Bringing the Music from the Inside Out

Since Andrew Grams took over as Music Director in 2013, the Elgin Symphony Orchestra has been systematically updating its programming by reaching outward from all areas of the organization, not the least of which being the stage of the Hemmens Cultural Center.

Some people have always regarded a classical music concert as a test of etiquette governed by special rules known only to highly cultured individuals. Like wine appreciation, it was considered a game for snobs. But in recent years, just as the wine business has expanded through a populist outreach centered around consumer education, a similar approach is being skillfully and intentionally employed by the ESO.

It started when Maestro Grams brought his unrestrained conducting style to the podium, and his personal accessibility to the Elgin social scene. Numerous appearances at local club meetings, in the media, at hospitals and libraries, and at casual mixers like the post-concert "Mingle with the Musicians" offered exposure for his outgoing personality and gift of gab.

Inevitably this style found its way into the concert hall, where Grams developed a warm, witty rapport with audiences on a par with any professional emcee. Seen from the stage, the main auditorium at the Hemmens looks like a university lecture hall, and perhaps this contributed to his increasing tendency to indulge in colorful remarks on composers and their music.

Having relaxed almost all stiffness out of the concert experience, the next logical step was to demystify the music itself. The ESO Listeners Club, pre-concert chats and program notes have always served that purpose, but they appeal to listeners who are already engaged, loyal patrons.

With the help of visual aids, Music Director Andrew Grams explains the historical context of Beethoven's Symphony No. 7.

In order to reach a larger public, the ESO created the "Inside the Music" format to apply Grams' knowledge and charisma to the task of audience education. The result is a hybrid event consisting of a music appreciation class complete with multimedia and live orchestral excerpts, followed by a full performance of a major work from the classical repertoire. The latest in this series featured Beethoven's Symphony No. 7.

"He was not just some mysterious brooding genius," Grams said of Beethoven the man. "He worked for a living; he fell madly in love; he was a human being." The orchestra patiently demonstrated short passages, melodies, rhythms and even single notes to illustrate Grams' analysis of the symphony's building blocks. His message was that the music wasn't so much superhuman in its origin, but simply a product of superb craftsmanship of a kind that anyone with a talent or skill can understand.

The Elgin Symphony Orchestra performs Beethoven's Symphony No. 7.

Beethoven seems to bring out the best in an orchestra, and Grams in his shirt sleeves was joyously animated in conducting the four-part masterpiece after intermission. The audience didn't just clap after the allegro, they actually chortled at the Maestro's jests.

In some future or parallel universe, the symphony players themselves might expand their direct contact with the concert hall audience, but for now it's the sparkle and glow of the conductor that influences how we feel about these performances. Grams seems to love working in this informal atmosphere, and honestly, when the music is this good, it doesn't need any added ritual to enhance its quality or importance.

The next "Inside the Music" event is set for Friday, March 23, 2018 at 8pm, featuring Edward Elgar's Enigma Variations. For tickets and more information, go to www.elginsymphony.org.

Elgin Master Chorale's "A German Requiem" is Far More Joy than Sadness

All afternoon Sunday, the ECC Arts Center was humming with activity. The Elgin Youth Symphony Orchestra (EYSO) held an open house in conjunction with recitals by its Chamber Music Institute ensembles. The ECC Musical Theatre was holding dance auditions for their summer production of American Idiot. And the Elgin Master Chorale (EMC), the Elgin Symphony Orchestra (ESO) and the EMC Children's Chorus combined for a concert in Blizzard Theatre. 

It was a striking example of the depth of local participation in the Arts, as musicians of all ages toted in instruments, formally-dressed singers hurried backstage and patrons lined up for tickets and lingered by an exhibit of the history of Elgin's premier choir.

The main event was the reprise of Johannes Brahms' Ein deutsches Requiem ("A German Requiem"), marking seventy years since the Elgin Master Chorale was formed as the Elgin Choral Union, consisting of singers from local church choirs. The Choral Union's first performance in 1947 was Brahms' Requiem.

Welcoming remarks by EMC member Amy Cho struck the right note of informality in acknowledging Stu Ainsworth, perennial friend of the Arts and the event's key sponsor, and Ann Chipman, daughter of the EMC's founder, Dean Chipman. She also introduced the first act, the EMC Children's Chorus.

The Elgin Master Chorale Children's Chorus, conducted by Rebecca Narofsky.

They sounded like the Von Trapp singers in their renditions of five German songs (by Brahms) to open the program. Their 35-minute set included thirteen songs in all, displaying a wide range of technical skill in covering spirituals, theatrical scores and world music. Conductor Rebecca Narofsky has expanded their repertoire impressively in a short time and their discipline shows. Sharing the stage with the EMC and the ESO is a valuable experience for these young singers, and their co-appearances should help expand the audience.

More than 150 artists assembled after intermission for the German Requiem: nearly 100 singers arranged on risers in back of a 69-piece orchestra. So large was the combined ensemble that much of the audience was situated closer to the conductor than the choir. 

Brahms' seven movements were assembled over a period of several years, as detailed in the excellent program notes, and their effects are different. The music excelled in the sixth movement with its programmatic drama, and especially the fifth, which featured the choir's exquisite soft background harmonies.

The Elgin Master Chorale performs Brahms' A German Requiem with the Elgin Symphony Orchestra,
conducted by EMC Music Director Andrew Lewis.

Careful preparation was apparent in the Chorale's mastery of dynamics and articulation, and the German lyrics were rarely hard to follow by carefully reading in the printed program. The accompaniment included many ESO guest musicians, whose work generally defied criticism. Bass-baritone David Govertsen and soprano Henriët Fourie Thompson gave praiseworthy solos that emphasized tone and technique in the chromatic melodies of Brahms' Romantic style. 

Bass-baritone David Govertsen and
Soprano Henriët Fourie Thompson.

EMC Music Director Andrew Lewis maintained confident control of his massive array of forces for the nearly 75 minutes of continuous music. The volume of sound was enormous at forte and above, and the spatially expansive vocals lent an atmospheric quality to the divine lyrics and metaphysical subject matter. Funerals are filled with complex emotions and contemplations of eternity, and there was far more joy than sadness in this performance.

In the Arts, the difference between amateur and professional can be hard to define. It's not necessarily a matter of excellence or even whether a fee is involved. The willingness of Elgin artists to work together under all sorts of arrangements, regardless of their status, means audiences can experience the finest theatre, music, visual and literary arts in a local venue for relatively little cost. Always among the best examples is this pairing of the Elgin Master Chorale and the Elgin Symphony Orchestra, whose concerts are not just amazing in their audacity of scale but also highly successful as art.

Hear the EMC and ESO join forces again May 6-7 at the Hemmens Cultural Center in Elgin, where they present Vaughn Williams' Serenade to Music as part of the "Voices of Spring" festival. For more information, go to www.elginsymphony.org or www.elginmasterchorale.org.

Grams and Elgin Symphony Making Their Point

Some in the audience may not have expected a noisy, expository dialogue with the conductor in the middle of the concert Saturday, but that is now common during performances by the Elgin Symphony Orchestra, even on the most sophisticated of programs.

When viewed from the stage, the utilitarian design of the main auditorium at the Hemmens Cultural Center looks like a public university lecture hall, and the person with the microphone will be tempted to start a discussion. It could very well explain the chemistry between the naturally loquacious Music Director Andrew Grams and an audience that loves to listen. 

Roughly a thousand people braved the cold temperatures and applauded freely between movements of three classics from the nineteenth and early twentieth centuries.

A chamber ensemble sat in a half-circle to begin the concert with Octet (1923) by Igor Stravinsky, a landmark piece that signaled a return to composing music that stood as "art for art's sake." The outstanding eight-piece wind ensemble (with no alto voices) gave it a suitably cerebral reading, unfazed by its metrical changeups, tumbling scales and dissonances.

Afterwards, Grams offered perspective on the piece and invited reaction from the audience. Serving as a five-minute music appreciation class while the stage was reset, the brief exchange revealed how large a part of the audience was actually paying close attention to the music and the excellent program notes.

Grams' remarks introduced Violin Concerto No. 1 (1923) by Sergei Prokofiev, which had premiered at the same Paris concert as Octet. Soloist Angelo Xiang Yu displayed amazing scope of technique on an instrument with tone so sweet it could imitate the breath through a woodwind.

Violin soloist Angelo Xiang Yu performs Prokofiev's Violin Concert No. 1 with
the Elgin Symphony Orchestra, conducted by Andrew Grams.

The full orchestra was in excellent form after a busy holiday concert season and played a precise score to Yu's vivid protagonism. He delivered confident glances to the audience between impossibly high lyrical passages, scorching fiddle chords, flying spiccato and echoes of a plucked guzheng.

The accompaniment surged with a colorful narrative in the finale as Yu carried off trills and runs like single note melodies into a standing ovation. The audience was rewarded with an unaccompanied solo as an encore.

Many had come to hear Beethoven's Symphony No. 3 in E-flat Major, "Eroica" (1805), widely regarded as a turning point in the historic evolution of symphonic style. And they were not disappointed, some saying it was the best rendition they'd ever heard.

From the subliminal string tremolos to crashing chords, Maestro Grams kept the ESO's forces in balance for 47 minutes with eloquent physicality, mouthing the melodies and never missing a cue.

At his direction, the wind choir shone brilliantly against Beethoven's restless eighths, and solos were clear and precise. The tuttis were always tightly synchronized, and the dynamic contrasts achieved by the 65-voice ensemble were breathtaking. With these artists speaking for him, Beethoven has lost none of his persuasive power after more than two centuries.

More and more, the ESO is taking a service-oriented approach, making the music accessible through affordable ticket prices, programming variety, community outreach, and not least of all, education. You can find no better place to enrich your quality of life than in this audience.

Elgin Master Chorale Wraps its Season with Restless "Requiem"

Ninety singers were joined by a twenty-five piece orchestra on the Blizzard Theatre stage Sunday for a concert of classics that a city ten times Elgin's size would be fortunate to hear.

This joint appearance with a chamber-sized Elgin Symphony Orchestra and four professional soloists marked the end of a glorious season that included works by Schubert, Beethoven, Rossini, and Verdi performed in venues throughout Elgin in numerous artistic collaborations.

The top of this program featured Vivaldi's Gloria in D Major (ca. 1715), including its introductory Ostro picta sung by soprano Kirsten Hedegaard. She was joined for the Gloria by countertenor Thomas Aláan who covered parts originally written for soprano and contralto.

Their voices traced ornate melodies over long vowels like the arcs of water in a Venetian fountain, and blended beautifully a due with excellent timing and intonation. The chorus surrounded them like an April force of nature: at times stormy or serene, dark or heavenly radiant.

Unamplified music sounds surprisingly good in the Blizzard Theatre; only a cathedral could have improved matters by providing a pipe organ with a voice to match this ensemble. We strained to hear the excellent keyboard work of Jon Warfel, who is recognized locally as the Choirmaster at Elgin's First Congregational Church.

The highlight of the afternoon was the Requiem in C Minor by Johann Michael Haydn, composed for an Archbishop's funeral during a two-week period in December 1771. The younger Haydn has been historically overshadowed by his brother Franz Joseph, though he produced a wealth of music of comparable quality.

But there is nothing much restful in this requiem. The chorus stands throughout the forty-minute work, in which many sections of the Mass are joined together without breaks. Subconscious turmoil is palpable in the counterpoint, and anguished dissonances have led historians to suggest that Haydn's own bereavement at the recent loss of his infant daughter influenced its creation.

Soprano Kirsten Hedegaard, countertenor Thomas Aláan, Maestro Andrew Lewis,
tenor Matthew Dean and baritone Eric Miranda with the Elgin Master Chorale
and the Elgin Symphony Orchestra.

The pathos was evident in solo and duo passages by tenor Matthew Dean and baritone Eric Miranda, and the combination of all four voices as a solo quartet was spectacular. The chorus managed each entrance with great concentration and enunciated the Latin text so well that it was easy to follow in the printed transcription.

The Elgin Master Chorale, its singers, staff and board, accomplished a magnificent feat in this concert, in which every aspect — from the artists to the program booklet — was of the highest caliber. Maestro Andrew Lewis, celebrating ten years as Music Director, presented the chorus in its most highly practiced form, and exhibited complete control of the most important notes of every movement, especially the last one.

And this ensemble in particular represents the ever rising quality of amateur artists in the area, who join together with professionals in significant performances like these to create a record of excellence that continues to redefine Elgin as an important center for the arts.

For more information on coming events, including a rare summer outdoor performance, visit www.elginmasterchorale.org

Legendary Cellist Lynn Harrell Graces the Elgin Symphony Stage

The audience left the Hemmens Main Hall brimming with excitement Sunday as the Elgin Symphony Orchestra wrapped up its opening weekend of Ives, Brahms and Tchaikovsky, conducted by ESO Music Director Andrew Grams.

After an uplifting rendition of the National Anthem, the program started with Variations on America (1892) by a teenaged Charles Ives, composed originally for the organ. It's the kind of piece that benefits from an introduction, and an affable Grams relaxed the concert's usual decorum to share a few words about the composer and his work, illustrated with musical excerpts played by the orchestra.

The 1964 arrangement by William Schuman remarkably preserves the sound of two keyboards with pedals, evoking the humor of circus organs or silent movies, and the orchestration is reminiscent of P.D.Q. Bach. But in comedy we hear the truth, and Ives' genius was indeed ahead of its time.

Joining the ESO for two works by Tchaikovsky was Lynn Harrell, known in music circles as the "Dean of American Cellists," whose 50-year career includes appearances on the world's greatest concert stages, the Grammy Awards broadcast and the Vatican.

Cellist Lynn Harrell performs Tchaikovsky's Andante cantabile
from String Quartet No. 1 with Elgin Symphony Orchestra.
(Photo by James Harvey)

The eight-part Variations on a Rococo Theme (1877) was a showcase for Harrell's effortless technique. Bowing from the wrist, his delicate high passages were like an angel's laughter: lighter than air. Across the low register, his timing and placement was like Russian ballet dancers barely touching the floor. 

Even subtler still was the Andante cantabile from String Quartet No. 1 (1871), in which the orchestral accompaniment was impossibly soft and superbly conducted. Harrell seemed to work from a place beyond method or doctrine, quoting from memory, playing the whole instrument as easily as exhaling a breath.

The ESO has welcomed its share of rising stars, but the elocution of an artist with Harrell's experience is in a class by itself.

Walking briskly to the podium after intermission, Maestro Grams launched his colorful and emotive 45-minute interpretation of Brahms' Symphony No. 1 in C Minor. The well-known piece rejoiced in a wealth of understanding and affection within the ensemble. Excellent wind solos attested to the players' exceptional preparation for the start of a concert season.

Elgin Symphony Orchestra Music Director Andrew Grams.
(Photo by James Harvey)

Like a brilliant film director working with great actors, Grams connected with every section in a creative two-way dialogue of motion and sound, producing a vivid musical gestalt. Only in the hands of diligent and devoted artists like these would Brahms' familiar four-movement plot (and its Beethovenian subtext) seem new again. 

"Each concert is better than his last," said one awestruck musician in the audience. Grams continues to surprise listeners with the breadth of his repertoire and depth of his ability, and we are eager to learn whether the well has any bottom.

Elgin Symphony Celebrates "America's Musical Treasures"

Forgoing a scholarly explanation, suffice it to say that American music has always been populist—that is, "music of the people"—and the people loved the Elgin Symphony Orchestra's program of "America's Musical Treasures" last weekend at the Hemmens.

A far cry from the stuffy art salons of the Old World, an ESO concert is now a bustling free market of ticket sales, shopping, opinion surveys, food and drink concessions and commercial messaging. It's a shame the ATM was out of service.

Overflowing with talent, this 90-minute program gave a convincing account of American musical genius, highlighting the abundant connections to jazz, dance and the theatre in the work of four great twentieth century composers.

Music Director Andrew Grams conducts the Elgin Symphony Orchestra.

Leonard Bernstein's boisterous "Overture to Candide" (1956) kept us delightfully off balance with its elusive downbeats, while the "Three Dance Episodes from On The Town" (1944) made every toe tap to its irresistible and propulsive riffs. Giving voice to musical ideas as big as New York City, the tightly synchronized ESO made it all look easy.

Authentic orchestral arrangements from Richard Rodgers' South Pacific (1949) and On Your Toes (1936) showcased the talents of this Broadway legend, and the exuberant conducting of Music Director Andrew Grams restored the luster to melodies we are often too quick to write off as high school band fare.

Contributions like those of the unlikely composer Paul Schoenfield are what makes America great: grass roots innovation that makes a difference. Inspired by personal experiences, two of his "Four Parables for Piano and Orchestra" (1983) bravely pushed us out of our comfort zone, but without insult or condescension. 

The unusually large orchestra was equipped with synthesizer, bass guitar, saxophone and an array of percussion in "Senility's Ride" and the quirky "Dog's Heaven." Though some of its unorthodox gestures defy description, Schoenfield's music speaks directly to our intuitions, and the dialect is distinctly American.

Soloist William Wolfram congratulated by
Maestro Andrew Grams

Listeners were overheard complementing the professionalism of piano soloist William Wolfram, whose performance of Schoenfield was entirely on point: vivid and unpretentious.

In one of several remarks given by Maestro Grams throughout the program, he confessed a particular appreciation for the music of Aaron Copland, whose voice is considered by many to be something of an American archetype.

Three movements, taken from Copland's ballet Rodeo (1942) and opera The Tender Land (1954), were combined into a suite for the concert's finale. So revered are these works by artists and audiences that their performances are like liturgical readings, and the ESO always rises to the occasion. After lengthy applause, the audience was treated to a rollicking rendition of Copland's "Hoedown" for an encore.

This month's thematic combination of classics, new music, and a guest artist—with wind and brass sections at their best—make a powerful argument for the future of live symphonic music in Elgin.

Elgin Symphony Presents a Concert of Understated Excellence

A superb program of Nielsen and Dvorak did all the talking in a casual but outstanding Elgin Symphony matinee Sunday, featuring guest conductor José Luis Gomez.

Two works by the Danish composer Carl Nielsen were heard for the first time by ESO audiences. An orchestra of larger proportions leapt into the first, an opening overture from Nielsen's opera Maskarade (1906) led by a vibrant maestro Gomez, whose natural yet precise conducting ended with a smiling and flamboyant turn toward the audience.

José Luis Gomez conducts Carter Brey and the Elgin
Symphony Orchestra.

Joining the orchestra for Antonin Dvorak's Concerto in B Minor for Cello and Orchestra (1896) was Carter Brey, principal cellist of the New York Philharmonic. Brey listened intently and turned to look at the other players during the first movement's opening, which lifted the entire audience's consciousness of this beautifully played work. 

Shifting fluidly from growling lows to sweetly lyrical highs, Brey displayed great rapport with Gomez, and also with a particularly sympathetic wind section, playing so expressively throughout that one listener was moved to say, "I could almost understand the words ..." Brey's untucked shirt and relaxed comportment signalled that this virtuoso's performance would speak for itself, and it did so eloquently. 

The delightful Symphony No. 2 (1902) is one of Nielsen's growing number of works that are gaining new interest worldwide. The four movements, inspired by the Four Temperaments of ancient psychology, depart from classical symphonic conventions and explore shades of human nature the way a Freudian therapist might: through a network of imagery and associations. 

The ESO was incredibly well-rehearsed for this Elgin premiere, and the musical language of Nielsen proved to be endlessly fascinating. It was an impressive showing for Gomez, whose conducting style exhibited its own four-way humanistic balance of head, hands, heart and hips.

It is also a credit to the considerable talent and skill of the ESO and staff that guest artists of this caliber continue to bring their world-class performances to downtown Elgin.

Elgin Symphony Expands Repertoire in "Beethoven Inspired" Concert

An orchestra of smaller, eighteenth century proportions anchored last weekend's eclectic program of classic, sacred and contemporary works — all first performances by the ESO — conducted by Chicago Maestro Andrew Lewis.

An excellent case for contemporary music was laid out by three concise, aptly-named movements from Brick (2005), a suite composed by Lewis' UIC colleague, Marc Mellits. "Red Hammer" joined slabs of complex rhythm and texture, and launched splinters of woodwind like a carpenter's chisel, while the duets of "Refrigerator Wisdom" were as sweet as a mother's voice, embraced by dense, cool and warm string passages that were beautifully harmonized and evocative. 

The playful, perpetual motion of "Jacob's Ladder" shimmered with iridescent colors over a fascinating boogie bass line. A gracious Mr. Mellits bowed at the hall's applause for a very refreshing, listenable, and American-sounding concert opener.

Beethoven's Symphony No. 2 (1802) was given a respectful revival, almost compelling enough to distract us from the 150 empty chairs looming upstage. Lewis' conducting was never indecorous, and the playing was rarely imprecise throughout this less-played work, whose generally upbeat tenor is colored by just a few prescient moments of restless worry that would later become a larger part of Beethoven's famous musical palette.

Elgin Choral Union, the UIC Symphonic Choir and Elgin
Symphony Orchestra, conducted by Andrew Lewis

Once those empty chairs were filled with the vocalists of the Elgin Choral Union joined by the UIC Symphonic Choir, the magnificent sight was surpassed only by the sound of Cherubini's revered Requiem in C Minor (1816). The solemn score and homophonic singing blended superbly, the conducting was cogent, and the delivery by the three combined ensembles was sincere and expressive. Beethoven and Brahms were so moved by Cherubini's music, they all but imitated it; we have but to rejoice at the chance to hear it just as they heard it: in a live performance.

Although this program seemed a bit transparent, the impressive Requiem was well worth planning around, and the inclusion of contemporary music like Brick is encouraging. The ESO continues to be an amazing arts value, unique in Chicagoland, and distinctive, high-quality performances like these deserve to be heard.

Elgin Symphony Orchestra's "Tour of Italy" Concert Features World Premieres

In an age of eight-beat riffs and six-second viral videos, it's a risk to present new music for the concert hall, demanding great faith in musicians, composers and audiences. The ESO courageously performed two new works this weekend by composer and trumpet virtuoso Brandon Ridenour, with guest conductor Tania Miller.

Ridenour's amazing technique sparkled in his transcription of Vivaldi's operatic aria "Agitata da due venti," (1735) originally a difficult soprano vocal whose ornate leaps and flights could not have been played by the trumpets of the past. But the solo translates beautifully into brass, and its strings-only accompaniment creates an authentic setting in which to hear this baroque gem in a brilliant new way.

Brandon Ridenour performs with the Elgin
Symphony Orchestra, conducted by
Tania Miller

The attention-grabbing start of Ridenour's new work Fantasy Variations on a Theme by Paganini heralds the trumpet of the future, exploring new accents if not new language that frees it to speak beyond its usual ceremonial fanfares. Ridenour inhabits every tone and temper of his horn with exquisite control and focus, and his orchestral writing is high quality. They say good music is "music you want to hear again." Though a bit didactic at times, this "Fantasy" demands further listening.

Canadian Maestra Tania Miller's conducting was scholarly at first and warmed with the audience's appreciation, which was rewarded with an encore trumpet performance of "Carnival of Venice."

The most Italianate piece of the evening was its delightful opener, Rossini's overture to L'Italiana in Algeri (1813), but it only hinted at a larger repertoire by Verdi and Puccini who were missed on this program.  

Taking their place was Aus Italien, (1887) a lengthy symphonic fantasy by a young Richard Strauss recalling his visit to Italy. Shades of his future greatness were clearly evident in the imaginative score, but at times you felt as if a dear friend was telling you about his vacation in too much detail. Nonetheless, the orchestra showed precision and great flourishes of individual talent in this wind-friendly piece.

No tour of Italy would be complete without a little commotion. Friday's fire evacuation and Saturday's audio miscue only served to highlight the professionalism of the ESO staff and artists. The true test of the audience's depth is when they continue to flock to concerts for programs of widely varying period, style and genre, including that most daring of all categories: new music.

Elgin Symphony Concert Takes On Scottish Flavor

Scotland has inspired great works by artists from Shakespeare to Sting, and foreign invaders from the last twelve centuries can attest: it's the kind of place that's nice to visit (but you may not want to live there). The Elgin Symphony Orchestra's "Scottish Fantasy" program took a full concert hall on just such a visit Saturday night, in the company of great composers and an array of talented musicians.

The Land of the Mountain and the Flood (1887) by Scottish-born composer Hamish MacCunn set the tone with a sweet, but restrained overture whose folk-inspired imagery of lochs and glens is a fine example of the nationalist sentiments that were prevalent among composers during this period. Elgin, too, has some Scottish roots, and the ESO's attentive rendition made it clear that the musicians love these melodies as much as their listeners do.

The highlight of the evening was violinist Michael Ludwig's riveting performance of the Scottish Fantasy (1880) by German composer Max Bruch. The work is more an exhibit of legendary German craftsmanship than Scottish folksong, but this stylistic fusion takes the soloist from peat smoky pipe tunes through romantic airs and astonishing feats of fiddling. Ludwig moved expressively around the stage in his delivery, at times almost dancing, which captivated the audience in a way that no recording could ever reproduce.

One need not be Scottish or German to feel moved by a masterpiece like Felix Mendelssohn's "Scottish" Symphony No. 3 (1842). The ensemble was the star of this program finale, and one wonders whether it's Mendelssohn who makes the ESO sound so good, or vice-versa. When the artists grasp a piece like this, the difference is apparent in their timing, intonation and animation. The energetic new ESO Music Director Andrew Grams, himself a violinist, displays an obvious affinity for his firsts and seconds, turning to enunciate each feeling and phrase of his lucid interpretation.

One patron was overheard to say the first half of the program was "a little schmaltzy; too romantic." We disagree, but it's loyal subscribers like these who make the ESO experience — including its pre- and post-concert social scene — as stimulating for the mind as well as for the senses. Next season promises more excellent programs featuring Beethoven, Copland and Smetana, and all this, as close to home as downtown Elgin.

Grams a "Titan" in Debut as Elgin Symphony Director

A new direction could be seen as well as heard in the Elgin Symphony Orchestra's season opener Saturday night at the near-capacity Hemmens Cultural Center. 

Regular patrons noticed the changes to the orchestra's former layout, with basses on the left and low brass on the right. Cellos and second violins swapped positions, following a recent trend toward authenticity which suited this weekend's program especially well.

In his conducting debut as ESO Music Director, the dashing Andrew Grams preceded his opening remarks with a gracious rendition of the National Anthem, bringing both the audience and the musicians to their feet. His welcome was instantly endearing as he invited the community to join him and the ESO on a "musical journey" — a theme echoed by his message in the printed program guide which, like last year, was strong on content but noticeably weak on ad sales.

The two concert works by George Gershwin marked an excellent place to begin this journey, as they represent a uniquely American blend of jazz, popular song, and classical rigor.   Many listeners can only relate to symphonic music in the context of motion picture soundtracks, thus the attention-grabbing Second Rhapsody, taken from a 1932 movie score, fit the occasion perfectly. The powerful strides of solo pianist Terrence Wilson, along with colorful clarinet and muted trumpet remind us why we never tire of Gershwin's portrayals of the raucous counterpoint of twentieth century urban life.

Variations on "I Got Rhythm" showcased the professionalism of the ESO, which sounded like a fine studio orchestra, but at times overpowered Wilson's effervescent piano, making it difficult to hear during tutti sections. Grams' conducting was sometimes animated and evocative, and other times polished and pragmatic throughout the first half of the program.

After intermission, thoughtful remarks by Elgin Mayor David Kaptain highlighted the history and partnership of the city and its ensemble, noting that many of the ESO's artists serve the local community as teachers. One local student symbolically passed the baton to new Music Director Andrew Grams, who becomes only the fourth in 64 years.

It's clear why Maestro Grams is so popular with the musicians and Board (as he will be with audiences). He seems to cherish his audience, engaging us without condescending; and his style is spontaneous and casual but still elegant, opting for a suit and necktie instead of a white bow and tails.

The program concluded with Symphony No. 1 "Titan" by Gustav Mahler, an immense work requiring nearly double the typical number of wind instruments, and lasting the better part of an hour. Similar in concept and reminiscent of well-known works by Mahler's contemporary Richard Strauss, "Titan" is very listenable as it travels through a wide expanse of space, scale and setting. Despite the occasional imprecisions that creep into early fall performances, the brilliant section work by the ESO winds was matched by Maestro Grams' dramatic interpretation and eloquent left hand. With its changing moods, diction, turns and false endings, Mahler's "Titan" was a superb choice of overture to what we hope are many successful seasons with Andrew Grams and the Elgin Symphony Orchestra.

Audience Shouts Praises in Elgin Symphony Orchestra Concert

Like a first kiss, or airplane flight, or view of the Grand Canyon, some sensations transform us by their newness. Such was the feeling at the Hemmens Sunday, as the Elgin Symphony Orchestra presented "Pictures at an Exhibition", dedicated to legendary ESO patrons Edward and Pearle Brody, with guest conductor Steven Jarvi. 

In front of a capacity crowd Sunday, the ESO performed a brilliant series of works that paired creative risks with sheer musical excellence that drew unscripted exclamations from listeners throughout the hall.

Maurice Ravel's five-part Mother Goose suite (1912) showcased the ESO's intuitive treatment of an impressionist master's colorful orchestration. Exquisite woodwind solos and choreographed flashes of percussion decorated a rapidly shifting subtle palette of string textures. Combined with the projected subtitles quoting some of Ravel's own annotations from the score, the experience was as fresh as childhood -- or what it might be like for an audience of 1912 to see "silent" moving pictures for the first time.

ESO audiences love to hear from the conductor or the artists, and program commentary by Mr. Jarvi was well-received, as were remarks by ESO musicians and staff highlighting the considerable wealth of talent, training and instrumentation collected on stage, and a sincere appeal for sponsorships. All eyes were on the program booklet, reflecting a recent makeover with some excellent new content, subtly disguising the abundant space available for new advertisers (downtown restaurants, this means you!).

The program's top billing (and finale) was Ravel's well-known version (1922) of Modest Mussorgsky's Pictures at an Exhibition (1874), a suite of movements written in memory of 19th century Russian artist and architect Victor Hartmann. To complement the orchestra's learned yet sensuous performance, a series of thematically-linked images was projected overhead. Rather than distract or detract from the music, the video effectively added a stimulating layer of interpretation to the piece, which itself was inspired by a visual medium.

The highest point in this superb program was Ghost Ranch, a 2006 work by Michigan composer Michael Dougherty. Inspired by the scenery and artist's lore of the New Mexican desert that painter Georgia O'Keefe called home, the three-part piece transports you to an untamed American wilderness of extremes: at times light and dark, hot and cold, lonesome and overpowering. With one astonishing performance after another, individuals and sections brought forth mile after mile of changing sonic climates, flaunting wildly unorthodox playing techniques, free rhythmic episodes, abrupt seating changes and unwavering courage to follow Maestro Jarvi through a complex landscape of tempos and tonalities. The compositional language was clearly American, phrased in modern, but accessible idioms -- exactly the right balance for this perceptive but pragmatic audience, who whispered "wow!," "very unusual", and "this is wild!" throughout. It must have been a thrill for Mr. Dougherty, seated in the hall, to hear this piece played so well.

The orchestra sounded superb throughout the expansive program of 100 minutes, and received two standing ovations. Steven Jarvi's conducting was powerful, precise and genuine, showing a refinement well beyond his years; the admiration of the ensemble was evident. 

And Elgin clearly loved this adventuresome program. Technology continues to change how -- and how directly -- ordinary people engage with the fine arts, and this orchestra, this concert hall, and this city are poised to become pioneers once again: of a whole new territory in art music.

Yeehaw! ESO's Western Roundup

The musicians' formal attire reminds you that you're listening to a serious professional symphony orchestra, but the music takes you to the wild west on toe-tapping themes from classic TV and movie westerns. Maestro Stephen Squires set the tone for ESO's "How The West Was Won" by conducting the overture in a ten-gallon hat.

The program features a wide variety of styles within this unique American symphonic music niche, pioneered in the early twentieth century by the groundbreaking works of Aaron Copland, and settling in the scores of western films, TV series, and even commercial spots. The echoes of old-time fiddlers, cavalry bugles, howling coyotes, and horses' gaits inhabit the sprawling melodies and fanfares of works like John William's "The Cowboys," and Bernstein's "The Magnificent Seven."  Excerpts from Dances from Wolves and Wyatt Earp evoke the drama of gunfights and the color of prairie sunsets.

The prodigious harmonica talents of guest artist Mike Runyan add authentic flavor to orchestral arrangements of American classics like Home on the Range and Shenandoah. With dramatic ease, he switches costumes and instruments throughout the program to produce an amazing range of tones that lead the ensemble in knee-slapping hoedowns and melancholy campfire ballads. Playing this repertoire that any living American will know and love, the ESO's expansive musical palette sounds better in person than any studio orchestra you'll hear in your living room or local cinema.

A western music trivia game, symphony video, and a few surprises make "How the West Was Won" a wonderful way to spend two hours this weekend.  Repeat performances are at 8 pm Saturday and 3:30 pm Sunday.

"Russian Spectacular" Lives Up To Its Billing

The ESO launched its 2011-2012 season at The Hemmens on Friday with a well-conceived program of magnificent surprises. The lobby was enlivened by excited patrons of all ages, caterers, vendors and new procedures at the hall doors. For the first time in years, an image of now retired Music Director Robert Hanson was missing from the program cover, though he received a generous full-page tribute inside for his exceptional contributions to the organization.

The concert opened with a performance by the audience: singing the National Anthem accompanied by the entire orchestra, standing along with guest conductor Ignat Solzhenitsyn in an inspiring and unexpected gesture of patriotism before the start of a program of classics entitled "Love & War: A Russian Spectacular."

For an opener, the internationally-acclaimed maestro led the ESO through a colorful, flowing interpretation of Tchaikovsky's Romeo and Juliet, eliciting a moving performance of the famous love themes with generous and expressive cues and body language. Despite an occasional staggered entrance, the ensemble was impressively synchronized through long sections of afterbeats and a series of final chords. Near the end, a sequence of choralic woodwind "amens" foreshadowed the concert finale. 

Perhaps more moving than the tragic end of Romeo and Juliet are the forces of love and loyalty that impelled them, and this was the perfect prelude to Alexander Glazunov's Concerto in A Minor for Violin and Orchestra, featuring ESO concertmaster and violin soloist Isabella Lippi. Throughout the piece, you get the distinct feeling that you are listening to a group of people who truly respect and care about each other, coming together to work at something they love. Ms. Lippi's playing was strong and focused, displaying both the skill of an artisan and the passion of an artist, laid out in textures and timings that suggest not merely sound or movement, but also thought. After a long, abstract and technically dazzling cadenza, the piece concludes with spirited allegro in which the orchestra and soloist take turns with joyful, dance-like phrases that hint at the sounds of Russian music that would emerge over the next thirty years. 

After the intermission, remarks by Principal Trumpet Ross Beacraft echoed the themes of love and loyalty between the ESO and its audience, as he announced their plans for a worldwide search for a Music Director.

The symphonic poem The Rock by a young Sergei Rachmaninov completed this program's artistic trajectory of Russian composers, but the concert finale was reserved for one of the most popular concert works ever written: Tchaikovsky's overture 1812. The orchestra was joined by the Elgin Choral Union for a seldom-heard arrangement of the piece in which the chorus sings sacred Russian lyrics to the hymn-like sections at the beginning and near the end of the piece. Add to this the inspiring subtitles projected overhead, effects of cannon fire and church bells, stirring performances by percussion and brass, and you have an exhilarating Russian spectacle that still brings a teardrop and a chill no matter how many times you may have heard it. Cheers arose before the last note even ended, and the audience followed with a standing ovation so vigorous that it brought smiles to the faces of every musician on stage. Clearly, this is the "concert" they come to hear: the applause of a loyal, adoring, and grateful audience.

If you haven't heard the ESO lately, this is an exciting time to become reacquainted, and the "Russsian Spectacular" is just the beginning. For tickets to the Saturday (8 p.m.) or Sunday (3:30 p.m.) concerts go to http://www.elginsymphony.org

Star Performances Light Up Elgin Symphony Concert at Prairie Center

Classic works in three movements, on a three-part program featuring three soloists: this is one way to describe the musical trifecta presented by the ESO this weekend. But "five stars" is another.  Returning guest artists Inon Barnatan, Chee-Yun, and Alisa Weilerstein are joined by conductor Kazem Abdullah and the ESO in an exceptional combination of talent rarely seen on any stage. Repeat performances are scheduled for 8:00 p.m. Saturday, April 30 and 3:30 p.m. Sunday, May 1 at the Hemmens in Elgin.

Every fan of the ESO should, at least once, see and hear them at Schaumburg's Prairie Center for the Arts. Less than half the size of the Hemmens (which itself is small by some standards), this venue is designed so that every seat is within 15 rows of its protruding stage, of which the orchestra uses every inch. The effect is like a private recital by the sort of artists who would have played in the palaces of royalty.

Beethoven's "Overture to Egmont, Op. 84" (1810) set the tone for the all-German program. It's the Beethoven we know and love, with tense thematic statements punctuated by complex inverted chords and tripled octaves. This man's music animates string players like no other, and entire sections could be seen digging into the notes, wrestling with it, as if to join the ancient Flemish resistance against Spain which was the subject of the piece. At other times, all forty could play so softly that the voice of a single reed could speak easily to the four hundred listeners.

The historic Isenheim Altarpiece, a series of sacred Renaissance panel paintings from the monastery of St. Anthony were the inspiration for Paul Hindemith's Symphony, Mathis der Mahler ("Matthias the Painter," 1933). Its three movements refer to three scenes from Matthias Grunewald's masterpiece: "Angelic Concert" (the Annunciation), "Entombment" (the Crucifixion), and "Temptation of St. Anthony." Mixing elements of the beautiful and the grotesque, the music features elegant flute solos and deep-throated brass in a depiction that combines quotes of sacred hymns alongside modern turns of phrase, music which eventually separated Hindemith from the Nazi regime and his native Germany. 

Maestro Kazem Abdullah is relaxed and confident, and his rapport with the musicians is evident in his interpretation of Hindemith's complex score. The backdrop of the Prairie Center stage, awash in colorful light, looked like a canvas upon which Abdullah painted with the sound, using fluent and expressive movement like brush strokes, filling the entire space with hue, texture and detail.

Highlighting the program was the return of three outstanding soloists in the performance of Beethoven's Triple Concerto (1804). Violinist Chee-Yun, cellist Alisa Weilerstein and pianist Inon Barnatan were warmly welcomed by an admiring audience as they took places close together on the small stage, and as the music started, this reviewer would not have wanted it any other way. The artists began an irresistible musical dialog of eye contact, body language, and of course the most eloquent playing. The two strings led throughout most of the work, exchanging soft staccatos and ebullient fortes in one moment, combining in graceful duets the next. The piano joined in for sections of triple sextuplets, and passages where the unaccompanied trio produced a sound that rivaled the orchestra. 

Throughout sections of unusually light material (for Beethoven), the artists easily moved through various tempos and meters backed by an attentive ensemble and a focused, capable conductor. Weilerstein, Barnatan and Chee-Yun each shared delightful personal glimpses in brief rubatos near the end of the third movement, putting their personal signature on an intimate and moving performance.

Like its debut in the home of Vienna's Prince Lobkowitz, complete with the sounds of breaking horsehairs, page turns, and piano pedals, the Triple Concerto was a delight to hear in the casual confines of the Prairie Center. And just as a certain ESO violinist once told me, "the audience always claps after the allegro."

Elgin Symphony and Choral Union Join for "Gershwin in Blue"

Elgin Symphony Orchestra displayed its impressive versatility in presenting groundbreaking works by George Gershwin in its weekend pops program entitled "Gershwin in Blue." The ESO, joined by the Elgin Choral Union, guest artists, and Associate Conductor Stephen Squires will give repeat performances Saturday, April 16th at 8:00 p.m. and Sunday, April 17th at 3:30 p.m.

Born into the cultural upheaval of turn-of-the-century Brooklyn, George Gershwin arrived at just the right time and place to carve out a distinctly American musical niche. Combining his Russian-Jewish musical ethos with the avant-garde harmonies of French composers like Ravel and Debussy, together with the panache of American march, vaudeville, theatre and popular song, and propelled by the rhythms of ragtime and the stop-and-go life of the big city, Gershwin successfully fused together elements of early jazz, Broadway, opera, gospel spirituals and European art music in a way never known before or since.

A short, but memorable "hit parade" of his works from Tin Pan Alley and Hollywood opened the program Friday afternoon, to the delight of three generations of music lovers in the audience, who warmly congratulated Maestro Squires on his twenty years with the ESO. 

The instrumental highlight of the program was the iconic Rhapsody in Blue, featuring pianist Jodie DeSalvo. First written as a kind of experimental piano concerto for "King of Jazz" Paul Whiteman's band in 1924, the orchestral arrangement retains much of the club-like intimacy of a rhythm section and horns, but adds a beautiful gloss of strings and the drama of orchestral percussion. Ms. DeSalvo navigated the complex keyboard score with an unreserved emotion and humanity that even Beethoven would have admired, a welcome contrast to the mechanical style of some of today's music school products. Exchanging eloquent single-note melodies and ringing chords between piano and orchestra, the ensemble pulled off subtle, unexpected timings like a speakeasy combo, creating an improvisational effect that grabs your attention and holds it like only jazz can do. In a piece that still sounds edgy after eighty-seven years, the ESO brought Gershwin's signature sound vividly to life: the sounds of both the bright lights and the shades of gray that colored New York City life in the 1920's.

Seven hundred miles to the South, DuBose Heyward was writing a novel about African American life in Charleston, South Carolina, entitled "Porgy." His detailed, sympathetic portrayal of "Catfish Row" culture appealed to Gershwin, and together they created the opera Porgy and Bess based on the novel. It premiered in New York in 1935 with an all-black cast and endured numerous revisions throughout its controversial history. The 40-minute concert version heard this weekend features fourteen songs and excerpts arranged for soprano, baritone and choir.

The graceful and elegant soprano of Ollie Watts Davis gave beautiful shape to the lyrics of "Summertime" and "My Man's Gone Now," yet her superb tone and control leave you wanting to hear more than just what this libretto has to offer. The dashing Leon Williams injected a touch of drama into his charismatic deliveries of "It Ain't Necessarily So" and "I Got Plenty O' Nuttin'," animating his solos with just the right body language and gesture. In duets, their voices meshed seamlessly without losing each one's distinct quality. 

The Elgin Choral Union provided a robust textural balance in ensemble movements and in call-and-response settings of Gershwin and Heyward's colorful, regional lyrics. Formidable male and female solos added variety to their vibrant sound. Other standouts included fantastic ESO performances on mallets, muted brass, and solo reeds, especially the juke joint licks of the lead clarinet. The Hemmens stage, filled by soloists, orchestra, and choir is an awesome sight, but the words to Porgy and Bess were a little hard to hear for those with more than 20 rows in front of them (or more than 40 years behind them). Nonetheless, conductor Stephen Squires elicited an amazing performance of the ever-changing keys and rhythms of the multicultural nation that Gershwin knew and loved, a musical legacy that is both black and white, urban and rural, highbrow and hepcat, and quintessentially American.

Contrasting Climates Featured in Elgin Symphony Concert

Audiences were transported across a variety of musical landscapes and languages this weekend as the Elgin Symphony Orchestra presented a series of picturesque works, enlivened by guest artist performances. With attendance near full capacity Saturday, the Hemmens Auditorium buzzed with anticipation of another superb concert led by Musical Director Robert Hanson.

The first stop was at Fingal's Cave, a rock formation in the islands west of Scotland, where Felix Mendelssohn was thought to have taken his inspiration for The Hebrides Overture around 1830, when he was in his twenties. The sensation of deep and shallow waters, and visions of Fingal (the Scots' mythical giant) filled the hall, as echoes of the Classical masters and shades of the new German Romantics clashed throughout Mendelssohn's rarely peaceful work. The orchestra played like a force of nature, through tense countermelodies, stormy chords and crashing sixteen-note unisons, drawing on a collective musical consciousness that spans the continents and the centuries.

French composer Edouard Lalo's Symphonie espagnole (1875) for Violin and Orchestra featured soloist Chee-Yun in a magnificent performance. The concerto-like work in five movements has a definite Mediterranean flavor, seasoned with traces of Gypsy dance, and spicy rhythms imported from the New World. From one moment to the next, you cannot take your eyes off the radiant Chee-Yun as she teases airy and intricate phrases from the Stradivarius, then tumbles three octaves into a swarthy, even scandalous twirl through the low register. The orchestra all but disappears when she plays, until her notes are briefly doubled by another voice in a sultry musical gancho. Her effortless blending of wet and dry techniques were like a feast of Spanish tapas that you wished would never end.

For an encore, Chee-Yun's performance of a Fritz Kreisler cadenza offered more stunning proof that world-class talent is as much a part of Elgin culture as the local pub where she and other musicians gathered after the concert. And the community clearly loves the ESO: even though most patrons had already seen the video preview of next year's concert season, they gladly applauded it once again.

Headlining the program was Aaron Copland's beloved Appalachian Spring, a suite derived from music he wrote for a ballet depicting the American pioneers of western Pennsylvania. The music starts off open and transparent, as the winds bravely enter, one or two at a time, just the way early Americans set out across the continent with no cover from the elements. As different tones and tempos come together with a form, scale and repetition not unlike the art-glass designs of Frank Lloyd Wright, the music finds a voice we now recognize as characteristically American. On a compositional spectrum that includes Gershwin and Bernstein, Copland's musical language touches us prairie folk the deepest, and the ESO, with perfect diction, speaks this language like true natives.

An Orkney Wedding, With Sunrise by contemporary English composer Peter Maxwell Davies served as the dramatic finale. While the reverse dotted figures and solo reeds are recognizably Scottish, the unfamiliar (uncomfortable to some) musical setting throughout this piece clearly charts a territory few of us know. The piece required unusual discipline from the ESO throughout its chaotic middle, but the convincing final entrance of Highland bagpiper Carl Donley reminds us of everything we love about the Scotch: though like the whisky, some will say it's an acquired taste.

Elgin Symphony's Impassioned "Don Juan and Dvorak"

Shouts of approval from the hall capped the finale of the ESO's "Don Juan and Dvorak" program of classics Friday afternoon at the Hemmens. The audience took every opportunity to applaud Elgin's acclaimed orchestra, now in its 61st season. In fact, the enthusiastic response to Music Director Robert Hanson's first appearance on stage was exceeded only by the standing ovation at the concert's end.  The ESO displayed superb artistry in the two hour program, performing a diverse and delightful set of classics that explored the musical expressions of drama, dance, poetry, and song.

None other than Mozart gives us the first of two musical takes on the legend of Don Juan, the mythical Spanish playboy whose quest for knowledge of the opposite sex eventually leads to his own destruction. In the overture to the comic opera known as Don Giovanni, Mozart deftly sets the stage for tragedy as well as comedy in a characteristically entertaining style that invites you into the drama like only the cleverest book jacket blurb or movie preview. A consummate showman at heart, the composer finished the overture the very day before its 1787 premiere in Prague.  Two hundred twenty-four years later, the ESO played it as if it was being heard for the first time: with freshness, intensity and an obvious affection for the audience and the art.

We may never know the number of Don Juan's children, but his literary and artistic progeny span at least twenty generations. His legend was the subject and namesake of Richard Strauss's breakout symphonic poem, written a century after Mozart's opera, when Strauss was only 24. At its opening flourish, you realize that this is like no poetry you've heard before. Images of a dashing Don Juan spring to life from the orchestra: you can hear silver conchos jangling on his belt, see his sword slicing the air, feel his breath as if he's striding towards you. This music tests every limit of the orchestra to produce all the effects of a motion picture without pictures or dialogue.  At Maestro Hanson's direction, the combined forces of more than sixty-five musicians are able to create a kind of superhuman musical voice, just the sort of thing that would preoccupy Strauss's imagination for the rest of his life. From tender, lyrical, romantic interludes to fierce moments of conflict, the ESO conveyed a full and complex range of pathos with a brilliant musical technique, ending the Don's story with a three-note ellipsis that would seem to say, "we'll be hearing much more from this young composer."

Yet it is often the simplest phrases and quietest notes that separate a good musician from a great one. The abundance of such in the Ancient Airs and Dances -- Suite No. 1 leave no doubt which sort of musician plays in the ESO. The endearingly coy rhythms of Ottorio Respighi's modern setting of Renaissance formal dances proved that there is beauty in restraint. Elegant solos and duets by double reeds and strings against a transparent but perfectly syncrhonized orchestral accompaniment were as fluid and intimate as those of a seasoned quartet. Unlike a similar suite by his English contemporary Peter Warlock, Respighi's use of lute-like harp chords — and harpsichord — lent a loving, period authenticity to the work, which still moves us, musician and audience alike, to tap our feet and nod our heads with the music as we recall the ancient urge to dance.

Following the intermission, the concert concluded with Antonin Dvorak's Symphony No. 8, considered an unusually cheerful work from a period when other composers of his own generation were writing music with much darker tones. The sights and sounds of his native Bohemia would seem to have inspired many of his musical motifs, whose natural, song-like phrasings are easy to grasp and remember. Colorful flute solos and a clarinet duet decorated the four movements, which ventured smoothly through numerous changes of tempo and meter, each section in turn playing perfectly in unison, then in harmony.

As his career progressed, Dvorak gravitated westward, eventually spending three years in America where he would leave us an important musical gift: not just his famous Ninth Symphony "From the New World," nor his "American Suite," but a lasting vision for American music that included the unique influences of Native American and African American sounds. If you listen closely to the fourth movement of Symphony No. 8, you might hear a "blue" note or two — the musical twinkle in Dvorak's eye that would someday be heard again in American jazz, gospel, and blues music.

The ESO presents two more performances of "Don Juan and Dvorak," Saturday, March 5th at 8:00 pm and Sunday, March 6th at 3:30 pm. Tickets are still available online at www.elginsymphony.org or call the Box Office at (847) 888-4000.

ESO Presents the Music of Russian Masters

This weekend, you'll experience the powerful competition of ideas, emotion and fantasy in an all-Russian concert featuring a work whose composer never heard it performed.

Topping the bill is Modest Mussorgsky's A Night on Bald Mountain, a piece of music which died, arose and changed forms not unlike the witches whose myth inspired it. After the composer's death in 1881, the work was rearranged for concert performance by his friend and colleague Nikolai Rimsky-Korsakov, whose brilliant creative spirit haunts much of the Russian music from this period.

Another member of their fiercely nationalistic circle, the doctor and chemist Alexander Borodin, contributed the important Russian opera Prince Igor as well as instrumental music.  The second of his three symphonies evokes the gleaming, heroic side of Russian folk legend.

The place of enduring love in the Russian psyche is marked by Tchaikovsky's Swan Lake, a ballet and musical love story colored by black magic. Unlike his contemporaries, Tchaikovsky leaned westward in his style and injected more pathos than patriotism into his music.  Ironically, he confessed no love in the writing of his best known work, the overture 1812 which commemorates Russia's defense against Napoleon in Moscow.

Opposing forces is a main theme in the life of Dmitri Shostakovich, who fell in and out of favor with the Soviets repeatedly during his fifty-year career. The unusually upbeat Piano Concerto No. 2 was written for his son's 19th birthday, in the years after Stalin's death when the composer was enjoying a period of "official rehabilitation."

For tickets to "Night on Bald Mountain" call the ESO Box Office (847-888-4000) or visit www.elginsymphony.org.