Louisiana Philharmonic Orchestra 2016-2016 Program Book Vol. 1 by Louisiana Philharmonic Orchestra

LOUISIANA PHILHARMONIC

ORCHESTRA

CARLOS MIGUEL PRIETO, MUSIC DIRECTOR

CELEBRATING COMMUNITY ENGAGEMENT

MUSIC

FOR

LIFE MUSIC FOR LIFE is a music mentorship program that provides underserved students with the opportunity to study music intensively in one-on-one and small-group settings with both LPO musicians and peers. More info on page 14

Proud Printing Sponsor

PROGRAM PARTNERS

2015-2016 SEASON VOLUME 25.1

CARING FOR WHATâ&#x20AC;&#x2122;S IMPORTANT IS PART OF

OUR MISSION. Official Airline of the Louisiana Philharmonic Orchestra.

001134_LPO_Program_Ad_4.75x8.75_v1.indd 1

8/18/16 9:28 AM

Louisiana Philharmonic Orchestra

Contents Contents

30 Dvorák Symphony No. 8 Classics

18 Classics Symphonie Fantastique

Classics

Brahms Requiem Pops • Specials

Broadway's Best featuring Bryan Batt and Friends

21 Tchaikovsky Violin Concerto

24 Tick Tock Goes the Bach

38 The Planets

27 Tchaikovsky Piano Concerto No. 1

41 Mendelssohn Piano Trio

Classics

Outside the Bachs

Classics

Beethoven and Blue Jeans

Chamber Music

A SPECIAL THANKS TO THESE LPO SPONSORS AND PARTNERS

FRIENDS OF MUS C New Orleans

Christwood

The Northshore’s Premier Retirement Community

S i n c e 1817

POYDRAS HOME

New Or l e a n s to t h e h e a rt

Programs are supported in part by a Community Arts Grant made possible by the City of New Orleans and administered by the Arts Council of New Orleans. and a grant from the Louisiana Division of the Arts, Office of Cultural Development, Department of Culture, Recreation and Tourism in cooperation with the Louisiana State Arts Council as administered by the Arts Council New Orleans. Funding has also been provided by the National Endowment for the Arts, Art Works.

Program Book - Volume 26.1

Calendar of Events

LPO

Saturday, September 17 ENCORE PERFORMANCE Symphonie Fantastique Lilya Zilberstein, piano Orpheum Theater 7:30 p.m.

Tick Tock Goes the Bach Thursday, September 29, 7:30 p.m. Orpheum Theater

Friday, October 28 Saturday, October 29 Brahms Requiem Sarah Jane McMahon, soprano Grant Youngblood, baritone NOVA Masterworks Loyola Chorale Orpheum Theater 7:30 p.m.

Friday, September 23 Tchaikovsky Violin Concerto Benjamin Beilman, violin Orpheum Theater 7:30 p.m.

Saturday, October 29 Family Concert Spooky Dances Roussel Hall, Loyola University New Orleans 2:30 p.m.

Saturday, September 24 Play Dat! Holy Cross School 2:30 p.m. Sponsored by First NBC

Dvorák ˇ Symphony No. 8 Friday, October 21, 7:30 p.m. Orpheum Theater

Broadway’s Best: Featuring Bryan Batt and Friends Saturday, November 12, 7:30 p.m. Orpheum Theater

The Planets

Thursday, November 17, 7:30 p.m. Saturday, November 19, 7:30 p.m. Orpheum Theater Friday, November 18, 7:30 p.m. First Baptist Church, Covington

Thursday, September 29 Tick Tock Goes the Bach Karina Canellakis, violin/conductor Orpheum Theater 7:30 p.m. Friday, October 7 Don Giovanni an opera by W. A. Mozart presented by New Orleans Opera Mahalia Jackson Theater 8 p.m. Sunday, October 9 Don Giovanni an opera by W. A. Mozart presented by New Orleans Opera Mahalia Jackson Theater 2:30 p.m. Thursday, October 13 Tchaikovsky Piano Concerto No. 1 Sean Chen, piano Jefferson Performing Arts Center 7:30 p.m. Friday, October 14 Tchaikovsky Piano Concerto No. 1 Sean Chen, piano Columbia Theatre, Hammond 7:30 p.m. Saturday, October 15 Tchaikovsky Piano Concerto No. 1 Sean Chen, piano Slidell Municipal Auditorium 7:30 p.m. Sponsored by Slidell Memorial Hospital Foundation

Friday, October 21 Dvorák ˇ Symphony No. 8 James Carter, saxophone Orpheum Theater 7:30 p.m. Home Alone: Film with Live Orchestra Saturday, December 3, 7:30 p.m. Mahalia Jackson Theater

Saturday, October 22 Fidelity's Concerts in the Park Sunset Symphony Mandeville Lakefront 5 p.m.

Wednesday, November 2 Band Together - A History of the Orpheum Theater Orpheum Theater 10 a.m. Sponsored by Federation for Entertainment Developement and Education, Inc. Friday, November 11 Macbeth an opera by Giuseppe Verdi presented by New Orleans Opera Mahalia Jackson Theater 8 p.m. Saturday, November 12 Broadway’s Best: Featuring Bryan Batt and Friends Orpheum Theater 7:30 p.m. Sunday, November 13 Macbeth an opera by Giuseppe Verdi presented by New Orleans Opera Mahalia Jackson Theater 2:30 p.m. Thursday, November 17 Saturday, November 19 The Planets Stefan Jackiw, violin Orpheum Theater 7:30 p.m. Friday, November 18 The Planets Stefan Jackiw, violin First Baptist Church, Covington 7:30 p.m. Saturday, December 3 Home Alone: Film with Live Orchestra Mahalia Jackson Theater 7:30 p.m. For a complete listing of this season’s events, visit LPOmusic.com.

Louisiana Philharmonic Orchestra

FRIENDS OF MUSIC 2016–2017

NEW ORLEANS

OUR 62 SEASON!

A PRESENTATION OF TULANE UNIVERSITY AND

SEVEN CONCERTS FEATURING THE BEST IN CHAMBER MUSIC BEGINNING SEPTEMBER 27.

SMHFDN Ad 2.25x4.25 081516 LPO Program.pdf

NEW FLEXIBLE SUBSCRIPTIONS! Purchase a season subscription and use the tickets for any concert. Students admitted free of

charge with student ID.

All concerts at Tulane’s Dixon Hall, with the exception of the final concert April 7, 2017, at Loyola’s Roussel Hall.

CMY

Subscribe online or call 504.895.0690 for tickets. WWW.FRIENDSOFMUSIC.ORG

Program Book - Volume 26.1

Celebrate Your Way Everything you need to make your celebration an unforgettable success is waiting for you at the Sheraton New Orleans Hotel. From magnificent ballrooms with breathtaking views of the French Quarter and Mississippi River, to unique menus designed by award winning culinary artisans, your guests will enjoy the perfect event in the perfect location. Find out more at sheratonneworleans.com

©2016 Starwood Hotels & Resorts Worldwide, Inc. All Rights Reserved. Preferred Guest, SPG, Sheraton and their logos are the trademarks of Starwood Hotels & Resorts Worldwide, Inc., or its affiliates. For full terms and conditions, visit sheraton.com/xxxxxxx

Musician Chair Naming Naming a musician chair provides reliable ongoing funding to recruit, underwrite, and retain outstanding LPO musicians. Naming gifts also offer a tremendous opportunity to recognize donors (or to honor a person or cause dear to donors) in a most caring and prestigious manner. Depending on the size of the gift, musician chairs may be named for a period of five years, ten years, 25 years, or in perpetuity..

Honorary Campaign Chair Mrs. Adelaide Wisdom Benjamin Campaign Chairs Drs. R. Ranney and Emel Songu Mize New Gifts: Ms. Catherine B. Tremaine, Principal Second Violin In memory of my mother Helen W. Burns, who introduced me to the Philharmonic when I was 12 years old. It is to her that I attribute my enduring love of music.

With Gratitude to the following: The Edward D. and Louise L. Levy Concertmaster Chair The Abby Ray Catledge and Byrne Lucas Ray Principal Viola Chair

The Edward B. Benjamin Principal Cello Chair Mary Freeman Wisdom Principal Flute Chair Richard C. and Nancy Link Adkerson Flute Chair

Louisiana Philharmonic Orchestra

Louisiana Philharmonic Orchestra Carlos Miguel Prieto

Adelaide Wisdom Benjamin Music Director and Principal Conductor

Violins Vacant, The Edward D. and Louise L. Levy Concertmaster Chair Benjamin Hart, Associate Concertmaster Hannah Yim, Assistant Concertmaster Byron Tauchi, Principal Second Violin The Catherine B. Tremaine Principal Second Violin Chair Xiao Fu, Assistant Principal Second Violin Qi Cao Zorica Dimova Judith Armistead Fitzpatrick Eva Liebhaber Zhaneta Mavrova Elizabeth Overweg Gabriel Platica Yaroslav Rudnytsky Karen Sanno Yuki Tanaka Benjamin Thacher Kate Withrow Sarah Yen Violas Richard Woehrle, Principal The Abby Ray Catledge and Byrne Lucas Ray Principal Viola Chair Bruce Owen, Assistant Principal Amelia Clingman Valborg Gross* Lauren Magnus Ila Rondeau Catherine Schilling† Carole Shand Tyler Sieh Cellos Jonathan Gerhardt, Principal The Edward B. Benjamin Principal Cello Chair Daniel Lelchuk, Assistant Principal Rachel Hsieh Jeanne Jaubert Kent Jensen David Rosen Dimitri Vychko Basses David Anderson, Principal William Schettler, Assistant Principal Matthew Abramo Paul Macres Benjamin Wheeler Flutes Patrick Williams, Principal¹ Heather Zinninger Yarmel, Principal* Mary Freeman Wisdom Principal Flute Chair Sarah Schettler Patti Adams, Assistant Principal Richard C. and Nancy Link Adkerson Flute Chair

Program Book - Volume 26.1

Piccolo Patti Adams Oboes Jaren Atherholt, Principal Jane Gabka, Assistant Principal Michael McGowan English Horn Michael McGowan Clarinets Christopher Pell, Principal Stephanie Thompson, Assistant Principal John Reeks E-flat Clarinet Stephanie Thompson Bass Clarinet John Reeks Bassoons Jack Peña, Principal† Andrew Brady, Principal* Michael Matushek Benjamin Atherholt, Assistant Principal Contrabassoon Benjamin Atherholt Horns Mollie Pate, Principal Josiah Bullach, Assistant Principal Matthew Eckenhoff Joshua Paulus* Amy Krueger Trumpets Vance Woolf, Principal Stephen Orejudos Noah Lambert, Assistant Principal Trombones Greg Miller, Principal Matthew Wright Bass Trombone Jared Lantzy† Evan Conroy* Tuba Robert Nuñez, Principal Timpani Jim Atwood, Principal Percussion Jacob Powers, Principal Dave Salay Harp Rachel Van Voorhees Kirschman, Principal * denotes musicians that are on leave for the 2016-2017 season. † denotes acting in this position for the 2016-2017 season The string section of the Louisiana Philharmonic Orchestra is listed alphabetically and participates in revolving seating.

Staff, Boards, and Councils Administrative Staff

Board of Trustees

James William Boyd, D.M.A. William D. Hess Chief Executive Officer

Board President

Rebecca Cain

Matthew Eckenhoff

Director of Production

Orchestra President

Mimi Kruger

R. Ranney Mize, Ph.D.

Director of Philanthropy

Board Vice President and President-elect

Lisa LaFleur Director of Artistic Programming

Sean Snyder Director of Marketing and Communications

Amanda Wuerstlin Director of Education and Community Engagement

BJ Blue

Hugh W. Long, Ph.D.* Board Immediate Past President

John Reeks Orchestra Immediate Past President Benjamin Hart Orchestra Vice President and Corporate Secretary

Associate Director of Patron Services and Data Systems

Timothy Kelly, CPA

Marilyn Dittmann

Jim Atwood

Associate Director of Philanthropy

Kayla Bording Orchestra Personnel Manager

Jacob Garcia Education Manager

Cosimo Murray Stage Production Manager

Lyle C. Wong Orchestra Librarian

Ryan Kreiser Patron Services Coordinator Digital Media Manager

Antine Rieger Patron Services Coordinator Philanthropy Manager

Tommy Kruebbe Asst. Stage Production Manager

Hugo C. Wedemeyer LPO Archivist

Jackie Gunter LPO Office Volunteer

Charlotte Lewis LPO Office Volunteer

Sophia Scarano LPO Intern

Katherine P. Cain

Larry Gay

Chair

Michelle Biggs Alia Casborne Catherine Cooper J. Scott Chotin, Jr.* JoAnne Gallinghouse Jenny Gensler Deborah Gomila Richard F. Knight* Noonie LeJeune Benjamin H. Motion Celia Palazzo Louise Rusch William N. Stadler Peter Walker

Cindy Alberts Alex Carollo Lina Sue Cartmill Sam Caruso, Jr. John Cool Charles H. Neuman William Stadler Peter Walker

*Life Trustees

Camille Breland Megan Curran Christopher Hines Paul Macres Eric Mund Skylar Rosenbloom Sarah Vandergriff

Prelude Advocacy Council Chapter Jessica Roberts Chair

Treasurer

Assistant Treasurer

Tiffany Adler Jaren Atherholt Adelaide Wisdom Benjamin* Valerie Besthoff Julie F. Breitmeyer J. Scott Chotin, Jr. Ana E. Gershanik Stephen W. Hales* Angela Hill Rachel Hsieh Dorothy S. Jacobs Donna Klein Paul J. Leaman, Jr. Daniel Lelchuk Paul Macres Michael Matushek Cameron Kock Mayer Alton McRee Bruce Owen Courtney-Anne Sarpy

Louisiana Philharmonic Orchestra

with the

Richard Soine Bruce L. Soltis Richard L. Strub Susan Talley Catherine Burns Tremaine Hugo C. Wedemeyer Kate Withrow Ex Officio: James William Boyd, D.M.A. Katherine P. Cain Larry Gay Carlos Miguel Prieto Jessica Roberts Barbara Sands LPO Counsel: Julie Livaudais

Northshore Advocacy Slidell Advocacy Council Chapter Council Chapter

Chaffe McCall, LLP * Life Trustees

Mahalia JacksonTheater for the Performing Arts ——

December 17-18 ——

(504) 888-0931 deltafestivalballet.com Louisiana Philharmonic Orchestra

LPO 2016 playbill_Layout 1 8/29/16 3:19 PM Page 1

LET’S GATHER AROUND THE PIANO A family tradition for all generations begins with a visit to Hall Piano Company. From uprights to grand pianos, for the beginner or the concert artist, we have a piano for every lifestyle and every budget. For details on all of our inventory, services, teachers and events, visit HallPiano.com today. Proud supporter of the Louisiana Philharmonic Orchestra!

901 David Drive, Metairie • 504.733.TUNE • www.HallPiano.com

Program Book - Volume 26.1

Conductor

CARLOS MIGUEL PRIETO, The Adelaide Wisdom Benjamin Music Director and Principal Conductor Renowned for his dynamic conducting, passionate interpretations and charismatic stage presence, conductor Carlos Miguel Prieto is widely celebrated as an exciting and insightful communicator with a versatile command of various composers and styles by orchestras throughout the United States, Canada, Europe and his native Mexico. 2016 - 2017 marks Prieto’s eleventh season as Music Director of the Louisiana Philharmonic Orchestra (LPO), where he has led the cultural renewal of New Orleans following Hurricane Katrina and overseen the triumphant return of the orchestra to its home, the Orpheum Theater. In May 2013 Prieto’s contract was unanimously extended to the 2018-2019 season. The string of international soloists, such as violinists Joshua Bell and Augustin Hadelich, cellist Yo-Yo Ma, and guitarist Pepe Romero, who now appear with the LPO are testament to his achievements with the orchestra. In great demand as a guest conductor with many of the top North American orchestras, including Chicago, Cleveland, Seattle, San Diego, Oregon, Toronto and Vancouver symphony orchestras, his relationships with major orchestras in Europe, Latin America and the United Kingdom continue to expand. Recognized as the leading Mexican conductor of his generation, Prieto is also Music Director of the Orquesta Sinfónica Nacional de Mexico and of the Orquesta Sinfónica de Minería. A staunch proponent of music education, he also serves as Music Director of the YOA Orchestra of the Americas. Prieto has an extensive discography that covers labels including Naxos, Sony, Cedille Records, and Orchid Classics. Recent recordings include the 2016 Latin Grammy Award-winning recording (Best Classical Album) on Orchid Classics featuring Rachmaninov’s Piano Concerto No. 2, Op. 18; Gabriela Montero’s Ex Patria, Op. 1, and Improvisations, with pianist Gabriela Montero and the YOA Orchestra of the Americas. A graduate of Princeton and Harvard universities, Carlos Miguel Prieto studied conducting with Jorge Mester, Enrique Diemecke, Charles Bruck and Michael Jinbo.

Featured Musician Amy Krueger, horn

Newly appointed fourth horn of the Louisiana Philharmonic, Amy Krueger recently finished a two-year appointment with the Civic Orchestra of Chicago. She served as a fellow in the Civic Orchestra and Yo-Yo Ma’s Citizen Musician Initiative, and has worked with conductors such as Cliff Colnot, Harry Bickett, Alastair Willis, Michael Christie, and cellist Yo-Yo Ma. She has also performed with the Chicago Symphony under the batons of maestros Charles Dutoit, Pablo Heras-Casado, and Riccardo Muti. An active chamber musician, Ms. Krueger was inspired by Civic’s workshop with the Silk Road Ensemble to think outside the box, act on a dream, and start New Chicago Brass, an 11-piece group that performs around the Chicagoland area. Outside of NCB, she has participated in a brass quintet for Musicorps, and spent three years as the horn player in the brass and organ ensemble, the Gargoyle Brass. Ms. Krueger attended Ball State University, where she studied meteorology and Spanish, and horn under the tutelage of the late Dr. Fred Ehnes. She went on to get her Master of Music degree from Rutgers University, studying with Dr. Douglas Lundeen, and where she can be heard on the Rutgers Wind Ensemble’s 2013 release, “Remembering the Beach,” as the soloist on Maslanka’s Symphony No. 4. Upon her return to Chicago, she studied with Dale Clevenger at the Chicago College of Performing Arts at Roosevelt University. She has had further studies with Michael Mulcahy, David Griffin, James Smelser, William VerMeulen, and Daniel Gingrich.

Louisiana Philharmonic Orchestra

C=0, M=80, Y=70, K=0 C=100, M=35, Y=0, K=100 C=70, M=35, Y=0, K=0

Program Book - Volume 26.1

NPR CMYK color logo for light background, coated stocks Use at any scale Downsize the “®” when the using logo on oversized applications such outdoor advertising and large exhibit displays

Beyond the Stage: Louisiana Philharmonic Orchestra in the Community

Sound Education Our expanded educational programming continues this season starting with our "play with the LPO" programs Play Dat! (a community sideby-side) in September, and Band Together (for high school students) in November. The engaging Early Explorers and Young People’s Concerts are also back for students in pre-k through 8th grade. In addition, the LPO is adding two new programs this season: Festival PiaNOLA, a piano competition for adult amateur pianists in January; and New Water Music, a community side-by-side (on the water!) in April. Sign up today to hold your seats at our education events this school year. Contact Education and Community Engagement Director, Amanda Wuerstlin, at 504.523.6530, ext. 501 or email amanda.wuerstlin@lpomusic.com.

“

Who Dat?

LPO's Music for Life program performs at our annual City Park concert.

I tell all of my friends that Play Dat is the equivalent of a sports fan playing football with the New Orleans Saints and Drew Brees. Thank you!! 2014-2015 season Play Dat! participant

FALL 2016 • FAMILY CONCERT

Early Explorers: The Sounds and Shapes of the LPO This concert series is created for students in pre-k through 1st grade and provides an interactive way for students to learn about the families of the symphony orchestra. This season we’ll be sorting the instruments of the LPO by their shapes into their musical families with the help of our elementary audience members. October 18 • Destrehan High School November 3 • Slidell Municipal Auditorium November 10 • Chalmette Cultural Arts Center November 29 • First Baptist Church, Kenner November 30 • Ponchatoula High School

Spooky Dances October 29, 2:30 p.m. Carlos Miguel Prieto, conductor All concerts at Roussel Hall, Loyola University Free for children 12 and under • $10 for all others

BAND TOGETHER Last season, the LPO celebrated the return of the Orpheum Theater. Now we will celebrate the history of this wonderful space as students join the LPO for a field trip performance. November 2, 10 a.m. • Orpheum Theater

2016-2017 CONCERTO COMPETITION

FALL 2016 OPEN REHEARSALS Join the LPO and LPO Volunteers for coffee, cookies, and great music! Tchaikovsky Violin Concerto September 23 • Orpheum Theater Tchaikovsky Piano Concerto No. 1 October 13 • Jefferson Performing Arts Center Dvorak Symphony No. 8 October 21 • Orpheum Theater The Planets November 17 • Orpheum Theater Rehearsals start at 10 a.m. and cost $10

Each season the LPO hosts a competition for students in kindergarten through 12th grade in which the top performers have the opportunity to solo with the LPO! This year our competition will be on Saturday, October 15 at Tulane’s Dixon Recital Hall. The winners perform for their colleagues in our Young People’s Concert series held in January.

Louisiana Philharmonic Orchestra

Program Book - Volume 26.1

MUSIC

FOR

LIFE MUSIC FOR LIFE is a music mentorship program that provides 80 low-income, underserved students with the opportunity to study music intensively in one-on-one and small-group settings with both LPO musicians and peers. Throughout the school year and during a summer session, LPO mentors help students learn music theory, instrument technique, and other ways to connect with music and harness the mental, physical, and creative prowess critical to healthy youth development. In addition to weekly mentoring sessions, the LPO offers Music for Life participants and their families access to free musician ensemble performances, free tickets to the LPO Family Concert Series, and a free concert for the TremĂŠ community featuring Music for Life youth musicians. Music for Life students also perform throughout the year at local festivals and other events.

Program Sponsors

Louisiana Philharmonic Orchestra

Music for Life takes place at three partner sites in and around the Tremé: Anna’s Place New Orleans, a Tremé-based youth organization that offers out-of-school arts education and enrichment programming to increase academic success, bolster self-esteem, instill a genuine appreciation for diversity and an affinity for community service, and cultivate a keen appreciation for creativity; Homer A. Plessy School, which uses the Plessy Strings Program to teach not only excellent musicianship but also valuable life skills that are beneficial beyond the music classroom and that work to build community through the process of making music; Esperanza Charter School, an after-school program that supports an understanding and appreciation of orchestral music, provides students with the knowledge and skills to continue playing their instruments outside of the program, helps build students’ self-esteem, and offers children safe and productive activities for their out-of-school time. Music for Life responds to the need for youth in New Orleans to participate in life-affirming, arts-integrated activities that have been proven to benefit children’s cognitive, emotional, and social skills, and to close the student achievement gap. The need for this program was determined after consulting with Tremé community leaders and examining musicoriented after-school programming available in the Tremé neighborhood. Music for Life aligns with Mayor Mitch Landrieu’s comprehensive murder reduction strategy, NOLA for Life, and responds to his call to place instruments, instead of guns, in the hands of New Orleans youth. Ultimately, the LPO aims for this program to support civic development through music education and cultural enrichment that will increase the Tremé neighborhood’s vibrancy and livability. Program Book - Volume 26.1

Our Service Will Be Music To Your Ears!

Hosted PBX Hunt Telecom. Reliable, 95% Underground,

GUARANTEED SPEED FOR YOUR BUSINESS.

GEAUX HUNT TODAY.

CALL 800-707-4868 OR VISIT HUNTTELECOM.COM

Louisiana Philharmonic Orchestra

P.O. Box 4036 New Orleans, Louisiana 70138-4036 SymphonyVolunteers.org

Through its numerous events, activities, and membership options, LPO Volunteers provides a way for anyone to show their support for the great contribution the Louisiana Philharmonic Orchestra makes to the Greater New Orleans community.

Proudly Supporting the LPO for 26 Seasons! EVENTS/ACTIVITIES The Encore Shop Shop/Donate/Consign 7814 Maple St. • Open Tuesday – Saturday, 11 a.m. – 5 p.m. Donations and consignments by appointment: 504.861.9028 Celebrating our 50th year! An upscale resale boutique directly benefiting the LPO, The Encore Shop offers high quality women’s designer clothes, shoes, and accessories. Owned and operated by LPO Volunteers, the shop contributes 100 percent of its net profits to the LPO.

Symphony Book Fair June 2-4, 2017

LPO Volunteers’ largest single-event fundraiser, the 2017 Symphony Book Fair will take place at UNO’s Lakefront Arena. Year round, the Book Fair accepts donations of books, CDs, DVDs, art, and sheet music at their warehouse (8605 Oak St.) on Tuesdays and Fridays, 10 a.m. – 2 p.m. For more information, please call 504.861.2004.

Direct Volunteer Support for the LPO In addition to fundraising, LPO Volunteers donate their time directly to the orchestra, its staff, and guest artists. From guest artist transportation and lodging to stuffing envelopes at the front office, LPO Volunteers members help the orchestra reduce administrative and programming costs. In return, our members have exclusive, personalized interaction with the artists – both during these activities and at private salon performances throughout the year.

Join us! Fun, friendship, and a fabulous cause. Contact Membership Chair Sheila Schwartzmann at 504.251.1829 or visit SymphonyVolunteers.org to become a member and help us support the LPO.

Program Book - Volume 26.1

2016-2017 Officers & Committees Chairs President Sarah Lemaire President Elect Charlotte Lewis Vice Presidents, Administration Melissa Gordon Vice Presidents, Education & Outreach Linda Ferguson Susan Gaumer Vice President, Fundraising Barbara Sands Corresponding Secretary Eleanor Straub Recording Secretary Jackie Gunter Treasurer Phillip Mollere Financial Secretary Philip Straub Parliamentarian Joel Myers Encore Shop Chair Kathleen Davenport Book Fair Chair Phyllis Jordan Immediate Past-President Amy Ferguson

Classics Symphonie Fantastique

Symphonie Fantastique September 15, 7:30 p.m. • Orpheum Theater September 16, 7:30 p.m. • First Baptist Church, Covington September 17, 7:30 p.m. • Orpheum Theater JOHN ADAMS

This concert is supported by Drs. R. Ranny and Emel Songu-Mize

Short Ride in a Fast Machine (4')

(b. 1947)

SAINT-SAËNS

(1835 - 1921)

Concerto No. 5 in F major for Piano and Orchestra, Op. 103, "Egyptian" (29') I. Allegro animato II. Andante III. Molto allegro Lilya Zilberstein, piano

Carlos Miguel Prieto, Adelaide Wisdom Benjamin Music Director and Principal Conductor

INTERMISSION (20')

BERLIOZ

(1803 - 1869)

Symphonie fantastique, Op. 14 (51') Rêveries - Passions Un Bal Scène aux Champs Marche au Supplice Songe d'une Nuit de Sabbat

Guest artist travel, accommodations, and piano care provided by: Lilya Zilberstein, piano Presented with support from:

Lilya Zilberstein got her first taste of international success in 1987 when she won the Busoni Competition in Bolzano. Her victory was a sensation – it took five years until the first prize was even awarded again. By 1988, the Moscow-born pianist was able to perform at big tours abroad in the West. Travelling for her concerts took her to almost all of the European countries, Mexico, Japan, Korea, Canada and Brazil. Lilya Zilberstein started playing the piano at five years old. After twelve years of lessons with Ada Traub at the Gnessin School of Music in Moscow, she continued studying at the Gnessin Institute under Alexander Satz until she graduated in 1988. In 1985, she won first prize in the Competition of the Russian Federation, and was also one of the prize-winners at the All Union’s Competition in Riga. Lilya Zilberstein has been living in Germany since 1990. In 1991, Lilya Zilberstein debuted with the Berlin Philharmonic Orchestra under Claudio Abbado, which formed the basis of a longterm cooperation. She performed concerts with many famous international orchestras, including the Chicago Symphony Orchestra, the Tchaikovsky Symphony Orchestra in Moscow, the London Symphony and the Royal Philharmonic Orchestra, the Orchestra della Scala in Milan, the Staatskapelle Dresden, and many others. Alongside Claudio Abbado, she has worked with conductors such as John Axelrod, Paavo Berglund,

Louisiana Philharmonic Orchestra

Symphonie Fantastique

Semyon Bychkov, Gustavo Dudamel, Christoph Eschenbach, Vladimir Fedoseyev, Alun Fransis, Leopold Hager, Dmitrij Kitajenko, James Levine, Wassili Sinajski, Michael Tilson Thomas, Jean-Pascale Tortellier, Marcello Viotti and Antonin Witt. In August 1998, she was awarded the ”Accademia Musicale Chigiana” prize in Siena. This accolade has been awarded to, among others, Gidon Kremer, Anne-Sophie Mutter and Krystian Zimerman.

Program Notes By Michael C. Clive

Short Ride in a Fast Machine

avenue i touched the accelerator and give

John Adams

her the juice,good

John Adams has established himself as a composer of remarkable range. His operas such as Dr. Atomic and The Death of Klinghoffer are among the most significant of our times, and his extraordinary elegy memorializing the dead of September 11, 2001, On the Transmigration of Souls, provided solace to millions in the face of the incomprehensible. But his music can also be deliciously witty, as in his popular “The Chairman Dances” and “Short Ride in a Fast Machine.” This work speaks for itself, and with lots of power…horsepower, that is. Adams has described his inspiration as that moment when we accept a ride in a high-performance sports car, though we know – even as we’re saying “yes” – that we’re making a mistake.

(it was the first ride and believe I we was happy to see how nice and acted right up to the last minute coming back down by the Public Gardens I slammed on the

Cars, of course, have provided vivid, even visceral inspiration for modern poets and composers. Adams’ “Short Ride” contrasts irresistibly with e.e. cummings’ poem “She being brand:” she being Brand -new;and you know consequently a little stiff I was careful of her and (having thoroughly oiled the universal joint tested my gas felt of her radiator made sure her springs were O. K.)i went right to it flooded-the-carburetor cranked her up,slipped the clutch (and then somehow got into reverse she kicked what the hell) next minute i was back in neutral tried and again slo-wly;bare,ly nudg.

ing(my

lev-er Rightoh and her gears being in A 1 shape passed from low through second-in-to-high like greasedlightning) just as we turned the corner of Divinity

Program Book - Volume 26.1

internalexpanding & externalcontracting breaks Bothatonce and brought allofher tremB -ling to a:dead. stand;Still)

Concerto No. 5 in F major for Piano and Orchestra, Op. 103, "Egyptian" Camille Saint-Saëns

Saint-Saëns became a protege of Franz Liszt, who declared him "the world's greatest organist," and he won the ungrudging admiration of Berlioz, who called him "an absolutely shattering master pianist." His mastery of the composer's tools was staggering: encyclopedic knowledge of the orchestral instruments, of music history and theory, of harmony and structure. But as Liszt perceptively noted, he was celebrated as the world's greatest pianist in part because that was easier than appreciating his innovations and importance as a composer. Saint-Saëns' music almost always combines tradition and novelty; he composed his Piano Concerto No. 5 in the Egyptian city of Luxor, a sunny and historic location where he often spent time in the winter. But the concerto's exoticism is not just imported from Egypt. It also incorporates sources from Java, and from Spain. For the style-conscious French, Spain had always represented southern warmth and sensuality. But by the 1870s, the lure of foreign cultures, tinged with

Symphonie Fantastique

the danger of otherness, beckoned to the French from far beyond southern Europe. Their fascination with eastern locales such as Egypt and Java was raging in the 1890s Paris of the Belle Époque, lumped under the heading of "Japonisme." According to Saint-Saëns himself, the concerto was a musical representation of a sea voyage. In listening, we can well imagine its wide range of musical motifs depicting exotic ports of call. Yet for all of its unusual geographic color, the concerto sticks to the traditional arrangement of three movements in fast-slow-fast tempo.

Symphonie fantastique, Op. 14 Hector Berlioz

Berlioz's account of the night in 1827 when he attended a performance of Romeo and Juliet in Paris shows him helplessly in the grip of overwhelming experience. He found himself on his knees, almost unable to breathe, consumed by the power of the acting and the sound of Shakespeare's language. He did not understand a word of it, but it became an obsession — as did Harriett Smithson, the Juliet whom he pursued for years. “I shall marry Juliet and write my biggest symphony on the play,”

he declared. His reference was to his Romeo and Juliet symphony of 1839, but the Symphonie Fantastique, composed nine years earlier, is also focused on his passion for Smithson. Berlioz composed the Symphonie fantastique as a declaration of love, but it is also an expression of frantic despair in which he envisions his own death — a programmatic musical account of his descent of his descent into an abyss of love that goes from romance to a macabre, deathly vision. Few works of art have so successfully and vividly captured the fevered passion of a life lived at a pitch that was next to madness. And like many of the American beat poets who extolled that kind of life, Berlioz was almost certainly under the influence of his drug of choice — opium — when he composed much of this symphony. Leonard Bernstein put it aptly when he observed, "Berlioz tells it like it is. You take a trip, you wind up screaming at your own funeral." LPO Program annotator Michael Clive lives in the Litchfield Hills of Connecticut. He writes for the Pacific Symphony and is Editor-in-Chief for The Santa Fe Opera, and for many publications on music and the arts.

T H E S TO R I E S B E G I N H E R E

An iconic New Orleans luxury hotel where the glamour and grandeur of a bygone era is relived. Voted “Best Hotel in New Orleans” by Condé Nast Traveler Reader’s Choice Awards.

THE STORIES BEGIN HERE T H E R O O S E V E LT N E W O R L E A N S .C O M 1 3 0

R O O S E V E LT

WAY,

N E W

O R L E A N S ,

L A

70 1 1 2

5 0 4 . 6 4 8 .1 2 0 0

Louisiana Philharmonic Orchestra

Classics

Tchaikovsky Violin Concerto September 23, 7:30 p.m. • Orpheum Theater

(1900 - 1973)

TCHAIKOVSKY

(1840 - 1893)

Tchaikovsky Violin Concerto

MOSOLOV

Iron Foundry, Op. 19 (3') Concerto in D major for Violin and Orchestra, Op. 35 (34') I. Allegro moderato II. Canzonetta: Andante III. Finale: Allegro vivacissimo

Benjamin Beilman, violin

Carlos Miguel Prieto, Adelaide Wisdom Benjamin Music Director and Principal Conductor

INTERMISSION (20')

SHOSTAKOVICH

(1906 - 1975)

Symphony No. 11 in G minor, Op. 103, "The Year 1905" (60')

I. The Palace Square: Adagio II. The 9th of January: Allegro III. In Memoriam: Adagio IV. The Tocsin: Allegro non troppo - Allegro

Guest artist travel and accommodations provided by:

Benjamin Beilman,

violin

Presented with support from:

Twenty-five year old American violinist Benjamin Beilman is winning plaudits in both North America and Europe for his passionate performances and deep rich tone. Following his performance of the Sibelius Concerto at the Montreal Competition, the Strad described the 25-year-old American’s performance of the slow movement as "pure poetry." Beilman has received several prestigious awards including a Borletti-Buitoni Trust Fellowship in 2014, and an Avery Fisher Career Grant and a London Music Masters Award in 2012. In 2010 he won the First Prize in the Young Concert Artists International Auditions, and as First Prize Winner of the 2010 Montréal International Musical Competition and winner of the People's Choice Award, Beilman recorded Prokofiev's complete sonatas for violin on the Analekta label in 2011. Beilman has played with orchestras such as the London Philharmonic, Frankfurt Radio Symphony, Malaysian Philharmonic orchestras and in North America the Orchestre Métropolitain de Montréal, San Francisco Symphony, Indianapolis Symphony, and Detroit Symphony amongst others. Conductors with whom he has worked include Nézet-Séguin, Skrowaczewski, Sir Neville Marriner, and Graf. An avid chamber musician, Beilman performs regularly with the Chamber Music Society of Lincoln Center both in New York. In recital he has played in many of the major series in the US including at Boston’s Isabella Stewart Gardner Museum and Weill Recital Hall, Carnegie Hall, at the YCA Festivals in Tokyo and Beijing and in Europe looks forward to performances at the Louvre Paris, Tonhalle Zürich and Wigmore Hall. Beilman studied with Almita and Roland Vamos at the Music Institute of Chicago, Ida Kavafian and Pamela Frank at the Curtis Institute of Music, and Christian Tetzlaff at the Kronberg Academy. He plays a Peter Greiner violin (2004).

Program Book - Volume 26.1

Program Notes By Michael C. Clive

The Iron Foundry Tchaikovsky Violin Concerto

Alexander Mosolov

Alexander Mosolov was a major figure in the Russian compositional movement known as Constructivism, and for a brief moment, his music for The Iron Foundry — originally intended for a full-length ballet that was never produced — was hugely successful here. Performed as the score for a ballet called The Spirit of the Factory, this music excited American listeners with its vivid depiction of the mechanical wonders that an industrialized future held in store. First performed at the Hollywood Bowl in July 1931, the music for The Spirit of the Factory created a sensation. Born to an upper-middle-class family in Kiev in 1900, Mosolov received his early musical education at home from his mother, a graduate of the conservatory in Kiev who sang professionally at the Bolshoi Theater. In 1904 the family moved to Moscow, where his cultured upbringing continued. But in 1917, the year of the revolution's onset, Mosolov's cosmopolitan lifestyle took a proletarian turn: Working in the office of the People's commissioner for State Control, he personally delivered mail to Vladimir Lenin. Stylistically, The Iron Foundry is characteristic of its time, just before the official Soviet endorsement of social realism. The Russian Revolution had thrown composers such as Tchaikovsky into a kind of Soviet eclipse; they were considered appropriately nationalistic but inappropriately luxurious. Social realist compositions replaced picturesque literary allusions with more worldly subjects that often elevated the worker to heroic status, and The Iron Foundry was composed within this tradition.

Concerto in D major for Violin and Orchestra, Op. 35 Pyotr Ilyich Tchaikovsky

The universal popularity of this richly beautiful concerto is now so firmly established that it is hard to imagine there were dissenters when it was new. But their negative opinions followed a well-worn pattern that has afflicted

many other favorite concertos: first, a star performer declares the work poorly written for the instrument; next an early critic derides its style; then the appreciative public embraces it; and finally, early detractors reconsider or forget their reservations. In this case, the manuscript was rejected by an early admirer, violinist Josef Kotek —a friend and composition student of Tchaikovsky's — after the composer chose the great Leopold Auer to play its premiere. Auer had misgivings about the work and was widely quoted as calling it "unplayable," forcing the concerto's first public performance to be postponed until still another violinist, Adolph Brodsky, could be found. Brodsky introduced the concerto in Vienna on December 4, 1881, prompting Eduard Hanslick, the dean of the Viennese music critics, to revile it. His famously vitriolic review included phrases such as "music that stinks to the ear." Ironically, though the melancholy Tchaikovsky usually fretted about pending reviews, in this case his compositional process seemed worryfree. After the premiere, he was said to have read Hanslick's review over and over, eventually memorizing it. Auer later changed his position on the concerto without fully explaining his initial misgivings, telling the publication Musical Courier that "The concerto has made its way in the world, and that is the most important thing."

Symphony No. 11 in G minor, Op. 103, "The Year 1905" Dmitri Shostakovich

Shostakovich had begun to attract international attention by the mid1930s. If not for his growing reputation, his brilliant opera Lady Macbeth of the Mtsensk District might have resulted in his exile or death rather than just censure: It offended Stalin and led to Shostakovich’s public condemnation in Pravda. Throughout the period of the Great Terror in the Soviet Union, Shostakovich knew that his compositions were under official scrutiny and could put him and his family at risk. What did Soviet officials want from their composers? Music that was highly accessible to the proletariat, promoting

Louisiana Philharmonic Orchestra

LOUISIANA PHILHARMONIC

ORCHESTRA

CARLOS MIGUEL PRIETO, MUSIC DIRECTOR

violence of citizens' resistance to czarist oppression — especially the second movement's depictions of the Bloody Sunday massacres of the St. Petersburg protestors also depicted in Eisenstein's film Potemkin — they related it to Stalin's murderous regime as well. This symphony is often described as cinematic, and today's listeners can well believe they discern in it the double-meanings described in Testimony. LPO

Tchaikovsky Violin Concerto

the advantages of approved collective ideals and the values of the revolution. According to the accounts in the controversial book Testimony, which may or may not be Shostakovich's authentic memoir of life under the Soviet regime, all of his post-Macbeth compositions — especially his symphonies — contained bold yet veiled condemnations of Stalinist oppression. Though he completed his Symphony No. 11 in 1957, after Stalin's death, he was still living under the tyrant's shadow. The subtitle refers to the fearful events of the 1905 Revolution. According to the accounts attributed to Shostakovich, when Russian listeners heard the

Program annotator Michael Clive lives in the Litchfield Hills of Connecticut. He writes for the Pacific Symphony and is Editor-in-Chief for The Santa Fe Opera, and for many publications on music and the arts.

pre ude

The ultimate concert package for young professionals!

Prelude is a concert series designed for young professionals, ages 21-40, that mixes world-class music with exclusive social events. It uniquely blends live orchestra music with opportunities to network with other young professionals in New Orleans.

2016-2017 SCHEDULE 1. 2. 3. 4. 5. 6. 7. 8.

Prelude Opening Party • 10/20/16 Dvorák Symphony No. 8 • 10/21/16 The Planets • 11/19/16 Orpheum Holiday Spectacular • 12/10/16 Film with Orchestra: E.T. The Extra Terrestrial • 1/21/17 Music of the Beatles • 3/24/17 Event at the Saints Training Facility • 4/1/17 Swing in the Oaks • 4/25/17

Prelude Package: $125/seat • includes events and social events Upgraded Package: $150/seat • unlocks ticket exchanges and additional ticket discounts

LPOmusic.com • 504.523.6530

Program Book - Volume 26.1

Outside the Bachs

Tick Tock Goes the Bach September 29, 7:30 p.m. • Orpheum Theater J. S. BACH

Tick Tock Goes the Bach

(1685 - 1750)

Concerto No. 2 in E major for Violin and String Orchestra, BWV 1042 (15')

This performance is dedicated in memory of Sharon Litwin

I. Allegro II. Adagio III. Allegro assai

Karina Canellakis, violin

HINDEMITH

(1895 - 1963)

Kammermusik No. 1, Op. 24, No. 1 for Twelve Solo Instruments (16') Sehr schnell und wild Massig schnell Quartett, sehr langsam Finale, 1921: Ausserst lebhaft

INTERMISSION (20')

HAYDN

(1732 - 1809)

Karina Canellakis, conductor/violin Presented with support from:

Symphony No. 101 in D major, "The Clock" (31') I. Adagio - Presto II. Andante III. Menuet: Allegretto IV. Vivace

Guest artist travel and accommodations provided by:

Internationally praised for both her technical and lyrical command of the music, Karina Canellakis is the winner of the 2016 Sir Georg Solti Conducting Award and has received glowing critical endorsements of her performances since first making headlines in 2014 filling in last-minute for Jaap van Zweden with the Dallas Symphony Orchestra in Shostakovich’s 8th Symphony. She made her European conducting debut last June with the Chamber Orchestra of Europe at the Styriarte Festival in Graz, Austria, replacing the late Nikolaus Harnoncourt, and has been re-invited to Graz this coming June to conduct his orchestra, Concentus Musicus Wien, in four symphonies of a Beethoven Cycle. She concluded her tenure as Assistant Conductor of the Dallas Symphony at the end of the 2015/16 season. Already known to many in the classical music world for her virtuoso violin playing, Ms. Canellakis was initially encouraged to pursue conducting by her mentor Sir Simon Rattle while she was playing regularly in the Berlin Philharmonic for two years as a member of their Orchester-Akademie. In addition to appearing frequently as soloist with various North American orchestras, she subsequently played regularly in the Chicago Symphony for over three years, and appeared on several occasions as guest concertmaster of the Bergen Philharmonic in Norway. She spent many summers performing at the Marlboro Music Festival, and her approach to conducting is firmly rooted in her detailed and dedicated experience as a chamber musician. She plays a 1782 Mantegazza violin on generous loan to her from a private patron. Ms. Canellakis is a recipient of a 2015 Solti Foundation U.S. Career Assistance Award, was the winner of the 2013 Taki Concordia Conducting Fellowship, and was a conducting fellow at the Boston Symphony’s Tanglewood Music Center for the summer of 2014.

Louisiana Philharmonic Orchestra

She holds a Bachelor’s degree in violin from the Curtis Institute of Music and a Master’s degree in orchestral conducting from The Juilliard School, where she was the recipient of the Charles Schiff Award for Excellence in Orchestral Conducting, the American Conductors Award, and the Bruno Walter Memorial Scholarship. In addition to Rattle and Zweden, her most prominent mentors are Alan Gilbert and Fabio Luisi. Karina Canellakis was born and raised in New York City, where she is currently based. She speaks French, German and Italian, and is equally at home performing all genres of the repertoire. Tick Tock Goes the Bach

Program Notes By Michael C. Clive

Concerto No. 2 in E Major for Violin and String Orchestra, BWV 1042 J.S. Bach

Performers have a special regard for composers who had solo chops on the instruments they composed for. But as always, Bach is an exception: Though he trained as a keyboard soloist and was one of the greatest organists of all time, fiddle players insist his compositions for the string family go to the very soul of these instruments. Violinists swear by them — and so, of course, do listeners. One reason: In addition to his sheer genius and sensitivity, Bach was also a techno-geek when it came to instruments, and understood the violin technology that was changing during his lifetime. Though we think of fiddles as always having been around, their familiar form only began to develop in the1400s. Until the 17th century, stringed instruments from small (violin-sized) to large (cello equivalents and "man-sized" basses) were held between the legs. Then new designs allowed violins and violas to be wedged between shoulder and chin, allowing greater motion in the bow arm. That, with developments in bow design, allowed new possibilities in performance, and in Bach's beloved violin concertos, including the No. 2, we hear characteristically Baroque energy rhythmic energy combined with the beginnings of more modern expressiveness and melodic invention. Bach composed this masterwork while employed by Prince Leopold in Cöthen between 1717 and 1723. The musicologist Orrin Howard eloquently describes it as "a creation of the purest Bachian splendor." Every moment, from its energetic opening through the poignant slow movement to the vigorous finale, is enthralling.

Program Book - Volume 26.1

Kammermusik No. 1, Op. 24, Paul Hindemith

Born in 1895 in the German town of Hanau, Hindemith studied violin as a child and later at conservatory, beginning his career as an instrumentalist. In 1917 he became leader of the Frankfurt Opera Orchestra, and was also active in chamber music during this period, playing second violin in one string quartet and founding another in which he played viola. But in 1922, when his musical ideas spurred interest in the academic world, his work took a turn toward education, taking him as far as Egypt and Turkey. Three, at Atatürk's invitation, he led projects to reorganize Turkish music education. Hindemith's advocacy of what he termed "Gebrauchsmusik" — "useful" music that could be played by amateurs at home — is somewhat undercut by the richness of his compositions, such as his suites of "Kammermusik" (chamber music). Most of these pieces exceed the scope of typical chamber music; at the very least, playing them at home would have required joining forces with musically proficient neighbors. Still, a string quartet is at the core of Kammermusik No. 1, with the addition of flute, clarinet, bassoon, trumpet, piano, and lots of percussion (including a xylophone, siren, and can full of sand), along with an accordion. This piquant combination of elegant orchestral instruments and sounds of the street is also heard in the early compositions of Hindemith's contemporary, Kurt Weill. Both were German Jews who were condemned as degenerate composers by the Nazis and had to flee Germany before World War II.

Symphony No. 101 in D major, "The Clock" Franz Joseph Haydn

Tick Tock Goes the Bach

For Haydn, writing symphonies was one of the constants of professional life, starting when he was music director to the Austrian aristocrat Count Morzin in his mid-twenties. The last 12, known as the “London Symphonies,” are among his finest, and of these, No. 101 — "The Clock" — is one of the best-known. Good music was good business in London, and Haydn was a beloved figure there. He composed this symphony on his second visit to that city, where musical grandeur and spectacle were popular, and hearing an earlier symphony performed by an expanded orchestra of 300 may have inspired his relatively expansive scoring of this one (for 60 instruments, most of them in the relatively large string section Haydn specified along with paired winds and brasses).

"The Clock" was a hit at its premiere and has remained popular ever since. It is often cited as an example of Haydn's innovativeness as a composer because of his modulations in thirds in the second movement. Even listeners who think they don't know what "modulations" and "thirds" are will recognize these startling changes — not the first examples in classical music, but especially bold in this case. As for the symphony's nickname — has any set of symphonies earned as many nicknames as Haydn's? — this is one of the few cases that actually originated with Haydn himself, dating back to a musical clock gifted to his employer Prince Esterházy, for which Haydn had written 12 short pieces the year before composing this symphony. LPO

619 N. Tyler Street | Covington, LA 70433 866.801.0022 | MelePrinting.com 26

Louisiana Philharmonic Orchestra

Beethoven and Blue Jeans

Tchaikovsky Piano Concerto No. 1 October 13, 7:30 p.m. • Jefferson Performing Arts Center October 14, 7:30 p.m. • Columbia Theatre, Hammond October 15, 7:30 p.m. • Slidell Municipal Auditorium OTTO NICOLAI

(1810 - 1849)

This program in Slidell is supported by

Overture to The Merry Wives of Windsor (8') Overture to Coriolan, Op. 62 (8')

KORNGOLD

Overture from Much Ado About Nothing Suite (5')

(1770 - 1827)

(1897 - 1957)

INTERMISSION (20')

TCHAIKOVSKY

(1840 - 1893)

Concerto No. 1 in B-flat minor for Piano, Opus 23 (33')

Aram Demirjian, conductor

I. Allegro non troppo e molto maestoso II. Andantino semplice III. Allegro con fuoco

Tchaikovsky Piano Concerto No. 1

BEETHOVEN

Guest artist travel, accommodations and piano provided by:

Sean Chen, piano

OPENING NIGHT IN THE JEFFERSON PERFORMING ARTS CENTER PRESENTED BY MR. AND MRS. HENRY SHANE

Aram Demirjian is a dynamic emerging leader on the American musical landscape. In four years as Associate Conductor of the Kansas City Symphony (KCS), Demirjian conducted more than 200 total performances comprising every series that the orchestra presents, including subscription concerts and critically acclaimed annual performances of Handel’s Messiah. In addition to his orchestral performances, Demirjian showcases his versatility in a variety of special projects. In 2014, he was featured as a guest artist in the Tanglewood Music Center’s Festival of Contemporary Music, conducting performances of Jacob Druckman’s Bo, and Kate Soper’s Helen Enfettered, which the New York Times hailed as the “most memorable” offering of the festival. He has collaborated with his alma mater, Harvard University, on two unique interdisciplinary events: Witness, a commemoration of the ratification of the Human Rights Accord, where he conducted Yo-Yo Ma and members of the Silk Road Ensemble in Dimitri Yanov-Yanovsky’s Night Music: Voices in the Leaves; and Whitman: Composed and Considered, a performance and conversation with John Adams, where Demirjian conducted Adams’ The Wound Dresser. Demirjian recently was the only American among seven conductors selected by renowned maestro Bernard Haitink as an active participant in the 2016 Haitink Masterclass at the Lucerne Easter Festival. A three-time Conducting Fellow in the American Academy of Conducting at Aspen, in 2011 Demirjian was awarded the Aspen Music Festival’s prestigious Robert J. Harth Conducting Prize, a distinction given to only one conductor annually. That same year, he won

Program Book - Volume 26.1

Tchaikovsky Piano Concerto No. 1

Third Prize in the Memphis Symphony International Conducting Competition. He has also received instruction from Maestro Kurt Masur in the 2012 Kurt Masur Conducting Seminar. Demirjian was one of only two conductors in the inaugural class of the distinguished Orchestral Conducting program at New England Conservatory, where he earned his Master of Music. He also holds a Bachelor of Arts, cum laude, in music and government from Harvard University, where his conducting career began with a two-year appointment as music director of the Harvard Bach Society Orchestra. His primary teachers and mentors include Hugh Wolff, Robert Spano, Larry Rachleff and Michael Stern. Hailed as a charismatic rising star, 27-year-old American pianist Sean Chen won third prize at the Van Cliburn International Piano Competition, and was also awarded the Christel DeHaan Classical Fellowship of the American Pianists Association in 2013. Since then, he has continued to earn accolades and was recently named a 2015 fellow by the prestigious Leonore Annenberg Fellowship Fund for the Performing Arts. He has previously worked with many prominent orchestras, including the Fort Worth, Indianapolis, Milwaukee, Phoenix, and San Diego Symphonies, as well as the Philadelphia, and Indianapolis Orchestras, collaborating with such esteemed conductors as Leonard Slatkin, Miguel Harth-Bedoya, Nir Kabaretti, James Judd, George Hanson, and Boris Brott. His recent CD releases include La Valse, a solo recording on the Steinway label, hailed for “penetrating artistic intellect” (Audiophile Audition); a live recording from the Cliburn Competition released by harmonia mundi, praised for “ravishing tone and cogently contoured lines” (Gramophone); and an album of Michael Williams' solo piano works on the Parma label.

Program Notes By Michael C. Clive

Overture to The Merry Wives of Windsor Otto Nicolai

For better or worse, the cultural stereotype of 19th-century Prussia is of stern, iron-willed discipline and precision — about as far from the spirit of Elizabethan England as it is possible to get. But you'd never guess that from the delightful spirit of the Prussian composer Otto Nicolai's mirthful overture to his opera The Merry Wives of Windsor. Down the centuries, Shakespeare has been catnip to opera composers, and this overture — by far Nicolai's most frequently programmed composition — suggests that he really had the measure of a comedy that is raucous, sloppily energetic, and decidedly un-Prussian. Nicolai's short life would also seem to belie the gaiety in Merry Wives, which remains the most popular of his five operas. A musical prodigy whose father was a composer and musical director, he was still young when he ran away from the home he described as "loveless." (His parents later divorced, a drastic measure in those days.) But by his early 30s he had established himself as a major figure in the cultural life of Vienna, an international music capital.

Merry Wives, which features Shakespeare's immortal buffoon Sir John Falstaff, is an opera full of pranks, and we can hear the buzzing and scheming of the opera's three respectable ladies as they plot their comic revenge on the amorous, self-deluding Falstaff. The success of Nicolai's version was such that it rivaled Verdi's version even in Italy, despite its German-language libretto.

Overture to Coriolan, Op. 62 Ludwig Van Beethoven

Beethoven composed the Coriolan Overture in 1807 for the play Coriolan, a tragedy by the Austrian playwright Heinrich Joseph von Collin. The overture’s premiere was in March 1807 in the home of Prince Franz Joseph von Lobkowitz in the kind of concert we can only dream about these days — presented for an invited audience in the salon of an elegant home, with the premieres of Beethoven’s fourth symphony and piano concerto also on the program. Listeners familiar with Shakespeare’s similarly titled play Coriolanus should leave their preconceptions at home. Though both Shakespeare’s and Collin’s plays are based on the life of the ancient

Louisiana Philharmonic Orchestra

Overture from Much Ado About Nothing Suite Erich Wolfgang von Korngold

Erich Wolfgang von Korngold is widely known as a “famous composer,” but just how famous — and why — depends upon whom you ask. Musicologists regard him as one of the most remarkable prodigies in the history of classical music, who at age nine was declared a genius by none other than Gustav Mahler. Aficionados of Hollywood film music are sometimes unaware that the wunderkind who created a sensation in European classical music circles just before and after World War I is the same person who became famous for his film scores. Composed in 1918, Korngold composed his suite of incidental music for Much Ado About Nothing when he was 20 and was already a respected composer in his native Austria. Success and circumstance gave rise to a number of different versions of the suite. The original score, for small theatrical orchestra, spans 14 individual numbers that demonstrate a rich literary imagination and a knack for penetrating illustrations of action and character. Further developed as a five-movement

Program Book - Volume 26.1

work for chamber orchestra, the suite took its place in European concert halls and with subsequent productions. When a revival at the prestigious Schönbrunn Palace was extended, the full orchestra became unavailable, and Korngold created a four-movement version for violin and piano. The style of Korngold's writing in this suite is far from the tonal complexity of his most modern compositions, but it rollicks along with greater tonal freedom than he would exercise later in Hollywood.

Piano Concerto No. 1 in B-flat minor for Piano, Op. 23 Pyotr Ilyich Tchaikovsky

Tchaikovsky was born into the great age of the Romantic concerto. By the time he was 35 and was composing his Piano Concerto No. 1, composers were eager to follow Beethoven’s lead and create large-scaled, serious concertos of spectacular difficulty. These vehicles for musical display — often, they were seemingly unplayable — helped make Paganini and Liszt into musical superstars. Oddly, “unplayable” turns out to be a fateful word in the life of concertos by the hapless Tchaikovsky, who lacked both luck and self-confidence. His violin concerto and his Piano Concerto No. 1, both originally condemned as unplayable (and unlistenable!), are now among the most popular in the repertory. As 21st-Century listeners we are the beneficiaries of this concerto’s unusual performance history and the landmark interpretation of the great American pianist Van Cliburn. When Cliburn won the first International Tchaikovsky Piano Competition in Moscow in 1958 (he was a tall, rangy, young-looking 23), the Cold War was at its height; Sputnik had been launched the previous year, and the space race and the arms race were on. His victory came with this concerto, and it had an impact we can scarcely imagine now. He received a tickertape parade down Broadway and instantly became an American hero. But the response was even more dramatic in Moscow, where weeping listeners rushed the stage and mobbed him. In his playing they heard the full realization of Tchaikovsky's alternation of heroic and poetic sound, setting a standard that continues to inform later interpretations. LPO

Tchaikovsky Piano Concerto No. 1

Roman leader Gaius Marcius Coriolanus, Shakespeare’s work is far bloodier — a work of horrifying violence. Collin’s account contrasts Coriolanus’s military ambitions with his mother’s pleas for him to desist. In Shakespeare’s version, by contrast, Coriolanus' fierce, manipulative mother makes Lady Macbeth look like a sweetheart. In Beethoven’s overture, the tension between a mother’s gentleness and a military commander’s determination provides the basis for exciting music. Listening to the overture’s dark opening with its C minor theme, we can envision Coriolanus’s forces massing to invade Rome. The sound of maternal concern comes softly, in a very different key: E-flat major. The two alternate excitingly, culminating in a masterfully wrought resolution. While Beethoven’s music eloquently expresses the major thematic conflict of Collin’s play, it does not foreshadow its conclusion: unable to turn his forces back from the gates of Rome, Coriolanus commits suicide. In Shakespeare’s version, he is murdered.

Program annotator Michael Clive writes for the Pacific Symphony and is Editor-in-Chief for The Santa Fe Opera.

Classics

ˇ Dvorák Symphony No. 8 October 21, 7:30 p.m. • Orpheum Theater WILLIAM GRANT STILL

(1895 - 1978)

Symphony No. 1 ("Afro-American Symphony") (26') I. Longing: Moderato assai II. Sorrow: Adagio III. Humor: Animato IV. Aspiration: lento, con risoluzione

ROBERTO SIERRA Dvorák ˇ Symphony No. 8

(b. 1953)

This concert is supported by William D. and Susan Hess in memory of Hannah Bloom Stern and Edith Rosenwald Stern

Concerto for Saxophones and Orchestra (20') Rhythmic Tender Playful Fast (with swing)

James Carter, saxophones

Thomas Wilkins, conductor

INTERMISSION (20')

ˇ DVORÁK

(1841 - 1904)

Symphony No. 8 in G major, Op. 88 [old No. 4] (36') I. Allegro con brio II. Adagio III. Allegretto grazioso IV. Allegro ma non troppo

Guest artist travel and accommodations provided by:

James Carter, saxophones Presented with support from:

Thomas Wilkins is music director of the Omaha Symphony, a position he has held since 2005. He is also Principal Conductor of the Hollywood Bowl Orchestra and holds the Germeshausen Family and Youth Concert Conductor chair with the Boston Symphony. Past positions have included resident conductor of the Detroit Symphony and Florida Orchestra (Tampa Bay), and associate conductor of the Richmond (VA) Symphony. He also has served on the music faculties of North Park University (Chicago), the University of Tennessee in Chattanooga, and Virginia Commonwealth University in Richmond. Devoted to promoting a life-long enthusiasm for music, Thomas Wilkins brings energy and commitment to audiences of all ages. He is hailed as a master at communicating and connecting with audiences. Following his highly successful first season with the Boston Symphony, the Boston Globe named him among the “Best People and Ideas of 2011.” In 2014, Wilkins received the prestigious “Outstanding Artist” award at the Nebraska Governor’s Arts Awards, for his significant contribution to music in the state. During his conducting career, he has led orchestras throughout the United States, including the Philadelphia Orchestra, the Cleveland Orchestra, the Atlanta Symphony, the Rochester Philharmonic, the Cincinnati Symphony, the Dallas Symphony, the Houston Symphony, the Buffalo Philharmonic, the Baltimore Symphony, the Utah Symphony, and the National Symphony in Washington, D.C., to name a few.

Louisiana Philharmonic Orchestra

Dvorák ˇ Symphony No. 8

James Carter is a powerhouse musician and one of the most admired saxophonists of his generation, garnering plaudits for his role in helping to propel jazz full tilt into the future over the past twenty-five years. His music is fueled by deep respect and intimate knowledge of the jazz tradition. Born in Detroit, Michigan, in 1969, James Carter began playing saxophone at age 11, first recorded with a Detroit student ensemble in 1986 and, by 1991, had recorded with legendary trumpeter Lester Bowie on The Organizer and contributed to the 1991 collection The Tough Young Tenors. Mastering a family of reed instruments, from sopranino to contrabass saxophones to contrabass and bass clarinets, James Carter mesmerized the jazz world after arriving in New York City in 1988 to play under the auspices of Lester Bowie. His debut recording, JC On The Set, released in Japan when Carter was a mere 23 years old, heralded the arrival of a significant and powerful new musical force in jazz. Carter released a recording in Spring 2011, titled Caribbean Rhapsody features the Concerto for Saxophones written specifically for him by composer Roberto Sierra. The world premiere of the Concerto in October 2002 with the Detroit Symphony yielded rave reviews of this brilliant work. In this four movement concerto, Carter switches off between tenor and soprano saxophones with brilliant technical command. Described as electrifying, fresh, stimulating, and utterly unconventional, Caribbean Rhapsody provides a cross-over of classical and jazz elements showcasing Carter as a supreme soloist.

Program Notes

By Michael C. Clive

Symphony No. 1 ("Afro-American Symphony") William Grant Still

For African-Americans who have established firsts in music, being "good enough" has not been good enough. People like Marian Anderson and Leontyne Price had to defy expectations and set their own standards far beyond those of the doubters who were waiting to trip them up. For William Grant Still, it took talent and focus on this order to become the first African American to conduct a major American orchestra, to compose an opera performed by a major company and on television, and to compose a symphony performed by a major American orchestra. Yet for all of that, the music itself is his most important legacy to American and world culture. Without it, the barriers might still stand. Still was born in Mississippi and raised in Arkansas. From early childhood, his musical talent was clear, and along with formal instruction in violin, he taught himself to play clarinet, saxophone, oboe, viola, cello and double bass. After studying music at Oberlin he wrote jazz arrangements for Artie Shaw, Paul Whiteman and W.C. Handy, but also pursued composition

Program Book - Volume 26.1

with George Whitefield Chadwick and the French modernist Edgard Varese. Still's remarkable Symphony No. 1 incorporates the idioms of jazz, blues, and spirituals in a way that seems organic to classical form, rather than grafted on. Like George Gershwin's opera Porgy and Bess, which came four years later, the symphony includes African-American dialect in serious poetry keyed to each movement. Today these verses are seen mainly as interesting anachronisms, while the music stands on its own merits.

Concerto for Saxophones and Orchestra Roberto Sierra

American composer Roberto Sierra was born in 1953 in the Puerto Rican town of Vega Baja. Sierra studied composition in Europe, notably with the modernist Györgi Ligeti in Hamburg in the early 1980s. His early opera El mensajero de plata (The Silver Messenger), with a libretto by Myrna Casas, was produced in 1986 at the Interamerican Festival in San Juan. But it was the 1987 Carnegie Hall performance of his first major orchestral composition, Júbilo, that brought

Dvorák ˇ Symphony No. 8

increased public attention. In the three decades since that concert, Sierra's works have been part of the repertory of many leading orchestras, ensembles and fetivals in the U.S. and Europe. Saxophonist James Carter, who has performed the concerto in Europe and the U.S., notes that the concerto takes on new energy with each concert and orchestra, with spontaneous, almost improvisational qualities that listeners enjoy. "At first, it was about mathematics and staying as true to the page as possible," Carter told the concerto's publisher, Subito Music. "However, over time, the piece has become a sonic organism that continues to morph and change shape especially in tandem with other works on [an] evening’s program — which somehow find their way into the concerto itself via…improvisational passages." He adds, "I hear different things in the piece with different orchestras — an oboe part will become more present with one orchestra than with another, so I hear different 'internal conversations' each time I perform the work." Listeners, too, enjoy these changing 'conversations' in Carter's performances.

Symphony No. 8 in G major, Op. 88 (old No. 4) Antonin Dvorák ˇ

Of all the great European symphonists who came after Beethoven, Antonin Dvorák ˇ holds a special place in the hearts of American listeners. We can hear the reasons in this symphony: its

winsome optimism, its grandeur and its reverence for folk traditions are equally at ˇ home in America and in Dvorák’s native Bohemia. There’s also that swing — the soulful, syncopated rhythm that suffuses all of Dvorák’s music with the energizing ˇ lilt that Ellington taught us about: without it, music “don’t mean a thing.” Preparing an orchestra to rehearse the last movement of this symphony, Maestro Rafael Kubelik, — like Dvorák, ˇ a Czech — told his players, “Gentlemen, in Bohemia the trumpets never call to battle — they always call to the dance!” ˇ Dvorák composed this symphony three years before coming to America. Its bright mood runs counter to the prevailing tone of most symphonies of the time (think of Tchaikovsky's darkhued fifth, haunted by fate). Dvorák ˇ was an ardent champion of nationalism and indigenous folkways as a creative wellspring for classical composers — as his contemporary listeners in the U.S. would discover with his beloved ninth symphony, "From the New World." But many scholars hold this symphony and his seventh in even higher regard. Its characteristically Bohemian harmonies and swing are the most consistent elements in Dvorák's compositions, even ˇ those he wrote while in this country. They are the very sound of the Bohemian soul, and like the trumpet fanfare in the last movement of this symphony, they call us to the dance. LPO

Did you know... LOUISIANA PHILHARMONIC

The LPO has a Student Passport program! ORCHESTRA CARLOS MIGUEL PRIETO, MUSIC DIRECTOR

The LPO Student Passport program gives any student access to our entire season for only $25. If you think a student is seated next to you, reach out and welcome them to the LPO!

Learn more at LPOmusic.com or 504.523.6530

Louisiana Philharmonic Orchestra

Classics

Brahms Requiem October 28, 7:30 p.m. • Orpheum Theater October 29, 7:30 p.m. • Orpheum Theater RAVEL

(1875 - 1937)

BARBER

(1910 - 1981)

Pavane pour une infante défunte (6') Prayers of Kierkegaard, Op. 30 (17') Sarah Jane McMahon, soprano NOVA Masterworks

Carlos Miguel Prieto, Adelaide Wisdom Benjamin Music Director and Principal Conductor

INTERMISSION (20')

BRAHMS

(1833 - 1897)

Ein deutsches Requiem, Op. 45 [A German Requiem] (68')

Brahms Requiem

I. Chorus Selig sind die da Leid tragen II. Chorus Denn alles Fleisch es ist wie Gras III. Baritone and Chorus Herr, lehre doch mich IV. Chorus Wie lieblich sind deine Wohnungen V. Soprano and Chorus Ihr habt nun Traurigkeit VI. Baritone and Chorus Denn wir haben hie VII. Chorus Selig sind die Toten

Sarah Jane McMahon, soprano

Sarah Jane McMahon, soprano Grant Youngblood, baritone Loyola Chorale NOVA Masterworks Guest artist travel and accommodations provided by:

Grant Youngblood, baritone Presented with support from:

Hailed by the New York Times as “bright, active, and fastidiously musical,” and by Opera News as having “a golden sound,” Sarah Jane McMahon has sung opposite Plácido Domingo, with The San Francisco Symphony, the Munich Philharmonic, the Konzerthaus Wien, 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, Soprano II in King Arthur, and received their coveted Kolozsvar Award for her performances as Galatea in Acis and Galatea. She has also performed several concerts on Broadway as well as at Carnegie Hall, Lincoln Center, California Symphony, Minnesota Orchestra, Jacksonville Symphony, Portland Symphony, Rochester Philharmonic, Winston-Salem Symphony, Youngstown Symphony, Shreveport Symphony, Asheville Symphony, Los Angeles Opera, Arizona Opera, Dallas Opera, Virginia Opera, New Orleans Opera, Michigan Opera Theatre, Tulsa Opera, Toledo Opera, Bard SummerScape Festival, Des Moines Opera, San

Program Book - Volume 26.1

Brahms Requiem

Antonio Opera, Opera Grand Rapids, Opera Omaha, Central City Opera, Chautauqua Opera, and Washington Concert Opera. Upcoming performances include concerts with Lyrica Baroque, The Firelands Symphony, Heartlands Symphony, Marguerite in Faust with New Orleans Opera, and Jan Arnold in Everest with Dallas Opera. She has recorded three albums: I Thank My God, Night of Silence, and Blessings and Silver Linings, available on iTunes, Amazon, and sarahjanemcmahon.com. Hailed as a tall, dashing baritone “with a robust sound with ringing top notes,” Grant Youngblood’s many orchestral appearances have garnered enthusiastic praise for his “smooth lyric baritone voice bringing beautiful shading and color to the score.” Recent engagements for Mr. Youngblood have include returns to Dayton Opera for both Amonasro in Aida, and the season opening Russian Panorama gala; both Baltimore Concert Opera and Opera Delaware for the title role in Macbeth; Sugar Creek Symphony for Madama Butterfly; and Harrisburg Symphony for La traviata. He made his Metropolitan Opera debut and telecast in Capriccio; a debut with Opera North in the role of Count Almaviva in Le nozze di Figaro; and a company debut at the Nashville opera in his signature role of Germont in La traviata. Current engagements include Rigoletto with both Brevard Music Center and Asheville Lyric Opera. Having performed leading roles with opera companies in America and internationally, Mr. Youngblood made his international concert debut with the Jerusalem Symphony Orchestra in the 1999 Liturgica Festival. He has performed Reynard, Mass, Requiem Canticles, and Canticum Sacrum for a Stravinsky Festival mounted by the San Francisco Symphony, conducted by Michael Tilson Thomas; and he has appeared with the Los Angeles Philharmonic Orchestra in concert performances of Copland’s Old American Songs under the baton of Miguel Harth-Bedoya. Operain-concert appearances have included Figaro in Il barbiere di Siviglia with the Buffalo Philharmonic, as well as Ruggiero in Halevy’s La Juive with Opera Orchestra of New York at Carnegie Hall.

Program Notes

By Michael C. Clive

Pavane pour une infante dèfunte Maurice Ravel

If you know the paintings of the great Spanish artist Diego Velázquez, picture his magnificent oil "Las Meninas," considered one of the greatest artworks ever created. Dating from 1656, this enigmatic composition shows the interior a large room in the Royal Alcazar palace in Madrid during the reign of King Philip IV. After hearing Ravel's shimmering Pavane, ask yourself: was it inspired by Velàzquez? The title of Velàquez's work refers to ladies-in-waiting, but the composition includes various figures in a dark room. As in Ravel's Pavane, it seems to echo with beauty and history, and we discern royal splendor, melancholy, and the light of art as consolation. There is even an infanta in both: in the painting, she is King Philip's daughter Margaret Theresa,

who gazes provocatively from the canvas. Does she know, as we can see in her depiction, that her growth is stunted and she will probably never reach adult stature? The Pavane is a relatively early work, originally composed for solo piano in 1899, when Ravel was studying with Gabriel Fauré at the Paris Conservatoire. Though Ravel's antique-style miniature does not memorialize a specific princess, he loved Spanish culture and almost surely knew this painting, and intended his Pavane in 1899 as a slow dance "that a little princess might, in former times, have danced at the Spanish court." Young Margaret Theresa, in Velàzquez's depiction, is gowned as if for a ball. Tempo is always an issue with Ravel; here, the Pavane's slow pace fosters a sense of gradual recollection.

Louisiana Philharmonic Orchestra

Prayers of Kierkegaard, Op. 30

Samuel Barber

Brahms Requiem

Bourgeois values have a bad rep these days, but Samuel Barber's background and education were bourgeois in the best tradition: raised in then-rural West Chester, Pennsylvania, he was well educated and had plenty of culture at home. (Ironically, West Chester later became the home of online retailing powerhouse QVC.) His aunt, the esteemed Metropolitan Opera contralto Louise Homer, enhanced his musical understanding and worked with him on his own singing. (Barber was a gifted baritone.) Gentility and refinement prevailed; the arts and philosophy were valued, making it perhaps less surprising that at age 32 Barber would approach writings by the Danish philosopher and theologian Søren Kierkegaard as the subject of an extended one-movement cantata. Kierkegaard's writing, too, has acquired an undeserved reputation — as unremittingly harsh and depressing. In actuality, he was a keenly sympathetic observer of life, love and religion. Barber worked on this cantata, a commission from conductor Serge Koussevitzky, off and on for 12 years. (The delays were not "composer's block," but interruptions including World War II.) Well acquainted with Kierkegaard's work, Barber chose from a broad range of texts dating from 1847 to 1855. They are unified by a quasi-religious, chantlike motif that continues throughout the Prayers, though the music that surrounds it is as varied and substantial as the texts. Prayers of Kierkegaard received its premiere in December 1954 with the Boston Symphony Orchestra under the direction of Charles Munch. The great Leontyne Price, a dedicated advocate of Barber's vocal music, was the soprano soloist.

greatness it helps to look much further back, when the Middle Ages gave way to the Renaissance and the church was no longer the sole "legitimate" source of highbrow music. By the Baroque era, opera swept Italy and England, and aristocratic families in central Europe began employing court musicians for private entertainments. By Brahms's day, church music was subordinated to the public's demand for classical music as secular entertainment. But Brahms and his contemporaries reserved a special place for religious compositions. His ardently admired German Requiem is discussed not in terms of its consummate craftsmanship or its composer's special place in history, but for its hushed beauty and sense of tension, as if the music itself were holding its breath. It has a sense of deep and holy utterance. Perhaps inspired by grief over his mother's death, Brahms began composing the Requiem in 1865, developing the text himself and departing from some of the norms of the Roman Catholic liturgy — focusing on life and consolation rather than death and judgment. Robert and Clara Schumann expressed their deep admiration for the German Requiem, which continues to move us to this day. LPO Program annotator Michael Clive lives in the Litchfield Hills of Connecticut. He writes for the Pacific Symphony and is Editor-in-Chief for The Santa Fe Opera, and for many publications on music and the arts.

Ein deutsches Requiem, Op. 45 Johannes Brahms

In program notes about Johannes Brahms, it's almost mandatory to discuss his place in late Romanticism, as the reluctant standard-bearer for musical traditionalists — as opposed to the revolutionaries led by Richard Wagner, the radical opera composer and aesthetic philosopher. But Brahms's German Requiem is an exception to this rule; to get a perspective on its

Program Book - Volume 26.1

HOME ALONE: Movie with Orchestra Saturday, Dec. 3 Mahalia Jackson Theater

LPOmusic.com Not eligible for subscription exchange

Pops • Specials

Broadway's Best:

Sponsored by:

Featuring Bryan Batt and Friends November 12, 7:30 p.m. • Orpheum Theater Concert program will be announced from the stage. There will be a 20 minute intermission. Presented with support from:

Broadway's Best

Guest artist travel and accommodations provided by:

Bryan Batt, vocalist

Bryan Batt is a native New Orleanian, actor, designer, and civic activist. He has won 2 Screen Actor’s Guild awards for his portrayal of Salvatore Romano on AMC’s critically acclaimed, Emmy, Golden Globe, and Peabody award winning dramatic series Mad Men. Currently he can be seen as Mayor Quin Maddox on the new MTV series Scream. As an Author, both his momoir “She Ain’t Heavy, She’s My Mother” and décor book “Big, Easy Style" have received rave reviews. Theatrically Bryan is most proud to have created the role of Darius in both the N.Y. and L.A (Drama Logue Award) productions as well as the film adaptation of Paul Rudnick’s ground breaking comedy Jeffrey. Other films include the Oscar winning Best Picture 12 Years A Slave, Parkland, The Last Of Robinhood, Funny People, The Runner, Zipper, The Palooka (a Tennessee Williams short). Upcoming films include Sam, Abattoir, The Devil And The Deep Blue Sea, The Billionaires Boys Club. Other Television appearances include NCIS, NCIS New Orleans, Law And Order SVU, Ugly Betty, Ghost Whisper. Boadway leading and principal roles include: 2005 revival of La Cage Aux Folles, Beauty And The Beast, Suessical The Musical, Sunset Blvd., Saturday Night Fever, The Scarlet Pimpernel, Joseph and The Amazing Technicolor Dreamcoat, Starlight Express, and Cats. Off Broadway: Forbidden Broadway Strikes Back, Forbidden Broadway Cleans Up Its Act (Drama Desk Nomination). In the wake of Katrina Bryan organized, hosted and/or performed in numerous events and fund raisers both in New York and in New Orleans benefiting Habitat For Humanity, Second Harvest Food Bank, NO-AIDS Task Force, The Contemporary Arts Center, The Human Rights Campaign, The Forum For Equality, LA-SPCA, Le Petit Theatre du Vieux Carre, The Preservation Rescore Center, New Orleans Museum of Art, Friends of City Park, and more. In 2003 Bryan and his partner, Tom Cianfichi, opened Hazelnut, a fine gift and home accessories shop (Featured in the NY Times, Town & Country, House Beautiful, In Style, Traditional Home, Elle Décor and more).

Jodi Langel, vocalist

J Mark McVey, vocalist

Michael Lavine, piano

Glenn Langdon, conductor

Louisiana Philharmonic Orchestra

Jodie Langel is a Broadway Actress, Author, and Renowned Teacher and Coach. Jodie recently starred in Everyday Rapture at the Boca Raton Theater Guild and Bare at the Broward Center. Her Broadway/Broadway National Tour Credits include Les Miserables (Cosette), Joseph and the Technicolor Dreamcoat" (Narrator), CATS (Grizabella), and the Pre-Broadway show Martin Guerre as the lead character Bertrande. Other Regional/New York theater credits include: Lead roles in: Evita (Eva Peron) Maltz Jupiter Theater (Carbonell Nomination), I Love you, You’re Perfect, Now Change at the Westside Theater in NYC, Funny Girl, Smile, Chess at the Paper Mill Playhouse directed by Rob Marshall, the Tony Winning Eugene O'Neill Theater Conference, and The Thing About Men (LA Premiere). Jodie was a lead soloist for a ceremony honoring President Clinton, the Colorado Springs Symphony Orchestra, and the Mets/Yankees Subway Series. TV credits include: Rescue Me and VH1’s Singing Sensations. Jodie is also the founder of the acclaimed educational program "Making it on Broadway." This program has hosted many Broadway talents including Kristen Chenowith, Megan Hilty, Sutton Foster, Cheyenne Jackson, and Donna Murphy. Jodie holds an M.F.A. in Acting from U.C.L.A. and a B.F.A. from Tisch School of the Arts.

Broadway's Best

J. Mark McVey made his Broadway debut as Jean Valjean in Les Miserables after having won the Helen Hayes Award for Outstanding Actor while on tour. He was also the first American to perform the role in London's West End. Mark reprised the role with the Los Angeles Philharmonic to sold out crowds at the Hollywood Bowl and again for the 25th Anniversary Tour of Les Miserables where he won the Ovation Award and the BroadwayWorld.com Award. McVey made his Carnegie Hall Debut with Marvin Hamlisch and continues to perform with numerous symphonies around the country and the world. Mark made his PBS Debut with the Boston Pops and followed that performance with the PBS Christmas Special for the U.S. Military Troops where he was featured with Marvin Hamlisch and The National Symphony Orchestra. J. Mark McVey earned a Double-Platinum record for his participation on the TransSiberian Orchestra CD, “The Lost Christmas Eve.” Michael Lavine (Music Director) has worked as a musical director, pianist, vocal coach, conductor, and singer all over the world. He gives masterclasses on auditioning in New York, Los Angeles, Moscow, Bangkok, Australia, Singapore, Manila, Martha's Vineyard and other locations. Michael musically directed productions of Rent, Sweeney Todd, And Thoroughly Modern Millie at the Shanghai Theatre Academy. He musically directed the Comden and Green musical Billion Dollar Baby at the York Theatre in New York City starring Kristin Chenoweth, Marc Kudisch and Debbie Gravitte and the Burton Lane/Alan Jay Lerner musical Carmelina, also at the York, for which he worked directly with Burton Lane. Praised for his polished, expressive, and nuanced performances, conductor Glenn Langdon’s conducting credits include The Cleveland Orchestra, the BBC Scottish National Orchestra, and the Kennedy Center Opera House Orchestra, in addition to Broadway touring shows, ballet orchestras, and pops concerts. A veteran of touring Broadway shows, Langdon was Music Director of the touring production of Andrew Lloyd Weber's the Phantom of the Opera. On tour, Glenn traveled to more than 60 cities in the United States and Canada. As Music Director and principal conductor of the Houston Ballet he conducted the breadth of the classical repertory and distinguished himself with performances of the 20th century works by Stravinsky, Orff, and Prokofiev. Langdon graduated from Florida State University and attended the University of Houston, studying piano with James Streem, Carlisle Floyd, and Abbey Simon. His conducting studies included work at the Tanglewood Music Center, L'Accademia Musicale Chigiana in Siena, Italy and the Centre Acanthes in Avignon, France, where Glenn was mentored by Leonard Bernstein, Seiji Ozawa, Gustav Meier, Franco Ferrara, and Pierre Boulez.

Program Book - Volume 26.1

Classics

The Planets November 17 & 19 7:30 p.m. • Orpheum Theater November 18, 7:30 p.m. • First Baptist Church, Covington BATES

Mothership (9')

(b. 1977)

MOZART

(1756 - 1791)

Concerto No. 4 in D major for Violin and Orchestra, K. 218 (24') I. Allegro II. Andante cantabile III. Rondeau: Andante grazioso Allegro ma non troppo

Fawzi Haimor, conductor

Stefan Jackiw, violin INTERMISSION (20')

HOLST

The Planets

(1874 - 1934)

The Planets (48')

I. Mars, The Bringer Of War Ii. Venus, The Bringer Of Peace Iii. Mercury, The Winged Messenger Iv. Jupiter, The Bringer of Jollity V. Saturn, The Bringer of Old Age Vi. Uranus, The Magician Vii. Neptune, The Mystic

Stefan Jackiw, violin

Women of NOVA Masterworks and Loyola Chorale Guest artist travel and accommodations provided by:

Presented with support from:

Fawzi Haimor was born in Chicago in 1983 and was raised in the Middle East and San Francisco Bay area. With a growing diary of international guest engagements, Haimor recently completed his tenure as Resident Conductor of the Pittsburgh Symphony Orchestra, where he conducted a variety of concerts including classical, pops and outreach. While in Pittsburgh, he served as a cover to esteemed conductors including Manfred Honeck, Leonard Slatkin, Gianandrea Noseda, Rafael Fruhbeck de Burgos, and Jan Pascal Tortelier. In spring 2014, Fawzi Haimor made an impressive debut with the Filarmonica del Teatro Co-munale di Bologna with Bruckner’s Symphony No.4. Last season he returned to Orquesta Sinfonica do Porto and gave further impressive debuts with Orchestra Sinfonica di Milano Giuseppe Verdi, Haydn Orchestra Bolzano, Qatar Philharmonic, Orchestre Philharmonique du Luxembourg, and Indianapolis Symphony. Haimor completed his violin training at the Jacobs School of Music in Indiana University, and studied conducting under David Effron and Arthur Fagen. He earned bachelor’s degrees in both music and neurobiology, a master’s degree in conducting from the University of California-Davis, and second master’s in instrumental conducting at Indiana University. He was previously Assistant Conductor at Alabama Symphony Orchestra, where he was also the first Music Director of the Alabama Symphony Youth Orchestra. Haimor currently lives in the San Francisco Bay Area with his wife Houda and their three daughters, Aleena, Layla, and Ayah.

Louisiana Philharmonic Orchestra

The Planets

Violinist Stefan Jackiw is recognized as one of his generation’s most significant artists, captivating audiences with playing that combines poetry and purity with an impeccable technique. Hailed for playing of "uncommon musical substance" that is “striking for its intelligence and sensitivity” (Boston Globe), Jackiw has appeared as soloist with the Boston, Chicago, Cleveland, New York, Philadelphia, and San Francisco symphony orchestras, among others. In recent seasons, Jackiw made his Carnegie Hall recital debut performing Stravinsky, Brahms, Strauss, and the world premiere of a new work for piano and violin by David Fulmer. Other recent highlights include performances with the St. Louis Symphony under Nicholas McGegan, and with the Rotterdam Philharmonic under Yannick Nézet-Séguin. Stefan made his European debut age 14 to great critical acclaim, playing the Mendelssohn Violin Concerto with the Philharmonia Orchestra. His sensational performance was featured on the front page of London’s Times, and the Strad reported, “A 14-year-old violinist took the London music world by storm.” Stefan has also performed abroad with the London Philharmonic, the Orchestre Philharmonique de Strasbourg, the Bournemouth Symphony Orchestra, l’Orchestra del Maggio Musicale Fiorentino, the Royal Liverpool Philharmonic, the Ulster Orchestra of Ireland, the Seoul Philharmonic, and the Deutsches Symphonie-Orchester Berlin. Stefan is also an active recitalist and chamber musician. He has performed in numerous important festivals and concert series, including the Aspen Music Festival, Ravinia Festival, and Caramoor International Music Festival, the Celebrity Series of Boston, New York’s Mostly Mozart Festival, the Metropolitan Museum of Art, the Washington Performing Arts Society and the Louvre Recital Series in Paris. As a chamber musician, Stefan has collaborated with such artists as Jeremy Denk, Steven Isserlis, Yo-Yo Ma, and Gil Shaham. Born in 1985 to physicist parents of Korean and German descent, Stefan began playing the violin at the age of four. His teachers have included Zinaida Gilels, Michèle Auclair, and Donald Weilerstein. He holds a Bachelor of Arts from Harvard University, as well as an Artist Diploma from the New England Conservatory, and is the recipient of a prestigious Avery Fisher Career Grant. He lives in New York City.

Program Notes

By Michael C. Clive

Mothership Mason Bates

In today's era of megadata and digital number-crunching, some expert has determined that among major American orchestras, Mason Bates is the second-most frequently performed of all living composers — an amazing credential for a musician who has not yet turned 40. Just five years ago, when National Public Radio explored Bates' music on "All Things Considered," he was said to inhabit "two musical worlds. In one, he spends his nights playing some of the world's most exclusive dance clubs. In the other, he creates pieces as the composer-in-residence for the Chicago Symphony Orchestra." He kept these worlds separate until finding a way to integrate them, as demonstrated

Program Book - Volume 26.1

on his 2009 album Digital Loom. "It was a real revelation," Bates noted. Bates' lustrous musical effects, which often convey a sense of suspended time and spatial vastness, freely mix traditional orchestral instruments with advanced electronica and traditional instruments from Asian cultures. He has worked closely with the San Francisco Symphony, and after completing his three-year residency with the Chicago Symphony, he took a similar position with the Kennedy Center for the Performing Arts — the first such appointment in its history. His first opera, The (R)evolution of Steve Jobs, will premiere at The Santa Fe Opera next summer. Bates has described Mothership as an "energetic opener" that imagines the orchestra itself as a spacecraft. It is "docked" by several visiting soloists who

offer brief but virtuosic riffs on the work's thematic material. This aural adventure takes place against a background of "action-packed electro-acoustic orchestral figuration."

Concerto No. 4 in D major for Violin and Orchestra, K. 218

The Planets

W. A. Mozart

Mozart's brilliance at the keyboard is fixed in our imagination, but somehow we forget that he was also a superb violinist, a combination that has no parallel among the great composers. Even today the anecdotal accounts of Mozart’s early violin skills, confirmed by modern scholarship, defy the imagination. They seem to have taken even his father by surprise. Mozart's five violin concertos are a cornerstone of the violin repertory. Originally they were all thought to have been composed in 1775, and were thus “early” works, though that term does not have much meaning in Mozart’s case — he was almost 20, and had already been writing masterpieces for about three years. Further research has cast doubt on some of the dates, but it seems clear that the fourth concerto, perhaps the most beloved of all, was composed in that year. To some listeners, the sunny lyricism of this concerto—and, indeed of all five of Mozart’s violin concertos—shows the influence of Mozart’s travels to Italy with his father (they made three such trips from 1769 to 1773). But while the earlier concertos seem to look back to the charms of Baroque concertos as well as ahead to the melodic riches of his piano concertos, the Violin Concerto No. 4 is more innovative— for example, creating a dramatic frame for the violin’s entry with an orchestral tutti in the first movement. When the soloist does join the proceedings, it is in a startlingly high register, contrasting boldly with the orchestra.

The Planets Gustav Holst

His name may not sound English, but Gustav Holst was born in Cheltenham and is one of the best-loved of all 20thcentury English composers. By 1892, though still a teenager, Holst composed and accomplished and successful Gilbert and Sullivan-style operetta, bringing a substantial musical portfolio with him to college. Throughout his career, he continued to combine an awareness of the practicalities of the professional musician’s life in England with the changing aesthetics of the international classical music scene—most especially the impact of German, Austrian and Russian composers. The vastness of the solar system unfolds before us as we listen to The Planets, yet it is somehow balanced by the composer's English vantage point. This suite is full of the openness of the English plainsong tradition, but also demonstrates the cosmopolitanism of a composer well acquainted with the latest international music of his day. But if the confident exuberance of The Planets suggests that this suite was easy for him to compose, Holst has actually accomplished something extremely difficult with it, sustaining our attention for seven movements spanning almost an hour with no content other than the personalities and moods represented by each planet. Every movement is intensely colorful and specific, with each planetary subject so clearly in view that we feel ready to land our NASA module on the surface. There is no story line, no overarching form… nothing but the richness of the melodic subjects and rhythmic figures that Holst employs, including many folk songs from his beloved England. LPO Program annotator Michael Clive lives in the Litchfield Hills of Connecticut. He writes for the Pacific Symphony and is Editor-in-Chief for The Santa Fe Opera, and for many publications on music and the arts.

Louisiana Philharmonic Orchestra

Chamber Music

Mendelssohn Piano Trio November 20, 2:30 p.m. â&#x20AC;˘ Rogers Chapel, Tulane University PUTS

(b. 1972)

Three Nocturnes (12')

Con moto Flowing; non troppo lento Molto adagio

John Reeks, Clarinet Byron Tauchi, Violin Diana Thacher, Piano

TORKE

(b. 1961)

Stefan Jackiw, violin

Telephone Book (18') The Yellow Pages The Blue Pages The White Pages

Patti Adams, Flute/Piccolo John Reeks, Clarinet/Bass Clarinet Byron Tauchi, Violin David Rosen, Cello Diana Thacher, Piano INTERMISSION (20')

MENDELSSOHN

(1809 - 1847)

Byron Tauchi, violin

Piano Trio No. 1 in D minor, Op. 49 (32')

Mendelssohn Piano Trio

Molto allegro ed agitato Andante con moto tranquillo Scherzo: Leggiero e vivace Finale: Allegro assai appassionato

Stefan Jackiw, violin Jonathan Gerhardt, cello Brian Hsu, Piano Guest artist travel and accommodations provided by:

Jonathan Gerhardt, cello

Stefan Jackiw - see bio on page 39. Byron Tauchi is currently the principal second violin in the Louisiana Philharmonic Orchestra. He has served as concertmaster of the National Orchestral

David Rosen, cello

Association, the New Philharmonic of New Jersey, the Manhattan Chamber Orchestra, and as associate concertmaster of the San Jose Symphony. He has been a faculty member at the Brevard Music Festival since 1992 and has served as the chair of the string area. He has also been a member of the faculty at the University of Santa Clara and the University of Nevada Las Vegas. Tauchi has performed as a recitalist, soloist and chamber musician throughout the United States, Spain, Denmark, Italy and the Ukraine. Recent performances have been in Nevada, California, Washington, Oklahoma and North Carolina. He made his first concerto appearance with orchestra at the age of thirteen. Tauchi attended the Manhattan School of Music studying with Raphael Bronstein and

Program Book - Volume 26.1

Ariana Bronne. He also holds a degree in Computer Science from the University of California at Berkeley.

Patti Adams, flute/piccolo

Mendelssohn Piano Trio

John Reeks, clarinet/bass clarinet

Brian Hsu, piano

Diana Thacher, piano

Jonathan Gerhardt, principal cello, has been a member of the Louisiana Philharmonic Orchestra since 1995. Originally from Columbus, Ohio, he grew up in a musical family and began taking cello lessons from his mother at the age of ten. Gerhardt received his Bachelor of Music degree and Performers Certificate from the Eastman School of Music and his Master of Music Degree from the New England Conservatory of Music. His primary teachers include Paul Katz, and Colin Carr. Jonathan has been a member of the Honolulu Symphony, Naples Philharmonic, and the Dayton Philharmonic. During the summers, he has participated in the Aspen, Banff, Spoleto and Colorado Music Festivals. He is on the faculty of Tulane University and a member of the Tulane Piano Trio. Jonathan and his partner Richard Woehrle live Uptown with their two cats Penny and Spike. David Rosen has been a cellist for the LPO since 1991 and before that was a member of the New Orleans Symphony from 1989-90. A native of Los Angeles, David received his Bachelor of Music from The Cleveland Institute of Music, his Master of Music from the Eastman School of Music and his Doctor of Musical Arts from the University of Miami. David was a winner of the Coleman Chamber Music Competition in Pasadena, California. He has participated in the music festivals of Aspen, Banff, Blossom, Breckenridge, Chautauqua and Heidelberg. David has performed with the Cincinnati Symphony, San Diego Symphony and the Los Angeles Opera. Patti Adams is solo piccoloist and Assistant Principal flutist with the LPO. She has performed with the National Repertory Orchestra, the Colorado Symphony Orchestra, the Colorado Music Festival and recorded and toured internationally with the Mexico City Philharmonic as co-principal flutist. Patti is immediate past Chair of the Board of Directors of the National Flute Assocation and, in 1997, produced and hosted the NFA's 25th anniversary convention in Chicago, attended by over 4000 flutists from around the world. She has performed at numerous NFA conventions including New York, Orlando, Boston, St. Louis, New Orleans, Kansas City, and Albuquerque

and was featured as the cover story of the February 2004 Flute Talk magazine. She is on the faculty of Loyola University and maintains a busy performing schedule, presenting recitals and masterclasses throughout the country. She has appeared as guest artist at numerous flute festivals around the country including those in Chicago, Washington, D.C., Atlanta, and Raleigh, NC and has presented masterclasses at Rice, University of Michigan, Ohio State University and others. Her major teachers include Julius Baker and Everett Timm. She performed in masterclasses with Jean-Pierre Rampal, Maxence Larrieu, Sam Baron and William Bennett. She was a finalist in the Geneva and Naumburg Flute Competitions and a prize winner in the Charleston Symphony and National Flute Association's Young Artist Competitions. John Reeks plays Clarinet, Bass Clarinet and Saxophones in the LPO. He is one of the founding members of the Philharmonic and has served as its President. He has held the

Louisiana Philharmonic Orchestra

position of Clarinet Instructor on the faculty of Loyola University for fifteen years. John is married to fellow LPO clarinetist Stephanie Thompson. He is a Yamaha Performing Artist on clarinet and plays on Backun barrels, bells, and mouthpieces. John grew up in the "Lower Ninth Ward" of New Orleans in a family filled with generations of musical and graphic artists. He has played orchestral music professionally for over 30 years. In addition to the LPO, he has also worked with the San Antonio Symphony and the orchestras of the Santa Fe and Glimmerglass Operas. He has been a member of the chamber music group MUSAICA since it's inception. John has recorded with artists ranging in diversity from Randy Newman to Nine Inch Nails. He has performed at numerous International Clarinet Association ClarinetFests, including the world premiere of Stephen Dankner's Adagio Appassionata: New Orleans, August 29, 2005.

Mendelssohn Piano Trio

Since his debut with the Philadelphia Orchestra as a teenager, Brian Hsu has gone on to establish himself as pianist of great energy and unusual communicative ability. Critics have described his performances in superlatives, noting his “breadth of expression and technical ability.” He has won awards in numerous competitions, both in the U.S. and Asia, including Wideman Competition, Corpus Christi International Young Artists’ Competition, Isabel Scionti International, Juilliard’s Gina Bachauer, National Piano Competition in Taiwan, as well as and concerto competitions both at the University of Michigan and Juilliard. An experienced performer, Mr. Hsu has performed throughout the world in such countries as Spain, Italy, Japan, Taiwan, and South Africa. U.S. performances include Boston, New York, West Palm Beach, Plano, Ann Arbor, New Haven, as well as many others. He has appeared numerous times as concerto soloist with such ensembles as Philadelphia Orchestra, Taiwan National Symphony, Juilliard Orchestra, Juilliard Pre-College Orchestra, Haddonfield Symphony, Sendai Philharmonic, and University of Michigan Symphony Orchestra. He has performed in various festivals including Amalfi Coast Music Festival in Italy where he was invited to perform in a special Liszt 200th anniversary concert; Blue Lake Fine Arts Camp in Michigan; Gijon International Piano Festival in Spain; Eastern Music Festival in North Carolina; McAlester Institute of Music in Oklahoma; Banff Festival of the Arts in Canada; PianoFest in The Hamptons in Long Island, New York. Recently Mr. Hsu’s primary piano professors include Wha-Kyung Byun, Yoheved Kaplinsky, Jerome Lowenthal, Peter Frankl and Logan Skelton. Additional studies have been with DaMing Zhu, Paul Schenly, Marc Durand, Dominique Weber, Arthur Greene, Robert Shannon, Ksenia Nosikova, Steven Spooner, John Perry, Aldo Ciccolini, He received his Bachelor’s and Master’s degrees from The Juilliard School, Artist Diploma from Yale University, Doctoral of Musical Arts degree from the University of Michigan. Mr. Hsu is currently the Assistant Professor at Loyola University New Orleans. Diana Thacher is active as a soloist, collaborative pianist, and teacher and has been on staff at the Loyola University since 2013. She has accompanied a wide range of instrumental works and performed in a variety of chamber ensembles throughout the United States and abroad. Diana has been a director of piano department at the ArtsWest Academy of Performing Arts in Idaho, collaborative artist at the McCall Music Festival and served as accompanist for the New Orleans Opera Association and American Conservatory Theater in San Francisco. She was the first prize winner at the International Siberia Piano Competition in Novosibirsk, Russia (2002) as well as a 2nd prize winner at the Tolyatti International Chamber Music Competition, Russia (2006) Diana holds a Masters Degree and a Professional Studies Diploma in piano performance from the San Francisco Conservatory of Music where she was a full scholarship recipient under the tutelage of Yoshikazu Nagai.

Program Book - Volume 26.1

Program Notes By Michael Clive

Three Nocturnes

Mendelssohn Piano Trio

Kevin Puts

The city of St. Louis, sometimes called "the Paris of the West," has proved congenial to serious music over the years. It gave us the composer Virgil Thomson, the opera diva Grace Bumbry, and now the versatile young composer Kevin Puts, who was born there in 1972. After early years in Alma, Michigan, Puts studied composition and piano at the Eastman School of Music and Yale University, earning his doctorate at the Eastman Conservatory. Along the way he took instruction from Samuel Adler, Jacob Druckman, David Lang, Christopher Rouse, Joseph Schwantner, Martin Bresnick, and, in piano, with Nelita True. At the Tanglewood Music Festival he studied with William Bolcom and Bernard Rands. For young composers of such prodigious gifts, the word "promising," attached to them by timid critics, can hang more heavily than an albatross. But as an Eastman alumni publication rightly reported, success has put this curse to rest for Puts. "For several years, Kevin Puts received reviews describing him as a 'promising composer' and 'a young composer to watch,'" Eastman reported. "But with a flurry of recent performances and prestigious commissions, Puts can now be described as one of America's most important composers, period." For one of those commissions, his opera Silent Night with libretto by Mark Campbell, Puts received the 2012 Pulitzer Prize for Music. The opera's story, a spontaneous ceasefire in World War I known as the "Christmas truce," was also the subject of a 2002 feature film.

Telephone Book Michael Torke

In writing about living composers, vocabulary can be tricky. Most practitioners of the style we call "minimalism" — including Phillip Glass, who is often called their dean — feel the term is deceptive, and avoid its use. Where does that leave us in trying to describe the gifted American composer Michael Torke, whose music is often classified as "post-minimalist"? It is also said to be influenced by jazz, a description that could probably apply to any of us who have even listened to American music, much less written it. As in minimalism, the subtle cues of repetition and variation in Torke's music

can be hypnotically meditative or as tense as a coiled spring. His music also evokes strong sensations of color, texture and propulsive motion for many listeners. A native of Milwaukee, Torke studied at the Eastman School of Music, where his instructors included Joseph Schwantner and Christopher Rouse (like Glass, considered a "minimalist") and at Yale University. Like Kevin Puts, he has turned his talents to opera, producing Pop'pea, which has been described as a rock opera — an adaptation of Monteverdi's L'incoronazione di Poppea, one of the earliest operas still widely performed. To one listener, at least, his Telephone Book sounds energetic, gripping, and anything but minimal.

Piano Trio No. 1 in D minor, Op. 49 Felix Mendelssohn

When it comes to his beautiful Piano Trio No. 1, Mendelssohn's story may be a bit too well known for his own good. Even those of us who have never heard it before come to it knowing much of Mendelssohn's life story — his years as a phenomenal child prodigy, his apparent ease and earlier accomplishments as a composer, his gift for melody and musical description, his accomplishments as a pianist and as a conductor with thorough knowledge of the orchestra and of musical craft. All that we love most about Mendelssohn's chamber music is here — the ceaseless flow of melody lyrical melody borne along with seaming effortlessness and buoyant energy. For all of that, composing this piano trio might not have been quite so easy for him as we would guess, though it is considered one of his greatest chamber works. Scored for the standard combination of violin, cello and piano, it ranks with his most popular masterpiece for chamber ensemble, the Octet, Op. 20. He composed the trio in 1839, in his maturity. But after reviewing it with fellow-composer Ferdinand Hiller, who had befriended the teenage Mendelssohn and remained a steadfast influence, the younger composer was persuaded to revise in a more "Schumannesque" style. Schumann later expressed great admiration for the trio. Hearing a revised version, which included a more prominent piano part, Schumann called Mendelssohn "the Mozart of the 19th century, the most illuminating of musicians" — the highest possible praise imaginable for these romantic masters. LPO

Louisiana Philharmonic Orchestra

Orchestra Fund

$100,000+

Mrs. Adelaide Wisdom Benjamin Bob and Jeri Nims Foundation Edward Wisner Donor Advised Fund Lois and Lloyd Hawkins, Jr. Foundation LPO Volunteers Anonymous

$50,000+

Fidelity Bank Freeport-McMoRan Foundation Arts Fund Mrs. Paula L. Maher RosaMary Foundation The Theresa Bittenbring Marque & John Henry Marque Fund

$25,000+

Ann and Gordon Getty Foundation and the League of American Orchestras Carnegie Hall Weill Institute of Music Hall Piano Company Estate of Karl Heinz Hasselbach Gia Maione Prima Foundation Susan and William Hess Hugh W. Long and Susan L. Krinsky Drs. R. Ranney and Emel Songu Mize Oscar J. Tolmas Charitable Trust Peoples Health Mr. J. Robert Pope Sheraton New Orleans Dr. and Mrs. Richard L. Strub Mr. Hugo C. Wedemeyer

$15,000+

Arts Council of New Orleans Delta Air Lines, Inc. Ana and Juan Gershanik Dorothy S. Jacobs Louisiana Division of the Arts Mary Freeman Wisdom Foundation Mr. and Mrs. Charles B. Mayer Roosevelt Hotel Ms. Courtney-Anne Sarpy

$10,000+

Valerie Besthoff Mrs. Philip Breitmeyer, II Mr. and Mrs. J. Scott Chotin, Jr. Clifford F. Favrot Family Fund Collins C. Diboll Private Foundation Ferber Family of the Jewish Endowment Foundation First NBC Mr. James C. Gulotta and Ms. Susan G. Talley Iberia Bank Kathleen Moore Vick Foundation Mr. Paul J. Leaman, Jr. Dr. Edward D. Levy, Jr. Ms. Nancy F. Link Mele Printing New Orleans Theatre Association Peyback Foundation Regions Financial Corp Mr. Peter Rogers Mr. and Mrs. Bruce L. Soltis Drs. Misook Yun and James William Boyd Jerry W. Zachary

Stand Partners - $5,000+

Mr. and Mrs. Kenneth J. Boudreaux

Program Book - Volume 24.3

Drs. Andrea S. and Archie W. Brown Chaffe McCall Christwood Dr. Carolyn M. Clawson John Stone Coulter Fund Arthur A. Crais, Jr. Eugenie and Joseph Jones Family Foundation Georges Lurcy Charitable and Educational Trust Goldring Family Foundation Drs. Henrietta and Walter Harris Dr. and Mrs. Bernard M. Jaffe Kabacoff Family Foundation Keller Family Foundation Timothy and Virginia Kelly Louise H. Moffett Family Foundation Mr. and Mrs. Edward F. Martin Estate of Mrs. Suzanne Motion New Music USA Ralph Brennan Restaurant Group Regions Financial Corporation Slidell Memorial Hospital Ms. Catherine B. Tremaine Ms. Lizbeth A. Turner Woldenberg Foundation

Seibel Society - $3,000+

Amphion Foundation Mrs. Bethlehem K. Andrews Dr. and Mrs. Joseph J. Biundo Judith R. Bostwick Mrs. Donald M. Bradburn Kathy and Gordon Cain Sally T. Duplantier Dr. James A. H. Farrow Favrot & Shane Companies, Inc.. Sybil M. and D. Blair Favrot Family Fund Mr. and Mrs. Lyle W. Ferguson Ms. Anne B. Gauthier Larry and Joanne Gay The J. Edgar Monroe Foundation Lou and Charles Lane Bob and Charlotte Lewis Dr. Ray Lousteau Dr. and Mrs. Christopher B. Merritt Joel and Bert Myers Rita Odenheimer Sanford L. Pailet, M.D. Pedelahore & Co., LLP Maj. Gen. (Ret.) and Mrs. Thomas A. Sands Ivan Morton Sherman Foundation Mr. and Mrs. Gregory P. Speyrer Mr. and Mrs. Philip Straub Mr. and Mrs. Bernard Van der Linden Mr. and Mrs. Roland von Kurnatowski Anonymous

Con Brio - $1,500+

Judy and Allain Andry Bellwether Technology Mr. George L. Bernstein Mr. E. John Bullard, III Mr. and Mrs. Andrew Burglass Rebecca Cain and Dieter Schodde Dr. and Mrs. Salvador Caputto Sue Cartmill Ms. Nancy L. Claypool Dr. Gerald Cohen George & Milly Denegre Fund Henrietta B Deters

Orchestra Fund

Allegro - $600+

Mr. and Mrs. Christopher M. Adams Mr. and Mrs. Richard M. Adler John W. Andrews Avenue Pub Capt. Gary Bair Ms. Virginia Besthoff Ed and Michelle Biggs Mr. and Mrs. Robert B. Branson Ralph Brennan Margaret W. Brooke Ms. Florence Brown Ms. Mary Ann Bulla Mr. John L. Cleveland, Jr. Mr. and Mrs. Dan M. Cliffe Mr. and Mrs. David Condon Mr. and Mrs. John R. Cool Dr. Raquel Cortina Mr. Gerald G. Daussin, Jr. Dr. and Mrs. Charles L. Dupin Eason Weinmann Foundation Anne Marie Fargason Robert and Ruth Force Ms. Joanne Gallinghouse Myralynn and Allen Gibbs Jill and Samuel Giberga Mr. and Mrs. Torrey E. Gomila Mr. and Mrs. Calvin J. Grisafe Robert and Valborg Gross Lionel H. Head, M.D. Dr. Rick Henderson and James Bruce

Mr. and Mrs. Richard D. Herr Mike and Carol Holland Judge Martin Coady and Mrs. Mary Thomas Joseph Noonie and Clay LeJeune Mr. Dwayne O. Littauer Carolyn Wood Lorio Lowenburg Family Foundation Lauren and Robert Lyall Helen R. Malin Marrero Land & Improvement Association Ltd. Dr. Richard and Maggie McConnell Mr. Alton McRee Dr. Jeffrey Albert and Dr. Jennifer Miles Nancy Hudson Miller David and Sue Miller Mr. and Mrs. Dean H. Miller Mr. Benjamin H. Motion Arthur W. Nead Eric and Erlinda Nye Jeffrey P. Pounds Mrs. Joseph Rault Reily Foundation Paul and Margaret Rosenfeld Rotary Club of Metairie Louise and Richard Rusch Mr. John Rusch Nan and J.O. Sanders, III John and Ann Scharfenberg Mark and Sally Seyler Darnell Shuart Ricardo and Sally Sorensen Vincent P. Saia and Glynn Stephens Mrs. Sara B. Stone Dr. and Mrs. Leonard B. Thien Peter and Joyce Walker Mr. Thomas F. Ward Mr. and Mrs. Joseph Ward Patricia M. Woodstein Anonymous

$250+

Mr. and Mrs. Leonard N. Alsfeld Bill Arthurs Mr. Michael L. Baker Mr. John S. Batson Thomas C. Bergeon Bonnie Lu Boyd Mr Jefferson Brooke Ms. Charlotte A. Brunner and Mr. Alan M. Shiller Dr. Georgia M. Bryant and Mr. W. Alton Bryant, Jr. Burkedale Foundation Mr. Harold H. Burns Dr. and Mrs. Michael Carey Joseph and Dianne Caverly Angela and Michael Cirami DeVonde and Kathleen Clemence Mr. Sydney Crackower Robin and Bruce Crutcher Ms. Linda Dawson Dr. and Mrs. Rafael Ducos Maryellen and Rod Eckenhoff Mr. and Mrs. Joseph M. Elliot, III Tod C. Engelhardt, M.D. Richard and Helen Erb Mrs. Francella S. Flurry Foley Lamy and Jefferson Knowles French, Jr. Mr. and Mrs. Stephen J. Gaiennie Mr. Robert H. Gardiner Georgia Chamber of Commerce Mr. and Mrs. Bruce A. Gordon

Louisiana Philharmonic Orchestra

Orchestra Fund

The following are gratefully acknowledged for new and renewed gifts made to the LPO’s Orchestra Fund between July 1, 2015 and June 30, 2016. A gift to the Orchestra Fund supports the LPO’s artistic and community programs that connect people and music throughout the region. Holly and Kirk Groh Drs. Michael E. Hagensee and Jennifer Cameron Heidi and Arthur Huguley Mrs. Joan G. Inman Ms. Ailleen Janney T. Larry and Darlene Johnson Kiwanis Club of Algiers - Morning Edition Mr. Herman S. Kohlmeyer, Jr. Ruth and Larry Kullman Mr. and Mrs. Ted Laborde Mr. and Mrs. Andrew B. Lapeyre Mr. and Mrs. Rodney P. LeBlanc Mr. and Mrs. James B Lootens David B. Lowry Mrs. Irene E. Mackenroth Brigitta Malm Marathon Petroleum Co Mr. and Mrs. Jonathan C. McCall Mrs. Lorna Menzel Mr. and Mrs. G. Edward Merritt Dr. Duane Mikulencak Ms. Babs Mollere Mr. and Mrs. James T. Murphy Dr. Guillermo Náñez-Falcón Dr. and Mrs. David Neubauer Dr. James A. Oakes, III Mr. and Mrs. Ernest L. O'Bannon Paul G. and Elizabeth Hofmann O'Connor Family Foundation Mr. and Mrs. L. Dow Oliver Papa John's Pizza Parkside Foundation Elaine Reyes Mark Rigamer Mrs. J. William Rosenthal Rotary Club of Hammond Beth and Jim Ryan William G. Sabatier Mrs. Barbara S. Samuels Ms. Louise C. Schreiner Dr. and Mrs. Jay M. Shames Mr. Joseph Shefsky Alexandra K. Shikhris and Eduard V. Danilyants Mr. and Mrs. Howard B. Shreves Will Sibbald Katherine E. Siebel Mr. Lynes Sloss Mrs. Dorothy P. Smith Mr. and Mrs. Timothy L. Soslow Dr. and Mrs. Robert W. Stafford Mr. and Mrs. Harry C. Stahel Charles and Ann Stuart Mr. and Mrs. Juan Suarez Mr. and Mrs. William E. Thibodeaux Ms. Susan S. Thorburn Drs. Gregory and Ann Tilton Twelve Mile Limit Mr. W.F. Von Almen, II Eric and Regina Wedig Dr. and Mrs. Roy S. Weiner Mrs. Joel Weinstock Ms. Sibyl M. White Mr. and Mrs. Cornelis Willems Dr. Liane Curtis Ms. Julie W. Woolfolk $100+ Joseph and Marguerite Abramo Ms. Anne Adami Kent J. Adams Frank W. Aderholdt, Jr.

Program Book - Volume 26.1

Cindy Alberts, Realtor, Coldwell Banker TEC, Realtors Mr. W. James Amoss, III and Ms. Nancy Monroe Mr. and Mrs. Jay Aronson Mr. and Mrs. Stephen M. Attaya Mrs. Ann H. Babington Mr. Roger T. Baker Mr. and Mrs. August J. Barbier Edwin and Barbara Beckman Mr. Jack Belsom Yolande and Stephen Bernard Dr. Walter and Martha Birdsall Mr. Thomas Blum Renay Blumenthal John Bobear Gretchen Bosworth Mr. William H. Bottomley, III Mrs Christina Boudreaux Lucille Haueser Brian Dr. and Mrs. Charles L. Brown, Jr. Gillian F. Brown Ms. Judy Burgess Grace Burkes Diane Butler Doris and Ralph Cadow Vivian Cahn Jane Cain Claudia and Steve Campbell Laura and Allen Carman Camille and John Carter Mr. Robert R. Casey Joseph and Dianne Caverly Sam Charters Mr. and Mrs. Edgar L. Chase, III James T. Clavin Jane Clayton, M.D. Dr. Irwin Cohen Jeffrey Cohen Jeffrey and Catherine Coit Michael and Linda Coney Thomas Connolly Bob and Margaret Corcoran Phyllis Cosentino Marie-Francoise Crouch Ms. Linda Dawson Mr. George L. Dansker Katherine de Montluzin Ms. Marlene L. Donovan Ms. Virginia M. Dribus Ms Jeanne Dumestre Crozet Duplantier Dr. and Mrs. Walton H. Ehrhardt, Ed.D. Drs. Melanie and Kenneth C. Ehrlich Ms. Lin Emery Mayo K Emory Margaret and Joe Epstein Fund Melissa Erekson Lawrence B. Eustis Lawrence Ferguson Ms. Joanne C. Ferriot Ms. Clare Fiasconaro Mr. Bart T. Folse Dr. and Mrs. Harold A. Fuselier, Jr. Dr. Phillip F. Fuselier Ms. Olga M. Garcia Larry and Jenny Gensler Jackie Gillane Joanna M. Giorlando Joy B.Giraud Mr. Dov Glazer Mrs. Jacqueline Gold

Orchestra Fund

The following are gratefully acknowledged for new and renewed gifts made to the LPO’s Orchestra Fund between July 1, 2015 and June 30, 2016. A gift to the Orchestra Fund supports the LPO’s artistic and community programs that connect people and music throughout the region. Amy D. Goodson Mr. Robert W. Green Mr. William A. Greene Mr. Craig Griffing Daniel and Camilee Gross Mr. and Mrs. Kim L. Harvey Mrs. Mildred F. Hawkshead Dr. and Mrs. Herbert G. Haydel Mrs. John Hegarty Mr. Milton A. Henton Ms. Angela Hill and Dr. Irwin M. Marcus Mr. Bruce R. Hoefer, III Debra D. Holman Joel Horwich Mr. and Mrs. Jonathan A. Hunter Mrs. David Hunter Robbie and Cheryl Jarrell Mrs. Kristina K. Johnson Dr. Amanda Barre Kogos Mr. Jerry L. Kubnick Colleen and Anthony LaRocca Jr. Mrs. Sandra P. Larson Mr. and Mrs. Robert E. Leake, Jr. Gladys LeBreton Mrs. Edward N. Lennox Luis A. Lizama Ms. Belva Locker Jay and Dara Long Mr. and Mrs. Lee H. Longstreet Ms. Wilma S. Longstreet Marc Losh Marc Loudon Mr. Jordy J. Luft Ms. Marjory M. Lyman Francis J. Madary, Jr. Joel and Suzy Mague Mr. Michael L. Mancuso Eva F. Martinez Regina Matthews Julie McCollam Samuel J. McGrew, III Erin McQuade Wright Ms. Diane H. Michelli Ms. Shelley Middleberg Dr. Howard W. Mielke Mr. Dan Milham Deborah L. Miller Dr. and Mrs. Lee Roy Morgan, Jr. Nathanael and Elizabeth Mullener Harriet H. Murrell Dr. Lynne H. Neitzschman Ms. Bonnie Nelson Colvin G. Norwood Dr. and Mrs. Tom Oelsner Mrs. Ruth R. Olivera Jerry R. Osborne

John H. Palmer Nicholas D. Pappas, M.D. Julia Pence Dr. and Mrs. H. Gunther Perdigao Allan Peterson and Frances Dunham Mrs. Benjamin J. Phillips Mr. and Mrs. Ronald J. Pierce Ms. Murray M. Pitts David Radlauer Suzanne Raether John and Martha Reaves Head Dr. and Mrs. Richard J. Reed Carol T. Richards Macon and Hill Riddle Antonio Rodriguez Ms. Carol H. Rosen Anthony M. Rotolo Dr. Alfred J. Rufty, Jr. William J. Ryan, III Ms. Rosemary G. Ryan Drs. John and Sylvia Schneller, III Mr. and Mrs. Richard Schornstein Kathleen and Edmund Schrenk Ben Seay Robert and Denise Sebastian Robert Shank Mr. Carl Sherman Margaret & Wade Shields Mrs. Alfred Spansel Jeanne Stangle Howard Stanley Mr. D. Kirk Stirton Ms. Jon B. Strauss James A. Stuckey Mrs. Carroll Suggs Mr. and Mrs. George R. Sumner Nia K. Terezakis, M.D. James and Caroline Theus Dr. and Mrs. Karl Tornyos Joe and Judy Toups Leonard G. Tubbs, Jr. Mr. John Keith Veizer Gerard and Evita Victor Yvonne Vonderhaar Mr. Jason Waguespack Julia and Cedric Walker Dr. and Mrs. Terence E. Walsh James Wesner Katherine M. Whann Mr. and Mrs. Robert J. Whann, III Mr. and Mrs. Robert J.A. Williams John C. Williams Architects, LLC Elizabeth and Courtney Wilson Liz Winston Barbara Jezek-Withrow Dr. and Mrs. Steven D. Yellin

Stand Partners is a new and exciting program pairing donors of $5,000 and above with LPO musicians to create a richer and more meaningful experience for LPO patrons and, in return, grow support for the talented and incredible musicians of the LPO. The Seibel Society welcomes all Orchestra Fund donors of $3,000 and above. The society honors Jutta Reumann-Seibel and the LPO’s first music director, Klauspeter Seibel (1936-2011), by underwriting the fees of young soloists and conductors who perform with the orchestra, as well as contributing toward the cost of musicians’ salaries. Con Brio is an exclusive group of LPO patrons who donate $1,500 or more to the Orchestra Fund each year. Members enjoy musical events during the season with Carlos Miguel Prieto and guest artists.

Allegro is a group of LPO patrons who donate $600 or more to the Orchestra Fund each year. Members enjoy musical events during the season with Carlos Miguel Prieto and guest artists. Allegro was founded by an exclusive group of Northshore patrons supporting the regional series of the LPO.

Endowment Fund

We are grateful to the following donors who have helped secure the future for the Louisiana Philharmonic Orchestra through Endowment Fund contributions:

Darwin S. Fenner Memorial Fund Joan Coulter Fund for the LPO LPO Endowment Trust LPO Fund

Pete Wolbrette Memorial Fund Virginia D. Kock Endowment Weil Family Fund

Amadeus Society

is LPO’s planned giving society formed to recognize the generosity and vision of individuals whose thoughtful estate planning will ensure that the LPO continues to provide the best orchestral music to our audiences and the highest quality education programs to students, families, and teachers throughout the region for years to come. We offer a range of gift planning opportunities that allow you to make a lasting difference at the LPO while meeting your personal philanthropic goals.

Options for LPO Planned Giving: • • • • •

Bequest beneficiary designation Charitable remainder trust Charitable lead trust Retirement assets Life insurance policy

• • • •

Commercial annuity contract Bank account Investment account Outright gift of other assets

For more information, contact Mimi Kruger at 504.523.6530, ext.301 or mimi.kruger@lpomusic.com

Amadeus Society The LPO Musicians, Trustees, and Staff gratefully acknowledge the bequests of those who expressed their support for the future of the LPO in their estate gifts: Betty Weston Atkinson Olga Ravitsh Braunstein Abby Ray Catledge Carol Haik Eyrich Darwin Schriever Fenner Norma Eyrich Gross Peter and Doris Hansen Byrde Berenson Haspel Karl Heinz Hasselbach Robert Z. Hirsch Rosemarie Jernigan Virginia D. Kock Louise L. Levy Elizabeth E. MacConnell

Berthe Mangin John A. Marque Leroy R. Nolan Felicien Gus Perrin Francoise Billion Richardson Rachel Sainton Edward Schlotter Dorothy Beckemeyer Skau Doris Zemurray Stone Kathleen Moore Vick Lorraine Halse Vines Nellie H. Weekley Rosetta and Harold Weil Mr. Clarence D. Wolbrette

The LPO’s planned gift society would like to thank the following individuals for the generosity, vision, and thoughtful planning that will help to ensure that the LPO continues to provide the best orchestral music to our audiences throughout the region for years to come. Mr. John S. Batson Mrs. Adelaide Wisdom Benjamin Drs. Andrea S. and Archie W. Brown Ms. Nancy L. Claypool Dr. Jane Eyrich Dr. Phillip F. Fuselier Larry and Joanne Gay Robert and Valborg Gross Dr. and Mrs. Stephen W. Hales Dr. Edward D. Levy, Jr.

Program Book - Volume 26.1

Hugh W. Long and Susan L. Krinsky Ellen and Stephen Manshel Dr. Mark McCreary Drs. R. Ranney and Emel Songu Mize Ms. Babs Mollere Peter Rogers Ms. Courtney-Anne Sarpy Lillian Eyrich and Rosemary Vines Ms. Lizbeth A. Turner

Commemorative Giving Honorariums Honorarium gifts to the LPO are a thoughtful way to commemorate an anniversary or birthday, or to honor a loved one. The LPO thanks the following donors and their loved ones for their honorary gifts. Mr. and Mrs. Tom Benson, the New Orleans Saints and the New Orleans Pelicans, by Mr. James C. Gulotta and Ms. Susan G. Talley

Dr. Richard Oberheldman, by Drs. Andrea S. and Archie W. Brown

Mary Ann Bulla, by Raquel Cortina

Mr. and Mrs. Thomas Sands, by Beth and Lynton Cook Jan Wootan

Mr. and Mrs. William Hess, by Mrs. Sara B. Stone Dr. Kent Jensen, by Robert Shank Marilyn and Paul Kullman, by Elliot Bain Paul J. Leaman, Jr., by Ms. Anne B. Gauthier Sanford L. Pailet, M.D. Truman Nguyen and Ryan Nguyen, by Ms. Emily Lapouble

Courtney-Ann Sarpy, by Ms. Katherine P. Gage Katherine de Montluzin Mr. and Mrs. Robert J. Whann, III Mr. and Mrs. Lewis Stirling, by John C. Williams Architects Sue Wiseman, by Mrs. Jacqueline Gold Jan Wootan, by Maj. Gen. (Ret.) and Mrs. Thomas A. Sands Hannah Yim and David Rosen, by Joel Horwich

Memorials The following donations have been made in memory of beloved friends and family members. Berry Becnel, by Dr. Phillip F. Fuselier

Richard Giraud, Jr. by Joy B. Giraud

John Henry Butler, II, by Ms. Judith Ahrens Renay Blumenthal Paul and Danielle Boudreaux Ms. Florence Brown Thomas Connolly Mayo K Emory Foley Lamy and Jefferson Georgia Chamber of Commerce Mr. and Mrs. Bruce A. Gordon Margaret Harman Mr. and Mrs. David Hunter Robert Kahn Jane M. Langley Nicholas D. Pappas, M.D. Joe and Ann Robinson The St Joseph and Felicite Plantations Amy Chaiken Wolffe

Homer Devon Graham, Jr., by Mrs. Adelaide Wisdom Benjamin

Russ Carll, by Angela Carll Lani Clemence, by DeVonde and Kathleen Clemence John R. Donovan, by Ms. Marlene L. Donovan Philip Frohnmayer, by Drs. Zoe and Scott Sonnier Marjorie Gehl, by John H. Palmer

Leslie Inman, by Mrs. Joan G. Inman Pauline Carroll Krause, by Barbara Jezek-Withrow Catherine Clarke Leake, by Mrs. Adelaide Wisdom Benjamin Lawrence B. Eustis Friday Afternoon Club Mr. and Mrs. Edward F. Martin Deborah L. Miller Allan Peterson and Frances Dunham William G. Sabatier Jane P. Stewart Maria Watson Pam Legendre, by Mrs. Joan Mendola Coulter Sharon Litwin, by Mrs. Donald M. Bradburn Dr. and Mrs. Charles L. Brown, Jr. Todd Gordon and Susan Feder Dr. Edward D. Levy, Jr. Mr. Paul Rosenblum Margaret & Wade Shields Mrs. Virginia Weinmann Carolyn Lousteau, by Dr. Ray Lousteau

Louisiana Philharmonic Orchestra

Commemorative Giving Mary Bess Matthews, by Mr. and Mrs. Dean H. Miller Peter Mayer, by Mr. and Mrs. Ronald J. Pierce Robert Kent Mitchell, by Antonio Rodriguez Louise Ogburn Suzanne Motion, by Anne-Marie Fargason Russell J. Nicolay, by Mr. Grover C. Bailey Mr. and Mrs. Charles S. Palmisaro, by Ms. Charlene Marsiglia Gregory Pechukas, by Ms. Belva Locker James T. Rogers, by Dr. and Mrs. John H. Baron Sylvia Schreiner, by Ms. Louise C. Schreiner Dorothy R. Shushan, by Mrs. Adelaide Wisdom Benjamin Ana and Juan Gershanik Dr. Edward D. Levy Jr. Stephanie Stanley, by Howard Stanley Barbara Wedemeyer, by Mr. Henry Bernstein and Mr. Jerry Zachary Mrs. Philip Breitmeyer, II Ms. Florence Brown William M. and Joan H. Carter Mrs. Francella S. Flurry Ms. Marilyn V. Dittmann and Mr. Paul J. Leaman, Jr. Ms. Babs Mollere Mr. and Mrs. Gerald Satawa Dr. and Mrs. Leonard B. Thien

Joe and Judy Toups Ms. Julie W. Woolfolk Merlyn Reisch Weilbaecher, by Mr. Henry Bernstein Mr. Robert R. Casey Cecile and Martin Covert Mrs. Francella S. Flurry Mrs. Edward N. Lennox Diane O. Martin Ruth Rosen Weisler, by Ms. Katherine P. Gage Carol T. Richards Judy Schermer Clarence D. Wolbrette, by Mr. John S. Batson Melanie and Danny Bronfin Dr. and Mrs. Charles L. Brown, Jr. Laura and Allen Carman Lauren Cecil Dominique Chauvin Mrs. Joan Mendola Coulter Crozet Duplantier and Lois Robinson Tod C. Engelhardt Margaret and Joe Epstein Melissa Erekson Mark and Joan Faust Robert and Valborg Gross Allyson Halperin and Farrar Hudkins Debra Holman Ms. Gail Mast Eva F. Martinez Mr. and Mrs. Dean H. Miller Ms. Babs Mollere Colvin Norwood Dr. and Mrs. Tom Oelsner Parkside Foundation Lizbeth A. Turner Mrs. Mary Wendt Bill and Louretta West Mr. Stephen Yeager John M. Yarborough, Jr., by Daniel and Camilee Gross

Music Library Fund The LPO Music Library Fund is your opportunity to invest in sheet music for the LPO Music Library. The fund ensures that we can design programming based on artistic excellence rather than on the cost of sheet music. We thank the following donors for their contributions. (Gifts received between July 1, 2015 and August 1, 2016). Beethovenâ&#x20AC;&#x2122;s Symphony No.5, by Capt. Gary Bair Beethovenâ&#x20AC;&#x2122;s Symphony No.3, Wind Set and Score, by Ms. Emily Lapouble, in honor of Truman Nguyen and Ryan Nguyen General Library Fund, by Dr. and Mrs. Luis A. Balart

Program Book - Volume 26.1

Jeffrey and Kasey Bealer Melinda O'Bryant-Brencick and Vincent Brencick Claudia and Steve Campbell Mr. and Mrs. Joseph M. Elliot, III Sandra Gotzkowsky Ruth Russell Andrew J. Sanchez, Jr., M.D. Mr. and Mrs. Gerald Satawa Gabriele and Roland Timmerman Dr. and Mrs. Roy S. Weiner

NEW ORLEANS TRADITION, NATIONAL REPUTATION. For more than a century, Villere & Company has earned the trust of New Orleans families, non-profits, and businesses. Our investment process is based on deep research, a focus on innovation, and an eye for seeking hidden value. Now with the Villere Family of Funds — the Villere Balanced Fund and the Villere Equity Fund — the Villere tradition and long-term growth strategy are within reach of more investors than ever. Minimum investment of $2,000. Visit www.villere.com to discover why America’s leading business reporters — from Barron’s to The Wall Street Journal — are all talking about Villere & Company and to explore our investment advisory services for individuals, families, and non-profits.

Villere &Co. Investment Counsel Since 1911

St. Denis J. Villere & Company, LLC 601 Poydras Street, Suite 1808, New Orleans, LA 70130 504-525-0808, www.villere.com Mutual Fund investing involves risk; principal loss is possible. Investments in smaller and medium sized companies are subject to greater volatility. The Villere Balanced Fund invests in debt securities which typically decrease in value when interest rates rise. This risk is usually greater for longer-term debt securities. Investments in lower rated and non-rated securities present a great risk of loss to principal and interest than higher rated securities. The Villere Equity Fund invests in foreign investments which involve additional risks, including currency fluctuation, political and economic instability, lack of liquidity and differing legal and accounting standards. These risks are magnified in emerging markets. The Fund’s ability to invest in initial public offerings (IPOs) involves a higher degree of risk than more seasoned companies.

An investor should carefully consider the Funds’ objectives, risks, charges and expenses before investing. For a summary prospectus or prospectus containing this and other information about the Funds, please contact your financial advisor or Villere & Co. at 866.209.1129 or visit www.villere.com. Read the prospectus carefully before you invest or send money. Quasar Distributors, LLC, distributor.

52 52 52

Louisiana LouisianaPhilharmonic PhilharmonicOrchestra Orchestra Louisiana Philharmonic Orchestra