(dramatic orchestral music) - Feel the power of music as it captivates and connects us.

- Music is love.

Music is passion.

- [Presenter] Music belongs to everyone.

This is Minnesota Orchestra.

(orchestra warms up) (audience cheers and applauds) - That's a Friday night crowd.

(audience laughs) Good evening and welcome to "This is Minnesota Orchestra".

I'm your host, Ariana Kim, and we're thrilled that you're joining us tonight, here for this colorful and captivating program at Orchestra Hall in Minneapolis.

Yeah.

(chuckles) (audience applauds) It's an honor to serve as your guide tonight, and to be here on this iconic stage.

As a Twin Cities native and violinist myself, I actually gave my own solo debut, right here, as a fifth grader, playing Kreisler's "Praeludium and Allegro" with the Minnesota Youth Symphonies.

(audience applauds) And I'm proud to say that I have many friends and colleagues in the band now.

This concert has a special connection for me as well, in that it features "Fandangos", a tribute to the vibrant dances after which it's named, by Puerto Rican composer Roberto Sierra, a former colleague of mine at Cornell University, out in New York.

I got to know his music a bit over the years, before he retired in 2021, performing several of his violin pieces, and working with our shared students.

Tonight's Latin and folk music inspired concert also features Pacho Flores dazzling us in Arturo Marquez's new trumpet concerto scored for four different trumpets, which will mark its Minnesota Orchestra premiere.

We'll conclude the evening with Dvorak's rustic and enchanting 8th Symphony, written in honor of his admission to the Prague Academy, drawing inspiration from music of the Bohemian countryside.

There's also an extra buzz in the air, as we welcome Armenian-Venezuelan guest conductor Domingo Hindoyan who brings an expertise in a wide array of musical styles perfectly fitted for tonight's selections.

Equally comfortable on the opera podium as a symphonic, Hindoyan is Sure to dance us through the concert from start to finish.

Please welcome this evening's concert master, Susie Park, Maestro Hindoyan and the Minnesota Orchestra.

(audience applauds) (orchestra tunes up) (audience applauds) ("Fandangos") ("Fandangos" continues) ("Fandangos" continues) ("Fandangos" continues) ("Fandangos" continues) ("Fandangos" continues) ("Fandangos" continues) ("Fandangos" continues) ("Fandangos" continues) ("Fandangos" continues) ("Fandangos" continues) (audience cheers and applauds) - That was "Fandangos" by Roberto Sierra, played by the Minnesota Orchestra under Domingo Hindoyan.

Although it was composed in 2001, it taps into a couple of composers from the past.

Antonio Soler of Spain who left behind lots of short harpsichord sonatas and fandangos.

And the Italian-born cellist and composer, Luigi Boccherini, who spent much of his working life in the city of Madrid.

Sierra added his own baroque musings and ideas to come up with the piece that you just heard.

A great way to begin this concert with a Minnesota Orchestra coming to you live tonight on YourClassical NPR, Twin Cities PBS and the orchestra's website.

I'm Melissa Ousley in the radio booth.

Domingo Hindoyan is making his Minnesota Orchestra debut tonight.

When I asked him about this program, he was quick to point out that the common threads are dance and folk song.

You could hear that in the fandangos by Sierra.

Comes through loud and clear in the two pieces Pacho Flores will play, and after intermission, Dvorak's "Symphony No.

8" is full of folk songs and a feeling of dance.

Domingo, by the way, is the principal guest conductor of the Polish National Radio Orchestra, and he's Chief Conductor of the Royal Liverpool Philharmonic.

He is conducting concerts all over the world and next weekend, he's in Boston to lead the BSO in a program that includes the seventh symphony by Dvorak.

Pacho Flores.

Wow, you're about to hear an amazing player.

He was born in Venezuela in 1981.

His father, also a trumpet player and his first teacher.

Pacho studied at home in Caracas and then he went to Europe and studied there, particularly in Paris.

In 2006, he won a very prestigious competition.

The Maurice Andre Competition.

And since then, he's been playing with orchestras all over the world, often commissioning composers to write music for him to play, and that's the case with the piece that you're about to hear.

It looks like we are ready for Pacho to set up shop with his gallery of brass instruments.

So, I'll send you to our in-house host, Ariana Kim.

She's a Grammy-nominated violinist and Minnesota native, a tenured professor at Cornell University, in her 18th season as a member of the Brooklyn-based The Knights.

Here she is.

- Hi again.

We're gonna turn now to the second chapter of our program, featuring guest artist, Pacho Flores.

Known for his flexibility in style and technical brilliance, The El Sistema-trained trumpeter will open with music by the famed Spanish composer, Pablo de Sarasate, followed by the Minnesota Orchestra premiere of "Concierto de Otono" by Mexican composer Arturo Marquez.

Marquez blends together Latin folklore, Afro-Cuban dance rhythms and homages to Hayden and Chopin in a spellbinding three-movement work.

It's not every day that we get a chance to hear a new piece written expressly for the performer.

So, we're in for a special treat.

Let's talk with Pacho Flores for a few minutes, before he performs.

Welcome Pacho Flores.

(audience applauds) - Ola, ola.

(chuckles) Hello.

- Welcome, Pacho.

We're so delighted to have you with us tonight and we're so looking forward to the Minnesota Orchestra premiere of "Concierto de Otono".

- Thank you.

- I'm curious.

One of the things that is really special for me when I'm premiering a new piece by a living composer is the fact that we get to workshop that piece with the composer and ask questions as the piece evolves.

Kind of like we wish we could call up Mozart and ask him what he meant, or call up Bach and ask him what he meant.

I understand you had this experience with Marquez, and I'm wondering if you might share a little of that collaboration with us.

- Of course, I was very lucky because I had the chance to work directly with El Maestro Arturo Marquez.

Was, of course, challenging, try to find a beautiful concerto.

Especially I was looking for Latin American elements into the piece.

Also was challenging for him, try to find the perfect color for the piece in every single trumpet.

He called "Concierto de Otono", "The Autumn concert", because he consider himself that he's in the autumn in his life.

- Love it.

And the other thing that really struck me, I was listening to and watching some of your prior performances of this piece, and you switch horns four times in this concerto.

We have some colleagues and friends on stage that switch once or twice during the concert, except for the percussionists back there, who are just renaissance beasts.

(audience laughs) (Pacho laughs) But I can't imagine switching gears four times.

Can you tell us what that's like?

Is it challenging?

How do you find that each horn captures the different colors of each movement?

- Yes, of course it's challenging, but also it's beautiful at the same time.

I'm playing with a trumpet that has four valves.

I have more range in every trumpet.

The first movement I play with the trumpet in C, that is the trumpet that my colleagues play in the orchestra.

The second, I play the flugelhorn.

This is a dark sound.

Also, I play in the second, the Hornet in F. It's a mellow sound.

And the last one is a trumpet in D. It's very brilliant and lovely.

- Amazing.

Well, thank you so much for sharing that with us and we look forward to your performance in just a little bit.

- Gracias.

Thank you.

(audience applauds) - This is too cool.

On some occasions, I've had to switch between violin or viola on the same program, or maybe swap between a A415 tuning to an A440 tuning, usually playing both out of tune, but I can't imagine switching back and forth four times.

So, I have much admiration for that and it kind of gives a new definition to the craft of multitasking.

We'll turn the stage back over now to Susie Park and the Minnesota Orchestra with Pacho Flores and Maestro Hindoyan.

Please enjoy.

(audience applauds) (orchestra tunes up) (audience applauds) - At the end of the concert, we're gonna sell the instrument.

(audience laughs) Ah, Maestro.

I am, today, your assistant.

(audience laughs) (audience applauds) ("Gypsy Airs") ("Gypsy Airs" continues) ("Gypsy Airs" continues) ("Gypsy Airs" continues) ("Gypsy Airs" continues) ("Gypsy Airs" continues) ("Gypsy Airs" continues) ("Gypsy Airs" continues) ("Gypsy Airs" continues) - Bravo!

(audience cheers and applauds) - Pacho Flores's own arrangement of Pablo de Sarasate's "Zigeunerweisen" bringing down the house.

He is now taking his warm appreciation from the Minnesota Orchestra audience.

Maestro Hindoyan now acknowledging the entire band as Flores takes yet one more bow.

Flores is now exiting the stage, likely to be called back again.

Looks like we'll end there.

Well, that was quite the appetizer.

It's clear that Flores and Hindoyan have the audience on the edge of their seats, excited for the Minnesota Orchestra premiere that's to come shortly.

Sarasate has a way of bringing such flair to his music, inviting our imaginations to run wild with imagery.

A perfect prelude to the main course that awaits us.

That piece, originally written for violin and orchestra, is quite familiar to most of us string players, and how cool it was to see how Pacho created an arrangement for trumpet.

I kinda wish I could play those runs that clearly.

Flores and Hindoyan were both trained in Venezuela's world-renowned El Sistema, a music education program centered on access and social change.

Founded in 1975 by Jose Antonio Abreu, to give access to the performing arts for all Venezuelan children, regardless of their background, El Sistema has played a major role in the education of countless Venezuelan artists.

Flores and Hindoyan among them.

And now, "Concierto de Otono" for trumpet and orchestra by Arturo Marquez with Pacho Flores and the Minnesota Orchestra led by Domingo Hindoyan.

(audience applauds) ("Concierto de Otono, Son De Luz") ("Concierto de Otono, Son De Luz" continues) ("Concierto de Otono, Son De Luz" continues) ("Concierto de Otono, Son De Luz" continues) ("Concierto de Otono, Son De Luz" continues) ("Concierto de Otono, Son De Luz" continues) ("Concierto de Otono, Son De Luz" continues) - Ay, caramba!

Woo!

(audience cheers and applauds) It's hot here, no?

(audience laughs) ("Concierto de Otono, Balada de Floripondios") ("Concierto de Otono, Balada de Floripondios" continues) ("Concierto de Otono, Balada de Floripondios" continues) ("Concierto de Otono, Balada de Floripondios" continues) ("Concierto de Otono, Balada de Floripondios" continues) ("Concierto de Otono, Balada de Floripondios" continues) ("Concierto de Otono, Balada de Floripondios" continues) ("Concierto de Otono, Conga de Flores") ("Concierto de Otono, Conga de Flores" continues) ("Concierto de Otono, Conga de Flores" continues) ("Concierto de Otono, Conga de Flores" continues) ("Concierto de Otono, Conga de Flores" continues) Can you help me?

(audience laughs) ("Eine Kleine Nachtmusik, Allegro") (audience laughs) ("Eine Kleine Nachtmusik, Allegro" continues) (audience vocalizes melodically with trumpet) (audience vocalizes melodically with trumpet) (playful trumpet music) - [Audience] Dah-dah.

- Ah-hah, Maestro!

(audience cheers and applauds) (lively trumpet music) (audience laughs) (Pacho speaks foreign language) (audience laughs) ("Concierto de Otono, Conga de Flores" crescendos) (audience cheers and applauds) - "Concierto de Otono" by Arturo Marquez.

Minnesota Orchestra Hall's audience is on their feet.

Cheers and warmth being sent to Pacho Flores, with a fantastic cadenza, and a little homage to "Eine Kleine", involving a little audience participation.

Loved it.

Pacho's exiting the stage, along with Maestro Hindoyan.

Receiving some backstage love, before they likely head back out.

(audience cheers and applauds) Wild cheers and lots of love for Pacho Flores and Maestro Hindoyan, as he takes a second bow, acknowledges the orchestra, thanks them, blowing kisses to the brass section.

Maestro Hindoyan acknowledging the percussion section.

And now the complete orchestra.

(audience cheers and applauds) They certainly brought down the house.

That soulful second movement brought us mystery and sorrow and that third movement, to me, it was like Vivaldi and a Mariachi band and maybe an Afro-Cuban trio had a musical dinner party and invited us all to come watch.

Flores's golden tone and poise, mixed with his flair for such varied styles, left space for us all to be transported.

When he heard Pacho Flores was coming to perform, Minnesota Orchestra's Principal Trumpet Manny Laureano was thrilled.

We've heard Manny play for decades, but there's so much more to the story of this former co-executive director of the Minnesota Youth Symphonies and Marshall Artist.

Let's have a look.

(gentle trumpet music) - Trumpet players have to produce a wide variety of sounds.

We have to be very mellow sometimes, and then just incredibly brilliant.

It's really like acting.

That's why I like the trumpet.

I am Manny Laureano and I am the Principal Trumpet of the Minnesota Orchestra.

I was hired back in 1981.

So, I'm in my 43rd season.

When I came in at age 26, I was the kid and I had a section of gentlemen who were all biologically old enough to be my father.

And so now, I'm the, uh, I won't say the dad, but I'm the older uncle, (laughs) in the section.

These guys are my pride and joy.

I have so much fun with them.

I am absolutely blessed.

- Manny has a deep knowledge of the scores and the history behind the music that we're playing and he loves to tell stories, pretty much all the time, which makes sense because he truly is a storyteller, on the trumpet.

He changes his style based on the meaning of the music.

His focus is always what the music is trying to convey and he's also very good-humored.

We have a lot of fun.

It makes it a very positive place to play.

- My favorite trombone mute is this one right here, which goes, "wah-wah".

(Manny chuckles) I've been very fortunate to be playing the instruments made by a dear friend of mine named David Monette for the last 40 years.

I love playing them.

I love the way that I get to express myself.

(gentle trumpet music) I was born and raised in East Harlem, in New York City, by my parents, Juan and Pura, who came from Puerto Rico in 1948.

I had one of those really wonderful childhoods.

I didn't grow up in Puerto Rico, but it was almost like the next best thing.

The language was around me all the time 'cause Spanish was my first language and I spoke that probably for the first five years of my life.

My parents never played instruments, but there was always music in the house.

It was either on the radio or on the TV.

When I went to junior high school, they did say, "Okay, son, here's a mouthpiece.

You're gonna play trumpet."

And I, in the middle of the cacophony of all these kids trying out their instruments for the first time, I actually produced a really nice sound that caught the attention of the band director and he said, "You, keep doing that."

And I did.

(gentle trumpet music) Growing up, I was such a nerd that instead of being out on dates on Saturday nights, I was in front of the TV, watching "Evening at Pops".

- [TV Announcer] From Symphony Hall in Boston, it's "Evening at Pops", with Arthur Fiedler, the Boston Pops Orchestra- - And the very first time was because I heard that this Doc Severinsen guy was gonna be playing.

(dramatic trumpet music) I was absolutely knocked out of my socks to listen to his relentless, wonderfully expressive, fearless kind of playing.

(dramatic trumpet music continues) How could I not want to play the trumpet?

In the 1990s, Doc was made the Pops Director of the Minnesota Orchestra.

I had the enormous privilege of being part of a commission of a work written by Stephen Paulus, for Doc Severinsen and myself.

Getting a chance to meet him and rehearse with him?

One of the highlights of my life.

("Concerto for Two Trumpets and Orchestra") So, when I finished eighth grade, I wound up receiving a scholarship to go study at the 92nd Street Y with a member of the New York Philharmonic.

And after that, wound up going to Music and Art High School and going to Juilliard, and for all the success I'd had in getting into Juilliard, I still didn't really understand the responsibilities of learning the craft.

And my teacher told me how disappointed he was in me.

And I will never forget this, he said, "Laureano, you're no better than you were when you first walked in this door."

So, I picked up my horn, went to a practice room and was a different student, after that.

(audience cheers and applauds) Sometime in 1977, Emerson, Lake & Palmer were putting together a symphony orchestra to go on tour to promote their "Works" album.

I wound up auditioning, and then I heard about a week later that I was in.

And so, the first rock concert I ever went to, I was in.

(Manny laughs) (dramatic trumpet music) Touring with Emerson, Lake & Palmer was a tremendous experience.

That kind of energy from a rock crowd, I gotta tell you, that was fantastic.

(Manny grunts aggressively) - Kick.

(Manny grunts aggressively) - We were in my third home, the Eclectic Martial Arts Dojo in Minnetonka.

You know, when you put this uniform on, you can't stay still.

You can't stay still.

(Manny grunts aggressively) I'm preparing for my exam for my second degree black belt.

I'm also going to be teaching my silver belts class as well.

The disciplines that are involved in martial arts are so like what you have to experience in music.

You have to practice.

You have to be flexible.

You have to be strong.

You have to understand clarity of purpose.

(Manny grunts aggressively) - Well, Manny values martial arts for what it gives to him, but he also really values it for his ability to help others.

The ability to help others is really key in martial arts.

That's the Manny is unflailingly positive and that positive energy really affects the way he teaches.

Some of the things you ask students to do are very hard.

Manny will get right down on his hands and knees and do pushups in their lessons.

He'll show them that it's possible.

- I gotta get you guys ready for Radio City.

Face the wall.

Kenpo is an ancient art that descends from the Shaolin Temples.

We need to make sure, as black belt instructors, that the story we tell when we teach is the correct story.

That it has not been watered down, and it is the same in music.

(warm orchestral music) We musicians have this responsibility to hand down those things that were taught to us.

The idea of becoming a music teacher was my original plan.

As far as I was concerned, there was no higher calling.

In 1988, my wife Claudette and I, were offered the opportunity to become the co-directors of the Minnesota Youth Symphonies.

In our 32 years, we've probably had about 5,000 kids come through our doors.

I'm so proud of the work that we did.

- One of the most defining moments in my musical upbringing was when Manny assigned his orchestra in MYS "The Rite of Spring" to be played here at Orchestra Hall in 2008.

He did the most incredible job of introducing us to this piece.

The way that he told the story of the piece, talking about the premiere and the riots that happened, and he got everyone so excited about performing this incredibly hard piece of music.

He always believed that everyone on that stage could rise to the occasion.

That's a really big deal when you're in high school or even younger and you have the Principal Trumpet of the Minnesota Orchestra believing that you can play this at a really high level that's really deserving of the music and having someone believe in you like that, as a teenager, is worth a lot.

(gentle orchestral music) - I'm currently in my 10th season as the Music Director of the Bloomington Symphony Orchestra.

Oh, my goodness.

So much fun.

They absolutely love what they do.

And look, it's a lot of fun to be able to share the information that I learn on a daily basis, here at this job.

(dramatic orchestral music) You know, all of this that I do, whether it's playing trumpet, whether it's conducting orchestras, whether it's education, it is about something that I love, and that is sharing.

(dramatic orchestral music continues) I love telling people about what I do for a living and how much damned fun I have at it.

- And we're happy to report that Manny was recently awarded his second degree black belt.

Just as important as the musicians on our stage, the colleagues backstage and behind the scenes are committed to their many crafts as well.

Now, we'll take a peek at the making of our broadcast and the streaming series, "This is Minnesota Orchestra", and meet the masterminds who choreograph the camera work and other technical achievements.

- Two minutes to the top of the show.

Two minutes.

- There's always an added sense of excitement on the nights that we do live broadcasts.

Everything is fine-tuned down to the minute, so we have to be really on our toes for every single second of the night.

- Oh, standing on the podium is easy.

You know, you just sit there, you wave your arms around.

The magic happens.

Live broadcasts are different.

It makes me very nervous.

If it's good for you, it's good for me.

- 20 seconds to Bill.

- [Adam] My name is Adam Romey and I am the manager of digital concerts and broadcasts for the Minnesota Orchestra.

- [Producer] Have a great show, everyone.

- We produce a live television and web series called "This is Minnesota Orchestra", which we call TIMO for short.

- [Producer] Three, two, one.

Show go.

(dramatic orchestral music) - [Presenter] Feel the power of music, as it captivates and connects us.

- I choreograph all of the camera shots that you're going to see over the course of a two-hour broadcast.

So, when you see the conductor and then you see the violins, someone has to decide that's gonna happen, and tell the crew to do it, and that's my job.

In five.

Go.

And Ruth right in.

And start moving forward, 24.4.

I'm originally from the Twin Cities.

Go.

My background is as a bassoonist.

I started playing the bassoon when I was 13.

I fell in love with the instrument and the range of sounds that different players had, and got really serious about it and I knew I wanted to stay close to music as long as I could.

I started here in October, 2019 in education and community engagement, and of course, just around the corner, everything shut down, and we stopped having live events.

I was tapped for an experimental livestream broadcast test.

They asked me to be something called Score Reader, because I had a musical background.

Over the course of the 2021 season, our doors were closed, but we were putting out television, web, radio broadcast, every other week.

That allowed the musicians and the audiences to continue to develop their relationship.

They didn't have to push pause.

- Good evening to all of our friends here in Minnesota in the US and around the world.

Welcome to Orchestra Hall.

- Those first few shows all took place in the rehearsal room for the crew, and we had these makeshift stations with clear glass shields dividing us.

We went from very small groups of players with no audience to a live show with anywhere from 80 to 100, or even more players on stage with 2000 people in the hall.

Our system has had to change quite a bit, in order to keep up with the artistic projects that the orchestra is putting on television and the web.

Go.

After the 2021 season, the crew built this state-of-the-art production studio in what had initially been two closets in a hallway.

First, we had been using six cameras or so, for most productions, and now we use anywhere from eight to, I think our record is 14 or 15 for one show.

And six.

Go.

- The other week, I walked in on a rehearsal and I could not believe how much activity was going on and how they were constantly talking about prepping this camera or going to this camera.

It is mind blowing to me to think about how much attention to detail there is.

- [Adam] And start moving one in one.

Go.

Every show takes so much focus.

We've got great people and a good system that we're fine tuning and experimenting with all the time.

- When we do the live broadcasts, we are timed down to the minute and even the second.

And so, things need to be done on time.

A lot of things happen during the concerts, not just one group of people on stage the whole time.

There's a lot going on through all four of the stage doors that lead to the auditorium.

(dramatic orchestral music) (audience cheers and applauds) - That was "Sarka" by Bedrich Smetana, played by the Minnesota Orchestra in a live broadcast on YourClassical NPR, Twin Cities PBS, and the orchestra's website.

- Ozzy mixes for the radio and tv.

I'll do an immersive mix for the web and mix front of house for the hall.

Tom balances all the stems and vocals for TV and the web.

- The energy of the live television is exhilarating.

It's all hands on deck and everybody on their toes.

- We do have rehearsals in the week prior to the concert so we can get the balances established so that way when the broadcast night comes, everything goes according to plan.

- I have to like the orchestra really well, in general.

They have to read their music, but the camera is less forgiving.

Instead of looking at it from a theatrical point of view, I need to look at it from a point of view of making sure that whenever the camera shoots something, wherever it is, and from whatever angle, that it looks good.

Live TV is a lot like live theater.

The stress level's a little higher, but that's kind of fun.

It's just exciting.

(bright orchestral music) - I'm here in the library with Minnesota Orchestra Principal Librarian Maureen Conroy, and a big part of every TIMO broadcast is working with Maureen to obtain the rights for the music that we are performing on that concert.

- In addition to the work that we're doing in the library to get the music ready for the players on stage, we're also getting the licensing for the broadcast and the stream, and that requires us going to the publishers to ask for streaming permissions, synchronization permissions, so that's synchronizing the music with the visual.

Broadcast permissions because of our partnership with TBT.

We also need to get permissions from our guest artists and how they are going to be involved in all of this.

So, a lot of emails, a lot of back and forth, to come to an agreement that works for everyone.

(brooding orchestral music) - As I study the score and listen to the music over the weeks leading up to a broadcast, I'm translating the score into a visual language and then a technical language that we use to program the cameras so that we can create the show in real time.

And then in set 2-21, can you add camera four on X404 waist up?

I make decisions about every shot, based on both how long it is and what's happening.

Are we looking at one player?

Are we looking at a few players?

Is the shot moving?

So, we're looking for something that is contrasting and varied that sticks to the character of the music and showcases the virtuosity of the players on that program.

And that can add up to anywhere from 6 to 800 camera cues, for any given show.

(gentle orchestral music) I think one of the really special things about flexible camera positions is that an audience can finally see what in the past only the musicians have seen in Orchestra Hall.

And there are moments of deep intimacy at the end of a really emotional piece where a conductor will hold the silence, until they feel that the piece has kind of settled and they're really ready for applause.

And in the past, the audience has sat in the hall and experienced that kind of held-breath moment, and now we can see a conductor holding that moment for the orchestra, as well.

(audience applauds) - Five minutes to the top of the show.

Five minutes.

- Every musician on that stage has put in tens of thousands of hours into their craft and I want to share that with an audience.

And start moving one through 2.1 in one.

The way that we always try to match the excellence and intensity of the orchestra for each concert is something really special.

- [Producer] Projector on go.

And go Bill.

(audience cheers and applauds) - [Bill] Welcome!

Welcome to Orchestra Hall in Minneapolis, to this special concert with the Minnesota Orchestra.

- This production team is dedicated to creating world-class viewing experiences, and I'm so grateful to be a part of it.

Intermission is now coming to an end, so I'll see you on stage in just a moment to begin the second half of our program.

(orchestra warms up) (audience chatters) (audience applauds) Welcome back.

How was the wine?

(audience laughs) Did anybody bring me a glass?

Maybe next time.

I myself am super excited about the last piece on our program.

Dvorak's 8th Symphony, overflowing with pastoral colors, rusticity, and pure joy.

All of the pieces share a common thread of taking inspiration from folk and dance music on tonight's program, and as many of us know, Dvorak leaned into this practice, taking cues from folk melodies from his native Czechia and harmonies from Slavic traditions, weaving them into his voice within the language of western art music.

The piece has a capacity to paint evocative imagery, leaving us to dream up vivid scenery and larger-than-life characters.

Written in 1889, at his summer home in Bohemia, the 8th Symphony is a stark departure from the stormy and tumultuous world of the 7th.

The trumpet calls in the final movement bring our program full circle, hearkening back to the first half of the program with Pacho Flores, but this time perhaps calling us to dance in the Czech countryside.

From all of us at "This is Minnesota Orchestra", we thank you for joining us tonight.

Please enjoy Dvorak's 8th, and welcome back to the stage, Maestro Hindoyan and the Minnesota Orchestra.

(audience applauds) (orchestra tunes up) (audience applauds) ("Symphony No.

8, Allegro Con Brio") ("Symphony No.

8, Allegro Con Brio" continues) ("Symphony No.

8, Allegro Con Brio" continues) ("Symphony No.

8, Allegro Con Brio" continues) ("Symphony No.

8, Allegro Con Brio" continues) ("Symphony No.

8, Allegro Con Brio" continues) ("Symphony No.

8, Allegro Con Brio" continues) ("Symphony No.

8, Allegro Con Brio" continues) ("Symphony No.

8, Allegro Con Brio" continues) ("Symphony No.

8, Allegro Con Brio" continues) ("Symphony No.

8, Allegro Con Brio" continues) ("Symphony No.

8, Adagio") ("Symphony No.

8, Adagio" continues) ("Symphony No.

8, Adagio" continues) ("Symphony No.

8, Adagio" continues) ("Symphony No.

8, Adagio" continues) ("Symphony No.

8, Adagio" continues) ("Symphony No.

8, Adagio" continues) ("Symphony No.

8, Adagio" continues) ("Symphony No.

8, Adagio" continues) ("Symphony No.

8, Adagio" continues) ("Symphony No.

8, Adagio" continues) ("Symphony No.

8, Allegretto Grazioso") ("Symphony No.

8, Allegretto Grazioso" continues) ("Symphony No.

8, Allegretto Grazioso" continues) ("Symphony No.

8, Allegretto Grazioso" continues) ("Symphony No.

8, Allegretto Grazioso" continues) ("Symphony No.

8, Allegretto Grazioso" continues) ("Symphony No.

8, Allegro Ma Non Troppo") ("Symphony No.

8, Allegro Ma Non Troppo" continues) ("Symphony No.

8, Allegro Ma Non Troppo" continues) ("Symphony No.

8, Allegro Ma Non Troppo" continues) ("Symphony No.

8, Allegro Ma Non Troppo" continues) ("Symphony No.

8, Allegro Ma Non Troppo" continues) ("Symphony No.

8, Allegro Ma Non Troppo" continues) ("Symphony No.

8, Allegro Ma Non Troppo" continues) ("Symphony No.

8, Allegro Ma Non Troppo" continues) ("Symphony No.

8, Allegro Ma Non Troppo" continues) (audience cheers and applauds) (audience cheers and applauds) (audience cheers and applauds) (audience cheers and applauds) (audience cheers and applauds) (audience cheers and applauds) (audience cheers and applauds) (audience cheers and applauds) (audience cheers and applauds)