Classical Music for Everyone

EVERYONECLASSICAL MUSICforWest Michigan Symphony / 1st Edit ion / 2016-2017

Austin Wintory

Frequently asked questions(including when to clap)

Reimagining and reinvigorating

classical music

8reasons why going to the

symphony is cool

PLAYING ITSCOTT SPECK

smartThis magazine contains a complete 2016-17 concert season listing, along with references to its companion

book, Classical Music for Dummies written by David Pogue and our own maestro, Scott Speck!

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

David Pogue and Scott Speck, Classical Music for Dummies

Edited by Natalie Carmolli for the West Michigan Symphony. Design by Keely Payne-Schneider for the West Michigan Symphony.ON THE COVER: West Michigan Symphony Music Director Scott Speck at the WMS offices in front of Petits Fours on Orange (2014) by Christy De Hoog Johnson.

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

Wednesday, November 9, NoonLunch n’ Learn: EP!C

Wednesday, January 11, Noon Lunch n’ Learn: Vivaldi Recomposed

Wednesday, February 1, Noon Lunch n’ Learn: Beethoven Triple

Wednesday, March 8, Noon Lunch n’ Learn: Classical Music for Everyone

Wednesday, May 17, NoonLunch n’ Learn: Rachmaninoff no.3

The Block | 360 W Western Ave | 2nd floor Coffee and water provided, bring your own lunch | Doors open at 11:45 am

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

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

CLASSICAL MUSIC IS FOR EVERYONEYOU COULD

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LETTER FROM CARLA HILL AND SCOTT SPECK

STYLE: WHAT TO WEAR TO THE SYMPHONY

2016/17 WMS SEASON

WMS SEASON TICKET INFORMATION

THE BLOCK SEASON TICKET INFORMATION

SEASON TICKET ORDER FORM

SEASONS AT A GLANCE

2016/17 BLOCK SEASON

HOW TO GET THE BEST SEATS

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

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

By Scott Speck

A complete concert listing for the upcoming Block season.

PLAYING IT SMART

AUSTIN WINTORY: REIMAGINING AND

REINVIGORATING CLASSICAL MUSIC

FREQUENTLY ASKED QUESTIONS

8 REASONS GOING TO THE

SYMPHONY IS COOL

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CONTENTSON THE COVER

ON THE COVER

ON THE COVER

ON THE COVER

CARLA HILL WMS PRESIDENT AND CEOSCOTT SPECK WMS MUSIC DIRECTOR

DEAR FRIENDS,We are thrilled to usher in the 2016-17 season of your West Michigan Symphony, as it is one of the most exciting seasons we have planned to date. In fact, you could say that it has EPIC! written all over it. Of course you expect to hear the superb music of the West Michigan Symphony orchestra, and there is plenty of that to be had. Our talented orchestra members will be featured in such works as the Beethoven Triple and in the immense sonic landscapes of Respighi, Dvo rák, Tchaikovsky and Rachmaninoff. We’re also pleased to report that many of our 2016-17 season concerts will again feature our spectacularly talented guest artists, including the long-awaited WMS debut of Van Cliburn Gold Medalist, pianist Olga Kern. More exciting news is that we have enlisted the talents of a composer-in-residence for the 2016-17 season, Austin Wintory. Austin will be composing two exciting new works for the West Michigan Symphony next season. The first will kick off our season as it is included with great motion picture scores in our “Heroes and Villains” concert. The second time you’ll get to experience Austin’s work will be in the November concert which is named after his composition, “EPIC!” 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

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

Also, you may begin to see that we are reaching out to make classical music accessible to a larger audience by extending the Classical Music for Everyone theme. Inspired by its second edition printing of Classical Music for Dummies, (authors Scott Speck and David Pogue) we are creating teachable moments that we hope will deepen your relationship with the music and demystify some of the closely-held traditions that surround it. When you see this iconin a concert description you’ll know that you can reference the Classical Music for Dummies book to learn more about that concert’s works and composers. You will have the opportunity to purchase that book in the lobby next season. We also plan to continue the popular Lunch n’ Learn sessions to help you build a stronger relationship to the music, our musicians, and our guest artists. Of course, there’s a wide array of musical genres also represented in the 2016-17 season at The Block. From chamber music, to jazz to concerts featuring vocalists, there’s something for everyone at our cool little “alternative” concert hall. There’s a full calendar of events for The Block also featured in this magazine. We see each concert we produce as a new and different opportunity to connect with you through the sublime and powerful medium of music. You are why we make this music—if we create programming that educates and excites you, delivered in an atmosphere that feels warm and welcoming, then we have done what we set out to do.

Classical Music

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

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

$24.99

LETTER

austin wintory

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

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

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

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

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

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

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

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

ASSASSIN’S CREED: SYNDICATE

JOURNEY

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C O M P O S E R - I N - R E S I D E N C E

PLAYING IT SMARTS C O T T S P E C K

PLAYING IT SMART

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

A WORLD APARTTo those uninitiated in classical music, a host of questions inevitably comes to mind—when they think about us at all. Why do classical radio announcers over-enunciate their consonants? Why do program books contain so many foreign words? Why does the audience for this music appear so overwhelmingly white—and white-haired? And why on earth do orchestras dress like 19th-century butlers?

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

In threatening to overshadow the magnificence of the art form itself, certain conventions stand out more starkly than others. Our black-and-white uniforms, for example. True, tuxes and long black dresses appear refined; they please the old guard, and their sophistication seems to warrant high ticket prices. But are they welcoming to the vast majority of our potential public? To those outside our circle, they smack of exclusivity. They create a distance that the composer never intended.

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

glorious, triumphant rush of the orchestra at a movement’s conclusion caused such surprisingly new, potent, untapped emotions to well up in me that I erupted into rapturous applause—only to be scolded for clapping between movements. “What a stupid custom,” I thought to myself at the time, and still do.

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

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

We prepared the reader for the concert world’s anachronistic attire and insane no-clap policy. We wrote about the tuning process, the rituals within each section of the orchestra, the mysteries of bowing (and bowing), and what a concertmaster does. We presented some typical orchestra seating arrangements. We even depicted what goes on backstage.

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

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

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

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

04 / westmichigansymphony.org / theblockwestmichigan.org

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

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

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

Third, many orchestras have begun programming thematically: grouping the works on a program, or the programs on a series, according to a common theme—and naming the concert or series after that theme. Once the purview of smaller, more nimble orchestras, this practice has spread to many more, creating instant associations for the audience among the pieces on the program. And of course, thematic programming is a marketer’s dream. But it is not yet universally accepted, especially in the larger orchestras.

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

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

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

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

This is an edited version of the original article, which appeared in the May/June 2008 issue of Symphony, official magazine of the League of American Orchestras. It is used here by permission of the author, the League, and Symphony.

Classical music blogger Karim Hakimzadeh created the site readnomore.wordpress.com as a response to friends who wanted an introduction to the classical music that he loved. He wanted to offer a “painless way” to learn about music, written in a way that is understandable to non-musicians. In his article “Can classical music be cool?” he describes why he thinks the answer to that question is a “resounding yes.”

“...classical music has played a profound role in shaping what we all listen to today. Pachelbel’s famous Canon in D for example, has directly influenced the songs of artists ranging from the Beatles, U2, Aerosmith, Green Day, Avril Lavigne and Kylie Minogue. British music producer Pete Waterman, whose label produced some of the biggest chart hits of the 80s, went as far as to describe Pachelbel’s Canon as “the godfather of pop music.”

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

8 REASONSWHY GOING TO THESYMPHONY IS COOL


Experiencing a live Symphony performance is so cool because you get to watch a group of individual people come together and create

a whole larger work. Each musician is like a gear and has an individual part, but without the others the work is incomplete.

As an audience member you can concentrate on an individual musician or the collective group. It’s like a metaphor for a community. As we

work together we can create something so much more beautiful than if we were solely focused on our own roles.

–Larissa Fal lGoing to the symphony and

hearing live, amazing and well played music is powerful. It

restores the soul.

–Cat Jackson

Immersion in the experience. Hearing,

feeling, and imagining with eyes closed.

–Linda Bengston

The coolest thing about going to a WMS concert for me is seeing and hearing talented individuals collaborating to give us a fabulous

musical experience and ride. There is nothing like that synergy!

–Katha Petroel jeThe West Michigan Symphony brings amazing

national and international talent right to Muskegon!

–Kimberly Lowe

I love to watch the musicians having a good time. The best is when you hear the music

and see it interpreted on their faces and through their

body language.

–Racheal Meloche

Always a fun and festive atmosphere. It’s like a little

taste of big city culture right here on the lakeshore.

–Lisa Crawford

I think the coolest thing about going to a West Michigan Symphony concert is the

“come as you are” mentality.

–Wil liam Stauter

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

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

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

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

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

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

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

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

WHAT TO WEAR TO THE SYMPHONY

WMS / 2016 / 1ST EDITION / 07

STYLE

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

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

OCTOBER

FEBRUARY

AUDIVIACAPELLA VOCAL ENSEMBLE

THE BLOCK 360 W WESTERN AVE | 2ND FLOOR

SATURDAY

157:30 PM

RODNEY WHITAKER QUARTETJAZZ


FRIDAY

287:30 PM

CSABA ERDÉLYIEASTERN EUROPEAN FOLK MUSIC


SATURDAY

047:30 PM

GVSU NEW MUSIC ENSEMBLECHAMBER MUSIC


SATURDAY

257:30 PM

BEETHOVEN TRIPLE MASTERWORKS.3

WEST MICHIGAN SYMPHONY FRAUENTHAL THEATER425 W WESTERN AVE

FRIDAY

7:30 PM03

SEPTEMBER

MAY

JANUARY

HARPETH RISINGFOLK GRASS


SATURDAY

107:30 PM

HEROES AND VILLAINSPOPS.1


FRIDAY

307:30 PM

TIM FAINVIOLIN


SATURDAY

147:30 PM

VIVALDI’S FOUR SEASONSMASTERWORKS.2


FRIDAY

137:30 PM

RACHMANINOFF NO.3 MASTERWORKS.5


FRIDAY

197:30 PM

NOVEMBER

JUNE

MARCH

PROTEAWOODWIND CHAMBER MUSIC


SATURDAY

127:30 PM

EP!CMASTERWORKS.1


FRIDAY

117:30 PM

FRANK VIGNOLA & VINNY RANIOLOJAZZ GUITAR DUO


SATURDAY

187:30 PM

CLASSICAL MUSIC FOR EVERYONE MASTERWORKS.4


FRIDAY

107:30 PM

LEGAL REHABPOP/CLASSIC ROCK COVERS


SATURDAY

037:30 PM

AUGUST

DECEMBER

APRIL

ALEXANDER ZONJIC AND FRIENDSJAZZ


THURSDAY

257:30 PM

MARTHA GUTHCLASSICAL SOPRANO


SATURDAY

177:30 PM

CLASSICAL CHRISTMASPOPS.2


FRIDAY

167:30 PM

DEE DANIELSJAZZ VOCALS


SATURDAY

297:30 PM

GREAT LADIES OF SWING POPS.3


FRIDAY

287:30 PM

West Michigan Symphony and The Block Ticket Office360 W. Western Avenue, 1st FloorMuskegon, MI 49440p: 231.726.3231westmichigansymphony.orgtheblockwestmichigan.org


FRI. NOV. 11 7:30 PM

FRAUENTHAL THEATER

Scott Speck conductorAustin Wintory composer-in-residence

Austin WintoryEPIC! (world premiere)

StravinskyFirebird Suite

RespighiThe Fountains of Rome

RespighiThe Pines of Rome

MASTERWORKS.1

FRI. SEPT. 30 7:30 PM

FRAUENTHAL THEATER

Scott Speck conductorAustin Wintory composer-in-residenceSandy Cameron violin

Sandy Cameron violin

POPS.1

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

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

EP!C

HEROES AND VILLAINS

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

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

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

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

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

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

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

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

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

FRI. JAN. 13 7:30 PM

FRAUENTHAL THEATER

Scott Speck conductorTim Fain violin

Vivaldi/Max Richter Four Seasons Tim Fain violin

MozartSymphony no.41 (Jupiter)

VIVALDI’S FOUR SEASONSRECOMPOSED BY MAX RICHTER

MASTERWORKS.2

FRI. DEC. 16 7:30 PM

FRAUENTHAL THEATER

Scott Speck conductorMartha Guth sopranoChamber Choir of Grand Rapids Mark Webb, directorMuskegon Chamber Choir David Wikman, director

CLASSICAL CHRISTMAS

POPS.2

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

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

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

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

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

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

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

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

FRI. FEB. 3 7:30 PM

FRAUENTHAL THEATER

Scott Speck conductorAlicia Gregorian Sawyers celloJennifer Walvoord violinKelly Karamanov piano

Glinka Overture to Ruslan and Ludmilla

BeethovenConcerto for Violin, Cello, and Piano in C major, Op. 56 Alicia Gregorian Sawyers cello Jennifer Walvoord violin Kelly Karamanov piano

Dvo rák Symphony no.9 (New World Symphony)

BEETHOVEN TRIPLE

MASTERWORKS.3

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

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

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


FRI. APR. 28 7:30 PM

FRAUENTHAL THEATER

Matthew Kraemer guest conductorDee Daniels vocals

GREAT LADIES OF SWING

POPS.3

FRI. MAR. 10 7:30 PM

FRAUENTHAL THEATER

Scott Speck conductor

CLASSICAL MUSIC FOR EVERYONE

MASTERWORKS.4

Musician’s RevengeQ: What’s the ideal weight for a conductor?A: About 2 1/2 pounds, including the urn.

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

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

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

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


westmichigansymphony.org | theblockwestmichigan.org WMS | 2016 | 1ST EDITION PG#

FRI. MAY 19 7:30 PM

FRAUENTHAL THEATER

Scott Speck conductorOlga Kern piano

TchaikovskySymphony no.6 in B minor (Pathétique)

RachmaninoffPiano Concerto no.3 in D minor Olga Kern piano

RACHMANINOFF NO.3

MASTERWORKS.5

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

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

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

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

*On the Classical Music for Dummies online audio tracks, these two pages of the book also take the listener through the Symphony no. 6, fourth movement, which comes with the book. It’s a minute-by-minute description of what is happening in the piece, illustrating Tchaikovsky’s anguish. As the author’s say:

“Anyone who’s ever loved and lost instantly understands the emotions unleashed here.”

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

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


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

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

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

West Michigan Symphony Ticket Office360 W. Western Avenue, 1st FloorMuskegon, MI 49440p: 231.726.3231westmichigansymphony.org

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

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

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

WMS Ticket Office HoursMonday – Thursday, 10 am – 5:30 pmFriday, 10 am – 5 pm

Ticket office closed Fridays during the summer.

Season Ticket Options Tier 1 Tier 2 Tier 3 Tier 4 Student

Full (8) $389 $298 $179 $141 $65

Masterworks (5) $238 $179 $105 $82 $35

Pops (3) $151 $119 $74 $59 $30

FLEX8 $306

FLEX6 $234

WEST MICHIGAN SYMPHONYPERFORMING AT THE FRAUENTHAL THEATER, 425 W WESTERN AVE, MUSKEGON

SEASON TICKETS

So we asked our patron services manager, Rita Smith, what a person should do to make sure they are getting the best seats to the symphony? She responded by asking a few questions of her own! When a person is trying to decide what seats to choose for the best symphony experience, it’s not as plain and simple as “XYZ is always the best seat in the house.” Your best seat can be very different than someone else’s. Here are a few questions I ask patrons when they call to choose seats to a concert, all which help narrow down the answer to one important question:

“What do you want from your symphony experience?”

• Do you want to see the entire orchestra?

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

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

• The best of both?

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

Contact Rita at 231.726.3231 or [email protected] to get your best seats.

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

thebest

seatsIN

THEHOUSE

R I T A S M I T H


f FREQUENTLY ASKED QUESTIONS

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

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

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

How long will the concert last?

Most classical concerts last about 90 minutes to two hours with a 20 minute intermission. Take a look at the prélude concert magazine (your program) before the concert to get an idea of what to expect. You can even take the prélude home with you and study up before you get to the concert hall!

How early should I arrive?

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

What if I’m late?

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

What should I wear?

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

What is will call?

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

Are children allowed at concerts?

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

Can I leave my cell phone on during a concert?

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

When should I applaud during a classical concert?

This question is addressed fully on pages 118-119 of Classical Music for Dummies. But here are some general clues, taken directly from the book, that the music is completely over and it’s okay to clap:

• The conductor puts down his hands and keeps them down.

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

• Everyone around you starts clapping.

• The concert hall lights come up.

• The players exit the stage, carrying their instruments.

• The entire audience leaves the auditorium.

• The cleaning crew comes in and begins to mop the stage. Of course, you have more practical cues to tell you when the entire piece is totally over. For example, look in the program, it always tells you how many movements are in each piece, generally the applause comes at the very end of all of those movements. While some feel it’s best not to disrupt the continuity of the music by applauding between movements, there are times the audience is simply too thrilled not to applaud, and that’s okay too.

May I take photos or videos?

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

INCLUDING WHEN TO CLAP!


How can I learn more about the music?

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

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

All WMS concerts and concerts at The Block have special pricing for students and groups of 10 or more. Student tickets for WMS concerts or concerts at The Block can be purchased online or over the telephone at 231.726.3231. Another great way to save is by purchasing a subscription to the WMS season or to concerts at The Block. Not only will you save money over buying tickets individually, but you’ll get all the benefits that come from being a symphony subscriber, like free ticket exchanges and being able to sit in the same seats for each concert you attend. Call Rita at 231.726.3231 x223 for more information about special pricing and subscription sales.

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

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

What provisions are made for patrons with disabilities?

A limited number of wheelchair seats are available. Call 231.726.3231. All WMS concert venues are handicapped-accessible.

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

Items you’ll need:

Practice makes perfect.

Now repeat enthusiastically.

For the basic clap: open your hands wide.

Clap your palms against each other. Do it hard enough to get a good loud

smacking sound but not so hard you turn your hand red.

HOW TO

CLAP

Some people clap more by clapping the fingers of one hand against the palm of the other.

Do whatever feels most comfortable for you.


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

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

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

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

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

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

ALEXANDER ZONJIC AND FRIENDS JAZZ

AUDIVI ACAPELLA

PROTEA WOODWIND CHAMBER MUSIC

HARPETH RISING FOLK GRASS

RODNEY WHITAKER QUARTET JAZZ

MARTHA GUTH CLASSICAL SOPRANO

Thursday, August 25, 7:30 pm

Saturday, October 15, 7:30 pm

Saturday, November 12, 7:30 pm

Saturday, September 10, 7:30 pm

Friday, October 28, 7:30 pm

Saturday, December 17, 7:30 pm

2 0 1 6 / 1 7 T H E B L O C K S E A S O NConcerts at The Block are an intriguing, cross-pollinated mix of music that can be intimate or explosive and always entertaining. From “newgrass,” to rock, to multi-media with solo violin, to jazz, classical and acapella vocal performances - there’s a wide variety of music to be enjoyed at The Block. The intimate cabaret-style seating and conversational approach to concerts at The Block will leave you feeling like you really know the artists and the music they play.

TIM FAIN VIOLIN

GVSU NEW MUSIC ENSEMBLE CHAMBER

DEE DANIELS JAZZ VOCALS

CSABA ERDÉLYI EASTERN EUROPEAN FOLK

THE BLOCK | 360 W WESTERN AVE | 2ND FLOOR | MUSKEGON | 231.726.3231

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

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

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

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

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

Saturday, January 14, 7:30 pm

Saturday, February 25, 7:30 pm

Saturday, April 29, 7:30 pm

Saturday, February 4, 7:30 pm

FRANK VIGNOLA & VINNY RANIOLO JAZZ GUITAR DUO

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

Saturday, March 18, 7:30 pm

LEGAL REHAB POP/CLASSIC ROCK COVERS

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

Saturday, June 3, 7:30 pm

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

SERIES AND FLEX TICKETS SAVE UP TO 20% ON SINGLE TICKET PRICES As with any WMS subscription package, series tickets represent a significant savings over single ticket prices, plus if you cannot attend a concert you can exchange your tickets for another concert in the same season or donate them for a tax deduction. Series tickets also make great gifts.

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

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

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

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

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

* May not be used for table seating. All sales are final. Dates, artists and programs are subject to change. Single ticket info is available on the back cover of this magazine.

STAGE

BALCONY

MAIN FLOOR

Table Seating Regular Seating

The Block Ticket Office360 W. Western Avenue, 1st FloorMuskegon, MI 49440p: 231.726.3231theblockwestmichigan.org

The Block Ticket Office HoursMonday – Thursday, 10 am – 5:30 pmFriday, 10 am – 5 pm

Ticket office closed Fridays during the summer.

THE BLOCK360 W WESTERN AVE, 2ND FLOOR, MUSKEGON

SEASON TICKETS

Season Ticket Options Tier 1 Tier 2 Tier 3 Tier 4 Student No. of Tickets Cost

Full (8) $389 $298 $179 $141 $65 # __________ $___________

Masterworks (5) $238 $179 $105 $82 $35 # __________ $___________

Pops (3) $151 $119 $74 $59 $30 # __________ $___________

FLEX8 $306 # __________ $___________

FLEX6 $234 # __________ $___________

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

Series Regular Table No. of Tickets Cost

Jazz Series $76 $102 # ___________ $___________

Chamber Series $76 $102 # ___________ $___________

Vocal Series $68 $94 # ___________ $___________

Full Season $204 $284 # ___________ $___________

Block 6 $115 # ___________ $___________

Block 10 $180 # ___________ $___________

TOTAL (Add together WMS AND THE BLOCK AMOUNTS) #___________ $ ___________

Name: ___________________________________________________________________________________________________________________________________________________

Address: ______ ____________________________________________________________________ City: ______________________________________ Zip: __________________

Phone: ______ __________________________________________________ Email: _________________________________________________________________________________

Enclosed is my check of $ ___________________ made payable to West Michigan Symphony

Please charge my total to my credit card: VISA Master Card Discover AmEx

Account #: ___________________________________________________________________________ Exp. Date: _______________________ CVV: ________

Authorizing Signature: ________________________________________________________________________________________________________________

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

Prices include Frauenthal Public Facility Maintenance Surcharges.

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

WEST MICHIGAN SYMPHONY

THE BLOCK

PAYMENT INFORMATION

SEASON TICKET ORDER FORM

Please return this form to: West Michigan Symphony / The Block

360 W Western Ave, Suite 200Muskegon MI 49440

For questions call 231.726.3231

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

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

MASTERWORKS

TICKETS: $20, $25, $40, $51 | STUDENT TICKETS: $7

EP!C | November 11Vivaldi’s Four Seasons | January 13Beethoven Triple | February 3Classical Music for Everyone | March 10Rachmaninoff no.3 | May 19

POPS

TICKETS: $23, $28, $43, $54 | STUDENT TICKETS: $10

Heroes and Villains | September 30Classical Christmas | December 16Great Ladies of Swing | April 28

Pricing varies on seat location. All sales are final. Dates, artists, and programs are subject to change.

Alexander Zonjic and Friends jazz $20 Thurs, Aug 25

Harpeth Rising folk grass $25-35 Sat, Sept 10

Audivi acapella vocal ensemble $20-30 Sat, Oct 15

Rodney Whitaker Quartet jazz $20-30 Fri, Oct 28

Protea woodwind chamber music $20-30 Sat, Nov 12

Martha Guth classical soprano $25-35 Sat, Dec 17

Tim Fain violin $25-35 Sat, Jan 14

Csaba Erdélyi eastern european folk music $20-30 Sat, Feb 4

GVSU New Music Ensemble chamber ensemble $20-30Sat, Feb 25

Frank Vignola & Vinny Raniolo jazz guitar duo $25-35 Sat, Mar 18

Dee Daniels jazz vocals $25-35 Sat, Apr 29

Legal Rehab pop/classic rock covers $10 Sat, June 3

Student tickets $10 to all Block shows

SINGLE TICKETSWEST MICHIGAN SYMPHONY THE BLOCK

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

WMS and The Block Ticket Office360 W. Western Avenue, 1st FloorMuskegon, MI 49440p: 231.726.3231westmichigansymphony.orgtheblockwestmichigan.org

Documents

Classical Music for Everyone