Beverly: New England Miniatures & French Suites

  • October 13, 2024 2:00 PM - 3:30 PM
  • Second Congregational Church

    35 Conant Street
    Beverly, Massachusetts 01915
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Description

Get ready for an afternoon that will tickle your ears and taste buds—well, the musical kind at least! Join us on October 13, at 2 PM in Beverly at Second Congregational Church  for New England Miniatures & French Suites: a playful review of compositions from New England and France with some culinary history (and some nonsense for spice!). You’ll hear delightful works from New England composers like Frances McCollin and Charles Turner, paired with bubbly French suites by Vincent d’Indy and Jean Françaix. Think of it as a transatlantic musical picnic, with a side of wit and whimsy! And for an extra twist, the NSquared Dancers will be joining us to add some graceful (and maybe even a little mischievous) movement to the mix. Trust us—this is the concert you’ll want to brag about to your friends. So, don’t miss out—grab your tickets now, and we promise it’ll be an experience you’ll savor!

Date & Time

Sun, Oct 13, 2024 2:00 PM - 3:30 PM

Venue Details

Second Congregational Church

35 Conant Street
Beverly, Massachusetts 01915 Second Congregational Church
Cherry Hill Chamber Orchestra

The Cherry Hill Chamber Orchestra was founded in the fall of 2019 by conductor Marshunda Smith and her husband, Ryan Hemphill. Marshunda created the ensemble as a space to program and conduct works that move her both intellectually and physically, while Ryan develops imaginative storylines that give Marshunda and their colleagues opportunities to stretch their creative muscles and have fun. His work blends humor, curiosity, and a love of STEAM/STEM-driven creativity, adding a unique dimension to each performance.

Marshunda’s passion for music radiates through every concert. She immerses herself in the orchestra’s sound and invites audiences to share in that same joy. Ryan’s playful narratives weave through the programs, bringing humor and fresh perspective to the concert experience.

Together, they seek to dissolve the “invisible wall” that can exist between musicians and audiences. Marshunda encourages participation—applause between movements, moments of shared laughter, and invitations for listeners to simply lose themselves in the music. Her goal is to foster an environment where music feels alive, immediate, and deeply enjoyable.

This approach has transformed both the orchestra and its audiences. Musicians feel a stronger connection to listeners, amplifying their passion and energy onstage. In turn, audiences leave not only entertained but also engaged—fully appreciating the depth, beauty, and humanity of the performances.