PROGRAM Saturday, Jan. 31, 2009

Johannes Brahms (1833-1897) Violin Concerto in D Major, Op. 77

Allegro non troppo Adagio Allegro giocoso, ma non troppo vivace - Poco piu presto

GarethJohnson, violin

INTERMISSION

Aaron Copland ( 1900-1990) Clarinet Concerto

Stojo Miserlioski, clarinet

Franz Liszt (1811-1886) Concerto No. I in E-flatMajor, S.124

Allegro maestoso Quasi adagio Allegretto vivace -Allegro animato Allegro marziale animato

Jose Menor, piano

PROGRAM Gareth JOHNSON

Gareth Johnson is a graduate student at He has helped students throughout the Lynn University Conservatory of America understand that with hard work, Music studying with violin artist-faculty commitment and focus, they, too, can Elmar Oliveira. He has been invited to achieve their dreams. Many people are perform throughout the United States, astonished at the fact that in addition to Europe, Asia and the Caribbean- not his talents as a classical violinist, he is a only rendering recitals and being pre­ devoted composer I arranger and per­ sented as soloist with major orchestras, former of New Age/ Classical styles of but also as an articulate, enthusiastic and music. creative presenter for the purpose of "keeping the classics alive and well into In November, Johnson's new CD, the 21st century." Storytelling, will be marketed throughout the United States.

JOHNSON stojo MISERLIOSKI

Stojo Miserlioski was born in Prilep, private lessons with world-renowned clar­ Macedonia. He first started playing inetists: Nicolas Balderou; Petko Radev; clarinet at 11 with Professor Buzeski Franc Cohen; Gregory Smith; Jonathan Dragoljub at the Primary School of Cohler; Ante Grgin; and Daniel Silver. Music in Prilep. He continued his studies with Professor Tatarcevski Pande at the In 2003 Miserlioski attended Interlachen High School for Musical Alts in Bitola, Summer Camp in Michigan. Macedonia. Miserlioski joined the Lynn University During his four years of high school, he Conservato1y of Music in 2005, and is won many national and international cmTently working toward an undergrad­ competitions both for solo clarinet and uate degree in music pe1f01mance with chamber music, namely: National clarinet artist-faculty Jon Manasse. Clarinet Competition 2002 (Skopje, Macedonia); National Chamber Music Competition 2003 (Shtip, Macedonia); Sofia International Chamber Music Competition 2003 (Sofia, Bulgaria); and International Clarinet Competition 2004 (Lazarevac, Serbia). He also has pa1ticipated in many master classes and

MISERLIOSKI Jose MENOR

Born in Sabadell, Spain, Jose Menor Barcelona in 1996 as a first-prize winner at studied piano, composition and conduct - the "El Primer Palau" series. ing in Barcelona, and then pursued studies at the Royal College of Music in London, Recent engagements include perfo1m­ Yale University and the Aspen Music ances with the Barcelona Symphony Festival. He has worked with renowned Orchestra, and Orquestra Simfonica de! professors and concert pianists including Valles, and recital tours in the United Ann Schein, Claude Frank, Stephen Kingdom, Spain, the United States and Hough, Kevin Kenner and Cristina Ortiz. Canada. His performances have been recorded by Spanish national radio and At age 15, Menor perfo1med at New television, Radio Canada, CNN, Finnish York's Carnegie Hall (Weill Recital Hall) Broadcasting Company, ABC Classics as a first-prize winner of The World Piano FM (Australia) and others. Competition, young artists division. Finalist of the YCAT auditions in London He is enrolled in the Professional (2004) and winner of both national and Performance Certificate program at Lynn international competitions, Menor has University studying with piano artist­ appeared as a soloist both in Europe and faculty Roberta Rust. the United States, since he made his recital debut at the Palau de la Musica in

MENOR PROGRAM NOTES By Dr. Barbara Barry, Head of Musicology

Violin Concerto in D Major, Op. 77 Johannes Brahms (1833-1897)

Brahms' violin concerto is the outcome of followed by the violin conce1to for Joachim a remarkable long fiiendship and musical in 1878. collaboration with the violinist Joseph Joachim. Like the contrast of intensity and lyiicism between the first and second symphonies, Brahms first met Joachim on a concert tour the first movement of the violin conce1to of northem Geiman cities in 1853- a captures that same internal contrast of momentous year in Brahms' life, as it mood and keys. After an opening unhar­ brought him to a wider public awareness monized layout of the D major chord, the through the publication of Robert orchestra presents a synopsis ofthe musical Schumann's famous review of Brahms as ideas that will be developed in the move­ the most impmtant new composer. ment- the unexpected tum to the key of B-flat major; a full, broadly scored first Brahms' fiiendship with Schumann and his subject based on the t:Iiad; and a second wife Clara was to be another vital strand in subject group consisting of twu ideas: a his personal relationships and professional contrasting, softer lyiical melody and a work, as Brahms wrote one of the move­ strongly aiticulated dotted figure. ments in the violin sonata for Joachim on the motto F-A-E ( frei aber einsam - free The slow movement opens with one of but lonely), the other two movements Brahms' most beautiful and lyiical lines, written by Schumann and Albeit Dietrich. presented by oboes and bassoons, then taken up by the violin solo in the strato­ In the 1870s Brahms turned his attention sphere, floating above, then descending to to the major instmmental forms of sym­ exchange phrases of dialogue with the phony, string qua1tet and conce1to1 the orchestra. At the center of the movement is forms to which Beethoven had made such an elegiac nan-ative in the minor mode, powerful conttibutions, and now Brahms, which gradually dissolves out to allow the in turn, was ready to ·write his own large­ return of the expressive opening line, spun scale works. After the "Variations on out with graceful decoration in the solo a Theme by Haydn" (also known as the violin. By an exquisite symmetry, at the "St Anthony Chorale Va1iations") Brahms end of the movement the violin ascends to wrote the first two symphonies in 1876 and its highest register and is suspended there 1877- a contrasting pair of dark, brooding till the music dies away. intensity and more open, relaxed style-

r\JOTES The finale is in Brahms' "gypsy style" that drives the movement and impels it ("style hongrois") also found in the toward the coda, which is the final section Hungarian Dances and the finale of the G of the movement. ln the coda solo violin minor piano quartet, op. 25. Whereas the and orchestra combine forces for an slow movement of the con~erto empha­ exciting conclusion, but surprisingly, just sized the violin's l)'lical qualities, in the before the last bars of the movement, finale the solo violin emphatically leads Brahms pulls back the tempo to end the with a strongly aiticulated rhythmic figure, work with two magisterial chords. repeated by the orchestra. This figure provides a sense of forward momentum

Clarinet Concerto Aaron Copland (1900-1990)

Aaron Copland was a major 20th century composer who, like Leonard Bernstein The Concerto for Clarinet and String and George Gershwin, wrote in a range of Orchestra with Harp and Piano (1950), to different styles- Broadway, ballet, film as give it its full title, is another crossover well as classical genres- in an eclectic mix work. Commissioned by the f.unous jazz of energy and vitality that would be charac­ clarinetist Benny Goodman, Copland teristic of American composers. incmporated jazz elements into the work. It has an unusual form- unlike the Born to Russian Jewish pai·ents who had customary three movements for a moved to New York, Copland showed concerto, it is in two movements, the first early talent at the piano. At age 17, he slow and reflective, followed by an exten­ began theory and composition lessons sive unaccompanied cadenza- a long, with Rubin Goldmark, but the main influ­ improvisatory section which traditionally ence on his development was his study in occurs near the end of a first movement of Paris with Nadia Boulanger, who helped a concerto, but here is both the link Copland develop his own style and also between the slow first movement and the provided opp01tunities for Copland to fast second movement, and also a written meet other composers and study the music out rhapsody which is part reflection, part of Faure, Mahler and Stravinsky, whom he anticipation ofmusical ideas that will come particularly admired. in the second movement, and part demon­ ln the late 1930s and '40s, Copland started stration of the surprisingly different writing his popular American ballets­ sounds of the clarinet's lower and upper Billy the Kid (1938), Rodeo (1942) and registers. Appalachian Spring ( 1944 )- with their combinations of American popular The first movement's character is reflec­ melody, pounding dance rhythms and tive, with a slow harmonic rhythm, and the modern tonal language. suspensions across the barline and use of

NOTES the harp recall the sound of the French altemating bars of 3/ 4 and 2/ 4, the final composer Etic Satie in his Gymnopedies. section - Ritmico Vigoroso - dtives for­ After the free-ranging cadenza, the second ward in a complex interplay between the movement is faster and more rhythmically clarinet and the orchestra, but Copland pointed, using the clatinet'~ shaiper­ pulls back the tempo in the last pages ofthe sounding upper register, which is used in movement for the strong, declai·atory jazz, and with the use of pizzicato strings in flourish -with which the work ends. the middle of the movement. Using

Piano Concerto No. 1 in E-flat Major, S. 124 Franz Liszt (1811-1886)

Liszt was one of the key figures of the heard another musician who would Romantic petiod, with connections to make a profound impression on him, Chopin and Berlioz, and later in the 19th the acclaimed violin virtuoso Niccolo century, to Wagner. (Liszt was, in fact, Paganini. From Paganini's example, Liszt Wagner's father-in-law, as Wagner married developed an even more electrifying Liszt's daughter Cosima von Billow). technique in the Et11des d'execution transcendente d'apres Paganini (1938-40), A heroic, larger-than-life figure, Liszt based on Paganini's caprices for solo vio­ showed extraordinary and prodigious lin, and Paganini also influenced Liszt by talent on the piano as perfo1mer and his powerful stage presence. Liszt, as improviser, and an astonishing sight reader a young man, developed the Romantic as a young boy, playing a conce1to at age 9. persona with his long black hair which later His father took him on conceit tours, became a white mane. He played the entire which spread his reputation, and Liszt repertory from Bach to Chopin as well as studied piano with Carl Czerny, who his own works in more than l,000 concerts refused to take any money for the lessons, in his concert tours of the 1830s and 40s. as did Antonio Salieri, who taught him Clara Schumann said: "He can be com­ counterpoint and score reading. Czerny's pared to no other player. .. he arouses tuition would become the basis of Liszt's fright and astonishment. He is an original." fo1midable piano technique, making the young Liszt learn everything from memory Liszt started work on the first piano and read many works by sight. concerto in 1835, but the work did not assume its final form for almost 20 years. Paris in the 1830s was the center of Its first performance was in 1855 in musical life for many expattiates like Weimar, with Liszt playing the piano part Chopin, Hiller and Liszt himself as well as and Berlioz conducting, and is in four for the great French Romantic composer movements. The first movement opens Hector Berlioz with whom Liszt had a long with a strong orchestral figure followed by and warm friendship. In 1832 Liszt a piano flourish in double octaves, with

NOTES Liszt recalling the opening of Beethoven's broken by an urgent figure, but this abrupt Emperor concerto (in the same key of interruption subsides for the movement to E-flat major), only more martial in tone. close on a tender ending with delicate Uniquely to Liszt, he gives the piano figuration and trills in the upper register of opportunities to play solo, as if meditating the piano. The slow movement leads aloud in the midst of the concerto, as he directly into the allegretto vivace, a playful, does after the piano's first entry and then in scherzo-like movement, emphasizing the combination with the orchestra with the rapid delicate figuration and runs Liszt had reflective lyrical second theme. Liszt's made famous, and referring back to the opposite musical personalities of poetry martial theme of the first movement in an and virtuosity alternate and contest the unmistakable quotation. ground throughout the movement. The finale retums to the martial character The second movement takes us into a of the first movement, transforming the realm of inwardness, the piano entering opening movement's principal theme. Like with lyrical and delicate figuration in the the first movement, the finale alternates right hand over an extended left hand between different characters, the highly broken chord pattern (Alberti bass). ornate piano writing and the strongly Suddenly, there is a dramatic call to atten­ articulated, which Liszt combines in a tion, in which the mood of lyrical calm is magnificent conclusion to the work.

NOTES PROGRAM Sunday, Feb. l, 2009*

Sergei Rachmaninoff ( 1873-1943) Rhapsody on a Theme of Paganini in A minor, Op. 43

Marina Stojanovska, piano

Ludwig van Beethoven ( 1770-1827) Piano Concerto No. 3 in C minor, Op. 37

Allegro con brio Largo Rondo. Allegro

Valeriya Polunina, piano

INTERMISSION

Antonin Dvorak ( 1841-1904) Cello Concerto in B minor, Op. 104

Allegro Adagio, ma non troppo Finale: Allegro Moderato-andante-allegro vivo

Jonah Kim, cello

'Sunday concffts include a pre-concert lecture at 3 p.m. by Dr. Barbara Barry, head of musicology.

PROGRAM Marina STOJANOVSKA

Maiina Stojanovska was born in Prilep, teachers have included Rita Kinka Macedonia. She finished her studies at (Serbia), Josip Jermin (Ukraine), Andrei the High School for the Musical Arts in Diev (Russia), Natasa Velkovic (Austria), Bitola, Macedonia, with professor Rosvita Gediga (Germany), and Todor Margarita Tatarcevska. Stojanovska has Svetiev (Macedonia). been a pait of numerous competitions, master classes and festivals in her native Stojanovska has perfo1med in recitals all country and abroad. over the world, including in Serbia, Bulgaria, Germany, Bosnia and Her awards include three fi rst-place prizes Hercegovina. An alumna of the in the Interfest-Bitola: Macedonia, four Interlochen Academy (Mich. ) summer first-place prizes in state competitions, festival in 2007, she is currently a fresh­ second prize in Liszt And Ba1tok: man studying with piano aitist-faculty Bulgaria, and third p1ize in Ohridski Roberta Rust. Biseri: Macedonia. Her master class

STOJANOVS KA valeriya POLUNINA

Valeriya Polunina was born in Tashkent, London. The winner of the "Russian Uzbekistan in 1982. She completed her Pe1forming Alts" scholarship award, she specialized secondary education at the has participated in numerous master Ekaterinburg Music Academy, where she classes in England, Russia and Israel. double-majored in piano performance and music composition. In 2007 She has performed in numerous concerts Polunina completed her bachelor's as a soloist in Russian, Ukrainian and degree at the Russian Music Academy, European cities and as a member of vari­ where she studied with Professor M. ous chamber ensembles. She also has Drozdova, who was one of the few to played with orchestras including the study under Professor M. Yudina. She Ekaterinburg Symphony, Simferopol also completed a Mo-year degree in com­ Symphony and Russian Academy of position at Moscow State Conservatory. Music Symphony.

Polunina won first prize in the interna­ Polunina is currently completing her tional competition "Russian Performing Professional Performance Certificate at Alts" dedicated to Sergei Rachmaninov. the Lynn University Conservatory of She is also a p1izewinner of the Music as a student of piano artist-faculty International Piano Competition in Roberta Rust.

POLUNINA Jonah KIM

Born in Seoul, South Korea, cellist Jonah In 2000, Kim enrolled at the Curtis Kim moved to the United States to begin Institute ofMusic , where he studied for six his musical studies when he was 7. After a years under the tutelage of Orlando Cole year of instmction from his father, he was and Peter Wiley, and occasionally with accepted to the Juilliard School, where he solo cellist Lynn Harrell. He also has stud­ studied with a full scholarship. ied chamber music with Joseph Silverstein, Arnold Steinhardt, Aaron Kim has pursued a solo career, working Rosand, Gary Graffman and Seymour with the Philadelphia, National Lipkin and performed in master classes for Symphony and New Jersey Symphony the Emerson Quaitet, Ve1mecr Quartet, orchestras, among others. A$ a recitalist, Takacs Quartet, as well as for cellists Joel Kim has performed in major venues Krosnick, Timothy Eddy, Stephen Isserlis, including the Kennedy Center Gary Hoffman, Mai·cy Rosen, Andre Diaz (Washington, D.C.), Kimmel Center and Ron Leonard. (Philadelphia) and Kravis Center (West Palm Beach). Winner of numerous com­ Currently, Kim divides his time behveen petitions, Kim was broadcast on radio for Prague, New York City and Boca Raton, WHYY and WITF, as well as on NBC and where he is an undergraduate student CBS television. studying with cello aitist-faculty David Cole at the Lynn University Conservatory of Music.

KIM PROGRAM NOTES By Dr. Barbara Barry, Head of Musicology

Rhapsody on a Theme ofPaganini, Op. 43 Sergei Rachmaninoff (1873-1943)

Although Rachmaninoff lived well into the of Paganini's set. Rachmaninoff alternates 20th centmy, his style was characterized by between Paganini's theme and another the late Romantic tradition of soaring well-known melody, the "Dies Irae," tradi­ melodies, dramatic interpolations and rich tionally used as a symbol of death, as harmony. A highly gifted pianist, he Berlioz had used to dramatic effect in the entered the St. Petersburg Conservatory at finale of his Symphonie Fantastiq11e. While age 10, and when the family moved to the Rhapsody itself has no program, Moscow a few years later, he went to the Rachmaninoff provided a description for Moscow Conservatory, where he studied Fokine's ballet Paganini, a dance version of piano with Nikolai Zverev and composi­ the legend that Paganini sold his soul to the tion with Arensky and Taniev. Graduating devil in e.xchange for b1illiance on the violin with the gold medal, Rachmaninoff's career (Paganini tacitly encouraged the legend by would be developed in both composition, gliding onto the stage in a wraith-like way which he regarded as his main musical and playing the violin "like the very Devil"). direction, and piano performance. His The famous theme represents Paganini, major works for piano and orchestra are the while the "Dies Irae" stands for the devil. four piano concertos and the Rhapsody on a Theme of Paganini. The work consists of24 variations. After an opening call to attention, the orchestra Niccolo Paganini, the spectral virtuoso plays the skeletal bass progression which with charismatic stage presence who raised will, in tum, support the main theme. Each violin playing to new heights of brilliance vaiiation has its own specific texture, and phenomenal technique, had a pro­ demonstrating different aspects of rhythm, found impact on several major composers, figuration and b1illiant technique. At the all of whom wrote works on Paganini's center ofthe work is a quiet, reflective med­ themes: Llszt, Brahms and Rachmaninoff. itation, with the main theme played by the The Rhapsody was written in a few weeks in French horn, the piano lightly accompany­ 1934, and just as Liszt had based his Etudes ing it. The work is an exciting showpiece d'e.xecution transcendente d'apres Paganini for the piano, demonstrating a stunning on Paganini's capiices for solo violin, so the display of sonoiity and pianistic writing. Rhapsody was similarly written on the last

f\JOTES Piano Concerto No. 3 in C Minor, Op. 3 7 Ludwig van Beethoven ( 1770-1827)

When Beethoven came to Vienna in 1792 broad-based individuality in major keys, to live permanently in the city that was the like the Eroica symphony, the first capital of the Austro-H ungarian Empire, he Rawmovsky string quaitet and the Emperor carried with him letters of recommenda­ piano concerto, or have a passionate tion that would open the doors of some of character of conflict in minor keys, particu­ Vienna's most illustrious nobility. As much Iai·Iy Beethoven's personal key of C minor. as for his compositions, Beethoven's Beethoven used this key most famously for reputation in the 1790s among the aiistoc­ the 5th symphony with its striking motto racy was for his famed ability as a pianist opening, and it is also the key of the 3rd and improviser. Q!Jick to see how much his piano concerto. playing was in demand in the aristocratic salons, Beethoven sometimes refused to But the works that stand behind play. He maintained that he was either not Beethoven's conce1to is Mozart's C minor in the mood or the audience did not piano concerto, K 491, which Beethoven appreciate what he did, but evidently he heard in a concert. He was so impressed played sufficiently often to develop a stellar with its expressive quality that he is reputed reputation as a pianist. Charactelistically, to have said to his pupil Cramer in despair: many of Beethoven's works in the 1790s "Ah Cramer, Cramer, we'll never do any­ were for piano: the early piano sonatas, thing like that." Not like that, but the piano trios and the first two piano Beethoven's own individual approach to a concertos. piano concerto in C minor. Where Mozart brings out the inward, expressive side ofthe The C minor piano conce1to, the third of key, Beethoven's use is much more power­ five piano concertos, was finished in 1803 ful and emphatic, as seen in the piano's first (there was some doubt when it was begun, declarative entry. While Mozart often but probably in 1800 or 1801), and it is one coordinates and alternates the piano and of the first works in Beethoven's middle orchestra in a dialogue, Beethoven uses period after he suffered the c1isis over his them in opposition and sometimes in deafness at Heiligenstadt, and the determi­ confrontation. The first movement, nation to dedicate himself to composition. though, also introduces a softer, Iyiical The middle pe1iod is also described as theme in E flat major, but the movement is Beethoven's heroic period, as many of the no doubt dominated by the sense of power important works in all the major genres­ and conflict characteristic of Beethoven's symphony, sonata, string quartet and use of C minor. concerto- are characterized by either a

NOTES The slow movement is in the unusual key game in this movement, both in the of E major and provides a point of repose themes, which switch back and forth between the taut outer movements. It between piano and orchestra, and in the opens with the piano alone playing strong dotted heralding figure in the a chorale-like melody. In . one of orchestra answered by emphatic upward­ Beethoven's magical moments, he uses sweeping arpeggios in the piano which the note B (part of the chord ofE major) lead into the movement's lyiical second as a pivot to the key of G major where the subject in E-flat major, like the first orchestra expands on the opening melody movement. and the movement is a moving and lyrical meditation. Although Beethoven retains the key of C minor for the main part of the finale, at the Beethoven's finale does not release the coda of the movement, after a strong tension of C minor to C major, as he does orchestral cadence, the mood lightens, the in the finale of the 5th symphony, but the time signature changes to a lilting 6/ 8, and finale's opening figure is a powerful theme the tempo increases for the closing section which matches the character of the first in C major where piano and orchestra movement, then is repeated by the come together for a triumphant ending. orchestra. Alternation is the name of the

Cello Concerto in BMinor, Op. 104 Antonin Dvorak ( 1841-1904)

Czech composer Antonin Dvorak was World symphony. It was Wlitten for the born in Nelahozeves near Prague and Czech cellist Hanus Wihan, whom Dvorak showed early musical talent, studying consulted when he returned to Prague organ, violin and viola. Although his about details of the cello pait to make the parents were working-class people, they Wliting more idiomatic for the instrument. recognized his talent and encouraged his Dvorak refused to add cadenzas because musical training. From 1857 he played he felt them to be superfluous and extrane­ viola in the concerts of the Cecilia Society ous to the somber and inward character of in Prague, and later, from 1862, in the the work. Wihan, however, did not play the Provisional Theater as first viola, where he work at its first performance, which took played in operas by Mozart, Weber, place in London at the Queen's Hall in Rossini, Verdi and Wagner. This practical 1896, with the solo part played by Leo experience was to be invaluable to Dvofak Stern. in wiiting his own compositions. The cello concerto was Dvorak' s last The opening orchestral exposition sets the concerto. Although composed in America, dark, somber quality of the first movement it does not contain any of the overt Native and introduces the first theme- a mirror Ame1ican melodies found in the New shape of three 1ising notes and returning to

NOTES B, then three descending notes and cellist's technique, nothing is extraneous or returning to B. In this opening section, the overtly virtuosic, but everything is second theme is announced by the horns, a employed at the service of a profound hauntingly lyrical melody in D major, musical and expressive conception. The which is like a memory of the past. When development section, which is traditionally the cello enters with the first theme, it is the the point of greatest intensification, is here departure point for a rhapsodic meditation more like a meditation, first by the cellist, which spans the whole range of the then interrelating with the flute and instrument. Highly integrated in the writ­ claiinet. At the end of the movement, there ing between cello and orchestra, the is an extraordinaiy leave-taking. After his conception is symphonic and yet open, so sister-in-law's death in May 1895, Dvorak as to allow points of reflection, such as the also quoted the song in the finale, and the soloist's tender rendering of the second cello, like the wings ofa dove, takes the soul subject in the exposition or the poignant beyond the confines of this world, then return of the first subject in the develop­ brings the work to a powerful close. ment in a slower tempo. At the end of the movement, Dvorak transforms the first theme into an ending of emphasis and strength.

The wistful melody and sonority of clarinets accompanied by oboes and bassoons in the slow movement recalls Brahms, followed by the cello, initially like an obbligato. In the middle of the move­ ment, high up in the cello register, Dvorak quotes from a song he had written in 1857 "Lasst mich allein" (let me be alone) as a personal memmy of his sister-in-law, who was very ill and whom he loved. Rescored for three horns, played "piano, n the opening wistful theme returns, followed by a cello cadenza and coda.

For the finale, Dvorak staits the movement quietly, builds to a crescendo, but the dynamics again subside to let the cello enter conce1tante-style, as he has done in the first movement, in a theme that is a variant of the opening rising third theme from the first movement. Although Dvorak makes considerable demands on the

NOTES

LYNN UNIVERSITY

Featuring the

Empire Brass Quintet Saturday, April 18 7:30 p.m. Mizner Park Amphitheater Downtown Boca Raton

Bring your lawn chairs, blankets and picnic baskets and enjoy an evening of American Classics in the Pops tradition.

FREE ADMISSION. NO RESERVATIONS NECESSARY.