingly, strike the chord of F minor several times in succession, first in the treble, then in the bass, fortissimo (very loud) and pianissimo (very soft), and you will gradually get a vivid impression of my latest. The joke is that the symphony is in D major, containing not one F minor chord! Maybe Brahms wasn’t being so funny when he described this symphony to friends. There are some dark moments, most notably near the beginning of the first movement when the timpani sound a roll like distant thunder and the trombones play dark, ominous chords. Vincenz Lachner wrote to Brahms asking why he injected this

MASTERWORKS 05 | PASSION & EMOTION

Masterworks Concert Series

darkness into such a lighthearted work. Brahms replied: “I would have to confess that I am . . . a severely melancholic person, that black wings are constantly flapping about us.” After a performance of a Brahms symphony, the critic Virgil Thomson once heard a patron exclaim, “Brahms is so dependable!” This symphony is no exception. All of the movements follow the normal pattern for a symphony. The first movement presents the opening theme right away. In it you’ll hear the motives which permeate the entire work. The second theme, played by the cellos and violas, is typical for Brahms: soaring and lyrical. The melody in the second movement is an extended one, again played by the cellos. After a contrasting middle section, it comes back at the end of the movement, this time ornamented by the rest of the orchestra. The third movement is a gentle little Austrian dance with a kick on the third beat, known as a ländler. Two faster and more robust episodes interrupt the pastoral setting. The final movement begins in a hushed manner. As it progresses it becomes more ebullient until even the trombones, who were responsible for the only gloom in the first movement, join the merrymaking and go out in a blaze of glory. ©2021 John P. Varineau

LANSING SYMPHONY ORCHESTRA

PROGRAM NOTES

Williamston Theatre 2021-2022 Add a subheading

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MASTERWORKS 05 | PASSION & EMOTION

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Pops Series

12.19.21

HOLIDAY POPS:

SEASONS GREETINGS

POPS SERIES PRESENTED BY AUTO-OWNERS INSURANCE

Timothy Muffitt, conductor Travis Leon, tenor

Feel the joy of the Holiday Season with your favorite holiday tunes and traditional carols. Join the LSO and accomplished vocalist, Travis Leon, for what has become a tradition for our community.

TONIGHT’S CONCERT GENEROUSLY SPONSORED BY Buckingham Strategic Wealth Lansing State Journal Plas-Labs, Inc. GUEST ARTIST ACCOMMODATIONS PROVIDED BY Candlewood Suites

POPS 01 | HOLIDAY POPS

TRAVIS LEON, TENOR

Travis Leon is an American born tenor and native of Lansing, Michigan. He began his vocal study at Lansing Community College under the guidance of Kelly Stuible-Clark. He earned his Bachelor’s degree from Western Michigan University, where he studied with Dr. Karen Kness. He is currently studying at the University of Nevada Las Vegas with Dr. Alfonse Anderson.

Travis is the first prize winner of the 2019 Opera Grand Rapids Collegiate Vocal Competition, as well as the 2nd prize winner of the 2019 Meistersinger competition in Graz, Austria. The LSO Holiday Pops concert marks his debut with a professional orchestra.

LANSING SYMPHONY ORCHESTRA

PROUD SUPPORTER OF THE LANSING SYMPHONY ORCHESTRA

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POPS 01 | HOLIDAY POPS

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LANSING SYMPHONY ORCHESTRA

Pops Series

BROADWAY ROCKS

02.12.21 POPS SERIES PRESENTED BY AUTO-OWNERS INSURANCE

BROADWAY ROCK AND POP FROM THE 80’S TO TODAY

featuring Dan Domenech, LaKisha Jones, and Rachel Potter

This high energy evening brings together exciting vocalists from the Broadway stage performing selections from Rock and contemporary Broadway hits. Featured in this show are selections from such popular musicals as Wicked, Hairspray, The Lion King, Mamma Mia, Rent, The Wiz, and Phantom of the Opera among many others.

POPS 02 | BROADWAY ROCKS

TONIGHT’S CONCERT GENEROUSLY SPONSORED BY Financial Technology, Inc. Neogen Traction GUEST ARTIST ACCOMMODATIONS PROVIDED BY Candlewood Suites

DAN DOMENECH, VOCALIST Dan Domenech’s versatile vocals have been heard in 49 states and 8 countries. Touring with productions of the

Rox. He’s worked with composers

Tony award winning musical RENT,

Tom Kitt, Laurence O’Keefe, Frank

Wonderland, Sister Act, Rock of Ages, and

Wildhorn, and Alan Menkin on new

Kinky Boots, Domenech has made his

shows including the soon to be

mark as one of the industry’s

released revamp of BatBoy the Musical.

leading men. He’s made guest appearances on Glee In concert, Dan has made appearances

(Fox), Gotham (Fox), Viva Luaghlin

with the Youngstown Symphony

(CBS), and worked with Directors Ben

Orchestra, upcoming orchestral

Stiller, Brett Ratner, Ivan Reitman,

powerhouse Rocktopia and Nederlander

and Adam McKay on several films and

Worldwide’s production of Broadway

awards shows out of Los Angeles.

LANSING SYMPHONY ORCHESTRA

LAKISHA JONES, VOCALIST

Best known to millions of TV viewers as a top four finalist during the 2007 season of “American Idol,” LaKisha Jones is ready to reclaim center stage in music, theatre and television. Her last album, “So Glad I’m Me” was

Whitney Houston, Aretha Franklin

full of Jones’ expressive, full-bodied

and Patti LaBelle. She auditioned

and arresting vocals, the same voice

for “American Idol” once before in

that electrified “American Idol” viewers

2003 but didn’t make the cut. Jones

with the Dreamgirls showstopper

drove to New York to audition again

“And I Am Telling You” and later

for “Idol” and made it to the 2007

the Broadway stage in the Oprah

season where she became the fourth

Winfrey produced, Tony Award-

finalist. She segued from “Idol” to the

winning musical, The Color Purple.

Broadway stage for “The Color Purple” where she played two roles: that of

Her drive and motivation dates

a “church lady” and of the pivotal

back to her childhood in Flint,

character “Sophia.” A frequent soloist

Michigan. Raised by her mother and

with symphony around the world,

grandmother, Jones was exposed to

Ms. Jones has performed as a guest

music by legendary singers such as

soloist with the numerous orchestras.

POPS 02 | BROADWAY ROCKS

RACHEL POTTER, VOCALIST Rachel Potter, hailing from St. Petersburg, Florida, began her professional career at Walt Disney World, singing as Ariel, Belle, and Nemo. Her first break into the world

“Another Suitcase in Another Hall”.

of musical theater came when she appeared on MTV’s Legally

Potter went on to become a Top 12

Blonde: The Search for Elle Woods.

finalist on season 3 of FOX’s The X

She had the honor of touring with

for her country rendition of Queen’s

the National Tour of the smash hit,

“Somebody to Love”. Rachel enjoyed

Wicked, where she played the ever

a fruitful solo career, releasing 2

“popular,” Glinda. She later made

solo albums. Rachel has also been a

her Broadway debut as Wednesday

guest soloist with many symphony

Addams in The Addams Family as

orchestras. She is now a member

Morticia. Next, she originated the role

of the band Steel Union, a fresh

of the Mistress in the Tony Nominated

country trio made up of herself, Josh

revival of Evita. She is featured

Matheny and Donny Fallgatter. Their

on the Original Broadway Cast

debut, self-titled EP is available now

Recording singing her standout song,

wherever music is sold or streamed.

Factor, earning international praise

LANSING SYMPHONY ORCHESTRA

POPS 02 | BROADWAY ROCKS

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LANSING SYMPHONY ORCHESTRA

THE

Pops Series

THE MUSIC OF ABBA

04.23.21 POPS SERIES PRESENTED BY AUTO-OWNERS INSURANCE

MAMMA MIA! AND MORE

Timothy Muffitt, conductor featuring Katalin Kiss, Andrea Koziol, Stephanie Martin, and Lis Soderberg

Mamma Mia Knowing Me Knowing You I Do, I Do, I Do Does Your Mother Know Chiquitita Waterloo SOS Fernando Super Trouper INTERMISSION Voulez Vous Summer Night City Lay All Your Love On Me I Have A Dream Money Money Money The Winner Takes It All Take A Chance On Me Gimme Gimme Gimme

POPS 03 | THE MUSIC OF ABBA

TONIGHT’S CONCERT GENEROUSLY SPONSORED BY Güd Marketing MSU Federal Credit Union Plante Moran GUEST ARTIST ACCOMMODATIONS PROVIDED BY Candlewood Suites

Katalin Kiss (top left), Andrea Koziol (top right), Stephanie Martin ( bottom left), and Lis Soderberg (bottom right)

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LANSING SYMPHONY ORCHESTRA

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POPS 03 | THE MUSIC OF ABBA

LANSING SYMPHONY CHAMBER SERIES TIMOTHY MUFFITT, ARTISTIC DIRECTOR

CHAMBER SERIES GENEROUSLY SPONSORED BY VIRGINIA P. AND THE LATE BRUCE T. ALLEN

A series designed to showcase the artistry of Lansing Symphony musicians in an intimate setting and to introduce audiences to talented artists and innovative programing. All Chamber Series concerts are performed at Molly Grove Chapel at First Presbyterian Church of Lansing.

CHAMBER 01 SUN, OCTOBER 17, 3:00pm

CHAMBER 03 SUN, JANUARY 30, 3:00pm

MUSIC FOR FLUTE, OBOE, AND PIANO

CHAMBER MUSIC WITH PERCUSSION

Richard Sherman, flute Stephanie Shapiro, oboe Patrick Johnson, piano

Matthew Beck, percussion Andrew Spencer, percussion Patrick Johnson, piano Lia Wang, piano

CHAMBER 02 SUN, DECEMBER 5, 3:00pm

CHAMBER 04 SUN, APRIL 10, 3:00pm

CONTEMPUS STRING QUARTET

ARTNOVA PROJECT PIANO QUINTET

Ji Hyun Kim, violin Sarah Patterson, violin Christine Beamer, viola Jinhyun Kim, cello

Hyemin Kim, piano Tigran Shiganyan, violin Wen-Yi Lo, violin Yi-Pei Lin , viola Imjeong Choi, cello

LANSING SYMPHONY ORCHESTRA

LANSING SYMPHONY JAZZ BAND

JAZZ SERIES GENEROUSLY SPONSORED BY LANSING BREWING COMPANY

RON NEWMAN, DIRECTOR

Jazz Band Concerts are held at Dart Auditorium on the Lansing Community College campus.

Originally formed in 2001, the Lansing Symphony Jazz Band has the distinction of being one of a handful of jazz groups associated with an established classical orchestra. Performers come from all over the state of Michigan and include jazz musicians who have worked with the famous bands of Count Basie, Buddy Rich, Maynard Ferguson, and many others. The entire spectrum of jazz is showcased by this outstanding band, from the classic pieces made famous by Duke Ellington and Fletcher Henderson, to the contemporary sounds of Woody Shaw and Bob Mintzer.

CHAMBER SERIES / JAZZ BAND

AUTUMN STROLL SUNDAY, NOVEMBER 21, 4:00pm SPRING SWING SUNDAY, FEBRUARY 27, 4:00pm

EDUCATION & COMMUNITY ENGA The Lansing Symphony

FAMILY SERIES

Orchestra is committed

The Lansing Symphony Orchestra partners with the Capital Area District Library, the Broad Art Museum, MSU Community Music School, and other organizations to present an interactive series that connects families and young children with music, art, and literature. This free concert series features performances by LSO musicians. The Family Series performances are held on select Sundays.

to taking an active role in the development of music education programming for Greater Lansing area youth. By bringing music into the lives and classrooms of young audiences, we hope students will acquire an interest in, and appreciation for, orchestral music and their community’s symphony. Visit lansingsymphony.org for more details.

SIDE BY SIDE PERFORMANCE This program gives student instrumentalists an opportunity to perform alongside Lansing Symphony musicians. Students participate in an audition process similar to that of a professional orchestra and those chosen to join the LSO in a rehearsal and the Holiday Pops concert. Students gain the invaluable experience of being part of a professional orchestra. The Side by Side Auditions are held in November. STUDENTACCESS PROGRAM The StudentAccess Program offers $14 tickets to MasterWorks and 50% off tickets to Pops, Chamber, and Jazz Band concerts. Students must possess a valid student ID.

LANSING SYMPHONY ORCHESTRA

AGEMENT SYMPHONY YOUTH COMPETITION

VISITING MUSICIAN PROGRAM

The Symphony Youth Competition is an opportunity for talented high school musicians to develop their skills and musicianship by performing in a competitive setting. Participants are given valuable feedback on their performance from Lansing Symphony musicians and cash prizes are awarded to the top three performers. The Symphony Youth Competition occurs in May.

The LSO Visiting Musician program brings Lansing Symphony Orchestra musicians, both solo performers and ensembles, into classrooms. These educational performances give students the opportunity to experience live music in their own setting, interact with professional musicians, and learn about instruments, music making, and music history.

YOUNG PEOPLE’S CONCERT: LINK UP Conductor Timothy Muffitt and the Lansing Symphony present a full, interactive orchestra concert on the Wharton Center stage. Link Up is a partnership with Carnegie Hall and has become a model for implementing high-quality arts education in schools nationwide. For a small per student fee, schools are provided with student workbooks, teacher guides, and a professional development course for in-class lessons on the Link Up materials. For an additional fee, teachers receive recorders that students can play during the concert. Students perform what they have learned from their teachers in the classroom in an exciting performance with the Lansing Symphony.

MASTER CLASSES WITH GUEST ARTISTS The Lansing Symphony Orchestra collaborates with guest artists and composers to offer masterclasses for middle school, high school, and college students. Master classes cover a wide range of topics such as basics of orchestral playing, audition preparation, and general performance guidance. FAMILY FUN CARD The Family Fun Card offers $10 MasterWorks, Chamber, and Jazz Band tickets and 50%-off Pops tickets, excluding Holiday Pops, for the entire family with a $25 yearly membership fee. Limited availability.

EDUCATION & COMMUNITY ENGAGEMENT

VOLUNTEERING FOR THE LSO If you are interested in volunteering, please call the office at (517) 487-5001 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 Our staff often needs help with general office tasks such as filing, mailings and answering phones. CONCERT/PROGRAM ASSISTANCE We need ushers and general assistance for our Chamber, Jazz Band, and Young People’s Concerts. PUBLIC RELATIONS/MARKETING We need volunteers to help distribute posters and brochures throughout the Lansing area to advertise our performances. EDUCATION Our staff appreciates any assistance for educational programs that go on throughout the season.

PRO SYMPHONY Paula Weiner and Marcia Stockmeyer, CO-PRESIDENTS Mandi Meyen, SECRETARY Jacqie Babcock, TREASURER Shirley Paxton and Jacqie Babcock, PAST CO-PRESIDENTS The Pro Symphony organization was founded in 1947. Over the years our members have been loyal supporters of the Lansing Symphony raising and contributing substantial monies from fundraising projects and serving in various capacities. We generally hold three business meetings per year to plan our activities. Currently, we provide refreshments for orchestra members at dress rehearsals and for Chamber Concert attendees. In fundraising, we hold a Geranium Sale in May and a Poinsettia Sale in December. These projects enabled us to make a gift of $10,000 to the Symphony last season, even during COVID. We invite new members to join this group of committed women who enjoy working together in a common cause. Pro Symphony is an excellent opportunity to invest in the Orchestra in efficient and satisfying ways. The annual dues are $20. Please email Mimi LaLonde at bufnmuf@att.net for additional information regarding membership or our activities.

LANSING SYMPHONY ORCHESTRA

LANSING TOWN HALL Susan Coley, PRESIDENT Carol Dooley, VICE PRESIDENT Patty Greene, SECRETARY Kathy Humphrys, TREASURER Through its Celebrity Lecture Series, Lansing Town Hall has provided support for the Symphony’s annual operations since 1953. Patrons meet at the Eagle Eye Golf and Banquet Center in Bath, Michigan for a onehour lecture, followed by an optional luncheon and opportunity to ask the guest speaker questions. Typically, the Celebrity Lecture Series consists of four lectures per season, but due to COVID, the 2021/22 season is an abbreviated one with two lectures. For the abbreviated season, subscriptions are $110 for the two lecture and lunch sessions (including Q & A with the speaker) and $60 for lectures only. Individual tickets can be purchased at the door, subject to availability. The 68th season features Literature Professor Joseph Luzzi on April 25, 2022, and Cultural Historian Louis Masur on May 9, 2022. Additional information about the series is available at lansingsymphony.org or by contacting the Lansing Symphony office at (517) 487-5001.

VOLUNTEERING ORGANIZATIONS

CORPORATE LEADERS FOR THE AR 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

JEFF TAGSOLD, CHAIRMAN & CEO “ Auto-Owners is pleased to once again support the Lansing Symphony Orchestra. We have been Lansing-based for over 100 years, and are appreciative of such organizations that enrich the culture of the Greater Lansing community.”

BUCKINGHAM STRATEGIC WEALTH STEVE HICKS & ROGER MILLBROOK, WEALTH ADVISORS

“ Buckingham Strategic Wealth is proud to support the Lansing Symphony Orchestra as part of our continued desire to support children, education, and the greater Lansing community.“

LANSING SYMPHONY ORCHESTRA

RTS CHALGIAN & TRIPP LAW OFFICES, PLLC DOUGLAS G. CHALGIAN, PARTNER

“ Chalgian & Tripp Law Offices is pleased to support the Symphony.”

FINANCIAL TECHNOLOGY, INC. JOHN P. GINGAS, PRESIDENT

“ The investment advisors and staff at Financial Technology, Inc. are proud and honored to support the Lansing Symphony Orchestra. Your music enriches our community and enhances our lives.”

GÜD MARKETING

DEBBIE HORAK, PARTNER “ Not being able to attend LSO performances in 2020 was a sad reminder of how badly I missed not only the music, but the personal connection to the community that I enjoyed. I’m simply delighted to be back.”

CORPORATE LEADERS FOR THE ARTS

CORPORATE LEADERS FOR THE ARTS JACKSON NATIONAL LIFE

DANIELLE ROBINSON, ASST. VICE PRESIDENT, CORPORATE PHILANTHROPY, JACKSON® “ Jackson believes cities with vibrant arts and culture bring residents closer together while instilling pride and a strong sense of community. We are pleased to support the Lansing Symphony Orchestra, especially their outreach and education programs, increasing access to the arts in Lansing.”

LOOMIS LAW FIRM KEVIN J. RORAGEN,

SHAREHOLDER/ATTORNEY “ Congratulations to LSO and Maestro Muffitt on the 92nd season of providing our region with unparalleled artistic and cultural excellence. LSO leads the way for our community to discover the joy and wonder of live performance, and the human connections those experiences cultivate.”

MSU FEDERAL CREDIT UNION APRIL CLOBES, PRESIDENT/CEO

“ MSU Federal Credit Union is pleased to continue our support of the Lansing Symphony Orchestra. The arts remain an important part of a vibrant community, and we look forward to a wonderful season of LSO performances.”

LANSING SYMPHONY ORCHESTRA

92ND SEASON

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.”

PLANTE MORAN

KATIE THORNTON & CHRISTINA FERLAND, PARTNERS “ Plante Moran and Plante Moran Financial Advisors are proud to be a sponsor of Lansing’s influential musical contribution to the community. For the 21-22 concert series, we look forward to The Music of ABBA: Mamma Mia! And More!”

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.”

CORPORATE LEADERS FOR THE ARTS

92ND SEASON

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.”

Alisa Weilerstein & Inon Barnatan

February 11

Russian National Orchestra

February 14

An Evening with Itzhak Perlman May 3

20 2 1-20 2 2 S E A S O N

TI CK E T S O N S A LE N OW! W H A RTO N CENTER.CO M • 1-80 0-W H A RTO N

LANSING SYMPHONY ORCHESTRA

PREVIEW CONVERSATIONS WITH JODY KNOL 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 history of the music, and listen to the artists who will be performing. PreViews are a great opportunity to feel more connected to the evening’s program and the musicians who will perform it.

PREVIEW CONVERSATION GENEROUSLY SPONSORED BY MSU Federal Credit Union

PREVIEW CONVERSATIONS

Jody Knol began announcing classical music on 90.5 WKAR while a student at MSU in 1982. After receiving his degree in Interdisciplinary Humanitiesmusic, theater and political scienceJody worked as chief announcer for WMUK in Kalamazoo for two years before returning to WKAR in 1986. He currently hosts the morning classical program from 9:00 am to 1:00 pm weekdays. Jody’s association with the Lansing Symphony Orchestra began in 1986 when he hosted LSO broadcasts on 90.5 Classical. Lansing Symphony recordings are now part of Great Lakes Concerts which Jody produces and hosts. Great Lakes Concerts air Saturdays at 12:00 pm on 90.5 FM and WKAR.org, Sundays at 10:00 am on WRCJ, Detroit, and Mondays at 6 pm on Classical IPR, Interlochen. This is Jody’s fifteenth year hosting Lansing Symphony PreView Conversations.

SYMPHONY SUPPORTERS MAESTRO SOCIETY GOLDEN BATON CIRCLE $25,000+ Capital Region Community Foundation Catherine Claypool & the late Allan Claypool Jackson National Life Insurance Company James D. Noble Trust Lansing Town Hall Series, Inc. Michigan Economic Development Corp. MSU Federal Credit Union CONCERTMASTER CIRCLE $10,000 TO $24,999 Anonymous Joseph & Beth Anthony Sam & Mary Austin David H. & Patricia Brogan City of Lansing April Clobes & Glen Brough Sue Coley & Don LeDuc Donald & Jan Hines Thomas & Wendy Hofman Darcy & Hudson Kerr John & Fran Loose Michigan Council for Arts & Cultural Affairs Bill & Shirley Paxton Pro Symphony Randolph Rasch Traction Worthington Family Foundation

PRINCIPAL PLAYER CIRCLE $5,000 TO $9,999 Virginia P. & the late Bruce T. Allen Charles Ballard & June Youatt Jenny Bond Sue Davis Linda & Bill Demmer Ronald & Carol Dooley Eileen Ellis Enterprise Holdings Foundation Granger Foundation Güd Marketing Cliff & Sue Haka Joe D. Pentecost Foundation Hari Kern Richard & Lorayne Otto PNC Foundation R.E. Olds Foundation Jonathan & Amy Riekse Lyn Donaldson Zynda MUSICIAN CIRCLE $3,500 TO $4,999 AF Group Arts Council of Greater Lansing Donald Dickmann & Kathleen McKevitt James & Marcia Engelkes Sam & Liz Febba R. Samuel & Jean Holland Michael & Betty Moore Francis & Irma Moss Timothy & Elise Muffitt George & Marilyn Nugent David & Marilyn Nussdorfer

LANSING SYMPHONY ORCHESTRA

COMPOSER CIRCLE $2,500 TO $3,499 Charles & Nadean Hillary Travis & Courtney Millbrook Kevin & Jill Roragen Katie Thornton Jane Vieth John & Susan Wallace CONDUCTOR CIRCLE $1,000 TO $2,499 Karlis Austrins Pat Barnes-McConnell Mary Ann Beekhuis Daniel & Leona Bronstein Anita Calcagno Bruce Caltrider Sulin Campbell Thomas & Denise Carr Peter & Trudy Chiaravalli Jon & Sonja Coleman Comerica Bank Errikos & Manya Constant Don & Christine Cooley Maria Costa-Fox John & Martha Couretas Edwin & Karen Dichoza David & Connie Donovan Emerson W. Ebert Sharon Feldman John & Maxine Ferris John & Gretchen Forsyth William Fullmer Dave & Kathryn Gillison Roger & Marilyn Grove Kurt & Barbara Guter

SYMPHONY SUPPORTERS

Jeff & Sally Harrold Ralph & Pat Hepp Bill Jaconette John & Margaret Jones Ron & Mary Junttonen Michael & Paula Koppisch Catrice Lane C.R. Lavey Karen Lewis Mary Liechty Sarah Maldonado David & Mandi Meyen Andrew & Josephine Michelakis Robert & Shelagh Miller James & Sue Miller David & Jill Mittleman Elinore Morin & Norman Birge The Louis & Helen Padnos Foundation Charles & Ginger Petty James Phillips Ronald & Helen Priest James & Mary Savage Robert & Rosemary Schaffer Judith & Bud Shulman Shirley Sliker Hal & Elizabeth Spaeth J. Clyde & Marcia Spencer Otto & Marcia Stockmeyer Greg & Joan Uitvlugt Ralph & Albertine Votapek Bill & Paula Weiner Clarence Weiss Richard & Joan Witter Joan Wright Rose & Jim Zacks Joel & Linda Zylstra

SYMPHONY SUPPORTERS NOTEWORTHY SOCIETY

Madeline Trimby & Robert Walter Rick Wendorf

WHOLE NOTE SOCIETY $600 TO $999

HALF NOTE SOCIETY

Anonymous

$300 TO $599

Carol Beals-Kruger

N.L. Abramson

Matthew & Shelley Beck

Jeffrey Anderson & Jason Joostberns

Emmett & Karen Braselton

Rachel Asbury

James Dalley & Lois Brennan

Philip & Jacqie Babcock

Greg & Chrissie Brogan

Pamela K. Baker

Suzanne Brouse Harry & Ruth Ann Brunet Renate Carey Robert & Connie Cullum Don & Evelyn Davis Erik Drake Clyde & Karen Flory Bryce & Judith Forester James & Tina Grant Dale & Mary Harpstead Thomas & Lynne Hoffmeyer Mark & Marcia Hooper Chris & Deb Horak Richard Johnson Jody Knol Manoochehr & Laurie Koochesfahani

Robert F. & Clare M. Banks Dale Bartlett Kenneth C. Beachler John & Susan Brewster Alex & Mary J. Brown Tom Burchman Nancy Colflesh Mary Jo Corbett Barb Cutshaw Dart Bank Ronald & Glenda Davis C. B. & Jill Dehlin Kenneth & Katherine Dimoff Adam & Yarwijn Dutkiewicz Gary & Elaine Gillespie

Steven & Maria Leiby

Glen Granger

Ian & Kathleen McLeod

Norman & Karen Grannemann

Irv Nichols

Leon & Linda Gregorian

David O’Leary

Susan Grettenberger & Nicole Springer

Bruce K. & Lois Omundson

Leta Guild

George Orban

Robert & Anne Hackmann

Richard & Susan Patterson

Deborah Harrison

Jacqueline Payne

Quincy Hawkins

Edgar & Mary Ploor

C. Richard Herrold

Mark & Charlene Reckase

David Hill & Elizabeth Rice

Michael & Kathleen Rhodes

Max & Mary Hoffman

William & Janice Simpson

Joel Hofman

Kenneth & Louise Somerlot

Melvin & Verna Holley

Jeff & Angela Straus

Ann Holmes

LANSING SYMPHONY ORCHESTRA

92ND SEASON

Julie Horn Alexander

Douglas B. Roberts

Anne House

Frank & Susan Roggenbuck

Robert Hughes

Jane Schoneman

Colleen Hyslop

Mary Sharp

Karen Jurgensen

Peter & Elizabeth Signell

Tim & Melissa Kaltenbach

Zoe Slagle

Marilyn Kesler

David & Michelle Solorio

Boyd Kinzley

Pauline Sondag

Mary Ellen Lane

Tom & Kay Sparks

Carl & Margaret Liedholm

Dawn Stiles

Raymond Lincolnhol

Fred & Susan Stinson

Gus & Katie Lo

Emily Tabuteau

David & John Henry Lockman

Joan Travis

Gary & Carol Lundquist

Robert & Joan Trezise, Sr.

James & Valerie Lynch

Frank & Carol Webster

Barbara & Lockwood Lyon

William & Joelene Wellman

Bill & Sue MacLeod

Denise Wheaton

Marguerite A. Mahler

Gregory & Joan Wierzba

Peggy Malovrh

Ron Newman & Sunny Wilkinson

David & Catherine Marr

Robert & Charlotte Wilks

Jim & Sally McCoy

Amy Winans

Mary Mcculloch

Nathan Wood

Timothy & Nancy McKay

Bill Woodbury

Richard & Sue Mermelstein

Michael & Linda Woodrow

Roger & Kay Millbrook

Ellen Zienert

Cecil Miller Lyle S Mindlin & Julie LaFramboise

QUARTER NOTE SOCIETY

Carol Molloy

$100 TO $299

Bunee & Steve Morrison

Anonymous

John R. Nosal

Gerald & Jean Aben

Gerold & Donna Oade

Pauline Adams

Ronald & Katherine O’Neill

Bruce Alexander

Robert & Ann Page

William & Jane Allen

Jeffrey Wooldridge & Leslie Papke

Bonnie Allmen

Janet Patrick

Kevin & Lea Ammerman

Andy Poland

Scott & Brenda Ammon

Rod & Therese Poland

Robert & Elizabeth Anderson

Paul Pratt & Denise Chrysler

J. V. & Sarah Anderton

Joyce Preston

Jill Andringa

David Rayl

William Archer

SYMPHONY SUPPORTERS

SYMPHONY SUPPORTERS Deb Armstrong

Dominic Cochran

Rebecca Armstrong

Daniel Cogan

Marcus Aw & R Cole Bouck

Dave Conley

Rebecca Bahar-Cook & Todd Cook

Lisa Corless

Walter & Marilyn Baird

John & Alison Cruise

Richard & Kathy Ballard

Ken & Elly David

Robert Bao

Tony Dean

Patty & John Barnas

Joan Deschamps

Lawrence Barnes

Robert Dewaal & Christine Aiello

Robert & Laurie Barnhart

Greta & Nicholas Dewolf

Cheryl Bartholic

Jean Dietrich

Laura Bates & Joseph Verreau

Susan Dixon

Joan Bauer

Sara Dolan

Mark & Christine Beagle Christopher Behrens David A Betts Tom & Stacey Bieler Gerald & Linda Blair Thomas & David Block-Easterday Basil & Coralene Bloss Dave & Robin Bolig Charles & Kathleen Bonneau Phil & Mary Booth Charles & Barbara Breneman David Brower Jeff & Karin Brown Karl & Brigitta Bruning Norris & Carol Bryson

Tiffany Dowling Richard & Doris Drake Ed & Nicky Dudgeon Darrell F. Duffield Sal Durso Virginia Ederer Steven & Cathleen Edgerly James Eisele Suzanne Fabian Bill & Linda Farmer-Lewis Ed Fedewa Christina & Mike Ferland James & Marny Figenshau Gregory Fink Dave & Pat Finnie Mary Anne Ford & Scott Schrager

Cynthia Campbell

James Forger & Deborah Moriarty

David & Sherry Campbell

Stephen & Shelby Foster

Grace Caruso

Betty Francis

Stella Cash

Barbara Free

Margaret Castner

Ellen Gallavan

Michael & Camillia Cavanaugh

Susanne Garber

Chalgian & Tripp Law Offices PLLC

Diane Gartung

John & Donna Charamella

Maggie Garza

Phillip Churchill

Thomas & Kathleen Giddings

James & Barbara Clark

Al Gileczek

Gary & Terri Climes

Sharon E. Gillison

100

LANSING SYMPHONY ORCHESTRA

92ND SEASON

Joseph P Gillotte Jr.

Michael Kamrin & Kather-

Ken & Karen Glickman

ine O’Sullivan See

Thea Glicksman

Don & Liz Kaufman

Alfred & Judith Goodson

Sheila Kelly

Sharon Granger

Susan Kilmer

Mary Ellen Greene

Larry & Katherine King

Merilee Griffin

Bruce Klunzinger

Ralph & Suzanne Haefner

Christine Knapp

Jerome Hagedorn

Jeff Kressler

Cindy Hales

Meredith & Adrian Krygowski

Richard & Marilyn Hallgren

Stephen & Nancy Lange

Tom & Linda Hardenbergh

Lansing Art Gallery

Jack & Laurie Harkema

Thomas L. Lapka & Family

Judith Harlin

John & Beth Lawrence

Stephen & Karen Harsh

Susan LeDuc

Patricia Hastay

Richard & Madeleine Lenski

Jeremy Hatch

Suzanne Levy

Steve & Pam Hawkins

Andrea Lindemeyer

Lawrence & Mary Hennessey

Willie Longshore &

Cynthia Herfindahl

Margaret Fankhauser

Robert Herner

Chris & Krista Loose

Mike Hicks

Nora Luke

Richard & Susan Hill

Lois Lynch

Mary Beth Hines

John & Diane MacDonald

Dr. Karen Hinkle & Tom Sullivan

Robert & Melany Mack

Doug & Ellen Hoard

Cecil & Clare Mackey

Elinor Holbrook

Paul Malewski

John & Connie Holck

William & Carol Marr

John & Patricia Hollenbeck

David & Jennifer Marsh

David & Christine Hollister

Joan & Jerry Mattson

Coeta Holloway

Christopher & Mindy McComb

Daniel A. Horn

Dennis McGeen

Joann Hubbard

Michael & Terry McLeod

Beth Hubbell

Pat McPharlin

James & Krista Hunsanger

Martin Mecher

Jeff Jackson

Paul & Bettie Menchik

Jeffrey Johnson

Patricia Menning

William & Jacqueline Johnson

Grace Menzel & J.B. McCombs

Donna Kachmarchik - Kregelka

Doug & Barbara Mercer

Doug & Alison Kahl

Bob & Nancy Metzger

SYMPHONY SUPPORTERS

101

SYMPHONY SUPPORTERS Milan & Pam Miklavcic

Dawn Pysarchik

Sue Mills

Jan & June Raad

D. Brandon Minnick &

Sobha Ramanand

Summer Hallwood Minnick

Jonathan & Elizabeth Reed

Thomas Minter

Lucinda Reed-Nowland

Catherine Mitchell

Michael & Brenda Regentik

Douglas Moffat & Cara Boeff

Ted Reinbold

Harry & Susie Moore

Thomas & Martie Repaskey

Kenneth Morrison

Matt Resch

Neil Mueller & Shawnthea Monroe

Lewis & Monica Resnick

Scott & Barb Myckowiak

Michelle Reynaert

Nicholas Nelson

John Roberts

Richard & Shirley Nelson

Roberta Roden

Robert & Carol Nelson

Pat & Tom Ryan

Barbara Newman

Roy Saper & Nell Kuhnmuench

Kevin & Barbara Nilsen

William Saul

Elaine Noffze

Barbara Sawyer-Koch

Maureen O’Higgins

Gerhardus & Joanne Schultink

Sam & Jeff O’Neill

Rachel Schumann

Mike & Elizabeth Otis

Martin Schwartz

Jamie Paisley

Stephen & Colleen Serkaian

Mark Papsidero

Mary Shankland

Vicki Paski

David & Bette Shattler

Allan & Joyce Pearson

Gregory Shaull

Janice Peck

Mary Ellen Sheets

John & Carrie Pence

Richard Sherman

David & Kathleen Peters

Dotti Shonkwiler

Maria Pettyes

James Sinadinos

Mary Pierce

David & Sharon Sinclair

Mike Pike

Philip & Carolyn Sinder

Julie Pingston

Michael Sipek & Sara McKinnon

Jason Pisarik

Eleanor Sitts

Ellen Pollak & Nigel Paneth

John Dale Smith

Chloe Polzin

Linda L. Smith

Scott & Elizabeth Pratt

Noah & Jennifer Smith

Brad & Jane Pryce

William & Mary Lou Somerville

Jake Przybyla

Robert & Wendy Spagnuolo

Jerry & Judith Puca

Marc & Mary Speiser

Ira & Ann Purchis

Andrew Spencer

Catherine Purdum

Sam Spurbeck

102

LANSING SYMPHONY ORCHESTRA

92ND SEASON

Loretta Stanaway Stan & Cindy Starnes Michael & Carole Steinberg Chris Stephenson & Becky Sundeen Brenda Sternquist Jean Stewart Kelly Sudderth-Truscott Clarence & Loretta Suelter Christopher & Rebecca Surian Emily Sutton-Smith Bob & Renee Swanson Hannah Szegedy Betty Tableman Jeff Tagsold Judy Tant Susan Tenny Daniel Thelen

Eric Wildfang Bill & Carol Ann Wilkinson Keith & Nicole Williams Denise Williams Jeff Williams Brian Wilson Marna Wilson Nancy Wilson Troy Wilson Min & Hayong Yun Catherine Zell Paula Zera Kevin & Jennifer Zielke Susan Zimmerman The donor listing includes gifts received between July 1, 2020 and June 30, 2021

Bob Thomas Tara Thyen Amy & Dave Tratt Robert & Kerri Trezise Stacey Trzeciak Zeynep Ustunol George & Georgia Valaoras Charlene Vanacker Sue Vanator Walter & Elsa Verdehr William & Virginia Vincent Tim & Ann Vogelsang Anne-Marie & Thomas Voice Barb Walkington Marion Walsh Colton L. Wansitler Darryl Warncke Jane Waun Jane Wei Janet Welch Jamie Whisnant Donald & Sally Wilcox Joyce Wildenthal SYMPHONY SUPPORTERS

103

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

ANITA ANDRINGA Monica Gardner Travis & Courtney Millbrook

JACK DAVIS John & Gretchen Forsyth Richard & Sue Mermelstein Travis & Courtney Millbrook David & Jill Mittleman Michael & Betty Moore James & Gloria Pocock Bill & Paula Weiner

GENEVIEVE BAKER Eileen Gerard John Hills Janet Welch

MARY FULLMER Edwin & Karen Dichoza Charles & Nadean Hillary Travis & Courtney Millbrook

ERNA BELLE & BING HULL Anonymous

ALLAN CLAYPOOL Kenneth C. Beachler David H. & Patricia Brogan John & Gretchen Forsyth Charles & Nadean Hillary Donald & Jan Hines Travis & Courtney Millbrook Michael & Betty Moore Jane Vieth Trisha & Shinichi Yukawa

ROBERT HOOD Anonymous Kenneth C. Beachler David H. & Patricia Brogan Sue Coley & Don Leduc Jennifer Early Richard & Linda Fairchild Judy Green & Ron Welch Charles & Nadean Hillary Doug & Alison Kahl James & Valerie Lynch Merten Agency, Inc. Travis & Courtney Millbrook Robin & Betsy Miner-Swartz Bud & Bonnie Niceley Aron Weiner

KAREN DOUGLAS Lansing Town Hall Series, Inc.

CAROL KAHN Kenneth C. Beachler

JANE ANDERSON Jeffrey Anderson & Jason Joostberns

EDWIN BLADEN Paula Bladen

ANDREW MICHELAKIS Joesphine Michelakis 104

LANSING SYMPHONY ORCHESTRA

92ND SEASON

JEAN MUFFITT Joseph & Beth Anthony Edwin & Karen Dichoza Travis & Courtney Millbrook Michael & Betty Moore LISA REPASKEY Shirley Sliker CHARLOTTE SHERMAN Tom Burchman Edwin & Karen Dichoza Shannon Fineout Leon & Linda Gregorian Betty Hall Marilyn Kesler John Kroneman Mary & Tom Lovik Travis & Courtney Millbrook Jeffrey Padden Janice Peck Sheryl Quinn Randy & Gretchen Rhoades Jim & Joanne Snoddy George & Judith Spencer Barbara Stauffer Kathleen Sweeney Karen & David Viele Mark Votapek Bill & Paula Weiner James Youngdahl Fred & Betty Zydeck Jacqueline Zydeck

GEORGE STEPHENS Deborah Harrison Hari Kern BARB WHITE Lansing Town Hall Series, Inc.

GIFTS IN HONOR VIRGINIA ALLEN Ronald & Carol Horowitz DAVID & PATRICIA BROGAN Greg & Chrissie Brogan JAMIE DAVIS Dart Bank SUSAN EDMINSTER & LIEF FINDSEN Hari Kern JAN HINES Mary Beth Hines ELINORE MORIN Grace Menzel & J.B. McCombs DR. EMILY TABUTEAU Jane Vieth

EMILY FAYE SINCLAIR Michael & Betty Moore GIFTS IN MEMORY / GIFTS IN HONOR

105

PROGRAM BOOK ADVERTISERS Adna Technologies......Inner Front Cover AF Group.......................................................49 Audi Lansing................................................. 51 Auto-Owners.............................Back Cover BRD.................................................................70 Buckingham Strategic Wealth ............. 67 Candlewood Suites ..................................68 Capital Region International Airport............................ 52 Centennial GroupPrincipal Financial Group................... 73 Chalgian & Tripp.........................................46 City Pulse......................................................45 Clark Shaefer Hackett CPAs & Advisors....................................60 Clark Trombley Randers..........................80 Creative Wellness......................................45 Dart Bank......................................................48 Financial Technology............................... 73 First National Bank of Michigan..............................................48 Granger Waste Services.......................... 79 Gravity Works Design and Development..................................80 Güd Marketing............................................. 59 Horizon Bank............................................... 79 Independent Bank..................................... 62 Jackson National Life...............................50 Kellogg Center............................................ 73 Lansing Art Gallery.................................... 62

106

Lansing Brewing Company.................... 56 Lansing State Journal............................... 58 Lansing Town Hall.....................................69 Loomis Law Firm............Inner Back Cover Maxson Dental............................................. 56 Morton's Fine Catering............................54 MSU College of Music................................ 61 MSUFCU........................................................ 47 Nelson Gallery............................................. 65 Neogen........................................................... 83 Newman Lofts.............................................54 Opera Grand Rapids................................. 63 Pizza House.................................................. 55 Plant Professionals.................................... 74 Plante Moran................................................ 74 Plas-Labs........................................................ 16 ProAssurance.............................................. 67 Redhead Design Studio........................... 65 Saper Galleries and Custom Framing.................................... 79 Serra Auto Campus................................... 53 Sparrow Foundation.................................64 Sutton Advisors PLC................................ 83 The Davies Project.....................................80 Traction.......................................................... 57 Wharton Center for Performing Arts.....................................94 Williamston Theatre..................................45 WKAR.............................................................66

LANSING SYMPHONY ORCHESTRA

Loomis Law Firm is Proud to Support the MasterWorks Series in Memory of Jack C. Davis. Jack Davis was a founding member of the Loomis Law Firm, a colleague, mentor, and friend to many at the Firm and in the community. He was also a passionate supporter and patron of the Lansing Symphony Orchestra for several decades. We are pleased to honor his legacy and remember him with our support for his hometown orchestra.