Andrew Bergeron orchestral works defined a remarkable year for Folias Duo, marking a turning point for both the ensemble and the composer with the creation and premiere of two major orchestral works in a single season: Symphony No. 1 and Ancient Trees, a flute concerto written for Carmen Maret. Both works were brought to life in Grand Rapids, Michigan with the Vintage Parlor Orchestra.
At the center of this year were two ambitious projects—Andrew Bergeron’s Symphony No. 1 and Ancient Trees: Flute Concerto—each born from long-standing artistic relationships, sustained by community support, and realized through an unusually hands-on, performer-driven process.
Andrew Bergeron Orchestral works in 2025
Andrew Bergeron’s Symphony No. 1 emerged from a deep creative partnership with conductor Thomas Pike, director of the Vintage Parlor Orchestra. Their collaboration spans years of shared work through both the orchestra and Folias Duo, and when Pike invited Andrew to write a full symphony, it opened the door to a new and demanding creative chapter.
Composed over several months beginning in late summer 2024, the four-movement symphony required an extraordinary commitment of time and focus. Andrew devoted more than twenty hours per week to composing as the work took shape—writing not in isolation, but in constant dialogue with the musicians and conductor who would ultimately perform it.
The symphony premiered February 7–8, 2025, in the Golden Age Ballroom at Creston Brewery, performed by the Vintage Parlor Orchestra under Pike’s direction. Both nights sold out. The response confirmed something we’ve long believed: audiences are eager for new orchestral music when it’s presented with care, context, and conviction.
The project was made possible in part through a Kickstarter campaign, created by Thomas Pike, that brought together 27 backers who collectively pledged $2,500 to support the work. That funding wasn’t about spectacle—it created the space for Andrew to finish the piece with the depth and attention it required.
Ancient Trees: A Concerto Shaped by Time and Place
Later in the year came the premiere of Ancient Trees: Flute Concerto, a 19-minute, three-movement work written by Andrew for Carmen Maret and the Vintage Parlor Orchestra. The concerto was composed at Pike’s request and written specifically for Carmen to perform on flute, alto flute, and piccolo, placing the soloist at the center of a rich orchestral landscape.
Each movement of Ancient Trees draws inspiration from some of the oldest living trees in the United States, including 2,000-year-old bristlecone pines in Nevada, as well as the towering redwoods and giant sequoias of California—places we encountered while touring together last summer. Those experiences shaped not only the imagery of the piece, but its pacing, scale, and sense of time.
Musically, the concerto reflects Andrew’s deep study of the repertoire. While composing, he immersed himself in some of the most enduring concerto models: Bach’s Violin Concerto in A minor influenced the structure of the final movement; the lyricism of Rodrigo and Vaughan Williams shaped the second; and the clarity and dialogue of Mozart and Haydn informed the first. These references aren’t quotations—they’re foundations, blended with Andrew’s own voice and the natural imagery that inspired the work.
The world premiere took place November 21–22 at the Wealthy Theater in Grand Rapids. As performers, we were deeply involved throughout the process, building a concerto that felt both grounded in tradition and unmistakably personal.
Community-Funded, Artist-Led
What makes this year especially significant is how both projects were realized. Neither work relied on institutional commissioning models or corporate sponsorship. Instead, they were self-funded, supported by the Vintage Parlor Orchestra, Folias Duo, and direct contributions from individuals who believe in the value of new music.
For Ancient Trees, supporters were invited to sponsor moments of the piece itself—seconds, minutes, even entire movements—acknowledging the real time, labor, and focus required to compose at this scale. It was an honest and transparent way to connect listeners directly to the creative process.
Looking Back, Looking Forward
To premiere a symphony and a concerto in the same year—both locally, both shaped by close collaboration—is something we don’t take lightly. These projects reflect a community willing to invest in new work, musicians committed to the process, and an audience eager to experience something being created in real time.
The Andrew Bergeron orchestra works reminded us that ambitious, meaningful music doesn’t have to come from far away. It can be written, rehearsed, premiered, and celebrated right here—by people who know each other, trust each other, and are willing to build something together.
As we look ahead, we carry this year with us: a testament to what’s possible when creativity, community, and commitment align.
