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DTSTART;TZID=America/Detroit:20230127T190000
DTEND;TZID=America/Detroit:20230127T200000
DTSTAMP:20260421T143759
CREATED:20221017T173219Z
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SUMMARY:Legends & Mysteries: Shackleton's Incredible Journey
DESCRIPTION:Come learn and enjoy exploring Ernest Shackleton’s renowned leadership as illustrated by his incredible journey on the Endurance.\nAudiences are given an immersive musical experience as they watch the story of Shackleton unfold through the presentation of live video\, live theater\, and the exhilarating live orchestral music of Ludwig van Beethoven\, Henry Wood\, Nikolai Rimsky-Korsakov\, Felix Mendelssohn\, Claude Debussy\, Maurice Ravel\, Edvard Grieg\, Edward Elgar\, Ralph Vaughan Williams\, & Benjamin Britten.\nDon’t miss this performance that is sure to appeal to all ages.\n*This performance will also occur in the afternoon on the same date to a sold-out audience of 500 7th-9th grade students as part of the Great Lakes Center for the Arts NextGen program.\nGET TICKETS \n \n  \nLearn even more about this amazing performance and the history behind it by visiting our education page at glcorchestra.org/shackleton!\nThe 2023 feature of our “Legends & Mysteries” educational series focuses upon the gripping story of Ernest Shackleton’s Endurance voyage\, shipwreck\, and subsequent rescue mission. Shackleton was one of the principal figures in the age of Antarctic exploration and our story focuses on Shackleton’s amazing traits of leadership. In this heroic tale\, he brought all of his men back from 21 months of seemingly endless points of peril\, to survive against all odds. Musical selections from classical to 20th century orchestral masterpieces represent these leadership traits including a sense of purpose\, loyalty\, optimism\, flexibility\, ingenuity\, and responsibility. Audiences are given an immersive musical experience as they watch the story of Shackleton unfold through the series of scenes with both live actors on stage as well as original film footage captured by filmmaker and photographer Frank Hurley.  \nShackleton’s ship\, Endurance\, became trapped in the ice in January 1915 and remained stuck until October\, when the ice closed in and crushed it. Shackleton and his men then camped on the ice until April 1916 (for over a year!)\, when the floe broke up\, and they were forced to sail in three lifeboats to Elephant Island. Almost 500 days had passed since they had stood on dry land. At that point\, Shackleton and a few of his men made the 800-mile journey in a tiny boat\, the James Caird\, back to South Georgia\, where he got help and returned to Elephant Island to rescue his crew- and miraculously\, after nearly two years shipwrecked\, every single one of them had survived. \nThe Great Lakes Chamber Orchestra’s “Legends & Mysteries” educational concert series combines history\, music and so much more. The presentation of live video\, theater\, and exhilarating orchestral music truly illustrates associative learning by helping to connect ideas and experiences that will promote intellectual curiosity as the audience learns more about the music\, the history and the people who are involved in making both.
URL:https://glcorchestra.org/concert/legends-mysteries-shackletons-incredible-journey/2023-01-27/
LOCATION:Great Lakes Center for the Arts\, 800 Bay Harbor Dr.\, Petoskey\, Michigan\, 49770
CATEGORIES:Classical Music,Concerts,Education
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DTSTART;TZID=America/Detroit:20221216T190000
DTEND;TZID=America/Detroit:20221216T203000
DTSTAMP:20260421T143759
CREATED:20220610T153308Z
LAST-MODIFIED:20221129T204544Z
UID:10000125-1671217200-1671222600@glcorchestra.org
SUMMARY:Messiah- Annual Holiday Concert
DESCRIPTION:Per our decade long tradition\, the Great Lakes Chamber Orchestra will celebrate the holiday concert season with the performance of Handel’s masterpiece Messiah. The first half of the concert features the GLCO choir and soloists in Oratorio de Noel by Camille Saint-Saëns\, setting the mood for the Christmas story. Saint-Saëns’ Oratorio is an intimate work blending a number of musical styles—narrative recitatives\, folk-like melodies\, passionate operatic solo passages\, and simple choral writing. It was composed in 1858\, when the Church of the Madeleine in Paris commissioned Camille Saint-Saëns to write work for that year’s Christmas celebration. The concert concludes with the first and second sections of Handel’s famous oratorio Messiah\, ending with the celebratory and beloved Hallelujah chorus. \nClick below to hear the Hallelujah chorus section from 2019’s Messiah: \n \nGET TICKETS
URL:https://glcorchestra.org/concert/messiahholidayconcert/2022-12-16/
LOCATION:Great Lakes Center for the Arts\, 800 Bay Harbor Dr.\, Petoskey\, Michigan\, 49770
CATEGORIES:Classical Music,Concerts,Fundraiser
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20221215T190000
DTEND;TZID=America/Detroit:20221215T203000
DTSTAMP:20260421T143759
CREATED:20220610T153308Z
LAST-MODIFIED:20221129T204544Z
UID:10000124-1671130800-1671136200@glcorchestra.org
SUMMARY:Messiah- Annual Holiday Concert
DESCRIPTION:Per our decade long tradition\, the Great Lakes Chamber Orchestra will celebrate the holiday concert season with the performance of Handel’s masterpiece Messiah. The first half of the concert features the GLCO choir and soloists in Oratorio de Noel by Camille Saint-Saëns\, setting the mood for the Christmas story. Saint-Saëns’ Oratorio is an intimate work blending a number of musical styles—narrative recitatives\, folk-like melodies\, passionate operatic solo passages\, and simple choral writing. It was composed in 1858\, when the Church of the Madeleine in Paris commissioned Camille Saint-Saëns to write work for that year’s Christmas celebration. The concert concludes with the first and second sections of Handel’s famous oratorio Messiah\, ending with the celebratory and beloved Hallelujah chorus. \nClick below to hear the Hallelujah chorus section from 2019’s Messiah: \n \nGET TICKETS
URL:https://glcorchestra.org/concert/messiahholidayconcert/2022-12-15/
LOCATION:Great Lakes Center for the Arts\, 800 Bay Harbor Dr.\, Petoskey\, Michigan\, 49770
CATEGORIES:Classical Music,Concerts,Fundraiser
END:VEVENT
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DTSTART;TZID=America/Detroit:20221105T190000
DTEND;TZID=America/Detroit:20221105T203000
DTSTAMP:20260421T143759
CREATED:20220610T152939Z
LAST-MODIFIED:20221025T195501Z
UID:10000123-1667674800-1667680200@glcorchestra.org
SUMMARY:Prague's Treasures
DESCRIPTION:https://glcorchestra.org/wp-content/uploads/2022/06/Libor-Ondras-Prague-Treasures-Promo.mp4\n  \nGET TICKETS \nThis concert combines works first performed\, commissioned by and dedicated to the capital of Bohemia.  Prague is known for its architecture\, the Charles Bridge\, churches and bell towers\, the castle that has been the residence of Bohemian kings for centuries\, culture\, music\, and so much more. We will bring you back to this magical city and let you experience what it was like to hear Mozart’s and Beethoven’s pieces for the first time. \nMozart must have loved his time in Prague\, where he finally received the recognition he felt he deserved but never quite achieved in the more staid\, aristocratic Vienna. His love affair with the Bohemian city began in January 1787\, a month or so after a production of his Le Nozze di Figaro\, which had had taken Prague by storm. Mozart brought with him on his visit the newly completed Symphony No. 38\, which he had written in the city’s honor\, and this too met with tremendous enthusiasm from the public and enjoyed repeated performances. He left with a commission in hand for another opera— one that would have its premiere in Prague. The new opera was to become Don Giovanni and was premiered in Prague’s Estate theatre on October 29\, 1787. The second half of the concert is dedicated to Beethoven’s Piano concerto No. 1. It is speculated that the concerto was performed in June 1796 at the Berlin court\, in December 1796 in a private concert for the cousins Romberg\, in 1798 at two concerts in Prague\, and April 2\, 1800 in the Burgtheater in Vienna. The Prague performance is the only one to have been confirmed without speculation. \n \nFor more information about featured piano soloist Lorenzo Marasso\, you can visit his website at lorenzomarasso.com.  \n  \nGET TICKETS \n  \n\nSpecial thanks to the Charlevoix County Community Foundation for sponsoring this performance
URL:https://glcorchestra.org/concert/pragues-treasures/
LOCATION:Great Lakes Center for the Arts\, 800 Bay Harbor Dr.\, Petoskey\, Michigan\, 49770
CATEGORIES:Classical Music,Concerts,Fundraiser
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DTSTART;TZID=America/Detroit:20221001T190000
DTEND;TZID=America/Detroit:20221001T203000
DTSTAMP:20260421T143759
CREATED:20220610T152535Z
LAST-MODIFIED:20220923T162033Z
UID:10000122-1664650800-1664656200@glcorchestra.org
SUMMARY:Aspects of America
DESCRIPTION:Our concert season opener is a musicological journey through the history of American music featuring composers from the late 1900s to present day. Come to hear your favorite works by American composers and support our 2022 Charles F. Davis concerto competition winner\, Karlie Thomas\, performing Scaramouch for alto saxophone and orchestra. \nWilliam Grant Still\, American composer\nThe opening concert of the season features GLCO’s strings in a program the explores the development of American classical music from the mid-19th century all the way to contemporary trends in the 21st century. The program includes compositions from the early 20th century (William Grant Still) showcasing the developments pivotal in the history of American classical music as it established the characteristics that set it apart from its European ancestors. Composers like Grant Still\, Piazzolla\, & Morton Gould created synthesis of music from several traditions (popular music\, jazz\, European music). Many of the classical composers of the 20th century (Barber\, Villa-Lobos) were influenced by folk traditions capturing the “Americana” spirit in their compositions. A number of important works came from immigrant composers (Milhaud) who came to America for a variety of reasons\, including persecution\, aesthetic freedom and economic opportunity. The remaining two composers featured on this program (Bolcom\, Paus) represent the contemporary trends that pay homage to the past generations of American composers by picking up the dropped thread of American classical music traditions. \n \nWilliam Grant Still: Serenade \nAstor Piazzolla: Oblivion \nSamuel Barber: Serenade op. 1 \nDarius Milhaud: Scaramouche – Modere\, Brasileira \n  \nAaron Jay Kernis: Elegy (For those we lost) \nHeitor Villa-Lobos: Bachianas Brazileiras No 5. Aria (arr. M. Naughtin) \nWilliam Bolcom: 3 rags – Poltergeist\, Graceful ghost\, Incineratorag \nMarcus Paus: Two Lyrical Pieces \nMorton Gould: String music – Tango\, Ballad and Strum movements \n  \nProlific and influential composer William Grant Still is regarded as the “Dean of African American composers.” Still was born on May 11\, 1895 in Woodville\, Mississippi to middle class parents of mixed race. He grew up in Little Rock\, Arkansas and was raised by his mother and grandmother after his father died. Still studied medicine at Wilberforce University\, but spent most of his time there conducting the band\, playing\, arranging\, and composing music. He began his formal music composition training at Oberlin Conservatory and later studied with George Chadwick at the New England Conservatory and privately with ultra-modernist composer Edgar Varese. Early on he entered the world of commercial popular music\, working in Harlem for blues musician W. C. Handy and creating musical arrangements for theater orchestras and radio. Still was a pioneer; he was able to create music with a distinct American voice and style that gained interest\, admiration and attention from conductors\, orchestras and audiences. He was the first African-American to conduct a major American symphony orchestra\, the first to have a symphony performed by a leading orchestra\, the first to have an opera performed by a major opera company\, and the first to have an opera performed on national television. Still composed his Serenade for Orchestra in 1957 on a commission by the Great Falls High School in Great Falls\, Montana. The piece reflects Still’s interest in American folk idioms\, with conventional melodies and harmonies that nonetheless express a fresh and individual compositional voice. \n  \nAstor Piazzolla was born March 11\, 1921 in Argentina to Italian immigrants and spent much of his youth and adult life shuffling back and forth between Buenos Aires and New York. In his early years\, he worked as a bandoneonist in tango orchestras. A member of the accordion family\, the bandoneon was brought to Argentina by German and Italian immigrants\, and it provided the signature sound for that internationally beloved Argentinian dance and music genre\, the tango. Aspiring to more serious musical achievements\, Piazzolla studied music for five years in the early 1940s with Alberto Ginastera\, and then for one year in the mid-1950s with the outstanding French musician-pedagogue\, Nadia Boulanger\, the teacher of Copland and many other illustrious composers. Encouraged by Boulanger\, his favorite teacher\, to continue to work with the tango genre\, Piazzolla developed something alternately called “nuevo tango” (“new tango”) and “avant-garde tango\,” a genre incorporating tango and jazz along with modern high art techniques and forms\, and one that eschewed improvisation in favor of composition. This was tango\, explained Piazzolla\, that was intended to be listened to rather than danced to. \nOblivion became one of the most (if not the most) famous compositions by Astor Piazzolla\, which he composed in 1982 for Mario Bellochio’s film Enrico IV. Oblivion greatly demonstrates Astor Piazzolla’s melodic power. The haunting succession of notes leaves plenty of room to the interpreter for his own expressiveness\, while in the background\, the rhythm based on the original slow milonga from the countryside of Argentina\, gives a smooth but harmonically colorful framing. \n  \nOne of America’s most eminent composers\, Samuel Osborne Barber knew his destiny at an early age. The 9-year-old Barber wrote his mother a letter saying\, “I was not meant to be an athlete[sic]. I was meant to be a composer\, and will be one\, I’m sure.” A year later\, he wrote a brief opera called The Rose Tree\, launching his life’s work. Barber grew up surrounded by music. His pianist mother encouraged his musical studies. His aunt Louise Beatty Homer\, who sang at the Metropolitan Opera\, and his uncle Sidney Homer\, a composer\, offered crucial mentorship. At 14\, Barber became one of the first students at a new conservatory — the Curtis Institute of Music in Philadelphia — studying piano\, voice and composition. His teachers included renowned conductor Fritz Reiner and composer Rosario Scalero. Early successes included prizes from Columbia University\, winning the American Prix de Rome\, and receiving a Pulitzer scholarship. In 1936 Barber arranged the second movement of his String Quartet op.11 for string orchestra at the behest of NBC Symphony conductor Arturo Toscanini. The Adagio for Strings rapidly became his most famous work and secured his status as a composer of lyrical music. The 1940s and ‘50s marked the height of Barber’s fame when he received three Guggenheim Fellowships\, a Pulitzer Prize and an honorary doctorate from Harvard University. \nBarber’s Serenade for String Quartet\, op. 1\, reveals a level of refinement and confidence befitting a composer of more mature years. Written in 1928 while Barber was studying composition with Rosario Scalero at Philadelphia’s Curtis Institute of Music\, the three movement Serenade is well-grounded in traditional harmonies but readily displays the composer’s fondness for metrical juxtaposition and expressive shifts between major and minor. Barber’s student colleagues in the Curtis Quartet premiered the work in May 1930 on a program of compositions by Scalero’s students. At that time\, there appears to have been a fourth movement in the piece but no manuscript survives and all published versions are three movements. The Serenade was published in 1942; Barber added a bass part to create a string orchestra version. All three movements of the Serenade are compact. Passages of lyrical introspection are interspersed with moments of melancholy. The concluding Dance is lively and playful\, with irrepressible youthful optimism and wry humor. \n  \nDarius Milhaud (1892-1974)\, French composer and teacher\, was born in Aix-en-Provence\, France. He studied at the Paris Conservatory and was stimulated by the music of Debussy and Mussorgsky. In 1916\, Paul Claudel\, then French minister to Brazil\, invited Milhaud to accompany him to Rio de Janeiro as his secretary. The atmosphere and native music made an indelible impression on the young composer. When he returned to Paris he became one of the group of young musicians known as Les Six. Les Six shared a desire for simplicity and freedom and a fondness for jazz. Milhaud became one of the best and most prolific composers of his generation. His vast output of four hundred forty-four opus numbers includes twelve symphonies\, eighteen string quartets\, thirty-four concerti\, fifteen operas\, nineteen ballets\, twenty-five film scores\, chamber and instrumental music\, and many songs. His music is notable for the freedom with which he adopted whatever style seemed to him to be suitable for the task on hand. “I have no aesthetic rules\, or philosophy or theories\,” he said. “I love to write music. I always do it with pleasure; otherwise\, I just do not write it. I have always made it my business to accept musical jobs of every kind.” Among his best-known works are the jazz-influenced La Création du Monde and the Scaramouche Suite for saxophone and orchestra. \n  \nAaron Jay Kernis was born on January 15\, 1960 in Philadelphia\, Pennsylvania. He taught himself to play the piano at age 12\, and soon began to compose. Serious musical studies followed at the San Francisco Conservatory of Music\, Manhattan School of Music\, Yale School of Music\, and\, as the winner of the Prix de Rome scholarship\, the American Academy in Rome. In 1983\, Kernis received national acclaim when the New York Philharmonic premiered his first orchestral work\, dream of the morning sky\, during its Horizons Festival. \nUnlike many others of his generation\, he has chosen to confront tradition rather than dismiss it. His compositional building blocks are the centuries-old traditions of Western music\, re-mastered by a postmodern sensibility and extravagant imagination. His music embodies the aesthetic of Romanticism\, but speaks in the musical language\, and with the intellectual concerns of late 20th century America. He wrote Elegy (to those we lost) during the pandemic month of May 2020\, when it became clear that the toll of COVID-19 on human lives was truly devastating. Kernis hopes that through this short work listeners can find a space of solace to reflect\, remember and mourn those we have lost — known or unknown to us\, and allow us to find compassion to share this time as brothers and sisters together. \n  \nThe music of Heitor Villa-Lobos (born In Rio de Janeiro\, March 5\, 1887) almost always reflected his passion for Brazilian culture and the music of J. S. Bach. His father\, an amateur musician\, taught him to play the cello and clarinet\, and he taught himself to play the guitar. After 1899\, Villa-Lobos began making a living playing guitar and cello in cafés and movie houses. As a composer\, he was also mostly self-taught. Between 1905 and 1912 he made numerous expeditions into Brazil’s hinterland to study the music and folklore of the indigenous populations\, whose music eventually became the inspiration for much of his own. In this regard\, his career mirrored that of European contemporaries Béla Bartók\, Zoltan Kodály\, and Ralph Vaughan Williams\, all of whom studied and incorporated the music of their native countries. In 1918\, pianist Artur Rubinstein “discovered” Villa-Lobos and encouraged him to visit Europe “to show his accomplishments.” Villa-Lobos stayed in Paris from 1923 to 1930\, and upon his return to Brazil\, he took charge of music education in the schools. Between 1930 and 1945\, Villa-Lobos composed the nine Bachianas Brasileiras in “homage to the great genius of Johann Sebastian Bach … [whom] consider a kind of universal folkloric source\, rich and profound … [a source] linking all peoples.” But while the Bachianas contain suggestions of Bach’s style and form\, the music is unmistakably Villa-Lobos’ own and relies heavily on Brazilian folk melody and rhythm. \nThe fifth suite\, originally scored for solo soprano and an ensemble of eight cellos\, is\, by far\, the most performed of the set. It was written in 1938 and falls in two movements; the first “Cantilena\,” as Villa-Lobos called it\, begins with a ‘vocalise’ melody accompanied by the rest of the ensemble\, followed by a brief\, declamatory setting of a poem by Ruth Corrêa that describes the moon rising in the sky. A reprise of the ‘vocalise’ brings the movement to a haunting\, memorable close. \n  \nWilliam Bolcom (born 1938) began his compositional career very much in the European avantgarde tradition. After studies with Olivier Messiaen at the Paris Conservatoire\, Bolcom composed music using the complex serial procedures developed by Pierre Boulez and Karlheinz Stockhausen. However\, partially inspired by the example of Charles Ives\, he soon developed an original approach that drew on music from many traditions\, combining the sounds of high modernism with those from various kinds of popular music. Bolcom has been an important pianist and curator of ragtime and\, with his wife\, the mezzo-soprano Joan Morris\, of American popular song. Bolcom was an especially important figure in the North American ragtime revival that began in Toronto in the mid 1960s. Bolcom began to collect and to perform rags by Scott Joplin\, Joseph Lamb\, James Scott and other American musicians from the early 20th century. Bolcom began to compose his own piano rags\, mostly between 1967 and 1973. These rags show Bolcom’s deep immersion in\, and love for\, the ragtime tradition\, while also displaying his own distinctive compositional voice. The ghost of Poltergeist is apparently of the sneaky\, devious variety\, as the rag is predominantly quiet\, with an accompaniment that bounces lightly\, rather than thumping. A “stop time” section near the end leaves unexpected gaps in the music\, heightening the witty effect. Graceful Ghost Rag is Bolcom’s best-known rag. Bolcom has described it as “an elegiac rag\,” in memory of his father\, a gentle man and a fine dancer. This is a slow\, lyrical rag. Incineratorag is the one of the three rags that is closest to Joplin’s style\, starting with a stereotypical four-bar introduction before continuing on to boisterous two-note groups. The contrasting middle section (the “Trio”) is particularly beautiful\, with slow\, dragging\, syncopations. These three rags were arranged for string quartet in 1989\, at the request of the violinist Emanuel Borok. \n  \nNorwegian composer Marcus Paus (born 1979) is one of the most performed and acclaimed contemporary classical musicians of his generation\, and one of the most lauded Scandinavian composers working today. His diverse catalog includes chamber music\, solo works\, choral music\, orchestral works\, opera and theater and film music. Paus is one of the strongest representatives in the contemporary classical music world of a reorientation toward tradition\, melody and tonality. His works are often distinguished by a flowing melodic vein\, full of lyricism and characterized by a complex harmonic language. Paus studied at the Norwegian Academy of Music\, and then got his Master’s Degree in composition at the Manhattan School of Music\, where he was mentored by American composer Richard Danielpour. Growing up in a musical family\, Marcus was always surrounded by music\, but the spark that ignited his love for orchestral music were the classic scores composed by John Williams for films like E.T.\, Superman\, Indiana Jones and the Star Wars saga. Paus acknowledges that the music of Williams has been one of the most profound inspirations of his life\, becoming an element that helped him pursue his goals as a composer. Some of his most ambitious works\, such as the Concerto for Timpani and Orchestra (2015)\, the Sonata for Cello and Piano (2009)\, the song-cycle for mezzosoprano and orchestra inspired by Dorothy Parker’s Hate Songs (2014)\, and the choral work based on Anne Frank’s diary The Beauty That Still Remains (2015) have been lauded by music critics and achieved a large success with audiences as well. Two Lyrical Pieces for string orchestra were commissioned by The New York Edward Grieg Society in 2007 and consist of two contrasting movements – contemplative Elegy and feverish Fanitull (Devil’s Tune). \n  \nMorton Gould\, composer\, conductor\, pianist\, arranger and administrator\, was born on December 10\, 1913 in New York City. By the age of four\, he was playing the piano and composing; at six\, he had one of his first compositions published\, and by the time he was eight\, he had played piano on broadcasts of WOR Radio in New York. In 1932\, when he was nineteen\, he became staff pianist at Radio City Music Hall. After a brief stint with NBC\, he was engaged as composer\, arranger and conductor by WOR. In addition to his light compositions for radio\, Gould has written for film (Windjammer)\, television (the World War I series\, Holocaust and Celebration)\, ballet (Fall River Legend)\, Broadway (Billion Dollar Baby and Arms and the Girl)\, symphonic band\, chamber ensembles and chorus\, and has also produced some fifty works for orchestra\, including American Salute\, Spirituals\, Vivaldi Gallery\, Apple Waltzes\, Burchfield Gallery\, Lincoln Legend and Symphony of Spirituals. He is also widely known as a conductor\, having won a Grammy Award for his recording of the music of Charles Ives with the Chicago Symphony. His other honors include twelve Grammy nominations\, the 1983 Gold Baton Award from the American Symphony Orchestra League\, the 1985 Medal of Honor for Music from the National Arts Club\, membership in the American Academy and Institute of Arts and Letters\, and the National Music Council’s Golden Eagle Award. In addition\, Morton Gould is president of ASCAP (American Society of Composers\, Authors and Publishers). \nStringmusic is a large-scale suite\, or serenade\, for string orchestra\, comprising five movements. There is much antiphonal writing — sometimes suggesting two separate string orchestras\, using such devices as col legno (tapping the strings with the wood part of the bow) and playing without vibrato. Basically\, Stringmusic is a lyrical work\, reflecting\, in a way\, a man and musician we have all come to know for the intensity and emotion of his commitment to music and life\, Mstislav Rostropovich\, known as “Slava” to his friends and for whom this piece was written. \nThe second movement is a ‘Tango.’ It begins with an upward sweep\, and a formal tango rhythm. There is a sequence of varied and contrasting tango evocations; early on\, after a strident Argentine-style episode\, with its pronounced rhythm\, there is a change to a languorous episode for four solo violins\, in the old Mittel-Europa cafe style. The movement alternates between the languorous rhythmic ‘tango’ character. \nThe ‘Ballad’ that follows is lyrical and romantic and song-like — a love note. \n‘Strum’ is the self-descriptive title of the final movement\, a perpetual motion. Here the pizzicatos are played not with each note cleanly plucked\, but in a strumming way\, rapidly across the strings. It starts very fast\, with tremolo effects and lots of contrast\, and takes off as a virtuoso and jubilant piece. Following a fugato played pianissimo at high speed\, the piece accelerates to the end with a loud pizzicato snap. \nNotes by Libor Ondras \n \n  \n \nSpecial thanks to the Charlevoix County Community Foundation for sponsoring this concert
URL:https://glcorchestra.org/concert/aspects-of-america/
LOCATION:Great Lakes Center for the Arts\, 800 Bay Harbor Dr.\, Petoskey\, Michigan\, 49770
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20220719T190000
DTEND;TZID=America/Detroit:20220719T210000
DTSTAMP:20260421T143759
CREATED:20220428T145547Z
LAST-MODIFIED:20220711T200002Z
UID:10000121-1658257200-1658264400@glcorchestra.org
SUMMARY:Rocking with the GLCO Pops - Featuring Rockapella
DESCRIPTION:Based in New York City\, Rockapella has become one of the world’s most sophisticated\, lasting\, and imitated vocal groups around today. Since the early ’90’s when they first achieved national television fame on PBS’s Where In The World Is Carmen Sandiego?\, they’ve toured the globe\, made guest appearances on Today Show\, The Tonight Show with Jay Leno\, and opened for acts such as Chuck Berry\, Styx\, and Billy Joel. \nRockapella began joining the Boston Pops on stage in the eastern US in 2006\, creating a concert experience that shows both the orchestra’s and Rockapella’s talents separately and together in a manner never done before: a cappella with instrumentation. \nYou’d be hard-pressed to find a more influential group out there in this new era of network television a cappella shows like NBC’s The Sing-Off\, movies like Pitch Perfect\, and innumerable college vocal groups that own the corner of cool on campuses everywhere. “People have a hard time believing it’s just us making all of that music. We make it rock and make it interesting\,” explains Scott Leonard\, the group’s chief songwriter and arranger. \n \n“I met Scott during my tenure at the University of Tampa some years ago. Scott is a UT alumnus and a former vocal student of a dear friend of mine who invited the group to perform. The guys were about to embark on their tour with Keith Lockhart and his Boston Pops Orchestra across cities in Midwest and Northeast. I was fascinated by the artistry of a pure human voice and the contagious energy the guys were able to create in the house”\, said Libor Ondras\, GLCO music director. “I had a great pleasure to work with the group a few years later in Grand Rapids and am thrilled to bring them back to our Northern Michigan audiences”\, continued Ondras. “You are in for a real treat.” \nAs one of the progenitors of the astonishing full-band sound of “contemporary” a cappella\, Rockapella has shown every audience the raw power of pure vocal talent and originality. “There’s nothing between us and the audience – it’s very human music – with nothing missing” says Rockapella’s human beatbox Jeff Thacher. \nThe current Rockapella line-up features Scott Leonard (High Tenor)\, Jeff Thacher (Vocal Percussionist)\, Calvin Jones (Tenor)\, Bryant Vance (Bass)\, and Jose Rodriguez (Tenor). \nHuapango …………………………………………………………………….… Jose Pablo Moncayo \nDanzon …………………………………………………..…………………………. Arturo Marquez \nHuapango\nJOSÉ PABLO MONCAYO\nBorn: June 29\, 1912\, Guadalajara\, Mexico Died: June 16\, 1958\, Mexico City\, Mexico\nComposed: 1940-41 Premiered: August 15\, 1941\, Symphony Orchestra of Mexico \n    José Moncayo was a composer\, percussionist and a conductor who in his short career wrote a couple of symphonies\, an opera\, and a ballet. \nIn 1941\, his mentor and friend Carlos Chávez asked Moncayo to write a piece based on the popular music of the Veracruz area on the Gulf of Mexico. Moncayo later recounted the trip to Alvarado\, one of the places where folkloric music was preserved in its most pure form\, collecting melodies\, rhythms and instrumentations for several days. \nThe huapango is a lively Mexican dance of Spanish origin performed by singers and instrumental ensembles ranging from a duo to a full mariachi band. It is characterized by a complex rhythmic structure mixing duple and triple meters which reflect the intricate steps of the dance. This folk dance was traditionally performed on a wooden platform\, and Moncayo makes fantastic use of the percussion to highlight the effect. \nThe opening of the piece gradually expands and finally reaches a loud\, ecstatic fortissimo by the entire orchestra\, repeating a vivacious\, festive dance-like rhythm. This introductory motif is then intertwined with two distinct\, singing themes played by solo trumpet. Halfway through the work\, the atmosphere suddenly relaxes into a more laid-back\, siesta-like waltz. \nA new theme is introduced culminating in a sweeping response from the entire orchestra. The mood is shattered as the horns erupt with a reinstatement of the opening fanfare and transition into a glorious duet between trombone and trumpet\, before the orchestra rushes into an exuberant coda\, ending the work with a bang. Colorfully orchestrated with an emphasis on instruments typical of the Veracruz style (trumpet\, harp\, and violins) and driven by the distinctive huapango rhythm\, Huapango has become an enduring classic. \nRhythmically\, the danzón is based on a repeated rhythmic pattern called a clavé one measure has three notes and the other two. It is often played on an instrument called a clavé\, consisting of two hardwood cylinders\, one striking the other. Couples dance the danzón in an upright posture\, strutting arm in arm with swaying steps. Ironically\, Cubans have nearly lost interest in their national dance. Without Mexican involvement\, it may have completely disappeared. Veracruz maintains a tradition of the danzón very close to the Cuban original. In Mexico City\, on the other hand\, it has evolved by taking elements of other dances. The danzón must not have become well known everywhere in Mexico\, however. Márquez was apparently not familiar with it until 1993. In 1994\, he composed the first three of eight danzóns. \nDanzon 2\nARTURO MARQUEZ\nBorn: December 20\, 1950 in Alamos\, Sonora\, Mexico \n    Arturo Márquez uses musical forms and styles of his native Mexico and incorporates them into his compositions. He was exposed to a variety of musical styles by his father\, a Mariachi musician\, and his grandfather\, a Mexican folk musician. He started composing at the age of 16 in a music conservatory in Mexico\, then continued his studies later as a Fulbright scholar in California. His Danzóns are the most widely-known compositions of his and are often used in ballet productions and symphonic concerts. \n    The Danzón No. 2 is a tribute to the environment that nourishes the genre. It endeavors to get as close as possible to the dance\, to its nostalgic melodies\, to its wild rhythms\, and although it departs from its intimacy\, its form and its harmonic language\, it is a very personal way of paying respects and expressing emotions towards truly popular music. \nThe idea of writing the Danzón No. 2 originated in 1993 during a trip to Malinalco with the painter Andrés Fonseca and the dancer Irene Martínez\, both of whom are experts in salon dances with a special passion for the danzón from the Veracruz region. Marquez started to learn the danzón’s rhythms\, its form\, its melodic outline\, and to listen to the old recordings by Acerina and his Danzonera Orchestra. He was fascinated by the lightness of the danzón\, its sensuality and seriousness\, which Mexican people continue to dance to with a touch of nostalgia. \nDanzón no. 2 begins with an extended legato melody played on clarinet\, accompanied by the clavé. The melody recurs throughout the piece in varied forms played by different instruments. Very soft sections often prepare for much louder music with frequent shifts in dynamics and changes in tempo. \n All program notes by Libor Ondras \nVeterans and students  under 18 enjoy complimentary tickets to Orchestra concerts. To arrange complimentary tickets\, please call 231-487-0010.
URL:https://glcorchestra.org/concert/rockapella/
LOCATION:Great Lakes Center for the Arts\, 800 Bay Harbor Dr.\, Petoskey\, Michigan\, 49770
CATEGORIES:Classical Music,Concerts
ATTACH;FMTTYPE=image/png:https://glcorchestra.org/wp-content/uploads/2022/04/Rockapella-Concert-Poster.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20220621T170000
DTEND;TZID=America/Detroit:20220621T210000
DTSTAMP:20260421T143759
CREATED:20220303T174918Z
LAST-MODIFIED:20220418T114532Z
UID:10000120-1655830800-1655845200@glcorchestra.org
SUMMARY:2022 Crescendo - Annual GLCO Fundraiser
DESCRIPTION:The Great Lakes Chamber Orchestra is an important part of why our northern Michigan community is considered one of the “best places to live” – adding to the quality of life for our families and the broader community. \nThe Orchestra is supported by just one fundraising event annually\, Crescendo\, a gala event featuring entertainment\, hors d’ouevres\, cocktails\, a sit-down dinner\, live auctions and more. Proceeds from this event help underwrite our commitment to providing excellent live\, classical music performances and top-notch music education. Tickets for Crescendo 2022 go on sale Monday\, April 18. \nAs a community-supported orchestra\, your commitment is essential to our success.  You\, and other supporters like you\, are at the core of GLCO.  It is your support of our artists and enthusiasm for our concerts that allows us to continue to grow. \nBy attending our concerts\, contributing regularly\, and attending Crescendo\, you are making an investment in music performance and music education for our community\, now and for generations to come. \nThis Crescendo fundraising event will take place Tuesday\, June 21\, at Castle Farms in Charlevoix. To learn more about Crescendo tickets and how to contribute\, call the GLCO office at 231-487-0100. Tickets go on sale Monday\, April 18.
URL:https://glcorchestra.org/concert/2022-crescendo-annual-glco-fundraiser/
LOCATION:Castle Farms\, 5052 M-66\, Charlevoix\, MI\, 49720\, United States
CATEGORIES:Fundraiser
ATTACH;FMTTYPE=image/jpeg:https://glcorchestra.org/wp-content/uploads/2022/03/Save-the-date-Crescendo-2022_CLEAN_Page_1-3-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20220604T190000
DTEND;TZID=America/Detroit:20220604T210000
DTSTAMP:20260421T143759
CREATED:20210611T141326Z
LAST-MODIFIED:20220302T170337Z
UID:10000114-1654369200-1654376400@glcorchestra.org
SUMMARY:Beethoven Symphony No. 9 Concert
DESCRIPTION:Always a popular concert\, Beethoven’s 9th Symphony is sure to be a crowd favorite\, according to Great Lakes Chamber Orchestra Music Director Libor Ondras. \nAccording to Ondras\, the famous pianissimo opening — 16 measures with no secure sense of key or rhythm – does not so much depict the journey from darkness to light\, or from chaos to order\, as the birth of sound itself. \n“There’s something astonishing about a deaf composer choosing to open a symphony with music that reveals\, like no other music before it\, the very essence of sound emerging from silence\,” Ondras explained. “This symphony shows Beethoven using all the subtlety and mastery of his craft\, a breakthrough work— music’s first crossover composition. It’s also likely that in the text he picked for the symphony’s finale— Schiller’s hymn to universal brotherhood—Beethoven found the sense of community he craved as a comfort against personal loss and loneliness.” \n  \nAccording to Ondras\, Beethoven’s grandest symphony and most influential composition was premiered in the concert on May 7\, 1824. By 1824\, Beethoven was almost completely deaf. He had long given up performing on piano in public\, withdrawing completely from social life of Viennese society. When\, in one of the most famous accounts in all music\, the audience burst into applause (some say it was at the end of the scherzo; others at the end of the symphony) Beethoven couldn’t hear the ovation. He stood\, his back to the crowd\, leafing through his score. Only when the contralto soloist\, Carolyn Unger\, tapped him on the shoulder and turned him around did he see his public applauding wildly. \n  \nThe work surpassed everything Beethoven already accomplished in the field of the symphony. With his 9th he was determined to move mankind as never before. For several years after Beethoven’s death\, his 9th Symphony was considered too difficult to perform. It was not established in the repertory until the middle of the 19th century\, and from then on\, Beethoven’s Ninth Symphony has maintained its singular status as a cultural symbol of unsurpassed importance.
URL:https://glcorchestra.org/concert/beethoven-symphony-no-9/
LOCATION:John M. Hall Auditorium\, Bay View
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://glcorchestra.org/wp-content/uploads/2021/06/beethoven_symph_9-e1631553697262.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20220501T160000
DTEND;TZID=America/Detroit:20220501T170000
DTSTAMP:20260421T143759
CREATED:20220209T195232Z
LAST-MODIFIED:20220218T135453Z
UID:10000119-1651420800-1651424400@glcorchestra.org
SUMMARY:Sunday Series Concert: The Hummel Trio with Libor Ondras and Paul Sonner
DESCRIPTION:
URL:https://glcorchestra.org/concert/sunday-series-the-hummel-trio-with-libor-ondras-and-paul-sonner/
LOCATION:First Presbyterian Church\, Harbor Springs
ATTACH;FMTTYPE=image/jpeg:https://glcorchestra.org/wp-content/uploads/2022/02/HUMMEL_TRIO_05.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20220423T190000
DTEND;TZID=America/Detroit:20220423T210000
DTSTAMP:20260421T143759
CREATED:20210611T141201Z
LAST-MODIFIED:20220325T132219Z
UID:10000113-1650740400-1650747600@glcorchestra.org
SUMMARY:Take to the Sky Concert
DESCRIPTION:Violin soloist for this concert is Dmitri Berlinsky.\n\n\nThe theme of this concert\, entitled “Take to the Sky”\, centers around the portrayals of bird calls in classical music. \nVaughan Williams’ “Lark Ascending” features a silvery solo violin line fluttering\, reaching up ever higher above the orchestra’s hushed\, held chord creating an instant atmosphere depicting a lark as ‘he rises and begins to round’. \nCompleted in 1914\, the British composer’s pastoral romance for violin and orchestra is an evocation of the ‘seraphically free’ song of the skylark\, inspired by George Meredith’s poem of the same name: \n“He rises and begins to round\, \nHe drops the silver chain of sound \nOf many links without a break\, \nIn chirrup\, whistle\, slur and shake\, \nAll intervolv’d and spreading wide\, \nLike water-dimples down a tide \nWhere ripple ripple overcurls …” \nOndras said “Lark Ascending” will feature internationally-known violinist Dmitri Berlinsky performing with the Great Lakes Chamber Orchestra as a soloist. Berlinsky\, professor of violin and artist teacher at the Michigan State University College of Music\, has performed in major venues such as Carnegie and Avery Fisher halls in New York\, The Kennedy Center in Washington\, D.C.\, Tokyo’s Suntory Hall\, the Great Hall of the Moscow Conservatory\, and Mariinsky Concert Hall. \nOther featured music in “Take to the Sky” includes: \nOttorino Respighi – “Gli Uccelli” (The Birds) \nAccording to Ondras\, this five-movement work features a dove (La colomba) with a heartfelt oboe melody; the familiar call of the Cuckoo (Il Cucù); the chirpy Hen movement (La gallina)\, based on the same Rameau harpsichord work (The Hen\, or La poule) that inspired St. Saens for his ‘Hens and cockerels’ movement in Carnival of Animals. \nRautavaara – “Cantus Arcticus” \nWhy imitate birds in music when you can use the real thing? \nRautavaara’s “concerto for birds and orchestra”\, as it’s subtitled\, uses taped birdsong throughout\, taking Respighi’s idea one step further\, Ondras explained. The Finnish composer headed off on a field trip to near the Arctic Circle (hence the title) and to the marshlands of Liminka in Northern Finland to record the calls of a whole host of birds. Listening to it is like stepping into an avian paradise\, with the melancholy song of the shore larks as unforgettable as the migrating whooper swans. The bird calls are juxtaposed with a lush orchestral score. \nBeethoven’s 6th Symphony\, 2nd Movement
URL:https://glcorchestra.org/concert/take-to-the-sky-2/
LOCATION:Great Lakes Center for the Arts\, 800 Bay Harbor Dr.\, Petoskey\, Michigan\, 49770
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://glcorchestra.org/wp-content/uploads/2021/06/DMITRI-BERLINSKY.jpg
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BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20220327T160000
DTEND;TZID=America/Detroit:20220327T170000
DTSTAMP:20260421T143759
CREATED:20220209T194453Z
LAST-MODIFIED:20220303T181446Z
UID:10000118-1648396800-1648400400@glcorchestra.org
SUMMARY:Sunday Series Concert: Double Reed Stampede
DESCRIPTION:Sunday\, March 27\, 2022\, 4 p.m. \nCharlevoix First Congregational United Church of Christ \nPerformers include Lynn Hansen\, oboes; Drew Hinderer\, bassoon; Michael Beery\, oboes; Deanna Erwin\, bassoon; and Katherine Will\, bassoon. \nSongs may include: \nFan Fair Warning by Margaret Weait – Double Reed Quartet \nThe London Waits by Christopher Weait – Double Reed Quartet \nThe London Trio #1 in C Major by Franz Joseph Haydn (arranged by Alan Hawkins) – Two Oboes & Bassoon \nAdagio in G Major\, K. 580a by Wolfgang Amadeus Mozart (arranged by Humbert Lucarelli) – Oboe\, English Horn & Two Bassoons  \nMr. Croft’s Aires in the Comedy Call’d the Twin Rivals by William Croft – Double Reed Quartet \nTwinkle Variations by Robert Stephenson (arranged with permission by Lynn Hansen) – Double Reed Quartet \nThe Story by Phillip Hanseroth – Double Reed Quartet     \nA Gaelic Blessing for Ukraine by John Rutter – Double Reed Quartet
URL:https://glcorchestra.org/concert/sunday-series-double-reed-stampede/
LOCATION:First Congregational Church\, Charlevoix
ATTACH;FMTTYPE=image/jpeg:https://glcorchestra.org/wp-content/uploads/2022/02/DOUBLE_REED_STAMPEDE_GROUP_PHOTO-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20220220T160000
DTEND;TZID=America/Detroit:20220220T170000
DTSTAMP:20260421T143759
CREATED:20220209T172934Z
LAST-MODIFIED:20220218T135453Z
UID:10000117-1645372800-1645376400@glcorchestra.org
SUMMARY:Sunday Series Concert: The Cummings String Quartet
DESCRIPTION:
URL:https://glcorchestra.org/concert/sunday-series-the-cummings-string-quartet/
LOCATION:First Presbyterian Church\, Petoskey\, 501 E Mitchell St\, Petoskey\, MI\, 49770
ATTACH;FMTTYPE=image/jpeg:https://glcorchestra.org/wp-content/uploads/2022/02/2020CummingsQuartet-63-1-e1644861795432.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20211217T190000
DTEND;TZID=America/Detroit:20211217T203000
DTSTAMP:20260421T143759
CREATED:20210913T162433Z
LAST-MODIFIED:20211119T200911Z
UID:10000115-1639767600-1639773000@glcorchestra.org
SUMMARY:Messiah
DESCRIPTION:COVID-19 UPDATE \nBefore purchasing\, all patrons are required to read through the Great Lakes Chamber Orchestra Health and Safety and Assumption of Risk Directives. \nHealth & Safety \nCOVID-19: The Great Lakes Chamber Orchestra is committed to creating a safe and comfortable environment for its musicians\, patrons\, staff\, and volunteers. To ensure your experience with The Great Lakes Chamber Orchestra is as safe as possible\, we continue to consult with the Center for Disease Control and Prevention and local public health authorities for health and safety guidelines. \nAny guests who are feeling ill or experiencing symptoms related to a cold or infectious disease are asked to stay home. \nMasking is required for GLCO musicians\, chorus\, and staff. Masks are strongly recommended for audience members. A sell-out crowd is expected at the Messiah concerts. \nAssumption of Risk \nYou acknowledge the contagious nature of COVID-19 and on behalf of yourself and any accompanying minor\, voluntarily assume all risks and danger incidental to attending an event offered by GLCO\, whether occurring before\, during\, or after the event\, and you waive any claims for personal injury\, death\, illness\, damage\, loss\, claim\, liability\, or expense of any kind against the Great Lakes Chamber Orchestra and its agents\, sponsors\, officers\, directors\, shareholders\, owners\, and employees. \n\n  \nCONCERT DETAILS \n\nGerman composer George Frideric Handel (1685-1759) wrote “Messiah”\, an English language oratorio\, in 1741. \nIn addition to the familiar “Messiah” music\, there will also be some selections from Johann Sebastian Bach. \nBach wrote the score of his Christmas Oratorio in the year 1734. Unlike other Baroque era oratorios\, Bach’s is divided into six parts for the Festival of Christmas. The Festival is celebrated successive days\, starting on Christmas Day and the two following days\, then on New Years’ Day and the Sunday after that\, with the 6th section on the Festival of the Epiphany. \nThe overture consists of the introduction to the opening chorus and will be followed by the alto aria several movements later\, an appropriate setting for Handel’s “Messiah”.
URL:https://glcorchestra.org/concert/messiah-2/
LOCATION:Great Lakes Center for the Arts\, 800 Bay Harbor Dr.\, Petoskey\, Michigan\, 49770
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://glcorchestra.org/wp-content/uploads/2021/09/MY-North-Graphic.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20211216T190000
DTEND;TZID=America/Detroit:20211216T203000
DTSTAMP:20260421T143759
CREATED:20210611T140949Z
LAST-MODIFIED:20211119T200800Z
UID:10000112-1639681200-1639686600@glcorchestra.org
SUMMARY:Messiah
DESCRIPTION:COVID-19 UPDATE \nBefore purchasing\, all patrons are required to read through the Great Lakes Chamber Orchestra Health and Safety and Assumption of Risk Directives. \nHealth & Safety \nCOVID-19: The Great Lakes Chamber Orchestra is committed to creating a safe and comfortable environment for its musicians\, patrons\, staff\, and volunteers. To ensure your experience with The Great Lakes Chamber Orchestra is as safe as possible\, we continue to consult with the Center for Disease Control and Prevention and local public health authorities for health and safety guidelines. \nAny guests who are feeling ill or experiencing symptoms related to a cold or infectious disease are asked to stay home. \nMasking is required for GLCO musicians\, chorus\, and staff. Masks are strongly recommended for audience members. A sell-out crowd is expected at the Messiah concerts. \nAssumption of Risk \nYou acknowledge the contagious nature of COVID-19 and on behalf of yourself and any accompanying minor\, voluntarily assume all risks and danger incidental to attending an event offered by GLCO\, whether occurring before\, during\, or after the event\, and you waive any claims for personal injury\, death\, illness\, damage\, loss\, claim\, liability\, or expense of any kind against the Great Lakes Chamber Orchestra and its agents\, sponsors\, officers\, directors\, shareholders\, owners\, and employees. \n  \nCONCERT DETAILS \nGerman composer George Frideric Handel (1685-1759) wrote “Messiah”\, an English language oratorio\, in 1741. \nIn addition to the familiar “Messiah” music\, there will also be some selections from Johann Sebastian Bach. \nBach wrote the score of his Christmas Oratorio in the year 1734. Unlike other Baroque era oratorios\, Bach’s is divided into six parts for the Festival of Christmas. The Festival is celebrated successive days\, starting on Christmas Day and the two following days\, then on New Years’ Day and the Sunday after that\, with the 6th section on the Festival of the Epiphany. \nThe overture consists of the introduction to the opening chorus and will be followed by the alto aria several movements later\, an appropriate setting for Handel’s “Messiah”.
URL:https://glcorchestra.org/concert/messiah/
LOCATION:Great Lakes Center for the Arts\, 800 Bay Harbor Dr.\, Petoskey\, Michigan\, 49770
ATTACH;FMTTYPE=image/jpeg:https://glcorchestra.org/wp-content/uploads/2021/06/MY-North-Graphic.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20211107T160000
DTEND;TZID=America/Detroit:20211107T173000
DTSTAMP:20260421T143759
CREATED:20211026T171325Z
LAST-MODIFIED:20220218T135453Z
UID:10000116-1636300800-1636306200@glcorchestra.org
SUMMARY:Sunday Series Recital
DESCRIPTION:
URL:https://glcorchestra.org/concert/sunday-series-recital/
LOCATION:First Presbyterian Church\, Boyne City
ATTACH;FMTTYPE=image/jpeg:https://glcorchestra.org/wp-content/uploads/2021/10/JONES_TEACHOUT_DUET.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20211030T190000
DTEND;TZID=America/Detroit:20211030T210000
DTSTAMP:20260421T143759
CREATED:20210611T140729Z
LAST-MODIFIED:20210913T172022Z
UID:10000111-1635620400-1635627600@glcorchestra.org
SUMMARY:Postcard from Vienna
DESCRIPTION:This concert will feature Gioachino Rossini’s “Il Barbiere di Siviglia Overture”; Franz Joseph Haydn’s “Cello Concerto in C Major”\, featuring University of Michigan cellist Helen LaGrand; and Ludwig Van Beethoven’s “Symphony No. 7”. \nAccording to Great Lakes Chamber Orchestra Music Director Libor Ondras\, the program reflects the visual image of a typical postcard – pictures of characteristic/dominant sites of the town. One can hardly fit all of the Vienna’s iconic pictures on one postcard! Alas\, the three featured pieces offer but a glimpse of Classical period Vienna. \n  \nCentral to the program is Beethoven’s 7th Symphony. \n“This symphony is one of the composer’s most optimistic works\, and it quickly won public approval\,” Ondras explained. “Richard Wagner thought the piece was perfect dance music\, calling it ‘the apotheosis of the dance.’ The First and Third movements shine with brilliant colors\, dotted rhythms\, and allusions to country dances.” \nOndras said the famous second movement (Allegretto) is a funeral march in all but name. “Beethoven was at work on this symphony during the years of the Napoleonic Wars\, imagining processions converging upon the cemetery; an experience that permeates the entire movement\,” the conductor noted. \nThe last movement (Allegro con brio) opens with a four-note motif that is closely related to the oh-so-famous one with which Beethoven’s Symphony No. 5 begins\, Ondras noted. \n  \nThe Overture is from the pen of the other famous Viennese composer (perhaps even more famous than Beethoven at that time)– Gioachino Rossini. His opera “Il Barbiere di Siviglia”\, based on a Beumarchais play\, remains one of the most frequently performed comic operas in the repertoire. \n  \nAccording to Ondras\, Haydn’s Cello Concerto No. 1 in C major was written between 1761-65 for Haydn’s orchestra cellist\, Joseph Weigl\, and then lost for two centuries. Then\, in 1961\, the Czech musicologist Oldrich Pulkert discovered a good 18th century copy of the missing concerto in the Radenín collection at the Prague National Museum and\, with help of professor and cellist Milos Sadlo\, brought it to international prominence (making the first recording of the piece with Czech Philharmonics). \n  \nThe works on the program reflect subtle developments of the Viennese musical style and genres starting with cello concerto (1761-650)\, to Beethoven’s 7th symphony (1811-12)\, to Rossini’s opera from 1816.
URL:https://glcorchestra.org/concert/postcard-from-vienna/
LOCATION:Great Lakes Center for the Arts\, 800 Bay Harbor Dr.\, Petoskey\, Michigan\, 49770
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://glcorchestra.org/wp-content/uploads/2021/06/VIENNA-POSTCARD-e1631553612535.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20210918T190000
DTEND;TZID=America/Detroit:20210918T210000
DTSTAMP:20260421T143759
CREATED:20210611T140629Z
LAST-MODIFIED:20210913T171900Z
UID:10000110-1631991600-1631998800@glcorchestra.org
SUMMARY:Espana-From the Old World to the New World
DESCRIPTION:This concert will feature Michigan State University’s Tyler Roberts\, a mezzo-soprano\, who will perform with the Great Lakes Chamber Orchestra during Manuel de Falla’s “El Amour Brujo”. Also on the play list is Juan Crisostomo Arriaga’s “Los Esclavos Felice” overture; Pablo de Sarasate’s “Navarra”; and Astor Piazzolla’s “Variations on Buenos Aires”.
URL:https://glcorchestra.org/concert/espana-from-the-old-world-to-the-new-world/
LOCATION:Great Lakes Center for the Arts\, 800 Bay Harbor Dr.\, Petoskey\, Michigan\, 49770
CATEGORIES:Concerts
ATTACH;FMTTYPE=image/jpeg:https://glcorchestra.org/wp-content/uploads/2021/06/FLAMENCO-DANCER-2-e1631553530650.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20210824T173000
DTEND;TZID=America/Detroit:20210824T210000
DTSTAMP:20260421T143759
CREATED:20210421T161836Z
LAST-MODIFIED:20210923T153843Z
UID:10000109-1629826200-1629838800@glcorchestra.org
SUMMARY:Crescendo - Annual Fundraiser
DESCRIPTION:For more information about Crescendo\, contact Pam Decker.\npam@glcorchestra.org
URL:https://glcorchestra.org/concert/crescendo/
LOCATION:Mackinaw Trail Winery\, 3423 US-131\, Petoskey\, MI\, 49770\, United States
ATTACH;FMTTYPE=image/png:https://glcorchestra.org/wp-content/uploads/2021/06/Invitation-Crescendo-2021.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20210605T190000
DTEND;TZID=America/Detroit:20210605T210000
DTSTAMP:20260421T143759
CREATED:20201228T184910Z
LAST-MODIFIED:20210526T193925Z
UID:10000106-1622919600-1622926800@glcorchestra.org
SUMMARY:Americana
DESCRIPTION:JunePoster \nThis season marks the 20th Anniversary of the GLCO. With a nod to the past and a look to the future\, this performance features a wide representation of American composers\, including American classics\, Copland and Gershwin; young African American composers\, Jessie Montgomery and Tre Bryant; established contemporary American composers\, Gwyneth Walker (GLCO composer in residence) and Kenji Bunch; and local composers/arrangers\, Anthony Patterson and Roger Tallman. The performance also includes a collaboration with Gerber Strings students and presents the 2019 Young Artist Competition winner\, Helen Hanchin (flute). \nProgram: \nGwyneth Walker – Overture to Great Lakes Cantata \nKenji Bunch – Tango Morendo for Chamber Orchestra \n\nGershwin – Rhapsody in Blue (arr. By Anthony Patterson)\n\nIntermission \nTre Bryant – Quarantainment overture (World premiere) \nRoger Tallman – Conflicted (World Premiere) \nW.A. Mozart – Concerto for flute and orchestra in D major K.314 (1st movement) \nFeaturing GLCO’s Young Artist 2020 competition winner \nAaron Copland – Appalachian Spring \nJessie Montgomery – Banner for Chamber Orchestra \nThe GLCO is a regional professional orchestra providing live orchestral concerts that entertain\, educate and inspire.
URL:https://glcorchestra.org/concert/americana/
LOCATION:John M. Hall Auditorium\, Bay View
ATTACH;FMTTYPE=application/pdf:https://glcorchestra.org/wp-content/uploads/2020/12/GLCO_20thAnniversary.pdf
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20210516T160000
DTEND;TZID=America/Detroit:20210516T170000
DTSTAMP:20260421T143759
CREATED:20210402T182249Z
LAST-MODIFIED:20220218T135453Z
UID:10000108-1621180800-1621184400@glcorchestra.org
SUMMARY:Sunday Series: Libor Ondras and The Hummel Trio - We have reached our maximum capacity!
DESCRIPTION:*Due to 50% capacity and 6′ COVID distancing\, we have reached our maximum audience capacity!!\n\nThe Hummel Trio\, featuring\nLibor Ondras – violin\nAndrew Laven\, cello\nEmily Grabinski\, piano\n\n\nA free concert featuring Great Lakes Chamber Orchestra (GLCO) Music Director and violinist Libor Ondras is slated for Sunday\, May 16\, at First Presbyterian Church\, 7940 Cemetery Rd.\, Harbor Springs. \nOndras will perform with The Hummel Trio at the 4 p.m. concert\, which is open to the public. In addition to Ondras\, the trio includes cellist Andrew Laven and pianist Emily Grabinski. \nThe group will perform three selections: Ludwig Van Beethoven’s Trio op. 70 No. 1 (Ghost); Franz Schubert’s Nocturne op. 148; and Dmitri Shostakovich’s Trio No. 2 op. 67. \nPublished in 1809\, Beethoven’s Trio Opus 70 contains two trio compositions and was written specifically for violin\, piano and cello. Thought to be the among Beethoven’s best work in the trio genre\, “Ghost” is performed in D major. \nAlso referred to as “Adagio\,” Schubert’s Nocturne op. 148 was completed in 1827 and offers a prime example of the Austrian composer’s chamber music. Nocturnes are musical pieces that refer to or are evocative of nighttime. \nDedicated to one of Shostakovich’s best friends\, Trio No. 2 op. 67 contains four movements and lasts 25-27 minutes. Another selection written for violin\, piano and cello\, the composition was penned during World War II. \nThe trio will also perform with young musicians from the Gerber Strings program. \nNow in its 20th year\, the GLCO is back on track following a year-long pandemic shutdown. Judith Zorn\, GLCO executive director\, said everyone affiliated with the orchestra is excited to be performing again with an exciting list of events yet to come this year. \nWhile May brings the free Sunday Series in Harbor Springs\, June ushers in a GLCO main stage performance – “Americana” – at Hall Auditorium in Bay View on Saturday\, June 5\, 7-9 p.m. Tickets are available via www.glcorchestra.org. \nThe June 5 concert is also significant due to GLCO’s recent selection by the League of American Orchestras (LAO) as one of 10 orchestras to be featured at the League’s National Conference June 7-17. A recording of GLCO’s “Americana” concert will be featured during the event. \n“With a nod to the past and a look to the future\, the Americana performance highlights a great variety of American composers\,” Zorn said. “George Gershwin’s ‘Rhapsody in Blue’ is in the program\, and flautist Helen Hanchin\, will receive belated honors for winning the 2019 Young Artist Competition\, as well as perform with the orchestra. All in all\, this concert will be lots of fun! We’ll get to honor some of our young artists and hear some wonderful music.” \nThe Sunday Series event is free\, but seating is limited. Seat reservations can be made by calling the orchestra office. \nTickets for the June Bay View concert\, which features the full orchestra\, are $30. \nThe GLCO is a regional professional orchestra providing live orchestral concerts that entertain\, educate and inspire. For more information\, call the GLCO office at 231-487-0010 or visit their website. \n  \n\n\nWhat’s the Hummel Trio? \nThe Hummel Trio is an ensemble-in-residence at the Grand Rapids Community College department of music. \nAn initiative of violinist Dr. Libor Ondras\, who also serves as the Great Lakes Chamber Orchestra’s music director\, the group started its artistic activities in 2020 when pianist Emily Grabinski and cellist Andrew Laven joined the faculty at GRCC. \nThe trio’s name and research focus centers on the chamber music output of Johann Nepomuk Hummel (1778-1837)\, a prodigious student of Mozart\, Haydn\, Salieri\, and Beethoven. The ensemble performs concerts throughout Western Michigan\, provides workshops for college students\, and collaborates with high school programs through chamber music initiatives. \n \nLibor Ondras\, violin \nDr. Libor Ondras is a conductor\, viola recitalist\, and educator. He began his studies as a\nrecipient of the Slovak Ministry of Culture fellowship to study viola at the prestigious Moscow Conservatory with Yuri Bashmet. Ondras continued his studies at the Academy of Music Arts in Prague\, and completed his M.M and D.M.A. degrees at the University of Houston. He has performed with major orchestras throughout the US and Europe\, given lectures and played recitals for the American Viola Society\, International Viola D’Amore Society\, his research and scholarly writings were published in the Journal of American Viola Society. Some of his recent and upcoming activities include European Tour with the GLCO\, dedicatee and soloist of the viola concerto commissioned by the GLCO from D. Lockington\, visiting artist position at the Royal Conservatory of Scotland\, research project participant at the Belle Violinmaking School in Bilbao\, Spain\, solo performance with Northwest Sinfonietta\, WA\, invitation from the League of American Orchestras to present a concert at the upcoming 2021 National Conference MC’d by Wynton Marsalis. Dr. Ondras is a Music Director of the Great Lakes Chamber Orchestra and Kent Philharmonic Orchestra (MI)\, guest conductor for the Slovak State Opera\, string faculty and artist-in-residence at the Bay View Music Festival and he currently serves as a Director of Orchestras and String Specialist at Grand Rapids Community College. \nAndrew Laven\, cello \nCellist Andrew Laven was appointed Assistant Principal Cellist of the Grand Rapids Symphony in 2019. He received his Master of Music degree from Rice University’s Shepherd School of Music as a student of Desmond Hoebig\, and also has a Bachelor of Music Degree with a Performance Certificate from the Eastman School of Music where he studied with Steven Doane and Rosemary Elliott. A strong interest in historical performance led Mr. Laven to study baroque cello with Phoebe Carrai and this summer\, he will participate in the 2021 International Bach Competition in Leipzig\, Germany. Mr. Laven is also an avid chamber musician and has collaborated with Ying Quartet first violinist Robin Scott\, violist Roberto Diaz\, and pianist Jon Kimura Parker. While at the Tanglewood Music Center during the summers of 2015-2017\, he took part in multiple world premieres of chamber works and was privileged to play in private coachings for Yo-Yo Ma and Emanuel Ax. Other festivals include the Bowdoin International Music Festival fellowship program\, Karl Flesch Akademie\, Avaloch Farm Music Institute\, and Spoleto Festival USA. \nEmily Grabinski\, piano \nBased in Grand Rapids\, MI\, pianist Emily Grabinski enjoys a diverse career as soloist\, chamber musician\, and orchestral keyboardist and can be heard with ensembles such as Appian Duo\, OPUS 216\, and the West Michigan Symphony. Ms. Grabinski has served previously as staff pianist at Hope College and Ashland University. She is currently the Faculty Accompanist for Grand Rapids Community College. Ms. Grabinski actively supports living composers and commissions of new works\, most notably\, “One for the Land (for Piano and Electronics)” by Von Hansen. Stemming from her desire to explore the similarities between musicians and athletes\, this project premiered as a music video released via YouTube which she then presented in a workshop with Hope College students in 2018 titled\, “Artists and Athletes: Overcoming Challenges Using the Creativity Muscle.” Emily holds the degrees MM in Collaborative Piano from the Cleveland Institute of Music and BM in Piano Performance from Central Michigan University\, where she graduated summa cum laude.
URL:https://glcorchestra.org/concert/sunday-series-the-hummel-trio/
LOCATION:First Presbyterian Church\, Harbor Springs
ATTACH;FMTTYPE=image/jpeg:https://glcorchestra.org/wp-content/uploads/2021/02/shutterstock_violin.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20210417T190000
DTEND;TZID=America/Detroit:20210417T210000
DTSTAMP:20260421T143759
CREATED:20201228T184302Z
LAST-MODIFIED:20210318T192744Z
UID:10000105-1618686000-1618693200@glcorchestra.org
SUMMARY:A Musical Journey
DESCRIPTION:Program beginning and reflections on the history of GLCO and programs in past decades.  Including works by Part\, Grieg\, Kernis\, Janacek\, Mozart\, Tchaikovsky\, Bach\, Shostakovich\, Corelli\, Elgar and Bartok.
URL:https://glcorchestra.org/concert/musical-journey-part-1/
LOCATION:Great Lakes Center for the Arts\, 800 Bay Harbor Dr.\, Petoskey\, Michigan\, 49770
ATTACH;FMTTYPE=image/jpeg:https://glcorchestra.org/wp-content/uploads/2020/12/20-years-journey-img.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20210328T160000
DTEND;TZID=America/Detroit:20210328T170000
DTSTAMP:20260421T143759
CREATED:20210210T185827Z
LAST-MODIFIED:20220218T135453Z
UID:10000107-1616947200-1616950800@glcorchestra.org
SUMMARY:Sunday Series: Drumheads with guest Tony Manfredonia
DESCRIPTION:Poster \nRSVP Form \n\n\n\n\nThe Music: \nConversation for Two Trombones \nDuet for Marimba and Vibraphone \nBaires \nDigga-digga Digga-digga Digga-digga Digga-digga Deegot \nTrois Gymnopedies: Lent et douloureux\, Lent et triste\, Lent et grave \nThree in the Afternoon \nSelections from Image: 20 Children’s Songs for Marimba: 1. From the Cradle\, 2. Cat-Nap\, 3. Stepping-Stone\, 4. Crocodile Tears\, 6. Slip’N’Slide\, 7. Mobile\,             9. Merry-Go-Round\, 20. Music Box \nDouble Take \n\n\n\n\nThe Musicians: \nTim Mocny is a performer\, educator\, and arranger based in mid-Michigan. He is the principal percussionist for the Baroque on Beaver Festival Orchestra\, the co-principal percussionist for the Great Lakes Chamber Orchestra\, and the section percussionist with the Saginaw Bay Symphony. He has performed as a substitute with the Traverse Symphony\, the Midland Symphony\, the Michigan Sinfonietta\, the Flint Symphony\, and the Lansing Symphony. In the educational sphere\, Tim coaches the drumline of the Chippewa Marching Band at Central Michigan University\, and maintains a studio of over 40 private students at B’s Music Shop in Mt. Pleasant\, where he also serves as the coordinator of the lesson and recital program. He also enjoys working with area schools\, most recently Gladwin and Breckenridge. Finally\, he creates all of the percussion arrangements for the Chippewa Marching Band. His hobbies include long-distance running\, gardening\, fixing his vehicles and home\, and spending time with his wife and four children. \n\n\n\n\n\n\n\n\nRob Kratz-Hahn is an active percussionist\, educator\, and arts administrator in southeast Michigan. He taught at the Flint School of Performing Arts from 2009-2020 before becoming the FSPA Program Coordinator in June 2020\, overseeing all of FSPA’s outreach programs and major performances. Rob is very active as an orchestral percussionist\, serving as the Principal Timpanist in the Midland Symphony Orchestra and performing regularly with the Flint\, Saginaw Bay\, and Lansing Symphony Orchestras. He is currently the President of the Michigan Chapter of the Percussive Arts Society\, and serves as the Percussion Award Chair for the Michigan Federation of Music Clubs. Rob holds a Bachelor of Music degree in Percussion Performance from Western Michigan University\, a Master of Music degree in Percussion Performance from Cleveland State University\, and a Post-Graduate Certificate in Instrumental Performance from Oakland University. Rob lives in Ann Arbor with his wife and son. \nTony Manfredonia is a composer and orchestrator for video games and concert halls living in Petoskey\, MI. He provides a multi-layered and sensory experience through expressive\, colorful orchestration and intricate melodies. Tony’s compositions\, arrangements\, and orchestrations have been played and commissioned worldwide\, with performances and readings from renowned ensembles such as Apollo Chamber Players\, the Traverse Symphony Orchestra\, the Grand Valley State University New Music Ensemble\, the Washington Metropolitan Gamer Symphony Orchestra\, and the Pittsburgh Symphony Orchestra. \nWhile Tony branches out into multiple styles\, many of his projects involve sacred music\, such as the full\, orchestral score for Saint Luke Productions’ latest drama\, “Tolton: From Slave to Priest\,” as well as their upcoming film\, “Heart of Mercy.” Most recently\, he finished composing Joyfully We Adore Thee\, commissioned by Strake Jesuit’s Symphonic Band in Houston\, TX\, which takes the plainchant Adoro Te Devote and presents it in the style of a fanfare.
URL:https://glcorchestra.org/concert/sunday-series-drumheads/
LOCATION:St. Mary Parish\, Charlevoix\, 1003 Bridge Street\, Charlevoix\, MI\, 49720\, United States
ATTACH;FMTTYPE=image/jpeg:https://glcorchestra.org/wp-content/uploads/2021/02/shutterstock_violin.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20200721T200000
DTEND;TZID=America/Detroit:20200721T220000
DTSTAMP:20260421T143759
CREATED:20190430T205427Z
LAST-MODIFIED:20200520T140558Z
UID:10000099-1595361600-1595368800@glcorchestra.org
SUMMARY:Beethoven Symphony No. 9 with Chorus (CANCELLED)
DESCRIPTION:This event has been cancelled.  \nExperience one of the most performed symphonies in the world with a chorus of 80 voices! \n\n\n\n\nBeethoven Symphony No. 9 \nLibor Ondras\, Conductor \nRisa Renae Harman\, Soprano\nElise DesChamps\, Mezzo-Soprano\nBrian Banion\, Baritone\nJohn Bragle\, Tenor \nIn celebration of Beethoven’s 250th birthday\, the orchestra entertains with the last complete symphony by Beethoven. Hear it Tuesday\, July 21 at 8 p.m. at the Great Lakes Center for the Arts in Bay Harbor. Regarded as one of his greatest works and one of the supreme achievements in the history of western music\, “Beethoven’s 9th” stands as one of the most performed symphonies in the world. Joining the larger than usual orchestra will be guest choirs from across the state\, combining over 80 voices to accompany the orchestral masterpiece. Tickets: $25-50\, age 18 under Free. Tickets and more information at glcorchestra.org or call 231.487.0010 \n\n\nThis event will be held at the Great Lakes Center for the Arts. \nReserved Seating: $50\, $35\, $25\nAges 18 and under are FREE.
URL:https://glcorchestra.org/concert/beethoven-symphony-no-9-with-chorus/
ATTACH;FMTTYPE=image/png:https://glcorchestra.org/wp-content/uploads/2019/04/Screen-Shot-2019-06-26-at-12.44.07-PM.png
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20200607T160000
DTEND;TZID=America/Detroit:20200607T180000
DTSTAMP:20260421T143759
CREATED:20190430T205311Z
LAST-MODIFIED:20200520T140645Z
UID:10000098-1591545600-1591552800@glcorchestra.org
SUMMARY:Take to the Sky (CANCELLED)
DESCRIPTION:This event has been cancelled.  \nFeaturing award-winning violin soloist\, Dmitri Berlinsky! \nBeethoven\, Symphony No. 6 in F Major\, Op. 68\, “Pastoral Symphony” or Recollections of Country Life” expresses Beethoven’s affinity for nature and his love for walks through the country outside Vienna. \nVaughan Williams’s The Lark Ascending is a gentle\, introspective work.  It is one of the supreme achievements of English landscape painting extoling the untroubled joys of nature\, the call of the lark\, and the genial folk music of earlier times. \nResphighi\, Gli Uccelli “The Birds” is a suite of pieces is based on various 18th century composers. The Birds is an attempt to depict the bird songs and fluttering wings of the Dove\, the Hen\, the Nightingale and the Cuckoo. \nEinojuhani Rautavaara\, Cantus Arcticus\, Op. 61 Probably Rautavaara’s best-known work\, Concerto for Birds and Orchestra\, incorporates tape recordings of birdsongs recorded near the Arctic Circle and on the bogs of Liminka in northern Finland. \nReserved Seating: $50\, $35\, $25\nGeneral Admission: $25\nAges 18 and under are FREE.
URL:https://glcorchestra.org/concert/take-to-the-sky/
LOCATION:Location TBD
ATTACH;FMTTYPE=image/jpeg:https://glcorchestra.org/wp-content/uploads/2019/04/Website-sliders.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20200223T160000
DTEND;TZID=America/Detroit:20200223T170000
DTSTAMP:20260421T143759
CREATED:20190910T174808Z
LAST-MODIFIED:20200210T174645Z
UID:10000104-1582473600-1582477200@glcorchestra.org
SUMMARY:Sunday Series: Violin\, Horn\, Piano Trio
DESCRIPTION:The trio of Paul Sonner\, violin; Julie Schleif\, Horn; and Steve Larson\, piano will perform Trio\, opus 44 by Lennox Berkeley and Sonata\, opus 93 by Andrew Downes at First Presbyterian Church in Petoskey at 4:00 PM Sunday February 23.\nSunday Series provides free chamber music with small ensembles of musicians from the orchestra. The venue location rotates throughout northern Michigan  neighborhoods. Generous support for the Sunday Series is provided by Carolyn Klender.
URL:https://glcorchestra.org/concert/sunday-series-violin-horn-piano-trio/
LOCATION:First Presbyterian Church\, Petoskey\, 501 E Mitchell St\, Petoskey\, MI\, 49770
ATTACH;FMTTYPE=image/jpeg:https://glcorchestra.org/wp-content/uploads/2019/08/Sunday-Series-image-e1567021198724.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20200112T160000
DTEND;TZID=America/Detroit:20200112T170000
DTSTAMP:20260421T143759
CREATED:20190828T192025Z
LAST-MODIFIED:20191223T134433Z
UID:10000103-1578844800-1578848400@glcorchestra.org
SUMMARY:Sunday Series: The Complete Chopin Preludes and Harp Selections
DESCRIPTION:Sunday Series provides free chamber music with small ensembles of musicians from the orchestra. The venue location rotates throughout northern Michigan  neighborhoods. Generous support for the Sunday Series is provided by Carolyn Klender. \nCheryl Staats received a Master of Fine Arts degree in piano performance from the University of Minnesota\, and later invested in extensive post-graduate performance study at Indiana University and The University of Texas at Austin. She has presented solo piano recitals and collaborative vocal and instrumental recitals in Ohio\, Colorado\, Indiana\, Minnesota\, and Texas. In addition to performing\, Ms. Staats also has been active in professional music teacher associations\, serving in many executive positions\, including as President\, for music organizations in several states\, and organizing various competitions and festivals. She served as Executive Director of the Boulder Bach Festival for many years\, administering an annual budget of $100\,000+ and producing performances throughout the year which featured the great Baroque composer. \nJoan Raeburn Holland is the Associate Professor of Harp for the University of Michigan and Instructor of Harp for the Interlochen Arts Academy and Arts Camp. Joan performs as principal harp for the Midland Symphony\, Co-Principal for the Traverse Symphony Orchestra\, the Lexington Bach Festival and also\, played several years with the Great Lakes Chamber Orchestra. An avid chamber musician and soloist\, Joan participates in various chamber music series recitals and as concerto soloist.
URL:https://glcorchestra.org/concert/chopin-and-strings-trio-2019/
LOCATION:First Presbyterian Church\, Harbor Springs
ATTACH;FMTTYPE=image/jpeg:https://glcorchestra.org/wp-content/uploads/2019/08/Sunday-Series-image-e1567021198724.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20191220T190000
DTEND;TZID=America/Detroit:20191220T210000
DTSTAMP:20260421T143759
CREATED:20190430T205159Z
LAST-MODIFIED:20190612T142901Z
UID:10000097-1576868400-1576875600@glcorchestra.org
SUMMARY:Handel's Messiah
DESCRIPTION:The Great Lakes Chamber Orchestra and Chorus is proud to present our annual Messiah concert. The performance includes Parts I\, II and III of this beloved work. Handel’s Messiah\, an oratorio\, is set in three sections\, the first concerns the Prophecy and the Nativity\, the second the Passion and Resurrection and the final section\, the Resurrection of all humankind. This event will be held at The Great Lakes Center for the Arts. \nReserved Seating: $50\, $35\, $25\nAges 18 and under are FREE.
URL:https://glcorchestra.org/concert/handels-messiah-4/
LOCATION:Great Lakes Center for the Arts\, 800 Bay Harbor Dr.\, Petoskey\, Michigan\, 49770
ATTACH;FMTTYPE=image/jpeg:https://glcorchestra.org/wp-content/uploads/2018/10/concertimages2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20191219T190000
DTEND;TZID=America/Detroit:20191219T210000
DTSTAMP:20260421T143759
CREATED:20190430T205039Z
LAST-MODIFIED:20191112T001816Z
UID:10000096-1576782000-1576789200@glcorchestra.org
SUMMARY:NEW VENUE! Handel's Messiah
DESCRIPTION:The Great Lakes Chamber Orchestra and Chorus is proud to present our annual Messiah concert.  The performance includes Parts I\, II and III of this beloved work. Handel’s Messiah\, an oratorio\, is set in three sections\, the first concerns the Prophecy and the Nativity\, the second the Passion and Resurrection and the final section\, the Resurrection of all humankind. This event will be held at GREAT LAKES CENTER FOR THE ARTS. \nReserved Seating: $50\, $35\, $25\nAges 18 and under are FREE.
URL:https://glcorchestra.org/concert/handels-messiah-3/
LOCATION:Great Lakes Center for the Arts\, 800 Bay Harbor Dr.\, Petoskey\, Michigan\, 49770
ATTACH;FMTTYPE=image/jpeg:https://glcorchestra.org/wp-content/uploads/2018/10/concertimages2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20191103T160000
DTEND;TZID=America/Detroit:20191103T170000
DTSTAMP:20260421T143759
CREATED:20190828T185558Z
LAST-MODIFIED:20190828T194023Z
UID:10000102-1572796800-1572800400@glcorchestra.org
SUMMARY:Sunday Series: The Cummings String Quartet
DESCRIPTION:The Cummings String Quartet is a northern Michigan-based ensemble of professionals who perform with the Traverse Symphony Orchestra and the Great Lakes Chamber Orchestra.  Named after the benefactors of the Dorothy Gerber Strings Program\, the quartet also serves as teachers and artistic representatives of the Gerber program. \nSunday Series provides free chamber music with small ensembles of musicians from the orchestra. The venue location rotates throughout northern Michigan  neighborhoods. Generous support for the Sunday Series is provided by Carolyn Klender.
URL:https://glcorchestra.org/concert/the-cummings-string-quartet-2019/
LOCATION:First Presbyterian Church\, Boyne City
ATTACH;FMTTYPE=image/jpeg:https://glcorchestra.org/wp-content/uploads/2019/08/Sunday-Series-image-e1567021198724.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Detroit:20191027T190000
DTEND;TZID=America/Detroit:20191027T210000
DTSTAMP:20260421T143759
CREATED:20190430T204832Z
LAST-MODIFIED:20190930T163336Z
UID:10000095-1572202800-1572210000@glcorchestra.org
SUMMARY:Angels and Demons
DESCRIPTION:Join the The Great Lakes Chamber Orchestra on Sunday\, October 27th at 7:00PM\, as they welcome the Crooked Tree Arts Center School of Ballet dancers on stage during the Angels and Demons concert\, featuring music by Schubert\, Death and the Maiden\, André Caplet’s Masque of the Red Death and Ravel\, Pavane for a Dead Infante. This performance will be at the Great Lakes Center for the Arts. Pre-Concert talk by Music Director Libor Ondras at 6:00 PM\n\n\nReserved Seating: $50\, $35\, $25\nAges 18 and under are FREE.
URL:https://glcorchestra.org/concert/angels-and-demons/
LOCATION:Great Lakes Center for the Arts\, 800 Bay Harbor Dr.\, Petoskey\, Michigan\, 49770
ATTACH;FMTTYPE=image/png:https://glcorchestra.org/wp-content/uploads/2019/04/Screen-Shot-2019-06-26-at-12.43.54-PM.png
END:VEVENT
END:VCALENDAR