Celebration - Kansas City Symphony Alliance

lexandernevsky AYou don’t ordinarily associate the composer Sergei Prokofiev with movie music. Yet, Prokofievwrote several film scores, mostly for 1930s era Soviet propoganda films. Alexander Nevsky wasone of them.Joseph Stalin wanted stories to inspire the masses to oppose foreign intrusions (remember, inthe 1930s, German Nazis were stirring up all manner and form of trouble in eastern Europe). Athirteenth century prince and historical folk hero, Alexander Nevsky fit the bill.Prokofiev was given the assignment to write music for the film -- which he was glad to do (jobs likethese paid the bills during the worldwide Depression of the 1930s). The score was a monumentalconcert and choral work which remains popular with audiences, long after both Stalin and theSoviet Union are dead.We’ll hear Alexander Nevsky when the Kansas City Symphony with the Kansas City SymphonyChorus will present Prokofiev’s work in concert May 20/21/22.Kansas City Symphony Alliance Newsletter May, 2011 Page 2

We asked two members of the Kansas CitySymphony Chorus about what it’s like to performAlexander Nevsky. Our thanks to Paul Buechter,and Joe Bonello, both tenors, for their thoughts.KCSA: Alexander Nevsky can be verylighthearted at times, and extremely dark othertimes. How do you go about changing yourmindset to deal with the different and sometimeseven jarring changes, such as occurs in theBattle on the Ice?Paul Buechter: I think the change from dark tolightheartedness helps to convey the message asintended. This is a propaganda movie to warnthe people of the Nazi war machine. Moviedraws many parallels. The lightheartedness ofthe love story reminds them they are fightingfor mother Russia. And the female love interestrepresents Mother Russia.Joe Bonello: We essentially have to be twodifferent choirs. One is the peasants of Russiasinging about our hero, Alexander Nevsky. Andthe other is the rigid, marching of the invadingarmy that brings its war cry to the scene of theBattle on the Ice.KCSA: Alexander Nevsky was originallywritten as movie music. Have you ever seen themovie which goes with the music? Do you get asense of what the action is on the screen as youperform Alexander Nevsky?Paul: Yes, I have seen the movie. Yes, theaction matches the movie and highlights thedrama and mood. An excellent example of amovie score.Joe: Yes, I’ve seen the movie. In fact, thefirst time the Symphony performed thispiece the film was projected over the stageand the orchestra and chorus provided a livesoundtrack. It was really cool! So having thatexperience, I understand what is going onduring the film and how to project that in themusic.KCSA: What is your favorite part of AlexanderNevsky? What is it about Alexander Nevsky thatappeals to you and why?Paul: Hard to pick a favorite part! The filmtechnique draws my attention. The photographyis wonderful. I am sure movie technology wasnot equal to what was in Hollywood at the timeso the fact that the photography and edits are sogood is amazing.Joe: Alexander Nevsky is a Soviet propagandafilm. Just like we had John Wayne and RonaldReagan fighting the “Japs,” this film is meant isstir up the Russian people against an invadingarmy that they knew was going to come. TheNazis are COMING, so get ready. While weused Hollywood to rile up the people against thebombers of Pearl Harbor, the Soviets used 700years of Russian history to call the people to riseup against the Nazis. The Soviet message wasclear, just as Alexander Nevsky raised a peasantarmy to repel the invaders of Nogorod, we, asa people, need to rise up and repel the Naziinvasion that is sure to come.KCSA: As part of the concert, you are alsoperforming Brahms’ Rhapsody for Alto, MaleChorus, and Orchestra. As you rehearse, doyou approach this piece differently because youare working with a soloist, or do you approach itas you would any other piece? Do you have anyfavorite part of the piece; why?Paul: When we perform with a soloist I take theapproach that we are like the accompaniment.The solo is the star.Joe: We have to approach the piece a littledifferently because we are accompanying thesoloist. We do get our moment to shine, butmostly we are in a kind of duet with her. Myfavorite part is our first entrance. The way theline rises is so typically Brahms, and the way helets the tenors sing over the top is just gorgeous.KCSA: This will be your last series ofperformances in the Lyric Theatre. Anythoughts as you anticipate your move to theKauffman Center for the Performing Arts?Any regrets or is the appeal of the KauffmanCenter so great that you are only lookingKansas City Symphony Alliance Newsletter May, 2011 Page 3

forward?Paul: I performed with the chorus many timesat the Lyric and attended both Symphony andLyric Opera performances there. I like theintimacy of The Lyric and the architecture.Acoustics were not always the best. However,we need to change and be in a state of the artfacility to take the KC performing arts to thenext level. I am thankful to the Kauffman andthe Helzberg families for their generous gift tothe community!Joe: I have three favorite memories from singingat the Lyric:The first... we taped a concert with BillMcLaughlin for his Saint Paul Sunday programon NPR, which was broadcast on Easter Sunday1989. For that show we had a soprano soloistfrom Dallas, TX by the name of Kay Paschalwho was gorgeous. She came out in a bluegown that plunged in the back and I thought theentire men’s section was gonna fall off the backof the risers (editor’s note: Kay Paschal is nowa professor of music at Georgia State Universitywhile maintaining her performance career).Second... the Lyric is a rabbit-warren ofhallways backstage and when we did aChristmas special with the King’s Singersfor PBS a friend and I were able to work ourway upstairs and off to the side of the house.Those areas are blocked off now, and are totallyinaccessible. But we were able to watch theKing’s Singers during the taping of their part ofthe show and it was amazing.Lastly...The very first time I was part of theChorus and we sang the Beethoven’s 9th wasat the Lyric. You know how that piece justpropels itself to the end and when the final notewas struck, a voice from way up in the balconyshouted, “BRAVO!” and the place just exploded!People leaped to their feet and “Bravos!” wereheard throughout the hall. It was exhilarating!And that will always be my favorite momentfrom singing at The Lyric.-- David Peironnet, editorThe Kansas City Symphony Chorus will join theKansas City Symphony on May 20/21/22 forperformances of Sergei Prokofiev’s AlexanderNevsky, and also Johannas Brahms’ Rhapsody forAlto, Male Chorus, & Orchestra which will featureSasha Cooke, mezzo soprano. Beethoven’s SymphonyNo. 1 is also on the program. Performances will beat the Lyric Theater on Friday & Saturday nightsat 8 PM; and at Yardley Hall on Sunday at 2 PM.Tickets are available from the Symphony’s boxoffice at 816/471-0400 or at www.kcsymphony.orgVolunteers who support America’s major orchestras will be comingto Kansas City in 2013. And, yes, they might take a train, they mighttake a plane, they might have to walk, but they’ll get here just the same.Kansas City will host the biennial meeting of the Association of MajorSymphony Orchestra Volunteers (AMSOV), a group supportingorchestras with “top tier budgets” and the consequent importance ofvolunteers in providing superlative concerts to their home cities.KCSA’s Mike Minor will be the Conference Chair, and KarenHardcastle will be the Conference Coordinator. In fact, the officiallogo for the conference was designed by Karen & Kirk Hardcastle soas to commemorate Kansas City and its fountains.The Symphony’s new home, the Kauffman Center for the PerformingArts will be a prime attraction to visitors from across the U. S. andCanada. This is significant in that it is the first time since the groupwas founded in 1937 that a national conference will have been heldin our city.Kansas City Symphony Alliance Newsletter May, 2011 Page 4

Sue Shinkle’sNotesIt’s been one week since the Showhouse opened to the public. Two weeks to go and the dailycount is increasing. Frequently, as our loyal volunteers emerge from the door after a full day andyet another Private Party, you hear the phrase “Is it June yet?” Hang in there, we’re almost there.We’ve heard many positive remarks about the house and our great designers. The weather, for themost part, has been on our side with several lovely days and only a few rain showers. Nordstrom’sstore kindly donated 500 umbrella bags, so that visitors wouldn’t drip through the house, or losetheir umbrellas at the front door. Our homeowner will see the house for the first time on May 9th.We hope that she will be pleased with what she sees.Lest you think I have forgotten about our Boiler-Up Awards, I haven’t. The only problem has beendeciding to whom it should be awarded this time. I narrowed the field down to several Showhousevolunteers and then immediately thought of a dozen more. There were at least fifteen whodeserved special recognition, but I finally settled on the following six people:First there is Peggy Borkon, who was called to come help us late one evening (which happenedto also be her birthday) while The Kansas City Star was trying to take some night photographs ofthe house. It seems that Peggy was the only one who knew how to fix the timer for the outsidelighting—it needed a new battery.The next awardee is Marcia Hawk who has valiantly taken over Staffing by herself. This is morethan a full-time job, because when she hasn’t been able to find someone she fills in herself. Youmay have seen her conferring with Barbara Holzmark at a table in the café, where they try to fillthe many staffing needs in this big house.New member, Kim Martincich, gets an award for taking on the job of running our Designer DinerCafé. The rumor is that she enjoys it and is considering doing it again next year. Yeah!Another new face at the Showhouse this year is Nancy Johnson. She knows this house so well thatI think she could turn the lights on blindfolded. She has been one of our most reliable staffers andcan fill almost any position.Next is Cathey Bossert, who has faithfully worked behind the Boutique counter despite a sinusinfection that has plagued her for weeks. We did furnish her with a new cash register this year.The sixth person to receive an award is Helen Miller. She’s always there when you need her. Oneday after we had locked the front door at 4:00 p.m. Helen, who had been Day Chair all afternoon,noticed a group of eight people coming up the driveway. She discovered that they were from out oftown and didn’t realize that the house was closed. Helen, of course, stayed around and gave thema private tour of the house.The reason we have been able to successfully conduct our Showhouse project for 42 years isbecause of our wonderful volunteers. I am always amazed! THANK YOU.It has been an interesting year to be KCSA President. Is it June yet?Kansas City Symphony Alliance Newsletter May, 2011 Page 6SueShinkle, President

Winding down on Showhouse, we’re one week into a fabulous 42nd year! We’ve only had twodays of rain and Mother’s Day was an all out record! Thank you to the many “gents” and “ladies”who helped staff the house and kept the crowd happy! We have many more occasions to need staffso please answer to pleas from Marcia Hawk, Staffing Chair. Please try and join us on Thursdaynights, we have two to go…the 12th and the 19th….we have samplings of food, drinks and musicfree for the guests of the house and our members are invited to join us! Festivities begin at 6 pmand end at 8 pm.Closing day, there is a fashion show by Fresh Produce in Mission, from 12 noon to 3pm followedby our Celebration Party at 5pm. All members, designers and staffers are invited to join in thecelebration! Donations of appetizers, sweets or a bottle of wine to share is the “bill of fare” and wewill all celebrate “in style”!Remember our Designers’ Diner is open daily with “box lunches” to kill your appetite and theboutique is open with many “one of a kind items”….remember we charge no sales tax, such adeal you should not pass up! We even have gifts for “Fathers”….. Bring a friend or two any dayto shop leisurely and feast in the “Diner”! Bring your friends to the tent for Thursday nights andour Fashion Show! To see who is entertaining in the “living room” on the “Boston”, a division ofSteinway Piano, or just next to it, visit our website at www.showhouse.org....the 42nd SymphonyDesigners’ Showhouse, and go to the “Events Calendar”. Our Showhouse is YOUR Showhouse!Come on over and check us out!Members, you do NOT need a ticket to tour our house, you just need to “sell your 5 tickets”(ormore) and join us any time! I hope to see you at 1000 Westover!Barbara Holzmark, Showhouse Vice PresidentKansas City Symphony Alliance Newsletter May, 2011 Page 7

Vivace!What does this mean???See next page!

“Vivace” is Italian for lively and vivid. It is also a musical term for amovement which is in a lively mood and in a quick tempo.If “vivace” isn’t the perfect description for a baby grand piano with anartist’s rendering of the Kauffman Center for the Performing Arts screenedonto the underside of the piano’s lid, we just don’t know what is.And, what more appropriate way of introducing even more Kansas Citiansto our phenominal new performing arts center than with a grand piano.Appropriate because the piano in the Kansas City Symphony Designers’Showhouse is a direct cousin of the concert grand instrument which will befrequently performing inside those walls.Our own Tom Hilton offers his insights on the following page:Kansas City Symphony Alliance Newsletter May, 2011 Page 9

By day, a mild-mannered chemical engineer.But in the evenings, and on weekends, Tom Hilton revealshis true self as a musician of considerable talent, andan afficianado and acknowledged expert on pianos. Somuch an expert that when churches and even individualsare considering a rather sizable investment in a qualityinstrument, they call upon Tom for his advice.Watching Tom approach a piano the first time is aninteresting experience. He approaches the thing like itis some sort of caged animal -- perhaps mild and meek,and perhaps wild and untamed. His fingers approach thekeys in an authoritative manner so the piano will quicklyunderstand who’s boss. He’ll hit a few keys and get asense of the “action,” which is to say how the hammersstrike the strings, and what feeling is transmitted backthrough the keys to the pianist’s fingers.A good piano understands that it had not only bettersound good but act right when Tom strikes the keys.To say that Tom likes Steinway pianos is a mildunderstatement. He adores them. But, that’s because theyact right and obey what Tom wants them to do.A good piano had better be tough, too. Not long after theKansas City Symphony took delivery on its new Steinwayconcert grand, Garrick Ohlsson performed the ChopinPiano Concerto #2. To understand the scene, one has torecall that Ohlsson is a big guy who you could imaginepicking up a grand piano, putting in a bag, then takingit with him as carry-on luggage. Ohlsson thinks nothingof slamming the keys with considerable impact, if that’swhat he has to do to get the piano to deliver the soundhe wants. The Kansas City Symphony’s Steinway didn’twince and produced a forceful but unstrained sound.We, in the audience, ate it up.That’s what Tom Hilton expects in a good piano. Whetherthe pianist expects a softly nuanced tone under theslightest touch, or almost whamming the keyboard withintensity one step short of outright abuse, the instrumenthad better do what the pianist and the composer tell it to.That’s why we thought it would be interesting for Tom totell us about the piano in the Showhouse, a cousin of itsrelative that we hear in concert so frequently.Tom Hilton is a long-time member of KCSA predecessor,Friends of the Symphony which merged into KCSA atthe beginning of this season. He’s performed for us onseveral occasions for after-concert parties as well as ourbusiness meeting last autumn. We’re delighted to get hisinsights into the instrument gracing the 42nd Designers’Showhouse.the Kauffman Center late this summer).The Boston brand itself was the result of smart thinkingof Steinway & Sons’ leadership in 1990 to create anaffordable alternative to the hand-made and consequentlycostly Steinway piano. According to Harry Reed, seniorpiano specialist of Schmitt Music, the Boston Pianoincorporates design features and patents that are uniqueto Steinway’s hand crafted instruments even BostonPianos are manufactured rather than hand-made, andwork takes place outside this country in Japan.The piano was designed by Steinway and there is aSteinway employee on site that inspects the instrumentsand the process to make sure the manufacturing processis kept up to Steinway’s unbelievably exacting standards.The result is a tone and a touch that come as close to theSteinway sound and feel as any piano I have ever played.Here is a major example that you’d never see on theoutside but makes a huge difference as a performer.Steinway specifies only wood parts be used in the Bostonaction (the part of the piano that the pianist actuallyplays). Because wood transmits vibrations so well, ithelps the pianist to keep in touch with the instrument andallows for more sensitive playing. While it would-- David Peironnet, editorTom Hilton tells us:The Boston Grand Piano featuring beautiful artwork of thethe Kauffman Performing Arts Center in the Designers’Showhouse shares many common characteristics with theSteinway concert grand piano that graces the stage of theLyric Theatre (and will move to the new Helzberg Hall in

e easier and less expensive to use synthetic parts, theydo this because it emulates its ‘cousin’ or the Steinwayconcert grand.Again, referring to my conversation with Mr. Reed ofSchmitt Music, it is twenty one design features such asthis that place a manufactured piano, such as the Boston,in a class of its own. The Boston name, although barely21 years old, draws upon Steinway’s 157 years of pianodesign, patents, manufacturing expertise, that continuesto be something that is manufactured in New York, andis the musical envy of the world. So when you see theBoston in the Symphony Designer Showhouse, it trulydoes share something in common with our beautiful 9foot concert grand piano as so generously given by Ms.Julia Irene Kauffman a few years ago. And last but notleast, Steinway has a unique design tonally that allows thepiano to cut through an entire orchestra with brillianceand do it without being harsh. That is why pianoconcertos of Rachmaninoff and Tchaikovsky are heard atFortissimo levels with that familiar warm sound that isthe tonal design and genius of Steinway. No other pianoshares that hallmark, except for one ..... The Boston.-- Tom HiltonProposed By-Law AmendmentsTwo changes in the By-Laws of the Kansas City SymphonyAlliance will come before the membership at theupcoming June 4 luncheon meeting. Both were reviewedand approved at the last two Board of Director’s meetings,with a recommendation of approval by the membership.Both involve an addition to the Handbook, which is underpreparation by a committee headed by Marilyn Raines.The amendment to the By-Laws: Under Article IVOFFICERS - To add the position of Showhouse Treasurerto the Board of Directors.before any donation is made to the Kansas City Symphonyfor the current year.”Slate of Officers for 2011 - 2012President – Marilyn RainesPresident-Elect – Tracey HawkinsRecording Secretary – Lynn SelfridgeCorresponding Secretary – Marti MillerTreasurer – Mike MinorShowhouse Treasurer – Peggy JacobsonMembership Vice President – Recruitment & OrientationLinda HartmanMembership Vice President – Retention – Marcia HawkPublic Relations Vice President – Don DagenaisSymphony Shop Vice President – Anita HampshireThe addition to the Handbook, or as a Standing Rule, is“That $11,500 be made available and carried forward forthe next fiscal year. This money would be safeguardedKansas City Symphony Alliance Newsletter May, 2011 Page 11

Kansas City Symphony Alliance Newsletter May, 2011 Page 12

Showhouse 42Opening Celebration!Kansas City Symphony Alliance Newsletter May, 2011 Page 13

MunchaRoo & You!We sold about 575 tickets through MunchaRoofor an ‘early-bird’ special price as well as growour customer base (they have 33,000 members)!Help us earn money with them!MunchaRoo is a local version of Groupon. Youwill get an e-mail almost everyday with a buyone get one free offer from local Kansas Cityarea businesses, events and restaurants! Weearn money if you are new to sign up and whenyou make your first purchase! It’s a great wayto save on dining out -- and helping us raisemoney. Sign-up today! You must click on thislink: http://www.muncharoo.com/?org=showhouseIf your business or organization wants toadvertise through them, it costs nothing to signup, if you mention that you were referred by theShowhouse, we will earn more money!We now have 429 FaceBook fans! Our goal is500!Watch for the Kansas City Star on Sunday the15th of May! A cover story will appear in theStar’s House & Home Sunday edition!!! TheJohnson County Sun will feature the Showhousein an upcoming issue, as well.Our Showhouse was listed in the New YorkTimes under their annual Showhouse listing!Wow! Here’s the link: http://www.nytimes.com/2011/04/28/garden/28tour-national.html-- Tracey Hawkins, P.R. Chairperson$300 thousand question!How would you like to help liberate threehundred thousand dollars from someone’s bankaccount? Sounds devious, doesn’t it?Actually, it’s not. A group of anonymous donorsoffered up to $300 thousand in matching fundsif the Kansas City Symphony can raise thatmuch in independent donations. The “catch” isthat the Symphony needs another 300 grand incash.Assuming that you are like the editor of thisnewsletter and don’t have that much in coinswhich have fallen behind the sofa cushions, youcan donate what you are able to afford, and theanonymous donors will match that amount withanother donation.Even if all of us put together can’t afford todonate 300 big ones, we can still take a healthybite out of the anonymous donors’ assets with alot of smaller donations.The Kansas City Symphony has an annualbudget of about $12 million, though receivesonly 30% of its revenue through ticket sales.Frank Byrne, Executive Director advises,“Virtually all of the balance comes fromgenerous contributions from the community.”Part of this comes from auxiliary groups suchas the Kansas City Symphony Alliance, buta far greater part comes from donors whobelieve “GreatMusic for aGreat City” isessential to thequality of life inKansas City.Your donationsare thus mostwelcomed. Tomake a gift tothe Symphonyor for moreinformation,contact Directorof DevelopmentLlewellyn Crainat 816/218-2646or lcrain@kcsymphony.orgKansas City Symphony Alliance Newsletter May, 2011 Page 14

Last Two!Only two weekend concert series remain at the LyricTheatre before it is closed, and the Symphony moves tothe marvelous new Helzberg Hall in the Kauffman Centerfor the Performing Arts.On the weekend after Memorial Day, Beethoven’s ThirdPiano Concerto will be the featured composition on theKansas City Symphony’s bill.The concerto as a form of music composition originatedwith the opera aria, where a solo singer is accompaniedby an orchestra. Not long after the introduction of operasinto public theaters in the second half of the 17th century,composers realized that what was done on stage with thehuman voice could also be done in the concert hall with aninstrumentalist. Thus, the concerto was born.In opera, however, at least at that time, the soloistand orchestra were to play as one. The orchestralaccompaniment, carefully attuned to the voice of the soloist,would accompany and compliment the voice, providingharmonic support and furnishing bridge passages. It wasall mutually supportive and “friendly,” from a musicalpoint of view. You might say that the key word in earlyconcerto composition and performance was “teamwork.”When Ludwig von Beethoven came upon the scene,beginning with his musical maturity in the 1790’s, he wasdetermined to set much of the classical music world on itshead. As a brilliant solo pianist, the greatest of his day inVienna, he certainly knew how to perform piano concertosin a spectacular way. But the whole idea of teamwork andcooperation came to him fitfully, if at all.It is to Beethoven’s Piano Concerto No. 3 that many musichistorians trace an idea quite opposed to that of traditionalconcerto composition, namely that the concerto can bea musical “battlefield.” Rather than have the orchestraaccompany and support the soloist, Beethoven dared tohave the two square off in a kind of musical contest. Inthe Piano Concerto No. 3, therefore, the pianist venturesoff into muscular and individual musical territory, daringthe orchestra to compete. The orchestral part is lessaccompaniment than counterpoint and challenge, and thetwo forces toss musical phrases back and forth, sort of likean aural tennis game, before finally coming to resolutionjust at the end.Performing this challenging and pathbreaking work withthe Kansas City Symphony is pianist Markus Groh,returning to Kansas City. One of today’s most soughtafterpiano soloists, he has performed with the orchestrasof Cleveland, Baltimore, Colorado, Detroit, Florida,Milwaukee, New Orleans, New York, Philadelphia, SanFrancisco and Seattle, among others. He has recordedthe works of Liszt, Brahms, Debussy and Prokofiev, andhas been praised by The New York Times for “offering themusic’s bravura as well as its sensitivity.”Also on this program is the Schumann Symphony No. 4and the Lyric Pieces of Norwegian composer Edvard Grieg.These two composers, both champions of 19th centuryRomanticism, are in many ways quite different.Robert Schumann, born seven years after the premiere ofBeethoven’s concerto, was a close friend of Brahms andwrote in many different compositional forms. His outputincludes only four symphonies, including this one, writtenin 1841 and then substantially revised a decade later.Performed in four movements without pause, the symphonyis a product of Schumann’s maturity as a composer andcontains some of his most lyrical moments.Schumann lived a life beset by mental problems and diedat the age of only 46, after having earlier attempted suicide.Although he was well regarded in music circles throughouthis life, he was, by the time of his death, little thought of bythe public. His fame spread wide only after his sad death,primarily through the championing of his talented widowClara, a fine composer in her own right.At the opposite end of this spectrum, at least from thestandpoint of public recognition, was Edvard Grieg. Bornin 1843, Grieg quickly rose to northern European fame andbecame a friend of the great pianist Franz Liszt who helpedpromote his career. Among his most popular compositionsare the Piano Concerto (he wrote only one, but a great one itis), his incidental music to the Ibsen play Peer Gynt, turnedinto the two Peer Gynt Suites, the Symphonic Dances, anumber of sonatas for piano and other solo instruments,and his sixty-six small and charming piano works calledthe Lyric Pieces. Four of these were later orchestratedand turned into the Lyric Suite which the Symphony willperform during its concerts.Where Grieg went, public adulation shortly followed. Thismight be because he was one of the few popular northernEuropean composers during a time dominated by theGermans, French and Italians. The Norwegian governmentthought so highly of this native genius that in 1903 theyvoted him a generous pension which supported him forthe rest of his life. Can you imagine a modern governmentdoing such a thing?From the musical battlefield of Beethoven to the morepeaceful sweep of Schumann to the understated grace andeloquence of Grieg, this weekend’s Symphony concertcovers the gamut of 19th century musical experiences.Contributors’ConcertA special concert will be held on Wednesday evening, May25 at 7:30 PM exclusively for contributors to the KansasCity Symphony. We, who are members of the Kansas CitySymphony Alliance, are invited.If for any reason you have not received an invitation, or gotone and forgot it until now, please call the Symphony boxoffice immediately! Their number: 816/471-0400.Kansas City Symphony Alliance Newsletter May, 2011 Page 15

A musical salute to our nation will again be presented by the Kansas City Symphony on the Sundayof Memorial Day weekend. Red, white, and blue favorites will be performed by the orchestra, underthe direction of Michael Stern, music director, with Union Station as the backdrop. Following theconcert will be a gigantic fireworks display above the Liberty Memorial. Special recognition will beoffered to the men and women of America’s military who gave their lives in defense of our freedoms.Bank of America will underwrite the event.The free, live concert will take place on Sunday evening, May 29. The orchestra concert will beginabout 7:30 PM with fireworks taking place at dark. Other musical events will begin in late afternoonso that people arriving early can bring dinner and enjoy it on the lawn below the Liberty Memorial.In the event of rain, all events will take place on Memorial Day, May 30.Marilyn Raines is organizing volunteers to staff our concession stands. Two of the facilities will bein the Union Station Plaza, and two will be located on the lawn below the Liberty Memorial, as hasbeen done for several years by KCSA predecessor, Friends of the Symphony. Proceeds from the saleof concessions will be added to KCSA’s donation to the Kansas City Symphony.Assistance will be needed during the afternoon of Sunday and continuing until the fireworks areover. Volunteers get some of the best views of the concert and fireworks, along with free parking.Please contact Marilyn at 913/884-8229, or by e-mail at mandgr@embarqmail.com if you can help.Kansas City Symphony Alliance Newsletter May, 2011 Page 16