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west michigan symphony concert magazine scott speck / music director volume 4 / september 2016 – may 2017

TRANSFORMING HEALTH CARE

TO HELP DESIGN THE NEW MERCY HEALTH MEDICAL CENTER, WE BROUGHT IN SPECIALISTS.

OUR PATIENTS.

THE NEW MERCY HEALTH MEDICAL CENTER OPENS IN 2019 and will feature a new emergency department, state-of-the-art surgical and procedural areas and 261 large private patient rooms. Building on the strong legacies of Hackley, Mercy and Muskegon General campuses, now there’ll be one hospital that does it all. The new center will offer the most advanced and comprehensive health care available all in one place, just the way our patients in West Michigan want it. What’s the one thing we didn’t change? The compassionate care we’re known for.

What's Inside 03 Message from the Music Director 04 A Letter from the Board Chair MUSIC DIRECTOR Scott Speck

05 Orchestra Personnel

ADMINISTRATIVE STAFF Carla Hill President/CEO Rhonda Bogner, CPA Director of Finance Natalie Carmolli Director of Marketing and Communications David Dressel Stage Manager Cath Dubault Event Sales Manager Amanda Dykhouse Orchestra Librarian Perry Newson Director of Operations/Guest Artists

08 M.1 / EP!C

06 P.1 / Heroes and Villains

Keely Payne Art Director/Marketing Coordinator Gabe Slimko VP of Operations/Orchestra Personnel Manager Rita Smith Patron Services Manager/Tickets Karen Vander Zanden Director of Education WEST MICHIGAN SYMPHONY CHILDREN'S CHOIR Beth Slimko Music Director/Conductor Karen Vander Zanden Choir Manager WEST MICHIGAN YOUTH SYMPHONY Angela Corbin Debut Strings Conductor Gabe Slimko WMYS Operations Manager The West Michigan Symphony is an Equal Opportunity Employer and provides programs and services without regard to race, color, religion, national origin, age, sex or disability. Programs are funded in part by a grant from the Michigan Council for Arts and Cultural Affairs with the generous support of the National Endowment for the Arts.

12 P.2 / Classical Christmas 16 M.2 / Vivaldi's Four Seasons 20 M.3 / Beethoven Triple 26 M.4 / Classical Music for Everyone 28 P.3 / Dee Daniels Great Ladies of Swing 32 M.5 / Rachmaninoff no.3 36 WMS Year in Review 37 Scott Speck, Music Director 38 The Block 39 Community Outreach 39 Education 45 Board of Directors and Staff 46 Contributors 52 Advertisers

THEATER RULES/ETIQUETTE :: Latecomers will be seated by the ushers at a suitable pause in the program. :: Cameras and recording equipment are strictly prohibited. :: No food or drink allowed in the hall during the performance.

TICKET OFFICE / 231.726.3231 x223 360 W. Western Avenue, Muskegon, MI 49440 Monday – Thursday, 10 am – 5:30 pm Friday 10 am – 5 pm Online at westmichigansymphony.org FIND US ONLINE Website: westmichigansymphony.org Website: theblockwestmichigan.org Facebook: facebook.com/wmsymphony Facebook: facebook.com/AtTheBlock Twitter: twitter.com/westmisymphony Twitter: twitter.com/attheblock West Michigan Symphony 360 W. Western Avenue, Suite 200, Muskegon, MI 49440 p: 231.726.3231 e: info@westmichigansymphony.org Symphony concert tickets are also available at startickets.com, 800.585.3737

:: Accommodations are available for hearing-impaired patrons.

Please see box office personnel. :: Quiet, please! We respectfully request that all light and sound emitting devices be turned off before entering the hall.

Patrons wearing hearing aids should be aware that such devices are sensitive to pitch and may transmit a shrill tone.

The wearer often is not conscious of this and nearby patrons may wish to alert them discreetly if this happens. We appreciate your cooperation in helping to make our concerts as enjoyable as possible for everyone.

Thank you to tonight’s ushers—volunteers courtesy of Friends of the Frauenthal.

PROGRAM NOTES All program notes by: Joseph & Elizabeth Kahn wordprosmusic.com All sales are final. Dates, artists and programs are subject to change.

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Join us this 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

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2 :: West Michigan Symphony Concert Program

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.

A Message from Scott

MUSKEGON SURGICAL ASSOCIATES, PC Excellence in Surgical Care for over 42 Years DEAR FRIENDS, Welcome to the West Michigan Symphony's 2016-17 season. This season has EPIC! written all over it—from our tribute to cinematic Heroes and Villains, to the immense sonic landscapes of Respighi, Dvořák, Tchaikovsky and Rachmaninoff, to our spectacularly talented guest artists, including the long-awaited WMS debut of Van Cliburn Gold Medalist Olga Kern.

This year we inaugurate a new series, Classical Music for Everyone. For years we've been looking for the best way to take our listeners deeper into the music we love—and we think we've found it. Each year, in a single concert, this new series will examine classical music from a unique viewpoint. This year we examine our art form chronologically, exploring all the styles that make up the history of Western music.

The concert was a blast to put together, and we hope you enjoy it.

I am especially thrilled to introduce you to the West Michigan Symphony’s new composer-in-residence Austin Wintory. 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 is quickly gaining international fame, and bringing him to West Michigan is a major coup. He has much more music in store for us over the next three years, as he helps us redefine the roles of a composer and orchestra in the 21st century. This season your West Michigan Symphony will perform not one, not two, but three world premieres of our new composer's work. You would be hard pressed to find another orchestra in the country that could make that claim.

The Leaders Along the Lakeshore . . .

General Surgery Vascular Surgery Vein Care Center Vascular Lab at our Mercy Campus facility, and …

Plastic Surgery Pure Medical Spa at our new location north of The Lakes Mall

At the West Michigan Symphony, we see each concert as a new and different opportunity to connect with you through the sublime and powerful medium of music. We believe so strongly in our musical journey, and we want nothing more than to have you along with us.

We are so glad you're here —you’re the ones we’re making music for.

Enjoy the concert!

Scott Speck Music Director

1316 Mercy Drive, Muskegon Ph (231) 739-9461

1675 Patriot Drive, Muskegon Ph (231) 739-1933

www.msapc.com

www.msa-plasticsurgery.com Volume 4//September 2016 – May 2017 :: 3

Frauenthal Theater Seating Chart

A Letter from the Board Chair WELCOME MUSIC LOVERS, On behalf of the Board of Directors, welcome to our 77th season and thank you for coming to this evening’s concert. I think you’ll agree part of what makes our lakeshore community special is that we have a professional symphony orchestra in our midst; enhancing the lifestyle and culture of the area.

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This season’s performances continue to maintain a standard of excellence featuring our amazing professional musicians led by Music Director Scott Speck, with exceptional guest artists playing selections both well-known and very new. Based on your enthusiastic reception, we have expanded our offerings regarding the history and impact of classical music and composers. Our new composer-in-residence project welcomes renowned artist Austin Wintory and the world premiere of his new composition, EPIC!, a West Michigan Symphony commission.

This project marks the first of many new, exciting music experiences we are committed to providing you over the next several years.

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Wheelchair accessible seating and/or special seating needs, please call West Michigan Symphony Ticket Office

West Michigan Symphony Ticket Office 360 W. Western Avenue, 1st Floor Muskegon, MI 49440 p: 231.726.3231 f: 231.457.4033 westmichigansymphony.org WMS Ticket Office Hours Monday – Thursday 10 am – 5:30 pm Friday 10 am – 5 pm A special thank you to The Hearthstone Bistro for being our season-long ticket sponsor.

Symphony concert tickets are also available at startickets.com or 800.585.3737 (fees applied) or Frauenthal Box Office.

The expanded range of programs at our increasingly popular downtown venue, The Block features solo and group performances of classical, chamber, jazz, folk and vocal music, delighting lovers of all types of music.

Finally, through our growing education programs, we continue to engage young people in performance of instrumental and vocal music.

I’d like to thank each of you and our many sponsors and donors for your attendance and generous support as members of our symphony family.

You help to make these incredible experiences in music possible. Enjoy.

Pete Brown West Michigan Symphony Board Chair

2016/2017 Board of Directors The Board of Directors of the West Michigan Symphony is an active and involved group that takes its fiduciary and oversight responsibilities very seriously. The Board is made up of business and community leaders and volunteers from throughout the communities served by the WMS. Board members actively participate in committees that are involved in all aspects of the organization.

Pete Brown Chair

Ken Hoopes

Paul R. Jackson Secretary

Gary Nelund

David F. Gerdes Treasurer

Michael Olthoff

Jan L. Deur

Gil Segovia

Tom Godfrey

Bryce E. Tallant

Kimberly L. Hammond 4 :: West Michigan Symphony Concert Program

West Michigan Symphony Personnel FIRST VIOLIN Jennifer Walvoord concertmaster Gene Hahn assc. concertmaster Jacie Robinson asst. concertmaster Adam Liebert asst. principal Jenna Anderson Oleg Bezuglov* Jennifer Kotchenruther Joo Yun Preece Oxana Sourine Abdula Saidov Delia Turner SECOND VIOLIN Amanda Dykhouse principal Mark Portolese assc. principal Vitezslav Cernoch Francine Harris Yulia Orlova Karen-Jane Henry Natalie Hockamier Britta Bujak Portenga Carol Wildgen Tatiana Zueva VIOLA Arturo Ziraldo principal Mikhail Bugaev assc. principal Csaba Erdélyi Evgeny Gorobstov Antione Hackney R. Rudolph Hasspacher Sara Rogers

CELLO Alicia Gregorian Sawyers principal Igor Cetkovic* assc. principal Brook Bennett asst. principal Lee Copenhaver Nathan Cottrell Chi-Hui Kao Willis Koa Calin Muresan Lillian Pettitt

HORN Paul Clifton principal Greg Bassett Lisa Honeycutt assc. principal Leah Brockman

BASS Michael Crawford* principal Mark Buchner assc. principal Robert Johnson Dennis Bergevin

TROMBONE Edward Hickman principal Joe Radtke Evan Clifton bass trombone

FLUTE Jill Marie Brown principal Marissa Olin Leslie Deppe piccolo

TRUMPET Pamela Smitter principal Bill Baxtresser Anthony DiMauro*

TUBA Clinton McCanless principal TIMPANI Simon Gomez principal

OBOE Gabriel Renteria principal Open Position 2nd oboe Phil Popham English horn

PERCUSSION Matthew Beck principal Joseph LaPalomento Eric Jones

CLARINET Jonathan Holden principal Stephanie Hovnanian Lisa Raschiatore bass clarinet

HARP Sylvia Norris principal

BASSOON Marat Rakhmatullaev principal Jason Kramer

PIANO/CELESTE Kelly Karamanov principal *Leave of absence

“I flEW chEapEr out of MuskEgon”

( I coulDn’t bElIEvE It EIthEr )

Why not check?

Volume 4//September 2016 – May 2017 :: 5

Heroes and Villains

September 30, 2016 | Friday | 7:30 pm Scott Speck, conductor Austin Wintory, composer-in-residence Sandy Cameron, violin Gonna Fly Now (Theme from Rocky)

Bill Conti arr. Bill Holcombe

Lawrence of Arabia Overture

Maurice Jarre

King Kong Suite

Max Steiner

Pirates of the Caribbean

Braveheart Theme

Klaus Badelt arr. Ted Ricketts James Horner arr. Fedor Vrtacnik

Concert Suite from Dances with Wolves

John Barry arr. Steven L. Rosenhaus

Assassin Dances (WMS premiere) Sandy Cameron, violin

Austin Wintory

INTERMISSION Main Theme from Star Trek: The Motion Picture Jerry Goldsmith

arr. Harry Simeone The Magnificent Seven Symphonic Suite

Elmer Bernstein ed. Patrick Russ

The Good, The Bad, and The Ugly

Ennio Morricone arr. Fedor Vrtacnik

"Gabriel's Oboe" from The Mission Gabriel Renteria, WMS principal oboe

Ennio Morricone arr. Robert Longfield

"Love Theme" from The Godfather

Nino Rota

Princess Leia's Theme from Star Wars

John Williams

"Rey's Theme" from Star Wars Episode VII: The Force Awakens

John Williams

Star Wars Main Theme

John Williams

WMS 2016/17 SEASON SPONSORED BY

NICHOLS -AND- HINES CORP. GUEST ARTIST SPONSOR

6 :: West Michigan Symphony Concert Program

Austin Wintory Austin Wintory began his obsession with composing when he was ten years old and discovered Jerry Goldsmith’s scores to Patton and A Patch of Blue. Austin studied at NYU and USC with composers Morten Lauridsen, Charles Fussell, and Erica Muhl. Never satisfied with working in a single medium, Austin has worked in the concert world, film music, video games, and more.

In 2012 The PlayStation 3 game Journey was released featuring Wintory's soundtrack, three years in the making.

The game instantly became Sony’s fastest-selling PlayStation title and the soundtrack album debuted on the Billboard charts, higher than any original score in gaming history.

In December 2012, Wintory's soundtrack to Journey became the first-ever Grammy-nominated videogame score. The score won an Academy of Interactive Arts & Sciences D.I.C.E. award, two British Academy Awards, a Spike TV VGA, IGN’s “Overall Music of the Year,” five G.A.N.G. Awards and host of others.

Austin’s next major game effort was Stoic Studio’s The Banner Saga, a unique and mature turn-based strategy/RPG hybrid with a dazzling art direction. The score featured the Dallas Wind Symphony, America’s premiere wind ensemble, and an all-star trio of YouTube musicians: Malukah, Peter Hollens and Taylor Davis. The game and soundtrack were released in early 2014 to critical and commercial success; the score earned Austin over a dozen awards and nominations, including his 4th and 5th British Academy Award nominations, and he won the first-ever peer-voted ASCAP Composer’s Choice Award for “Best Video Game Score of the Year.”

Austin has also scored nearly 50 feature films. His score for the Sundance Film Festival-winning film Captain Abu Raed was shortlisted for the 2009 Academy Awards for Best Original Score by the LA Times. His next major film, Grace, was

also a hit at the Sundance Film Festival. His most recent films are writer/ director Adam Alleca’s Standoff, starring Thomas Jane and Laurence Fishburne, and Amin Matalqa’s The Rendezvous, starring Stana Katic.

Austin also maintains a busy concert composing schedule with regular appearances throughout the world including the commissioned work This Gaming Life with the Melbourne Symphony Orchestra, a theatrical work created in collaboration with the legendary comedians “Tripod.” His partnership with the Chicago-based chamber group Fifth House Ensemble was announced in 2016, with whom he will tour in a production of Journey LIVE, a recreation of the hit PlayStation title that is performed interactively.

Passionate about education, Austin is a regular public speaker at schools and events around the world, in addition to pre-concert talks and workshops. He also serves on the Board of Directors for the nonprofit Education Through Music–Los Angeles, as well as the Board of Directors for the Society of Composers and Lyricists.

Recently, Austin wrote and produced the score for Ubisoft’s video game blockbuster: Assassin’s Creed Syndicate. The score earned Austin his 6th British Academy Award nomination and second ASCAP Composer’s Choice Award nomination, and has been lauded as among the top game scores for 2015 by major industry organizations including the International Film Music Critics Association and the Hollywood Music in Media Awards.

ASSASSIN DANCES When asked to create a soundtrack for the game Assassin’s Creed Syndicate he said “what I essentially pitched was this chamber music approach that relied on a nonet of strings... written in a chamber ensemble configuration... with none of the glitz of the more Hollywood sounding production.

On the top of that, the game was going to revolve around dancing, particularly waltzes. Because you play these characters that are martial arts ninjas, so to them combat is effortless.” So Austin queried “What if every time [the video game characters] got into a fight, it breaks into this almost quasi-19th century waltz for chamber strings?”

The idea was a hit, so Austin “...had a lot of fun writing mountains and mountains of waltzes.”

The music that Wintory ultimately created featured virtuoso violinist Sandy Cameron. When he was approached to partner with WMS he thought “I really had so much fun writing these macabre devilish waltzes for Sandy, what if I was to extract some of that DNA from that score and blow it up into kind of a single movement, almost like a fantasia for violin and orchestra for Sandy and the WMS?” That recipe, which Austin describes as “taking things that are kind of in independent orbits from one another and finding ways to smash them together” is what will be cooked up in Assassin Dances. austinwintory.com ••

Columbia Artists Management LLC

Sandy Cameron Declared “brilliant” by the Washington Post, violinist Sandy Cameron is one of the most strikingly unique artists of her generation. Since her debut at the age of 12 in Eindhoven, the Netherlands, Ms. Cameron has performed extensively as a soloist and recitalist throughout North America, Europe and Korea. At 15, Sandy was a featured guest at the famed White Nights Festival in St. Petersburg, Russia, at the Salzburg Festival in Salzburg, Austria, and at the Verbier Festival in Switzerland.

She has toured North America with renowned conductor Valery Gergiev and the Kirov Orchestra, and made other solo appearances with orchestras such as the Seattle Symphony and Royal Liverpool Philharmonic. Ms. Cameron was a performer in Cirque du Soleil’s Los Angeles based show, “IRIS”, and is a featured soloist in Danny Elfman's Music from the Films of Tim Burton concerts and The Nightmare Before Christmas Live at The Hollywood Bowl.

Ms. Cameron is currently touring the world with jazz trumpeter and composer Chris Botti, performing jazz standards and classical repertoire. She also performed as a part of Tan Dun’s Hero Concerto and The Triple Resurrection in China. Her work has been featured on a number of major film scores including Rio 2, The Peanuts Movie, Straight Outta Compton, Goosebumps, The 5th Wave, Fifty Shades of Grey, Fantastic Four and The Cobbler. She will also be touring with composer Austin Wintory performing his score for the video game Assassin’s Creed Syndicate.

Ms. Cameron has earned numerous awards and honors, including the title of Presidential Scholar, and graduated from Harvard University (09) and New England Conservatory (10). A firm believer in giving back to the community, Ms. Cameron created her own Music Benefit Fund in 2004, which provided funding for musical education and activity in the schools and community of Poolesville, MD, and continues to participate in a number of charity events.

The outstanding violin used by Ms. Cameron, crafted by Pietro Guarnerius of Venice, c. 1735, is on extended loan through the generous efforts of the Stradivari Society® of Chicago. sandycameron.com •• COLUMBIA ARTISTS MANAGEMENT LLC Tim Fox, President & Alison Ahart William, Vice President 5 Columbus Circle @ 1790 Broadway New Volume York, NY4//September 10019 2016 – May 2017 :: 7

Program Notes

EP!C

November 11, 2016 | Friday | 7:30 pm Scott Speck, conductor Austin Wintory, composer-in-residence Austin Wintory

EPIC! (world premiere, WMS commission 2016)

Igor Stravinsky The Firebird: Suite (1919 version)

1. Introduction

2. L'Oiseau de feu et sa danse & Variation de l'oiseau de feu

3. Ronde des princesses

4. Danse infernale du roi Kastcheï

5. Berceuse

6. Finale INTERMISSION Ottorino Respighi

Fountains of Rome, P. 106 I. La fontana di Valle Giulia all'alba II. La Fontana del Tritone al mattino III. La Fontana de Trevi al meriggio IV. La fontana di Villa Medici al tramonto

Ottorino Respighi Pines of Rome, P. 141

1. I pini di Villa Borghese (The Pines of the Villa Borghese)

2. Pini presso una catacomba (Pines Near a Catacomb)

3. I pini del Gianicolo (The Pines of the Janiculum)

4. I pini della Via Appia (The Pines of the Appian Way)

WMS 2016/17 SEASON SPONSORED BY

NICHOLS -AND- HINES CORP. CONCERT SPONSOR

COMPOSER CLUB COMMISSION

EPIC! 8 :: West Michigan Symphony Concert Program

AUSTIN WINTORY (b. 1984) EPIC (world premiere) 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 PlayStation 3 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.

Austin Wintory joins WMS this season for the first of a three-year composer residency program. The purpose of the residency is not only to commission 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. The residency starts at the top of the WMS season with Assassin Dances, featured in the Heroes and Villains concert. The residency continues with the world premiere of EPIC! a piece created especially for WMS and Balaenoptera Musculus, which premieres in the March concert.

Austin's full bio is available on page 6.

EPIC! In this witty, yet irreverent piece, Austin Wintory parodies the fascination with the "epic" music in today’s modern literature (i.e. novels, films, games, TV, advertising, etc.) while simultaneously creating a love letter to that culture and celebrating the diverse, highly energized stream of information we live in today.

As a composer, Wintory finds the clichés of this emergent subgenre of music somewhat agonizing, but recognizes that it’s part of our landscape—and that overall ours is a culture worth celebrating. Through our media we are constantly challenging our norms and are exposed to new ideas, creations, and ways of thinking. For a great many reasons, despite the prevalence of things we might otherwise disdain, this is certainly the best time to be alive in the history of mankind. This led Wintory to the challenge of taking those clichés and fashioning a work meant to celebrate them; specifically referring to the musical clichés of specific harmonies, melodic and formal structures, obsessive rhythmic repetition, etc., that characterize the “epic.”

The backdrop of this motivation is reflecting on some of the great showstoppers of the 20th century orchestral repertoire, amongst which is Bernstein’s “Mambo” from West Side Story.

There is so much brooding drama in the new music scene today, the celebration of culture/pop culture stands as a nice contrast.

“EPIC!” is intended as the first in a series of collaborations with the West Michigan Symphony, spanning a multi-season composer-inresidence project. The overriding goal of the partnership is to explore ways of shedding light on current, culturally relevant ideas. Among those will include pieces which break down the normal composer/ audience delineation on a fundamental level. “EPIC!” is a first step, by simply offering new music which resembles the sort of aesthetic audiences would otherwise be exposed to in all other forms of media outside of the concert hall, before spinning that aesthetic on its head.

IGOR STRAVINSKY (1882-1971) Suite from The Firebird “He is a man on the eve of fame,” said Sergei Diaghilev, impresario of the famed Ballets Russes in Paris, during the rehearsals for Igor Stravinsky’s The Firebird.

In 1909 Stravinsky, viewed as a budding composer just emerging from the tutelage of Nikolai Rimsky-Korsakov, got what can be called his big break, thanks to the laziness of the composer Anatoly Liadov.

Early in the year Diaghilev had written Liadov: “I am sending you a proposal. I need a ballet and a Russian one, since there is no such thing. There is Russian opera, Russian dance, Russian rhythm—but no Russian ballet. And that is precisely what I need to perform in May of the coming year in the Paris Grand Opera and in the huge Royal Drury Lane Theater in London... The libretto is ready... It was dreamed up by us all collectively. It is The Firebird—a ballet in one act and perhaps two scenes.” When Diaghilev heard that after three months Liadov had only progressed so far as buying music manuscript paper, he withdrew the commission and offered it to Aleksander Glazunov and Nikolai Tcherepnin, who both turned him down. In desperation he turned to the unknown Stravinsky.

Stravinsky finished the score in May 1910, in time for the premiere on June 25. It was an instant success and has remained Stravinsky's most frequently performed work. Its romantic tone, lush orchestral colors, imaginative use of instruments and exciting rhythms outdid even Stravinsky’s teacher, Rimsky-Korsakov, the Russian master of orchestration. It required an immense orchestra and the first suite

Stravinsky extracted from the ballet in 1911 strained symphony orchestras’ resources. He made two subsequent revisions, with modified orchestration, the final one in 1945.

The ballet, taking its plot from bits of numerous Russian folk tales, tells the story of the heroic Tsarevich Ivan who, while wandering in an enchanted forest, encounters the magic firebird as it picks golden fruit from a silver tree. He traps the bird but, as a token of goodwill, frees it. As a reward, the bird gives Ivan a flaming magic feather. At dawn Tsarevich finds himself in a park near the castle of the evil magician Kashchei. Thirteen beautiful maidens, captives of Kashchei, come out of the castle to play in the garden but one of them in particular, the beautiful Tsarevna, captures Ivan’s heart. As the sun rises, the maidens have to return to their prison and Tsarevna warns Ivan not to come near the castle lest he fall under the magician’s spell as well.

In spite of the warning, Tsarevich follows and opens the gate of the castle. With a huge crash Kashchey and his retinue of monsters erupts from the castle in a wild dance, whose drive and clashing harmonies foreshadow The Rite of Spring. With the help of the magic feather Tsarevich calls the Firebird who overcomes Kashchei and tames the monsters by lulling them to sleep. In the end the captives are freed from the spell and Tsarevich Ivan and Tsarevna are married in a grand ceremony culminating in an apotheosis of the Firebird.

OTTORINO RESPIGHI (1879-1936) Fontane di Roma (Fountains of Rome) Ottorino Respighi was one of the most imaginative orchestrators of the first part of the twentieth century. While most of his musical studies were undertaken in Italy, he spent two crucial years in Russia where he took lessons in orchestration from Nikolay RimskyKorsakov. Respighi developed a masterful technique in the use of instrumental colors and sonorities. Firmly rooted in the late-Romantic tradition, he maintained this style with only marginal influence from the revolutionary changes in music that occurred during his lifetime.

Respighi was a musical nationalist, keenly interested in reviving Italy’s musical heritage, especially its instrumental music. Beginning in 1906 he undertook the transcription and arrangement of music from the

Create a legacy of music when you join this exclusive club. Your donation not only supports the creation of a new musical work by composer-in-residence, Austin Wintory, it entitles you to a host of benefits.

To learn more go to westmichigansymphony.org/ComposerClub or call 231.726.3231.

WEST MICHIGAN SYMPHONY

COMPOSER CLUB Volume 4//September 2016 – May 2017 :: 9

Program Notes seventeenth and eighteenth centuries, editing the works of Claudio Monteverdi and Tomaso Antonio Vitali. In 1917 he published the first of his three suites of Ancient Airs and Dances, based on Italian and French lute music, mostly from the early seventeenth century. In 1927 he composed Gli uccelli (The Birds), a five-movement suite using eighteenth-century keyboard works imitating birdsongs. Indeed, most of his works are based on the music of the past.

Composed in 1914-16, Fontane di Roma is the first of a trilogy celebrating Rome’s unique history and culture. The others are Pini di Roma (Pines of Rome) and Feste romane (Roman Festivals.) They are scored for a large, diverse orchestra that includes bass clarinet, two harps, celesta, piano, optional organ and, of course, glittering percussions.

Respighi noted in the introduction to the score that he tried to express in music the sentiments and visions suggested to him by four of Rome’s iconic fountains, at the hour in which the character of each is most in harmony with the surrounding landscape or appears most enchanting to the observer. He also added some descriptive remarks to each section.

The Fountain of Valle Giulia at Dawn: Muted rustling in the violins and soft woodwinds give an impressionistic and bucolic picture of early morning. Respighi wrote in the score: “Droves of cattle passing and disappearing in the fresh and damp mists of the Roman dawn.” The modal oboe melody and open fifths recall the music of the Middle Ages. Birdcalls also punctuate the musical image.

The Triton Fountain at Morn: A sudden loud blast on the horns above a brilliantly orchestrated trill for piccolo and triangle introduce the Triton Fountains “...like a joyous call, summoning troops of naiads and tritons, who run around, pursuing each other and mingling in a frenzied dance amidst the jets of water.”

The Trevi Fountain at Mid-day: An undulating solemn theme introduces the image of the Fountain. The theme passes from the woodwinds to the brass, assuming a triumphal character. “Trumpets ring; across the shimmering surface of the water passing Neptune’s chariot drawn by sea horses and followed by a train of sirens and tritons. The procession vanishes while faint triumphal blasts are heard in the distance.”

The Villa Medici Fountain at Sunset: The final movement opens with a dreamlike English horn melody, accompanied by trickling water, depicted in the glockenspiel and celesta. “It is the nostalgic hour of sunset, with the air full of tolling bells, birds twittering and leaves rustling. Then everything dies peacefully into the silence of the night.”

OTTORINO RESPIGHI (1879-1936) Pini di Roma (Pines of Rome) Composed in 1924, Pini di Roma is the second of the three, describing four locations in the city, each of which has historical and cultural 10 :: West Michigan Symphony Concert Program

significance. Respighi provided in the score a detailed description of this programmatic music: The Pines of the Villa Borghese (a country estate with enormous grounds belonging to one of Rome’s most notable Renaissance families): “Children playing in what are now public gardens, they mimic marching soldiers and battles, twittering and shrieking like swallows then they swarm away and the scene changes abruptly to..."

Pines near a Catacomb (the underground burial sites for the early Christians): “We see the shadows of the pines, which overhang the entrance to a catacomb. From the depths rises a mournful chant that reechoes solemnly, like a hymn, and then dies away mysteriously.”

The Pines of the Janiculum (the highest hill in Rome, but not one of the famous seven, the location of a cult worshiping the god Janus): “Moonlight and the song of a nightingale enfold the pines on the Janiculum hill with mystery. There is a thrill in the air.” The voice of the nightingale is provided by a recording.

The Pines of the Appian Way (one of the great Roman roads leading south from the city): “Misty dawn on the Appian Way. The tragic country is guarded by the solitary pines. Indistinctly, incessantly, the rhythm of innumerable steps... visions of past glories: trumpets blare, and the army of the Consul advances brilliantly... in the rising sun... mounting in triumph the Capitoline Hill.”

Ironically, while Respighi uses the giant pines as symbols of Rome’s ancient past, these trees are relative newcomers to the eternal city. The species was introduced from Sardinia, probably in the seventeenth or eighteenth century.

There has been some controversy regarding Respighi’s political affiliation. The fact that Italian dictator Benito Mussolini was particularly fond of the composer’s “Roman” tone poems and that Respighi accepted various honors from the Fascist government has led to the conclusion that Respighi was a Fascist supporter himself.

His supporters, however, cite the composer’s intervention in 1931 to save Arturo Toscanini from a Fascist mob in Bologna, and his remarks against the regime for threatening the conductor. There is also an allegedly hidden anti-Fascist message in the final scene of his opera Lucrezia, written in 1935-36, when Fascism was at its height: "Death to the tyrants, you be leader, Brutus! - Freedom, to Rome!"

AUDIO WEB NOTES Want to learn more about this season's masterworks programs? Visit westmichigansymphony.org, go to the masterworks program of your choice and click on the “Program Notes” tab. A window will open with more information about the pieces in that particular program. Click on music terms in bold bright blue text for definitions and on the icon to hear music examples.

Program notes by: Joseph & Elizabeth Kahn

2016/17

west michigan symphony concert season SCOTT SPECK | MUSIC DIRECTOR FRIDAY | FRAUENTHAL THEATER | DOWNTOWN MUSKEGON

HEROES AND VILLAINS

Sept. 30 | 7:30 pm | Austin Wintory composer-in-residence | Sandy Cameron violin The West Michigan Symphony 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.

VIVALDI’S FOUR SEASONS

Jan. 13 | 7:30 pm | Vivaldi/Max Richter Four Seasons Tim Fain violin | Mozart Symphony no.41 (Jupiter)

EP!C

CLASSICAL CHRISTMAS

BEETHOVEN TRIPLE

CLASSICAL MUSIC FOR EVERYONE

Nov. 11 | 7:30 pm | Austin Wintory EPIC! (world premiere) | Stravinsky Firebird Suite | Respighi The Fountains of Rome | Respighi The Pines of Rome

Feb. 3 | 7:30 pm | Glinka Overture to Ruslan and Ludmila | Beethoven Concerto for Violin, Cello and Piano Alicia Gregorian Sawyers cello Kelly Karamanov piano Jennifer Walvoord violin | Dvořák Symphony no.9 (New World Symphony)

Dec. 16 | 7:30 pm | Martha Guth soprano | Sara Murphy mezzo soprano | Chamber Choir of Grand Rapids, Mark Webb, director | Muskegon Chamber Choir, David Wikman, director | WMS Children's Choir, Beth Slimko, director

Mar. 10 | 7:30 pm

Based on the book Classical Music for Dummies, written by Scott Speck and David Pogue, this concert covers the history of classical music, ranging from medieval to the music of today. Composers include Mozart, Brahms, Wagner, Copland and more.

For tickets and more info:

DEE DANIELS GREAT LADIES OF SWING Apr. 28 | 7:30 pm | Matthew Kraemer guest conductor | Dee Daniels jazz vocals

Singer Dee Daniels joins WMS for a jazz program that features hits by swing legends Ella Fitzgerald, Billie Holiday, Peggy Lee and Sarah Vaughan. Pieces include classics “Fever”, “Can’t Help Lovin’ Dat Man”, “Makin’ Whoopee” and “Mack the Knife”.

RACHMANINOFF NO.3

May 19 | 7:30 pm | Tchaikovsky Symphony no.6 in B minor (Pathétique) | Rachmaninoff Piano Concerto no.3 in D minor Olga Kern piano

westmichigansymphony.org 231.726.3231 360 W Western Ave, 1st floor, Muskegon

Dates, artists, prices and programs subject to change

Volume 4//September 2016 – May 2017 :: 11

Martha Guth

Classical Christmas

December 16, 2016 | Friday | 7:30 pm Scott Speck, conductor Martha Guth, soprano Sara Murphy, mezzo-soprano Chamber Choir of Grand Rapids, Mark Webb, director Muskegon Chamber Choir, David Wikman, director WMS Children's Choir, Beth Slimko, director A Christmas Festival

Leroy Anderson

“Rejoice Greatly" from The Messiah Martha Guth

George Frederick Handel

“He Shall Feed His Flock" from The Messiah Martha and Sara

George Frederick Handel

Gesu Bambino Martha, Sara, WMS Children's Choir

Pietro Yon arr. Gordon Ring

Fantasia on "Greensleeves"

Ralph Vaughan Williams

This Christmastide (Jessye's Carol) Chamber Choir of Grand Rapids

Donald Fraser

Pine Forest in Winter and Waltz of the Snowflakes from The Nutcracker Chamber Choir of Grand Rapids

Peter Ilyich Tchaikovsky

INTERMISSION Deck the Halls Traditional

arr. Carmen Dragon Maria Wiegenlied Martha Guth

Max Reger

I Wonder as I Wander Traditional Sara Murphy Schlafendes Jesuskind Sara Murphy

Hugo Wolf

Flower Duet from Lakmé Martha and Sara

Clement Philibert Leo Delibes

Grand Pas de Deux from The Nutcracker

Peter Ilyich Tchaikovsky

“Thou Must Leave Thy Holy Dwelling” from L’enfance du Christ Muskegon Chamber Choir

Hector Berlioz

Away in a Manger

Martin Luther arr. Carmen Dragon

O Come, All Ye Faithful John Francis Wade Martha, Sara, Chamber Choir of Grand Rapids, arr. Mack Wilberg Muskegon Chamber Choir, WMS Children's Choir

WMS 2016/17 SEASON SPONSORED BY

NICHOLS -AND- HINES CORP. CONCERT SPONSORS

WMS CHILDREN'S CHOIR SPONSOR 12 :: West Michigan Symphony Concert Program

Soprano Martha Guth brings expert musicianship, intelligence and a distinctive tonal palette to a wide range of musical styles. A much-sought-after concert soloist, her repertoire includes soprano 1 in Mozart’s C Minor Mass (New York’s Sacred Music in a Sacred Space in St. Ignatius Loyola Cathedral and Columbus, Ohio’s ProMusic Chamber Orchestra), Orff’s Carmina Burana (West Michigan, Mobile, Lima Symphonies, Florida Orchestra), the Brahms Requiem (Washington, D.C.’s Cathedral Choral Society, New York’s Voices of Ascension, Grand Rapids’ Calvin College), Britten’s Spring Symphony (Choral Society of Durham), Händel’s Messiah (Santa Fe Symphony, Rhode Island Philharmonic, Christ Church Cathedral in Lexington, Kentucky), Mendelssohn’s Elijah (Columbia Pro Cantare and Gloriae Dei Cantores), Mahler’s Second Symphony (Evansville Philharmonic) and Fourth Symphony (Flagstaff Symphony), Beethoven’s Ninth Symphony (Fort Wayne Philharmonic) and Missa solemnis (Bachakademie Stuttgart), Mozart’s Exsultate, jubilate (Hamilton Philharmonic) and Concert Arias (Germany’s Bad Reichenhaller Philharmonie), Berlioz’s Les nuits d’été (Canadian Opera Company orchestra), Haydn’s Die Schöpfung (New Mexico Symphony) and Poulenc’s Stabat Mater (Spokane Symphony).

Forthcoming from Naxos is her recording of Roberto Sierra’s Beyond the Silence of Sorrow with Maximiano Valdés conducting the Puerto Rico Symphony. In addition, she has collaborated with John Nelson, Helmuth Rilling, and both Seiji Ozwa and Robert Spano at Tanglewood and been guest soloist with the National Arts Centre Orchestra, Calgary Philharmonic and Toronto Symphony.

A persuasive actress, Ms. Guth scored a big success as Frau Fluth in the Boston Midsummer Opera’s recent production of Nicolai’s The Merry Wives of Windsor. Past operatic forays include Mozart’s Le Nozze di Figaro (Countess) and Don Giovanni (Donna Anna) at Opera Lyra Ottawa; the same composer’s Die Zauberflöte (Pamina) and Die Entführung aus dem Serail (Konstanze) in Göggingen, Germany; the title role of Händel’s Alcina in Lucca, Italy; Lauretta in Bizet’s Dr. Miracle and Norina in Don Pasquale with the Santa Fe Opera (the latter on tour as a past apprentice of the company), and Alyce in Tom Cipullo’s Glory Denied at New York’s Chelsea Opera, which she reprised in the 2015-16 season.

A model collaborator, Ms. Guth has earned special distinction for her passionate devotion to recital and chamber repertoire, earning First Prize at the 2007 Wigmore Hall International Song Competition

in London. She has been welcomed at Wigmore Hall with pianist Graham Johnson, offered recitals in New York with Dalton Baldwin and Malcolm Martineau, and MusicFest Vancouver with Erika Switzer, with whom she co-hosts an online magazine Sparks and Wiry Cries featuring live and recorded performances and discussions with singers, pianists and composers. She also curates the Casement Fund Song Series in New York City.

Martha Guth was raised in Vancouver, British Columbia. She holds an undergraduate degree from the Oberlin Conservatory of Music, a Master’s from the Cincinnati College/Conservatory of Music, and a post-graduate degree from the Hochschule für Musik in Augsburg/ Nürnberg where she studied with Edith Wiens. marthaguth.com ••

Martha Guth will be performing @ The Block, Sat, Dec 17, 7:30 pm For tickets or info: theblockwestmichigan.org 231.726.3231

Sara Murphy Sara Murphy, “a gorgeous, deep, dark mezzo-soprano” (New York Times), is a concert, opera and recital artist who has been called “absolutely unforgettable for her versatility and ability to conquer any sensitive soul” (El Nacional, Dominican Republic). In October 2016, she will make her company and role debut at Opera Theater of Rome as Ulrica in Verdi’s Un Ballo in Maschera under the baton of Jesús López-Cobos.

Current season highlights include two appearances at New York City's Carnegie Hall: A Prayer for Peace with music of Leonard Bernstein and Turkish composer Ahmed Adnan Saygun with MidAtlantic Opera and Handel's Messiah with Oratorio Society of New York. Sara appears again with Oratorio Society of New York in two performances of Mahler's Symphony no. 8 "Symphony of a Thousand," one with full orchestra and one with a world premiere organ transcription by David Briggs. Sara returns to Cincinnati May Festival as Emilia in Verdi's Otello and mezzo-soprano soloist in Mendelssohn's Elijah.

In July 2015, the newly released recording of Hindemith's The Long Christmas Dinner on Bridge Records made the top of Arts Beat's playlist in The New York Times. In addition to The New York Times, Opera News, The Guardian and Gramophone all praise her portrayal of Mother Bayard and Ermengarde: “Sara Murphy’s closing aria as Ermengarde... is marvelously poignant,” writes Gramophone.

Volume 4//September 2016 – May 2017 :: 13

During 2014-2015, performances included the Ligeti Requiem, Schnittke's Nagasaki and Hindemith's The Long Christmas Dinner with American Symphony Orchestra conducted by Leon Botstein, Handel's Messiah and the Verdi Requiem with Oratorio Society of New York conducted by Kent Tritle and a recital at Cincinnati May Festival.

In 2013-2014, she debuted at Cincinnati’s May Festival in Mahler's Symphony no. 8, Beethoven's Symphony no. 9 and Tchaikovsky's Ode to Joy with the Cincinnati Symphony Orchestra conducted by James Conlon. Other notable performances included the Verdi Requiem at Bard College with conductor Leon Botstein and Elgar's Dream of Gerontius at Berkshire Choral Festival with conductor Kent Tritle.

Sara debuted at the Ravinia Festival in 2013 with the Chicago Symphony Orchestra conducted by James Conlon, earning critical acclaim for Britten's Phaedra, Barber's Dover Beach and High Priestess in Verdi's Aida from the Chicago Tribune: "Sara Murphy brought a rich, voluminous mezzo voice, excellent diction and an acute feeling for words and music." The 2013 season also included numerous

performances of the Verdi Requiem as well as two concerts with the MidAtlantic Opera Orchestra and conductor Jason Tramm with arias and scenes from Il Trovatore (Azucena), Aida (Amneris) and Un Ballo in Maschera (Ulrica). Additionally, she joined the Ensemble for the Romantic Century for the theatrical concert Frankenstein singing music of Bach and Schubert, and was alto soloist in Handel’s Messiah and the Rachmaninoff Vespers. Sara was the first-prize winner in the 2013 Oratorio Society of New York Solo Vocal Competition and received an Inter-Cities Performing Arts grant in the same year.

Sara is a frequent soloist on the Sacred Music in a Sacred Space concert series in New York City, performing such works as Mozart's Requiem and Solemn Vespers, Bach's Magnificat, Szymanowski's Stabat Mater, Beethoven's Missa Solemnis, Duruflé's Requiem and the Rachmaninoff Vespers. In addition to these works, her oratorio repertoire includes Verdi's Requiem, Rossini's Petite Messe Solennelle, Dvorak's Stabat Mater, Handel’s Messiah and Beethoven’s Mass in C. saramurphy.com ••

Chamber Choir of Grand Rapids, Mark Webb, director CHAMBER CHOIR OF GRAND RAPIDS The Chamber Choir of Grand Rapids was established in 1978. The flexibility and artistry of 40 musicians in the greater West Michigan area has enabled it to bring Grand Rapids audiences concerts as diverse as our community.

Dr. Mark Webb received his Bachelor's and Master's Degrees in Music Education and Choral Conducting from the University of Michigan, and his Doctor of Musical Arts Degree in Choral Conducting from Michigan State University. Dr. Webb retired from public school teaching in 2009, after serving for thirtythree years as a secondary vocal music teacher—teaching in the Kentwood and East Grand Rapids Public School Districts. His past positions include Choral/Opera Coordinator and Director of the International Choral Ensemble at Blue Lake Fine Arts Camp, Visiting Professor of Music at Albion College, and President of the Michigan School Vocal Music Association—receiving the honor of Teacher of the Year from that organization in 2003. Mark is currently an Associate Professor of Music at Aquinas College, and is also the director of the Chancel Choir at Mayflower Congregational Church, and the Chamber Choir of Grand Rapids. He has been a guest clinician for school and church choirs throughout Michigan.

He and his wife, Susan, have two daughters—Natalie (married to Mickey Bullock) and Ashley (married to Nick Cintorino); and two and Hanna Bullock.

14 :: grandchildren—Jeremiah West Michigan Symphony Concert Program

Perhaps the most notable of its accomplishments, the Chamber Choir raises social awareness by collaborating with community organizations including the Holland Youth Advisory Panel, Heartside Ministries, Degage, Senior Neighbors, Children’s Assessment Center, Silent Observer and The Butterworth Foundation. The Chamber Choir continues to collaborate with other fine arts organizations as Grand Rapids Ballet Company, Grand Rapids Symphony Orchestra, St. Cecilia Youth Chorale, West Michigan Symphony, Aquinas College, Grand Valley State University and many local musicians.

Invitations have taken the choir from the baroque halls of Saint Petersburg, Russia, to the refined classical as the famous Haydnsaal in the Esterhazy Palace in Eisenstadt, Austria. Their voices have been raised with those of the famed Mormon Tabernacle Choir in the legendary Tabernacle in Temple Square, Salt Lake City, Utah, where they took part in the recording of the Tabernacle Choir's international Sunday morning television and radio international broadcast. They also joined the choir to perform a solo concert in the Assembly Hall on Temple Square. In West Michigan, the Chamber Choir has performed around the city of Grand Rapids including the Basilica of St. Adalbert, the Cathedral of St. Andrew and St. Cecilia Music Center.

CD’s have included the sounds of the London Philharmonic, the Dallas Brass and Grand Rapids’ own Jonathan Tuuk, along with their current recording, The Music of Carl Wiltse and Edith Shaw Butler.

Muskegon Chamber Choir, David Wikman, director

David Wikman is a product of the Muskegon Schools and community. He graduated Muskegon High School, holds his undergraduate degree from Hope College, and his Master’s degree from Western Michigan University. He began his teaching career in the Reeths-Puffer School System where he founded the Madrigal Singers. He finished his teaching in the Muskegon Public Schools. He founded the Muskegon Chamber Choir and has been its only conductor for fifty years. He is an adjudicator for the Michigan School Vocal Music Association and a member of the American Choral Directors Association. His conducting teachers include Herbert Butler, Kenneth Schermerhorn, and Robert Shaw.

MUSKEGON CHAMBER CHOIR The Muskegon Chamber Choir was founded as a sixteen voice ensemble to audition for a part in a summer music festival. After the audition, the choir ceased operation. The festival never materialized, but a number of the singers convinced the conductor, David Wikman, that they had created something too important to let go, summer festival or not. This year marks the choir’s 52nd season. Its membership has expanded from the original sixteen to accommodate larger choral and choral/ orchestral works. It is the primary affiliate chorus of the West Michigan Symphony. In 1988, it was honored to be invited to Carnegie Hall for a performance under the baton of the young American conductor, Michael Morgan.

Its annual Wreath of Carols is a staple for concert-goers in the Lakeshore area.

WMS Children's Choir, Beth Slimko, director

Beth Slimko holds a Bachelor of Music in Music Education with dual concentrations in vocal and instrumental pedagogy from Butler University, which included an intense study at the Zoltan Kodaly Pedagogical Institute in Hungary. She also holds a Master's Degree in Elementary Education from Grand Valley State University. Other training includes experience with esteemed vocal music arranger Henry Leck and the Indianapolis Children’s Choir, The Richards Institutes program “Education through Music, and the Kindermusik Organization."

Mrs. Slimko is currently the director of the North Muskegon Public School choir program and is a vocal music specialist for elementary music. Under her direction the choir program has grown from one choir with six female members in 2004 to four choirs and more than 240 dedicated members. She is also an accomplished oboist, pianist and vocalist, and maintains a full private lesson studio. She was the lead clinician for the Michigan Music Education Association Elementary Choral Festival in 2015. Mrs. Slimko resides in North Muskegon, Michigan with her husband and two sons.

WEST MICHIGAN SYMPHONY CHILDREN'S CHOIR (WMSCC) With an emphasis on the development of musical skills and understanding, WMSCC cultivates and encourages student achievement and provides quality music education with the goal of attaining the highest level of artistic excellence in choral music performance. The audition-based program and was formed in 2013 to provide children in Muskegon and surrounding communities the opportunity to develop their voices, experience exciting singing opportunities and work with a professional arts organization. Each year members of the choir perform concerts at events and locations in throughout West Michigan and often are invited to share the Frauenthal stage with the West Michigan Symphony Orchestra; this season joining them in the Classical Christmas concert.

Open for children ages 8-11, WMSCC rehearses weekly at The Block and is under the direction of Music Director Beth Slimko.

Volume 4//September 2016 – May 2017 :: 15

Program Notes

Vivaldi's Four Seasons January 13, 2017 | Friday | 7:30 pm Scott Speck, conductor Tim Fain, violin Antonio Vivaldi/Max Richter Tim Fain, violin

The Four Seasons Recomposed Spring 0 Spring 1 Spring 2 Spring 3 Summer 1 Summer 2 Summer 3 Autumn 1 Autumn 2 Autumn 3 Winter 1 Winter 2 Winter 3

INTERMISSION Wolfgang Amadeus Mozart

Symphony no.41, K.551- Jupiter I. Allegro vivace II. Andante cantabile III. Allegretto IV. Molto allegro

ANTONIO VIVALDI (1678-1741) Recomposed by Max Richter The Four Seasons Antonio Vivaldi’s The Four Seasons are part of a group of eight violin concertos published in Amsterdam in 1725 as Op. 8. Vivaldi provided sonnets in Venetian dialect, probably his own, to head each of the four concertos. It is clear from the detailed notes Vivaldi made on the score that he enjoyed composing these concertos as well as performing them.

In 2012, composer Max Richter, in a long list of composers who reworked pre-existing music, notably Franz Liszt, Igor Stravinsky and Nikolai RimskyKorsakov, took on Vivaldi’s ubiquitous masterpiece.

In an interview with NPR, Richter said: “As a child, I fell in love with it. It's beautiful, charming music with a great melody and wonderful colors. Then, later on, as I became more musically aware—literate, studied music and listened to a lot of music—I found it more difficult to love it. We hear it everywhere—when you're on hold, you hear it in the shopping center, in advertising; it's everywhere. For me, the record and the project are trying to reclaim the piece, to fall in love with it again."

The result is a minimalist transformation that leaves only fragments of the original music, usually the famous virtuosic riffs for the solo violin. New dissonant harmonies, distorted meters, loops and repetitive phrases that evolve one element at a time in different movements. Richter notes, as have so many others, that Vivaldi was a master of repeated patterns (detractors call it “wallpaper music,”) and has easily adapted that feature to his own minimalist style.

Richter introduces other unexpected sounds, including modern pulsed dance music in the first movement of Summer, and a metronomic harp movement in Autumn.

WMS 2016/17 SEASON SPONSORED BY

NICHOLS -AND- HINES CORP.

CONCERT SPONSOR

16 :: West Michigan Symphony Concert Program

A classically trained composer and pianist, Richter was born in 1966 in Hamelin, Germany, but raised in Britain.

He studied at the University of Edinburgh and the Royal Academy of Music, and in Italy with Luciano Berio. He has composed numerous film soundtracks, solo piano works, and ballets for the Royal Ballet.

WOLFGANG AMADEUS MOZART (1756-1791) Symphony no.41 in C major, K. 551 Jupiter Mozart composed his three last symphonies—or at least finished them—in the short span of six weeks in June-August 1788. In spite of the ceaseless flow of his musical output, he had composed no symphonies during the preceding two years, nor was he to write any in the following three, the last years of his life.

These three symphonies were not composed on commission but were probably written for a series of subscription concerts that Mozart planned for 1788-89 in Vienna but which apparently never materialized for lack of support. At this point, in Vienna at least, his star was already in decline despite the success of his two great operas in collaboration with Lorenzo da Ponte, Don Giovanni (premiered in Prague) and The Marriage of Figaro. He was desperately in need of money—in large part because he was constitutionally unable to curb his extravagant spending habit. However, the notion that Mozart never heard these symphonies performed is the creation of nineteenth-century romanticism; in fact, Mozart probably scheduled the C major symphony for a concert in Frankfurt in October 1790.

The three symphonies reflect very different moods, the darkest being no. 40. It is almost as if the tragedy of this symphony saw its resolution

only the in triumph of no. 41. The nickname "Jupiter" is a late addition in an unknown hand, inspired probably by the majestic-sounding first movement. Olympian it may sound to us, but according to Eric Blom, Mozart borrowed the little auxiliary G major theme in the first movement from his comic bass arietta “Un bacio di mano” (K.541); the text that accompanies this theme runs, “Voi siete un po' tondo, Mio caro Pompeo,” (You are a little chubby, my dear Pompeo).

Of particular interest in Symphony no.41 is Mozart’s use of the fournote opening motive of the final movement, which he then develops into a complex fugue. Mozart was partial to this motive and had previously used it in two masses and his B-flat Symphony K. 319 (no.

33). Other composers, mostly notably Felix Mendelssohn, used the motive as well, either in imitation of or tribute to the composer who was valued more after his death than during his lifetime.

AUDIO WEB NOTES Want to learn more about this season's masterworks programs? Visit westmichigansymphony.org, go to the masterworks program of your choice and click on the “Program Notes” tab. A window will open with more information about the pieces in that particular program. Click on music terms in bold bright blue text for definitions and on the icon to hear music examples.

Program notes by: Joseph & Elizabeth Kahn

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Tim Fain With his adventuresome spirit and vast musical gifts, violinist Tim Fain has emerged as a mesmerizing presence on the music scene. The “charismatic young violinist with a matinée idol profile, strong musical instincts, and first rate chops” (Boston Globe) is seen and heard in the film Black Swan, and gives “voice” to the violin of the lead actor in the hit film 12 Years a Slave, as he did with Richard Gere’s violin in Fox Searchlight’s feature film Bee Season. Most recently, Fain collaborates with Google on a virtual reality (VR) music and film project RESONANCE that introduces VR capability for YouTube to the world.

Launching his career with Young Concert Artists and an Avery Fisher Career Grant, he went on to electrify audiences at debuts with the Baltimore Symphony with conductor Marin Alsop, at Lincoln Center’s Mostly Mozart Festival and with the Orchestra of St. Luke’s. Fain has also appeared with the Mexico City, Tucson, Oxford (UK), and Cincinnati Chamber Symphonies; Brooklyn, Buffalo and Hague Philharmonics; the National Orchestra of Spain; and the Curtis Symphony Orchestra in a special performance at Philadelphia’s Kimmel Center. In addition, he was the featured soloist with the Philip Glass Ensemble at Carnegie Hall in a concert version of Einstein on the Beach, which he performed again this season in South Korea, and he continues to tour the US and Europe in a duo-recital program with Philip Glass.

His multi-media evening Portals premiered to sold-out audiences in New York, Los Angeles, at its mid-western debut at Omaha’s KANEKO, and at Australia’s Melbourne Festival and Le Lieu Unique in France, with continued interest and success world-wide. The centerpiece of the evening is Partita for Solo Violin, a new work written especially for him by Philip Glass; the production also features collaborations with Benjamin Millepied, Leonard Cohen, and filmmaker Kate Hackett, with radio personality Fred Child appearing on screen.

Highlights of the 2015-16 season include solo performances for Pro Musica in Mexico, the Pittsburgh and Tallahassee Symphonies, and the Portland Chamber Orchestra. He also appears with pianist Timo Andres at New York’s Le Poisson Rouge, where he premiered a new multimedia work by Randall Woolf and filmmakers Mary Harron (American Psycho) and John C. Walsh on the Composers Concordance Eclectic Virtuosi Series (WMS co-commission, also at The Block, Jan. 14). Other appearances include the Isabella Stewart Gardner Museum in Boston for Paola Prestini’s Labyrinth Installation Concertos project, and with the PostClassical Ensemble and pianist Michael Boriskin in a concert of works by Lou Harrison at the Indonesian Embassy in DC. Recent engagements include the Cabrillo, Chautauqua, and McCall Music Festivals; the Buffalo Philharmonic; and a reprise of his soloist role with the National Orchestra of Spain conducted by Dennis Russell Davies.

A dynamic and compelling performer of traditional works, he is also a fervent champion of 20th and 21st century composers, with a repertoire ranging widely from Beethoven and Tchaikovsky to Aaron Jay Kernis and John Corigliano; as the Los Angeles Times recently noted, his career “is based, in part, on new music and new ways of thinking about classical music.” Fain’s discography features River of Light (Naxos), which showcases modern virtuosic short works for violin and 18 :: West Michigan Symphony Concert Program

piano by living American composers; "Arches," which combines old and new solo works and reflects Fain’s inquisitive passion and intellect; The Concerto Project IV with the Hague Philharmonic featuring Philip Glass’ Double Concerto for violin and cellist Wendy Sutter, and Tim Fain Plays Philip Glass (both on Orange Mountain Music); and most recently First Loves (VIA Records), a collection of quintessential violin masterpieces which first inspired him to be a violinist.

Fain has collaborated with such luminaries as Pinchas Zukerman, Richard Goode, Jean-Yves Thibaudet, Mitsuko Uchida, and Jonathan Biss, and has appeared with the Mark Morris Dance Group, Seán Curran Company, and Bill T. Jones/Arnie Zane Dance Company. In addition, he performed onstage with the New York City Ballet alongside the dancers in the acclaimed premiere of Benjamin Millepied’s “Double Aria.” Never limited by genre, Fain has also worked with jazz pianists Billy Childs and Ethan Iverson (The Bad Plus). Joanna Newsom, Bryce Dessner (The National), guitarist Rich Robinson (Black Crowes), Matchbox Twenty singer-songwriter Rob Thomas (in an appearance at Jazz at Lincoln Center), James Blake, and rappers Das Racist and Rahzel.

A native of Santa Monica, California, Tim Fain is a graduate of The Curtis Institute of Music in Philadelphia, where he studied with Victor Danchenko; and The Julliard School, where he worked with Robert Mann. He performs on a violin made by Francesco Gobetti, Venice 1717, the “Moller,” on extended loan from Clement and Karen Arrison through the generous efforts of the Stradivari Society of Chicago. timfain.com •• Tim Fain will be performing a solo concert @ The Block, Sat, Jan 14, 7:30 pm For tickets or info: theblockwestmichigan.org 231.726.3231

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Volume 4//September 2016 – May 2017 :: 19

Program Notes MIKHAIL GLINKA (1804-1857) Overture to Ruslan and Ludmila

Beethoven Triple

February 3, 2017 | Friday | 7:30 pm Scott Speck, conductor Jennifer Walvoord, WMS concertmaster, violin Alicia Gregorian Sawyers, WMS principal cello Kelly Karamanov, WMS principal piano Mikhail Glinka

Overture to Ruslan and Ludmila

Ludwig van Beethoven Jennifer Walvoord, violin Alicia Gregorian Sawyers, cello Kelly Karamanov, piano

Concerto for Violin, Violoncello & Piano, Op. 56, C major, “Triple Concerto” I. Allegro II. Largo III. Rondo alla polacca

INTERMISSION Antonín Dvořák

Symphony no.9, Op. 95, in E minor, “From the New World” I. Adagio - Allegro molto II. Largo III. Molto vivace IV. Allegro con fuoco

Mikhail Glinka was the founder of nationalist movement in Russian classical music. Until his appearance, Russian musical life, including opera, was dominated by such Italian composers as Domenico Cimarosa and Giovanni Paisiello, who had spent part of their careers in St. Petersburg. The rich indigenous folk music was totally ignored. Glinka changed all that with his first opera, A Life for the Tsar, a product of the great wave of nationalism that swept Europe in the nineteenth century. It was the first opera in Russian, on a Russian subject and incorporating Russian folk music.

Ruslan and Ludmila, based on a fairy tale in verse by Alexander Pushkin, was completed in 1842. Glinka had recruited Pushkin’s help in writing the libretto, but the poet’s untimely death in a duel left the text in a disjointed and confused state that contributed to the initial lukewarm reception of the opera.

The inspiration for the virtuosic overture came to Glinka during a court wedding dinner celebration, where a chorus and orchestra provided the entertainment: “I was up in the balcony, and the clattering of knives, forks and plates made such an impression on me that I had the idea to imitate them in the prelude to Ruslan.

I later did so, with fair success.”

Glinka's overture replaces the clatter of silverware with the glitter of instruments, playing at breakneck speed. Like most opera overtures of this period, this one is in classic sonata allegro form, the first theme, boisterous the second more lyric.

LUDWIG VAN BEETHOVEN

(1770-1827) Concerto in C major for Piano, Violin and Cello, Op. 56

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By 1803-4, Beethoven had become Vienna’s favorite musician and felt confident enough to break away from the traditional Classical language so dear to the Viennese. He had shocked his admirers with the “Eroica” Symphony, as well as with some of his piano music of the period, especially the “Waldstein” (Op. 53) and “Appassionata” (Op. 57) Sonatas. The selfconfidence also extended to his choice of libretto for his only opera, Fidelio—a story of governmental misdeeds­—that was sure to run afoul of the everpresent censor.

Dedicated to “...his serene highness Prince Lobkowitz,” Beethoven’s Concerto for Piano, Violin, Cello & Orchestra was composed during those years. There is no record of commission or of the intended performers, but one theory states that it may have been composed for his 15-year-old pupil, Archduke Rudolph. As he aged, the Archduke was to become one of Beethoven’s staunchest supporters throughout the composer’s turbulent and troubled later years. Another theory, in light of the Concerto’s difficult cello part, is that it was intended for Anton Kraft (1749-1820), a superb cellist for whom Haydn composed his D major Cello Concerto, and who had settled in Vienna.

The Concerto was published in 1807 and premiered in 1808. Its form harks back to the sinfonia concertante (actually a concerto for more than one solo instrument) that was so popular in the second half of the eighteenth century, especially in France. Beethoven’s choice of instrumental combination, however, was unique, and he took special pains to balance the contrasting sonorities of the three soloists to avoid their overpowering one another. The public response, however, was cool at best.

The Triple Concerto is played less frequently than many of Beethoven’s other orchestral works in part because of the technical requirements for its performance and the cost of hiring three soloists. While neither the piano nor violin part offers unusual difficulties, Beethoven, with Olympian disregard, gave little consideration to the technical limitations of the cello, making it one of the most difficult parts in the repertoire.

The Concerto also does not have the emotional intensity or the momentum of Beethoven’s other concertos. This is especially true in the exposition and development sections of the first movement, where Beethoven repeats the themes in new keys on the different instruments and instrument combinations rather than developing them. This approach, while unusual for Beethoven, was largely dictated by the necessity of giving each solo instrument equal time to expand on all of the three main themes in its own particular way, an issue that does not arise in a solo concerto. Beethoven also forgoes formal cadenzas, which would have been unwieldy with three soloists.

The Concerto opens directly with the first theme as a section solo for the basses; only towards the cadence do the rest of the strings enter, suggesting the musical image of a sunrise. The image is completed as the entire orchestra chimes in on its way to the second theme.

The Largo is a short lyrical movement with a single theme, first presented by the orchestra, followed by beautiful solos for each of the instruments, each varying the theme in a slightly different way. With minimal orchestral accompaniment, the soloists go on to play variations on the theme more in the style of a piano trio. The movement is actually an intermezzo, or transition, linking directly to the Finale. The bridge, however, is very long, building up considerable tension before finally resolving in the Finale. Beethoven used this effect in the Fifth Piano Concerto as well.

The rhythm of the rondo theme is that of a polonaise, hence the designation Rondo alla polacca. The movement is shaped like an arch; Beethoven pours out several new themes for the episodes between the reappearances of the refrain, then repeats them before the coda.

Its already vivacious theme becomes more boisterous in the coda through a sudden change in tempo and rhythm.

ANTONÍN DVOŘÁK (1841-1904) Symphony no.9 in E minor, Op. 95 “From the New World” Antonín Dvořák’s sojourn in the United States from 1892 to 1895 came about through the efforts of Mrs. Jeanette B. Thurber. A dedicated and idealistic proponent of an American national musical style, she underwrote and administered the first American music conservatory, the National Conservatory of Music in New York. Because of Dvořák’s popularity throughout Europe, he was Thurber’s first choice for a director. The fact that he spoke no English was of little consequence since the language of musical discourse was German. He, in turn, was probably lured to the big city so far from home by both a large salary and convictions regarding musical nationalism that paralleled Mrs. Thurber’s own.

Volume 4//September 2016 – May 2017 :: 21

Program Notes Thirty years before his arrival in New York, Dvořák had read Henry Wadsworth Longfellow’s Song of Hiawatha in a Czech translation and was eager to learn more about the Native American and AfricanAmerican music, which he believed should be the basis of the American style of composition. He also shared with Mrs. Thurber the conviction that the National Conservatory should admit students of color. One of them, Henry Burleigh, who became an important African-American composer in his own right, is credited with exposing his teacher to African-American spirituals.

While his knowledge of authentic Native American music is questionable—his exposure came through samples transcribed for him by American friends and through Buffalo Bill’s Wild West Show—he became familiar with African-American spirituals through Burleigh, as well as indirectly via the songs of Stephen Foster. He incorporated both of these styles into the Symphony no. 9, composed while he was in New York.

Just as Dvořák never quoted Bohemian folk music directly in his own nationalistic music, he did not use American themes in their entirety.

Rather, with his unsurpassed gift for melody, he incorporated characteristic motives into his own themes. We can deduce the importance of these musical motives from the fact that they appear as reminiscences in more than one movement, especially in the Finale.

The symphony, however, is hardly an American pastiche; the second motive in the Largo movement is a phrase of wrenching musical longing that many listeners interpret as the composer’s nostalgia for his native Bohemia. The New York music critic and Dvořák’s friend, Henry Krehbiel, claimed that the movement was inspired

by incidents from The Song of Hiawatha. Which incidents, however, have never been definitively determined. Krehbiel posited the scene in which Hiawatha woos Minnehaha, while others have suggested Minnehaha’s funeral. Incidentally, Dvořák had also intended to compose an opera on Hiawatha, which never left the drawing board.

The third movement as well, in its rhythmic thumping, the pentatonic scale and the orchestration dominated by winds and percussion, is meant to portray an Indian ceremonial dance described in Longfellow’s poem. Dvořák’s symphonic use of what he believed to be an authentic Native American musical idiom may have reflected his initial ideas for the opera.

One of the most important features of the Symphony is its thematic coherence. Whatever the origin of the melodies, they all have a modular characteristic in that they can be mixed and matched in many different ways. In the last movement, Dvořák brings nearly all of the Symphony's themes together, sometimes as one long continuous melody, sometimes in contrapuntal relationship to each other.

AUDIO WEB NOTES Want to learn more about this season's masterworks programs? Visit westmichigansymphony.org, go to the masterworks program of your choice and click on the “Program Notes” tab. A window will open with more information about the pieces in that particular program. Click on music terms in bold bright blue text for definitions and on the icon to hear music examples.

Program notes by: Joseph & Elizabeth Kahn

Jennifer Walvoord Jennifer Walvoord of Holland, MI graduated with her Doctor of Musical Arts degree from the University of Michigan in Ann Arbor. She has Master's degrees in both violin performance and chamber music from the University of Michigan, and a Bachelor's degree in violin performance from Hope College in Holland, MI. Her former teachers include Andrew Jennings, Aaron Berofsky, and Mihai Craioveanu.

Jennifer holds the position of concertmaster with the West Michigan Symphony and has been a member of the Grand Rapids Symphony and National Repertory Orchestra (Breckenridge, Colorado). She has performed as soloist with the West Michigan Symphony, the Holland Symphony Orchestra and the Hope College Orchestra. While at the University of Michigan, Jennifer performed electric violin on the Grammy Award-winning recording of William Bolcom’s Songs of Innocence and Experience conducted by Leonard Slatkin.

Jennifer is an active chamber musician, and she performs recitals regularly with her husband, pianist Dr. Andrew Le. Jennifer and Andrew are the Artistic Directors of the Chamber Music Festival of Saugatuck. She is also Director of Marketing for the Holland Symphony Orchestra.

Jennifer collaborated with her sister, Martha, on a recording called “American Perspectives” which was recently released on the Centaur Records Label. Jennifer and Andrew live in Holland, MI with their son, Matthew and daughter, Katherine.

22 :: West Michigan Symphony Concert Program

Alicia Gregorian Sawyers Alicia Gregorian Sawyers is the principal cellist of the West Michigan Symphony. She is a native of East Lansing, MI where she started her musical training from an early age. She received her Masters Degree from New England Conservatory in 2008, studying with Natasha Brofsky and before that, her BM in 2006 from Michigan State University, studying with Suren Bagratuni. A diverse musician, Mrs. Sawyers has performed with famous artists ranging from Itzhak Perlman to Stevie Wonder and in 2015 she was invited to be a part of the pilot musicians that created the first music videos for Barrage 8. She has appeared in concert at Jordan Hall, Sanders Theater, Carnegie Hall and Lincoln Center's Avery Fisher Hall for the Mostly Mozart Festival. Mrs. Sawyers has spent her summers at various music festivals including the Bowdoin International Music Festival (ME), The Meadowmount School of Music (NY) and The Perlman Music Program (NY). As an orchestral musician, she has had the pleasure to work with many great conductors, including Joseph Silverstein and Hugh Wolf. A passionate chamber musician, she has had the opportunity to work with renowned musicians such as Paul Katz, Roger Tapping and members of the Borromeo and Juilliard String Quartets. She has been a guest performer at the Saugatuck (MI), White Lake (MI) and Four Seasons (NC) Chamber Music Festivals on various occasions. Living in Grand Rapids, MI, Mrs. Sawyers performs with several orchestras throughout the area and around the state. A dedicated teacher, Mrs. Sawyers currently teaches for the String Academy of Grand Rapids and maintains a studio of 20 students. She has been on Faculty at New England Music Camp (ME) and Blue Lake Suzuki Family Camp (MI).

Kelly Karamanov Principal piano of the West Michigan Symphony Kelly Estes Karamanov recently relocated from Grand Rapids to Saint Louis, MO where she enjoys an active collaborative piano career.

Ms. Karamanov continues to perform frequently with the West Michigan Symphony and with the Grand Rapids Symphony. She performed in Carnegie Hall with the Holland Chorale in 2011, and has appeared in many chamber music recitals at the Grand Rapids Art Museum, the Chamber Music Festival of Saugatuck, and The Block (Muskegon).

A dedicated teacher, Ms. Karamanov maintains a private studio for individual and duo piano lessons, and taught at the Faulkner Chamber Music Festival in Arkansas in 2012 and 2013.

She completed Bachelor's and Master's of Music degrees in piano performance at Ball State University where she studied with Dr. Raymond Kilburn. She also spent two summers studying with Norman Krieger at the Brevard Music Center. While at Ball State, Ms. Karamanov created a group piano program for adult students in the community, and continues to enjoy teaching students of all ages. Away from the piano, Kelly enjoys swimming, cooking, and exploring her new city with her husband, bassoonist Vincent Karamanov.

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Program Notes

Classical Music for Everyone March 10, 2017 | Friday | 7:30 pm Scott Speck, conductor Gregorian Chant: Alleluia pascha nosteum Medieval Claudio Monteverdi Renaissance

Overture to Orfeo, SV 318

Johann Sebastian Bach Brandenburg Concerto no.3, BWV 1048, in G major Baroque Allegro Wolfgang Amadeus Mozart Eine kleine Nachtmusik (Serenade, K.525) Classical Allegro Ludwig van Beethoven Romantic

Symphony no.3, Op. 55, in E-flat major, “Eroica” Allegro con brio

Johannes Brahms Romantic

Symphony no.4, Op. 98, in E minor Allegro giocoso

Peter Ilyich Tchaikovsky Romantic and Nationalist

Marche slave, Op. 31

INTERMISSION Richard Wagner Really Romantic

“Siegfried's Rhine Journey” from Götterdämmerung

Igor Stravinsky Neoclassical

"Danse Sacrale" from The Rite of Spring

Igor Stravinsky Neoclassical

“Sinfonia” from Pulcinella

Aaron Copland Americana

“Saturday Night Waltz” from Rodeo

John Adams Minimalist

Short Ride in a Fast Machine

Austin Wintory Music of Today

Balaenoptera Musculus (Blue Whale), from ABZU (WMS premiere)

John Williams Olympic Fanfare and Theme (1984) Music of Today

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Classical Music for Everyone is a new concert series loosely based on the book Classical Music for Dummies, which I had the pleasure to write together with my co-author, David Pogue. In the book, we strongly assert that classical music is meant for absolutely everyone. The incomprehensively elitist attitude of the 20th century, which tried to exclude the “masses” based on musical education, income level, or even ethnicity, is thankfully coming to an end. I feel that everyone can enjoy what we have to offer—at most, you might need a “key” to unlock some of its pleasures.

At the West Michigan Symphony, our thought is to present one “Classical Music for Everyone” concert per season, for three seasons or more. Each concert will focus on a different aspect of music, with a completely new program from one year to the next. In each concert, we present one particular “key”—a different way to look at the entirety of classical music, and to feel at home within it. For this concert, the key is musical style—which translates roughly into music history. Tonight we will help you to identify, understand and enjoy all the major time periods and styles of Western classical music.

Like world history, music history is messy. Often a change in style may happen in one part of the world before another. It’s not always easy to find a clear demarcation between time periods. So in a concert like ours, there’s a grave danger of oversimplifying this concept. And that’s exactly what we’re going to do now.

Most of music history can be seen as a series of revolutions, or pendulum swings, between one extreme and the other. For our purposes, the two extremes of music can be described as “restrained” and “let it all hang out.”

Our story begins with the Medieval period. During this time, most music was composed for the church.

The primary musical form was the Gregorian chant—a single musical line sung in unison by any number of monks (Alleluia pascha nostrum). The lyrics were usually Latin prayers. It’s impossible to say for sure, but I assume these austere chants were sung quietly. Nobody would ever call this music wild.

Music became gradually more complex in the Renaissance period (Monteverdi: Overture to Orfeo.) For the first time you could hear multiple musical lines at once. Counterpoint (a form of composition with multiple simultaneous melodies) was born.

In the Baroque era, this complexity was taken to an extreme.

Composers also began to decorate or embellish their melodic lines with increasing frequency. Why write a single note when ten will do?

(Bach: Brandenburg Concerto no.3.) Composers also used musical effects to describe particular feelings, indicating anger (a sudden loud accent), sadness (a descending line describing a sigh), or happiness (a rising line or leap). Most Baroque music was quite expressive and emotional, if largely in a descriptive way.

But after awhile people began to find the florid Baroque style too expressive, even vulgar. The Classical period returned to restraint and balance, as composers emulated the Platonic ideals of Ancient Greece.

Proportion was everything. Compositions became more understated and contained. In place of multiple simultaneous melodies, most phrases had a single melodic line with simple accompaniment (Mozart: Eine kleine Nachtmusik). There is emotion in this music, but it is often hidden beneath the surface.

In the Romantic period, exactly the opposite happened. Beginning with Beethoven (Symphony no.3, “Eroica”), composers expressed themselves more directly. If the Medieval period was about God, and the Classical period about Balance, the Romantic period was about Me. In particular, composers often described their own relationship with nature, which could be awesome and terrifying. Long, meandering melodies replaced the compact motifs of the Classical period (Brahms Symphony no.4, movement 3, Tchaikovsky Marche slave). Gradations of loud and soft became more extreme. Harmonies became more intense and complex, and threatened to reach the breaking point (Wagner: Siegfried’s Rhine Journey).

And then that breaking point happened. In the early 20th Century, some composers decided to shun harmony altogether—creating atonal music in the Neoclassical period. Sometimes they mixed more than one key at a time (Stravinsky: The Rite of Spring and Pulcinella). Though the 20th century encompasses a dozen sometimes conflicting styles, many composers removed emotion completely

Sept. 27: Lee Murdock – Solo guitar, folk, classical, ragtime Oct. 25: Gregory Maytan –Solo violin Nov. 22: Early Music Consort – Medieval and Renaissance

from their works. The 12-tone technique (in which every tone of the scale received exactly the same amount of attention) guaranteed not only that there would be no traditional harmony to fall back on, but also that many people would be turned off to “serious” concert music for generations.

One response to this was the Americana “populist” music of the 1940s and beyond—tonal melodies expressing simple American ideals and glorifying the common man. Copland was on the vanguard (Saturday Night Waltz from Rodeo), and he paid the price. For years no other composers or professors of music took him seriously, and he remained in the minority. But he won the affection of the common people, and now he is seen as one of the greats.

Still, it’s impossible to overstate how ingrained atonality remained in music circles. When I studied composition in college, tonality wasn’t just discouraged—it was banned. It was in a composition class at Yale that David Pogue and I first met. We were listening to the latest piece of nonsense by one of our teachers, and David leaned over and whispered in my ear, “This is %@!!$#1%**!!!” I agreed. A lifelong friendship was born.

Luckily, a path out of the darkness was not far away. In the 1980s, composers began to imitate the long, tonal, repetitive ragas of Indian classical music, and Minimalism took over the music scene (Adams: Short Ride in a Fast Machine). From there, tonality gradually gained a foothold with most composers. And today, beautiful melodies and harmonies are treasured once again (Austin Wintory: Balaenoptera Musculus, John Williams Olympic Fanfare and Theme).

In this concert the orchestra and I will strive to make these different periods in music history clear to you. Hopefully by the end, you’ll have a handle on each style. And at the very least, we hope to enhance your enjoyment of the music we play.

Program notes written by Scott Speck

Dec. 13: Caron Farmer – "Christmas at the Organ"

Apr. 25: Mona Shores Fiddlers

Dec. 18: The Grand Rapids Choir of Men and Boys Note this is at 5 pm

May 23: Western Jazz Quartet

Feb. 28: GVSU Cantate Chamber Ensemble

Jun. 6: Ameranouche – Flamenco, swing, Django Reinhardt-style jazz

Mar. 28: Pablo Mahave-Veglia – Cello, with the GVSU Orchestra

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Dee Daniels Great Ladies of Swing April 28, 2017 | Friday | 7:30 pm Matthew Kraemer, guest conductor Dee Daniels, jazz vocals There'll Be Some Changes Made

Billy Higgins / Benton Overstreet arr. Dave Pierce

Fever

John Davenport / Eddie Cooley arr. Dave Pierce

Sweet Georgia Brown

Ben Vernie / Maceo Pinkard / Kenneth Casey arr. Dave Pierce

I Can't Give You Anything But Love Dorothy Fields / Jimmy McHugh

arr. Dee Daniels God Bless The Child

Arthur Herzog Jr / Billie Holiday arr. Dee Daniels

MEDLEY: It's All Right With Me/ Summertime/ My Heart Belongs to Daddy/ Can't Help Lovin' Dat Man

Cole Porter; Dubose Heyward / George Gershwin; Cole Porter; Oscar Hammerstein II / Jerome Kern arr. Dave Pierce

I Got It Bad (And That Ain't Good)

Duke Ellington / Paul Webster arr. Dee Daniels

Mack The Knife

INTERMISSION I Hear Music

Marc Blitzstein / Kurt Weill arr. Dave Pierce Loesser / Lane arr. Dave Pierce

Gimme a Pigfoot

Wesley Wilson arr. Dave Pierce

Makin' Whoopee

Gus Kahn / Walter Donaldson arr. Dave Pierce

A Tisket A Tasket

Ella Fitzgerald / Van Alexander arr. Dave Pierce

Quiet Nights of Quiet Stars

Antonio Jobim / Gene Lees arr. Dave Pierce

Send in the Clowns

Stephen Sondheim arr. Dave Pierce

Bill Bailey

Hughie Cannon arr. Dave Pierce WMS 2016/17 SEASON SPONSORED BY

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DEE DANIELS 28 :: West Michigan Symphony Concert Program

Dee Daniels Whether accompanying her self at the piano, fronting a trio, big band or symphony, Dee Daniels’ musical career is as varied as her four-octave vocal range is thrilling. She is a unique talent who transcends musical borders when she brings her jazz styling, infused with gospel and blues flavoring, to the stage. One critic says, “Daniels’ voice has a hypnotic quality, delivering an impressive range that gives the romantic songs and verse of 50 years ago new life and raw emotion.”

Though Dee has a B.A. Degree in Art Education and taught high school art for a year in Seattle, she quickly realized that her true calling was music. Her vocal style was born in her stepfather’s church choir in Oakland, California, refined through the R&B era, polished during a five-year stay in The Netherlands and Belgium from 1982 to 1987, and brought to full fruition upon her return to North America. During those years to the present, she has performed and/or recorded with many ‘Legends of Jazz’ including Benny Green, Houston Person, John Clayton, Russell Malone, Wycliffe Gordon, Cyrus Chestnut, Clark Terry, Ken Peplowski, Kenny Barron, Bill Mays, Jeff Clayton, Benny Golson, Grady Tate, Toots Thielemans, Jeff Hamilton, Monty Alexander, Steve Wilson, Marvin Stamm, Lewis Nash, Kenny Washington, Norman Simmons, Ben Riley, Dennis MacKrel, Steve Davis, Martin Wind, Bucky Pizzarelli, Helen Sung, Christian McBride, David Young— to mention a few.

Career highlights include: Teaching at Queens College (NY) 2013-14, being named Artistic Director, in September 2011, of the Frank DeMiero Jazz Festival—a camp dedicated to Jazz Vocals with around 60 participating schools; a nomination for Atlanta Theater’s 2010 Suzi Bass Award; the 2009 receipt of an Honorary Doctorate Degree of Fine Arts and 2008 President’s Award, both from

Capilano University; 2003 recipient of the prestigious Commemorative Medal for the Golden Jubilee of Her Majesty Queen Elizabeth II, and induction into the University of Montana’s School of Fine Arts Hall of Honor as well as a 1997 University of Montana Distinguished Alumni Award; a 2002 inductee into the BC Entertainment Hall of Fame with a plaque installed on Vancouver’s Granville Street Walk of Fame; and a command performance for the King and Queen of Belgium’s 25th Wedding Anniversary. Her international career includes performances in twelve African countries, Australia, South America, the United Kingdom, Hong Kong, Japan, throughout North America, and many countries within Europe.

Dee has cultivated a diverse career that has also seen her on theatre stages including the 2009 premiere of New York choreographer, Twyla Tharp’s, new musical, Come Fly Away, and, as an inspirational speaker, with a keynote address being delivered at the 2009 Women’s CEO & Senior Management Summit in Toronto.

Love CD with The Metropole Orchestra of Holland; and recorded the Holiday Pops CD with the Vancouver Symphony Orchestra. She is the guest vocalist on the 2006 Crossover Xmas and the 2007 Crossover Xmas: The Sound Goes Big CDs recorded with the Philharmonie Baden-Baden of Germany.

A respected vocal clinician, adjudicator, and mentor, Dee presents clinics, workshops, and master classes around the world. In 2013, she created the Dee Daniels Vocal Jazz Workshop, a weeklong workshop in Sitka, AK. In 2001, she established the Dee Daniels Jazz Vocal Scholarship at the Capilano University in North Vancouver, BC. She served on the advisory board of the Lionel Hampton International Jazz Festival from 2002-08, and has received several awards for her contribution in the field of music performance, music education, and community service. deedaniels.com ••

With the creation of her Symphony Pops programs, Great Ladies of Swing, The Soul of Ray: The Music of Ray Charles, and A Night Out With the Boys, Dee has enjoyed sharing stages with symphony orchestras across the USA and Canada. She has toured with the Nord Netherlands Symphony Orchestra; performed Songs From Disney Movies with the Munich Radio Orchestra; recorded her Wish Me

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Matthew Kraemer education programs and has taught at several music festivals both in the United States and abroad. The Buffalo Philharmonic’s awardwinning education concerts grew exponentially under his leadership, expanding to reach over 40,000 students throughout western New York. He played an integral role in the creation of the orchestra’s successful live broadcast concerts with Time Warner Cable, as well as implementing new collaborations with many organizations in the Buffalo community. Prior to his appointment in Buffalo, he served for three seasons as associate conductor of the Virginia Symphony Orchestra, where he led the orchestra in over 200 performances statewide.

His performances have been broadcast regularly on NPR’s Performance Today.

Recognized for his “musical sensitivity” and “energized sense of interpretation”, Matthew Kraemer is quickly making his mark among young American conductors for his inspired performances and versatility. The Buffalo News noted recently, “He presents a tall, dignified and stately podium presence with a quite clear beat, a good sense of shaping melodic lines, and an all business attitude that focused on the music without any histrionics.” Following an extensive international search, Mr. Kraemer was appointed Music Director and Principal Conductor of the Indianapolis Chamber Orchestra in July 2015. He additionally serves as Music Director of the Butler County Symphony and begins his fifth and final season as Music Director of the Erie Chamber Orchestra. His active guest conducting schedule has included appearances with many of the nation’s finest orchestras, including the Atlanta, Baltimore, Cincinnati, Columbus, Houston, Indianapolis, Jacksonville, Nashville, North Carolina, Saint Louis, Spokane, and Syracuse Symphony Orchestras. He has also appeared with Canada’s Mississauga Symphony and Hamilton Philharmonic and in Europe with the Vidin Philharmonic and the Orquesta de Cadaqués. Upcoming season highlights include productions of Happy Birthday Wanda June (world premiere), The Barber of Seville, and The Jewel Box with Indianapolis Opera, La Traviata with the ECO, Earshot composer readings with the ICO, and performances with Christopher O’Riley, Gary Karr, Jinjoo Choi, and Alexander Kerr. The 2016-17 season also brings return engagements to the Rochester Philharmonic, Erie Philharmonic, Toledo Symphony, and West Michigan Symphony.

Mr. Kraemer served as associate conductor of the Buffalo Philharmonic from 2009 to 2014, where he regularly led the orchestra on each of its concert series. A passionate advocate for new music, he has performed the works of many living composers during his career. He has led composer readings and workshops with several orchestras in the United States, in addition to leading the BPO’s Earshot partnership with the American Composers Orchestra in Buffalo for three consecutive seasons.

Increasingly recognized for his committed advocacy of music education and his devotion to young audiences, he has created numerous arts 30 :: West Michigan Symphony Concert Program

Recipient of the distinguished Herbert von Karajan Conducting Fellowship and the Bruno Walter Career Development Grant, Mr. Kraemer served a residency with the Vienna Philharmonic at the 2006 Salzburg Music Festival. Equally at home in the opera and ballet pit, his operatic credits include fully-staged MK2productions of Mozart’s The Magic Flute, Puccini’s Madame Butterfly, Michael Nyman’s The Man Who Mistook His Wife for a Hat, and Jonathan Dove’s Mansfield Park (American professional premiere), as well as ballet productions with Virginia Ballet Theatre, Ohio Ballet, First Coast Nutcracker, Neglia Ballet Artists, and Todd Rosenlieb Dance. He has collaborated with many leading artists, including Lang Lang, Philippe Quint, Jennifer Koh, Elmar Oliveira, Rachel Barton Pine, David Kim, Awadagin Pratt, Richard Stolzman, Wu Man, Bela Fleck, Mark O’Connor, Ben Folds, Chris Botti, Jim Brickman, the Indigo Girls, Il Volo, Wynona Judd, and Natalie Merchant, among others. As a frequent collaborator with Broadway superstar Idina Menzel, he has served as conductor for many of her numerous symphony engagements nationwide.

An Indiana native, Mr. Kraemer studied conducting in Vienna, Austria with Salvador Mas Conde and was twice a fellowship conductor at the American Academy of Conducting at Aspen. He has additionally participated in the National Arts Center Conductor’s Program in Ottawa, Canada. His conducting teachers include David Zinman, Robert Spano, Stanley DeRusha, and Jorma Panula. Mr. Kraemer is a graduate of Butler University and the University of Nevada, where he assisted former Cincinnati Symphony concertmaster Phillip Ruder.

An accomplished violinist in his own right, he was a member of the Nightingale String Quartet. Fluent in German and French, his principal violin teachers include Phillip Ruder, Herbert Greenberg, and Larry Shapiro. When he is not performing, Mr. Kraemer enjoys cooking, running, and reading. He and his wife Megan reside in Indianapolis with their sons Gabriel and Nathaniel. matthewkraemer.com ••

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Program Notes

Rachmaninoff no.3 May 19, 2017 | Friday | 7:30 pm Scott Speck, conductor Olga Kern, piano Peter Ilyich Tchaikovsky

Symphony no.6, Op. 74, in B minor, Pathétique I. Adagio - Allegro non troppo II. Allegro con grazia III. Allegro molto vivace IV. Finale: Adagio lamentoso

INTERMISSION Sergei Rachmaninoff Olga Kern, piano

Concerto for Piano, no.3, Op. 30, in D minor I. Allegro ma non tanto II. Intermezzo III. Finale

PETER ILYICH TCHAIKOVSKY (1840-1893) Symphony no.6, Op. 74, in B minor Pathétique The Sixth Symphony was Tchaikovsky’s final completed work, premiered to a lukewarm reception on October 28, 1893 only nine days before the composer’s death from cholera.

Although its emotional intensity and title, Pathétique, suggest that this was yet another manifestation of the composer’s periodic depression, or even a foreshadowing of his own death, the fact remains that Tchaikovsky was extremely pleased with this work from the moment he set to work on it. The Symphony’s second performance was part of a memorial service for the composer, during which the audience seems to have suddenly perceived its significance.

It has remained a favorite ever since.

Tchaikovsky’s original conception was that the Symphony should have a program, much like Berlioz’s Symphonie fantastique, but he refused to specify what the program was, wanting the listener to guess it. His early, and by now well known, scenario for the program reads: “The ultimate essence of the plan... is LIFE. First movement—all impulsive passion, confidence, thirst for activity. Must be short. (Finale DEATH—result of collapse). Second movement, love, third, disappointment, fourth ends dying away (also short).” The final version can be understood to conform to this program only in part, and then only in the first and fourth movements.

Still intending to call his work a “program” symphony, Tchaikovsky accepted his brother Modest’s suggestion of the Russian patetichesky, which the publisher insisted on translating into French, still the language of the Russian aristocracy and intelligentsia. The English reader, however, should be aware that the adjective pathétique actually means “full of pathos” and does not have the derogatory connotation of “pathetic.”

The Symphony opens with a low bassoon solo introducing the first theme in a ponderous and pessimistic Adagio. The melody is then taken up in a nervous Allegro and repeated by the successive sections of the orchestra. The emotional turmoil, however, is resolved in the second theme, among the most famous in the canon of memorable Tchaikovsky melodies. The theme was specifically meant to be a transformation of Don José’s “flower aria” from Carmen— giving a hint as to the composer’s negative emotional take on love.

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32 :: West Michigan Symphony Concert Program

The second movement is a “waltz” in 5/4 time, giving the impression of alternating bars of 3/4 and 2/4. Strangely enough, this meter works as a waltz, for despite its limping quality, one can imagine the alternating foreshortened 2/4 bars used for a lift or emotive pause, if the movement were actually to be used for dancing.

Like the first movement, the third is best known for its second theme, a sprightly march. As in the second movement, however, the composer utilizes an unusual metrical structure, creating an ambiguity between duple and triple time by composing the march in 12/8.

The Finale can be interpreted as taking up the symphony’s original program. The opening theme, a series of short breathless, sighing motives, is a variation of the first theme of the opening movement. A programmatic interpretation of the movement suggests struggle and resignation upon the approach of the nothingness of death.

SERGEI RACHMANINOFF (1873-1943) Concerto for Piano, no.3, Op. 30, in D minor Following the success of his Second Piano Concerto in 1901, Sergei Rachmaninoff’s career took off and evolved successfully in three directions. He continued to compose, including his Symphony no. 2 in 1906-07, he traveled extensively both at home and in Western Europe as a virtuoso pianist, and he was a sought-after conductor. He tried to apportion his time evenly among the three.

Rachmaninoff composed the Piano Concerto no. 3 in 1909 for a longplanned first tour of the United States where he was going to be featured in the exhausting capacity of wearing all three hats. He was ambivalent about the tour and significantly pressed for time. He did not begin the Concerto until June, taking with him a silent keyboard on which he practiced assiduously during the crossing. The tour and the Concerto were an artistic and financial success. And just as Haydn had been wooed to make his permanent home in London after the success of his Salomon, or London, symphonies, both the Boston and Cincinnati Symphonies offered Rachmaninoff their podiums.

Ironically, in 1917, he was forced into exile, his fortune confiscated and his estate demolished during the violence of the Russian Revolution.

He continued to tour the Untied States, primarily as pianist, and with the imminence of war in Europe in 1939, he eventually relocated with his family in Beverly Hills where he died.

The Concerto premiered on November 28, 1909, with the New York Orchestra under Walter Damrosch and was repeated two months

later with the same orchestra under Gustav Mahler. Unfortunately, we know nothing of what transpired between these two giants. The Concerto gained immediate and enduring popularity, especially with pianists. It requires immense stamina from the soloist, and it attests as much to the composer’s melodic inventiveness as to his outstanding pianistic abilities.

The opening movement is particularly rich in thematic material with new ideas and moods introduced throughout. Over the throbbing orchestra, the piano enters on the third measure with a sad melody in a narrow range, the melancholy mood prevailing throughout the elaborate development of the theme. The staccato second theme, introduced by the strings, is converted by the piano into a flowing lyrical, but dark, melody. The extremely long written-out cadenza takes nearly a third of the entire movement and is briefly joined halfway through first by a flute, then by the other woodwinds.

Finally, the opening theme returns and the movement concludes in a whisper.

A languid theme on the oboe opens the Intermezzo, followed with a variation by the orchestra and finally by the soloist. The orchestra and piano continue in numerous permutations and variations, including a faster and livelier waltz-like variation that brightens the mood towards the end of the movement. But the opening mood returns in the coda.

The Finale follows without interruption with a sudden shift in mood and an exuberant display of pianistic brilliance. The movement is episodic with contrasting sections and, again, a wealth of themes and a broad romantic melody to announce the conclusion.

AUDIO WEB NOTES Want to learn more about this season's masterworks programs? Visit westmichigansymphony.org, go to the masterworks program of your choice and click on the “Program Notes” tab. A window will open with more information about the pieces in that particular program. Click on music terms in bold bright blue text for definitions and on the icon to hear music examples.

Program notes by: Joseph & Elizabeth Kahn

Volume 4//September 2016 – May 2017 :: 33

Olga Kern Russian-American pianist Olga Kern is now recognized as one of her generation’s great artists. With her vivid stage presence, passionately confident musicianship and extraordinary technique, the striking pianist continues to captivate fans and critics alike. Olga Kern was born into a family of musicians with direct links to Tchaikovsky and Rachmaninoff and began studying piano at the age of five. She jumpstarted her U.S. career with her historic Gold Medal at the Van Cliburn International Piano Competition in Fort Worth, Texas as the first woman to do so in more than thirty years.

Steinway Artist and First prize winner of the Rachmaninoff International Piano Competition at the age of seventeen, Ms. Kern is a laureate of many international competitions and tours throughout Russia, Europe, United States, Japan, South Africa and South Korea. The first Olga Kern International Piano Competition is announced to take place in Albuquerque, New Mexico in autumn 2016, where Ms. Kern will serve as Artistic Director and Jury Chair. Ms. Kern is a corresponding member of the Russian Academy of Sciences, Division of the Arts, as well as Jury Chairman of the Seventh Cliburn International Amateur Piano Competition in June 2016.

In the 2016-17 season, Ms. Kern will premiere her first American concerto, the Barber Piano Concerto, with the Saint Louis Symphony and Leonard Slatkin. She will also appear with Pacific Symphony, Colorado Symphony, Seoul Philharmonic Orchestra, Stuttgarter Philharmoniker, and Copenhagen Philharmonic. Recital appearances include the Herbst Theatre in San Francisco, Scottsdale Center for the Arts, Virginia Arts Festival, Milan, and Glasgow.

Ms. Kern opened the Baltimore Symphony’s 2015-16 centennial season with Marin Alsop. Other season highlights included returns to the Royal Philharmonic with Pinchas Zukerman, Orchestre Philharmonique de Nice with Giancarlo Guerrero, Rochester Philharmonic and San Antonio Symphony, a month-long tour of South Africa for concerts with the Cape and KwaZulu Natal philharmonics, an Israeli tour with the Israel Symphony, solo recitals at Sarasota’s Van Wezel Hall, New York’s 92nd Street Y, and the University of Kansas’ Lied Center, and recitals with Renée Fleming in Carnegie Hall and Berkeley.

In recent seasons, Ms. Kern has performed with Tokyo’s NHK Symphony, Orchestre National De Lyon, Orquestra Sinfônica do Estado de São Paulo, the symphonies of Detroit for Tchaikovsky Piano Concertos 1, 2 & 3, Pittsburgh, Cincinnati, Nashville, Colorado, Madison, and Austin, and gave recitals in New York, San Francisco, Seattle and Louisville, and alongside Renée Fleming and Kathleen Battle. Ms. Kern’s performance career has brought her to many of the world’s most important venues, including Carnegie Hall, Lincoln Center, the Great Hall of the Moscow Conservatory, Salzburger Festspielhaus, La Scala in Milan, Tonhalle in Zurich, and the Châtelet in Paris.

Ms. Kern’s discography includes Harmonia Mundi recordings of the Tchaikovsky Piano Concerto no.1 with the Rochester Philharmonic Orchestra and Christopher Seaman (2003), her Grammy nominated 34 :: West Michigan Symphony Concert Program

recording of Rachmaninoff’s Corelli Variations and other transcriptions (2004), a recital disk with works by Rachmaninoff and Balakirev (2005), Chopin’s Piano Concerto no.1 with the Warsaw Philharmonic and Antoni Wit (2006), Brahms Variations (2007) and a 2010 release of Chopin Piano Sonatas no.2 and 3 (2010). Most recently, SONY released their recording of Ms. Kern performing the Rachmaninoff Sonata for Cello and Piano with cellist Sol Gabetta. She was also featured in the award-winning documentary about the 2001 Cliburn Competition, Playing on the Edge, as well as Olga’s Journey, Musical Odyssey in St. Petersburg and in They Came to Play. In 2012, Olga and her brother, conductor and composer, Vladimir Kern, co-founded the “Aspiration” foundation whose objective is to provide financial and artistic assistance to musicians throughout the world. olgakern.com •• COLUMBIA ARTISTS MANAGEMENT LLC R. Douglas Sheldon 5 Columbus Circle @ 1790 Broadway, 16th Floor, New York, NY 10019 Olga Kern is a Steinway Artist Olga Kern records exclusively for Harmonia Mundi Olga Kern's dresses are designed by Alex Teih

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West Michigan Symphony A YEAR IN REVIEW

INSPIRING GENERATIONS THROUGH MUSIC The largest performing arts organization along the lakeshore, the West Michigan Symphony has been inspiring generations through music for 76 years.

It all began over three-quarters of a century ago when Mr. A. M. Courtright and Mr. Palmer Quackenbush brought together a group of 50 musicians and presented its first concert with Mr. Quackenbush conducting and Mr. Courtright assisting.

Performances were initially held in area schools and later were moved to the historic Frauenthal Theater, where the symphony performs to this day.

Today the West Michigan Symphony is led by Music Director Scott Speck and is comprised of professional musicians of the highest caliber, playing extremely challenging repertoire and presenting some of the world’s most talented guest artists.

We look forward to each and every West Michigan Symphony concert, and they have all been enjoyable for over ten years. We are lucky to hear such a fine orchestra without the added travel to a larger city. Love that we can experience culture so close to home!

Steve and Cheryl Locke, WMS season ticket holders 36 :: West Michigan Symphony Concert Program

Each season over 11,000 tickets are sold to WMS concerts at the Frauenthal Theater. Over 500 tickets are provided free of charge to students and charitable organizations.

A STRONG CORE OF PROFESSIONAL ARTISTS At the heart of the Symphony are our musicians and for the majority of them, music is their livelihood. When they aren’t practicing, rehearsing or performing a classical or pops concert with WMS, many of them are working with orchestras throughout West Michigan and beyond, including those in Grand Rapids, Kalamazoo, Lansing, Midland, Battle Creek, Holland and Traverse City. Last season WMS contracted over 70 professional musicians and up to 60 individual musicians as substitutes throughout the season. Auditions were held in the spring of 2016 and 11 new members joined our orchestra.

With advanced degrees in performance and a commitment to symphonic music, you will find many of our musicians on the music faculties of major Michigan universities, teaching privately, giving recitals, and playing with fellow musicians in small ensembles. Our musicians are part of a strong core of professional artists around which our organization and the local arts and business community is built.

Over 150 professional musicians are engaged each season by the WMS. If you joined us in concert last season, you may have enjoyed their talents in symphonies by Beethoven, Mendelssohn, Tchaikovsky and Rachmaninoff; as well as new music from four composers of today, including two pieces that were co-commissioned by WMS... this season you will see more of this type of inventive programming, as well as the classical works you know and love.

SCOTT SPECK, MUSIC DIRECTOR Led by accomplished Music Director Scott Speck, The West Michigan Symphony (WMS) takes pride in delivering an excellent experience from the moment you enter the hall to the final lowering of the baton.

Born in Boston, Scott Speck graduated summa cum laude from Yale University. There he founded and directed the Berkeley Chamber Orchestra, which continues to perform to this day. He was a Fulbright Scholar in Berlin, where he founded Concerto Grosso Berlin, an orchestra dedicated to the performances of Baroque and Classical music in a historically informed style. He received his Master’s Degree with highest honors from the University of Southern California, served as a Conducting Fellow at the Aspen School of Music, and studied at the Tanglewood Music Center. He is fluent in English, German and French, has a diploma in Italian, speaks Spanish and has a reading knowledge of Russian.

With performances in London, Paris, Moscow, Beijing, Chicago, San Francisco, Los Angeles and Washington, Scott Speck has inspired international acclaim as a conductor of passion, intelligence and winning personality. Now in his 14th year as music director for WMS, he is also Artistic director of the Chicago Philharmonic Orchestra and is Music Director of the Joffrey Ballet and the Mobile Symphony.

In past seasons Scott Speck has conducted at London’s Royal Opera House at Covent Garden, the Paris Opera, Chicago’s Symphony Center, Washington’s Kennedy Center, San Francisco’s War Memorial Opera House, and the Los Angeles Music Center and was invited to the White House as former Music Director of the Washington Ballet. He has led numerous performances with the symphony orchestras of Chicago, Houston, Baltimore, Paris, Moscow, Shanghai, Beijing, Vancouver, Romania, Slovakia, Buffalo, Columbus (OH), Honolulu, Louisville, New Orleans, Oregon, Rochester, Florida, and Virginia, among many others.

Scott Speck has been a regular commentator on NPR, the BBC, the Australian Broadcasting Corporation, and Voice of Russia, broadcast throughout the world. He has been featured in TED talks and at the Aspen Ideas Festival. His writing has been featured in numerous magazines and journals.

In addition, Scott Speck is the co-author of two of the world’s best-selling books on classical music for a popular audience, Classical Music for Dummies and Opera for Dummies. These books have received stellar reviews in both the national and international press and have garnered enthusiastic endorsements from major American orchestras. In the upcoming seasons you will see a connection to Scott’s books as we explore the concept of making learning about and enjoying classical music fun and accessible to a wide range of music lovers.

The West Michigan Symphony and its audience both mean the world to me. This is a true community of virtuoso musicians, playing for our beloved community of music lovers. One can’t exist without the other—I love our symbiotic relationship!

Scott Speck, WMS Music Director Volume 4//September 2016 – May 2017 :: 37

The addition of The Block as a downtown performance and rental venue jump-started what is now a growing and thriving business and entertainment district. The symphony’s performance season contributes to our winter economy and is one of the biggest reasons we are recognized as a year-round destination throughout West Michigan.

Having a professional orchestra like the West Michigan Symphony is a big part of what makes Muskegon a great place to live, work and visit.

Frank Peterson, City Manager, City of Muskegon

THE BLOCK The Block is an intimate concert and education space, plus a facility for special events. With flexible seating for up to 150, it features a lounge and dressing room area, small balcony, windows facing Muskegon Lake, and an outdoor deck made of recycled materials with green spaces.

In 2015-16 local, national and internationally-known musical artists performed at The Block presenting programs from vocal to classical to improvisational jazz. The diverse programming at The Block continues to create opportunities for music lovers of all genres to experience something new.

Infinitus String Trio @ The Block, 2016 Conrad Tao @ The Block, 2016

At The Block, 2015

Highlights of the 2015-16 season included jazz performances from local favorite Edye Evans Hyde as well as the world renowned pianist Marcus Roberts; classical works by pianists Gabriela Martinez and Conrad Tao as well as WMS principal clarinet Jon Holden and his ensemble; vocal performances by Diane Penning and Paul Langford and Broadway star Nathaniel Stampley; theatrical performances Love, Loss and What I Wore and The School for Scandal, and the astounding beatbox string trio, Infinitus.

The Block also continues to provide additional opportunities for the commercial sector, such as small businesses, to use the space for meetings and social events. Attracting an additional Since 2013, over 40 performances have taken place at The Block and it has provided a rental venue/meeting space for over 70 events, serving over 5,500 people.

38 :: West Michigan Symphony Concert Program

1,800 visitors to performances each year, The Block increases consumer spending directly associated with performing arts attendance, particularly restaurants and taverns.

As the fabric of communities across our country continues to evolve, The Block continues to grow and innovate artistically in order to meet the needs of our community. In order to better serve our neighbors, we continually look for ways to provide fresh educational and artistic programs that resonate with them, with a goal of reaching a new generation of music lovers.

WMS Children's Choir performing during the Grand Haven Community Artist Series, 2015 Click Clack Moosic at Helen DeVos Children's Hospital, 2015

I just wanted to say thank you for sharing your amazing program with the patients and families at Helen DeVos Children's Hospital.

We received lots of positive feedback from impressed staff, kids and parents.

Bridget Sova, music therapist Helen DeVos Children's Hospital

Click Clack Moosic at The Block, 2014

COMMUNITY OUTREACH Seasonally, WMS donates hundreds of concert tickets to charitable organizations.

Last season we were especially pleased to partner with the MAISD to reach staff, students and families from schools that are eligible for Muskegon Area Promise, giving them an opportunity to attend a West Michigan Symphony concert for free.

We also created free “Lunch n’ Learn” sessions, inviting the community to bring a lunch and join in conversation with Music Director Scott Speck and an invited WMS musician or guest artist. These popular events provide an opportunity to feel better acquainted with upcoming concert repertoire, Scott Speck, our musicians and our staff. This program continues into the 2016-17 season with sessions scheduled the Wednesday afternoon prior to each Masterworks concert.

A visible presence in the community, WMS and The Block have been pleased to serve our area through a diverse array of programming and educational outreach, as well as play a major role in the renaissance of Muskegon’s downtown business district, making it a better place to live, work and play.

EDUCATION West Michigan Symphony believes that a foundation in music education can give kids the tools they need to better navigate through life. We are dedicated to providing our local youth with programs that will help them develop an appreciation for music that they will carry with them their entire lives. We continually strive to provide opportunities for music enrichment and educational activities for audiences of every age, economic status and background.

WMS reaches deeply into our community to inspire the next generation of music lovers through its Block-based music programs and by extending its programs to area schools.

WEST MICHIGAN SYMPHONY CHILDREN’S CHOIR (WMSCC) With an emphasis on the development of musical skills and understanding, the WMSCC cultivates and encourages student achievement through quality music education and the pursuit of artistic excellence in choral music. An audition-only choir for kids ages 8-11, WMSCC is under the direction of Music Director Beth Slimko and rehearses weekly at The Block. Mrs. Slimko is an experienced music teacher and choral director and currently directs the North Muskegon Public School choir program and is the vocal music specialist for elementary music.

In the 2015-16 season the WMSCC had a total of 36 members from four west Michigan counties who rehearsed weekly from September to April. The WMSCC performed throughout the year and the community; concerts were given at the North Muskegon Library, the Grand Haven Community Artist Series, the WMS Holiday Pops concert, the WMS Link Up Children’s Concerts, Muskegon’s Lakeshore Art Festival and in April they went on a “mini tour” to four Muskegon area elementary schools.

CLICK CLACK MOOSIC Created by WMS, Click Clack Moosic is based on books by Doreen Cronin and Betsy Lewin. Children and their families attend a musical storytelling event where they meet WMS musicians and learn new music skills through fun and interactive skits. In these performances, children listen to a narration of one of the Click Clack Moo series of books while Symphony musicians perform music composed specifically for the Click Clack stories.

Volume 4//September 2016 – May 2017 :: 39

Last season Click Clack Moosic was booked for three separate dates, September and October, 2015 and January, 2016 at the Helen DeVos Children’s Hospital. A crowded hospital of doctors, nurses, specialists, staff and young patients were entertained by eight musicians, one conductor and narrator/host Karen Vander Zanden, WMS Director of Education, in each interactive 45-minute show. For those not able to make their way to the main stage, live stream technology allowed us to broadcast the program to every patient’s hospital room.

DEBUT STRINGS Debut Strings introduces beginning and intermediate students to large ensemble performance through challenging and diverse repertoire.

Students in Debut Strings have at least two years of playing experience and strong note reading skills. Debut Strings is led by Angela Corbin, Orchestra Director at North Muskegon Public Schools. Corbin earned her Master’s in Music Education from Michigan State University and has studied violin with Minghuan Xu at Grand Valley State University.

As a private and class music instructor for over fifteen years, teaching music through string instruction has been one of Angela’s deepest passions. Debut Strings rehearses once a week throughout the fall and spring. Last season the 25-piece group performed a concert in November and one in March at The Block.

Passionate young string players crave guidance and encouragement, exposure to new repertoire, expanded performance opportunities, and a bit of friendly competition. Madigan receives all these and more thanks to the education provided by West Michigan Symphony’s Debut Strings program.

Cristine Grimm and Max Lautzenheiser, daughter Madigan Lautzenheiser

Music Institute, WMS is the only orchestra to present the program continually since Carnegie Hall unrolled their national partnership.

Provided free to participating schools, WMS Link Up pairs our orchestra with schools in our local communities, inviting them to learn about orchestral repertoire through a yearlong, hands-on music curriculum culminating with a spring concert in the Frauenthal Theater.

Students repeatedly tell me that the highlight of the school year was attending and playing recorders with the West Michigan Symphony. They love experiencing a live orchestra and being able to contribute to the performance. Many decide to pursue band, choir, or orchestra because of the training and opportunities they had in the Link Up program.

Deb Krispin, music teacher at Lakeside and Moon Elementary Schools, Muskegon Public School District

Over 4,000 students are served each year by the Link Up program. The program is provided free of charge to 54 schools in 33 districts in 6 counties.

MUSIC MENTOR PROGRAM The Music Mentor program places WMS professional musicians into elementary school music programs that are participating in Link Up. The Music Mentor Program travels to schools throughout the region, becoming an integral part of their classroom experience and enriching the Link Up music curriculum all year long. Kids have the opportunity to meet and learn from professional musicians and gain an understanding that music is something that everyone can learn to play, sing and enjoy. In 2015-16, seven music mentors completed 84 in-school visits to area classrooms.

LINK UP The largest of our education programs is the WMS Link Up beginner music education program, which just celebrated its 12th year of school partnerships and reaches six West Michigan counties, serving over 50 elementary schools. In collaboration with Carnegie Hall’s Weill

Students playing their recorders at Link Up, 2016

40 :: West Michigan Symphony Concert Program

To get involved or to support any of these programs financially, contact Karen Vander Zanden, Director of Education, at 231.726.3231 or kvanderzanden@westmichigansymphgony.org

Debut Strings Spring Concert, 2016

2016/2017 CONCERTS 360 W Western Ave, 2nd floor Muskegon, MI 49440 231.726.3231 theblockwestmichigan.org

BLOCK PRICING Pricing for single tickets ranges from $10-$35.

Buy a series and save up to 20%! Many series packages available to suit all tastes.

Alexander Zonjic and Friends jazz

Harpeth Rising chamberfolk

Audivi acapella vocal ensemble

Thurs, Aug 25 7:30 pm

Sat, Sept 10 7:30 pm

Sat, Oct 15 7:30 pm

Rodney Whitaker Quartet jazz

Protea woodwind chamber music

Martha Guth & Amy Petrongelli classical sopranos

Fri, Oct 28 7:30 pm

Sat, Nov 12 7:30 pm

Sat, Dec 17 7:30 pm

Tim Fain violin

Csaba ErdĂŠlyi eastern european folk music

GVSU New Music Ensemble chamber ensemble

Sat, Jan 14 7:30 pm

Sat, Feb 4 7:30 pm

Sat, Feb 25 7:30 pm

Frank Vignola & Vinny Raniolo jazz guitar duo

Dee Daniels jazz vocals

Legal Rehab pop/classic rock covers

Sat, Mar 18 7:30 pm

Sat, Apr 29 7:30 pm

Sat, June 3 7:30 pm

Volume 4//September 2016 – May 2017 :: 41

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CHOOSE MORE Giving a whole new meaning to eenie meenie miney mo’s.

Where The Lakeshore Shops. The Lakes Mall is a proud partner of the West Michigan Symphony.

5600 Harvey St., US 31/Sternberg Rd. 231.798.7104 | TheLakesMall.com

Volume 4//September 2016 – May 2017 :: 43

PROUD TO SUPPORT THE WMS

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Jan. 20

–28, 20

Sept. 16–Oct. 1

, 2016

Feb. 17

–March

17

ec. 4, 2016

Nov. 18–D

4, 2017

7, 2017

May 4–

www.muskegoncivictheatre.org 44 :: West Michigan Symphony Concert Program

West Michigan Symphony Board of Directors The foundation to a strong non-profit organization is its Board of Directors. At WMS our board members are representative of the business community and are able to provide valued expertise and oversight.

Pete Brown Board Chair

Paul R. Jackson Secretary

David F. Gerdes Treasurer

Jan L. Deur

Tom Godfrey

Kimberly L. Hammond

Ken Hoopes

Gary Nelund

Michael Olthoff

Bryce E. Tallant

NOT PICTURED: Gil Segovia

The Block Board of Directors The Block seeks to enrich the quality of life in our community by being a space where entertainment, education and celebration resides. Chosen to address the needs and interests of its unique customer base, The Block’s Board of Directors uses their expertise and connection to the community to forward this mission.

FROM LEFT: Kerri VanderHoff Jessica Chandler Josh Silvis Jonathan Seyferth Emma Torresen NOT PICTURED: Jason Olthoff

Our Staff The WMS is not just music; it's people. Our staff collectively holds professional experience and expertise in music, management, marketing, graphic design, patron services, development, finance, education and production. The symphony is made up of a talented group of dedicated individuals who take great pleasure and pride in bringing you the finest programs season after season. With their help, WMS is continually able to bring great music to the community.

FRONT: Cathleen Dubault Event Sales Manager Rita Smith Patron Services Manager/Tickets Carla Hill President/CEO Karen Vander Zanden Director of Education BACK: Keely Payne-Schneider Art Director/Marketing Coordinator Natalie Carmolli Director of Marketing and Communications Perry Newson Director of Operations/Guest Artists Rhonda Bogner Director of Finance Gabe Slimko VP of Operations/Orchestra Personnel Manager NOT PICTURED: Dave Dressel Stage Manager Amanda Dykhouse Orchestra Librarian Volume 4//September 2016 – May 2017 :: 45

Contributors Contributors listed here made gifts from September 1, 2015, through July 31, 2016. We have given careful attention to ensure a complete and accurate list. If your name has been misspelled or omitted, please accept our apologies and inform us of the error by calling 231.726.3231 x223.

Annual Fund

The generosity of numerous individuals, corporations and foundations of the Annual Fund has been instrumental in advancing the artistry and musical excellence of the West Michigan Symphony. We extend our deepest appreciation to you for helping to make the West Michigan Symphony a cultural touchstone in our community.

75th Anniversary Circle Campaign

In honor of the Symphony’s 75th Anniversary, Mike and Kay Olthoff generously offered a 3-year challenge match up to $75,000 each year beginning in 2014. Thank you to the many supporters who made a 3-year pledge or a gift during the first year of this significant fundraising campaign. +Denotes 75th Anniversary Circle Campaign Diamond Circle Member ++Denotes 75th Anniversary Circle Campaign Member *Denotes a fund of the Community Foundation for Muskegon County **Denotes a fund of the Grand Haven Area Community Foundation

DONORS Golden Baton: $10,000 & up Jan & Christine Deur+ Deborah DeVoursney Pat & Julie Donahue+ David F. Gerdes & Carolyn Smith-Gerdes+ Bari Johnson+ Mike & Kay Olthoff Virtuoso Circle: $7,500-$9,999 Douglas & Janet Hoch+ Robert & Wendy Kersman+ Orchestra Circle: $2,000-$4,999 Roger A. & Marilyn V. Andersen+ Anonymous+ William & Susan Bissell+ Jon & Jane Blyth+ Dr. Harold E. Bowman+ Dr. Mark & Kristina Clark Cathleen & Robert A. Dubault+ Fred Harring in honor of Doris Ducey & Gerard Harring Carla Hill+ Paul & Karen Jackson+ Charles Johnson II+ John & Jessie Martin+ Barbara J. Murphy+ Joanna & Fred Norris Jack & Becky Slimko+ Michael & Corina Soimar Jane & Tim Stoepker++ Peter M. Turner Benefactor: $1,000-$1,999 Charles & Gloria Alstrom Anonymous Luanne & Bill Baldridge+ 46 :: West Michigan Symphony Concert Program

Cathy & Bernie Berntson Fund* Pete & Sherry Brown+ Michael Cerminaro, DDS & Connie Verhagen, DDS Orville Crain & Susan Cloutier-Crain++ Marcia D'Oyly William & Mary Lou Eyke Julia Norris Fugate+ Martha Giacobassi Bud & Charyn Hoffman++ David Jespersen Thomas & Barbara Kelso+ Amy Klop Daniel & Sheryl Kuznar+ Scott & Donna Lachniet+ Robert & Jo Ann Landman Mort & Gayle Speck+ Scott Speck+ Alan Steinman Susan & Stephen Struck++ Thomas & Elizabeth Tuttle+ Steven & Rebecca Westphal+ Judy Wilcox+ Dr. Paul Wilson++ Patron: $600-$999 Anonymous++ Douglas Bard++ Herb & Anne Bevelhymer Gordon & Mary Buitendorp Maureen Campbell Dr. Donald & Nancy Crandall++ Don & Kathy Dahlstrom++ matched in part by Charles Stewart Mott Foundation Marti Driscoll++ Eugene & Karen Fethke Robert & Clara Harrell Tom & Diane Jones

Kent & Charlotte Krive Mark & Bonnie Meengs Monica Morse Dr. & Mrs. Richard W. Peters William L. "Bill" Rogers++ John Saling Jill Sanders++ Gabe & Beth Slimko++ Bryce & Marti Tallant++ Carol Parker Thompson & Jerry Engle++ Norna Verplank Kenneth & Marguerite Winter Sponsor: $300-$599 Bruce & Paula Baker Paul & Grace Benedict Ardythe Bulthouse Kroes Rudy & Pat Chmelar Dr. Paul & Nancy Christie Ruth Clark James & Diana Cornell++ Julie & Ron Cornetet Mary & Gust Danigelis Janet B. Day Dr. & Mrs. David Deitrick++ Valerie Eggert Charles Fisher++ Carol Folkert Tom & Janet Fortenbacher Ron Fritz James & Susan Geisler++ Michael & Bonnie Gluhanich Mary Anne Gorman James & Julia Hegedus++ Mr. & Mrs. Bill Hendrick John L. & Linda P. Hilt Advised Fund* William & Nancy Hohmeyer Barbara & Hugh Hornstein Warren E. Hutchins

September 1, 2015 – July 31, 2016 Wilda James John & Mary Jamieson Robert & Louise Jewell++ Pat & Tom Johnson++ Paul & Barbara Kidd+ Bruce & Mary Krueger Pete & Mimi Kunz Joan Leder++ Donna Little & Faye Redmond Charles Matthews & Kay Cater Matthews Richard & Nancy Morgenstern++ Greg & Rhonda Myers Hester P. Newton Garry & Charlotte Olson Jean Scales Pataky Gay C. Petersen Dr. & Mrs. Nicolas Pietrangelo Roy & Britta Bujak Portenga Denis & Barbara Potuznik++ Kevin Rahrig & Lori Houghton-Rahrig Steve Schneider & Keely Payne-Schneider++ Sue Schuiteman Robert Slager & Hazel Whittaker Helen & Jay Smith++ Rita Smith Vivian Sorden++ Dr. F. Remington & Ginny Sprague Anbritt & Darlene Stengele Robert & Ruth Stoppert George & Dottie Strabel Barbara & John Tevebaugh Tim & Pat Trombly Tom & Liz Trzaska++ Roger & Rebecca Tuuk++ John & Barbara Usmial++ Dr. Paul Voss Bill & Shirley Walther Jolee Wennersten Jane Wright++ Louise E. Yonkers++ Robert & Joanne Zayko++ Sustaining Member: $100-$299 Chris Adams Ross Aden Len & Wanda Anderson++ Ronald & Nancy Anderson++ Anonymous++ Anonymous - 3 Mary Anne (Andy) Askam Family Fund* Margo Atwell++ Barbara Bancroft++ George Barnes++ Sandy & Allen Beck Sharon Bedford/Edible Art Catering Paul & Joan Bergmann++ Jo & Jim Bidle Jan Blakkan Bonnie Borgeson Mary & Bob Boyer

Jack & Marilyn Brown Mr. & Mrs. Ron Brown++ Marie Bustin Joe & Natalie Carmolli++ Joyce Carpenter Curtis Chambers Susan & Jon Chesney Bob & Charlotte Chessman++ Lee & Darlene Collet Meredith Cousins William & Colette Cowan Mr. & Mrs. William Cross III David & Marie Culver Allan & Anne Dake++ Paula DeGregorio & Frank Galante++ Jane Denman Dortha Manning DeWit Norma DeYoung David A. Dietrich & Mary Jo Thies-Dietrich Hon. & Mrs. Graydon Dimkoff Karen & Herb Driver Bruce & Esther Drukker Dennis & Barbara Dryer Doris Ducey++ Janice Dyer Amanda & Gregory Dykhouse Robert & Jackie Engel++ Harold & Mary Englund++ Jean Enright Tim & Anne Erickson++ Robert & Ann Erler Wallace & Jane Ewing Roberta Fleischman Robert & Sue Fles++ Fred & Char Franczek Fund* Julie Giacobassi & Zach Hall++ Donald & Betty Goodman Marjorie Gorajec Don & Kay Green++ Bill & Marge Gustafson Rev. Gerald & Rev. Susan Hagans Helga E. Hamm Marjorie K. Harrison Gary & Anita Hasper John & Barbara Hermanson++ Patricia Hesling++ John & Terry Hoekstra Connie Holley++ Bruce & Donna Hood Shirley Hooker Kenneth & Maria Hoopes Mary Anne & Thom Hornik++ Gweneth Howe Mary Ann Howe Stephen & Debra Jackson Don & Penny Johnson Marti VanWyck Johnson++ David & Loretta Kasprzyk Jack & Joanne Kelley Robert & Norann Kelly++

Justin & Kathleen Kleaveland Ken & Theresa Kloet++ Randy & Debra Knapp++ Dr. Ray & Betsy Komray++ Ben & Louise Krill Peter Kurdziel Lakeshore Music Therapy Services Tricia E. Lamiman++ Phyllis Laurin Mary Lombard Dr. Beth Dunning Lower Linda Maher Sandy Majeski Jim & Mary Malek Deborah Margules C. William Martin++ Cindy Mazurek Elaine McCulloch Shirley McIntire++ Paul & Winnie McNergney++ Jim & Shirley Meeks Alice Michaud Robert & Susan Mixer Don & Phyllis Monte-Holtrop Carol Morell++ Ed & Ginevra Naill Kathy Neff Kathryn L. Neumann Eric & Karen Nisja++ Bonnie Nyenhuis++ Jane Thocher O'Meara Kenneth & Katherine Olthoff++ Steve & Kathy Ongert++ Kay Ostrom++ Merilee & Kenneth Otto++ Bill Papo & Julie Stewart Richard A. Pardini Steve & Kathleen Parker++ Peter & Carol Payne David & Beth Pickard Irene Pierson++ Gary & Beth Post Albert & Elizabeth Posthuma Sylvia Precious++ Mary L. Price Fund* Russell & Margaret Price++ William & Avis Randall++ Susan Rehrer++ Dr. & Mrs. Gary Robertson David Roodvoets++ Merry Rosenberg Susan Savoie Laird Schaefer Duane & Susan Schecter Stephen Schmidt Gwynne & Steve Schoff Michael & Debby Schubert Thomas Schuler Robert N. & Merle N. Scolnik Advised Fund* Nancy Seites Volume 4//September 2016 – May 2017 :: 47

Contributors Mr. & Mrs. Patrick Shafer++ Jocelyn Shaw & Doug Hannink++ Glenn Sheathelm Harrison & Charlynne Sikkenga Jay & Joanne Sikkenga Colleen & Joe Skendzel++ Dar Smith Hayden Smith Joan Hilles Smith++ Tom & Nanci Stone++ Clifford & Lucia Storr++ Robert & Julie Stuberg Robert & Lee Suits Janet Sutherland++ Howard & Marilyn Swanson David & Linda Taylor++ Peter & Judy Theune Marvin Thomas++ Jack & Judy Tierney Emma Torresen Tosa Family Richard & Marjorie Tourre Mary Towner++ Chuck & Peggy Tyler Pastor Bill & Bev Uetricht Mr. & Mrs. David Utzinger Janet Van Deusen++ David Vanderwall Michael & Patricia Wade++ Samuel L. Westerman Foundation Sue Wierengo Brewster & Mary Ellen Willcox Ellie Williams Jonathan & Melissa Wilson Dr. Roy Winegar & Ms. Barbara Klingenmaier++ Joe & Cindy Wolff++ Jessica Wolin & Frank Crownover++ Mary & Robert Wygant Dr. Dwight Zulauf

75th Anniversary Circle Campaign and Olthoff Match Diamond Circle Members Roger A. & Marilyn V. Andersen Anonymous Luanne & Bill Baldridge William & Susan Bissell Jon & Jane Blyth Dr. Harold E. Bowman Sherry & Pete Brown Jan & Christine Deur Pat & Julie Donahue Cathleen & Robert A. Dubault Julia Norris Fugate David F. Gerdes & Carolyn Smith-Gerdes Carla Hill Douglas & Janet Hoch Paul & Karen Jackson 48 :: West Michigan Symphony Concert Program

Bari Johnson Charles Johnson II Dr. & Mrs. Thomas Kelso Robert & Wendy Kersman Daniel & Sheryl Kuznar Paul & Barbara Kidd Scott & Donna Lachniet John & Jessie Martin Barbara J. Murphy Jack & Becky Slimko Mort & Gayle Speck Scott Speck Thomas & Elizabeth Tuttle Steven & Rebecca Westphal Judy Wilcox Members Len & Wanda Anderson Ronald & Nancy Anderson Anonymous - 5 Margo Atwell Barbara Bancroft Douglas Bard George Barnes Gary & Carol Beatty Paul & Joan Bergmann Orel A. Borgeson Mr. & Mrs. Ron Brown Joe & Natalie Carmolli Bob & Charlotte Chessman James & Diana Cornell Orville & Susan Cloutier Crain Dr. Donald & Nancy Crandall Don & Kathy Dahlstrom Allan & Anne Dake Deborah Dancz Paula DeGregorio & Frank Galante Dr. & Mrs. David Deitrick Marti Driscoll Doris Ducey Robert & Jackie Engel Harold & Mary Englund Tim & Anne Erickson Charles Fisher Robert & Sue Fles James & Susan Geisler Julie Giacobassi & Zach Hall Don & Kay Green Jean Haase Dr. & Mrs. James Hegedus John & Barbara Hermanson Patricia Hesling Kurt & Antoinette Hildwein Bud & Charyn Hoffman Connie Holley Mary Anne & Thom Hornik Robert & Louise Jewell Daryl Johnson Pat & Tom Johnson Marti VanWyck Johnson

Robert & Norann Kelly Ken & Theresa Kloet Randy & Debra Knapp Dr. Ray & Betsy Komray Mr. & Mrs. Paul Ladas Tricia E. Lamiman Joan Leder Tom & Angela Maloy C. William Martin Shirley McIntire Paul & Winnie McNergney Carol Morell Richard & Nancy Morgenstern David R. Nancarrow Eric & Karen Nisja Bonnie Nyenhuis Kenneth & Katherine Olthoff Steve & Kathy Ongert Dr. Mario & Mrs. Kristy Orsini Kay Ostrom Merilee & Kenneth Otto Steve & Kathleen Parker Irene Pierson E. Louise Crawford Potts Denis & Barbara Potuznik Sylvia Precious Russell & Margaret Price Paul Prinzing C. Bruce & Shirley Privacky William & Avis Randall Ed Redline Susan Rehrer William L. "Bill" Rogers David Roodvoets Jill Sanders Steve Schneider & Keely Payne-Schneider Mr. & Mrs. Patrick Shafer Jocelyn Shaw & Doug Hannink Colleen & Joe Skendzel Gabe & Beth Slimko Helen & Jay Smith Joan Hilles Smith Vivian Sorden Rosemary Stellino Jane & Tim Stoepker Tom & Nanci Stone Clifford & Lucia Storr Mr. William Strain Susan & Stephen Struck Janet Sutherland Betty A. Sweet Bryce & Marti Tallant Sally Tardani David & Linda Taylor Marvin Thomas Carol Parker Thompson & Jerry Engle Tosa Family Mary Towner Tom & Liz Trzaska Roger & Rebecca Tuuk

September 1, 2015 – July 31, 2016 Lynne Twining John & Barbara Usmial Janet Van Deusen Marsha Van Lente Joanne Van Oordt Robert & Cheryl Voyt Michael & Patricia Wade Paul Wagner Daniel & Barbara Weikel Virginia Wilke Dr. Paul Wilson Dr. Roy Winegar & Ms. Barbara Klingenmaier Joe & Cindy Wolff Jessica Wolin & Frank Crownover Jane Wright Viktor & Galina Yaroshenko Louise Yonkers Robert & Joanne Zayko

Concert & Guest Artist Sponsors 2015-16 Season $20,000-$50,000 Nichols Hines Corporation $14,000-$19,999 Friends of the Broadway Gentlemen Jon & Jane Blyth, Dr. Harold E. Bowman, Pete & Sherry Brown, Jan & Christine Deur, William & Mary Lou Eyke, David F. Gerdes & Carolyn Smith-Gerdes, Larry & Lari Hines, Douglas & Janet Hoch, Bari Johnson, Wendy Kersman, Scott & Donna Lachniet, Steve & Debbie Olsen, Mike & Kay Olthoff, Jack & Becky Slimko, Michael & Corina Soimar, Mary Towner, Peter M. Turner, Judy Wilcox $10,000-$13,999 Harbor Steel & Supply Corporation $5,000-$9,999 Howmet Community Fund* Mercy Health Northern Trust Co. Smith Haughey Rice & Roegge Warner Norcross & Judd LLP $3,500-$4,999 WMS Past Presidents Club Susan Bissell, Marcia D'Oyly, Valerie Eggert, David F. Gerdes, David Hogan, Pat Hunt, Tom Johnson, Wendy Kersman, Jo Ann Landman, Clara Lang, Deb Newson, Fred Norris, Mike & Kay Olthoff, Sylvia Precious, Ann Tabor, Peter M. Turner, Rebecca Veltman, Jane Wright

$2,500-$3,499 Huntington National Bank Up to $999 Blue Lake Public Radio - Media Sponsor

Composer Club The Composer Club supports the development of new music through commissioning. Their 1-3 year commitment helps support WMS composer-in-residence Austin Wintory.

Roger A. & Marilyn V. Andersen William & Susan Bissell Jon & Jane Blyth Gary & Rhonda Bogner Sherry & Pete Brown Jan & Christine Deur David F. Gerdes & Carolyn Smith-Gerdes Carla Hill Paul & Karen Jackson Bari Johnson Mike & Kay Olthoff Tom Schaub & Mary Price Jack & Becky Slimko Mort & Gayle Speck Scott Speck Alan Steinman Peter M. Turner

Business Partners Program 2016-17 Season $1,500 SONUS Hearing Care Professionals $500 Annis Water Resources Institute H & S Companies Muskegon Awning & Fabrication Muskegon Community College

PLAN YOUR LEGACY WITH YOUR WILL OR TRUST You have worked hard to accumulate assets throughout your life, but without a valid will or trust at your death, those assets will be distributed according to state law.

Wouldn’t you rather determine that yourself?

Including a bequest in your will or trust to a charitable organization such as the West Michigan Symphony may be the best way to make a meaningful gift in the future.

For more information on the ways to make a charitable bequest in your will or trust, simply call Carla Hill, President/CEO, at 231.928.5731 or visit with your estate planning attorney today.

Volume 4//September 2016 – May 2017 :: 49

Contributors Corporate, Art Council & Foundation Donors

West Michigan Symphony Education Programs

$100,000 and up Nichols

CHILDREN'S CHOIR

$15,000-$49,999 Michigan Council for the Arts and Cultural Affairs Community Foundation for Muskegon County $7,500-$14,999 Meijer, Inc. $5,000-$7,499 JSJ Foundation Verplank Donor Advised Fund $1,000-$4,999 New Music For America American Grease Stick Co. Up to $999 Lorin Industries Newkirk Electric Sand Products Corporation Fund* Matching Companies Gerber Foundation Charles Stewart Mott Foundation United Technologies

Endowment Fund Thank you to the following individuals who made gifts to our endowment fund. Gifts to the fund, managed by the Community Foundation for Muskegon County, can be made by gifts of cash, securities or property, will or trust, or a gift of life insurance.

Dr. & Mrs. John Cress Hester P. Newton George & Doris Worden

Sponsors Fifth Third Bank Raymond C. & Evelyn P. Alstrom Fund* Donors Lisa Bush First Presbyterian Church of Grand Haven Pratt & Whitney Canada Corp.

Sawyer Family Fund* Vikings Linne Lodge #57 Endowment Fund* Walker Memorial Library Kenneth & Marguerite Winter CLICK CLACK MOOSIC Judi Glass in appreciation of Mr. & Mrs. William Bissell Jean & Clarke Manning Fund* Nichols YOUTH SYMPHONY/DEBUT STRINGS $1,000 and up Billie Klont Greinke Memorial Fund* Up to $999 Ann & Bud Eichmann Fund* Pratt & Whitney Canada Corp.

Vikings Linne Lodge #57 Endowment Fund* John L. Wheeler Memorial Scholarship Fund* GENERAL EDUCATION $1,000-$4,999 Jon & Jane Blyth Sherry & Pete Brown David F. Gerdes & Carolyn Smith-Gerdes Drs. Harland Holman & Kira Sieplinga Daniel & Sheryl Kuznar Up to $999 Alpha Delta Kappa, Alpha Iota Chapter Anonymous - 4 Sandy & Allen Beck Arthur J. Bolt Brad & Laura Bruns Sterling & Greta Bushnell Ryan & Angela Corbin matched by United Technologies

50 :: West Michigan Symphony Concert Program

Bill & Carol Cross Don & Kathy Dahlstrom matched in part by Charles Stewart Mott Foundation Julie DeBlanc Ed DeJong & Diane VanWesep Jan & Christine Deur Doris Ducey Harold & Mary Englund William & Mary Lou Eyke Mr. & Mrs. Charles Freeman James & Susan Geisler Ann Gorter David Greer & Robby Cramer Jeff & Gail Hall Carlton Hamstra Dr. Margot Haynes Carla Hill Mary Ann Howe Jack & Joanne Kelley Robert & Wendy Kersman David Marckini Julia Marckini Don Matthews Linda McKendry Paul & Winnie McNergney Richard & Nancy Morgenstern Barbara J. Murphy Hester P. Newton Nichols Presidents Club Children's Choir Scholarship in honor of Kay Olthoff Steve & Kathy Ongert Jean Scales Pataky Drs. Travis & Michelle Piper Russell & Margaret Price Tom & Gail Ringelberg Jack & Jill Scheerhorn Gwynne & Steve Schoff Alan Steinman Robert & Julie Stuberg John & Felicia Swirczek Peter & Judy Theune Carol Parker Thompson Peter M. Turner Genevieve Ugalde Michael & Patricia Wade Chad & Jill Wegner John & Peggy Whitlock matched in part by Gerber Foundation Jane Wright Viktor & Galina Yaroshenko Louise Yonkers

September 1, 2015 – July 31, 2016 LINK UP SPONSORS

The Block

$10,000 and up National Endowment for the Arts

CORPORATE, ARTS COUNCIL & FOUNDATION DONORS

$5,000-$9,999 Alyce R. Erickson Fund** Fremont Area Community Foundation Mary Ann Sherwood Fund** Maurice Libner & Susan Scupin in tribute to Robert Libner Women’s Division Chamber Of Commerce

$10,000 and up Michigan Council for the Arts and Cultural Affairs

$1,000-$4,999 Alcoa Howmet Corporation Comerica Bank Hines Corporation Jean & Clarke Manning Fund* Nichols Mike & Kay Olthoff Mary Payne Samuel L. Westerman Foundation Up to $999 Joshua Gerlick & Leah Brockman Carla Hill Sawyer Family Fund* Susan & Stephen Struck

CONCERT UNDERWRITERS 2016-17 SEASON

CAPITAL CAMPAIGN $5,000-$9,999 Daniel & Sheryl Kuznar $1,000-$4,999 Pearce Family Memorial Fund* Up to $999 Anonymous Keith Allen French II William Juntunen Jocelyn Shaw & Doug Hannink

$2,500 and up ADAC Automotive Susan & Frank Bednarek Fund* Consumers Energy Jan & Christine Deur Grand Valley State University Hooker DeJong, Inc. Huntington Bank Wendy & Buzz Kersman Don & Heather Kettler Lake Michigan Credit Union Michigan Office Solutions MLive Media Group/Muskegon Chronicle Nichols Steve & Debbie Olsen PNC Bank Rehmann Shape Corporation Shoreline Insurance Agency, Inc. Supreme Machined Products Webb Chemical Service Corporation BUSINESS PARTNERS PROGRAM 2016-17 SEASON $500 Century Club Shops on Western & Port City Construction and Development McCroskey Law Witt Buick

How You Can Help Ticket Sales: $258,528 Artistic and Production Expenses: $578,883

West Michigan Symphony concerts aren’t supported by ticket sales alone.

A critical combination of private philanthropy and civic support accounts for over 50% of what it takes to enrich the lives of our friends and neighbors though music.

Call 231.726.3231 to make your tax deductible donation to the West Michigan Symphony or go to westmichigansymphony.org/donate.

Volume 4//September 2016 – May 2017 :: 51

Advertisers Alice Waterous Floral Consultant. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Lakeshore Museum Center. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Baker College of Muskegon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29

Mercy Health . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Inside front cover

Brookhaven. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

Muskegon Civic Theatre. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Blue Lake Public Radio . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Muskegon County Airport. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 5

Chalet Floral. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Muskegon Museum of Art. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Feeding the Soul of the City—St. Paul’s Episcopal Church. . . . . . . 27

Muskegon Surgical Associates, PLC. . . . . . . . . . . . . . . . . . . . . . 3, 19, 31

Frauenthal Center for the Performing Arts . . . . . . . . . . . . . . . . . . . . . 29

Next-IT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 21

Grand Valley State University. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Nichols. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Back cover

Greenridge Realty – Tom Knight. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Opera Grand Rapids. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Harbor Steel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Port City Group. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

Harvey Lexus of Grand Rapids. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

ProAssurance Companies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 25

Hearthstone Bistro. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Remwolt Cleaners and Custom Tailors . . . . . . . . . . . . . . . . . . . . . . . . . 44

Hines Corporation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Inside back cover

Third Street Grille. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42

Holiday Inn. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Waddell & Reed – Jackie Engel. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Howmet Playhouse. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Warner Norcross & Judd LLP. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

i'move. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Wasserman’s Flowers and Gifts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 44

Jerviss-Fethke Insurance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23

West Michigan ENT . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24, 29

Kent Record Management, Inc.. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Witt Buick. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

Lakes Mall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 43

Volume 4//September 2016 – May 2017 :: 53

YOU FIRST

54 :: West Michigan Symphony Concert Program

enichols.com