Three times is clearly a charm. The Evanston Symphony Orchestra welcomes for the third year in a row to its Holiday Concert the popular Evanston Symphony Holiday Gospel Choir led by Rev Ken Cherry. The choir will once again sing a gospel version of Handel's Hallelujah Chorus at the Dec. 10 concert at 3 p.m. at Evanston Township High School. The ESO in 2015 commissioned the orchestration of this piece, with funding from the Evanston Arts Council, so this performance and piece are uniquely and specially Evanstonian!
2018–2019 SERIES: VIRTUOSOS
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Free Pre-Concert Preview Series!
Enhance your concert experience with a sneak preview — Composers come alive and their passions take center stage when ESO General Manager David Ellis and ESO Maestro Lawrence Eckerling take you on an insider’s tour of the history and highlights behind the music.
Maestro Lawrence Eckerling and David Ellis will explore the October concert program in depth.
Friday, October 19 at 1:30 pm,
The Merion Crystal Ballroom at
1611 Chicago Avenue at Davis Street, Evanston.
FREE and open to the public.
Light refreshments will be served and casual tours of newly renovated apartments will be available after the program.
It wouldn’t be the holiday season without the sound of Christmas carols in the air. This year’s program will include traditional works like Ding Dong! Merrily on High and We Three Kings, as well as new spins on old favorites, with gospel versions of the Hallelujah Chorus and Silent Night. The latter was originally made famous by The Temptations, and this version for full orchestra and gospel choir was arranged by the Evanston Symphony’s Music Director, Lawrence Eckerling.
Founded in 1997, the Evanston Dance Ensemble’s mission is to deepen the exposure to and appreciation of dance for highly talented and committed young performers and diverse audiences in the greater Chicago area. We’re excited to have them back to celebrate the holidays with us. This year, you’ll enjoy new choreography from Bea Rashid and Christine Ernst during the Scene in the Pine Forest and Waltz of the Snowflakes from The Nutcracker.
Premieres are not necessarily auspicious events. That certainly seemed to be the case for the debut of Jean Sibelius’ Violin Concerto in D Minor — the composer’s only concerto.
As the son of a publisher and a well-read, studious fellow himself, the young Robert Schumann was interested in being a writer. When he realized his true passion was music, he instead became the only one of four brothers to quit the family publishing business, building a successful career as a composer, pianist, and music critic. Even so, he never forgot his literary roots, and showed a particular zeal for setting written works to music.
Like the Fifth and Sixth symphonies, Beethoven’s Seventh and Eighth are a set of “untwins,” contrasting works created basically side-by-side. Beethoven completed Seventh Symphony in 1812 and premiered it and his Wellington’s Victory, or The Battle of Vitoria, in December 1813 at a fund-raiser for soldiers wounded at the battle of Hanau. In between, the program featured marches by other composers where the orchestra was accompanied by a mechanical trumpet-playing machine, created by Johann Malzel, who also invented the metronome.
Ave Verum Corpus has been hailed through the years as one of classical music’s great masterworks, a testament to Mozart’s incredible ability to create powerfully emotional works. Perhaps the most impressive aspect of the motet is that it reaches this emotional depth over the course of just 46 measures and through incredible simplicity. It was once famously described by Artur Schnabel as “too simple for children and too difficult for adults.”
Symphony No. 2 in C Minor, “Resurrection,” by Gustav Mahler is as big as its name. The massive work, which the Evanston Symphony Orchestra will play in its last concert of the season on June 11, is grand in all directions: scope, intensity and length.
Gustav Mahler was born at Kalischt near the Moravian border of Bohemia on July 7, 1860, and died in Vienna on May 18, 1911. Mahler originally wrote the first movement of his Symphony No. 2 in 1888 as a “symphonic poem” entitled Todtenfeier (“Funeral Rites”). He wavered for five years about whether to make Todtenfeier the beginning of a symphony, and it was not until the summer of 1893 that he composed the second and third movements. The finale and a revision of the first movement followed in the spring and summer of 1894.
Consider for a moment the film Star Wars, one of the most popular and highest-grossing movies ever created. Now think about the film without its score. Not so easy to do, right?
The iconic music from Star Wars, which features such movements as “Princess Leia’s Theme,” “The Imperial March” and “Yoda’s Theme,” is one of the most well-known and played pieces of movie music in the world. Fortunately for film buffs, the Evanston Symphony Orchestra will be playing the suite in its entirety at its May 7 concert.