Johannes Brahms and Joseph Joachim: Friendship, Collaboration and Composition

 

Johannes_Brahms_1853

Johannes Brahms, 1853

Joseph Joachim, 1853, by Menzel

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

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)

 

 

 

 

POWER-ful Brass ~  not brass exactly. Think of brass as fearless, adventurous, brave, or courageous.   That is what I think of a concert in a warehouse – adventurous, brave, courageous, fearless!

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 20th 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

Holiday dinner and dance

 

Guest Artists:

Harry Arnett – Vocals
Jim Rhinehart – Keyboard
Jon Block – Bass
Gene Markawitcz – Drums
Will Frazier – Trombone
Larry McWilliams – Trumpet

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

Start Your Holiday Celebrations with MSO’s Holiday Show

holiday-pops

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.

 

 

Friends of The Orchestra at Westminster Village

Westminster Village      5801 West Bethel Avenue     Muncie, IN 47304

View Map

The premier season of the Friends of MSO Westminster Concert Series was a big success!
Many enjoyed the weekday respite with a wonderful variety of performers and programs.

You don’t want to miss the second season! 

Season Schedule
Friends of MSO at Westminster Village

Monday, November 26, 2012
Mavis Hiesh, soprano
Tom Schwartz, tenor
Armida Avanesova, pianist

Wednesday, January 9, 2013
Serenade String Quartet
David Blakley, violin
Adele Maxfield, violin
Beverly Scott, viola
Anna Thompson-Danilova, cello

February 2013     Date and Time to be announced
Outreach Brass Quintet

 Wednesday, March 20, 2013
Piano students of Liz Seidel, Piano Forte

The opening concert is Monday, November 26, 2012.

A BLAST FROM THE PAST

~Movie, Musical and Classical Tunes Kaleidoscope~

It is a perfect opportunity to recover from the Thanksgiving festivities and early Holiday shopping.

Come as you are. No ticket or reservation required.

                         

Concert Program 

Burton Lane                                Old Devil Moon from Musical “Finian’s Rainbow
                                                               Tom Schwartz, baritone 

James Horner                             Somewhere Out There from Movie “An American Tail
                                                             Mavis Hsieh, soprano Tom Schwartz, tenor 

Hugo  Peretti/Luigi Creatore    Can’t Help Falling Love from Movie “Blue Hawaii
George D. Weiss                                Tom Schwartz, baritone 

Anonymous                                 Shenandoah
                                                              Tom Schwartz, tenor 

Aaron Copland/Lowry             Shall We Gather at the River?
                                                               Tom Schwartz, tenor 

Milan Dvorak                               Etude No. 6
                                                               Armida Avanesova, piano

Fibich                                            Poem
                                                              Armida Avanesova, piano

Sasko                                            Blues
                                                             Armida Avanesova, piano

Warren                                         Chattanooga Choo Choo
                                                            Armida Avanesova, piano

Roger Quilter                               Now Sleeps the Crimson Petal
                                                              Mavis Hsieh, sporano 

F. P. Tosti                                     A Vucchella
F. P. Tosti                                     Malia
                                                             Mavis Hsieh, sporano 

Carl Nielson                                I Bear With A Smile My Burden (Danish Folk Song)

Alan J. Prater                            God of the Sparrow
                                                           Mavis Hsieh, sporano
Tom Schwartz, tenor 

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

   
        Tom Schwartz, tenor     Tom holds a Bachelor Degree from Indiana University and a Master of Arts from University of Pittsburgh. His professional career spanned 40 years teaching German in the Unites States and in Germany.  Tom’s musical experience includes opera, musicals and choral work.  Currently he sings with the First Presbyterian Church choir.  Tom delights in spending time with his two married children, a son and daughter, who are each married to Australians!  His other pursuits are gardening, photography, reading and of course, singing. Tom recently joined the Muncie Symphony Orchestra Board of Directors and has been actively involved with MSO events and programs.

Armida
Avanesova
piano

     
        Armida Avanesova, pianist      Armida holds a Bachelor of Engineering Petrochemical College and Bachelor Degree in Music Education from Music College, Baku, Azerbaijan. She started her career as an engineer and worked for a construction design company. After 7 years Armida followed her passion, music, which has become her career. Armida has been teaching music (piano) for 34 years in a public music school in Moscow region, Russia. Her favorite music style is classic jazz. She enjoys traveling and loves spending time with her two grandchildren.

 

 

 

 

Downtown Promenade ~ Dinner and Jazz

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

Patterson Block 
102 South Walnut Street
Muncie, Indiana
Just an easy walk across the street from Vera Mae’s to the
Ivy Tech Patterson Block
you will enjoy the Mark Buselli Quintet in the top floor ballroom as they present a jazz program of

Contrasting Styles

A look at two of the greatest Jazz composers of the 20th Century:
Duke Ellington – Antonio Carlos Jobim

1)      It Don’t Mean a Thing If It Ain’t Got That Swing – Ellington

2)      Wave – Jobim

3)      I Let a Song Go Out of My Heart – Ellington

4)      Desifinado – Jobim

5)      Jeeps Blues – Ellington

6)      Corcavado – Jobim

7)      Satin Doll – Ellington

8)      Triste – Jobim

9)      Mood Indigo – Ellington

10)  The Girl From Ipanema – Jobim

11)  Take The  Train – Strayhorn/Ellington

 

Mark Buselli Quintet

Mark Buselli – Trumpet/Flugelhorn
Brent Wallarab – Trombone
Scott Routenberg – Piano
Frank Smith – Bass
Greg Artry – Drums

Do you want to be there?

Concert tickets are available at the door.

For advance tickets call Muncie Symphony (765-285-5531) by 4:30 pm Friday. 

Combination tickets – $55.00 ($25 dinner/cash bar + $30 concert)

Concert tickets without dinner – $30.00 per person.

Ball State University & Ivy Tech Community College student tickets – $15.00 with ID

An Imaginary Journey

Imagin. . . the music . . . taking you on an imaginary journey . conjured up in your mind as you listen to the dynamic range of the golden flute of Mihoko Watanbe and the Muncie Symphony Orchestra perform the World Premier of a new composition by Jody Nagel .  .    .     .      .       .        .         .

“A Swashbuckling Adventure . . . From Days of Yore”.

That is just what each student in the Metal Art studio of Professor Pat Nelson did.  The myths in each part of Jody Nagel’s composition, Sea Voyage in Search of a Fairy QueenThe Enchanted Castle, The Dungeon and the Beast, The Hero’s Three Impossible Deeds, and The Battle for Virtue and the Celebration Feast were the inspiration for the sheet metal artwork will be on display in the lobby of Emens Auditorium for the concert this Saturday.

 

Metal Art by students of Pat Nelson, Professor of Art, Ball State University

 

       imagine a fairy Queen

 

Metal Art by students of Pat Nelson

                                                              imagine a hero warrior

 

Metal Art by students of Pat Nelson


                                                                                                                         imagine a mermaid  on a sea voyage………..

 

Metal Art by students of Pat Nelson

 

imagine an archer in a battle for virtue………………..

 

Metal Art by students of Pat Nelson Ball State University

                                                                                                                                                                              imagine beast in the dungeon

 

Ball State students from Pat Nelsonʼs Metals class, were challenged to design and create a figure from sheet metal that represented some of the musical characters within the concerto. The figures are mounted and displayed with a “Pied Piper” created by Pat Nelson.

Dr. Jody NagelCindee Cox, photographer

Susan Athertonʼs 4th grade music students from Storer Elementary, produced an artistic representation of the 3rd movement of Nagelʼs piece, creating a large paper diagram that illustrated the dynamic range and storyline of the music within the 3rd movement. Their artwork will be on display in the lobby of Emens Auditorium for the concert.

Dr. Nagel explains music of Part 3 from
“A Swashbuckling Adventure…From Days of Yore”.
Listen Here

MUNCIE SYMPHONY ORCHESTRA

Season Finale Concert

 A Swashbuckling Adventure

 Bohuslav Rattay, conductor
Mihoko Watanabe, flute

                             Nagel                             A Swashbuckling Adventure…From Days of Yore

   Shostakovich               Symphony No. 5 in d minor op. 47

April 28, 2012

 6:30 p.m. Pre-concert talk
7:30 p.m. Concert

 Emens Auditorium, Ball State Universtiy

 Tickets at Ticketmaster  and Emens Box Office
$18 – $30 for Adults              $5 for students and youth

.

Classical Concert March 31, 2012

Scroll down for Anna Vayman, bio and program notes

A pre-concert talk – Prelude – by Bohuslav Rattay and guests at 6:30 p.m. in Sursa Hall is free with a concert ticket.
Guests:
Peter Blume, director of the David Owsley Museum of Art
Laura Kuykendall, assistant professor of art history at Ball State University.

ANNA VAYMAN, BIO

Anna Vayman is an Associate Professor of Violin at Ball State University and a member of the American Piano Trio. A native of St. Petersburg, Russia, she has been a soloist with many orchestras in Russia and the U.S. including solo performances under the baton of Valery Gergiev, Yury Temirkanov and Gianandrea Noseda. An active recitalist and teacher, she has appeared at numerous music festivals including Togliatti Fifth International Chamber Music Festival, Russia, Pittsburg Advanced Chamber Music Seminar, PA, Great Wall Academy International String Festival, China, Aria International Music Festival, IN, Mikkele International Music Festival, Finland, Red Sea International Music Festival, Israel, Rotterdam Philharmonic Festival, Netherlands, and the Lucca Music Festival, Italy. Additionally, she has given master classes in the U.S., Russia, South Korea and China and was an adjudicator for the Great Wall International Concerto Competition, MTNA Chamber Music and Solo Competitions, Canadian National and International Stepping Stone Music competitions and Jurmala International Chamber Music Competition in Latvia. Since 2011, Anna Vayman is an Artistic Director of Benefic Chamber Music Camp at Ball State University. Before coming to the U.S. Ms. Vayman has held a prestigious position of an Assistant Concertmaster of the renowned Kirov Orchestra of the Mariinsky Theatre in St. Petersburg, Russia. She has toured internationally with the orchestra, performing at Carnegie Hall, Metropolitan Opera, Avery Fisher Hall, Kennedy Center, Hollywood Bowl, Covent Garden, Vienna Philharmonic Hall, Madrid Opera House, Santory Hall, Tanglewood Festival, Theatro La Scala and Concertgebouw among other venues.

As the violinist of the American Piano trio Anna Vayman’s performances include appearances across Midwest, the Fleisher Art Memorial Hall and Villanova University Chamber Series in Philadelphia, Interlochen Center for the Arts in Michigan and multi-city tours of leading music institutions and concert venues in Russia, Belorussia, England, Germany and South Korea.

Anna Vayman’s degrees include a Master of Music Diploma with Honors, at the St. Petersburg State Conservatory, and an Artist Diploma from the Cincinnati College-Conservatory of Music, where she was a winner of the Concerto Competition and studied with Henry Meyer, Kurt Sassmannshaus and Dorothy Delay. She has enjoyed private studies with Isaac Stern and chamber music studies with members of LaSalle Quartet and Tokyo String Quartet.

Program Notes

by Amy Edmonds

Shostakovich Violin Concerto No. 1 in a-minor, op. 77

Shostakovich began composing his first violin concerto in 1947. Times were good for the composer. He had been awarded a large apartment and generous salary in 1946, but ever wary, he feared the proverbial shoe could drop at any moment. He had good reason to worry, for Joseph Stalin had just cracked down on writers and filmmakers He knew musicians would be next, and in the following year he and Prokofiev were condemned for using “abstract” forms which could not portray Soviet ideals (i.e., “formalist” in Communist terms). Stalin wanted composers to focus instead on opera. In January of 1948, Shostakovich and the other major composers of the day were summoned to a three-day conference where party officials rehashed Stalin’s criticisms of Shostakovich’s 1937 opera, Lady MacBeth of Mtensk. The conference was designed to coerce composers into accusing each other of “formalism” (it failed) and to quash any “formalism” creeping into Soviet music (it failed, at least for Shostakovich). An observer described Shostakovich as “walking around with a bloodied soul.” Afterward, Shostakovich resumed work on the violin concerto, using the soulful tone of the violin to give voice to his artistic, political, and personal views.

The violin concerto, an abstract form with modernistic elements, would have to wait until 1955 for its premiere with David Oistrakh as the soloist. The violin, often featured in his symphonies, had already begun to represent the composer’s feelings, and in this work he was able to express his conflicting feelings on art, Soviet repression, and the Russian culture. The result is a concerto with the gravitas of a symphony and the expressiveness of an opera.

He also used this work to reference historical composers. From Alban Berg, whose violin concerto he admired, he borrowed a layering method of combining diverse musical elements. In the second movement, he uses German note names to represent his own name: D-Es (E-Flat)-C-H (B Natural) for D. Sch. Johann Sebastian Bach had done the same thing with the motive B-A-C-H. The third movement further references the music of Bach’s time by using the passacaglia theme. The fourth movement, a Burlesque, responds to the Stalinist ideal of using music to portray Russian national culture by referencing the bawdy carnivals of Shostakovich’s youth — the opposite of romanticized cultural references demanded by Stalin. He would continue this theme in his next work. Neither could be performed until after Stalin’s death.

The concerto is one of the most demanding violin concertos of the twentieth century. Shostakovich was fortunate to be able to count on renowned violinist David Oistrakh to bring to life whatever thoughts came to mind, from soaring melodies to a fiery dance in the finale.

Beethoven Symphony No. 3 in E-flat Major, op.55 (Eroica)

Longer and more complex than his (and others’) previous symphonies, the “Eroica” Symphony by Beethoven is a turning point for both Beethoven’s style and the development of music. With this work, the symphony becomes a four-movement form capable of conveying depth of thought and feeling, rather than a collection of four movements intended to delight and entertain.

Originally, the “hero” of the “Eroica” (Italian for “heroic”) was Napoleon Bonaparte, whose revolutionary spirit resonated with Beethoven’s sympathy for everyday people. But after liberating France from its monarchy, Napoleon declared himself Emporer, enraging Beethoven. Beethoven scratched out the original title, “Napoleon,” and changed it to “Sinfonia Eroica.” In 1806 it was published with the title, “Sinfonia Eroica, composed to celebrate the memory of a great man.” That “great man” could have been the heroic Napoleon of the Revolution, or Beethoven himself. In 1802 he admitted in his “Heligenstadt Testament” (written in the town of Heligenstadt) that he had been going deaf for six years.

Whatever the reframing of the title may have meant, the symphony itself is heroic, elevating the form to an ideal expression of a composers’ thoughts and inspirations rather than merely providing a diversion for the nobility. The first performance of the work was for Beethoven’s patron, Prince Franz Joseph von Lobkowitz in 1804, but in 1805 it was premiered for a public audience in Vienna.

The First Movement announces the key of the work with abrupt chords, followed immediately by a lyrical theme using the notes of the chords. As he would later do in his Fifth Symphony, Beethoven builds an entire movement from these few building blocks. Soon the theme and its rhythmic structure are thrown into turmoil with jagged slices passed around the orchestra, and accents appearing in unexpected places. This contrast between lyricism and almost violent interruptions continues throughout the movement. Each interruption makes subsequent melodious returns seem more restful by contrast. Throughout the movement Beethoven keeps the listener off-guard with a seemingly endless series of surprises, from sudden plaintive passages to a jarring chord outside of the key, which has been so authoritatively stated in many iterations throughout the movement, to a restatement of the violins’ sweet theme, this time played triumphantly by the trumpets.

The second movement is a slow funeral march, with a plaintive melody passed from the strings to the oboe and back again. Keeping with the three-part form typical for second or third movements, a contrasting middle section brings in optimistic themes. We hear hints of heroic ideals as the middle part progresses, but depression overcomes, and the funeral march returns.

The Third Movement is a scherzo, a dance-like, triple meter, three-part form that is intended to delight (“scherzo” means “joke” in Italian). The outer sections contrast lightness in the strings and woodwinds, with a hunting horn section in the middle. This movement is indeed delightful in the tradition of the scherzo, but it also occasionally references to the First Movement and it continues the pattern of jarring contrasts between soft and loud. In the past, these dance-like movements were so independent they could literally be reused in different contexts. This movement is delightful enough to hear alone but it needs the wider context of the rest of the symphony to appreciate it full

The Fourth Movement uses the variation form, and in the beginning continues the playful spirit of the scherzo, with pizzicato strings playing off of the woodwinds and then prancing through the main key in fast triplets. Later, an interplay between woodwinds and strings contrasts the serious and light elements found earlier in the work. Subsequent variations bring back the brass, representing the heroic elements found in the beginning.

Prior to this symphony, there were a few symphonies inspired by the French Revolution, but most symphonies told musical stories, not personal stories. After this symphony Beethoven continued to infuse narrative into the symphonic form, stretching it as the drama required. Significantly, others did too, and the symphony changed from a formal musical framework for diverting music to a mode of personal expression. It is thanks to this work that the symphony took on the gravitas for musical expression for the next two centuries. It is the symphonic form itself that may be the true hero in the “Eroica.”

 

Of A Most Urgent Nature

In just ten days, violinist Anna Vayman takes the stage for Romantic Hero!
a Muncie Symphony Orchestra classical concert

The concert is in the extraordinary Sursa Hall.

Sursa Hall is a musical jewel for the entire community, blending first-rate acoustical design with musical intimacy. It is designed to foster a close connection between performers and audiences, and its acoustical tuning capabilities allow performers to adjust the hall’s sound qualities to suit their individual preferences. The cornerstone of Ball State University’s Music Instruction Building is named in honor of benefactors David and Mary Jane Sursa. credit

Tickets to performances in 600-seat Sursa Performance Hall, sell out fast.
Seating is general admission.
ADULTS $ 30
Students tickets are FREE with BSU or IVY Tech Student until March 30th.
All student tickets at the door $5

Buy tickets at Emens Box Office or Ticketmaster.

Shostakovich Violin Concerto No.1 Mvt.1 – Sayaka Shoji

A pre-concert talk by Bohuslav Rattay and guests at 6:30 p.m. in Sursa Hall is free with a concert ticket.

Guests:
Peter Blume, director of the David Owsley Museum of Art
Laura Kuykendall, assistant professor of art history at Ball State University.

More detail about the MSO concert, Romantic Hero! HERE

The Westminster Concert Series



The response to the first Westminster Concert was very positive. 
The venue was packed, and the music wonderful. 
You don’t want to miss the next Westminster concert on Tuesday next week.
Come as you are. No ticket or reservation required.


The Muncie Symphony Orchestra proudly presents

The Westminster Concert Series
Athena Gretchen Seojeong Nagel, piano


February 28 at 2pm. 
at   
Westminster Village
5801 W. Bethel Avenue. 


Listen to Athena play: 
http://www.youtube.com/watch?v=YfUCBUKPx2Q

Questions? Call Cindee at 765-702-8596







Into the Wilder Blue Yonder

Spring Rattanovy Concert 
Date & Venue Change



The 7th April  date of the spring Rattanovy Concert has been changed to 17th March.

Tickets for the 7th April Concert (at Muncie Power Products Pershing Warehouse)
will be honored for the 17th March concert at the Academy of Model Aeronautics Museum.

The program entitled 
Into the Wilder Blue Yonder 
will be selections from Alec Wilder Octets.  
This jazzy, upbeat music will get your toes tapping!


Cash bar and light refreshments are available for your enjoyment.


 You get an additional bonus with the event- 3 hour childcare 
through MSO partnership with High Street United Methodist Church
It is available only for those who purchase a ticket to the concert 
$10 one child, $13 for two children from the same family. 
Childcare spots limited to 20 on first come first serve basis. 

Here are a few previews of the music!









Alec Wilder – Her old man was suspicious (1941)


Partial previews are available on Amazon. The first 14 are Alec Wilder Octets.
UA-30210983-1