The American Dream

NORTHWEST IOWA SYMPHONY ORCHESTRA PRESENTS 2019-2020 CONCERT SERIES SYMPHONIC VISION FALL CONCERT: TUESDAY, NOVEMBER 19, 2019 AT 7:30PM in the BJ Haan Auditorium on the campus of Dordt University THE AMERICAN DREAM

Guest Artist: John Walker, piano Copland: Fanfare for the Common Man Onsby Rose: Hymn for the Heartland Gershwin: Concerto in F Guest Artist: John Walker, piano Peter Boyers: Ellis Island: The Dream of America Readings by Dordt University Theatre Arts Students John Walker, piano

Christopher Stanichar, Principal Conductor

CONTRIBUTORS______CONCERTCONCERT SPONSOR SPONSORS GRANT SPONSOR

GRANT SPONSORS

MEDIA SPONSORS Dordt Univeristy KWIT FM 90.3/KOJI FM 90.7 KDCR FM 88.5 Iowa Information Publications

MAESTRO ($1000+) Jim & Marilyn Dean Norma Snyder Jones Smithfield Foods Stan & Nancy Speer

SOLOIST ($500 to $999) Beaver Eye Care People’s Bank Van Den Hul Asset Management Drs. Erik & Barb Hoekstra Thomas A. Snyder Judy Winkel

CONCERTMASTER ($250 to $499) Farmers Mutual Insurance, Hull Marion & Darlene Mouw Dale & Eileen Vander Wilt Eric & Kim Forseth Premier Bank The Van Engelenhoven Agency Interstates John & Sheryl Slegers Orv & Arlene Van’t Hul Iowa State Bank Dr. Christopher & Kristin Stanichar Harold & Emily Vonk Carl & Ellen Klompien Greg & Dawn Steggerda Todd & Leah Zuidema John R. & Betty Kreykes Ken & Dorothy Vanden Brink

PRINCIPAL ($100 to $249) Curt & Pat Ahrenholz Kroese & Kroese, P.C. Jerry & Kim Van Es Willis & Joanne Alberda Roger & Jerilyn Lueders Arlin & Janene Van Gorp – Countryside Del & Ann Broek John & Victoria MacInnis Body Shop Jonathan & Eileen Buiter Rockne & Joan McCarthy Lyle & Mary Van Ravenswaay Casey’s General Store, Sioux Center Dr. Verne & Gidge Meyer Marion & Jan Van Soelen Creative Living Center Neal Chase Lumber Co. Marvin & Audrey Van Vuuren Bob & Rebecca De Smith Northwestern Bank Stan & Beth Vanden Berg Bernie & Kathy De Wit No Streaking, Inc. Gary & Joan Vander Hart Driesen Eye Center Savings Bank – Primghar, Hartley, Dennis Vander Plaats George & Jo Faber Lake Park Gezena Vander Werf Lee & Eleanor Feenstra Cliff & Joanne Soodsma Valley Machining Co. Diana Gonzalez Alethea & Jack Stubbe Glen & Betty Vermeer Katie Lynn Haan Mark & Emily Sybesma Vogel Foundation Nanci Jahn John & Loretta Thomas Jack & Anita Vogel Arnold & Carolyn Koekkoek Bert & Sandra Van Batavia Greg & Beth Westra John & Sheryl Kooiker Herm & Dawn Van Den Hul Kenton & Melanie Witt Henry & Dee Kramer Brian & Stephanie Van Engen Dr. Ronald Zoutendam

WELCOME ROGRAM PROGRAM Dear NISO friends, P ______Welcome to our Fall Concert entitled THE NORTHWEST IOWA SYMPHONY ORCHESTRA The American Dream. We are pleased to ChristopherROGRAM Stanichar, Principal Conductor/Music Director have guest pianist John Walker join the AngelaP Holt, Assistant______Conductor orchestra on the Gershwin Piano Concerto JohnTHE Walker,NORTHWEST Piano IOWA SYMPHONY ORCHESTRA Readings by Dordt University Theatre Arts Students in F. A special thank you to the Dordt Christopher Stanichar, Principal Conductor University Theatre Department for their RichardKaitlyn Steinbach Baljeu, Piano work in reading the stories of immigrants Johanna Christensen coming through Ellis Island. You are sure Hans Dykstra to enjoy experiencing the emotions in the 10 KatherineApril 2018 Fictorie Dakota Klein music as well as the theater production. It Zach Sanford will be a spectacular performance. Renee Seam

We look forward to our Winter Pops November 19, 2019 Concert featuring the Texas Tenors on RIMSKY-KORSAKOV Russian Easter Overture January 18, 2020. Please tell your friends SMITH/DAMROSCH The Star-Spangled Banner and family -- this should be a popular concert for the upcoming year, so be sure to purchase tickets in advance! SHOSTAKOVICH Piano Concerto No. 2 ROSE Hymn for the Heartland I. Allegro Thank you to everyone who has generously supported NISO. We II. Andante appreciate your financial assistance and GERSHWIN Concerto in F for piano III. Allegro I. Allegro commitment to bringing high-quality II. Adagio - Andante con moto music to Northwest Iowa. Be sure to III. Allegro agitato support Friends of NISO by buying Presentation of 2018-2019 NISO Concert Season coffee and truffles at intermission. Please Intermission consider buying a NISO CD for your listening pleasure. Intermission COPLAND Fanfare for the Common Man Best regards, Rhonda Pennings Chair of the NISO board BOYER Ellis Island: The Dream of America MENDELSSOHN Symphony No. 5, “Reformation” Prologue I. AndanteWords – Allegro of Helen con Cohen, fuoco emigrated from Poland in 1920 II. AllegroInterlude vivace 1 CONCERT SPONSOR Words of James Apanomith, emigrated from Greece in 1911

Good evening and welcome to the 2019 Fall III. AndanteInterlude 2 Concert, The American Dream, with guest IV. AndanteWords con motoof Lillian – Allegro Galleta, vivace emigrated – Allegro from Italy maestoso in 1928 pianist John Walker. It is my pleasure on behalf Interlude 3 of American State Bank to thank you for your Words of Lazarus Salamon, emigrated from Hungary in 1920 continued support of the Symphony. Also, Interlude 4 thank you to the musicians who use their time Words of Helen Rosenthal, emigrated from Belgium in 1940 and talent to enrich Northwest Iowa! Interlude 5 Words of Manny Steen, emigrated from Ireland in 1925

Sincerely, Interlude 6

Stanley W. Speer Words of Katherine Beychok, emigrated from Russia in 1910 Epilogue: "The New Colossus" (Emma Lazarus, 1883) CPresident,ONTRIBUTORS______American State Bank CONCERT SPONSORS

Please Note:Please Note: Flash photographyFlash photography and the use and of recordingthe use of recording devicesdevices is prohibited is prohibited during NISO during concerts. NISO concerts. Please disablePlease alldisable cell phones all cell and phones pagers. and pagers.

GRANT SPONSORS

MEDIA SPONSORS Dordt Univeristy KWIT FM 90.3/KOJI FM 90.7 KDCR FM 88.5 Iowa Information Publications

MAESTRO ($1000+) Jim & Marilyn Dean Norma Snyder Jones Smithfield Foods Stan & Nancy Speer

SOLOIST ($500 to $999) Beaver Eye Care People’s Bank Van Den Hul Asset Management Drs. Erik & Barb Hoekstra Thomas A. Snyder Judy Winkel

PROGRAMPROGRAM NOTES NOTES______

The Star-Spangled Banner – Key/Smith/Damrosch The Star-Spangled Banner is the national anthem of the United States of America. The lyrics come from a poem, “Defence of Fort M’Henry,” written on September 14, 1814, by Francis Scott Key, a lawyer and amateur poet, after witnessing the bombardment of Fort McHenry by the Royal Navy in Baltimore Harbor in the War of 1812. Key was inspired by the large U.S. flag at the time, with 15 stars and 15 stripes, known as the Star-Spangled Banner, flying triumphantly above the fort during the U.S. victory. The poem was set to the tune To Anacreon in Heaven, a popular British song written by John Stafford Smith for the Anacreontic Society, a men’s social club in London. The tune was renamed The Star-Spangled Banner and soon became a well-known U.S. patriotic song. The Star-Spangled Banner was recognized for official use by the United States Navy in 1889, and by U.S. President Woodrow Wilson in 1916, and was made the national anthem by a congressional resolution on March 3, 1931, which was signed by President Herbert Hoover.

Hymn for the Heartland – Onsby Rose (b. 1975) Hymn for the Heartland is an orchestral fanfare written to celebrate the 80th anniversary season of the Newark-Granville Symphony Orchestra in Newark. Ohio. In the spring of 2019, my mentor, and NGSO Conductor, Dr. Russel C. Mikkelson, asked me if I would be willing to compose a fanfare to open their anniversary season. I was honored to do so and began by going to God in prayer. During my prayer time I saw many visions of the Ohio countryside. Newark, Ohio sits in a rural area just east of Columbus, Ohio. When driving out of Columbus on I-70, you enter this rural and beautiful setting. The music should bring to mind possibly a Friday afternoon when one would be leaving the city for the weekend. The opening fanfare takes us out of the Columbus metropolis, and we enter the Ohio countryside as the strings present a flowing and restful melody. As we traverse the countryside the orchestra brings to mind the beauty of the land. As we proceed, the music provides rest but eventually brings us back to the reality that we must soon return to the city. The opening fanfare now returns as we also return from our excursion, rested, and ready to take on a new day. Although written with visions of rural Ohio in mind, Hymn for the Heartland could easily represent any of the beautiful midwestern towns found throughout this wonderful region of the United States. —Onsby Rose, 2019

Concerto in F for Piano – George Gershwin (1898-1937) Allegro; Adagio – Andante con moto; Allegro agitato Although George Gershwin’s Piano Concerto is the most frequently played of American concertos, it is rarely performed in the UK. The reason could be that it is regarded as neither fish nor fowl. More specifically, it is neither wholly jazz nor wholly classical. It’s a sort of musical hermaphrodite, shunned by some simply for being what it is. The conductor Walter Damrosch attended the first performance of Gershwin’s Rhapsody in Blue in 1924 and was impressed enough to commission this concerto soon after. “Many persons had thought that the Rhapsody was only a happy accident,” Gershwin wrote. “I wanted to show them that there was plenty more where that had come from.” And this he did to the delight of the audience attending the première in 1925. The critics were less impressed. Some judged it to be a work that had brazenly and inexcusably sullied the concept of “The Concerto.” Gershwin was clear about his intentions: “I made up my mind to do a piece of ‘absolute’ music.” By this he meant the concerto needed no titles, no story, and no musical clichés inviting labels. In short, he intended the concerto to be stylistically neutral, and here he was being naïve. Peter Gammond has pointed out that the concerto abounds with jazz inflections. This is undeniable but cannot be a weakness because Gershwin was such a brilliant jazzer. Alex Ross had no doubt about Gershwin’s genius: “Epitomizing the Jazz Age in every pore of his suave being, Gershwin was the ultimate phenomenon in early-twentieth-century American music, the man in whom all the discordant tendencies of the era achieved sweet harmony.” An air of equivocation has surrounded the work for 90 years, so one might wonder what today’s critical view might be. The concerto is a hybrid – blending styles that have seemed reluctant to emulsify. The “classical” elements are reminiscent of the piano concertos of Rachmaninov, their sweep of romantic melody reaching the heart without troubling the head too much. The jazz is jazz, wonderfully infectious jazz at that, with alluring rhythms and piquant harmonies. Little of this concerto is either “pure” classical or “pure” jazz. Comprising many so-called episodes that are not always clearly connected to each other, the music oscillates this way and that. Broadly, the slower episodes are more romantically/classically orientated; the faster episodes are jazzier. The first movement contains an arresting romantic melody at its core, surrounded by music that is more strongly influenced by jazz. The second movement offers a mirror image of this. The flanking sections have a predominantly classical feel. In this movement, hints of jazz are present in the opening trumpet obligato for sure, but the upbeat central section is more overtly jazzy in character. Almost identical in length, these movements offer interlocking opposites: fast – slower – fast (jazz – classical – jazz) in the first movement; slow – faster – slow (classical – jazz – classical) in the second. We would not necessarily listen for these features as the concerto progresses, or even notice them, but the balancing act stimulates a subconscious awareness of symmetry and arouses an attendant acceptance. The third movement is half as long as either of the other two. Apart from reaching thrilling levels of energy and exuberance, it could be conveying a message from the composer, couched in musical form, suggesting: “This concerto is an encounter between classical music and jazz. Up to now, you have been listening to a finely balanced debate, but we can’t finish by sitting on the fence. One of them has to win.” By the end, we should know which of them it is, notwithstanding a reprise of the romantic tune just before we say “Good-bye.”

Fanfare for the Common Man – Aaron Copland (1900-1990) Any sense of familiarity triggered by the percussive opening to this work will intensify when the trumpets sound. Aaron Copland’s Fanfare for the Common Man has been used and occasionally misused in ballet, film, TV, pop music, and the concert hall. Being as American as “apple pie,” it prompted the critic Colin Wilson to suggest, “Copland’s…final importance may well be that, together with Gershwin, he is the most typical American composer his country has produced so far.” As the U.S. entered the Second World War in 1943, after the Japanese Kamikaze bombardment of the U.S. Navy at Pearl Harbor, a wave of patriotism swept the country. In line with this nationalistic mood, Eugene Goossens, the British conductor of the Cincinnati Symphony Orchestra, asked 18 American composers to create fanfares to serve as openers for his orchestra’s concerts. (About 25 years earlier in the UK, he had put the same request to British composers to boost the Allies’ morale during the First World War.) When Vice President Henry Wallace heard of the Pearl Harbor bombardment, he proclaimed the dawning of a “century of the common man,” words that Copland borrowed for the title of his fanfare, perhaps unaware of their socialist implications. Of the 18 American fanfares that emerged, only Copland’s outlived its première. Despite its ubiquity and popularity, the fanfare presents a conundrum, echoed in the life of its creator. At the time of its composition, it wasn’t a fanfare. The slow pulse was unmatched by other music sharing the title. Copland’s composition did not abide by the prevailing harmonic conventions associated with fanfares. A yellow card, football fans might think; maybe two of them. Not so. Rather than Fanfare for the Common Man being rejected

PROGRAMPROGRAM NOTES NOTES______

because of its irregularities, the concept of a fanfare was broadened instantly to ensure its inclusion. Barbara Heninger suggested that Copland’s fanfare “…is one of those happy works that seem so right; it is as if the composer had discovered a force of nature and simply set it to paper.” The maverick becomes the archetype. The corresponding riddle in Copland’s life and reputation is complex, but the gist is this -- Copland remains a super-patriotic Yankee composer, vide the ballets Appalachian Spring, Billy the Kid, and Rodeo; as well as his opera, The Tender Land. It is sometimes forgotten that this “Hero of the Republic” was a son of Jewish immigrants from Lithuania and was accused of being a Communist sympathizer. The political charges led to extensive and demeaning investigations during the purges of Senator Joseph McCarthy in the 1950s, but Copland emerged intact. Alongside the word “fanfare,” the concept of “patriotism” had also been redefined.

Ellis Island: The Dream of America – Peter Boyer (b. 1970) Ellis Island: The Dream of America was born out of my fascination with the relationship between history and music. I’m drawn to good stories—especially stories which come from the past but are relevant to the present—and as an orchestral composer, I’m intrigued by the potential of the orchestra as a storytelling medium. Of course, orchestral music cannot tell stories in a literal way, but its ability to suggest scenes and emotions, and evoke responses in listeners, has challenged and stimulated composers for centuries. My fascination with the story of the Titanic led me to choose that as the subject of an early orchestral work and considering the plight of that vessel’s third-class passengers—humble European immigrants bound for America—led me to think more broadly about early twentieth-century American immigration. America is a nation of immigrants, and our immigrant history is a profound part of our American mythology. In the history of American immigration, Ellis Island and the Statue of Liberty are icons of immense significance. In the years of its operation, from 1892 to 1954, more than twelve million immigrants, over 70% of all immigrants to the United States, passed through Ellis Island, the processing station which was “the gateway to America.” Today, more than 40% of the U.S. population, over 100 million Americans, can trace their roots to an ancestor who came through Ellis Island. The stories of Ellis Island immigrants are in many ways our family stories: whether they are the tales of our grandparents, great-grandparents, aunts and uncles, cousins, or friends, so many Americans can relate to these experiences as part of our collective history. This is what makes Ellis Island stories so fascinating, and it’s what drew me to this material as the basis of a major composition. When I decided to create a work about Ellis Island, I knew that I wanted to combine spoken word with the orchestra. When I began researching Ellis Island, I learned of the existence of something which would come to define the nature of the piece: the Ellis Island Oral History Project. This is a collection of interviews, housed at the Ellis Island Immigration Museum, with immigrants who were processed at Ellis Island during the years of its operation. Begun in 1973, the Ellis Island Oral History Project now contains over 2,000 interviews. The largest number of these were done during the late 1980s and early 1990s, catalyzed by the opening of the Museum in 1990. All immigrants interviewed for the Project were asked a standard set of questions: what life was like in their native country, reasons for coming to America, the nature of the voyage to port and the journey by ship, experiences arriving in New York Harbor and being processed at Ellis Island, their ultimate destination, and their experiences adjusting to life in the United States. Collectively, the interviews which constitute the Ellis Island Oral History Project—in both recorded form and in transcripts—are a treasure of immeasurable worth in American history. When I learned of the existence of this resource, I knew I had found the source from which my texts would be drawn: real words of real people telling their own stories. The decision to use texts from the Ellis Island Oral History Project meant that the work would require actors, and it’s an important distinction that they are not “narrators” or “speakers,” but actors. They deliver their monologues in the first person. The use of actors and, in live performance, projected images with the orchestra makes Ellis Island: The Dream of America a hybrid work which is closer to a theater piece than a pure concert work, though it is intended to be performed in the concert hall. Though I am a composer and not a writer, I decided early in the process that I would create the script for the work myself, prior to composing the music. The creation of the script involved the selection, arrangement and editing of texts from the Ellis Island Oral History Project into a sort of dramatic narrative. This proved to be a huge task, not least because of the staggering amount of material which exists (much more than I could ever realistically canvas for material). Ellis Island welcomed (or rejected) immigrants from a great many countries over a span of more than sixty years, and so I wanted the immigrants’ stories chosen for inclusion to be widely representative of both geography and historical period. And of course, I wanted to use stories which would say something important about the American immigrant experience, stories which were poignant, gripping, or even humorous. I examined over 100 interviews and found many more stories than could be included in a 43-minute piece with 25 minutes of spoken word. Ultimately, I settled on a structure which includes seven stories, four female and three male, of immigrants who came through Ellis Island from seven countries, between 1910 and 1940. For the final text in the work, I knew from the beginning that I could not create a work about Ellis Island without making reference to the poem by Emma Lazarus, The New Colossus, which is inscribed at the base of the Statue of Liberty. This poem is synonymous with the Statue, Ellis Island, and American immigration in the minds of many Americans. A number of immigrants interviewed for the project made reference to the poem, and the words of Katherine Beychok provided a natural bridge to a recitation of the poem, which serves as the work’s epilogue. The orchestral music in Ellis Island: The Dream of America is continuous, framing, commenting on, and amplifying the spoken words. Following a six- minute orchestral prologue, the work’s structure alternates the individual immigrants’ stories with orchestral interludes. In general, during the actors’ monologues in which the immigrants’ stories are told, the orchestra plays a supporting role, employing a more sparse orchestration and texture so as not to overpower the speaking voice. During the interludes, the orchestra assumes the primary role, and accordingly “speaks up” with fuller orchestration. The prologue introduces much of the work’s principal thematic material. It is in two sections, slow and fast. In the first section, the work’s main theme, simple and somewhat folk-like in character, is introduced by a solo trumpet, then taken up by the strings and developed. The second section is quick and vigorous, and introduces a fast-moving theme in the trumpets, with pulsating accompaniment in the whole orchestra, which I think of as “traveling music.” These themes recur in many guises throughout the entire piece. In addition to these, there are other important musical themes, some of which are associated with particular immigrants’ stories. Of course I attempted to compose music which was appropriate for the nature and character of each of the stories. For Lazarus Salamon’s story of the military oppression in the Hungary of his youth, a menacing snare drum tattoo is significant. But when he speaks of arriving in New York and seeing the Statue of Liberty, a quiet, hymn-like theme for the strings is heard—which will recur at a later mention of the Statue. Lillian Galletta’s story is that of children’s reunion with their father—an emotional and heartwarming story which I attempted to reflect in a lyrical “reunion” theme. The story of Helen Rosenthal is one of escaping the Nazis to find freedom in America, though her entire family perished at Auschwitz. For this I chose a solo violin to play a lamenting theme with a kind of Jewish character. In stark contrast to this is the story of Manny Steen, an irrepressible Irish immigrant and delightful raconteur. His story cried out for a “Tin Pan Alley” treatment, markedly different in style from the rest of the music. Just as each immigrant is a strand in the American tapestry, so I attempted to reflect their tales with various musical styles. In live performances of Ellis Island: The Dream of America, there is a visual component which accompanies the music during the Prologue and Epilogue. This consists of images from the archive of historic photographs housed at the Ellis Island Immigration Museum Library. Many of these come from the collection of Augustus Sherman, a longtime Ellis Island employee who took a number of poignant and historically important photographs of immigrants. These immigrants’ faces seem to tell their own stories, and it is little wonder that copies of many of these photographs are displayed prominently in the Ellis Island Immigration Museum.

WELCOME______ROGRAM OTES______Dear NISO friends, PROGRAMP N NOTES______Welcome to the opening concert of our 2017-2018 season, “Symphonic Treasures." Tonight we hear music Work on this piece was begun in the months before September 11, 2001 and completed in the months that followed. Duringwith my theresearch theme trips “B to isEllis for Bravo!” which features well-known music by Beethoven, Brahms, Bartók, Island in the summer of 2001, many times I had imagined what it was like to be an immigrant sailing into New York Harbor, and seeing the skyline of lower Manhattan. As the world mourned those devastating events, I often reflected on how that skyline had tragically changed.Bernstein, After September and Borodin. 11, the We look forward to hearing segments by guest artist Douglas Yeo, bass Statue of Liberty National Monument and Ellis Island Immigration Museum, which draw millions of visitors each year, weretrombone, closed to the and public the for Dordt over College choirs. This is just the beginning of our outstanding season with three months; the Statue itself did not welcome visitors again until August 2004. The reopening of these American icons remindswonderful us of the treasures endurance from of the orchestra and guest artists. the freedoms which have drawn generations of immigrants from around the world. We are excited to once again have the Celebrity Conductor Contest during our Winter Pops Concert on Ellis Island: The Dream of America was commissioned by The Bushnell Center for the Performing Arts, in celebration of the inauguralJanuary season 27. Eachof its Beldingcontestant will be asking for your support (one dollar = one vote) as a way to raise Theatre. It was premiered by the Hartford Symphony Orchestra under my direction, with a cast of actors directed by Martin moneyCharnin, for at TheNISO. Bushnell The onperson with the most votes will be named the 2018 NISO Celebrity Conductor and April 9, 2002. At that first performance, it was my great pleasure to welcome to the stage Lillian Galletta, the only one of thewill seven have immigrants the honor featur of conductinged a musical piece after intermission. The Winter Pops Concert will center in my work who is still with us. This delightful moment was made even more poignant by the fact that her four older siblings, all in their eighties, who had traveled with her from Sicily to America in 1928, joined us that evening. on “Romancing the Violin,” featuring Jessica Mathaes on violin. It will be an evening of inspiration and romance. The stories of Ellis Island are stories of journeys. My personal journey with this project, from its conception in 1999, to its premiere in 2002, its recording th in 2003, its release by Naxos in 2005, followed by its Grammy nomination, and its more than 100 performances to date, has beePleasen both a enjoylong and coffee rewarding and truffles at intermission and consider purchasing the NISO 30 Anniversary one. I hope that listeners may find these stories as fascinating, illuminating and inspiring as I do. CD. Thank you for your support of NISO. We appreciate your generosity. —Peter Boyer, 2010 Best Regards,

Rhonda Pennings NISO Board Chairperson NISO 30th Anniversary CD NISO 30th Anniversary CD NISO is excited to present our very first CD, produced as part of the celebration of our 30th Anniversary. The CD is a sampler of performance highlights from past years. It includes twelve NISO is excited to present our very first CD produced as part of last year’s celebration of our 30th Anniversary. The CD is a sampler of performance pieces by twelve different composers from eleven different concerts conducted by Henry Duitman, highlights from past years. It includes twelve pieces by twelve different Tim McGarvey, Henry Charles Smith, Jungho Kim, and Christopher Stanichar. The compositions composers from eleven different concerts conducted by Henry Duitman, Tim include the lovely Pavane by Fauré, the “Triumphal March” from Aida by Verdi, the dramatic Pines McGarvey, Henry Charles Smith, Jungho Kim, and Christopher Stanichar. The of Rome by Respighi, and nine other concert favorites. The CD will be for sale at all NISO concerts compositions include the lovely Pavane by Fauré, the “Triumphal March” from this season. It is also available in the NISO office; requests for mail orders can be submitted by Aida by Verdi, the dramatic Pines of Rome by Respighi, and nine other concert e-mail. The CD costs $15.00, with proceeds going toward 2019-2020 season expenses. favorites. The CD will be for sale at all NISO concerts this season. It is also available in the NISO office; requests Further information, including a complete listing of the titles and ordering information, is available at https://niso.dordt.edu.for mail orders can be submitted by e-mail. The CD costs $15.00, with proceeds going toward 2017-2018 season expenses. Further information, including a complete listing of the titles and ordering information, is available at niso.dordt.edu.

NISO Foundation Info Concert Sponsor Please see a NISO Foundation Board member in the lobby with your questions. For NISO Foundation charitable giving, contributions should be sent to: NISO Foundation 700 7th Street NE Sioux Center, IA 51250 Questions can be directed to: Eric Rankin, (712) 722-0618 or [email protected] Brian Van Engen, (712) 722-2424 or [email protected]

Christmas Gift Idea WINTER POPS CONCERT If you are needing a Northwest Iowa Symphony Christmas gift idea for friends Orchestra and family, purchase a Gift in concert with Certificate or tickets to an THE TEXAS TENORS upcoming NISO concert. Saturday, January 18, 2020, 7:30pm Available tonight in the lobby! BJ Haan Auditorium Adult Floor - $25 Adult Balcony - $20 Student - $6 (Buy 1, Get 1 FREE) Be sure to purchase your tickets TONIGHT! Or you may go online and purchase at https://niso.dordt.edu ARTISTS______ARTISTS______JOHN WALKER holds a D.M.A. from the University of Colorado at Boulder, an M.M. from the San Francisco Conservatory of Music, and a B.M. from the University of California at Santa Barbara. He studied piano pedagogy at the New School for Music Study under Frances Clark and Louise Goss in 1977-78. Dr. Walker is Professor of Music and Director of Keyboard Studies at SDSU, and the first Patricia Pierce Distinguished Artist in Residence. He also holds the position of principal piano, harpsichord and celesta for the South Dakota Symphony Orchestra. He has presented numerous piano workshops to music teacher associations and is frequently called upon to serve as a piano festival and competition adjudicator. He has composed and recorded piano accompaniments to the Cyrille Rose 32 Etudes for clarinet, Ferling’s 48 Studies for Oboe or Saxophone, published by Carl Fischer. His most recent publication is a six-book series of recital pieces for various instruments entitled "In the Attic," series, also through Carl Fischer. Walker has been a featured soloist with the South Dakota Symphony and SD Chamber Orchestra, the Diablo Symphony, the Contra Costa Chamber Orchestra, and the Paradise and Shasta Symphony orchestras in California. His piano students include winners of the SDMTA collegiate piano competition, and the MTNA State Young Artist Competition.

ANGELA HOLT began her music studies in East Texas as a pianist. She was awarded her BME degree from Wheaton College Conservatory of Music in Illinois with an emphasis in music education and piano. Her MM and DMA degrees in conducting were received from the University of Cincinnati College-Conservatory of Music in Ohio. Dr. Holt served as Associate Director of Bands in the Texas public school system and founded the jazz ensemble “The Dissonance.” She later was appointed as Director of Bands at the College of William and Mary in Williamsburg, Virginia, and as Music Director of the University of Cincinnati Symphony Orchestra. In recent years as Associate Director of Bands at the University of Cincinnati-College Conservatory of Music, she taught music-related courses and served as Conductor and Music Director of the CCM Wind Ensemble and Commencement Bands. Her most recent research is of chamber wind literature, focusing on music of the twentieth century. She is interested in reviving music of the past and commissioning quality music for the future. Her passion is to encourage outreach through music and the arts on and beyond the stage. Dr. Holt was recognized in “Who’s Who Among American Teachers” and continues to be an advocate for music education in schools. Currently Dr. Holt serves as the Director of Bands and Instrumental Music Education at Northwestern College in Iowa.

CHRISTOPHER STANICHAR (b. 1969) is an active conductor, composer, and educator; having directed some of the finest orchestras in Europe, Russia, Mexico, and the United States. Dr. Stanichar is skilled at conducting all styles of music, whether it is classical, new music, or pops repertoire. He has collaborated with a wide variety of artists, including Mark O’Connor, the rock band Kansas, members of St. Paul Chamber Orchestra, Cincinnati Symphony Orchestra, and many other world-class musicians. He is also an educator, working with ensembles of all ages, and using his passion for music as a catalyst to draw the best work from the orchestras he conducts. Dr. Stanichar celebrates his ninth season as Music Director and Principal Conductor of the Northwest Iowa Symphony Orchestra, one of the area’s finest semi-professional orchestras, which rehearses and performs at the B.J. Haan Auditorium on the campus of Dordt University in Sioux Center, Iowa. The ensemble includes some of the finest musicians from Iowa, South Dakota, Minnesota, and Nebraska. Appointed to this position in 2011, Stanichar has continued NISO’s tradition of artistic excellence, innovative programming, and collaborations with international guest artists. Stanichar leads NISO in three concerts per season in addition to the annual Concert for Children where the orchestra plays for over 1,000 school children from the area. He has been praised for “his obvious energy, great joy directing, and outright enthusiasm.” (Peter Wagner, Northwest Iowa Review). Dr. Stanichar is Assistant Professor at Northern State University where he is also the Director of the Aberdeen University-Civic Symphony. He is also Music Director of the Worthington Area Symphony Orchestra in Southwest Minnesota (since 2010), which has been broadcast regionally in a Holiday special with the native American band, Brulé on Pioneer Television (Minnesota PBS). Most recently he was chosen as a finalist and guest conductor for Knox-Galesburg Symphony (Illinois) in a national search for a new music director, opening the season in October 2018. Christopher served as the Conducting Assistant for the Cincinnati Symphony Orchestra in the 1990s, working closely with Maestros Jesus Lopez-Cobos and Erich Kunzel. He received a Fulbright Scholarship to the Slovak Republic, allowing him to study and conduct professional orchestras in the homeland of his ancestors. Christopher is a proud student of Maestro Gerhard Samuel (now deceased) and graduated with a doctorate degree (D.M.A.) from Cincinnati College-Conservatory of Music. He has been appointed as music director to several exceptional orchestras: Seven Hills Sinfonietta (Cincinnati), Orchestra Omaha, Heartland Philharmonic Orchestra (Omaha), the Tri- City Symphony Youth Orchestra, and the founding music director of the South Dakota Symphony Youth Orchestra, to name a few. Christopher is an active composer; his works have been commissioned and performed throughout the world. You may have heard his original work, Trisagion, that was used in Ric Burns’ PBS documentary, Andy Warhol. More recent projects include a full-length cantata, St. Mark Passion, written for the 150th anniversary of Augustana University as part of a Granskou grant. He also composed Pink Ribbon for Susan for clarinetist Christopher Hill in honor of his wife Susan who fought a courageous battle with stage-4 cancer. TrevCo-Varner Music publishes several of his works for English horn. His composition, Tales of Hans Christian Anderson, is the first concerto for nyckelharpa, a Swedish folk instrument, which premiered with the Hastings Symphony Orchestra in Nebraska. This work was nominated for a Pulitzer Prize in 2014. This past season, Orchestra Omaha and Sioux Falls Municipal Band performed his work, Independence Overture. In his free time, some of Christopher’s interests outside of music include foreign languages, biking, and Russian icons, and he is an avid pinball player (he has owned two machines). The most important thing to Christopher is his family; all of his children are active in music. He and his wife Kris like to play duets on piano and viola, watch old episodes of The Amazing Race, cook together, and just enjoy life. For more information about Christopher and a catalogue of his compositions, please visit christopherstanichar.com.

THE NORTHWEST IOWA SYMPHONY ORCHESTRA is comprised of the finest musicians in the tri-state area. Teaching principals are of a professional caliber and function as first chair players and teachers in sectional rehearsals. The orchestra’s 80 members include adults of all ages as well as gifted music students from area high schools and colleges. Several of the high school students are recipients of scholarships from Friends of the Symphony for the purpose of continuing their private music instruction. NISO presents three concerts each season in addition to the annual Concert for Children, which is given each November for over 1,000 area 4th, 5th, and 6th grade students.

Dear NISO Patron, As part of our continuing efforts to use our advertising budget effectively, we are asking you to respond to this brief survey at: https://docs.google.com/forms/d/e/1FAIpQLSf3H5-fFeHOozGJYhF6Esm-GB3M-_sLR71eJsJTvx2-vxe3kQ/viewform Thank you for your assistance! -- NISO Publicity Committee PERSONNEL______FIRST VIOLIN CELLO FRENCH HORN Daniel Amin, Dordt College Jaren Brue, Dordt College Ben Jacobsma, Dordt College Kinza Brue, Dordt College♩ Nic Herman, Dordt College Xiola Koile-Paxton, Vermillion Erika Buiter, Dordt College Dane Hibma, Sioux Center♬ Amy Laursen, Vermillion Holly Hiemstra, Dordt College Nicole Kaemingk, Dordt College * Rebekah McLaughlin, Vermillion♩ Brianna Miedema, Unity Christian HS Sam Kim, Dordt College Joseph Mullin, Alton ** Lisa Miedema, Sioux Center♮ Daniel Munson, Dordt College Melanie Witt, Orange City♯ Kirbee Nykamp, Sioux Center♪ Jessica Setiawan, Dordt College Tim Rylaarsdam, Sioux Center♯ Joseph Slegers, Orange City♪ TRUMPET Tara Tilstra, Dordt College Cathie Tien, Orange City♩ * Richard Bogenrief, Merrill♯ + Janna Vanden Brink, Unity Christian HS * Andrew Travers, Sioux Falls♩ Dan Mangold, Orange City♩ p Jill Wigton, Merrill Jeshua Witt, Dordt College TROMBONE SECOND VIOLIN STRING BASS Matt Honken, Orange City♩ Rebecca De Haan, Sioux Falls Trevor Carlson, Sioux Falls♩ Jason Roseth, Sioux Falls * Jennifer Frens, Sioux Center♮ * John Casey, Sioux Falls♪ * Vance Shoemaker, Hawarden♯ + Lexie Merley, Sheldon HS + Hannah Hulstein, MOC-FV MS Emily Wehde, Sioux Falls♩ Rebecca Nymeyer, Dordt College Hudson Nitzel, Dordt College Katrina Regnerus, Dordt College Noah Pollema, Dordt College TUBA p Amie Smit, Sioux Center♩ * Peter Boerema, Sioux Falls♪ Stan Spaulding, Sioux Center FLUTE/PICCOLO Adri Tilstra, Dordt College Shannon Abels, Sioux Falls♩ PERCUSSION Abby Vander Werf, Dordt College * Anna Davis, Spencer♩ * Jason Domonkos, Omaha Kendra Wieringa, Dordt College Sue De Haan, Orange City♬ Josh Dykstra, Dordt College Sabrina Fox, Alton VIOLA OBOE Caleb Smit, Unity Christian HS + Marissa Beaty, MOC-FV HS Ronja Jung, Sioux City Noah Woolston, Dordt College Marian Casey, Sioux Falls♪ * Brandy Trucke, Bronson * Fei Chen, Sioux Falls♩ HARP Caleb Herman, Dordt College CLARINET Anna Blauw, Dordt College David Riadi, Dordt College Susan De Jong, Orange City♩ Maggie Burgsma, Dordt College Kristin Stanichar, Sioux Falls * Beverly Gibson, Sioux Falls♪ Gary Vander Hart, Sioux Center♯ PERSONNEL______BASSOON/CONTRABASSOON PERSONNEL______Mindy Braithwaite, Sioux Falls♪ Adam Curry, Le Mars FIRST VIOLIN * ChrisCELLO Haak, Sioux Falls♩ ALTO SAXOPHONE p Jill Bogenrief, Merrill♩ Jaren Brue, Dordt University Pamela DeHaan, Alton♩ Erika Buiter, Dordt University Nic Herman, Dordt University ** Jennifer Frens, Sioux Center♯ Dane Hibma, Sioux Center♬ FRENCH HORN Elyse Kuperus, Dordt University Daniel Munson, Dordt University Xiola Etherington, Vermillion Brianna Miedema, Dordt University Joseph Slegers, Orange City♪ Ben Jacobsma, Augustana University Kirbee Nykamp, Sioux Center♬ * Andrew Travers, Sioux Falls♩ * Amy Laursen, Vermillion Tim Rylaarsdam, Sioux Center♯ Jeshua Witt, Dordt University Melanie Witt, Orange City♯ + Belle Schiermeyer, Trinity Christian HS Joseph Yannie, Dordt University Janna Vanden Brink, Dordt University TRUMPET + Karli Vanden Brink, Unity Christian HS STRING BASS * Richard Bogenrief, Merrill♯ * John Casey, Sioux Falls♪ Dan Mangold, Orange City♪ SECOND VIOLIN David Laurenti, Dordt Unive rsity Nate Van Holland, Dordt University Kelsey Bartels, Dordt University Hudson Nitzel, Dordt University Rebecca De Haan, Sioux Falls Cameron Steenhoek, Dordt University TROMBONE Mika Kooistra, Dordt University Noah Pollema, Dordt University Matt Honken, Orange City♩ Carmen Lodewyk, Sioux Center * Vance Shoemaker, Hawarden ♯ Emily Meyer, Dordt University FLUTE/PICCOLO Joel Van Peursem, Northwestern College * Lisa Miedema, Sioux Center♯ Shannon Abels, Sioux Falls♪ Emily Wehde, Sioux Falls♩ + Joya Schreurs, Unity Christian HS * Anna Davis, Spencer♩ Abby Vander Werf, Dordt University Sue DeHaan, Orange City♮ TUBA Kendra Wieringa, Dordt University * Peter Boerema, Sioux Falls♬ OBOE/ENGLISH HORN VIOLA * Chris Haak, Sioux Falls♩ PERCUSSION Parks Brawand, Dordt University Ronja Jung, Sioux City Katie Bush, Dordt University * Fei Chen, Sioux Falls♩ Susan Miranda, West Saint Paul Marian Casey, Sioux Falls♪ Alyssa Kraft, Dordt University Calvin Lipetzky, Sioux Falls Sophia Marcus, Dordt University CLARINET/BASS CLARINET K.T. Pagone, Sioux Falls David Riadi, Dordt University Susan De Jong, Orange City♪ * Dan Sailer, Sioux Falls Kristin Stanichar, Sioux Falls♩ * Beverly Gibson, Sioux Falls♪ Adri Tilstra, Dordt University Amanda Long, Orange City PIANO Gary Vander Hart, Sioux Center♯ Evan Schroeder, Sioux Cente r Spencer Van Ravenswaay, Dordt University BASSOON/CONTRABASSOON Ariel Detwiler, Bloomington HARP Adam Curry, Sioux Falls Hannah Burgsma, Dordt University * Cindy Mickens, Storm Lake Maggie Burgsma, Dordt University

** Concertmistress * Teaching Principal p Assistant Principal + Scholarship recipient NISO Members Years of Service: ♩5+ years ♪10+ years ♬15+ years ♮20+ years ♯25+ years

FRIENDS of NISO______OFFICERS: Jim & Marilyn Dean Shirley Matheis Jerry & Kim Van Es Katie Lynn Haan, Sally Jongsma, Dale & Karen Den Herder Rockne & Joan McCarthy Nolan & Dorenda Van Gaalen Joanne & Cliff Soodsma, Emily Twila De Groot Darlene Mouw Perry & Jo Van Gorp Sybesma, Char Ten Clay, and Beth Bernie & Kathy De Wit Dave & Phyllis Netz Lyle & Mary Van Ravenswaay Vanden Berg Verlyn & June De Wit Dennis & Carla Nibbelink Marvin & Audrey Van Vuuren George & Jo Faber Lee & Audrey Plasier Kyle & Cindy Van Wyhe MEMBERS: Diana Gonzalez Eric & Lora Rankin Joan Van’t Hof Curt & Patricia Ahrenholz Katie Lynn Haan Dean & Darlene Reichert Orv & Arlene Van’t Hul Joanne Alberda Greg & Laura Haverdink Dennis & Susan Rockhill Anne Vande Hoef Dallas & Carol Apol Daryl & Deb Hibma Cornie & Dolores Rylaarsdam Stan & Beth Vanden Berg Art & Phyllis Attema Gregg & Brenda Hooyer Ron & Karen Rynders Nancy Vanden Bosch Howard & Marge Beernink Brent & Mary Hulstein John & Sheryl Slegers Ken & Dorothy Vanden Brink Dave Bloemendaal Gerald & Shirley Isakson Cliff & Joanne Soodsma Joan Vander Hart Gert Boer Calvin & Sally Jongsma Mark & Emily Sybesma Dennis Vander Plaats Jim & Lavonne Bolkema Carl & Ellen Klompien Shirley Sybesma Dave & Rebecca Vander Werf Jim & Leanne Bonnecroy Arnold & Carol Koekkoek Barbara Top Delmar & Lois Vander Zee Jim & Glenda Bos James & Sally Koldenhoven Bert & Sandra Van Batavia Elaine Wassink Del & Annafeen Broek Henry & Dee Kramer Ron & LuAnn Van Den Berg Bev Zwart Jon & Eileen Buiter John & Betty Kreykes Dawn Van Den Bosch Mark & Miriam Buss Nancy Landegent Herm & Dawn Van Den Hul

Tonight’s Intermission Feature: Gourmet coffee and truffles ($1 each). Consider joining ** Concertmistress Friends and helping * Teaching with Principal rehearsal p Assistantrefreshments, Principal ushering, + Scholarship serving coffee/truffles,recipient and selling ticketsNISO to Members benefit Yearsthe orchestra. of Service: ♩5+ years ♪10+ years ♬15+ years ♮20+ years ♯25+ years CONTRIBUTORS ______

CREDITS______THANK YOU TO: MEDIA SPONSORS Van Den Hul Asset Dale & DORDTEileen Vander UNIVERSITY Wilt Nanci for itsJahn generous provisionBrian of rehearsal & Stephanie and Van Dordt University Management The Vanperformance Engelenhoven space, supportArnold &staff, Carolyn and Koekkoek office accommodations. Engen KDCR FM 88.5 Judy Winkel AgencyCONTRIBUTORS forJohn their & sustaining Sheryl Kooiker appreciationJerry of &fine Kim music Van Es and KWIT FM 90.3/KOJI FM Orv & Arlenetheir continuing Van’t Hul supportHenry of &the Dee Northwest Kramer Iowa SymphonyArlin & Janene Or Vanchestra. Gorp – CREDITS______90.7 CONCERTMASTER Harold & Emily Vonk Kroese & Kroese, P.C. Countryside Body Shop THANK YOU IowaTO: Information ($250 to $499) Todd &FRIENDS Leah Zuidema OF THE SYMPHONYRoger & Jerilyn for Lueders ushering, ticketLyle sales, & Mary and Van Publications Howard & Marge Beernink refreshments at our rehearsals.John & Victoria MacInnis Ravenswaay DORDT UNIVERSITY for its generousFarmers provision Mutual Insurance, of rehearsal PRINCIPAL and ($100 to $249) Rockne & Joan McCarthy Marion & Jan Van Soelen performanceMAESTRO space, ($1000+) support staff, andHull office accommodations.Curt & Pat Ahrenholz Dr. Verne & Gidge Meyer Marvin & Audrey Van CONTRIBUTORSJim & Marilyn Deanfor their sustainingEric & appreciation Kim Forseth of fine THEmusicWillis STAFF: and & Joanne Alberda Neal Chase Lumber Co. Vuuren Dale & Karen Den Herder Interstates Del & Ann Broek Northwestern Bank Stan & Beth Vanden Berg their continuing support of the Northwest Iowa Symphony Orchestra. Christopher Stanichar, Conductor Smithfield Foods Iowa State Bank Jonathan & Eileen Buiter No Streaking, Inc. Gary & Joan Vander Hart FRIENDS OF THE SYMPHONY for ushering, ticket sales, and Angela Holt, Assistant Conductor refreshmentsNorma Snyder at our Jones rehearsals. Carl & Ellen Klompien Casey’s General Store, Sioux Savings Bank – Primghar, Dennis Vander Plaats Stan & Nancy Speer John R. & Betty Kreykes Center Onsby Rose, Executive DirectorHartley, Lake/General Park ManagerGezena Vander Werf Mary Hulstein, Administrative Assistant Marion & Darlene Mouw Creative Living Center Steven & Donna Schaap Valley Machining Co. SOLOIST ($500 to $999) Premier Bank Bob & Rebecca De Smith Cliff & Joanne Soodsma Glen & Betty Vermeer BOARD OF DIRECTORS: Beaver Eye Care John & Sheryl Slegers Bernie & Kathy De Wit Alethea & Jack Stubbe Vogel Foundation THE STAFF: Daniel Finley – Sioux Center ChristopherDrs. Erik Stanichar, & Barb Hoekstra ConductorDr. Christopher & Kristin Driesen Eye Center Mark & Emily Sybesma Jack & Anita Vogel Northwest Bank Stanichar GeorgeSally & Jo Faber Jongsma – SiouxChar Center TenClay Greg & Beth Westra Angela Holt, Assistant Conductor John MacInnis – Sioux Center OnsbyPeople’s Rose, ExecutiveBank Director/GeneralGreg & Dawn Manager Steggerda Lee & Eleanor Feenstra John & Loretta Thomas Kenton & Melanie Witt Bonnie Meier, Vice-Chairperson – Orange City Mary ThomasHulstein, A. SnyderAdministrative AssistantKen & Dorothy Vanden Diana Gonzalez Bert & Sandra Van Batavia Dr. Ronald Zoutendam Brink Katie LynnRhonda Haan Pennings, ChairpersonHerm & Dawn – Orange Van Den City Hul BOARD OF DIRECTORS: Nancy Speer – Sioux Center Daniel Finley – Sioux Center T.J. Speer – Sioux Center Sally CREDITS______Jongsma – Sioux Center Bert Van Batavia – Boyden John MacInnis – Sioux Center Herm Van Den Hul – Sioux Center BonnieTHANK Meier, YOUVice- ChairpersonTO: – Orange City Jake Van Den Hul – Orange City RhondaDORDT Pennings, UNIVERSITY Chairperson for its– Orange generous City provision of rehearsal andBrian performance Van Engen ,space, Treasurer support – Sioux staff, Center and office accommodations. CONTRIBUTORS for their sustaining appreciation of fine music and their continuing support of the Northwest Iowa Symphony Nancy Speer – Sioux Center Lyle Van Ravenswaay, Secretary – Hull Orchestra. T.J. SpeerFRIENDS – Sioux OF Center THE SYMPHONY for ushering, ticket sales, and refreshments at our rehearsals. Bert Van Batavia – Boyden IMMEDIATE PAST CHAIRPERSONS: Herm Van Den Hul – Sioux Center Norma Snyder Jones THE STAFF: Jake Van Den Hul – Orange City BOARD OF DIRECTORS:Bernie Weidenaar Jake Van Den Hul – Orange City BrianChristopher Van Engen, Stanichar,Treasurer Conductor– Sioux Center Daniel Finley – Sioux Center Brian Van Engen, Treasurer – Sioux Center Lyle AngelaVan Ravenswaay Holt, Assistant, Secretary Conductor – Hull Sally Jongsma – Sioux Center Lyle Van Ravenswaay, Secretary – Hull Onsby Rose, Executive Director/ John MacInnis – Sioux Center IMMEDIATE PASTGeneral CHAIRPERSONS: Manager Bonnie Meier, Vice-Chairperson – Orange City IMMEDIATE PAST CHAIRPERSONS: NormaMary Snyder Hulstein, Jones Administrative Assistant Rhonda Pennings, Chairperson – Orange City Norma Snyder Jones Bernie Weidenaar Nancy Speer – Sioux Center SymphoBernienic Weidenaar Vision T.J. Speer – Sioux Center Bert Van Batavia – BoydenNorthwest Iowa Symphony Orchestra Concerts Dr. Christopher Stanichar, conductor Herm Van Den Hul – Sioux Center

WINTER POPS Symphonic Vision Saturday, January 18, 2020 – 7:30PM Northwest Iowa Symphony Orchestra Concerts SPRING CONCERT Dr. Christopher Stanichar, conductor Tuesday, April 7, 2020 – 7:30PM ______WINTER POPS Northwest Iowa Symphony Youth Orchestra Concerts Saturday, January 18, 2020 – 7:30PM Dr. Angela Holt, conductor

SPRING CONCERT Saturday, December 14, 2019, 3:00PM Tuesday, April 7, 2020 – 7:30PM Saturday, March 28, 2020, 3:00PM ______Northwest Iowa Symphony Youth Orchestra Concerts Dr. Angela Holt, conductor Contributions can be sent to: Northwest Iowa Symphony Orchestra Saturday, December 14, 2019, 3:00PM 700 7th Street NE, Sioux Center, IA 51250 Saturday, March 28, 2020, 3:00PM 712.722.6230 - [email protected] - https://niso.dordt.edu

Contributions can be sent to: Northwest Iowa Symphony Orchestra 700 7th Street NE, Sioux Center, IA 51250 712.722.6230 - [email protected] - https://niso.dordt.edu