The Detroit Medical Orchestra
Overture to La gazza ladra
(The Thieving Magpie)
Gioachino Rossini (1792-1868), one of the most celebrated Italian opera composers of the 19th century, was renowned for his wit, dazzling melodies, and remarkable speed in composition. His opera La gazza ladra (The Thieving Magpie) premiered in 1817 and quickly became famous, largely due to its brilliant overture. The opera itself is a semi-serious tale of mistaken guilt, in which a servant girl is accused of theft, only for the true culprit—a mischievous magpie—to be revealed at the last moment. The overture opens with an unmistakable military-style snare drum roll, immediately capturing the audience’s attention. This striking introduction gives way to contrasting themes—one stately and grand, the other lighthearted and playful — foreshadowing the opera’s mix of suspense and humor. The piece also features trademark Rossini crescendos in which instruments are added little by little to create a more powerful increase in volume. With its infectious energy and sparkling orchestration, the La gazza ladra overture remains one of Rossini’s most enduring concert pieces, a brilliant showcase of his theatrical flair and melodic genius.
Concerto for Flute, Harp, and Orchestra in C
Major, K. 299
Wolfgang Amadeus Mozart’s (1756–1791) Concerto for Flute, Harp, and Orchestra was written in 1778 during Mozart’s time in Paris. The concerto was commissioned by the Duke of Guînes, a wealthy aristocrat and amateur flutist, for his daughter, a talented harpist. Although the harp was not a common solo instrument in the 18th century, Mozart embraced the challenge, creating a work that highlights both instruments’ unique qualities while blending them seamlessly with the orchestra. The first movement, Allegro, is light and spirited, featuring delightful interplay between the flute and harp. Mozart’s effortless lyricism shines as the two solo instruments trade melodies, sometimes echoing each other and at other times weaving together in a delicate musical conversation. The second movement, Andantino, is a tender and expressive aria-like section, exuding warmth and elegance. The concerto concludes with a lively Rondeau, full of charm and sparkling energy, where Mozart’s gift for melody and playful ornamentation is on full display. Despite its initial commission, the piece was never paid for or performed by its intended patrons, but it has since become a beloved staple of the repertoire, showcasing Mozart’s mastery of melody and orchestral balance.
This piece features Syd LaDuke on flute, and Laura Palmieri on harp:
About Syd LaDuke:
Sydney LaDuke began playing flute in the fifth grade in Derby, Kansas, and went on to study at the University of Nebraska–Lincoln, where she earned dual degrees in Mechanical Engineering and Music Performance under the instruction of Dr. John Bailey. After graduating, she moved to Detroit for work and has been with Ford Motor Company for nearly 15 years, currently working as a Feature Strategy Manager, leading
strategic efforts in software-enabled feature development. Sydney joined the Detroit Medical Orchestra in 2013 and has been an active member both as a musician and a leader. She currently serves as the orchestra’s principal flutist, Music Librarian, and Chairperson of the Board of Directors. Beyond music and engineering, her most cherished role is being a new mother—she and her husband, John, welcomed their first child, Camille, in September.
About Laura Palmieri:
Laura Palmieri’s journey in music began when she first heard the lush rolling harp chords in Tchaikovsky’s Ballet “Swan Lake”. It was then at the age of 10, that she decided playing the harp was what beauty she needed to help give to the world. Laura
graduated from Oakland University with a Bachelor of Music Degree in 2011. Shortly after graduation, Laura also heard the calling to help others and focus on more direct healing and is currently a Registered Nurse at Corewell Health Royal Oak where she specializes in vascular access. From Meadowbrook Hall to Mackinac Island, Laura has made music for over 500 weddings and other special events. You can find Laura performing with the International Symphony Orchestra, Royal Oak Symphony and many other community orchestras in addition to the Detroit Medical Orchestra. Laura has been a member of Detroit Medical Orchestra for- 10 years and currently serves on the Board of Directors as the chamber music liaison between DMO and our many hospital partners. She is currently pursuing her PhD in Nursing at Oakland University with a focus on vascular access and music research.
West Side Story - Selections for Orchestra
(Arr. Jack Mason)
Few musicals have left as profound an impact on American culture as West Side Story. Premiering in 1957, Leonard Bernstein’s (1918-1990) groundbreaking musical transported Shakespeare’s Romeo and Juliet to the streets of 1950s New York City, replacing feuding families with rival gangs—the Jets and the Sharks. Bernstein’s score blends jazz, Latin rhythms, and classical influences, creating a sound that is as electrifying as it is emotionally powerful. This orchestral suite, arranged by Jack Mason, presents some of the musical’s most iconic moments, capturing both its high-energy dance sequences and its deeply lyrical themes. Selections include the charm and wit of I Feel Pretty, the soaring romance of Maria, the passionate duet Tonight, and the infectious rhythm of America. Bernstein’s music is filled with syncopation, shifting meters, and lush harmonies, bringing the characters and emotions of West Side Story to life even without words.
Pini di Roma (Pines of Rome)
Ottorino Respighi’s (1879-1936) Pini di Roma (The Pines of Rome) is an orchestral tone poem that transports listeners to four distinct locations in the Eternal City, each evoking a different scene through masterful orchestration and rich harmonic color. Premiering in 1924, the piece is the second in Respighi’s Roman Trilogy, alongside Fountains of Rome and Roman Festivals. Like its companions, Pini di Roma uses lush, impressionistic orchestration to bring Rome’s grandeur and history to life. The first movement, The Pines of the Villa Borghese, bursts with childlike energy as playful woodwinds and bright brass depict children at play in the sun-dappled gardens. In stark contrast, The Pines Near a Catacomb shifts to a solemn and mystical atmosphere, with deep, resonant strings and distant, chant-like melodies evoking the silent reverence of Rome’s ancient underground tombs. The third movement, The Pines of the Janiculum, is a serene nocturne, featuring one of the first-ever uses of a recorded nightingale in an orchestral work—a hauntingly beautiful touch that enhances the moonlit tranquility.
Finally, The Pines of the Appian Way is one of the most thrilling and dramatic climaxes in orchestral music. It begins with an ominous, distant march as muted brass and low strings suggest the approach of ancient Roman legions. As the movement progresses,
the brass section takes center stage, growing in power and grandeur with each passing phrase. Respighi calls for additional offstage brass, creating a stunning spatial effect that makes the final march feel as if it is expanding beyond the confines of the concert hall. The relentless crescendo builds to a triumphant and awe-inspiring conclusion, with
blaring trumpets, soaring trombones, and resounding percussion evoking the unstoppable might of Rome at its peak.
