• Our Next Concert

    RODRIGO GUITAR CONCERTO

    Sun., February 4, 2018, 2:30 p.m.

    Chabrier

    Rodrigo

    Ginastera

    Moncayo

    Piazzolla

    Rimsky-Korsakov

    Bernstein

    with Jason Blair Lewis, guitar

    Jason Blair Lewis, guitar
  • ESO’s
    Share The Stage

    Share the Stage lets you sponsor a chair in the Orchestra. It’s our way of recognizing that the ESO Community is made up of Orchestra Members and Supporters.

  • Give the gift of music

    Treat a friend or relative to the ESO

    Give the gift of music by purchasing a custom gift certificate in any denomination of your choice!

2017–2018 SERIES: MUSIC FROM MANY LANDS

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Give the gift of music

Treat a friend or relative to the ESO

Give the gift of music by ordering directly from our website and purchasing a custom gift certificate in any denomination of your choice! Certificates may be redeemed for single ticket or season subscriptions for any of our concerts.

You will receive an electronic gift certificate or we can mail the certificate to you or directly to the recipient.

SHOP and Support the ESO!

Are you looking to buy a gift for someone a Amazon? Need to stock up on supplies from Amazon?

Amazon has a special program called Smile, where the company donates a small amount of your purchase to your designated charity. Once you select the ESO as your Smile recipient, just point your browser to smile.amazon.com each time you want to shop at Amazon and the Evanston Symphony will benefit. It won’t cost you a thing!

Thanks, and happy shopping.

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Musical Insights

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.

Meet our soloist, Julie Fischer, at Musical Insights. She and our Maestro Lawrence Eckerling and David Ellis will explore the February concert program in depth.

The Merion
Friday, February 2 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.

Improved Pick-Staiger Access

Breaking news (1/19/2015): Arts Circle Drive, leading up to Pick-Staiger Concert Hall, is now fully open. You can drive all the way up to the entrance now to drop people off. Both levels of the parking garage are open, with exits at the east and west ends.

If you park on the upper level, the eastern pedestrian exit is now on the same level as Pick Staiger. There are no steps at all between the parking and the concert hall, and no hill to climb.

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Sing Hallelujah!

Evanston Symphony Holiday Gospel Choir

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!

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Songs of the Season

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.

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Beautiful Ballet and Tap-Dancing Reindeer

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.

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An Epic Overture

Schumann

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.

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Beethoven 7

Beethoven

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.

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Masterful Mozart

Mozart

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.”

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Mahler's Monumental "Resurrection" Symphony

Mahler

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.

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