MUNCIE SYMPHONY ORCHESTRA ANNOUNCES ITS NEW ARTISTIC DIRECTOR

April 30, 2013 – Muncie Symphony Orchestra (MSO) is pleased to announce that Douglas Droste has been selected as the organization’s Artistic Director.  Droste will take the reins in July as the 6^th artistic leader in the MSO’s 64-year history.  Droste is also the newly appointed Director of Orchestras at Ball State University.

Prior to his MSO appointment Droste served as Director of Orchestral Studies at Oklahoma State University and Principal Guest Conductor of the Oklahoma City Philharmonic.  During his tenure at OSU, Droste was lauded for his performances of Stravinsky’s Rite of Spring, Holst’s The Planets, Mahler’s Symphony No. 1, and Shostakovich’s Symphony No. 5, among others. He also helped establish the opera studies program, conducting performances of Donizetti’s Elixir of Love, Strauss’ Die Fledermaus, Puccini’s Suor Angelica and Gianni Schicchi, Menotti’s The Medium, and the full premier of Jeremy Beck’s Review. With the Oklahoma City Philharmonic, Droste conducted a variety of concerts as well as productions with the Oklahoma City Ballet, including the full premier of Lanny Meyers’ Legends of Sleepy Hollow and Adolphe Adam’s classic ballet, Giselle.  Demonstrating his versatility, Droste has conducted pops concerts with artists such as Ben Folds, The Flaming Lips, Pink Martini, Michael Cavanaugh, John Pizzarelli, Christian Howes, Cherish the Ladies, as well as the productions of Cirque de la Symphonie, and Jim Brickman’s Tribute to the Carpenters.

Douglas Droste is recognized as possessing “obvious joy” for making music and a “sure sense of timing” when on the podium. Those under his baton routinely acknowledge him for his in-depth musical interpretations, keen sense of communication, and his personable ability to empower musicians.

Droste was selected following a nationwide search for a new Artistic Director that had been under way since the fall of 2012.  “We are excited to welcome Douglas Droste as the new Artistic Director of the MSO,” said Roberto Darroca, Chair of MSO’s Board of Directors. “ Doug is not only an established orchestra leader in the community, but an active performer in his own right. We are confident that after success of 2012-13 guest conductors season, MSO will continue to flourish under Doug Droste’s direction.”

Droste’s recent guest conducting appearances include the Midland-Odessa Symphony and Festival Ballet productions of Tchaikovsky’s Nutcracker and Adam’s Giselle; frequent appearances with the Tulsa Symphony Orchestra, including its “Great Music, Great Spaces, Great Images” performance series; and the Amarillo Virtuosi Chamber Orchestra on an all-Bach concert, including performing as violin/leader on Brandenburg Concerto No. 1.

A dedicated advocate of youth orchestras and music education, Droste regularly conducts all-state and region orchestras as well as other youth orchestras throughout the country.  Droste is also active as a clinician and adjudicator for school orchestras and festivals.  Believing that outreach and community engagement are important tools for the promotion of music education, Droste established a Young People’s Concert series with the OSU Orchestra.

“The MSO is a vital cultural asset for east-central Indiana, and the position of Artistic Director is a critical one in protecting and advancing the value of that asset.  Doug’s background, skills, experience and passion make him uniquely qualified to lead the MSO in the coming years”, said Charlie Sursa, MSO’s Board president-elect.

A talented violinist, Droste has performed with the orchestras of Oklahoma City, Tulsa, Nashville, Memphis, Lubbock, and the Lancaster Festival (OH). He is a former student of John Gilbert and the late Michael Davis. Droste is also skilled on viola and trumpet, and has sung with a variety of choral ensembles.

Previous positions include Music Director/Conductor of the Oklahoma Youth Symphony, and faculty positions at Austin Peay State University (TN) and Liberty Union-Thurston School District (OH). Droste studied conducting at the Pierre Monteux School, Oregon Bach Festival with Helmuth Rilling, as well as other prominent conducting seminars. His primary conducting mentors include Gary Lewis, Larry Rachleff, Michael Jinbo, David Lockington, and Jose-Luis Novo. Droste holds degrees from The Ohio State University and Texas Tech University.

About MSO

MSO is a professional orchestra that originated in 1948. The orchestra was formed to build community connections through music while giving Ball State University faculty and students an outlet to pursue musical excellence in performance.  Over the years the orchestra evolved and consists of approximately 70 musicians, including professional musicians performing in tri-state area orchestras, Ball State University faculty and students.

The MSO seeks to provide its audience with rewarding musical experiences and to promote social exchange among attendees of the musical events. As an organization that celebrates the cultural vibrancy of our local communities, the MSO uses music as a way to stimulate, transform, educate and entertain through traditional classical and pops concerts, children’s concert, chamber events, and community engagement programs.

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Johannes Brahms, 1853

Joseph Joachim, 1853, by Menzel

When I read a book it feels like I know the author just a little bit.  The more books I read by the same author, the more personal the perception of relationship becomes.  That same acquaintance is true when listening to music.  Beethoven, Mozart, Bach-their styles are well known and comfortably familiar.  I am barely an amateur musician, but when I play music and multiple pieces by the same composer it adds a depth and understanding to the experience.  So imagine the process and experience of collaborating with a composer on a concerto written for your instrument. A close friendship between composer and performer can be an intimate creative process. Such were the circumstances between Johannes Brahms and Joseph Joachim in creating Brahms’ Violin Concerto in D Major, Op. 77.

Joachim and Brahms were alike in many aspects.  They both held very high standards of music quality and artistic integrity.  Joachim is “widely regarded as one of the most accomplished violinist of his time.”  He and Brahms collaborated closely for many years. From 1881 to 1883 their friendship cooled after Joachim believed his wife was having an affair and Brahms disagreed with the suspicions in a letter written to Joachim’s wife.  She offered the letter as evidence in the divorce proceedings.

Joseph Joachim and Amalie Weiss

Had Brahms and Joachim not met in May 1853, Brahms’ Violin Concerto in D Major, Op. 77 may have never been written.  At the ages of 20 and 21 the musicians, Brahms as accompanist and Joachim as violinist, become life-long friends. In 1853, Joachim introduced Brahms to Robert and Clara Schumann, another life-changing friendship for Brahms. Brahms fell in love with Hungarian music during his friendship with Hungarian Joachim and as a result composed his well-known Hungarian Dances from 1858-1868.

Brahms’ summer in Pörtschach Austria in 1878 inspired a sketch of their most significant collaboration, the Brahms’ Violin Concerto in D Major, Op. 77, in 1878. The first performance, in Leipzig, on New Year’s Day, 1879.

In modern culture, the third movement of Brahms’ Violin Concerto in D Major has been used in film scores such as Paul Thomas Anderson‘s 2007 film There Will Be Blood including the end and main credits. The third movement was also the inspiration for the Andrew Lloyd Webber and Tim Rice song Don’t Cry for Me Argentina from the musical Evita.

Brahms’ love of Hungarian themes inspired the third movement of his concerto.  Spring Program book contains program notes for the Concerto discussing the technical side of the piece are available here.

by Judy Cowling

Sources:

http://en.wikipedia.org/wiki/Violin_Concerto_(Brahms)

Los Angles Philharmonic program notes written by Grant Hiroshima, executive director of a private foundation in Chicago and the former Director of Technology Development for the Los Angeles Philharmonic.

Arizona Theater http://www.arizonatheatre.org/atc-resources/dynamic/ed_docs/opnDrs_playguide-Brahms.pdf

Chicago Symphony

http://cso.org/uploadedFiles/1_Tickets_and_Events/Program_Notes/042210_ProgramNotes_Brahms_ViolinConcerto.pdf

The Musical Quarterly

http://www.jstor.org/stable/741978?seq=1

Johannes Brahms Violin Concerto in D Major, Op. 77: (1878)

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Photo credit Andy Snow

During the current Muncie Symphony Orchestra season staff, musicians and the Board of Directors were presented with an opportunity to seek conductors for each concert who bring with them a set of unique skills and a personal interpretation of the music.  Each of the five conductors: Rick Sowers, Sameer Patel, David Glover, Neal Gittleman and Larry Rapchak were recommended by the MSO musicians who had played under the conductor’s baton.  What I am saying is that each conductor was highly praised and heartily recommended.  If you have attended the concerts this season, you know we choose well.  The feedback from those who experienced the MSO most recent concerts has been exceedingly complimentary.

I have heard many praises of Neal Gittleman in the past 15 years from musician friends who played in the Marion Philharmonic Orchestra when Neal was Music Director there. When he moved from the Marion Phil to the Dayton Philharmonic Orchestra there was much sadness in Grant County.  Indeed, he is still missed.  Maestro Gittleman has many wonderful and innovative accomplishments in his resume.  You may read about them here and here .

One of the delights of my time in orchestra administration has been to get to know those who make the music.  We often hear about how the life experiences of the composer influenced the music she/he wrote.  A tangible human connection with those making music also adds another dimension to my listening experience.   For this reason I was searching for an intimate conversation with Neal Gittleman and came across this interview published on Saturday, October 20, 2012 in the Dayton Daily News.   I hope getting to know a little of the personal side of Neal adds to your enjoyment of the concert he will conduct on April 20^th.

You are  cordially invited to Prelude, MSO’s pre-concert talk at 6:30 p.m. in Williams Lounge (lower floor of Emens Auditorium).  The speakers will be  Mr. Gittleman and guest violinist Svetlin Roussev.

A Sunday Chat with Neal Gittleman

The first in a series of up-close and personal visits with the folks who make an impact on the arts in our region

By Meredith Moss

Staff Writer

In 1994, when the Dayton Philharmonic Orchestra was seeking a new music director, several candidates were brought to town for auditions. Audiences were then asked to fill out written evaluations on each of them.

“I remember what I wrote after Neal Gittleman was here,” says Rochelle Goldstein, a long-time DPO subscriber.  “I wrote: ‘HIRE THIS MAN!’”

The Clayton resident says she’s never been disappointed.

“Neal has re-energized the arts community and the orchestra,” Goldstein says. “He’s brought out the best in every section of the orchestra, and he’s been brilliant at outreach and in conceiving new program ideas. His Classical Connections series is great for people who would like to understand more about what they’re hearing.”

Gittleman, at ease in both his tuxedo and his Spiderman costume, is one of those local arts personalities who’s earned a special place in the heart of the community through the years. Whether he’s emerging from a coffin in a ghoul costume, visiting schools to share his love of music with youngsters, or performing his own zany lyrics in a stripped-down version of The Mikado at a Fraze Pavilion summer concert.

There is no one better to kick-off our new series of informal conversations about life as a working artist than the music director of the Dayton Philharmonic Orchestra.

THE FORMATIVE YEARS

Q: So, what kind of child were you?

A: Well, I thought I was pretty normal until my mom moved into assisted living and in going through her files I found all the early school evaluations they saved.

Q. What triggered your interest in music?

A: My mother was a public school music teacher, so there was always music in the house. I have vivid (and thrilling) memories of seeing rehearsals and performances of her chorus at Bushwick High School in Brooklyn. (The Hallelujah Chorus and “Buffalo Gals” were my two biggest favorites.). So I guess I was more or less always interested in music.

Q: Do you play instruments?

A: The instruments that I’ve been known to play are (in chronological order) piano, violin, and viola. I certainly use the piano as a tool — for score study, to accompany soloists in pre-rehearsal rehearsals, and so on.

Q: Who were influences in your life and in what ways did these people influence you?

A: It has to be five teachers: Helen Goodwin, the music teacher in Norwich, Vermont who first got me interested in the violin; Channing Kempf, a Boston-area freelance violinist who figured out how to get me from scratchy to having a real sound in a single lesson; John Mauceri, conductor of the Yale Symphony, whose joy on the podium made me think about conducting; Nadia Boulanger, who made me (and helped me make myself) into the musician (and person) that I am; and Charles Bruck, who taught me countless lessons (positive and negative) about the technique and the psychology of conducting.

One other important formative influence: watching Leonard Bernstein’s Young People’s Concerts on TV when I was kid. Probably more than anything else, that gave me the idea that classical music (and orchestral music in particular) was interesting, fun, and exciting.

Q: When did you decide you wanted to conduct and what about it appealed to you?

A: Playing in the Yale Symphony made me fall in love with the orchestra as an “instrument” and as a way of collectively making music. It also convinced me that I liked the sound of the orchestra much better than the sound of my own violin in my left ear! That got me thinking of conducting as a way to stay in orchestral music without hearing myself play.

ON BEING A CONDUCTOR

Q: What is the role of the conductor, has it changed over the years?

A: In the “bad old days” it was rather dictatorial… “My way or the highway!” Now it’s more collaborative, more democratic — at least here, in the U.S.

Q: How would you describe the relationship between the conductor and the members of the orchestra?

A: That’s the most complicated — and most interesting part — of the job. You have to lead, you have to tell people what to do and often you have to tell them to change what they’re doing. But you have to realize that the players have their own (often quite valid) ideas about how the music should go. So how you navigate the orchestra’s need for unity with the musicians’ need for individual expression is where it really gets interesting. Bruck used to tell me, “The conductor’s job is to get them to do what you want but have them feel they’re doing what THEY want.”

As far as the “relationship,” you have one relationship with the orchestra as a whole and also 83 individual relationships with the players. And that’s a delicate balancing act — the one relationship is more important than the 83. Some musicians want you to be their friend, others just want you to be the boss who lets them do their job and otherwise leaves them alone, some want no relationship at all. So it’s exactly like conducting…managing both the micro and the macro simultaneously, always listening for changes in the equilibrium, and adjusting as appropriate.

Q: What qualities do you think make a good conductor?

A: As a conductor on the podium I think the most important thing is knowing how to lead while understanding what’s it’s like to be led. Then there’s all the behind-the-scenes stuff…studying the music, thinking about and making decisions about interpretation. And THEN there’s the other stuff…planning, programming, PR, fundraising, etc.

Q: What do you look for when hiring someone new for the orchestra? Is it solely your decision?

A: Everyone who gets into the DPO (or any other U.S. professional orchestra) does so by winning an audition. Our auditions are “blind” — an Audition Committee (several musicians and me) sit behind a screen. We don’t know who the auditioner is, we don’t see them, we can only hear how they play. We have them play a selection of representative (and difficult) excerpts from standard-repertoire pieces, and we pick the person we think who plays them the best.

Once someone wins the audition, then we find out how they work in the context of the orchestra, and usually they do very well. So it’s not solely my decision. According to the audition rules of our collective bargaining agreement, the conductor gets one vote, just like everyone else. Except if there’s a tie, and then I have an extra, tie-breaking vote. And I can veto a selection. But in practice, I’ve never used my tie-breaker or my veto. At auditions, I see my job as akin to that of the foreman of a jury, and I try to help the committee reach a consensus decision.

Q: How do you select pieces for concerts?

A: I work in close collaboration with Dayton Performing Arts Alliance President Paul Helfrich and also with a program committee. The latter makes me a bit of an anomaly among conductors. Most conductors don’t want anyone meddling in their programming decisions. But I actually find the committee to be very useful, serving both as a source for good ideas that I haven’t thought of myself, and also as a sounding board for my own good and wacky ideas.

OFF THE CLOCK

Q: What do you do in your off-time?

A: Movies, books, squash, golf, tai chi, yoga. Sometimes I get to nap, too.

Q: What books are you reading and would you recommend?

A: I’m currently reading “Game of Thrones” and “Before the Dawn,” a book that explores human history in light of recent advances in research into the human genome.

Q: What are a few of your favorite pieces of music?

A: That’s so hard to answer, but here are few that come to mind immediately: Bach: St. Matthew Passion; Brahms: German Requiem; Debussy: La mer; Steve Reich: The Cave; Shostakovich: Symphony #13 (“Babi Yar”); The Beatles: A Day in the Life; The Who: Baba O’Reilly; The Rolling Stones: Gimme Shelter.

Q: What would you recommend to parents or grandparents who want their children to be interested in music?

A: Expose them to music — all kinds of music — from the moment they’re born. And not just music that comes from an electrical appliance. Sing to them. Sing with them. When to start lessons is a tricky question. If you want your child to have a chance to get really good at music, the earlier the start the better — often you find that world-class musicians started as early as age 3 or 4. But the best time to start lessons on an instrument is when the child expresses interest.

Q: Where do you spend vacations?

A: (My wife,) Lisa and I usually spend a couple of weeks each summer in Door County, Wisconsin. It’s a wonderful, peaceful, quiet place for R&R, perfect for “recharging the batteries.”

Q: Where have you traveled that you’ve liked the most?

A: One of my favorite places to visit has been Japan. I’ve been there three times — all for work. I found Japan (particularly urban Japan) an amazing and infinitely fascinating place, both very familiar and foreign-feeling at the same time.

 Q: What’s on your bucket list?

A: A round of golf at the Old Course at St. Andrews, hearing Wagner’s operas at Bayreuth, and throwing out the first pitch at a baseball game.

THE FUTURE

Q: What dreams do you have for the orchestra?

A: My dream for the orchestra — and for all the arts in Dayton — is to be a central part of the civic life of our community. To an extent, that dream is already a reality. But there are still many people who don’t think our music is “for them.” I’d love to have the chance to win them over.

Q: What are the greatest challenges Dayton faces at the moment? The arts?

A: I think Dayton’s biggest challenge is how to successfully move from the Dayton-of-the-past (built on manufacturing and big national and international companies) to a Dayton-of-the-present/future (built on something else). For the arts, thinking big-picture, it’s how to keep the arts important to people’s lives when so many children have little or no experience or exposure to the arts. Fortunately, art is very compelling and powerful. Usually you just have to get someone to get up the courage to try it and you’ve got a good chance to get hooked.

Written by Judy Cowling

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Most of the people you will see are old friends and seasoned MSO musicians.  No matter who else is on stage, conductor, choir, dancers, it is the talent and incredible dedication to music of the MSO orchestra musicians who make the music you hear.

Muncie Symphony Orchestra at Sursa Hall
February 23, 2013

All my life I have heard the term “sacrifice for missionary work”, and it is applicable in the world of the musical arts at MSO.  Sacrifice is not necessarily all monetary.  Just one example: One particular MSO employee has a Master of Music from Indiana University.  Full time employment earning a living as a musician is very rare and difficult to achieve.  This musician has one full time job, one part time job, and is a regular section musician for the three regional orchestras, Muncie Symphony, Anderson Symphony, and Marion Philharmonic.  Musicians are sent music several weeks before rehearsals begin. They are expected to know the music when they sit for the first rehearsal.

Rehearsal time can be used to plan and rehearse the tempos and dynamics that make the music as breathtaking as Beethoven’s 7^th Symphony  experienced at MSO’s February 23^rd concert.  Commonly orchestras have concerts around the same time of the year.  The next several weeks this individual’s schedule is inhuman:  Job 1: 8a – 5p, Job 2 5:15p – 6:30p, Orchestra rehearsal (including travel time) 6:45p – 11:15p.

Rehearsals for MSO’s April 20^th concert begin on April 17^th.  This season, the orchestra, the conductors and the soloists face a unique and challenging situation to bring live music to the stage.  Each is new to their role in creating an ensemble.  Ensemble performance is extremely nuanced.  Small ensembles do not as a rule have a conductor.  The musicians know intuitively and from much rehearsal how and when to change a tempo and a dynamic, and how to play together as one instrument.  Orchestras need a conductor to achieve this level of musicianship.  Ideally, the conductor and orchestra work together for many seasons and learn how to communicate to achieve beautiful music.  This season, you will see the fourth conductor of the MSO.  (And there is yet a fifth at Festival on the Green.)  The search is continuing for a Music Director/Conductor.

Neal Gittleman conducts the Season Finale Concert.  You will meet him in another post in this series.

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How does one pull off very special experience in a warehouse?  Book a great band, partner with a long-time Muncie business, decorate with lots of fabric, balloons, and color.  Offer luscious snacks, classic music of the crooners of the 20^th century and today, and of course dancing!  It’s a perfect end to Valentine’s week.

Start with the quintessential Sinatra song list, add the lyrical styling of Tony Bennett, sprinkle in the hot, contemporary horn charts of Harry Connick Jr., and then add the modern flavor of Michael Buble. The Harry Arnett Band will entice you and your friends to dance the night away!

Program

Almost Like Being in Love                                Frederick Loewe / Alan Jay Lerner

Night and Day                                                      Cole Porter
More                                                                        Alex Alstone /Tom Glazer

I Left My Heart in San Francisco                   George Cory / Douglass Cross
The Way You Look Tonight                             Jerome Kern / Dorothy Fields,

Sway                                                                        Pablo Beltrán Ruiz / Norman Gimbel
A Foggy Day                                                          George and Ira Gershwin
Georgia on My Mind                                           Hoagy Carmichael / Stuart Gorrell

Wonderful Tonight                                             Eric Clapton

Save the Last Dance for Me                               Doc Pomus and Mort Shuman

An eclectic mix of light instrumental jazz standards as well as dance classics

Guest Artists:

Muncie Power Products
Pershing Street Warehouse
Saturday, February 16, 2013
7:30 pm

342 N Pershing Drive
Muncie, IN 47305

Map & Directions

Tickets at the door:
Adults $30
$15 BSU & IVY Tech Students with ID

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Wine and Food Parings

Riesling Wine pared with Jambalaya and rice

Pinot Grigio Wine pared with Chicken Kabob’s

Chambourcin Wine pared with Spicy Meatballs

Blackberry Wine pared with Cheesecake

Traminette Wine pared with Cheeses

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There is no better experience to start the season than with the sights, sounds,  scents, textures and flavors  of the Holidays!

The MSO Holiday Show will have it all this coming Saturday afternoon at 4 p.m. in Emens Auditorium.

Enjoy  the Ball State University holiday decorations of  as you approach Emens Auditorium.  Once inside the warmth of the season will embrace you with the festive decorations of Emens Lobby.  Family and individual portraits are offered courtesy of Murray’s Jewelers before the concert.  Give us your happy holiday smiles then download the free portrait from www.munciesymphony.org.

Nutcracker

The concert offers an fun, eclectic mix of music and performers from high energy singing by the Ball State University Glee Club and dancing of the Nutcracker by the Ball State Dancers to an  intimate duet “Baby It’s Cold Outside”, to Anderson’s “Suite of Carols“ featuring the brass, strings and woodwinds of the Muncie Symphony Orchestra.

Baby It’s Cold Outside

Holidays are rich with flavors, too!  So, come to the Williams Lounge during
intermission and taste yummy cookies and lemonade.
Santa will be in Emens Lobby at intermission with candy canes for the children.

March of the Toys

 Imagine yourself a in the “March of the Toys” at the MSO Instrument Petting Zoo.
You can play instruments in Emens Lobby before the concert and at intermission.

The Little Drummer Boy

And no holiday is complete without Carols!

Charlie Brown’s Christmas

Join Andrew Crow, Muncie Symphony Orchestra, Ball State Dancers and Ball State
University Singers Glee Club on Saturday, December 1st at 4 p.m. in Emens Auditorium to
kick off the Holidays.

Andrew Crow, guest conductor

Tickets are available at Emens Box Office and Ticketmaster.  Children ages 13 and younger are admitted free.

Muncie Symphony is on

SPOTIFY

To listen to the Holiday Concert Playlist (a collection of tunes on the Holiday program) on Spotify, type “spotify:user:munciesymphony” in the spotify app search box. You can download the spotify app here.

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View Map

Mavis Hsieh, soprano

        Mavis Hsieh, soprano   Winner of several vocal competitions, Miss Hsieh also has many performing experiences in Taiwan, U.S.A. and Italy.  She was heard as Rosalinde in Strauss’ Die Fledermaus.  Other roles include Susanna in Mozart’s Le Nozze de Figaro and the First Witch in Dido and Aneas.  Her vocal education includes  Bachelor Degree from National Taiwan Normal University and Master Degree from Ball State University.  She teaches voice at Ji-eun Lee Music Academy, is soprano section leader in the First Presbyterian Church choir, and interns at Muncie Symphony Orchestra as Education and Outreach Coordinator.

Tom Schwartz, tenor

Armida
Avanesova
piano

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Language has been around for millenniums, and it is more than
the sound produced by human vocal folds.

Language is communication in many forms. Some language has no sound.

Morse Code

Cuneiform

body Language

Braille

Music is language, too.

Using rhythm, tempo, and volume music can express or evoke any emotion,
create pictures, convey stories,
 change moods, and stimulate imagination and creativity.

Rhythm

It’s very simply accomplished, really.

This Saturday, November 17, 
the Muncie Symphony String Quartet
will give FREE interactive performance presentations
demonstrating how music is language.

You can catch us at the Maring-Hunt branch of the Muncie Public Library at 2 p.m. and 3 p.m.

Then try your hand (or mouth) at musical language yourself.

After each presentation, string and wind instruments are 
available for you to make music-
or at least make sounds!  Music students from Ball State University will be there to 
help you coax as much from each instrument as you can.

Music on the Move’s Music is Language is presented by Muncie Symphony Orchestra
in partnership with Ball State University School of Music as part of MSO’s education and outreach initiatives.

We could not do this without generous support from these businesses:

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Remember when going to town for dinner and a live show was a much anticipated special event?
Can’t make it to Chicago or New York this Saturday?
No worries because Muncie Symphony has just such an evening planned for this Saturday night!

Dinner and Jazz with friends? It’s the perfect end to a warm autumn day.

Begin your evening with dinner at Vera Mae’s Bistro with fellow music lovers. Reservations available the Muncie Symphony (285-5531), but call by Wednesday afternoon 17th October.

Dinner menu:
Oyster appetizer
Pea soup
Duck Wellington
Cream pie

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