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The aim and purpose of Pro Musica are to present to its members music which is rarely or infrequently heard - contemporary as well as classical. Whenever possible, living composers are invited to appear and present their own compositions.
Since 1928, Pro Musica has presented a concert series each season, often focusing on contemporary and classical works that are rarely or infrequently heard.
Neeme Järvi, Music Director Emeritus for Life of the Detroit Symphony Orchestra, asserts that Pro Musica "has maintained high ideals for 80 years and is still going strong. They introduce audiences to exciting young artists who are still unknown and offer programs that build audience interest in new as well as old music. By inviting composers to speak for themselves, they help music lovers understand what today's composers are trying to say in their music."
Some of the greatest composers of the 20th century have graced the Pro Musica stage--in its first season alone, Pro Musica presented concerts performed by both Bela Bartok and Maurice Ravel. Over the course of its 80 years, many star musicians have spoken to or performed for Pro Musica audiences.
In the 2010 - 2011 season, Pro Musica brought a wonderful variety of world class music to Detroit. The season opened with a performance by ETA3, a young trio based in New York and formed at the Juilliard School in 2006. Rising stars in the chamber music world, the trio strives to broaden its audiences by performing a varied range of repertoire. In December of 2010, Pro Musica welcomed the celebrated pianist Sara Buechner, who offered a performance ranging from Haydn to Gershwin. In April 2011, the season closes with a performance from tenor Sean Panikkar. Born in Sri Lanka, Panikkar brings with him an impressive resume, which includes performances at the Metropolitan Opera, the Washington National Opera and Carnegie Hall.
Pro Musica strives to extend the dialogue of chamber music outside of the formal concert hall. In addition to connecting audience members with the music, it strives to connect them to each other. All of the above presentations were accompanied by opportunities for audience members to directly interact with each other and with the performers at post-concert receptions designed to continue the dialogue about the music.
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