Search Results

We are passionate about bringing live classical music to as many communities as possible. This season we'll be hosting events at libraries in Wellesley, Framingham, Sherborn, and Needham. These events offer a fun, informal opportunity to showcase our instruments and music.  We are thrilled to connect with those who want to experience music up close—both for themselves and to introduce live music to friends and family. Upcoming Events in 2026 Saturday, February 28, 10am at the Needham Library with the WSO Brass Quintet Saturday, March 14 11am at the Sherborn library with the WSO Wind Quintet Saturday, April 11 11am at the Framingham Library with the WSO String Quartet Thursday April 16 2pm at the Framingham Senior Center with the WSO Trio Contact us at info@wellesleysymphony.org for information and if you have any suggestions for venues for music up close.

Aaron Copland - Fanfare for the Common Man   To bolster spirits during the hardships of World War II, English conductor and composer Eugene Goossens proposed commissioning fanfares from ten different American composers. While the ten different fanfares served their purpose, none were as captivating as Aaron Copland’s Fanfare for the Common Man . Copland was unsure whom he should write the fanfare for, initially considering American soldiers, as America had recently entered World War II. Instead, he decided to compose his fanfare for all Americans, finding inspiration in Vice President Henry A. Wallace’s speech proclaiming the rise of the “Century of the Common Man.” Goossens was so moved by the fanfare and its meaning that he insisted on the piece receiving its own special premiere: Tax Day, 1943. The day may not be such a joyous occasion to many Americans, but in response to Goossens’s suggestion, Copland had this to say: “I [am] all for honoring the common man at income tax time.”   Carlos Chávez - Sinfonía India   Born in 1899, Carlos Antonio de Padua Chávez y Ramírez was the foremost Mexican conductor, composer of concert music, and spokesperson for the country’s music. During his over six-decade career, Chávez accomplished much in promoting Mexican culture, primarily through his role as founder and musical director of the Mexican Symphonic Orchestra. Chávez was particularly motivated not only to bring Western classical music to Mexico, but also to celebrate his country by composing concert works that draws on Mexico’s rich and varied musical traditions. But from his stunning list of over a hundred works, including operas, ballets, symphonies, concertos, string quartets, solo piano pieces, and chamber works, it is his Sinfonía India  that is his most famous piece and most often performed today. The composer drew from three traditional folk songs from three different indigenous communities of Mexico: the Huicholes of Nayarit, the Yaqui of Sonora, and the Seris of Tiburón Island. As such, while the piece is performed as a single movement, it nonetheless follows the three-movement structure typical of a symphony. Chávez also incorporated Mexican folk instruments into the orchestration, including jicara de agua güiro, tenabari, cascabeles, teponaxtles, tlapanhuéhuetl, and grijutian. He states in the score that, wherever possible, the symphony should be performed with these instruments.   Serge Koussevitzky - Double Bass Concerto, Op. 3, (Movements 1 and 2) Cast your eyes to the back right side of the orchestra, behind the cellos, and you will spot the double basses. As an instrument, the double bass plays a fundamental role in providing the orchestra's lowest pitches and a rhythmic foundation for the higher voices to rest confidently upon. Because of the instrument’s supportive role in the orchestra, it is sometimes difficult to appreciate or even hear its voice during a piece. Yet, throughout the history of Western classical music, there have been bass virtuosi who have attempted to showcase the instrument’s expressive capabilities by composing solo pieces and concertos. Domenico Dragonetti (1763 - 1846) and, more recently, Edgar Meyer (1960) are such examples. It is, however, Serge Koussevitzky, music director of the Boston Symphony Orchestra from 1924 to 1949, who has provided one of the most popular concertos for the double bass. Koussevitzky employed several techniques in the concerto to ensure that the bass could be heard and in the musical foreground. The piece is in F# minor, a key that includes three of the four open strings of the bass and utilizes double stops and chords as well as the instrument’s higher register.   Aaron Copland - Lincoln Portrait   Few have so effectively and evocatively set spoken words to orchestral music as Aaron Copland in his piece, Lincoln Portrait . Commissioned by conductor André Kostelanetz, Copland was instructed to compose a musical portrait of an “eminent American.” Copland chose President Abraham Lincoln. For his portrait, Copland drew on various speeches by Lincoln, in particular his Gettysburg Address. To emphasize the grandeur, heroic, and inspiring tone of Lincoln’s words, Copland leans into the use of brass, an orchestration technique that is not that dissimilar from film composers such as John Williams and the use of triumphant brass in themes to films like Superman , Star Wars , and Indiana Jones . In countless performances of the piece, numerous eminent American figures have recited Lincoln's words, including Maya Angelou, Neil Armstrong, Judy Collins, Tom Hanks, Katharine Hepburn, Samuel L. Jackson, and former President Barack Obama. This afternoon, the Wellesley Symphony Orchestra is honored to have the President of MassBay Community College, Dr. David Podell, narrate Lincoln’s words.   Ludwig van Beethoven - Symphony No. 3, “Eroica”   Ludwig van Beethoven’s Third Symphony in Eb, the Eroica Symphony, is one of the most celebrated works in the entire symphonic repertoire. However, the initial reviews of the symphony’s premiere in 1805 were mixed. Some listeners found the symphony too long or too complicated, while others recognized its uniqueness and ambition. The symphony is indeed long; it’s twice as long as most Haydn and Mozart symphonies. In this sense, the symphony reflects two important aspects of Beethoven’s compositional thinking. The first is Beethoven’s interest in experimenting with the symphony as a form. Historians often situate the Third Symphony at the beginning of his innovative and creative “middle period.” For this reason, the Eroica  is frequently understood as an important bridge between the Classical style associated with composers such as Mozart and Haydn and the emerging Romantic aesthetic of the nineteenth century. The second has to do with the symphony’s extra-musical inspiration. Beethoven initially conceived the Eroica  as a musical portrait of Napoleon Bonaparte. For Beethoven, Napoleon was a symbol of Enlightenment ideals and meritocracy. However, as Napoleon’s political career progressed, Beethoven’s admiration soured. According to Beethoven’s assistant, Ferdinand Ries, when Beethoven showed him the first complete manuscript of the symphony, he thought so highly of Napoleon that the name “Bonaparte” was printed at the very top of the title page, whilst “Ludwig van Beethoven” was at the very bottom. Upon learning that Napoleon had declared himself Emperor of France, Beethoven reportedly reacted with fury. Betrayed by his political hero, he tore the title page from the manuscript and exclaimed, “So he is no more than a common mortal! Now, too, he will tread under foot all the rights of man, indulge only his ambition; now he will think himself superior to all men, become a tyrant!” When the score was published in 1806, it was retitled Sinfonia Eroica, composta per festeggiare il sovvenire di un grande Uomo  or “Heroic Symphony, Composed to celebrate the memory of a great man.” - James Heazlewood-Dale

WSO Music Director Mark Latham introduces our November 8 program, 2pm at Wellesley High School. Aaron Copland (1900-1990) - Fanfare for the Common Man Carlos Chavez (1899-1978) -   Sinfonia India Koussevitzky Double Bass Concerto . Movements 1&2, featuring Young Soloist Contestant Maereg Million Aaron Copland - Lincoln Portrait , Dr. David Podell, Narrator Ludwig van Beethoven (1770-1827) - Symphony No. 3 - Eroica

It's not easy to play the sleigh bells. Take it from percussionist Harry Woodell. There's more to sleigh bells than, well, sleigh bells. See the results of his dedicated practicing (and the rest of the Wellesley Symphony Orchestra) with special guests Fireside Quartet  on Saturday, Dec. 6 at 2 p.m. at MassBay Community College.

The Wellesley Symphony Orchestra is pleased to announce that David Podell, President of MassBay Community College, will narrate the orchestra’s upcoming performance of Aaron Copland’s Lincoln Portrait  on Sunday, February 8 at the Wellesley High School Auditorium. David Podell, Ph.D. is the sixth president of Massachusetts Bay Community College, joining MassBay in July 2016.  A long-time academic leader and scholar, Dr. Podell’s passions have focused on expanding higher education access and providing high quality educational opportunities to help students advance their academic goals, advance their careers, and enrich their lives. “We are very pleased to welcome Dr. Podell to the stage,” said Carol Davidson, President of the Wellesley Symphony.  “David Podell is a strong supporter of the Wellesley Symphony; we could not ask for a better partner towards our mission of promoting and introducing classical music of diverse composers to a broad audience throughout MetroWest and beyond.” Lincoln Portrait , composed in 1942, combines Copland’s stirring orchestral music with excerpts from Abraham Lincoln’s speeches and writings. The work has become a celebrated piece of Americana that honors Lincoln’s legacy of democracy and freedom.  Dr. Podell adds: “I am moved by the beauty of Copland's music and the power of Lincoln's words.  To me, Lincoln Portrait  couldn't be more timely.” MassBay serves approximately 6,000 students from the greater Boston and the Metrowest region on campuses in Wellesley Hills, Framingham, and Ashland.  Through transformative education, MassBay contributes to the growing regional economy and cultivates the potential of their students, empowering them to thrive in our local and global communities Now in our 77 th  season, the Wellesley Symphony is the orchestra-in-residence at MassBay, directed by Mark Latham.  The Symphony presents six concerts from October through May and performs at MassBay’s Spring Commencement. The concert will take place at Wellesley High School at 2pm, Sunday, February 8.  In addition to Lincoln Portrait, the orchestra will perform Sinfonia India by Carlos Chavez and Ludwig van Beethoven’s Symphony No. 3 – Eroica.

We’re thrilled to welcome back the Fireside Quartet to our December 6 holiday concert.  The quartet was kind enough to sing an invitation, so you should definitely attend!  The Fireside Quartet puzzles over a memo from marketing. . . . We had a few questions for the group: How did you get together? Fireside was formed in 2013 when lead David Adams moved to Lowell, MA, to become a professor in the UMass Lowell Dept. of Computer Science.  Tenor Jesse had already been a professor on the UMass faculty there since 1984, and David and Jesse had previously met and sang together at academic conferences. Jesse approached his friend, bass Daniel Schwartz, about forming a new quartet with David, and Daniel quickly assented and invited his friend, baritone Manoj Padki, to round out the quartet.  Our first get-together was on August 26, 2013, and we’ve been together ever since.  The highlight of our quartetting was taking first place at the 2017 Boston Regional Harmony Sweepstakes.  That victory earned us a trip to California to compete in the national finals. How did you connect with Mark Latham? Emily Easterling, the Director of the Clinton (MA) Parks and Recreation Dept., contacted my chorus, The Gentlemen Songsters of Lowell, MA, in 2017, requesting a group to perform on their December  Holiday Pops concert.  The chorus was unavailable, so the chorus manager asked me if Fireside might be available.  We were, and that’s when we met up with Mark, Director of the New Hampshire Philharmonic Orchestra. How would you describe barbershop singing? First and foremost, barbershop is 4-part a cappella singing.  The barbershop style is distinguished by the fact that the lead, which most often sings melody, is the 2nd tenor, not the 1st.  The 1st tenor typically sings above the lead, while the bass provides the foundation to the sound and the baritone fills in the chord structure. Barbershoppers are always striving to achieve “lock and ring,” which is precise tuning to generate overtones.  This is done by using “just intonation” tuning rather than “equal temperament.”  The latter is the tuning used for a piano (to allow it to play in tune in any key), while the former uses mathematically “pure” intervals that complement each other more precisely and thus generate more overtones. In addition to precise tuning, barbershoppers strive for a “unit sound” characterized by coordinated entrances, cutoffs, swipes, dynamics, and overall balance.  The sound is brighter than some other choral styles, because the singers use less vibrato and sing more forward than classical vocalists. This will be your third appearance with us.  What did you think of the previous appearances? We loved every single one of them! :)  Although we are, by definition, primarily a cappella singers, it is a real treat to sing with an orchestra.  Mark has done a wonderful job adding orchestrations to some of our songs, and we truly enjoy how those orchestrations complement the arrangements that we sing. What will you be singing for us on December 6?   Feast of Lights Medley (three Chanukkah songs, with the orchestra) I Want a Hippopotamus for Christmas (a fun crowd-pleaser, a cappella) Better Than I (from Joseph, King of Dreams, a cappella) Mary, Did You Know? (classic Christmas song, with the orchestra) - - - - - - - - - - - - - You can find out more about the Fireside Quartet on their website.  Fireside Quartet Please join us for our Holiday Concert, Saturday December 6 @2pm at MassBay Community College in Wellesley .  Skip past the crowd at the ticket table and buy your tickets in advance at Wellesley Symphony Orchestra     We’re minutes away from great shopping and dining in Wellesley Square.  Parking is free and plentiful at MassBay and tickets are pay-as-you-can.

The Wellesley Symphony presents its 2025 Holiday Concert featuring the Fireside Barbershop Quartet. We'll have some old favorites and lesser performed winter and holiday works. Join us for this fun holiday concert at MassBay in Wellesley. Easy to get to, easy parking, and minutes from great dining and shopping in Wellesley Square. Tickets at https://app.arts-people.com/?show=297273

Capriccio Italien   Pyotr Ilyich Tchaikovsky (1840 - 1893)   Capriccio Italien  was first performed on December 18, 1880, in Moscow by the Orchestra of the Imperial Russian Musical Society with Nikolai Rubinstein conducting.   Pyotr Ilyich Tchaikovsky’s late thirties were marked with misfortune and grief. In 1877, he separated from Antonina Miliukova after a mere six weeks of being married, and his father passed away in January 1880, less than one year after the twenty-fifth anniversary of his mother’s death. Depressed and eager to escape Russia’s harsh winter, Tchaikovsky travelled to Rome with his brother, Modest. The composer had been to Italy twice before and was one of his favorite destinations; however, on this particular visit, the brothers happened to be visiting Rome during Carnival. Inspired by the sights and sounds of the festival, he began composing Capriccio Italien , drawing from the street music surrounding them and the collections of music he studied while in the city. The piece begins with one of the very sounds that Tchaikovsky heard every morning in his hotel: a bugle call that came from the barracks next to the hotel. Tchaikovsky was confident that his Capriccio Italien  would be successful, as indicated in a letter written to Nadezhda von Meck, his longtime friend and devoted patron: “It will be effective, thanks to its delightful tunes, some of which were chosen from collections, and some of which I heard myself on the streets.” Indeed, he was correct, as the piece was performed again in the same month due to popular demand.   Symphony No. 3, The Sunday Symphony   William Grant Still (1895 - 1978)   Symphony No. 3 was first performed on February 12, 1984, by the North Arkansas Symphony Orchestra with Carlton R. Woods conducting during the William Grant Still Festival.   Many new symphonic works during the mid-twentieth century explored increased levels of dissonance, aleatoricism, and the avant-garde, exemplified by composers such as John Cage, Pierre Boulez, and Karlheinz Stockhausen. It is for this reason that William Grant Still’s Symphony No. 3 stands as an important contrast within this mid-century period of Western classical music. Despite commissions for new works and funding to support orchestras drying up in post-war America, and inspired by his deep religious fervor, in 1958, Still composed The Sunday Symphony . This symphony portrays the spiritual rituals on Sunday for a worshiper of God. As with his other symphonies, the symphony is programmatic, and this is reflected in the differing moods of four movements: “The Awakening - Moderately fast,” “Prayer - Very slowly,” Relaxation - Gaily,” and “Day’s End and a New Beginning - Resolutely.” The Sunday Symphony  was Still’s last symphony and, sadly, the only one he never heard performed by a live ensemble.   Piano Concerto No. 1 in B♭ minor Pyotr Ilyich Tchaikovsky (1840 - 1893) Soloist, Taige Wang, piano   Piano Concerto No. 1 in B♭ minor was first performed on October 25, 1875, in The Boston Music Hall with Hans von Bülow as the soloist and Benjamin Johnson Lang conducting.   The story of Tchaikovsky's first piano concerto is a favorite among music historians, and it is one of self-belief and triumph in the face of dismissal. On Christmas Eve, having completed his first piano concerto, Tchaikovsky visited the piano player Nikolai Rubinstein, who at the time was among Russia's most prominent pianists and revered conductors, in the hopes of having the piano concerto become part of the standard piano repertoire. Tchaikovsky sat down at the piano and played his concerto to Rubinstein. However, Rubinstein’s response to the piece was, to put it mildly, not as Tchaikovsky had hoped: I stood up and asked, "Well?" Then a torrent poured from Nikolay Grigoryevich's [Rubinstein’s] mouth, gentle at first, then more and more growing into the sound of a Jupiter Tonans. It turned out that my concerto was worthless and unplayable; passages were so fragmented, so clumsy, so badly written that they were beyond rescue; the work itself was bad, vulgar; in places I had stolen from other composers; only two or three pages were worth preserving; the rest must be thrown away or completely rewritten... I left the room without a word and went upstairs. In my agitation and rage I could not say a thing. Presently R. enjoined me, and seeing how upset I was he asked me into one of the distant rooms. There he repeated that my concerto was impossible, pointed out many places where it would have to be completely revised, and said that if within a limited time I reworked the concerto according to his demands, then he would do me the honor of playing my thing at his concert. "I shall not alter a single note," I answered, "I shall publish the work exactly as it is!" And that is exactly what Tchaikovsky did. Tchaikovsky then approached the German pianist, Hans von Bülow, who was about to embark on a tour of the United States, to perform the piece. It is for this reason that the actual premiere of the concerto took place not in Russia or anywhere else in Europe, but in this very city, in The Boston Music Hall, the original home to the Boston Symphony Orchestra until 1900. It has also been suggested by historians that, knowing the debut performance would be in a concert hall far away from Russia, Tchaikovsky would be spared from any public humiliation should Rubinstein have been correct in his assessment of the work. To the delight of Tchaikovsky, Rubinstein was wrong. The concerto received enthusiastic praise from the audiences at the Boston premiere, and it was insisted that Bülow repeat the concerto's finale. Tchaikovsky's wish for the piano concerto to enter the piano repertoire came true. The concerto has received countless performances across the world from pianists and orchestras throughout the twentieth and twenty-first centuries, with recordings of the concerto made by Sviatoslav Richter with the Vienna Symphony Orchestra in 1962, Claudio Arrau with the Boston Symphony Orchestra in 1979, and Lang Lang with the Chicago Symphony in 2014. ~ James Heazlewood-Dale

Featuring Young Steinway Artist, Taige Wang , playing Tchaikovsky's Piano Concerto No. 1. Pyotr Ilyich Tchaikovsky (1849-1893) - Capriccio Italien William Grant Still (1895-1978) - Symphony No. 3, The Sunday Symphony Pyotr Tchaikovsky - Piano Concerto No. 1, Taige Wang, piano

September 28, 2025 at 2pm, MassBay Community College, Wellesley - - - - - - - - - - - Margaret Brouwer (1940 - )  Path at Sunrise, Masses of Flowers In celebration of their 75th anniversary, the Cleveland Women’s Symphony, with funding from the 2009 Commissioning Music/USA Award from Meet the Composer, commissioned Margaret Brouwer to mark the occasion. The Michigan-born composer is recognized as one of the important voices in contemporary classical music. The New York Times  has described her music as “inhabiting its own peculiarly bewitching harmonic world,” a quality clearly heard in the commissioned work and today’s concert opener, Path at Sunrise, Masses of Flowers . The piece is an eight-minute, one-movement work that, as Daniel Hathaway of ClevelandClassical observed, “leaves colorful sounds ringing in the ears.” Brouwer has offered her own guidance to listeners: "Visualize walking down a path in the quiet of early morning at sunrise. The sun gradually rises on masses of flowers planted closely - jumbled together in a profusion of vibrant and delicate colors and myriad textures. Picture walking through this beauty with a mix of personal emotions - sadness - acceptance - gratitude - and appreciation for the beauty of the flowers and the sun." Brower's resume boasts numerous awards (American Academy of Arts and Letters, Guggenheim Fellowship, National Endowment for the Arts, and Rockefeller Foundation's Bellagio Center), performances across the world by symphonies (Detroit, Dallas, Royal Scottish Symphony Orchestra, and Poznan Philharmonic), and educational positions in composition at prestigious institutions (Head of the Composition Department at the Cleveland Institute of Music, the Rockefeller Foundation's Bellagio Center, and Charles Ives Center for American Music). Alan Hovhaness (1911 - 2000)  Symphony No. 1 , Exile Among the many cultures that have contributed to Boston’s multicultural landscape is the Armenian community. Alan Hovhaness, the second composer on this afternoon’s program, embodies both that heritage and the long tradition of Western classical music in Boston. Born in Somerville, Massachusetts, his father, Alan Vaness Chakmakjian, was a chemistry professor at Tufts University, and his mother, Madeline Scott, graduated from Wellesley College. Obsessed with music at a very young age, Hovhaness began composing as early as the age of four; his first composition was said to have been inspired by a Franz Schubert song. Despite his parents' concerns over the precarity of music as a vocation, his interests persisted, and he began studying composition seriously, first at Tufts University and then at the New England Conservatory. While immersing himself in the study of Western classical music, he never forgot his Armenian roots. Across his prolific output of hundreds of works, one hears the influence of Armenian folk melodies (Armenian Rhapsody No. 1), distinctive Armenian modes and rhythms (Concerto No. 7 “Ughlu”), and depictions of Armenian culture, dance, and figures (Lady of Light). This influence is especially evident in his First Symphony, the Exile Symphony . The piece is dedicated to the memory of the thousands of Armenians who perished during the Ottoman Turkish occupation in World War I, including his own grandparents. On December 6, 1942, at the age of 31, Hovhaness’s symphony, a sonic memorial to his Armenian ancestry, premiered in the United States by the NBC Symphony Orchestra under the baton of Leopold Stokowski. Dimitri Shostakovich (1906 - 1975) - Symphony No. 5 On November 21, 1937, the Leningrad Philharmonic Orchestra performed Dmitri Shostakovich's Symphony No. 5 in D minor. What ensued at the conclusion of the performance was an eruption of applause that was said to have lasted around 30 minutes. This was no ordinary performance, not only due to the overwhelmingly positive response from the crowd, but it also marked Shostakovich's return to the good graces of the oppressive Soviet government. Less than a year earlier, he had withdrawn his Fourth Symphony, widely believed to be the result of political pressure in a repressive climate. Despite the symphony's appeal to both the public and the authorities, it was still met with suspicion. Two officials doubted the sincerity of the ovation, even suggesting that the audience had been filled with planted supporters of Shostakovich. Yet, despite such suspicions, Shostakovich's Fifth Symphony has endured as one of his most celebrated and frequently performed works. It was only years later, free from the dogmatic scrutiny of the Soviet regime, that its deeper statement came to light. Musical quotation is the vital clue to Shostakovich's musical puzzle. In the last movement, Shostakovich quotes his earlier work "Vozrozhdeniye ," a setting of "Rebirth"  by the great Russian poet Alexander Pushkin, conveying a message about artistic autonomy in the face of political repression. At the time of writing that poem, Pushkin himself was grappling with exile and censorship at the hands of the authorities. Audiences familiar with the musical connotation could read Shostakovich’s hidden message. Throughout the four-movement work, various motifs appear and repeat in various forms. Of note is the opening melody played by the first violins. Shostakovich offers fifteen variations in both the first and third movements. One of the most climactic moments of the symphony occurs in the fourth and final movement. Evolving out of a slow funeral dirge in D minor is a modulation to a bright and uplifting D major. Given the symphony's hidden meaning, perhaps this is Shostakovich's declaration that, in spite of oppressive regimes, art will triumphantly prevail. Yet the true significance of this ending continues to spark fierce debate among music historians and analysts. James Heazlewood-Dale

Our first concert of this season is on September 28 @2pm at MassBay Community College in Wellesley. We're presenting 3 great works: Margaret Brouwer (1940 - ) Path at Sunrise, Masses of Flowers Alan Hovhaness (1911 - 2000) Symphony No. 1, Exile Dimitri Shostakovich (1906 - 1975) - Symphony No. 5 In this video, Music Director Mark Latham introduces the music and what inspired the composers to create them.

Our 2025-2026 season is full of musical treasures old and new, including Shostakovich's epic 5th symphony, Tchaikovsky's iconic Piano Concerto No. 1 featuring Young Steinway Artist Taige Wang, Beethoven's Eroica , women composers for Women's History Month, music of Pierné and Debussy, featuring our own Emily Richardson, Copland's Lincoln Portrait, and a commissioned piece in memory of our clarinetist and board member, Dianne Mahany. All that along with our holiday concert and winner of the Michael H. Welles Young Soloist Competition. Join us! Join our mailing list to receive the latest concert information by clicking the link on our home page or email us at info@wellesleysymphony.org September 28, 2025 - "Dissent and Beauty" Margaret Brouwer - Path at Sunrise, Masses of Flowers Alan Hovhaness - Symphony No. 1, Exile Dmitri Shostakovich - Symphony No. 5 Sunday, November 2, 2025 - "Remembrance" Pyotr Tchaikovsky - Capriccio Italien William Grant Still - Symphony No. 3 - The Sunday Symphony Pyotr Tchaikovsky - Piano Concerto No. 1, Taige Wang, piano Saturday, December 6, 2025 - HOLIDAY CONCERT! Featuring the Fireside Barbershop Quartet and holiday favorites Sunday, February 8, 2026 - "We the People" Carlos Chavez - Sinfonia India Aaron Copland - Lincoln Portrait Ludwig van Beethoven - Symphony No. 3 - Eroica Sunday, March 22, 2026 - "Women Compose! - A Symphonic Celebration of Women's History Month Featuring the winner of the Michael H. Welles Young Soloist Competition Mark Latham - Elegy in Memoriam of Dianne Mahany Compositions by: • Margaret Bonds • Vitaslava Kapralova • Lili Boulanger • Katherine Hoover • Lera Auerbach Sunday, May 10, 2026 - "DANCE!" Samuel Coleridge-Taylor - Four Waltzes Gabriel Pierné - Concert Piece, Harp, Op. 39 Claude Debussy - Dances Sacres et Profanes, Emily Richardson, Harp Alberto Ginastera - Estancia: Four Dances Igor Stravinsky - Petruchka