The program opens with Principal Clarinetist, Jennifer Royals performing the world premiere of Vero Beach composer, R. Michael Daugherty’s joyous Concerto for B-flat Clarinet and String Orchestra.  We all know and love the iconic ending of Tchaikovsky’s 1812 Overture, but when was the last time you heard the entire work? The piece stands out for its grand instrumentation, alternating between tension and exultation, culminating in an apotheotic finale that symbolizes resilience and the conclusion of one of the 19th century’s most defining conflicts.  The audience will take a more active role in the finale of the work, providing the cannon fire by popping brown paper bags provided by the orchestra.  To conclude the concert, Collins conducts Shostakovich’s Sixth Symphony in which the composer, to quote Leopold Stokowski, proves himself to be “a master who was constantly growing in creative imagination and musical self-confidence.”  The Sixth transports listeners into the realms of spring, joy, and youthful spirit. However, beneath the surface of its seemingly cheerful melodies lies a deeper exploration of irony.

The program opens with Principal Clarinetist, Jennifer Royals performing the world premiere of Vero Beach composer, R. Michael Daugherty’s joyous Concerto for B-flat Clarinet and String Orchestra.  We all know and love the iconic ending of Tchaikovsky’s 1812 Overture, but when was the last time you heard the entire work? The piece stands out for its grand instrumentation, alternating between tension and exultation, culminating in an apotheotic finale that symbolizes resilience and the conclusion of one of the 19th century’s most defining conflicts.  The audience will take a more active role in the finale of the work, providing the cannon fire by popping brown paper bags provided by the orchestra.  To conclude the concert, Collins conducts Shostakovich’s Sixth Symphony in which the composer, to quote Leopold Stokowski, proves himself to be “a master who was constantly growing in creative imagination and musical self-confidence.”  The Sixth transports listeners into the realms of spring, joy, and youthful spirit. However, beneath the surface of its seemingly cheerful melodies lies a deeper exploration of irony.

We kick off our 36th season with music shaped by African and African American traditions. Saint-Saëns’s Piano Concerto No. 5, written during his time in Egypt, is infused with exotic melodies and dazzling virtuosity. Gershwin and Weill both wove blues and jazz into a classical framework in their groundbreaking operas, Porgy and Bess and The Threepenny Opera, whose unforgettable tunes – like Mack the Knife and Summertime – have become standards of both the concert hall and the Great American Songbook.

We kick off our 36th season with music shaped by African and African American traditions. Saint-Saëns’s Piano Concerto No. 5, written during his time in Egypt, is infused with exotic melodies and dazzling virtuosity. Gershwin and Weill both wove blues and jazz into a classical framework in their groundbreaking operas, Porgy and Bess and The Threepenny Opera, whose unforgettable tunes – like Mack the Knife and Summertime – have become standards of both the concert hall and the Great American Songbook.

For our second Masterworks, we welcome violinist Hina Khuong-Huu, winner of the Elmar Oliveira International Violin Competition, whose expressive brilliance and fiery virtuosity will ignite Prokofiev’s darkly lyrical Second Violin Concerto. Framing the program are two vivid fairytales: Mussorgsky’s Night on Bald Mountain, a gripping, ghostly tone poem made famous by Fantasia, and Tchaikovsky’s luminous Sleeping Beauty Suite, culminating in the waltz beloved the world over. As a final touch of enchantment, we close with the glittering Waltz from Swan Lake.

For our second Masterworks, we welcome violinist Hina Khuong-Huu, winner of the Elmar Oliveira International Violin Competition, whose expressive brilliance and fiery virtuosity will ignite Prokofiev’s darkly lyrical Second Violin Concerto. Framing the program are two vivid fairytales: Mussorgsky’s Night on Bald Mountain, a gripping, ghostly tone poem made famous by Fantasia, and Tchaikovsky’s luminous Sleeping Beauty Suite, culminating in the waltz beloved the world over. As a final touch of enchantment, we close with the glittering Waltz from Swan Lake.

For our second Masterworks, we welcome violinist Hina Khuong-Huu, winner of the Elmar Oliveira International Violin Competition, whose expressive brilliance and fiery virtuosity will ignite Prokofiev’s darkly lyrical Second Violin Concerto. Framing the program are two vivid fairytales: Mussorgsky’s Night on Bald Mountain, a gripping, ghostly tone poem made famous by Fantasia, and Tchaikovsky’s luminous Sleeping Beauty Suite, culminating in the waltz beloved the world over. As a final touch of enchantment, we close with the glittering Waltz from Swan Lake.

For our third Masterworks, we asked for your vote and we have our final lineup! The program beings with Mendelssohn’s haunting  Hebrides Overture, followed by Concertmaster Leonid Sigal for a performance of Vieuxtemps’s 5th Violin Concerto—a rarely performed masterpiece by a 19th Century Belgian virtuoso. We close our performance with Tchaikovsky’s Fifth Symphony—an impassioned work that moves from angst to blazing triumph.

We close our season with three tributes, each a reflection on musical lineage and transformation. Brahms’ Variations on a Theme of Haydn, originally for two pianos, pays homage to a melody once thought to be Haydn’s. While the theme’s true origins remain uncertain, the variations echo Haydn’s discipline and craft. We welcome Karen Schubert, ACO’s principal horn, for Mozart’s Horn Concerto No. 4 – a playful, virtuosic gem, written for his close friend and brilliant horn player, Joseph Leutgeb. The second half explores transformations of piano music. Hindemith’s Symphonic Metamorphosis bursts with color and energy, reimagining Weber’s charming four-hand parlor pieces as an orchestral tour de force. In the spirit of musical evolution, Pianist Tao Lin and Maestro Amado will present selections from Weber’s original piano works, illuminating Hindemith’s ingenious craft.

We close our season with three tributes, each a reflection on musical lineage and transformation. Brahms’ Variations on a Theme of Haydn, originally for two pianos, pays homage to a melody once thought to be Haydn’s. While the theme’s true origins remain uncertain, the variations echo Haydn’s discipline and craft. We welcome Karen Schubert, ACO’s principal horn, for Mozart’s Horn Concerto No. 4 – a playful, virtuosic gem, written for his close friend and brilliant horn player, Joseph Leutgeb. The second half explores transformations of piano music. Hindemith’s Symphonic Metamorphosis bursts with color and energy, reimagining Weber’s charming four-hand parlor pieces as an orchestral tour de force. In the spirit of musical evolution, Pianist Tao Lin and Maestro Amado will present selections from Weber’s original piano works, illuminating Hindemith’s ingenious craft.