Host David Osenberg joins the orchestra as they ring in the new year with light classics by Gershwin, Shostakovich, and Strauss
The Fine Print
Promotional value expires Dec 31, 2015.Limit 8/person. Valid only for option purchased. Redeem 12/31 for a ticket at venue box office. Refundable only on day of purchase. Must redeem together to sit together. Discount reflects merchant's current ticket prices, which may change. ADA seating cannot be guaranteed; contact box office prior to purchase for availability. Ticket value includes all fees.Merchant is solely responsible to purchasers for the care and quality of the advertised goods and services.
$29 for one ticket for center-mezzanine seating (up to $60 value)
$32 for one ticket for mid-orchestra seating (up to $65 value)
$35 for one ticket for front-orchestra seating (up to $75 value)
Shostakovich—Festive Overture: Brassy fanfare introduces a breakneck sonic party of balanced counter-themes, layering melodies without diminishing the sprightly tempo. And the work was written with nearly the same speed. Commissioned to commemorate the 37th anniversary of Russia’s October Revolution, Shostakovich completed his work in just three days.
Offenbach—Suite from Gaite Parisienne: Although Offenbach died in 1880, Gaite Parisienne, a ballet based on his works, didn’t debut until 1938. However, the arrangements and much of the orchestration in this suite—a light blend of waltzes, polkas, and other dances—were done by Manuel Rosenthal, a student of Ravel, and not, to the disappointment of spiritualists everywhere, by Offenbach’s ghost.
Richard Strauss—Till Eulenspiegel’s Merry Pranks: Till Eulenspiegel, an itinerant German prankster who lived by his wits, may not have lived at all, but that didn’t matter to Strauss. He paid homage to the legendary hero with this symphonic poem that employs clarinets, horns, and violas to symbolize Eulenspiegel and all the characters in his travels.
Johann Strauss, Jr.—Roses from the South: This piece exemplifies Strauss II’s skill for rendering dance music as concert music. Not only does it transform the Viennese waltz with novel structural manipulations but, in the fourth waltz, it abandons traditional structure for entirely through-composed sections.
Leroy Anderson—Bugler’s Holiday & Fiddle Faddle: Written for three trumpets, Bugler’s Holiday plays off standard bugle calls—and Anderson’s own compositions inspired by them. Fiddle Faddle, on the other hand, is a bright string composition (later rendered as a full orchestral score) written soon after Anderson was discharged from the military following World War II.
George Gershwin—Girl Crazy (A Scenario for Orchestra): The 1930 musical Girl Crazy is remembered primarily for two things—Gershwin’s inimitable score, including the timeless “I Got Rhythm,” and the Broadway debut of a then-unknown 23-year-old named Ethel Merman.