Classical Music for Everyone

CLASSICAL MUSIC for EVERYONE We st Mi c h i ga n Sympho ny / 1st Edit io n / 2016-2017

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reasons why going to the symphony is cool

questions

Frequently asked (including when to clap)

Reimagining and reinvigorating classical music Austin Wintory

smart SCOTT SPECK

PLAYING IT

This magazine contains a complete 2016-17 concert season listing, along with references to its companion book, Classical Music for Dummies written by David Pogue and our own maestro, Scott Speck!

Can you picture yourself at the West Michigan Symphony? You should! Because...

CLASSICAL MUSIC IS FOR EVERYONE YOU COULD BE HERE

OR HERE HOW ABOUT HERE?

MAYBE HERE

Find out how to get the best seats on page 15.

Join us next season as we continue the popular Lunch n’ Learn series.

The Block | 360 W Western Ave | 2nd floor Coffee and water provided, bring your own lunch | Doors open at 11:45 am Wednesday, November 9, Noon Lunch n’ Learn: EP!C Wednesday, January 11, Noon Lunch n’ Learn: Vivaldi Recomposed Wednesday, February 1, Noon Lunch n’ Learn: Beethoven Triple Wednesday, March 8, Noon Lunch n’ Learn: Classical Music for Everyone Wednesday, May 17, Noon Lunch n’ Learn: Rachmaninoff no.3 Sign up for our e-newsletter to get updates.

Classical music has been all around you since you were still in the womb – on elevators, in the background of movies, in TV commercials, and just about everywhere else you want it to be. But although you may have heard it, you’re finally about to start listening to it, and getting it!

David Pogue and Scott Speck, Classical Music for Dummies Edited by Natalie Carmolli for the West Michigan Symphony. Design by Keely Payne-Schneider for the West Michigan Symphony.

ON THE COVER: West Michigan Symphony Music Director Scott Speck at the WMS offices in front of Petits Fours on Orange (2014) by Christy De Hoog Johnson.

O NL IN E R E S O U R C ES

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S O C IA L C O M M U NI T Y

CONTENTS 02 ON THE COVER

AUSTIN WINTORY: REIMAGINING AND REINVIGORATING CLASSICAL MUSIC ON THE COVER

PLAYING IT SMART

By Scott Speck

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LETTER FROM CARLA HILL AND SCOTT SPECK

ON THE COVER

8 REASONS GOING TO THE SYMPHONY IS COOL

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STYLE: WHAT TO WEAR TO THE SYMPHONY

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SEASONS AT A GLANCE A quick look at the upcoming 2016/17 WMS and Block concert season.

2016/17 WMS SEASON

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A complete concert listing, with a guide to our concert companion book, Classical Music for Dummies, Second Edition written by David Pogue and our own maestro, Scott Speck!

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WMS SEASON TICKET INFORMATION

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HOW TO GET THE BEST SEATS

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Y O U R IN BO X

FREE WEEKLY E-NEWSLETTER Get all the latest and greatest about upcoming concerts and special events.

Visit westmichigansymphony.org/contact

F IN D U S West Michigan Symphony 360 W Western Ave, Suite 200 Muskegon, MI 49440 231.726.3231 The Block 360 W Western Ave, 2nd Floor Muskegon, MI 49440 231.726.3231

ON THE COVER

FREQUENTLY ASKED QUESTIONS

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2016/17 BLOCK SEASON

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THE BLOCK SEASON TICKET INFORMATION

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SEASON TICKET ORDER FORM

A complete concert listing for the upcoming Block season.

LETTER CARLA HILL WMS PRESIDENT AND CEO SCOTT SPECK WMS MUSIC DIRECTOR

DEAR FRIENDS,

We are thrilled to usher in the 2016-17 season of your West Michigan Symphony, as it is one of the most exciting seasons we have planned to date.

In fact, you could say that it has EPIC! written all over it.

Of course you expect to hear the superb music of the West Michigan Symphony orchestra, and there is plenty of that to be had. Our talented orchestra members will be featured in such works as the Beethoven Triple and in the immense sonic landscapes of Respighi, Dvorák, ̌ Tchaikovsky and Rachmaninoff. We’re also pleased to report that many of our 2016-17 season concerts will again feature our spectacularly talented guest artists, including the long-awaited WMS debut of Van Cliburn Gold Medalist, pianist Olga Kern.

More exciting news is that we have enlisted the talents of a composer-in-residence for the 2016-17 season, Austin Wintory. Austin will be composing two exciting new works for the West Michigan Symphony next season. The first will kick off our season as it is included with great motion picture scores in our “Heroes and Villains” concert. The second time you’ll get to experience Austin’s work will be in the November concert which is named after his composition, “EPIC!”

has much more music in store for us, as he helps us redefine the roles of a composer and orchestra in the 21st century. You can read more about Austin and his pieces in the pages of this magazine.

Also, you may begin to see that we are reaching out to make classical music accessible to a larger audience by extending the Classical Music for Everyone theme. Inspired by its second edition printing of Classical Music for Dummies, (authors Scott Speck and David Pogue) we are creating teachable moments that we hope will deepen your relationship with the music and demystify some of the closely-held traditions that surround it. When you see this icon in a concert description you’ll know that you can reference the Classical Music for Dummies book to learn more about that concert’s works and composers. You will have the opportunity to purchase that book in the lobby next season. We also plan to continue the popular Lunch n’ Learn sessions to help you build a stronger relationship to the music, our musicians, and our guest artists.

Of course, there’s a wide array of musical genres also represented in the 2016-17 season at The Block. From chamber music, to jazz to concerts featuring vocalists, there’s something for everyone at our cool little “alternative” concert hall. There’s a full calendar of events for The Block also featured in this magazine.

We see each concert we produce as a new and different opportunity to connect with you through the sublime and powerful medium of music. You are why we make this music—if we create programming that educates and excites you, delivered in an atmosphere that feels warm and welcoming, then we have done what we set out to do.

Austin has made a name for himself in concert, on film, and even in video game music—and he was the first composer ever to receive a Grammy nomination for a video soundtrack. His Nascence and Apotheosis from Journey, with its lush cello solo, highlighted last October’s concert. Austin

c i s u M l a c i s s a l C

$24.9

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A limited number of the 1st edition of Classical Music for Dummies, which includes the audio CD will be available for purchase at the 2016-17 concerts.

Classical Music for Dummies, 2nd edition, which includes a link to obtain the audio tracks online, is available for online purchase through dummies.com.

REIMAGINING AND REINVIGORATING CLASSICAL MUSIC Austin Wintory joins the West Michigan Symphony this season for the first of a three-year composer residency program. The purpose of the residency is not only to create new music and promote an awareness of it, but also to explore ways of reimagining and reinvigorating the presentation of the classical music art form. After over a century of reliance on a standard, essentially unchanged performance model, the classical music world is in need of new ideas. Austin Wintory will bring his fascination with alternative concert models to the West Michigan Symphony and together they will explore practical, sustainable options for classical music presentation. This kind of music exploration has the potential to last well beyond the duration of the residency.

In the words of West Michigan Symphony Music Director Scott Speck: “With this residency, we are not interested in creating a onetime event. Our overarching goal is to create a new model that will substantively improve best practices for the presentation of our beloved classical music around the country.”

YEAR ONE IS EPIC! Austin Wintory’s residency starts with our first concert in the 2016-17 season, titled Heroes and Villains. With a new work that he will create from the music he composed for the video game Assassin’s Creed, Wintory’s Assassin’s Dances will epitomize the world that is so clearly divided between good and evil in video gaming. The 2016-17 season will also bring a world premiere of a commission of Wintory’s EPIC!

austin wintory COMPOSER-IN-RESIDENCE

his chamber works at The Block, collaborate with the award-winning New Music Ensemble at Grand Valley State University (appearing at The Block 2/25/17), and give composition masterclasses at schools throughout West Michigan.

In Austin’s words, the purpose behind composing EPIC! is “… to parody the ceaseless fascination with so-called ‘epic’ music in today’s modern literature and simultaneously create a love letter to that culture and celebrate the diverse, highly energized stream of information we live in today.”

Grammy-nominated and two-time British Academy of Film and Television Arts (BAFTA) Games Award-winning composer Austin Wintory’s career has straddled the worlds of concert music, film, and video games. In 2012, Austin’s award-winning soundtrack for the hit PlayStation3 game Journey became the first ever Grammy-nominated video game score. Since Journey’s release he has composed The Banner Saga which netted two more BAFTA nominations and was met with critical and commercial success. Most recently, Austin wrote and produced the score for Ubisoft’s latest entry to their famed Assassin’s Creed franchise: Syndicate.

ASSASSIN’S CREED: SYNDICATE <

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During his residency, Austin Wintory will collaborate with WMS in brainstorming and visioning meetings regarding the future of our art form. In addition, he will participate in open rehearsals of his music; join the orchestra onstage to introduce his work; lead a program of

JOURNEY

on November 11. In this witty yet reverent piece, Wintory both honors and skewers the characteristic clichés inherent in the “epic” film soundtracks of our time: powerful brass, assertive rhythms, a deep, insistent drumbeat, and a particular progression of harmonies.

PLAYING IT SMART More than a decade after the publication of Classical Music for Dummies, conductor and co-author Scott Speck ponders the future of our art form.

Over ten years ago, faced with an art form that seemed increasingly cliquish and elitist, the publishers of the “...For Dummies” series focused their bright yellow spotlight on classical music. They had already attempted to demystify everything from hyper-complex computer software to the impenetrable terrain of red wine, and they approached me, together with co-author David Pogue, to do the same for classical music and opera. As we prepared to write these books, we set out to determine the state of our art.

A WORLD APART To those uninitiated in classical music, a host of questions inevitably comes to mind—when they think about us at all.

Why do classical radio announcers over-enunciate their consonants? Why do program books contain so many foreign words? Why does the audience for this music appear so overwhelmingly white—and white-haired? And why on earth do orchestras dress like 19th-century butlers?

A newcomer could be forgiven for thinking that this world exists for a specific few: the affluent, Eurocentric, musically literate, multilingual, and old. Surely that would not have satisfied the great composers, who poured out their hearts for all humanity.

In threatening to overshadow the magnificence of the art form itself, certain conventions stand out more starkly than others. Our black-and-white uniforms, for example.

True, tuxes and long black dresses appear refined; they please the old guard, and their sophistication seems to warrant high ticket prices. But are they welcoming to the vast majority of our potential public? To those outside our circle, they smack of exclusivity. They create a distance that the composer never intended.

Then there’s the question of applause. Thousands around the country routinely experience the same embarrassment I felt at my first classical concert as a small child, when the

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SPECK

glorious, triumphant rush of the orchestra at a movement’s conclusion caused such surprisingly new, potent, untapped emotions to well up in me that I erupted into rapturous applause—only to be scolded for clapping between movements.

“What a stupid custom,” I thought to myself at the time, and still do.

Ancient, prudish, elitist, irrelevant. How can outsiders possibly come to any other conclusion about the trappings of our art? Yet the music itself is another story entirely. So fresh, so riveting, so meaningful, so moving, so thrilling! All they need is a way in.

THE BOOKS

The overarching purpose of Classical Music For Dummies and Opera For Dummies was to provide that point of entry and win more friends and enthusiasts to our cause. To that end, we recognized that our first task was to strip away the distractions, and we did our best to explain (or at least describe) the sacraments surrounding our music.

We prepared the reader for the concert world’s anachronistic attire and insane noclap policy. We wrote about the tuning process, the rituals within each section of the orchestra, the mysteries of bowing (and bowing), and what a concertmaster does. We presented some typical orchestra seating arrangements. We even depicted what goes on backstage.

Having stripped away the preconceptions surrounding the concert experience, we were free to focus on the glories of the music itself. We discussed the basic forms of classical music, explaining why symphonies often have four movements and concertos three. We explored the wonders of sonata form, rondo form, themes and variations. We devoted five chapters to orchestration, delighting in the attributes of every instrument. We distilled the history of music into an 80page narrative, revealing how the very real personalities of the great composers found expression in their music. We wrote humorous but thorough chapters on rhythm and harmony, showing that the old masters used the same notes, meters, and chords as the popular artists of today. We included a chapter on dynamics and interpretation. We offered listening lists for all levels of adventurousness.

The success of the books has been gratifying. Among the bestselling classical music books both here and abroad, they have been published in 20 languages and are available around the world. They’ve found their way into both local and national bookstores, and also into orchestra gift shops from the Berlin Philharmonic to Covent Garden.

Over the years we have received hundreds of letters from people all over the world who had an inkling they might enjoy classical music, but needed that point of entry. We heard from an inner-city woman whose discovery through the book of inexpensive open rehearsals led to a love affair with orchestral music. We heard from a man who fell for Verdi’s operas and, taking the book’s advice, auditioned for his local opera chorus. We heard from a ten-year old boy who, inspired by the book’s play-by-play description of Beethoven’s Fifth, saved up his allowance for six months to buy a complete set of the Beethoven symphonies.

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BRINGING AUDIENCES CLOSER TO MUSIC

A few things have changed all pervasively in the orchestra world since the first edition of the books were published. While we certainly can’t credit our books for any of them, these developments have been marvelous tools for bringing the audience closer to the music.

First, much more new music is being performed. This can be attributed primarily to one factor: New music is gorgeous again. The sound of a symphony written yesterday is all the more beautiful for exceeding expectations; the sight of the composer onstage does wonders to remind the audience that music is a living thing.

Second, in the last ten years the prospect of a female or minority conductor (or president of the United States) has gone from strangely curious to practically normal—and the audition screen has further leveled the playing field for female and minority musicians in major orchestras as well. Orchestras are finally beginning to look more like the rest of the world.

Third, many orchestras have begun programming thematically: grouping the works on a program, or the programs on a series, according to a common theme—and naming the concert or series after that theme.

Once the purview of smaller, more nimble orchestras, this practice has spread to many more, creating instant associations for the audience among the pieces on the program. And of course, thematic programming is a marketer’s dream. But it is not yet universally accepted, especially in the larger orchestras.

Finally, performers have begun talking to the audience from the stage.

Even the most engaged listeners don’t always read the program book.

As a conductor, I now speak at least once per concert, welcoming the audience and commenting on the history and structure of a complex work, sometimes having the orchestra demonstrate with examples. We always take care to respect the listeners, approaching them at the level of the music. But to be honest, I’ve never found any explanation to be unwelcome. Even in the most “enlightened” communities, a few words from the podium don’t hurt a bit.

MUSIC OF THE PEOPLE

Children eagerly embrace what we have to offer; they haven’t yet been told that this stuff is uncool. Having conducted hundreds of children’s concerts around the country, I can honestly say that I have never met a young child who didn’t love classical music.

For well over a decade the West Michigan Symphony has participated in Carnegie Hall’s Link Up program. This program creates ongoing contact between orchestra musicians and students, bringing soloists and ensembles into the schools all year long and teaching every student to play an instrument (the recorder) with daily lessons. The program culminates in concerts in which all the students perform together with the full professional orchestra.

Programs like these are cropping up in more and more orchestras across the country. They have the potential to bring us back into the mainstream—by bringing the mainstream to us. When orchestras make a commitment like this, we can become the “music of the people” once again.

This is an edited version of the original article, which appeared in the May/June 2008 issue of Symphony, official magazine of the League of American Orchestras.

It is used here by permission of the author, the League, and Symphony.

8 REASONS

WHY GOING TO THE SYMPHONY IS COOL Immersion in the experience. Hearing, feeling, and imagining with eyes closed.

–Linda Bengston

I love to watch the musicians having a good time. The best is when you hear the music and see it interpreted on their faces and through their body language.

–Racheal Meloche

Classical music blogger Karim Hakimzadeh created the site readnomore.wordpress.com as a response to friends who wanted an introduction to the classical music that he loved. He wanted to offer a “painless way” to learn about music, written in a way that is understandable to non-musicians. In his article “Can classical music be cool?” he describes why he thinks the answer to that question is a “resounding yes.” “...classical music has played a profound role in shaping what we all listen to today. Pachelbel’s famous Canon in D for example, has directly influenced the songs of artists ranging from the Beatles, U2, Aerosmith, Green Day, Avril Lavigne and Kylie Minogue. British music producer Pete Waterman, whose label produced some of the biggest chart hits of the 80s, went as far as to describe Pachelbel’s Canon as “the godfather of pop music.”

Karim isn’t the only one who thinks going to the symphony is cool, here’s what some of our friends and neighbors have to say about the topic...

I think the coolest thing about going to a West Michigan Symphony concert is the “come as you are” mentality.

–William Stauter

Always a fun and festive atmosphere. It’s like a little taste of big city culture right here on the lakeshore.

–Lisa Crawford

Experiencing a live Symphony performance is so cool because you get to watch a group of individual people come together and create a whole larger work. Each musician is like a gear and has an individual part, but without the others the work is incomplete.

As an audience member you can concentrate on an individual musician or the collective group. It’s like a metaphor for a community. As we work together we can create something so much more beautiful than if we were solely focused on our own roles.

–Larissa Fall Going to the symphony and hearing live, amazing and well played music is powerful. It restores the soul.

The coolest thing about going to a WMS concert for me is seeing and hearing talented individuals collaborating to give us a fabulous musical experience and ride. There is nothing like that synergy!

–Katha Petroelje

–Cat Jackson The West Michigan Symphony brings amazing national and international talent right to Muskegon!

–Kimberly Lowe

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STYLE WHAT TO WEAR TO THE SYMPHONY

We have always insisted that the key to choosing the best concert attire for attending a West Michigan Symphony concert is to simply pick out whatever makes you comfortable. However, as evidenced by the popularity of our “Beethoven and Blue Jeans” concerts, people still want to feel like they are fitting in by wearing what is expected at the event. After all, nobody wants to feel out of place when they go to any kind of event, including a symphony concert.

If you show up to a concert and sincerely don’t care what you wear, that’s great! You are doing exactly what we have invited you to do. But if you would be happier having an idea of what to wear, are concerned you will be over or underdressed, or just want some kind of guideline, here is a simple style guide to boost your “best dressed” confidence for any classical concert.

THINK ABOUT WHEN AND WHERE THE CONCERT IS TAKING PLACE When you attend a symphony concert in the evening most people will be wearing business clothes or slightly dressy casual clothes, but you’ll see everything from khakis to cocktail dresses. What we tend to observe is that people like to dress up a bit more for our evening concerts at the Frauenthal Theater, women will wear dress pants, dressier jeans or skirt and blouse, or a dress. Men will wear dress pants with a blazer or trousers with dress shirt. Suits and ties are also fashionable concert wear for evenings.

For afternoon concerts people tend to dress in nicer casual wear, even nice jeans paired with a stylish top or businesscasual shirt are perfectly acceptable. This is the type of clothing people also tend to wear for concerts at our smaller more casual venue, The Block.

Some people always enjoy dressing up and making a special night of it and for others comfort is their first priority. Whatever you decide to wear though, go easy on the cologne, which can make those sitting near you with allergies uncomfortable.

THINK “THEME” A pops concert is not going to be as formal as a masterworks symphony evening; most people tend towards jeans or other casual attire. Sometimes the concert repertoire will send a cue. A December concert is a great time to dress up in holiday colors or if the concert has an Irish theme, get out the green!

A children’s concert is generally the most relaxed event and events advertised as a gala or fundraiser are usually the dressiest. Evening gowns and tuxedos are pretty rare at any event, unless you’ve bought tickets for a fancy gala—and if you have, you’ll know!

YOU LOOK FABULOUS! The best dressed people in the concert hall are the ones who feel confident and own their look. They wear what they want, stand up straight and walk with a purpose. If you get to the concert and discover someone taking a sidelong glance at your jeans, they’re probably wishing they had worn theirs! The moment you start worrying you don’t fit in, you forget why you came to the concert in the first place. To sit in a dark concert hall and listen to beautiful music... enjoy.

WMS / 2016 / 1ST EDITION /

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SEASONS AT A GLANCE West Michigan Symphony and The Block 2016/17 season schedule.

Find expanded concert info on pages 9-13 for West Michigan Symphony and on pages 18-19 for The Block.

AUGUS T

THURSDAY

25 7:30 PM

ALEXANDER ZONJIC AND FRIENDS JAZZ THE BLOCK 360 W WESTERN AVE | 2ND FLOOR

SE PTE M BER

SATURDAY

10 7:30 PM FRIDAY

30 7:30 PM DECEMBER

FRIDAY

16 7:30 PM SATURDAY

17 7:30 PM

CLASSICAL CHRISTMAS POPS.2 WEST MICHIGAN SYMPHONY FRAUENTHAL THEATER 425 W WESTERN AVE

MARTHA GUTH CLASSICAL SOPRANO THE BLOCK 360 W WESTERN AVE | 2ND FLOOR

HARPETH RISING FOLK GRASS THE BLOCK 360 W WESTERN AVE | 2ND FLOOR

HEROES AND VILLAINS POPS.1 WEST MICHIGAN SYMPHONY FRAUENTHAL THEATER 425 W WESTERN AVE

O C T O B ER

SATURDAY

15 7:30 PM FRIDAY

28 7:30 PM

JA N U A RY

FRIDAY

13 7:30 PM SATURDAY

14 7:30 PM

VIVALDI’S FOUR SEASONS MASTERWORKS.2 WEST MICHIGAN SYMPHONY FRAUENTHAL THEATER 425 W WESTERN AVE

TIM FAIN VIOLIN THE BLOCK 360 W WESTERN AVE | 2ND FLOOR

FRIDAY

03 7:30 PM SATURDAY

04 7:30 PM 25 7:30 PM

FRIDAY

28 7:30 PM SATURDAY

29 7:30 PM

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GREAT LADIES OF SWING POPS.3 WEST MICHIGAN SYMPHONY FRAUENTHAL THEATER 425 W WESTERN AVE

THE BLOCK 360 W WESTERN AVE | 2ND FLOOR

RODNEY WHITAKER QUARTET JAZZ THE BLOCK 360 W WESTERN AVE | 2ND FLOOR

FRIDAY

11 7:30 PM SATURDAY

12 7:30 PM

F EB R U ARY

SATURDAY

APRIL

AUDIVI ACAPELLA VOCAL ENSEMBLE

NOVEMBER

BEETHOVEN TRIPLE MASTERWORKS.3 WEST MICHIGAN SYMPHONY FRAUENTHAL THEATER 425 W WESTERN AVE

CSABA ERDÉLYI EASTERN EUROPEAN FOLK MUSIC THE BLOCK 360 W WESTERN AVE | 2ND FLOOR

19 7:30 PM

RACHMANINOFF NO.3 MASTERWORKS.5 WEST MICHIGAN SYMPHONY FRAUENTHAL THEATER 425 W WESTERN AVE

DEE DANIELS JAZZ VOCALS THE BLOCK 360 W WESTERN AVE | 2ND FLOOR

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WEST MICHIGAN SYMPHONY FRAUENTHAL THEATER 425 W WESTERN AVE

PROTEA WOODWIND CHAMBER MUSIC THE BLOCK 360 W WESTERN AVE | 2ND FLOOR

MAR CH

FRIDAY

10 7:30 PM SATURDAY

18 7:30 PM

CLASSICAL MUSIC FOR EVERYONE MASTERWORKS.4 WEST MICHIGAN SYMPHONY FRAUENTHAL THEATER 425 W WESTERN AVE

FRANK VIGNOLA & VINNY RANIOLO JAZZ GUITAR DUO THE BLOCK 360 W WESTERN AVE | 2ND FLOOR

GVSU NEW MUSIC ENSEMBLE CHAMBER MUSIC THE BLOCK 360 W WESTERN AVE | 2ND FLOOR

M AY

FRIDAY

EP!C MASTERWORKS.1

J UNE

SATURDAY

03 7:30 PM

LEGAL REHAB POP/CLASSIC ROCK COVERS THE BLOCK 360 W WESTERN AVE | 2ND FLOOR

West Michigan Symphony and The Block Ticket Office 360 W. Western Avenue, 1st Floor Muskegon, MI 49440 p: 231.726.3231 westmichigansymphony.org theblockwestmichigan.org

POPS.1

FRI. SEPT. 30 7:30 PM

HEROES AND VILLAINS

FRAUENTHAL THEATER Scott Speck conductor Austin Wintory composer-in-residence Sandy Cameron violin

The WMS celebrates the dark side and the bright side of storytelling via the incredible soundtracks that set the scene for a host of unforgettable movie characters. Thrill to music from Star Wars: The Force Awakens, Rocky, Lawrence of Arabia, The Magnificent Seven, plus the premiere of Assassin’s Dances by Austin Wintory featuring violinist Sandy Cameron, created expressly for our 2016-17 WMS season.

OPENING NIGHT COCKTAIL PARTY Join us at The Block from 6-7 pm to toast the upcoming season and enjoy a light snack before the Heroes and Villains concert.

Sandy Cameron violin

FRI. NOV. 11 7:30 PM

MASTERWORKS.1

FRAUENTHAL THEATER

EP!C

Scott Speck conductor Austin Wintory composer-in-residence

Composer-in-residence Austin Wintory has created an EPIC! commission for the West Michigan Symphony featuring a nod to film scores.

Austin Wintory EPIC! (world premiere) Stravinsky Firebird Suite

WMS also performs Stravinsky’s Firebird Suite (1919 version.) Stravinsky blends rich harmonies with the vigor of Russian folk music, conjuring music of tremendous power and beauty. The story of The Firebird ballet is based on Russian fairy tales of the magical glowing bird that can be both a blessing and a curse to its owner.

Respighi The Fountains of Rome

Two symphonic poems by Respighi round out the program. The Fountains of Rome is the first work in his “Roman Trilogy” and The Pines of Rome is the second.

Respighi The Pines of Rome

Igor’s music for The Firebird was a milestone. At its premiere in Paris, nobody had ever heard such complex rhythms and strange, shocking dissonances. Still, the audience was impressed by the excitement of the piece and the new sounds that Stravinsky (a student of the great orchestrator Rimsky-Korsakov) had created. The ballet was a hit.

Classical Music for Dummies, 2nd edition, p. 79 “Igor Stravinsky, the most important composer of the 20th century.”

FRI. DEC. 16 7:30 PM FRAUENTHAL THEATER Scott Speck conductor Martha Guth soprano Chamber Choir of Grand Rapids Mark Webb, director Muskegon Chamber Choir David Wikman, director

FRI. JAN. 13 7:30 PM FRAUENTHAL THEATER Scott Speck conductor Tim Fain violin Vivaldi/Max Richter Four Seasons Tim Fain violin Mozart Symphony no.41 (Jupiter)

POPS.2

CLASSICAL CHRISTMAS Enjoy the majesty of Christmas and the classical music that accompanies it when West Michigan Symphony and Scott Speck welcome special guest vocalist Martha Guth. This spectacular soprano will help us ring in the season with an evening of classical holiday works that include Leroy Anderson’s “A Christmas Festival;” excerpts from Handel’s Messiah including “Rejoice Greatly”, and “Hallelujah,” “Gesu Bambino;” “Evening Prayer” from Hansel and Gretel and “The Flower Duet” from Léo Delibes’ opera Lakme.

MASTERWORKS.2

VIVALDI’S FOUR SEASONS RECOMPOSED BY MAX RICHTER

Guest artist, violinist Timothy Fain is featured on a surprising new adaptation of Vivaldi’s Four Seasons that has been reworked, reimagined and recomposed for today’s audiences by contemporary musician and composer Max Richter.

Considered by many as his greatest symphonic work, Mozart’s Symphony no.41, nicknamed the Jupiter Symphony, captures the composer’s joy and delight in music.

The symphony as a musical form has existed for more than 200 years. It’s a piece of music for a large body of instruments, and it usually consists of four difference sections (or movements) of music... Johannes Brahms wrote 4, Ludwig van Beethoven wrote 9, Mozart wrote 41. Joseph Haydn wrote 104 (but he didn’t get out much.)

Classical Music for Dummies, 2nd edition, p. 92 “A brief history of the symphony”

Vivaldi’s concertos have three movements, and they all follow a set format, which became the model for many other Baroque composers. Here’s the formula: Fast – Slow – Fast. We promise you’ve heard the music of Vivaldi, especially his most famous piece ever: The Four Seasons. It’s a set of four concertos for a violin with orchestra, in which each concerto evokes the feeling of a different season.

Classical Music for Dummies, 2nd edition, p. 20 “Antonio Vivaldi”

MASTERWORKS.3

FRI. FEB. 3 7:30 PM FRAUENTHAL THEATER Scott Speck conductor Alicia Gregorian Sawyers cello Jennifer Walvoord violin Kelly Karamanov piano Glinka Overture to Ruslan and Ludmilla Beethoven Concerto for Violin, Cello, and Piano in C major, Op. 56 Alicia Gregorian Sawyers cello Jennifer Walvoord violin Kelly Karamanov piano

BEETHOVEN TRIPLE Considered the father of Russian music, Mikhail Glinka’s Overture to his opera Ruslan and Ludmilla is a favorite curtain-raiser for orchestras with a combination of exuberance and heroism that is uniquely Russian.

WMS principal musicians Jennifer Walvoord, Alicia Gregorian Sawyers and Kelly Karamanov present Beethoven’s Concerto for Violin, Cello, and Piano in C major, Op. 56, more commonly known as the Triple Concerto. The only concerto Beethoven ever completed for more than one solo instrument, the piece is known for its chamber-like qualities and focus on the solo musicians.

Dvo rák’s ̌ Symphony no. 9, popularly known as the New World Symphony completes this program.

Dvorák ̌ Symphony no.9 (New World Symphony)

“Where you find peasant folk music, you also find nationalist classical music.”

Classical Music for Dummies, 2nd edition, p. 69 “Glinka and the Mighty Fistful”

At age 51, in 1892, Dvořák was invited to America to take over the newly founded National Conservatory of Music, in New York. He was deeply reluctant…then he found out the salary was 25 times what he was earning at the Prague Conservatory. He was on the next boat.

Dvořák stayed in the United States for three years, He was deeply homesick and would up spending a good deal of time in a Bohemian colony in Iowa. During his US stint, having been turned on to American Indian and AfricanAmerican music Dvořák composed his most well-known piece, his Symphony no.9 (From the New World).

Classical Music for Dummies, 2nd edition, p. 64 “An invitation to America”

WMS / 2016 / 1ST EDITION /

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FRI. MAR. 10 7:30 PM FRAUENTHAL THEATER Scott Speck conductor

Musician’s Revenge Q: What’s the ideal weight for a conductor?

A: About 2 1/2 pounds, including the urn.

MASTERWORKS.4

CLASSICAL MUSIC FOR EVERYONE Join Scott Speck for the first installment of this delightful new series that is designed to expand your knowledge and increase your enjoyment of classical music.

Includes pieces by some of your favorite composers including Mozart, Brahms, Tchaikovsky, Wagner, Copland and more. Prepare using Scott’s book Classical Music for Dummies or just show up and listen... this concert is especially designed for the novice and the expert music lover alike.

Classical Music for Dummies, 2nd edition, p. 314 “Ten great classical music jokes”

FRI. APR. 28 7:30 PM FRAUENTHAL THEATER Matthew Kraemer guest conductor Dee Daniels vocals

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POPS.3

GREAT LADIES OF SWING Singer Dee Daniels joins the West Michigan Symphony for a jazz program that features hits performed and recorded by swing legends Ella Fitzgerald, Billie Holiday, Peggy Lee and Sarah Vaughan. Dee uses this collection of timeless standards, including popular songs by each of these great vocalists, to guide the audience with her dazzling four-octave range Includes classic hits “A Tisket, A Tasket”, “Fever”, “Can’t Help Lovin’ Dat Man”, “Makin’ Whoopee” and “Mack the Knife” among others.

/ westmichigansymphony.org / theblockwestmichigan.org

MASTERWORKS.5

FRI. MAY 19 7:30 PM FRAUENTHAL THEATER Scott Speck conductor Olga Kern piano Tchaikovsky Symphony no.6 in B minor (Pathétique) Rachmaninoff Piano Concerto no.3 in D minor Olga Kern piano

RACHMANINOFF NO.3 Scott Speck and the West Michigan Symphony welcome Russian pianist Olga Kern, Gold Medal winner of the 2001 Van Cliburn International Piano Competition, to play the piece that earned her the title; the technically challenging Piano Concerto no. 3 in D minor by Sergei Rachmaninoff.

Also featured is Tchaikovsky’s Symphony no. 6 in B minor, Op. 74, Pathétique, Tchaikovsky’s final completed symphony.

Sergei was a phenomenal pianist, and he wrote many of his famous compositions for himself to play for a particular occasion. Today, he is best known for those piano pieces—and for his nicknames. Musicians refer to him as ‘Rocky’; his second Piano Concerto is called ‘Rocky 2’ and his demonically difficult Piano Concerto no. 3—the one that gave pianist David Helfgott a nervous breakdown, as dramatized in the 1996 movie Shine – is known as ‘the Rach3’ or just ‘Rocky 3.

Classical Music for Dummies, 2nd edition, p. 74 “Sergei Rachmaninoff”

This is the most autobiographical of all Tchaikovsky’s works and is perhaps also his greatest achievement. In this symphony, known as the Pathétique, Tchaikovsky ingeniously depicts in musical notes the anguish that he experienced during the last months of his life. One week after this symphony’s first performance, Tchaikovsky died.

Classical Music for Dummies, 2nd edition, p. 154-155* “Tchaikovsky: Symphony no. 6, Fourth Movement”

*On the Classical Music for Dummies online audio tracks, these two pages of the book also take the listener through the Symphony no. 6, fourth movement, which comes with the book. It’s a minute-by-minute description of what is happening in the piece, illustrating Tchaikovsky’s anguish. As the author’s say: “Anyone who’s ever loved and lost instantly understands the emotions unleashed here.”

westmichigansymphony.org | theblockwestmichigan.org

WMS/ 2016 | 2016/ 1ST | 1STEDITION EDITION/ WMS

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SEASON TICKETS WEST MICHIGAN SYMPHONY

PERFORMING AT THE FRAUENTHAL THEATER, 425 W WESTERN AVE, MUSKEGON

SUBSCRIBER BENEFITS: TICKET EXCHANGE If you can’t attend a particular concert, exchange your tickets for another concert within your series in person at the WMS Ticket Office or by calling at 231.726.3231 x223. There is an upcharge to exchange from a Masterworks concert to a Pops concert. There is no refund for an exchange from a Pops to a Masterworks concert.

DONATE YOUR TICKETS Unable to attend a concert? Donate your tickets and we’ll provide a receipt for tax purposes. To take advantage of this opportunity, please contact West Michigan Symphony Ticket Office PRIOR TO THE NIGHT OF THE CONCERT (in person or by phone).

PURCHASE SINGLE TICKETS FIRST Season ticket holders can purchase single tickets for concerts and special concerts before they go on sale to the general public.

Season Ticket Options Tier 1 Tier 2 Tier 3 Tier 4 Student Full (8)

$389

$298

$179

$141

$65

Masterworks (5)

$238

$179

$105

$82

$35

Pops (3)

$151

$119

$74

$59

$30

FLEX8 $306 FLEX6 $234

STUDENT SEASON TICKET Available for any series. An adult may purchase a student season ticket for a child (15 and under) to be seated next to the adult ticket. Student Season Tickets may be purchased by high school students 16 and up and college students with ID— best seats available at time of purchase.

FLEX Compose your own experience with the WMS FLEX8 or FLEX6 —8 vouchers in FLEX8 and 6 vouchers in FLEX6—redeemable whenever you want, for the subscription concert(s) you want, best available seats when you redeem your flex tix. Not valid for special events.

West Michigan Symphony Ticket Office 360 W. Western Avenue, 1st Floor Muskegon, MI 49440 p: 231.726.3231 westmichigansymphony.org

WMS Ticket Office Hours Monday – Thursday, 10 am – 5:30 pm Friday, 10 am – 5 pm Ticket office closed Fridays during the summer.

All sales are final. Dates, artists and programs are subject to change.

the best seats IN THE HOUSE RITA

SMITH

For many people when they plan an evening out, whether it’s a restaurant, a play, or a concert, where they are seated plays a big part in how they rate their experience. For symphony concerts, some people want to make sure they are seated close enough to see the guest artist perform, for others it’s more important to be sure they are experiencing the best overall sound from the orchestra. Generally with any concert hall there is one rule of thumb: sound improves the higher up you go. However, for many of our patrons hiking to the balconies just isn’t an option.

So we asked our patron services manager, Rita Smith, what a person should do to make sure they are getting the best seats to the symphony? She responded by asking a few questions of her own!

When a person is trying to decide what seats to choose for the best symphony experience, it’s not as plain and simple as “XYZ is always the best seat in the house.” Your best seat can be very different than someone else’s. Here are a few questions I ask patrons when they call to choose seats to a concert, all which help narrow down the answer to one important question:

“What do you want from your symphony experience?”

• Do you want to see the entire orchestra?

• Do you want to be up close so you can watch the guest artist(s) expression and marvel at their talent?

• Do you want to experience the best sound in the theater? ...Up high in the balcony is best according to Maestro Scott Speck.

• The best of both?

Think about the answers to these questions, then give me a call and we’ll find you the best seats in the house!

Contact Rita at 231.726.3231 or rsmith@westmichigansymphony.org to get your best seats.

WMS / 2016 / 1ST EDITION /

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f

FREQUENTLY ASKED QUESTIONS

If you have never been to a symphony concert (or even if you have but still have some nagging questions) hopefully we have the answers to all your questions on these pages. But if we don’t, you can always call Rita at the ticket office (231.726.3231) and she will happily answer your questions.

I’ve never been to a symphony concert, what can I expect?

Expect to have a wonderful time! Set aside any preconceived notions you may have about classical music concerts. Like all new things, the experience may take a little getting used to, but when you are relaxed into your seat and letting the music wash over you, it will quickly feel just right.

INCLUDING WHEN TO CLAP! What if I’m late?

WMS makes every attempt to begin concerts on time. House lights are dimmed to indicate that the concert is about to begin. The ushers have been given instructions as to the best time to allow you inside so your arrival won’t disturb other concert-goers.

What should I wear?

There is no specific dress code for WMS concerts. Generally most people would say they dress business casual, but dress in what makes you happy and comfortable.

What is will call?

Most often when you order tickets they will be mailed to you. However, if the concert date is near they will be placed in “will call” for pick up prior to the concert. The will call window is located at the box office at the south end of the Frauenthal lobby.

Are children allowed at concerts?

How long will the concert last?

Most classical concerts last about 90 minutes to two hours with a 20 minute intermission.

Take a look at the prélude concert magazine (your program) before the concert to get an idea of what to expect. You can even take the prélude home with you and study up before you get to the concert hall!

Children are welcome to attend all classical, pops, jazz, special events and holiday concerts at the Frauenthal Theater, provided that they are supervised by an adult. Every child must have a ticket. If you’re wondering if a particular concert is right for your child, feel free to call the ticket office and ask about it. Also ask about discounted ticket pricing for students and children. Please, no infants.

How early should I arrive?

You should plan on arriving at least 15-20 minutes early to find your seat, turn off your cell phone, chat with friends and people sitting near you and glance through the program book.

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Can I leave my cell phone on during a concert?

Cellular phones, alarm watches and other sound emitting devices should be turned completely off while in the hall.

/ westmichigansymphony.org / theblockwestmichigan.org

When should I applaud during a classical concert?

This question is addressed fully on pages 118-119 of Classical Music for Dummies.

But here are some general clues, taken directly from the book, that the music is completely over and it’s okay to clap: • The conductor puts down his hands and keeps them down.

• All the players on the stage put down their instruments.

• Everyone around you starts clapping.

• The concert hall lights come up.

• The players exit the stage, carrying their instruments.

• The entire audience leaves the auditorium.

• The cleaning crew comes in and begins to mop the stage.

Of course, you have more practical cues to tell you when the entire piece is totally over. For example, look in the program, it always tells you how many movements are in each piece, generally the applause comes at the very end of all of those movements.

While some feel it’s best not to disrupt the continuity of the music by applauding between movements, there are times the audience is simply too thrilled not to applaud, and that’s okay too.

May I take photos or videos?

Cameras, cell phones, tablets or video recorders are not permitted at concerts. If you happen to have one with you, please turn it off and put it away before you enter the concert hall. These devices are not only disallowed because of licensing restrictions, but the light they give off disturbs the patrons sitting around you.

HOW TO

CLAP Items you’ll need:

How can I learn more about the music?

For the basic clap: open your hands wide.

Practice makes perfect.

Clap your palms against each other.

Do it hard enough to get a good loud smacking sound but not so hard you turn your hand red.

There are program notes relating to each concert in your prélude concert magazine. Additionally we have lots of other ways for you to learn including free midweek Lunch n’ Learn discussions held at The Block during concert week. Blue Lake Public Radio (88.9 and 90.3 FM) will often conduct interviews with Scott Speck and one of our guest artists, and program notes and listening clips are available via links on the concert pages on our website: westmichigansymphony.org.

I love to come to concerts, but I also want to save money... what’s your advice?

All WMS concerts and concerts at The Block have special pricing for students and groups of 10 or more. Student tickets for WMS concerts or concerts at The Block can be purchased online or over the telephone at 231.726.3231.

Another great way to save is by purchasing a subscription to the WMS season or to concerts at The Block. Not only will you save money over buying tickets individually, but you’ll get all the benefits that come from being a symphony subscriber, like free ticket exchanges and being able to sit in the same seats for each concert you attend.

Call Rita at 231.726.3231 x223 for more information about special pricing and subscription sales.

Do you permit smoking at the Frauenthal Theater or The Block?

WMS is pleased to offer a smoke-free environment (including e-cigarettes) at the Frauenthal Theater and The Block. Smoking is not permitted anywhere inside the buildings. Patrons who wish to smoke must do so outside the building and away from the entrances.

What provisions are made for patrons with disabilities?

Now repeat enthusiastically.

Some people clap more by clapping the fingers of

A limited number of wheelchair seats are available. Call 231.726.3231.

All WMS concert venues are handicapped-accessible.

For the hearing impaired, hearing assistance devices are available at the Frauenthal Theater. Please see an usher prior to the performance.

one hand against the palm of the other.

Do whatever feels most comfortable for you.

WMS / 2016 / 1ST EDITION /

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2016/17 THE BLOCK SEASON Concerts at The Block are an intriguing, cross-pollinated mix of music that can be intimate or explosive and always entertaining.

From “newgrass,” to rock, to multi-media with solo violin, to jazz, classical and acapella vocal performances - there’s a wide variety of music to be enjoyed at The Block. The intimate cabaret-style seating and conversational approach to concerts at The Block will leave you feeling like you really know the artists and the music they play.

ALEXANDER ZONJIC AND FRIENDS JAZZ

HARPETH RISING FOLK GRASS

Thursday, August 25, 7:30 pm

Saturday, September 10, 7:30 pm

Creator of The Shoreline Jazz Festival, Alexander Zonjic is also a gifted jazz flutist. Zonjic and his friends will kick off the 2016 Shoreline Jazz Festival in this Thursday evening concert.

Jordana Greenberg (violin, vocals), Rebecca Reed-Lunn (banjo, vocals), and Maria Di Meglio (cello, vocals) fuse folk, newgrass, rock and classical into a sound that is organically unique.

AUDIVI ACAPELLA

RODNEY WHITAKER QUARTET JAZZ

Saturday, October 15, 7:30 pm

Friday, October 28, 7:30 pm

A professional acapella vocal octet, Audivi focuses on presenting rarely heard Renaissance masterpieces and premiering new works by modern composers, as well as choral music from all eras.

Internationally renowned bassist and Mack Avenue recording artist, Rodney Whitaker and his band present an evening of swinging jazz favorites.

PROTEA WOODWIND CHAMBER MUSIC

MARTHA GUTH CLASSICAL SOPRANO

Saturday, November 12, 7:30 pm

Saturday, December 17, 7:30 pm

Enjoy an evening of chamber music with WMS clarinetist Lisa Raschiatore, along with Dennis Carter on flute and Mariah Boucher on piano who comprise the woodwind trio, Protea.

Vocalist Martha Guth presents a follow up to the Friday night holiday concert with WMS with an evening of classical song at The Block.

T H E B LOCK | 3 60 W WE STE RN AV E | 2N D F L O O R | MU S K EG O N | 2 3 1 . 7 2 6 . 3 2 3 1

The Block offers flexible seating on two levels for approximately 150 audience members. An elegant and historic gathering space, it has been completely redesigned with soaring beamed ceilings, a second floor balcony, restored maple floors, exposed brick walls, a spacious fullservice bar, large windows and a rooftop deck with views of Muskegon Lake.

TIM FAIN VIOLIN

CSABA ERDÉLYI EASTERN EUROPEAN FOLK

Saturday, January 14, 7:30 pm

Saturday, February 4, 7:30 pm

Violinist Tim Fain presents a solo violin concert which includes the multimedia experience “Beirut is a House of Many Rooms” created by composer Randall Woolf and filmmakers Mary Harron and John C. Walsh, about the musical culture in Beirut, Lebanon.

WMS violist Csaba Erdélyi and Kalamazoo principal cellist, David Peshlakai play folk songs from Hungary, Transylvania, Romania, Bulgaria, Macedonia, Slovakia, and Ukraine.

GVSU NEW MUSIC ENSEMBLE CHAMBER

FRANK VIGNOLA & VINNY RANIOLO JAZZ GUITAR DUO

Saturday, February 25, 7:30 pm

Saturday, March 18, 7:30 pm

Director Bill Ryan and the New Music Ensemble at Grand Valley State University bring ‘music of our time’ to The Block. The group is known for its commissions, tours, recordings, collaborations, outreach events, and workshops.

Frank Vignola is one of the most extraordinary guitarists performing before the public today. Vignola presents a jazz guitar duo with Vinny Raniolo at The Block.

DEE DANIELS JAZZ VOCALS

LEGAL REHAB POP/CLASSIC ROCK COVERS

Saturday, April 29, 7:30 pm

Saturday, June 3, 7:30 pm

Whether accompanying herself at the piano, fronting a trio, big band or symphony, Dee Daniels’ musical career is as varied as her vocal range is thrilling. Join Dee at The Block for an evening of jazz.

Celebrate summer with pop/classic rock cover band “Legal Rehab” featuring WMS musician Britta Portenga along with bandmates Roy Portenga, Scott White and Pete Buchholz.

SEASON TICKETS THE BLOCK

360 W WESTERN AVE, 2ND FLOOR, MUSKEGON

YOUR FREE TIME IS VALUABLE, MAKE EVERY MINUTE COUNT Concerts at The Block turn evenings out, into evenings out of the ordinary. With easy and affordable series and flex ticket bundles that are designed to suit all tastes, choosing which concerts to attend has never been easier, and going out has never been more rewarding.

SERIES AND FLEX TICKETS SAVE UP TO 20% ON SINGLE TICKET PRICES

As with any WMS subscription package, series tickets represent a significant savings over single ticket prices, plus if you cannot attend a concert you can exchange your tickets for another concert in the same season or donate them for a tax deduction. Series tickets also make great gifts.

Jazz Series (4 tickets: 1 for each show) Alexander Zonjic and Friends Aug 25 Rodney Whitaker Quartet Oct 28 Frank Vignola & Vinny Raniolo Mar 18 Dee Daniels Apr 29 Regular Seating: $76 Table Seating: $102

Chamber Series (4 tickets: 1 for each show) Protea Nov 12 Tim Fain Jan 14 Csaba Erdélyi Feb 4 GVSU New Music Ensemble Feb 25 Regular Seating: $76 Table Seating: $102

STAGE

Vocal Series (4 tickets: 1 for each show) Harpeth Rising Sept 10 Audivi Oct 15 Martha Guth Dec 17 Legal Rehab June 3 Regular Seating: $68 Table Seating: $94

Full Season (12 tickets: 1 for each show) Regular Seating: $204 Table Seating: $284

MAIN FLOOR

FLEX TIX to use for any show in any combination* Block 6: $115 Block 10: $180

The Block Ticket Office 360 W. Western Avenue, 1st Floor Muskegon, MI 49440 p: 231.726.3231 theblockwestmichigan.org

BALCONY

Table Seating

The Block Ticket Office Hours Monday – Thursday, 10 am – 5:30 pm Friday, 10 am – 5 pm Ticket office closed Fridays during the summer.

* May not be used for table seating. All sales are final. Dates, artists and programs are subject to change.

Single ticket info is available on the back cover of this magazine.

Regular Seating

SEASON TICKET ORDER FORM Best available seating will be selected for you. Contact the ticket office for specific ticketing needs at 231.726.3231.

WEST MICHIGAN SYMPHONY Please indicate number of tickets you want for each series and mark appropriate boxes for ticket options and tiers.

Season Ticket Options

Tier 1

Tier 2

Tier 3

Tier 4

Student

No. of Tickets

Cost

Full (8)

$389

$298

$179

$141

$65

# __________

$___________

Masterworks (5)

$238

$179

$105

$82

$35

# __________

$___________

Pops (3)

$151

$119

$74

$59

$30

# __________

$___________

FLEX8 $306

# __________

$___________

FLEX6 $234

# __________

$___________

Prices include Frauenthal Public Facility Maintenance Surcharges.

THE BLOCK Please indicate number of tickets you want for each series and mark appropriate boxes for regular seating/table seating.

Series

Regular

Table

No. of Tickets

Cost

Jazz Series

$76

$102

# ___________

$___________

Chamber Series

$76

$102

# ___________

$___________

Vocal Series

$68

$94

# ___________

$___________

Full Season

$204

$284

# ___________

$___________

Block 6

$115

# ___________

$___________

Block 10

$180

# ___________

$___________

#___________

$ ___________

TOTAL (Add together WMS AND THE BLOCK AMOUNTS) PAYMENT INFORMATION

Name: ___________________________________________________________________________________________________________________________________________________ Address: __________________________________________________________________________ City: ______________________________________ Zip: __________________ Phone: ________________________________________________________ Email: _________________________________________________________________________________ Enclosed is my check of $ ___________________ made payable to West Michigan Symphony Please charge my total to my credit card:

VISA

Master Card

Discover

AmEx

Account #: ___________________________________________________________________________ Exp. Date: _______________________ CVV: ________ Authorizing Signature: ________________________________________________________________________________________________________________

Please return this form to: West Michigan Symphony / The Block 360 W Western Ave, Suite 200 Muskegon MI 49440 For questions call 231.726.3231

360 W. Western Ave. Suite 200 Muskegon, MI 49440

SINGLE TICKETS W E ST MIC H IGAN SYMPHONY

THE BL O CK

FRIDAY | 7:30 PM FRAUENTHAL THEATER | 425 W WESTERN AVE | MUSKEGON

VARIOUS DAYS | 7:30 PM 360 W WESTERN AVE | 2ND FLOOR | MUSKEGON

MASTERWORKS

Alexander Zonjic and Friends jazz Thurs, Aug 25

$20

Harpeth Rising folk grass Sat, Sept 10

$25-35

Audivi acapella vocal ensemble Sat, Oct 15

$20-30

Rodney Whitaker Quartet jazz Fri, Oct 28

$20-30

Protea woodwind chamber music Sat, Nov 12

$20-30

Martha Guth classical soprano Sat, Dec 17

$25-35

Tim Fain violin Sat, Jan 14

$25-35

Csaba Erdélyi eastern european folk music Sat, Feb 4

$20-30

GVSU New Music Ensemble chamber ensemble Sat, Feb 25

$20-30

Frank Vignola & Vinny Raniolo jazz guitar duo Sat, Mar 18

$25-35

Dee Daniels jazz vocals Sat, Apr 29

$25-35

Legal Rehab pop/classic rock covers Sat, June 3

$10

TICKETS: $20, $25, $40, $51 | STUDENT TICKETS: $7 EP!C | November 11 Vivaldi’s Four Seasons | January 13 Beethoven Triple | February 3 Classical Music for Everyone | March 10 Rachmaninoff no.3 | May 19

POPS TICKETS: $23, $28, $43, $54 | STUDENT TICKETS: $10 Heroes and Villains | September 30 Classical Christmas | December 16 Great Ladies of Swing | April 28

WMS and The Block Ticket Office 360 W. Western Avenue, 1st Floor Muskegon, MI 49440 p: 231.726.3231 westmichigansymphony.org theblockwestmichigan.org

Pricing varies on seat location.

All sales are final. Dates, artists, and programs are subject to change.

Student tickets $10 to all Block shows