"9/11 | Coming Together" 20th Anniversary Special

Music for the Soul, Orchestra at Temple Square

Tickets are sold out for this event, however, stand-by seating is available on the days of the concerts.

Visit the new lds.org parking website for parking information.

The Orchestra at Temple Square will hold its annual fall concert on Friday, October 16, and Saturday, October 17, 2015, at 7:30 p.m. in the Tabernacle. Igor Gruppman, conductor of the Orchestra at Temple Square, will lead the concert, and Kevin Kenner, pianist, will join the program as a guest soloist.

The concert will open with Chopin’s Concert no. 2 in F Minor for Piano and Orchestra, opus 21. The first of Chopin’s two piano concertos (it was published second) was written in 1830 when the composer was only 20 years old, prior to the completion of his formal schooling. The piece is written in three movements: an opening movement filled with nonstop virtuosity; the second, a nocturne written for a secret love; and the final movement with Polish folk music influences leading to an exciting conclusion. Playing the solo on the concerto will be Kevin Kenner, who the Chicago Tribune has praised as “one of the finest American pianists to come along in years.” Born in Southern California but educated in Poland, Maryland, and Germany, Kenner has performed with world-class orchestras including the BBC Symphony Orchestra, the Berlin Symphony Orchestra, the Warsaw Philharmonic, and in the United States with the principal orchestras of San Francisco, San Diego, Salt Lake City, Kansas City, New Jersey, Rochester, Baltimore, St. Paul, and many others.

Featured on the second half of the concert will be “Dance of the Blessed Spirits” from act II of Christoph Gluck’s opera Orfeo ed Euridice, a surprisingly tranquil piece for an opera about Orpheus’s journey to the underworld. The piece, premiered in 1762, is written for two flutes with orchestra accompaniment. Concluding the concert will be Mozart’s Symphony no. 40 in G Minor, KV 550. Written in 1788 during a particularly productive three-month period that produced his 39th, 40th, and 41st symphonies, it is one of only two Mozart symphonies written in a minor key. Tragic in tone and intensely emotional, it is one of Mozart’s most admired works and among the most frequently performed.