February 1, 2026

February 1, 2026
 
In 1944 Dimitri Mitropoulos, Music Director of what was then called the Minneapolis Symphony (now Minnesota Orchestra) commissioned David Diamond to write a joyous work, something to lift spirits in the midst of the horrors of World War II. The result was Mr. Diamond’s Rounds for String Orchestra.
 
I’m always tempted to use an adjective in front of the name of that work, but which adjective is problematic. It’s not really an iconic piece as few people outside of musicians know it (although it has been performed thousands of times, and recorded many as well). It’s not “epic” or “monumental” as it’s only 16-minutes long. “Revolutionary” or “groundbreaking” don’t fit either. “Important” seems unsatisfying.
 
But IMHO, Rounds is the pinnacle of American works for string orchestra of the 20th century. Wait, what about Barber’s Adagio or George Walker’s Lyric for Strings you ask? Well, both of those were originally conceived for string quartet, so a different category. Rounds stands alone.
 
The other thing Rounds is, is very difficult. I’ve done the work a handful of times and my emotional arc of the process goes something like this: “Oh, we are doing a string orchestra concert, we can do the Diamond! Great!!”
 
I sit with that elation from the time the decision is made until the day I start studying it to prepare, at which point I am reminded of the actual depth of the immense challenges of the work. The emotional equation then goes south towards “Why did I choose this, of all the works??”
 
That apprehension lasts well into the rehearsal process. The orchestra at least tries to conceal their contempt at me for choosing the work. They recognize it’s greatness, but the added workload is significant. We get to the dress rehearsal, and things start really happening, then the concert. The orchestra knocks it out of the park. The audience responds with great enthusiasm. The elation returns.
 
The Diamond was one of several works of the 20th and 21st centuries on yesterday’s Winterlude, an annual concert the LSO does in partnership with the St. Paul’s Episcopal Church in downtown Lansing. We also had an 18th-century work on the program, Vivaldi’s Winter from The Four Seasons. It may have been the oldest, but it remains, in many ways, the most avant- garde work on the program.
 
LSO Principal Second Violin, Florina Petrescu was wonderful as the soloist in Vivaldi. We also did Giazotto’s Adagio in G minor for organ and strings (after Albinoni) with a beautiful performance from Leonid Tsoy on the organ. Clarice Assad’s flavorful and slightly spicy Impressions: Suite for String Orchestra and Gustav Holst’s St. Paul’s Suite rounded out the program. It was a nice way to start the month of February.
 
It was also wonderful to see a near capacity audience for this concert, especially after yet another how-to-save-classical-music article appeared in the NY Times recently with the usual range of responses. That topic has been in the air since the 1960’s and classical music is still here. We’re not going anywhere and we don’t need saving. We do still need continued support, just as communities still need us to enhance quality of life. It’s a vital symbiosis.
 
#StPaulsLutheranLansing #FlorinaPetrescu #ClariceAssad #LeonidTsoy #LansingSymphony
 
NEXT UP
 
Toledo Symphony Orchestra
March 12, 2026
Founders Hall
Archibold, Ohio
 
7:30 p.m.
 
Music of Flagello, Rossini, Copland, Faure and Grieg