SHREVEPORT SYMPHONY ORCHESTRA MICHAEL BUTTERMAN, MUSIC DIRECTOR
Fill Your Life With Music 2013-2014 WILLIS -KNIGHTON MASTERWORKS SERIES
Time for her
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SSO 2013-2014 BOARD OF DIRECTORS & STAFF OFFICERS President—Libby Siskron Vice President—Dr. Robert Rhoads Secretary—Laura McLemore Treasurer—Chris Haskew MEMBERS Lindsay Atkins David Aubrey Margaret Elrod Doug Fryett Knox Goodman Patrick Harrison Brian Hebert Dr. Larry Hiller Mickel Husted Marie Elise Israel Frances McInnis Berte Muslow Clare Nelson Laura Nanda Sybil Patten Bill Peterson Monica Rogers Ann Shanley Margaret Shehee George Sirven
STAFF Lois Robinson—Executive Director Nancy Carmichael—Director of Patron Services Debbie Graham—Director of Finance Ron Bermingham—Director of Artistic Operations and Community Engagement Crozet Duplantier—Orchestra Librarian TECHNICAL STAFF Mike Arceneaux—Master Audio Engineer Bill Gaston—Master Carpenter Russell Wingfield—Master Electrician Sid Lenard—Master Flyman Debbie Graham—Property Manager Stage Employees are represented by Local 298, IATSE, AFL-CIO
EX-OFFICIO MEMBERS Honorary Chairman—Virginia Shehee Guild President—Jennifer Beason Music Director—Michael Butterman Executive Director—Lois Robinson Orchestra Comm.—Theresa Bridges Orchestra Comm.—Rick Rowell Wideman Competition—Lester Wilson
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A MESSAGE FROM THE PRESIDENT Dear Friends, Welcome to the 66th season of the Shreveport Symphony Orchestra. Maestro Michael Butterman, now in his ninth year with the SSO, has crafted another extraordinary season of concerts for us. You won’t want to miss a single one! Michael and our talented musicians are cultural treasures and we all reap the benefits of the contribution they make to the quality of life in our community. LIBBY SISKRON I am grateful to our dedicated and generous SSO BOARD PRESIDENT supporters who have been with us through good times—the overwhelming majority— and the occasional challenging times. I don’t think there are any more loyal people anywhere.
Our board members deserve special thanks. They give generously of their time, resources and influence and have fun doing it! I am proud to announce that we closed the year last year with a balanced budget and 100% of our board members made contributions. The board has led the way as the orchestra has returned to a full concert schedule, reinstated an extensive education program, and achieved fiscal stability. The SSO had benefited greatly from the leadership and wisdom of Lois Robinson, Executive Director. She and her staff have risen to the challenge of running a successful orchestra. The staff is enjoying new offices at 616 Jordan and we invite you to stop by to visit. The entire Symphony organization hopes you will enjoy what has been planned for you. Now, relax and enjoy the music!
Libby Siskron President, Board of Directors page 11
WELCOME FROM MICHAEL BUTTERMAN There’s nothing quite like the thrill of live orchestral music. The sound envelops you, lifts you on its wings, and takes you on an emotional journey that is by turns exhilarating, relaxing, thought-provoking and rejuvenating. The Shreveport Symphony 2013-2014 Willis-Knighton Masterworks season has it all—everything from the lighthearted to the deeply profound. Brilliant music presented by some of the greatest artists in the world today. The core of our programming includes well-known classics by titans like Brahms (Symphony No. 1), Sibelius (Finlandia), Dvořák (New New World Symphony Symphony), and Mozart (Requiem). In April, you can enjoy the world’s best-loved guitar concerto— a piece that you already know, even if you don’t know it by name! We’ll also celebrate anniversary years for both Wagner and Strauss in a virtuoso showcase for our orchestra and two guest artists. Along the way, we’ll introduce you to exciting new discoveries from composers like Philip Lasser (whose piano concerto was recorded by our soloist, Simone Dinnerstein, and the Atlanta Symphony earlier in the season), Jon Lord (from the rock group Deep Purple), and Silvestre Revueltas. We’re thrilled to present a slate of guest artists that would be the envy of many top-tier symphonies. Soprano (and Centenary alumna) Twyla Robinson regularly appears with the world’s great orchestras. Violinist Jennifer Koh is fresh off her New York Philharmonic debut, and pianist Simone Dinnerstein is the most successful classical recording artist of the past decade. We’re also pleased to introduce one of the elite guitarists in the world, Jason Vieaux.
PHOTO: GLENN ROSS PHOTOGRAPHY
Last season’s sold-out Movie Masterpieces concert returns in a “sequel” with more unforgettable film classics and another collaboration with Oscar-winning Moonbot Studios. The 2013-2014 season will also mark the return of two highly acclaimed guests from the recent past: Sarah Jane McMahon and Byron Stripling. Sarah Jane will headline our ever-popular Holiday Pops concerts, which will again feature the talents of the Louisiana Dance Theatre along with our Children’s Chorus. Byron was an absolute sensation in 2010 and will return with a new program to help us celebrate Mardi Gras in style. We look forward to welcoming you to what promises to be a year of remarkable and memorable artistic experiences as we help you “Fill Your Life With Music.” Enjoy!
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MICHAEL BUTTERMAN, MUSIC DIRECTOR Making his mark as a model for today’s conductors, MICHAEL BUTTERMAN is recognized for his commitment to creative artistry, innovative programming, and to audience and community engagement. He is in his eighth season as Music Director for both the Shreveport Symphony Orchestra and the Boulder Philharmonic Orchestra, and is in his 14th season as Principal Conductor for Education and Outreach for the Rochester Philharmonic Orchestra, the first position of its kind in the United States. He is also the Resident Conductor of the Jacksonville Symphony Orchestra, a post he has held since 2009. As a guest conductor, Mr. Butterman made his debut with the Cleveland Orchestra in the spring of 2012, and was immediately reengaged for two concerts the following season. Other recent engagements include appearances with the Detroit Symphony, Houston Symphony, Colorado Symphony, Oregon Symphony, Kansas City Symphony, San Antonio Symphony, California Symphony, Louisiana Philharmonic, El Paso Symphony, Peoria Symphony, WinstonSalem Symphony, Pensacola Opera and Asheville Lyric Opera. Summer appearances include Tanglewood, the Bravo! Vail Valley Music Festival in Colorado and the Wintergreen Music Festival in Virginia. In the 2013-14 season, he will make his debut with the Charleston Symphony. Mr. Butterman gained international attention as a diploma laureate in the Prokofiev International Conducting Competition and as a finalist in the prestigious Besançon International Conducting Competition. As the 1999 recipient of the Seiji Ozawa Fellowship,
PHOTO: GLENN ROSS PHOTOGRAPHY
he studied at Tanglewood with Robert Spano, Jorma Panula, and Maestro Ozawa, and shared the podium with Ozawa to lead the season’s opening concert. From 2000 to 2007, Mr. Butterman held the post of Associate Conductor for the Jacksonville Symphony in Florida. For six seasons, he also served as Music Director of Opera Southwest in Albuquerque, NM. Prior to joining the Jacksonville Symphony, Mr. Butterman was Director of Orchestral Studies at the LSU School of Music for five years, and was Principal Conductor of the LSU Opera Theater. For two seasons, he was also the Associate Music Director of the Ohio Light Opera, conducting over 35 performances each summer. Michael Butterman’s work has been featured in five nationwide broadcasts on public radio’s Performance Today Today, and can be heard on two CDs recorded for the Newport Classics label and on a new disc in which he conducts the Rochester Philharmonic and collaborates with actor John Lithgow. www.michaelbutterman.com
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KERMIT POLING, ASSOCIATE CONDUCTOR Named by Forum Magazine as one of the top ten faces to watch, Centaur recording artist KERMIT POLING is Music Director of both the South Arkansas Symphony and the Shreveport Metropolitan Ballet. He is the Associate Conductor and was Concertmaster of the Shreveport Symphony Orchestra for over 27 years. He has conducted or soloed with the Orchestra of the Province of Lecco, Italy, the Orquesta Sinfónica del Estado de México, the Guanajuato Symphony (Mexico), the Riverside (NJ) Symphonia, the Moscow Chamber Orchestra and Moscow Ballet, the Oklahoma City Philharmonic, Filharmonia Veneta, Shenzhen Symphony of China and many other orchestras throughout his career. Also a composer, Poling’s most recent ballets include Phantom of the Opera, premiered by Ballet Oklahoma in 2010, and Aladdin, premiered by the Shreveport Metropolitan Ballet in 2011. His work, No Sound of Trumpet nor Roll of Drum, was premiered in 2011, honoring the 150th anniversary of the start of the Civil War.
PHOTO: NEIL JOHNSON
Last year, his score to the silent film Tarzan and for the documentary Tarzan: Lord of the Louisiana Jungle won accolades across the country. A new ballet, Beauty and the Beast Beast, will premiere in Oklahoma City in 2014. Away from the podium, Poling also serves as the general manager of Red River Radio, the public radio network of Northwest and Central Louisiana, South Arkansas and East Texas.
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SSO ORCHESTRA ROSTER VIOLIN Elizabeth O’Bannon, Acting Concertmaster Russell Lewis, Principal Second Henry Edwards Callie Dean Christopher Reed Chung-Hui Hsu Daniel Santelices Diana Hector-Norwood Elizabeth Grondin Emilio Castro Janis Adams Teague Jason Ashley Jennifer Carsillo Jennifer Miranne Jennifer Ramos Johnette LeBlanc Jordan McKenna Jose Quintero Joseph Cooper Kiril Laskarov Laura Crawford Laurentiu Norocel Roman Carranza Pedro Vera Ye Tao VIOLA Borys Smolaga, Principal Adrienne Gabriel Katrina Weeks Mario Torres Shane Almendarez Stephanie Mientka Todd Gabriel Zackery Grant CELLO Ruth Drummond, Principal Belinda Viesca Brett Andrews Claudia Sullivan David Jankowski
Evgeni Raychev Jorge Rodriguez Kristina Vaska-Haas Milovan Paz Pam Martin Paul Christopher BASS Peter Haas, Principal Barron Weir Christopher Allen Christopher Pike Kathryn Jones Steven Brown FLUTE Sally Horak, Principal Arthur Williams Denette McDermott PICCOLO Arthur Williams George Hancock OBOE Theresa Zale Bridges, Principal Stewart Williams Leah Forsyth ENGLISH HORN Stewart Williams
HORN Thomas Hundemer, Principal Adam Black Kristine Coreil James Boldin Craig Pratt TRUMPET Rick Rowell, Principal Richard Watson Michael Scarlato Doug Lockard Gary Wurtz TROMBONE Michael Davidson, Principal James Layfield Timothy Howe Deborah Scott BASS TROMBONE J. Mark Thompson, Principal TUBA Steven Curtis, Principal TIMPANI Chandler Teague, Principal
CLARINET Thomas Phillips, Principal Sandra Clark
PERCUSSION Chandler Teague, Principal Anthony Robinson Douglas Parmelee Larry Anderson
E FLAT CLARINET Timothy Wright
PIANO Gay Grosz
BASS CLARINET William Nichols
HARP Janel Hector Juliette Buchanan
BASSOON Anne Shoemaker, Principal Sara Scurry Douglas Bakenhus
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Musicians are represented by Local 116, AFM. AFL-CIO String section players are listed in alphabetical order
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SHREVEPORT SYMPHONY GUILD, INC. 2013‑ 2014 Board of Directors EXECUTIVE COMMITTEE President Jennifer Beason First Vice‑President Ann May Second Vice‑President Valeria Allen Recording Secretary Maggie Malone Corresponding Secretary Jammy Willingham Treasurer Sally Gardner Encore Properties Faye Boykin Immediate Past President Advisor Martha Smith Parliamentarian Valeria Taylor STANDING COMMITTEE CHAIRMEN Communications Jane Porter Encore Shop Properties Faye Boykin Guild Membership Kitty Jo Boyd Guild Yearbook/Newsletter Janet Colbert Guild Office Ann Leitz Hospitality Carole Lacefield Life Membership Elizabeth Beck Memorial & Honoree Fund Libby Gleason Music Enrichment Alice Roberts Publicity Alma Rozeman Scrapbook Barbara Salley Symphony House Maintenance Alyce Labanics Symphony House Rentals Ann Leitz Telephone Kiki Casten Volunteer Coordinator Barbara Zerrahn Wideman Competition ‑ Day Chairman Friday Clara Hemmings Saturday Carolyn Spano Sunday Elizabeth Beck Wideman Competition ‑ Night Chairman Anne Rogers page 18
SHREVEPORT SYMPHONY GUILD 2013-2014 MEMBERSHIP Join the Symphony Guild. Make your check out to Shreveport Symphony Guild 3112 Alexander St. Shreveport, LA 71104
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SYMPHONY GUILD ENCORE SHOP 3112 Alexander Street Shreveport, LA 71104 (318) 865-3873 Faye Boykin, Encore Chairman Alyce Labanics, Vice‑Chairman Call 865-3873 to volunteer or donate items. page 19
SSO ANNUAL FUND DONORS PLATINUM BATON—$10,000 & UP Anonymous Mr. & Mrs. Edward J. Crawford III Jane & D.R. James Judge & Mrs. Tom Stagg GOLD BATON—$7,500-$9,999 John E. & Lindsay Atkins The Crow Foundation Mrs. Pearla T. Despot Sybil & Fred Patten SILVER BATON—$5,000-$7,499 The J.B. Atkins Foundation Attaway Foundation Mr. & Mrs. George A. Baldwin, Jr. Mr. & Mrs. John A. Manno Dr. & Mrs. Ike Muslow The Powers Foundation Inc Mrs. Katherine C. Weir The Community Foundation— Marion & Don Weiss Donor Advised Fund BRONZE BATON—$2,500-$4,999 Mr. Joe M. Badt Mr. & Mrs. George A. Baldwin, Jr. Mary & Dick Bremer Camellia Trading Company, LLC The Ann & Gordon Getty Foundation Knox M. Goodman Brian A. Hebert The Magale Foundation, Inc. Mr. & Mrs. Harry E. McInnis, Jr. Dr. & Mrs. Robert E. Rhoads Mrs. Dala Smith CONDUCTOR’S CIRCLE—$1,000-$2,499 Anonymous Anonymous Tookie & Baker Barr Dr. & Mrs. Dale Bauman Bess Kelly Black Mr. & Mrs. Raymond Boswell Henry Brenner Mr. & Mrs. Paul Brown Michael Butterman & Jennifer Carsillo Jane & John D. Caruthers, Jr. Doug & Ardis Caulkins
Drs. Neera & Anvil Chhabra Shelia & Delbert Chumley Mr. & Mrs. Don Clanton Cadenza Violins Mr. & Mrs. Hanie Dehan Mr. Stanton Dossett II Edna Marie Allen Foundation Jane Eggerstedt & Donna Burrell Mr. & Mrs. Cory Ezelle Mr. & Mrs. William Flanagan Glenn & Ginger Flournoy Mr. & Mrs. Doug Fryett Mr. & Mrs. Stephen Gaspard Mr. John Griffin The Jack Webster Grigsby Foundation Dr. Rozelle Hahn Sandra K. Hand The Community Foundation— Susan M. & Quinton T. Hardtner III Donor Advised Fund O. Delton Harrison, Jr. Dr. & Mrs. Dayne Hassell Sally Hazen Mr. & Mrs. John H. Hearne Mr. & Mrs. Edward N. Henderson Dr. & Mrs. Larry Hiller Gladys & Ed Hurley Foundation Mr. & Mrs. John B. Hussey Mr. & Mrs. Mickel Husted Mr. & Mrs. Benjamin L. Israel Lea M. Johnson Dr. & Mrs. Paul A. Jordan Mrs. Shirley Kelley Mr. & Mrs. Sidney Kent Kilpatrick Rose-Neath Foundation Mr. & Mrs. Charles R. Labanics Mr. & Mrs. Rick LaBorde Mr. & Mrs. William Lacefield Mr. & Mrs. David Lassiter Venita McCellon-Allen Dr. & Mrs. Bill McColgan, Jr. Mr. & Mrs. William T. Murphy III Mr. & Mrs. Robert Murray Dr. & Mrs. Anil Nanda Mr. & Mrs. W. B. Ogilvie Dr. & Mrs. Robert Rhoads Lois Robinson & Crozet Duplantier Douglas & Emily Schaumberg
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SSO ANNUAL FUND DONORS (continued) Mr. & Mrs. Gilbert R. Shanley, Jr. Dr. & Mrs. Thomas F. Siskron, III Albert G. & Harriet G. Smith Mr. & Mrs. Bill Smith Margaret Stagg Sour Dr. & Mrs. William C. Teague Rev. LaVerne Thomas, III William S. Tyrrell Kecia Vekovius Mr. & Mrs. Robert Walter The Community Foundation— Walter-Poljak Family Donor Advised Fund Dr. & Mrs. J. Woodfin Wilson Dr. & Mrs. Seborn E. Woods Thelma S. Woods Mr. & Mrs. Donald J. Zadeck CONCERTMASTER’S CIRCLE—$500-$999 Anonymous Robert & Valeria Allen Dr. & Mrs. Robert Bareikis Mr. & Mrs. Alan J. Beason Drs. Ernest & LaWanda Blakeney Drs. Bernadette & Carter Boyd Cissie Bronner Dr. & Mrs. J. Wayne Buckley Dr. & Mrs. William S. Bundrick Mr. & Mrs. Abry Cahn Mr. & Mrs. Jack E. Carlisle Nancy Carmichael Mrs. Katharine Caruthers Dr. & Mrs. David Cavanaugh Mr. & Mrs. Vernon Chance, Jr. Mr. U. L. Coleman III Credit Bureau of Louisiana Mr. & Mrs. Daniel W. Deupree III Ruth V. Doreck Dr. & Mrs. John Epling Mr. & Mrs. Robert W. Fitzgerald Margaret Fontaine Dr. & Mrs. James S. Harrold Mr. & Mrs. Chris Haskew Mr. & Mrs. Calvin Head Phil & Virginia Israel Louise Jackson Mr. & Mrs. Glenn V. Kinsey Mr. & Mrs. Kurt M. Ley Mr. & Mrs. Denman M. Long
Scott & Ginger Lowe Peggy & Charlton Lyons Paul & Betty McDonald Foundation Laura Lyons McLemore Sally Moffit Mr. & Mrs. John Odom Boyd W. Parker Dr. & Mrs. Joe C. Rice Mr. & Mrs. William C. Robertson Dr. & Mrs. Hollis T. Rogers, Jr. Dr. & Mrs. Rick Rowell Dr. & Mrs. Phllip A. Rozeman Mr. & Mrs. Gerald A. Sayres, Jr. Mandel Selber, Jr. Stephen F. Skrivanos Dr. E. C. St. Martin H.E. Storer Foundation Mrs. Helen Waddle Henry Walker & Laurie Lyons Dr. & Mrs. David J. Werner Mr. & Mrs. Howard Worrell Worrell Brothers Rosemary C. Watts Col. & Mrs. Robert Zale PRINCIPAL’S CIRCLE—$200-$499 Anonymous Anonymous Anonymous Anonymous Ability Air Conditioning, Inc. Mr. David J. Aubrey Cheryll & Johnny Barbo Elizabeth Beck Dr. & Mrs. Jack Berg Dr. George Belchic, Jr. Sharon T. Bennett Mrs. Harold R. Bicknell Will Blanchard Dr. Joseph A. Bocchini, Jr. Mr. & Mrs. Rick Boswell Mrs. C. Elmo Boyd Faye Boykin & Family Mr. & Mrs. Charles M. Bradshaw III Barbara (Bobbie) Brasher Mr. & Mrs. Justin Breithaupt Frank & Suzzanne Bright Denise Brossette
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SSO ANNUAL FUND DONORS (continued) Dr. & Mrs. David D. Bryan Karen Bryant Thomas Bullock Hugh & Julie Butterfield John A. Caskey III Josette L. Cassiere Mr. & Mrs. Alvin Childs, Jr. Drs. David & Carol Clemons Janet W. Colbert Dr. & Mrs. David Cooksey Denise De La Houssaye Mrs. Mai L. Doles Mrs. Dorothy G. Dornier Betty Douciere Linda Dowling Mr. & Mrs. J. Paul Drummond Mr. & Mrs. Roger Ennis Mr. & Mrs. James B. Gardner Mr. & Mrs. Grady C. Golden Dr. & Mrs. Leonard I. Goldman Laurice & Henry Goodrich Mr. & Mrs. Dave Graham Barbara Treat Green Dr. & Mrs. Dean Griffen Dr. Tobin Grigsby Mike & Annette Hall Mr. & Mrs. Patrick W. Harrison Minette & Jim Haynes The Community Foundation—The Saunders Fowler Hearne & Suzanne Bethard Hearne Donor Advised Fund Mr. & Mrs. Richard Hemmings Dr. & Mrs. Wayne Homza Mrs. A. G. Howard Mr. & Mrs. Roy Hurley Mr. & Mrs. Hugh C. Ilgenfritz, Jr. Dorothy Jarzabek Mrs. Dale Jeter L. Chris Johnson Mr. & Mrs. Jeffrey Kallenberg Mr. & Mrs. Dwayne Keller Dr. & Mrs. Robert T. Lafargue Jane Law Dr. & Mrs. J. Anthony Lee Richard Lloyd Dr. & Mrs. James E. Lusk Mr. Burt Madden Robert Manriquez & Thomas Ayers Mr. & Mrs. Andy Mapp
William & Susan Marshall Ann V. May Mark Phillip McInnis Mr. & Mrs. John Meyer Mr. & Mrs. Larry Meier Mr. & Mrs. Shannon Mendenhall Dr. & Mrs. Charles Moffet Mr. & Mrs. Thomas H. Murphy Dr. Raghu & Cherie Ann Nathan Mr. & Mrs. George D. Nelson, Jr. Patricia A. O’Brien Sue Oppliger Lloyd Overdyke, Landscape Architect, LLC Boyd W. Parker Drs. Keith & Cynthia Payne Dr. & Mrs. Patrick W. Peavy Mr. & Mrs. Bill Peterson Robert & Joan Potter Janie & Barrie Richardson Ted & Alice Roberts Monica Rogers Mr. & Mrs. David Rowe Mr. & Mrs. C. Lane Sartor Mr. & Mrs. John Schulze Shirley Seligman Mr. & Mrs. Phillip R. Semon Charlie & Betty Shearer Ms. Margaret Shehee Martha & Bud Storer Dr. & Mrs. Claude A. Tait Dr. Stanton A. Taylor Dr. Ajay & Veena Tummala Betty M. Turner Billie VanHoose Rosemary C. Watts Drs. Rhonda & Bill Webb The Community Foundation—Kathleen & Donald Wiener Donor Advised Fund Dr. & Mrs. William Wilder Mrs. Louise Pons Williams Jack & Audrey Zahm ASSOCIATE—up to $199 Mr. & Mrs. William T. Adams Diane Aldin Dr. William Allums Greg Andrews Mary Andries June Applewhite
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SSO ANNUAL FUND DONORS (continued) Mrs. Ruth Atkins Mrs. O.P. Avinger, Jr. Mr. J. Pat Beaird, Jr. Mr. & Mrs. Claude Beasley Elizabeth B. Beck Gretchen Bell Dr. & Mrs. James R. Bergeron Mr. & Mrs. Thomas Berry III Amanda Bertrand Drs. Steven & Diana Bienvenu Mr. & Mrs. Richard Biernacki Betty Bigner Mr. Phillip Blaufuss Ms. Julie Bogan Mr. & Mrs. Charles Boyd Gale W. Bridger Mr. & Mrs. Brian Bridges Ms. Denise Brossette Ms. Christine Broussard Wayne & Charlotte Browning Jim & Ila Broyles Mr. Edwin Buckner, Jr. Laura Butler Mr. William Byers Josephine G. Carmody Susie C. Carroll Mr. & Mrs. William Cawthorne Dr. Judd H. Chidlow Betty W. Celia Georgia A. Cook Mrs. John L. Copeland Mrs. Maynard E. Cush Kathryn Darling Mr. & Mrs. Jackson Davis Hubert Debo Zama B. Dexter Matthew & Kristin Bumgardner Mrs. Dorothy G. Dornier Mrs. James U. Douciere, Jr. Ms. Amanda Downing Dr. & Mrs. Richard Drummond Roger & Lois Ennis Dr. & Mrs. Edwidg Eugene Norman Z. Fisher Frank & Sue Ford Leon Ford Mr. & Mrs. G. Archer Frierson II George & Minou Fritze Mr. & Mrs. James N. Fritze
Jerry Fuller Frank Gaensehals Mrs. James Gardner Ms. Mary Georgiafandis Mrs. Carol M. Ginsburg Mr. & Mrs. William T. Gleason Nina Glorioso Jodie Glorioso Dr. & Mrs. Warren D. Grafton Debbie Graham Wayne & Barbara Gramling Greater Shreveport Music Teachers Assoc. The Rev. David J. Greer Dr. & Mrs. Anil Gungor Dr. & Mrs. John W. Hall Anne Hall Mr. & Mrs. A. G. Hammett Dr. Kathryn Hamilton Lauree Harris Mr. & Mrs. J. Brady Harris Jeremy M. Hatch Ms. Martha Hattaway Mr. & Mrs. Sanders F. Hearne Pamela Hebert Mr. & Mrs. Richard Hemmings Dr. & Mrs. Guillermo Herrera Mr. & Mrs. Gene Hilliard Virginia R. Houston Frank & Mary Hughes Mr. & Mrs. William Jarratt Dorothy H. Jarzabek Mr. & Mrs. Bernard Johnson Mrs. Gervais D. Johnson Ms. Shirley Johnson Jariel Jones Dr. & Mrs. Kenneth B. Jones, Jr. Ms. Diane Jordan Mr. & Mrs. Dwayne Keller Mr. & Mrs. Kyle Kelley Mr. & Mrs. Robert E. Kelley Virginia Kurzweg Mr. & Mrs. Charles LaBorde Mr. & Mrs. Jack Lamb Cate Larmoyeaux-Green Shirley C. Law Mr. & Mrs. Edward H. Leatherman Mr. Maxfield LeComte Dr. & Mrs. Benjamin Li Jeanne R. Linam page 23
SSO ANNUAL FUND DONORS (continued) Mr. Richard Lloyd Maurine Locke Dr. Aubrey & Joan Lurie Jerry M. Malone Cynthia McCormick Sheryl McGhee Mr. & Mrs. Kyle McInnis Mr. & Mrs. Philip McInnis Mr. & Mrs. Danny McLarty Priscilla McLean Mrs. O. H. McIntyre Vassar W. Mills Mr. & Mrs. Isaac Mitchell Dr. Ira Lee Morgan Carolyn Murov Mrs. Cecile Murov Susan Murov Linda Nall, M.D. Mr. & Mrs. Robert Neff, Jr. Dianne Nelson Gurpreet Oberoi Mr. & Mrs. O. Michael Owens Beth Parker Mr. & Mrs. William V. Perdue Mr. & Mrs. Jerald Perlman Francis Piccolo John Pickens Dr. Bruce Pistorius Marian M. Poe Dr. & Mrs. Donald Posner Mr. & Mrs. Sid Potts Robert & Joan Potter Mary Preziosi David F. Puckett Mr. & Mrs. Tommy Rabon Mr. & Mrs. John Raish Mr. & Mrs. Russ Ramstad Lillian Randall Mr. Benjamin K. Rogers Ellawese Ross Marcia Rozeman Mr. & Mrs. Arthur Sample III Mr. & Mrs. William Sample Mr. & Mrs. Isidor Saslav Mildred F. Saunders Mr. & Mrs. E. Michael Schofield Mr. & Mrs. Doug Schaumberg Ms. Amy Schimschock
Mr. & Mrs. Alan Schlichtemier Mr. & Mrs. John E. Schulze, Jr. Mr. & Mrs. Charles E. Shearer Dr. & Mrs. J. Shiplov Eleanor S. Shuping Dr. & Mrs. Albert Smith Hurren & Margaret Smith Eleanor R. Sockrider Carolyn Speede Mr. & Mrs. Michael F. Stagg Dr. Eugene C. St. Martin Mr. & Mrs. Rhodes Stipp Nellygrace Stoll Mr. & Mrs. Craig Storer Jeannie Street & Clif Dopson Mr. & Mrs. Robert Swaney Mr. & Mrs. Sam J. Talbot Faye Thibodeaux Caitlin Tharp Jean Thomas Katherine S. Tyrrell Endowment Betty M. Turner Mr. & Mrs. Vincent J. Vella Rebecca C. Warren Dr. & Mrs. Willard F. Washburne Dr. & Mrs. Warren C. West Mrs. Walker Weston Kathleen Wiener Dr. & Mrs. Richard Wigle Maurice & Don Wilkins Ms. Rebecca Williams Mr. & Mrs. Bryan Willis V. Ann Wright Dr. & Mrs. Justin Wolfson Mr. James Wood Mr. & Mrs. Pete Zan Miller
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SSO ANNUAL FUND DONOR BENEFITS Shreveport Symphony Orchestra’s Annual Fund drive is based on the fiscal year, which begins July 1 and ends June 30. Individual and corporate donations are critical to the support system of the SSO. Ticket sales account for only about 25% of the Symphony’s budget. Recognition in the season program book is available beginning with a $50 gift. Donors may join The Conductor’s Circle with a gift of $1,000 or more and enjoy Symphony Club hospitality before and during Willis-Knighton Master Series concerts at the RiverView Theater, complimentary valet parking, and invitations to exclusive Patron events. Checks may be made payable to Shreveport Symphony Orchestra and mailed to P.O. Box 205, Shreveport, LA 71162-0205 or call the Symphony offices at (318) 222-7496.
DONOR BENEFITS ASSOCIATE ($50-$199) • Recognition in concert program • Advanced notice of SSO concerts and events PRINCIPAL’S CIRCLE ($200-$499) All Associate benefits plus: • Recognition in concert program and SSO website • Invitation to donor thank-you receptions following selected SSO performances
BRONZE BATON ($2,500-$4,999) All Conductor’s Circle benefits plus: • Access to musicians and guest artists at select SSO performances, pending availability SILVER BATON ($5,000-$7,499) All Bronze Baton benefits plus: • Invitation to a private event with SSO Artistic and Executive Directors • Annual valet parking pass
CONCERTMASTER’S CIRCLE ($500-$999) All Principal’s Circle benefits plus: • Opportunity to purchase tickets prior to public on-sale date • Invitation to select postperformance receptions CONDUCTOR’S CIRCLE ($1,000-$2,499) All Concertmaster’s Circle benefits plus: • Complimentary intermission and pre-performance hospitality in Symphony Club • Four complimentary valet parking vouchers for use during SSO performances • Access to special events and donor activities • VIP ticket concierge service
GOLD BATON ($7,500-$9,999) All Silver Baton benefits plus: • Acknowledgement from the stage at selected concert PLATINUM BATON ($10,000+) All Gold Baton benefits plus: • Dedication of an SSO performance • Two additional valet parking vouchers (6 total) • Opportunity to dine personally with SSO Artistic and Executive Directors
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MEMORIALS AND HONORARIUMS MEMORIALS In memory of Sheldon Goldsholl Judge & Mrs. Tom Stagg In memory of Margaret Kinsey Mr. & Mrs. Edward J. Crawford III In memory of Tracey Lurie Dr. & Mrs. Aubrey Lurie In memory of Billie Jean Roberts McCain Mr. & Mrs. George D. Nelson, Jr. In memory of Aaron Selber Judge & Mrs. Tom Stagg In memory of Leighton Pratt Shirley G. Seligman In memory of John Shenault Drs. Ernest & LaWanda Blakeney In memory of David C. Tyrell, Jr. Mr. & Mrs. Ike Muslow Mr. Stanley T. Hancock
TRIBUTES In honor of Virginia Shehee’s 90th birthday Carolyn Murov In honor of Miki on the 67th anniversary of our wedding Judge Tom Stagg
Listings for memorial and tribute gifts include gifts received between Jan. 25, 2013, and Sept. 6, 2013.
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THANK YOU TO OUR GENEROUS SPONSORS SEASON SPONSOR
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JAMES K. ELROD Willis-Knighton Health System is the only locally-owned, locally-operated not-for-profit health system in ShreveportBossier. As such we believe it is important to contribute to efforts to improve the quality of life for the people we serve.
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WILLIS-KNIGHTON MASTERWORKS SERIES
OPENING NIGHT JENNIFER KOH, VIOLIN
Michael Butterman, conductor SATURDAY, SEPTEMBER 21 7:30 PM
SIBELIUS
Finlandia, Op. 26
SIBELIUS
Violin Concerto in D Minor, Op. 47 Allegro moderato Adagio di molto Allegro, ma non tanto Jennifer Koh ~Intermission~
BRAHMS
Symphony No. 1 in C Minor, Op. 68 Un poco sostenuto Allegro Andante sostenuto Un poco allegretto e grazioso Adagio Allegro non troppo, ma con brio
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Photo: Juergen Frank page 28
ARTIST BIOGRAPHY—JENNIFER KOH VIOLINIST JENNIFER KOH is recognized for her intense, commanding performances, delivered with dazzling virtuosity and technical assurance. With an impassioned musical curiosity, she is forging an artistic path of her own devising, choosing works that both inspire and challenge. She is dedicated to performing the violin repertoire of all eras from traditional to contemporary, believing that the past and present form a continuum. She is also committed to exploring connections in the works she performs, searching for similarities of voice among diverse composers and associations within the works of a single composer. The exploration of Bach’s music and its influence in today’s musical landscape has played an important role in Ms. Koh’s artistic journey. In 2009, she introduced Bach and Beyond Beyond, a series of three recitals that explore the history of the solo violin repertoire from Bach’s Six Sonatas and Partitas to modern day composers including newly commissioned works. This season she will introduce the final recital in the series, Bach and Beyond Part 3, which explores the idea of development. The program comprises Bach’s Sonata Nos. 2 and 3, Berio’s Sequenza VIII, and John Zorn’s Passagen (later to include a new work by John Harbison). The second recital program performed from 2011-13, concentrated on “firsts and beginnings” and included Bach’s Sonata No. 1 and Partita No. 1, Bartók’s Sonata for solo violin and a newly commissioned partita by Phil Kline titled Dead Reckoning. The first recital in the series, performed from 2009-11, featured Bach’s Partitas Nos. 2 and 3 and works by Ysaÿe, Saariaho, Carter, and Salonen with a video commission by Tal Rosner. Mr. Rosner’s
short film, a dynamic interpretation of Salonen’s work, Lachen Verlernt Verlernt, was presented at the 2010 Tribeca Film Festival and is included as a visual component on her recording Rhapsodic Musings: 21st Century Works for Solo Violin, released on the Cedille label in 2009. Ms. Koh has performed Bach and Beyond recitals worldwide, and during the 2013-14 season she performs Part 1 in Dusseldorf, Germany, Part 2 at the Napa Valley Opera House, and Part 3 in Aspen, CO and Columbia, MO. Ms. Koh’s Bach and Beyond series is also being released on three CDs by the Cedille label. The first recording in the series, released in October 2012, includes Bach’s second and third Partitas, Ysaÿe’s Sonata No. 2, Saariaho’s Nocturne for Violin and Missy Mazzoli’s Dissolve O My Heart. In October 2011, Ms. Koh performed, for the first time, Bach’s complete Sonatas and Partitas for solo violin in a single concert—a feat long considered the ultimate test of a violinist’s command of her instrument—presented by Columbia University’s Miller Theatre at the Academy of Arts and Letters. She has since played the complete works at the Castleton Festival in Virginia, at the Rockport Chamber Music Festival in Massachusetts and for Da Camera in Houston. Her interpretations of Bach’s solo works, both in marathon recitals and paired with contemporary pieces, have been praised as thoughtful, intense, energetic and beautifully phrased. In 2009, to commemorate the 325th anniversary of Bach’s birth, Ms. Koh performed a series of lunchtime concerts devoted to the Sonatas and Partitas, also presented by Miller Theatre.
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OPENING NIGHT CONCERT PROGRAM Jean Sibelius (1865-1957) Finlandia, Op. 26 Sibelius was born in a small village in Russian-occupied Finland. He showed musical aptitude at an early age, playing violin in a chamber trio with his two siblings and composing when only ten years old. He entered the University of Helsinki as a law student but soon switched to music. Sibelius later studied composition in Berlin, where he heard Aino, a symphonic tone poem (a short, one-movement orchestral work with programmatic content) by a Finnish composer, and became inspired to write his own orchestral music. Up until that time he had composed only a few piano pieces, songs, and chamber works. When Sibelius returned to his native country in 1891, he immediately began work on music that would reflect his nationalist consciousness. Although ceded to Russia in 1809, Finland had maintained a sense of national identity. During the 1890s patriotic fervor increased intensely, as the Finns continued to struggle against the yoke of the tsar. When a Russian edict swept away free speech in 1899, a series of public meetings was held, ostensibly to help the Press Pension Fund, but really to whip up Finnish patriotism. As a culmination of these events, a dramatic production glorifying Finnish history was planned, and Sibelius was asked to compose something for this theatrical event. The result was six short symphonic works based on portions of the Kalevala, the Finnish national epic poem. The last tone poem, innocuously entitled “Finland Awakes,” eventually became known as Finlandia. Although
Sibelius never incorporated any actual folk melody, he captured the spirit of Finnish legends through folk rhythms and modality. The work instantly resonated with the people and helped catapult Sibelius into international renown. (According to Richard Taruskin, “The Russian authorities cooperated in canonizing Finlandia by banning it!”) Today this symphonic tone poem is the unofficial national anthem of Finland and remains Sibelius’ best known work. Although there were no words to the original version, lyrics were added, and today a chorale-like version is found in many Protestant hymnals. Finlandia begins with a descending two-note figure in the brass, accompanied by occasional rumblings in the timpani. The low register, slow tempo, and minor tonality create a dark, somber effect reminiscent of Tchaikovsky. Tension is eased as the woodwinds and strings begin to play softly, although the opening material returns, this time with staccato notes in the trumpets. The music grows faster and louder but then abruptly ceases. A five-note pattern emerges in the low strings. As this passage is repeated consistently, other instruments are added and the mood suddenly changes to one of optimism. Tonality is now major, and dramatically increasing tempo and dynamics create a musical climax that melts away into a beautiful chorale-like passage, first performed softly by the brass and then by the strings. The ostinato-like pattern returns with previous material, followed by swelling crescendos that lead to one more grandiose presentation of the chorale, twice as slow, before the composition excitedly rushes toward a dramatic conclusion.
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OPENING NIGHT CONCERT PROGRAM Jean Sibelius (1865-1957) Violin Concerto in D Minor, Op. 47 The overall structure and form of the Violin Concerto, Op. 47 47, Sibelius’ only concerto, is typical. It begins with an “Allegro moderato” movement in sonata form, the middle movement is slower and more lyrical, and a quick tempo returns in the finale. Within this framework, however, Sibelius incorporates a number of unusual features. Themes are not always clear-cut. For example, there is an extended cadenza of quasidevelopmental material in the first movement, and the following movement opens not with the main theme in the violin but with clarinets in parallel thirds. In the last movement Sibelius employs a distinctive rhythmic figure associated with polonaises (Polish dances), hence Sir Donald Tovey’s description of this movement as a “polonaise for polar bears.” Tovey, however, did not intend to be derogatory, for he added, “In the easier and looser concerto forms invented by Mendelssohn and Schumann I have not met a more original, a more masterly, and a more exhilarating work than the Sibelius violin concerto.” In addition to the usual scoring for woodwinds and strings, Sibelius calls for four horns, two trumpets, and three trombones—a rather innovative orchestration that produces a “symphonic” quality not found in most concertos of this time. Early in his career, Sibelius had hoped to become a concert violinist, and his penchant for virtuosity abounds in this work. The solo violin frequently plays fast runs, double stops, broken octaves, and arpeggios, while the orchestra accompanies or shares in thematic material. The finale is a veritable tour de force,
(continued)
filled with virtuosic gymnastics that bring the concerto to a brilliant close. During his lifetime Sibelius was deeply revered by his countrymen. For his seventieth birthday, a grand feast was held, and all the past presidents of Finland were invited, along with the prime ministers of Norway, Denmark, and Sweden. Even today flags are flown in Finland on December 8, the composer’s birthday. Johannes Brahms (1833-1897) Symphony No. 1 in C Minor, Op. 68 Brahms was born in Hamburg in northern Germany. He was given the Latin name “Johannes” to distinguish him from his father, Johann, who played double-bass in the city orchestra. Although his formal education never went beyond primary school, the young composer received a thorough foundation in piano, music theory, and in the works of the great masters, especially J. S. Bach, Mozart, and Beethoven. Brahms’ earliest piano pieces reveal a mature compositional style, but symphonic writing was not easy for him. Fearful of writing “under the banner of Beethoven,” he once confided to a friend: “You can have no conception how it feels to someone like myself always to hear the tread of a giant [Beethoven] like this at one’s back.” Intensely self-critical, Brahms composed with great caution, periodically making numerous revisions for almost twenty years before finally summoning the courage to publish his first symphony. But Brahms could never totally escape Beethoven’s influence. Symphony No. 1, like Beethoven’s Fifth, begins with a lengthy movement in sonata form and
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OPENING NIGHT CONCERT PROGRAM makes extensive use of thematic manipulation and motivic unity. Brahms even chooses the same tonality—the opening in C minor and the closing in C major—thus imparting a similar progression of mood from gloom to optimism. Just as Beethoven concludes his Fifth and Ninth Symphonies with triumphant, joyful finales, Brahms’ work ends with a magnificent hymn-like melody. Despite its Beethovenian features, Symphony No. ll, with its warm and expressive harmonies and a spirit of lyricism, is thoroughly Romantic. The introductions in the opening and closing movements provide the basis for themes, which are varied and transformed, rather than contrasting. The first movement begins with incessant tolling in the timpani and basses and numerous melodic figures that are combined, inverted, and expanded to form the first theme, as well as the more sedate second theme group. Movement two is a beautiful lyric adagio featuring the oboe, strings, and bassoon. The overall plan is A B A, but the second A section is not a literal repetition. Although the structure of the third movement is typical—ABA form—the spirit is unusual. With its duple meter and gentle, relaxed mood, it closely resembles an intermezzo rather than the customary minuet or scherzo. Two opening themes, the first played by the clarinet and the second by clarinet and flute, create a pastoral effect that dominates much of the movement. Just before the premiere, Brahms shortened the two inner movements, perhaps to emphasize the significance of the first and final movements.
(continued)
Movement four begins with dramatic timpani rolls, growing tension in the strings, and numerous melodic motifs that foreshadow the main theme. In the second section of the introduction there is a wonderful French horn solo that, according to musicologist Craig Wright, could only have been written by a late-Romantic composer. Brahms apparently had this idea much earlier, for in 1868 he sent the melody, with words added, to Clara Schumann as a birthday greeting. Just as the horn motif sounds, the trombones enter for the first time, initially as fill-in notes in the accompaniment. However, toward the end of the introduction the trombones return in chorale-like texture, anticipating the majestic melody that soon follows. (Brahms grudgingly admitted that this melody is somewhat akin to Beethoven’s “Ode to Joy” theme.) The remainder of the movement is dominated by this beautiful chorale-like passage, presented first in the strings, then woodwinds, before the entire orchestra joins in. Near the end the same cantabile melody returns unaltered, as other melodic figures swirl around with great variety. Shortly after the triumphant opening of his festival theater at Bayreuth, Richard Wagner confidently declared that the expressive possibilities of absolute music had been exhausted in the symphonies of Beethoven. But Wagner was wrong. He had no way of knowing that only three months later a symphony by Brahms, his younger contemporary and not-so-friendly rival, would be premiered and instantly dubbed “Beethoven’s Tenth”! Brahms was very much his own person. While his contemporaries were adding
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OPENING NIGHT CONCERT PROGRAM extra-musical qualities to their compositions and exploring different means of linking movements together, he maintained a preference for absolute music—the sonata—with clearly delineated movements. He was reluctant to express his opinions, but there is no doubt that he believed the meaning of music lies solely within the tones themselves. He wrote no operas or dramatic productions of any sort. He composed no symphonic poems, used no
(continued)
fanciful titles for his works, and only rarely employed a literary quote. In the opposite camp were musicians like Wagner, who believed music has no meaning by itself. The good news is that we don’t have to choose one or the other. We can learn from and enjoy both types of music! © Program notes written by Dr. La Wanda J. Blakeney
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THE SSO NEEDS YOUR SUPPORT We hope that you are enjoying your symphony experience. Our concerts are just a small part of what we do as an orchestra. Our musicians are your children’s and grandchildren’s music teachers, whether they take private lessons or are in the orchestra or band at school. We are the musicians that come in to the public schools and introduce the children of the ArkLaTex to classical music and the instruments that are played. We as a community have much to be proud of when we think of our symphony. Ticket sales only account for 25% of our revenue. We rely on the rest of our revenue to come from generous donations by you—our supporters and patrons. Just like every note has its place in a concerto, your gift at any level is appreciated. It represents your love for our organization and the music that we make. Please consider making a donation to the SSO today: The Music-by-the-Month Plan is a convenient and affordable way to support the SSO’s Annual Fund Campaign on an ongoing basis. By enrolling in the plan, your charge card will be automatically billed every month, making it easy to spread your generosity over time. We have several Volunteer Opportunities. We’re always looking for people who are interested in the symphony and who want to help make our organization be the best it can be. • • • • •
Box Office – Help on Concert afternoons and evenings Usher Office Support – Mailings, answering the phone, data entry, etc. Phone Calls – Call “first time” concert attendees, support, etc. Hospitality - Provide refreshments for the musicians, receptions, baking, picking up guest artists • Special Events – Gala, special projects, etc. • Miscellaneous – Various needs that arise throughout the year Name:_ _________________________________________________________________ Address:_ _______________________________________________________________ City: _____________________________________State: _____________ Zip: ________ Home Phone: _________________________ Work Phone: ________________________ Email: __________________________________________________________________ I am interested in volunteering. Please contact me. I would like to donate the following amount: $ _________________ I would like to sign up for the Music-by-the-Month Plan. Charge my credit card $_______ per month for _______ months. Check enclosed, payable to the Shreveport Symphony Orchestra Please charge my credit card (Mastercard, VISA or Discover) Card #: __________ __________ ___________ ___________ Exp. Date: ________ Mail to: P.O. Box 205, Shreveport, LA 71162-0205; Fax to: 318.222.7490. Phone: 318.222.7496. page 36
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LAD SSymphony Ad_Layout 1 8/6/13 10:51 AM Page 1
Carol Smitherman Anglin, Director
Celebrating 32 Years of Excellence September 3, 2013 May 31, 2014
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Strand Season AD (Symphony)_Layout 1 6/14/13 2:02 PM Page 1
2013 2014
SEASON
RAIN – A Tribute To The Beatles Friday, November 1, 2013
HELLO DOLLY Starring Sally Struthers Tuesday, March 25, 2014
MEMPHIS
An Afternoon With HAL LINDEN & HIS BAND Sunday, April 6, 2014
Wednesday, November 27, 2013
STEVE LIPPIA CHRISTMAS Thursday, December 5, 2013
Thursday, April 10, 2014
SHOJI TABUCHI
VINCE: – The Life And Times of Vince Lombardi Saturday, May 3, 2014
Christmas Show Friday, December 13, 2013
BRASS TRANSIT “The Musical Legacy of Chicago” Friday, February 14, 2014
THE HIT MEN
Saturday, August 3, 2013
RING OF FIRE
Saturday, September 28, 2013
BEAUTY AND THE BEAST
WEST SIDE STORY
ADAM TRENT Magician/Illusionist Friday, June 6, 2014
SWEET CHARITY
STAYIN’ ALIVE – A Tribute To The Bee Gees Friday, June 13, 2014
Friday, March 21, 2014
Wednesday, October 30, 2013
THEWe're STRAND THEATRE (318) 226-8555 or www.thestrandtheatre.com All Heart-Stetho (Symphony)_59% (10 x 10) 9/10/13 1:51 PM Page 1
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WILLIS-KNIGHTON MASTERWORKS SERIES
MOVIE MASTERPIECES II Michael Butterman, conductor SATURDAY, OCTOBER 26 7:30 PM
CONCERT SPONSOR:
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MOVIE MASTERPIECES II CONCERT PROGRAM ARR. TYZIK
Great Westerns Suite Music from: The Magnificent Seven (Elmer Bernstein), How The West Was Won (Alfred Newman), Silverado (Bruce Broughton) and Dances With Wolves (John Barry)
KORNGOLD, ARR. MAUCERI
Robin Hood: Symphonic Portrait Excerpts
ARLEN, ARR. TYZIK
The Wizard of Oz: Orchestral Suite
LIADOV
Baba Yaga Performed as accompaniment to the opening scene of the film Metropolis
HUNTER, ARR. BARTKE
The Numberlys Performed LIVE with film from Moonbot Studios ~Intermission~
SCHIFRIN, ARR. CUSTER
Theme from Mission Impossible
ARR. MANCINI
The French Collection Music by Michel Legrand and Francis Lai
MASCAGNI
Intermezzo from Cavalleria rusticana
GRUSIN, ARR. LOWDEN
Main Theme from On Golden Pond
WILLIAMS
“The Shark” from Jaws
WILLIAMS
Adventures on Earth from E.T. the ExtraTerrestrial
WILLIAMS
March from Raiders of the Lost Ark
HOURS OF OPERATION
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Monday-Wednesday: Closed page 45
WELCOME TO CASINO
HOTEL
BOSSIER CITY, LA
WILLIS-KNIGHTON MASTERWORKS SERIES
WAGNER & STRAUSS ASIYA KOREPANOVA, PIANO TWYLA ROBINSON, SOPRANO Michael Butterman, conductor
SATURDAY, NOVEMBER 16 7:30 PM
Photo: Kristin Hoebermann
WAGNER
Prelude and Love-Death from Tristan und Isolde
STRAUSS Burleske Asiya Korepanova ~Intermission~ STRAUSS
Don Juan
STRAUSS Four Last Songs Fr端hling (Spring) September Beim Schlafengehen (At Bedtime) Im Abendroth (At Sunset) Twyla Robinson
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CONCERT SPONSOR:
ARTIST BIOGRAPHIES— ASIYA KOREPANOVA & TWYLA ROBINSON Born in Izhevsk, Udmurtia, ASIYA KOREPANOVA started playing piano at the age of four. She gave her first full solo recital on the philharmonic stage at the age of eight and subsequently appeared with orchestra performing Mozart’s Eighth Concerto with cadenza written by herself. She completed her tertiary school education in Moscow Central Music School, and graduated with degrees both in piano performance and composition. From 2001 to 2006, Ms. Korepanova studied with Professor Elisso Virssaladze in the Moscow State Chopin College and the Moscow State Tchaikovsky Conservatory. In 2009 she was chosen the best graduate from the piano faculty of St. Petersburg Conservatory. Currently she is in her DMA program at the Frost School of Music, University of Miami, studying with Professor Santiago Rodriguez. Ms. Korepanova was the prize winner at numerous international piano competitions. The latest of them is the Wideman International Piano Competition in Shreveport, LA, where Asiya won the First Prize and the Gold Medal in 2012. Other competitions include the N. Rubinstein International Piano Competition (Paris 1997), the Classical Heritage Competition (first prize in both piano and composition, Moscow 1998), and The Young Artists Skriabin Competition (Moscow 1998). She was given The Russian Federation’s President Award for “Exceptional Achievement in the Arts” at the age of 12 (1997). Since 1999 she’s been supported by the International Charity Foundation of Vladimir Spivakov.
TWYLA ROBINSON’S incisive musicianship, ravishing vocal beauty, and dramatic delivery have taken her to the leading concert halls and opera stages of Europe and North America. She has been heard in performance with the London Symphony Orchestra, New York Philharmonic, Berlin Staatskapelle, The Cleveland Orchestra, Philadelphia Orchestra, and Los Angeles Philharmonic, among others. She has worked with conductors including Christoph Eschenbach, Alan Gilbert, Bernard Haitink, Pierre Boulez, Franz Welser-Möst, Donald Runnicles, Yannick Nézet-Séguin, Esa-Pekka Salonen, Hans Graf and Michael Tilson Thomas. Ms. Robinson opened the 2012-13 season with her first performances of Mendelssohn’s “Lobgesang” in her debut with the Utah Symphony Orchestra and Music Director Thierry Fischer. During the season she returns to the Indianapolis Symphony adding Messiaen’s “Poèmes pour Mi” to her repertoire. Further concert performances for Ms. Robinson include Beethoven “Symphony No. 9” with Cincinnati Symphony and Brahms’ “Ein deutsches Requiem” with Alabama Symphony. On the opera stage, Ms. Robinson sings the Countess in “Le nozze di Figaro” with the Orlando Philharmonic and returns to Cincinnati Opera as the Marschallin in “Der Rosenkavalier.”
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WAGNER & STRAUSS CONCERT PROGRAM Tonight’s concert commemorates two prominent composers—Richard Wagner, who was born exactly 200 years ago (1813), and Richard Strauss, who was born almost 150 years ago (1864). As members of the “New School” of the nineteenth century, Wagner and Strauss became famous for composing works with programmatic content, advanced chromaticism, and enormous virtuosity. Together they helped bring German Romanticism to its zenith and ultimately exerted profound influence on almost all composers who came after them. Richard Wagner (1813-1883) Prelude and LoveDeath (Vorspiel und Liesbestod ) from Tristan und Isolde As a young boy, Wagner was fascinated with music and the theater, and these two passions stayed with him throughout his entire life. Although he had little formal training, he worked as a music director at several theaters and began composing operas. Wagner steadfastly believed an opera could achieve utmost unity only if the libretto and music were written by the same person, and as a result, he provided both for most of his own operas. In 1865 he began work on a story about two young people, Tristan and Isolde, who unwittingly drink a love potion and fall passionately in love. They are faced with an impossible dilemma, since Isolde is already engaged to King Marke of Cornwall. The lovers are detected, and the King eventually forgives them, but it is too late. One of the King’s knights has mortally wounded Tristan, and Isolde commits suicide to be with him. The Prelude, an orchestral number at the beginning of Tristan und Isolde, consists
almost exclusively of a highly chromatic, three-measure passage. While the notes are not unique, Wagner’s treatment is. Instead of resolving the dissonances, the composer simply repeats the threemeasure motif on different pitch levels. The dissonances continue until Isolde’s Love-Death aria at the end. As she stands over Tristan’s corpse, Isolde contemplates his transfigured soul and decides to join him in death. The lack of harmonic resolution throughout the entire opera symbolizes the couple’s unspoken love, while the final major chords represent some sense of fulfillment, even if only in death. As the last two chords bring the drama to a close, they are joined together by a single note sustained by two oboes. In one of Wagner’s letters, he mentions two graves around which an ivy and a vine have sprouted and are entwined. Perhaps the two oboes are the orchestral voices of that ivy and vine? Although initial reaction to Tristan und Isolde was not completely favorable, today we recognize this emotionally rich work as quintessential Romanticism, filled with lush orchestral sounds and chromaticisms that produce a sensual aural experience. Wagner linked the Prelude with an orchestral transcription of Isolde’s aria at the end of the opera, and tonight these two portions are presented that way. Richard Strauss (1864-1949) Burleske Richard Strauss (no relation to “The Waltz King” Johann Strauss) was born in Munich. His father was one of the most celebrated horn players in Europe, and undoubtedly provided the stimulus for Richard’s astonishing rise to fame. By the time he was twenty-two, young Strauss had already served as a conductor at two
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WAGNER & STRAUSS CONCERT PROGRAM (continued) major court theaters and several of his compositions had been performed successfully in major theaters in New York and Europe. He was so precocious that the famed conductor Hans von Bülow dubbed him “Richard the Third.” (After Richard the First, i.e. Wagner, there could be no Richard the Second.)
in Eisenach, where it was successfully received. Strauss liked the composition so much that he programmed it at his last concert in London in October of 1947.
Strauss was barely twenty-one years old when he composed Burleske, and this one-movement concerto for piano and orchestra teems with youthful exuberance and sparkling melodic ideas. Although today the title conjures up images of striptease entertainment, Strauss used the term “burleske” to mean “comical.” His sense of humor is clearly evident in the numerous lighthearted exchanges between the piano and solo timpani or orchestra. The piano deftly scampers across the entire range of the keyboard, and the short phrases, many of which whimsically climb upward at the end, foreshadow the “merry pranks” of Strauss’ later tone poem Till Eulenspiegel. With no warning, though, the composer suddenly introduces Brahmsian melodies in ¾ meter. This is probably the first time that Strauss incorporates the popular waltz into one of his compositions, and it anticipates what happens twenty-five years later in his opera Der Rosenkavalier Rosenkavalier. It’s a mistake to think that the timpani only plays during loud passages. In this work the solo timpani appears throughout in an integral role and even has the final quiet word. Strauss had initially hoped von Bülow would introduce Burleske to the public, but he refused, pronouncing the work “unfit for piano, and too ambitious.” However, five years later the brilliant pianist Eugene d’Albert was only too happy to premiere the piece at a festival
Richard Strauss (1864-1949) Don Juan Toward the end of the nineteenth century many composers felt their expressive needs were best met not in the symphony but in a new genre, the tone poem, i.e. a one-movement orchestral work with programmatic content. Strauss composed ten tone poems, one of which was Don Juan, a work that demands unprecedented orchestral resources and stupendous virtuosity. Unlike Mozart’s Don Giovanni, the main character in Don Juan is Giovanni depicted as a nobleman searching for the ideal woman. After an energetic, upwardsweeping phrase at the beginning, the “hero” is represented by a magnificent melody in the French horn, Strauss’ favorite instrument and that of his father. Each time Don Juan resumes his quest, the heroic melody (by now a leitmotif for the main character) returns, producing a rondo effect. Interspersed between the heroic melodic figures are episodes containing new material, often introduced by solo instruments playing in unison. Strauss was a brilliant orchestrator, and his treatment of various coloristic instruments, e.g., oboe, flute, and harp, as well as a passage for solo violin in dialogue with the orchestra, is masterful. Despite the swashbuckling exuberance at the beginning, the main character meets an ignoble end, hence the quiet, tremulous conclusion of the work. Two days after the premiere, the composer wrote: “Well then—Don Juan had a great success, it sounded wonderful and went very well. It unleashed a storm
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WAGNER & STRAUSS CONCERT PROGRAM (continued) of applause rather unusual for Weimar.” Strauss’ assessment was correct, for he received immediate international acclaim. By the 1920s, Strauss had brought the tone poem genre to a brilliant conclusion and produced a number of highly successful operas, and throughout the first half of the twentieth century he remained firmly entrenched as Germany’s leading composer. At the end of World War II, he and his wife returned to their home in Garmisch, where Strauss composed his final work, Four Last Songs. Richard Strauss (1864-1949) Four Last Songs Although these songs were never intended to form a cycle, their texts share similar moods about love, peace, nature, and death. Not surprisingly, they look back to the late nineteenth century, using emotional melodies in lengthy phrases, a huge coloristic orchestra, and chromatic harmonies. Like so many of Strauss’ compositions, the works are autobiographical. The composer’s wife, Pauline de Ahna, had been an operatic soprano, and these vocal compositions demand a clear voice in an extremely high register. Their warmth and expressiveness serve as reminiscences of the experiences Strauss and his wife of fifty-four years shared. The first three songs are linked together by tender notes from the French horn, reminding us of Strauss’ father. The final song is particularly poignant. It portrays an aging couple watching a sunset. Strauss changes the final line from “Is that perhaps Death?” to “Is this perhaps Death?” At that moment there is a quote from one of the composer’s earlier tone poems, Death and Transfiguration— specifically the “transfigured” motive,
which may be interpreted as an expression of the eternal spirit. As the two people close their eyes, there are trills in the flutes, symbolizing skylarks flying away into the heavens. Strauss thus bids farewell not only to the world but also to the Romantic Age. Audience members may wonder how a composer could write such Romantic music during the mid-twentieth century, and musicologist Craig Wright offers a satisfactory explanation: Musical epochs know no clear-cut boundaries; composers are not obliged to change styles in lockstep when a new century or halfcentury begins. The aged Richard Strauss continued into the 1940 to compose in the style that he knew best, the late-Romantic style of the 1890s. That these last songs have enjoyed enormous popular favor suggests something more: The listening public has never lost its fondness for the Romantic sound. Sentiment, grandeur, richness, imagination, escapism—these are not only specific Romantic qualities but they are also things we generally associate with the very essence of music. © Program notes written by Dr. La Wanda J. Blakeney
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Fall for Dance! Saturday, September 14, 2013 Riverview Hall and Theater The Nutcracker Saturday, December 7 and Sunday, December 8, 2013 Riverview Theater Peter and the Wolf Friday, March 14, 2014 Riverview Theater The Wizard of Oz Saturday, April 12 and Sunday, April 13, 2014 Riverview Theater
For tickets and information visit: www.shreveportmetroballet.org 318-221-8500
THE SHREVEPORT LITTL E T HEATRE 92nd SEASON 2013-2014
HISTORIC. LOCAL. LIVE... ESCAPE!
ALL FIVE MAINSTAGE SHOWS For only: $80 (adults) or $72 (seniors, students, active military) a savings of $10 off individual ticket price
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or email boxoffice@shreveportlittletheatre.com
Or visit our Box Office 812 Margaret Place
S H R E V E P O R T
Noon - 4 p.m. Monday - Friday L I T T L E T H E A T R E www.shreveportlittletheatre.com page 53
PLANNED GIVING Donors have found that a planned gift, creatively structured to provide tax advantages and life income, can provide an ideal opportunity to support the institution they love, at a higher level than they had thought possible. Your planned gift to The Shreveport Symphony Orchestra can also benefit you and your family. There are multiple ways to give and many different assets you can use. From a simple bequest to more complex arrangements, we welcome the opportunity to assist you and your advisors in planning a contribution that suits your particular needs. Please contact Nancy Carmichael, Director of Patron Services, by phone at 318.222.7496 or by email at ncarmichael@shreveportsymphony.com to find out more about specific planned giving strategies.
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WILLIS-KNIGHTON MASTERWORKS SERIES
HOLIDAY POPS LOUISIANA DANCE THEATRE CHILDREN’S CHORUS SARAH JANE MCMAHON, SOPRANO Michael Butterman, conductor SATURDAY, DECEMBER 21 7:30 PM SUNDAY, DECEMBER 22 2:30 PM
CONCERT SPONSOR:
ALTA AND JOHN FRANKS FOUNDATION
Photo: Michael Palumbo page 55
ARTIST BIOGRAPHY—SARAH JANE MCMAHON Hailed by The New York Times as “bright, active, and fastidiously musical,” and by Opera News as having “a golden sound,” SARAH JANE MCMAHON is recognized for her “beautiful vocal sophistication” and “sparkling stage presence.” Recently, Sarah Jane sang a Gala concert opposite Placido Domingo and made her debut with The San Francisco Symphony, Munich Philharmonic, the Wiener Konzert Haus, Bremen’s Die Glocke, and the Santo Domingo Festival in The Dominican Republic. A frequent guest artist at New York City Opera, she performed Mabel in their new production of The Pirates of Penzance and was described by The New York Times as “the most polished and flexible singer in the cast” and “a deft comic actress.” She also received their coveted Kolozsvar Award for her performances as Galatea in Handel’s Acis and Galatea, and was lauded for her “silvery-voiced soprano” and “real star presence” in Purcell’s King Arthur.
in HMS Pinafore with both the Louisiana Philharmonic Orchestra and San Antonio Opera, and with Central City Opera as Maria in West Side Story. Her roles with the New Orleans Opera include Pamina in Die Zauberflöte, Micaela in Carmen, Valencienne in The Merry Widow Widow, Musetta in La Bohème, Monica in The Medium, and Maria in West Side Story. A summa cum laude graduate of Loyola University, New Orleans, and Yale University, Ms. McMahon’s upcoming engagements include: a Holiday Pops concert with The Shreveport Symphony, Knoxville Summer of 1915 and Trouble in Tahiti with The Amarillo Symphony, a Gala concert for Toledo Opera, Knoxville Summer of 1915 with The Charlotte Symphony, Evangeline in Evangeline the Musical for the Baton Rouge Catholic Radio and Woman’s New Life Fundraiser, and Musetta in La Boheme with New Orleans Opera.
Selected by Maestro Placido Domingo to join the Los Angeles Opera, she sang with the celebrated tenor as the Fifth Flower Maiden in Parsifal, Parsifal Naiad in Ariadne auf Naxos and The Milliner in Der Rosenkavalier. Sarah Jane also has performed with Bard SummerScape Festival as Xanthe in Richard Strauss’ Die Liebe der Danae, with the Washington Concert Opera as Dorinda in Handel’s Orlando, and with Arizona Opera as Mabel in Pirates of Penzance, Opera Grand Rapids as Fiordiligi in Cosi Fan Tutte, Pamina in Die Zauberflöte, Maria in West Side Story and Micaela in Carmen, Opera Omaha as Fanny in Il Cambiale di Matrimonio, Toledo Opera as Violetta in La Traviata, Josephine
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HOLIDAY POPS CONCERT PROGRAM Saturday, Dec. 21, 7:30 PM, and Sunday, Dec. 22, 2:30 PM, at RiverView Theater Michael Butterman, conductor Sarah Jane McMahon, soprano Louisiana Dance Theatre, Carol Anglin, director Holiday Pops Children’s Chorus, Connie Lerchie, coordinator HAYEN
Bring A Torch Fantasy
BACH/GOUNOD, ARR. BISBANO Ave Maria Ms. McMahon TYZIK
Wexford Carol/Christmas Reel
SHAYNE & REGNEY, ARR. HAYEN
Do You Hear What I Hear?
BISBANO Every Moment Ms. McMahon KALLMAN
A Holiday Hoedown
JAVITS & SPRINGER, ARR. STEPHENSON Santa Baby Ms. McMahon SILVESTRI, ARR. BISBANO Believe from Polar Express Santa Claus MARKS, ARR. STEPHENSON Rudolf the Red Nosed Reindeer Louisiana Dance Theatre ~Intermission~ BIZET
Farandole (from L’Arlesienne Suite No. 2)
RUTTER Angels’ Carol Children’s Chorus RUTTER
Blow, Blow Thou Winter Wind
TYZIK The Skater’s Overture Louisiana Dance Theatre CAHN & VAN HEUSEN, ARR. MANN The Secret of Christmas Ms. McMahon HIRSCH, ARR. LEAVITT Bashana Haba’ah Children’s Chorus ADAM O Holy Night Ms. McMahon ARR. STEPHENSON
A Holly Jolly Sing Along
BERNARD & SMITH, ARR. STEPHENSON Winter Wonderland Ms. McMahon, Louisiana Dance Theatre page 57
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CREATING. DEVELOPING. ORCHESTRATING.
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SHREVEPORT SYMPHONY 64th NENA WIDEMAN INTERNATIONAL PIANO COMPETITION D R. L ESTER S ENTER W ILSON, E XECUTIVE D IRECTOR
The Shreveport Symphony Nena Wideman Piano Competition, which began in 1950, has been held annually, the first weekend of December. This year the Preliminaries and Finals will be held December 6-8, 2013 at Centenary College Hurley School of Music. Outstanding pianists from throughout the United States and foreign countries and from major music schools have been attracted to the Competition. Nationally and internationally known pianists and conductors are chosen to be judges. Nena Wideman, a former member of the Centenary faculty, was the guiding spirit of the first Competition and continued with unwavering enthusiasm until her death in 1984. In 1983, an Endowment was created by the Shreveport Symphony in honor of Mrs. Wideman and established the permanence of this annual event. Since Mrs. Wideman's death in 1984, Dr. Lester Senter Wilson has been Executive Director, and the late Maestro John Shenaut and the late Mrs. Marcille Young were Co-Chairmen of the Competition. The continuance of the Competition would not have been possible without the loyal help over the years of those businesses and individuals who have supported it as Patrons, Friends and Members of the Board. They are listed below. The Competition Gold Medal, with a cash prize of $5000, is the William Peyton Shehee, Jr & Virginia Kilpatrick Shehee Award. The Gold Medalist also wins orchestra performances with the Shreveport Symphony Orchestra, the South Arkansas Symphony Orchestra and the Northwest Florida Symphony Orchestra – and recitals at the Philips Collection in Washington, DC, the Dame Myra Hess Memorial Concert Series, Chicago, IL, The Emmett Hook Chamber Texas Street Artist Recital Series and the Shreveport Symphony Chamber Series No. 2: Mozart and More. The Silver Medal, with a cash prize of $2500 is given by Carter Frazier Properties, LLC (in memory of Genevieve & Carlton Frazier) and Martha & Bill Smith . The Bronze Medal, with a cash prize of $1500, is the Martha Jones Rice Award given by Ellen & Carl Rice. Honorable Mention, with a cash prizes of $1000 is the F Thomas Siskron III Family Award. A Special Award of $1000 is given by Mrs Pearla T Despot and additional Special Awards are provided by the Glenda Lee Harrison Fund and the Marilyn Willis Fund, both of The Community Foundation. Guild.
The Wideman Competition, under the umbrella of the Shreveport Symphony Guild, Inc. is exceedingly grateful for the generous support of the B OARD, PATRONS & S PECIAL FRIENDS - 2012-2013
Opal S Adams Dr & Mrs Robert Bareikis Mrs Roy Beard Mrs Elizabeth Beck Mrs Gretchen Bell Dr & Mrs Jack Berg Dr & Mrs John Berry Mrs Peter Boggs Margaret Bores Mr & Mrs Ray Boswell Mr & Mrs Rick Boswell Mr & Mrs Jim Bounds Mrs C Elmo Boyd Mrs. Roger O Boykin Ms Bobbie W Brasher Mr & Mrs Paul Broussard Ms Karen S Bryant Marjorie Burns Laura Butler Susan S. Cage Ms Josephine Carmody Katharine Caruthers Mr & Mrs Samuel W. Caverlee Mr & Mrs Waldo E Cecil Centenary College (Dr Gale Odom) Mr & Mrs Vernon B Chance Ms Kathy K Charley Dr & Mrs Anil Chhabra Mrs John Chidlow Dr & Mrs Judd Chidlow Mr & Mrs Alvin Childs, Jr Mr & Mrs R Gordon Clingan Susan M. Cockerham The Community Foundation of North Louisiana, Inc, Mr & Mrs Edward J Crawford III Ms. Laura Dailey Dayton Public Radio Inc Mrs Pearla T Despot Mrs Joseph B Dornier III Linda Dowling
Ms Janis Doyle Dr & Mrs Jerry Drummond Dr & Mrs John Epling First Presbyterian Church, Holly Watson First Baptist Church Norman Fisher Bill & Carolyn Fleming Mrs Mark Florsheim Mr & Mrs A Glenn Flournoy, Jr Mr & Mrs Denny E Gamble Jr Mr & Mrs James B Gardner Mrs. Abram Ginsburg Mrs Sheldon Goldsholl Mrs Robert U Goodman Mr & Mrs Robert Grand Ms Carolyn Gray Mr. or Mrs. O. A. Griffey III Mr Morgan Grigsby Mr & Mrs David S Gross The Community Foundation – Susan M & Quintin T Hardtner III Advised Fund The Community Foundation – The Glenda Lee Harrison Fund Mr & Mrs John H Hearne Mrs H Richard Hemmings Dr & Mrs Jeff Hendricks Lola Weir Herndon Dr & Mrs Kevin Hill Dr & Mrs Wayne J Homza Mr & Mrs Maylon Humphries International Music Foundation, – Ms Ann Murray, Executive Director Louise Jackson Mrs Jane H James Jennifer Johnson Mrs Lea Johnson Mr & Mrs Neil Johnson Dr. and Mrs. K. B. Jones Mr & Mrs J Marshall Jones Mrs Robert E Kelley
Kilpatrick-Rose Neath Foundation, Inc, & Mrs Virginia K Shehee Mr & Mrs Charles Labanics Mr & Mrs William Lacefield Dr & Mrs James Anthony Lee Mrs Samuel L Lieber Dr & Mrs David Lilien Mrs Philip Loftin Dr & Mrs Aubrey Lurie Mr & Mrs Charlton H Lyons, Jr Mr & Mrs C Geoff Mangin Dr & Mrs Jerry Martin Mrs James T May Mr & Mrs Harry B McCain Mrs Charles T McCord Mrs Harry McInnis Susan C. McKenzie Mr & Mrs John Meldrum Mr & Mrs Mansour Mirfakhraee Mr & Mrs L Frank Moore Mrs Taylor F Moore Mrs Jasmine Morelock Mr & Mrs Edgar D Morgan Mrs William T Murphy III Mr & Mrs Robert J Murray Mrs Ike Muslow Mr & Mrs George D Nelson Jr Mrs Harry Nelson Ms Jane S Olsan Mrs Jo Pennington Dr & Mrs Douglas Peterson Portfolio Magazine, Mrs Kay Chance Family of Otto Primm Mrs Beth Psalmonds Dr & Mrs Robert E Rhoads Mr & Mrs Carl Rice Dr & Mrs Barrie Richardson Mrs Thomas Richardson Mrs Mary Lane Risinger Mr & Mrs Ted Roberts Lucy C Robinson
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Dr & Mrs Hollis T Rogers Jr Lynn S Roos Dr & Mrs Phillip A Rozeman Mr & Mrs Pierre J Rubben Mr. & Mrs. Jack Sharp Mrs Virginia K Shehee The Community Foundation – The Virginia K Shehee Fund Mrs John Shenaut Mr & Mrs Steven D Sholar Shreveport Symphony Guild Dr & Mrs F Thomas Siskron III Mr & Mrs David Sistrunk Tucker Smathers Mr & Mrs William Smith Mrs Zemma T Smith Ms Gay Stacy Mrs Valerie Taylor Mr & Mrs William C Teague Patricia S. Thompson Minnett H. Thornton Dr & Mrs Ajaya K Tummala Dr & Mrs John Valulius Mrs Paul R Waddle Judge & Mrs Donald E Walter Mrs Willard Washburne The Community Foundation – Marion & Don Weiss Advised Fund Mr & Mrs Drew Willingham The Community Foundation – The Marilyn Willis Fund Dr Lester Senter Wilson Richard B Wilson Jr Dr Justin J Wolfson Mr & Mrs J Beecher Woods Mrs Thelma S Woods Mrs Susan J Young Susan Y Young Mrs Norman Zaffater
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Shreveport Symphony Orchestra on its 66th Season!
The
Greater
Shreveport
Chamber of Commerce is a proud supporter of the arts. Each
year
community
the
cultural
continues
to
enhance the quality of life throughout our region. Thank you to the musicians, employees, volunteers and all those that attend performances.
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www.ShreveportChamber.org 318.677.2500
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