In a remarkable blend of city sounds and symphonic harmony, the Chicago Philharmonic brought its much-loved Side By Side concert to Chinatown’s Ping Tom Park — an event where professionals and amateurs performed shoulder to shoulder in a free, open-air celebration. Amid trains, riverboats, and flight paths, music filled the air as artists aged 8 to 85 took the stage. This vibrant gathering, part of the city’s Night Out in the Parks series, offered not only melodies but also a powerful portrait of unity, inclusion, and Chicago’s rich community spirit.
STORY HIGHLIGHTS
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Chicago Philharmonic’s Side By Side combines professionals and community musicians in free concerts
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Hosted at Ping Tom Park through Chicago Park District’s “Night Out in the Parks” program
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Participants ranged in age from 8 to 85, with diverse musical backgrounds
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Pieces ranged from classical opera to jazz and pop, including “Carmen,” “Havana,” and “Star Wars”
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Despite early rain, the concert proceeded under clear skies and a vibrant atmosphere
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A youth conductor from the audience, Mabel, led the ensemble in a surprise finale moment
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Additional Philharmonic concerts planned for Shabbona Park and Homan Park later this month
“It’s one of the most important things the Chicago Philharmonic does,”
said Scott Speck, the group’s artistic director and principal conductor.
He continued,
“We want to be an orchestra that speaks to the people of Chicago — in every neighborhood, in all the communities. And if you don’t come to us, we’ll come to you.”
The Side By Side program, which started ten years ago, has its roots in outreach to high school musicians. Over time, it evolved into a broader citywide effort, now anchored by the Chicago Park District’s Night Out in the Parks series. This year, more than 250 community musicians joined the ensemble — from children taking their first steps in music, to seasoned seniors who’ve spent a lifetime performing.
Among them sat the article’s writer, a violinist stepping back into the orchestral world. Looking across the sea of faces, what stood out was not just the size or spirit of the group, but its genuine reflection of the city itself — a rarity in the traditionally exclusive classical music scene.
The day was not without its challenges. A torrential downpour just before the event threatened to derail everything. The park, already soaked, offered uncertain footing. But those determined to rehearse arrived anyway, umbrellas in tow, instruments in hand, spirits intact. From the iconic Habanera from Bizet’s Carmen to a spirited take on Camila Cabello’s Havana, the ensemble worked through its repertoire in the drizzle, hoping the skies would clear.
Behind the scenes, Terell Johnson, the Chicago Philharmonic’s Executive Director, could be seen zipping between sound checks, stage logistics, and weather updates — not with a clarinet in hand as in previous years, but as a key orchestrator of the day’s execution.
He shared:
“Earlier this week, I ran into my neighbor and they said, ‘Hey, can’t wait for Saturday! My daughter’s playing trumpet. It’s her first time ever.’”
Recalling the forecast, Johnson added,
“When I saw the prediction for rain, I was like, ‘OK, we can’t cancel; we’ll just go forward and hope for the best.’”
That hope paid off. As audience members began to arrive around 4:30 p.m., folding chairs in hand and takeout from nearby Chinatown Square clutched in the other, the sun broke through. The river sparkled, the grass glowed, and the once-wet benches dried beneath a golden wash of summer light.
A young poet from the Martin Luther King Jr. Boys & Girls Club of Chicago opened the event with an original composition, setting the tone for what would become a blend of artistry and community celebration. As the orchestra launched into the gentle strains of Joe Hisaishi’s “One Summer’s Day” from Spirited Away, the atmosphere seemed to crystallize — soft winds, warm sun, and music flowing freely.
From there, the concert moved between eras and genres: the cinematic force of The Imperial March from Star Wars, the Latin-flavored swing of San Luis Samba, a reimagined version of St. Louis Blues. Each piece brought cheers and smiles, the energy building steadily.
The biggest surprise came during the final number, “Stars and Stripes Forever.” As the flutes prepared for their iconic part, Speck paused and turned to the crowd. From the audience, he invited a teenager named Mabel — a viola player — to take the podium.
The orchestra erupted in applause.
“When we found out she played viola, the entire viola section let out this triumphant cheer,”
Speck recalled with a grin.
Mabel took the baton and conducted with evident joy, leading the flutes, brass, and percussion through a performance that felt, to many musicians, like the first time all over again.
As musicians stood one by one during their solo moments, their sound filled the park with the weight and warmth of something bigger than music — community, memory, and hope.
For many seasoned players, Stars and Stripes Forever is a familiar piece. But this time, it didn’t just mark an ending. It stirred something deeper — a return to the wonder they once felt as young musicians, just like Mabel, swept into the discovery of symphonic music.
And perhaps that is what Side By Side captures best: a reminder that music — when shared — transcends experience, age, and background. It becomes not only something to perform but something to live.
As the final notes faded into the evening light, the Side By Side concert left behind more than just echoes of music — it offered a rare glimpse into what harmony looks like beyond the stage. Through rain, sun, and shared passion, the Chicago Philharmonic turned Ping Tom Park into a living symphony of community. In blending generations, skill levels, and backgrounds, the event proved that orchestral music need not be confined to grand halls — it thrives wherever people come together, side by side, with open ears and eager hearts.
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