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Louisiana Philharmonic Orchestra
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Contents Contents
7 Get to know the LPO!
19 Enigma Variations Classics
Beethoven and Blue Jeans
12
Beyond the Stage: LPO in the Community
Beethoven Symphony
25 No. 7
14 LPO Volunteers
32 Brahms and Bartok
16 2014 - A Strauss Odyssey
35
Classics
Program Book - Volume 24.1
Classics
Pan-American Life Fiesta Sinfonica
La Triste Historia
3
Calendar of Events
LPO
Saturday, September 20 Play Dat! Holy Cross High School 2:30 p.m.
American Fanfare October 24, 7:30 p.m. Mahalia Jackson Theater
Pan American Life Fiesta Sinfonica La Triste Historia November 1, 7:30 p.m. Mahalia Jackson Theater
Sunday, November 2 From a Time of War Viktor Valkov, piano Stage Door Canteen, WWII Museum 4:30 p.m.
Friday, September 26 Enigma Variations Benjamin Beilman, violin First Baptist Church, Covington 7:30 p.m.
Thursday, November 6 Patrick F. Taylor Concert St. Louis Cathedral 6:30 p.m.
Saturday, September 27 Enigma Variations Benjamin Beilman, violin Mahalia Jackson Theater 7:30 p.m.
Friday, November 21 Finckel and Mozart Sym. No. 40 David Finckel, cello First Baptist Church Covington 7:30 p.m.
Thursday, October 2 Baroque Brass First Baptist Church, New Orleans 7:30 p.m.
Saturday, November 22 Finckel and Mozart Sym. No. 40 David Finckel, cello Mahalia Jackson Theater 7:30 p.m.
Friday, October 17 Beethoven Symphony No. 7 Stephanie Thompson, E-flat clarinet First Baptist Church, Kenner 7:30 p.m. Saturday, October 18 Beethoven Symphony No. 7 Stephanie Thompson, E-flat clarinet Columbia Theatre, Hammond 7:30 p.m.
Finckel and Mozart Symphony No. 40 November 21, 7:30 p.m. First Baptist Church, Covington November 22, 7:30 p.m. Mahalia Jackson Theater
Cirque de Noël December 6, 7:30 p.m. Saenger Theater
Sunday, October 19 Beethoven Symphony No. 7 Stephanie Thompson, E-flat clarinet Slidell Municipal Auditorium 2:30 p.m. Friday, October 24 American Fanfare Nena Lorenz, percussion David Salay, percussion Jim Atwood, percussion Mahalia Jackson Theater 7:30 p.m.
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Friday, December 5 Yuletide Celebration Columbia Theatre, Hammond 7:30 p.m. Saturday, December 6 Cirque de Noël Saenger Theatre 7:30 p.m. Sunday, December 7 Yuletide Celebration Slidell Municipal Auditorium 2:30 p.m. Thursday, December 18 Baroque Christmas Esteli Gomez, soprano Amanda Crider, mezzo-soprano New Orleans Vocal Arts Chorale First Baptist Church, New Orleans 7:30 p.m.
Sunday, October 26 Halloween ‘Spooktacular’ Roussel Hall 2:30 p.m. Saturday, October 11 “Sunset Symphony” Park Concert Mandeville Lakefront 6 p.m. Thursday, October 30 Brahms and Bartok Viktor Valkov, piano Mahalia Jackson Theater 7:30 p.m.
Béla Fleck and New World Symphony January 8, 7:30 p.m. Mahalia Jackson Theater January 9, 7:30 p.m. First Baptist Church, Covington
Thursday, December 4 Yuletide Celebration First Baptist Church, Kenner 7:30 p.m.
Saturday, November 1 Pan-American Life Fiesta Sinfonica La Triste Historia Mahalia Jackson Theater 7:30 p.m.
Friday, December 19 Baroque Christmas Esteli Gomez, soprano Amanda Crider, mezzo-soprano New Orleans Vocal Arts Chorale Church of the King, Mandeville 7:30 p.m. Thursday, January 8, 2015 Béla Fleck and New World Symphony Béla Fleck, banjo Mahalia Jackson Theater 7:30 p.m. For a complete listing of this season’s events, visit LPOmusic.com
Louisiana Philharmonic Orchestra
Join Maestro Carlos Miguel Prieto, the Musicians, and the Trustees of the LPO for the
LPO OPUS BALL Tribute to Louis Armstrong
A Gala Celebrating the Louisiana Philharmonic Orchestra SAVE THE DATE Saturday, April 18, 6:30 p.m. Sheraton New Orleans Hotel • 500 Canal Street Paulette and Frank Stewart, Gala Chairs The evening will include a performance in tribute to Louis Armstrong featuring Kermit Ruffins and the Louisiana Philharmonic Orchestra followed by an fantastic dinner and an opportunity to dance the night away. We hope to celebrate our exceptional orchestra with an elegant evening and a memorable experience. Your generous support of the Louisiana Philharmonic Orchestra contributes to the success of our community programs.
For tickets and information, contact Mimi Kruger at 504-523-6530, ext. 302
Program Book - Volume 24.1
5
Welcome to the Montage Fall 2014 Season JAMES CARTER STRING QUARTET
September 23, 7:30 p.m. | Roussel Hall (located on Loyola’s campus) | Free
CLARA YANG PIANO RECITAL
September 24, 7:30 p.m. | Roussel Hall (located on Loyola’s campus) | Free LOYOLA PRISM CONCERT
LOYOLA PRISM CONCERT
September 27, 7:30 p.m. | Roussel Hall (located on Loyola’s campus) | Free
AMY THIAVILLE, VIOLIN, and BRIAN HSU, PIANO
October 10, 7:30 p.m. | Roussel Hall (located on Loyola’s campus) | Free
MARCUS ST. JULIEN with the LOYOLA SYMPHONY ORCHESTRA: ORGAN SYMPHONY EXTRAVAGANZA
October 19, 5 p.m. | Temple Sinai | Free
IGNATIAN SAXOPHONE QUARTET CONCERT
AMY THIAVILLE/BRIAN HSU
October 27, 7:30 p.m. | Roussel Hall (located on Loyola’s campus) | Free
LOYOLA FACULTY BRASS QUINTET
November 3, 7:30 p.m. | Roussel Hall (located on Loyola’s campus) | Free
LOYOLA CHAMBER ORCHESTRA
November 8, 7:30 p.m. | Roussel Hall (located on Loyola’s campus) | Free TICKETS: montage.loyno.edu (504) 865-2074 MARCUS ST. JULIEN
Garden District G a l l e r y Patti Adams
Jim Atwood
8/14/14 4:42 PM
Forty Acres and a Mule, Rolland Golden, 37x49”, oil on canvas
15-0814 Montage Fall 2014 LPO Ad.indd 1
Celebrating Five years in the Historic Garden District 1332 Washington Avenue • New Orleans, LA 70130 • 504.891.3032 • www.gardendistrictgallery.com
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Louisiana Philharmonic Orchestra
Louisiana Philharmonic Orchestra Carlos Miguel Prieto
Adelaide Wisdom Benjamin Music Director and Principal Conductor Violins Benjamin Thacher, Concertmaster The Edward D. and Louise L. Levy Concertmaster Chair Benjamin Hart, Associate Concertmaster Hannah Yim, Assistant Concertmaster Byron Tauchi, Principal Second Violin Xiao Fu, Assistant Principal Second Violin Burton Callahan Qi Cao Razvan Constantin Zorica Dimova Judith Armistead Fitzpatrick Eva Liebhaber Zhaneta Mavrova Elizabeth Overweg Gabriel Platica Yaroslav Rudnytsky Karen Sanno Yuki Tanaka Kate Withrow Sarah Yen Violas Richard Woehrle, Principal The Abby Ray Catledge and Byrne Lucas Ray Principal Viola Chair Bruce Owen, Assistant Principal Matthew Carrington* Amelia Clingman Valborg Gross Lauren Magnus Ila Rondeau Carole Shand 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 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 24.1
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 Andrew Brady, Principal Michael Matushek Benjamin Atherholt, Assistant Principal Contrabassoon Benjamin Atherholt French Horns Mollie Pate, Principal Matthew Eckenhoff Joshua Paulus Amy Krueger Trumpets Vance Woolf, Principal Stephen Orejudos Doug Reneau, Assistant Principal Trombones Greg Miller, Principal Matthew Wright Bass Trombone Evan Conroy Tuba Robert Nu単ez, Principal Timpani Jim Atwood, Principal Percussion Nena Lorenz, Principal* Dave Salay, Acting Principal Guy Gauthreaux Harp Rachel Van Voorhees Kirschman, Principal Piano Mary Ann Bulla * denotes musicians that are on leave for the 2014-2015 season. The string section of the Louisiana Philharmonic Orchestra is listed alphabetically and participates in revolving seating.
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Staff, Boards, and Councils Administrative Staff
Board of Trustees
James William Boyd Chief Executive Officer
Hugh W. Long
Rebecca Cain Director of Production
Stephen Orejudos Orchestra President
Mimi Kruger Director of Patron and Institutional Development Lisa LaFleur Director of Program Development Sean Snyder Director of Marketing and Communications Joe Toups Director of Finance and Administration Amanda Wuerstlin Director of Education and Community Engagement Trey Bornmann Associate Director of Information Technology Ivy Mouledoux Associate Director of Patron Services and Data Systems Ali Hollenbeck House Production Manager JT Kane Orchestra Personnel Manager Lisa Kane Orchestra Librarian Cosimo Murray Stage Production Manager Tommy Kruebbe Asst. Stage Production Manager Ryan Kreiser Patron Services and Digital Media Coordinator Jim Atwood Musician Engagement Coordinator Charlotte Lewis LPO Volunteer
Board President
Walter Harris Board Vice President Timothy Kelly, CPA Treasurer Jim Atwood Assistant Treasurer Matthew Abramo Tiffany Adler Dave Anderson Ben Atherholt Adelaide Wisdom Benjamin* Julie F. Breitmeyer J. Scott Chotin, Jr. Ludovico Feoli Ana E. Gershanik Stephen W. Hales* William D. Hess Angela Hill William H. Hines Dorothy S. Jacobs Doug Kilton Donna Klein Paul J. Leaman, Jr. Cameron Kock Mayer Alton McRee R. Ranney Mize Robert Nunez Boatner Reily* David Rosen David Salay Courtney-Anne Sarpy Bruce L. Soltis Richard L. Strub Stephanie Thompson Catherine Burns Tremaine Hugo C. Wedemeyer Kate Withrow
Northshore Advocacy Council Jan Robert Chair
Michelle Biggs Katherine P. Cain J. Scott Chotin, Jr.* Mary Thomas Coady Mimi Goodyear Dossett Anne Marie Fargason Sarah A. Freeman Richard F. Knight* Noonie LeJeune Ann M. Loomis Janet R. Lynch Benjamin H. Motion Louise Rusch Rich Soine William N. Stadler Roy A. St. Paul, Jr.
Prelude Board Tim Soslow President Caroline Good Matt Eckenhoff Ali Hollenbeck Ryan Kreiser Jordan Macha Paul Macres Hyma Moore Stephen Orejudos Jessica Roberts Skylar Rosenbloom Curry Smith Sarah Vandergriff
Ex Officio: James William Boyd Amy Ferguson Carlos Miguel Prieto Jan Robert Timothy L. Soslow Of Counsel: Julie Livaudais *Life Trustees
Hugo C. Wedemeyer LPO Volunteer
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Louisiana Philharmonic Orchestra
2014 2015
FRIENDS OF MUSIC
TH
NEW ORLEANS
OUR 60 SEASON!
A PRESENTATION OF TULANE UNIVERSITY AND
WU HAN & DAVID FINCKEL Tuesday 10/21/2014 7:30 PM EBENE STRING QUARTET Wednesday 11/19/2014 8:00 PM HERMITAGE PIANO TRIO Tuesday 12/2/2014 8:00 PM MATTHEW POLENZANI, tenor Tuesday 1/20/2015 8:00 PM DANISH STRING QUARTET Wednesday 2/11/2015 8:00 PM POULENC TRIO Tuesday 3/10/2015 8:00 PM 2014-2015 Season Program Book Advertising
EMERSON STRING QUARTET Wednesday 4/15/2015 8:00 PM
Showcase your business
while showing your support for the LPO! Be among the elite few who showcase their businesses to LPO patrons each season. 20,000 copies of the LPO program book are distributed annually at more than 30 concerts regionally in Orleans, Jefferson, Tangipahoa, and St. Tammany Parishes. For more information or rates, call 504.523.6530, ext. 201 or email advertising@lpomusic.com
Program Book - Volume 24.1
All concerts are in Dixon Hall at asdfasd Tulane University. Free shuttle from Diboll parking garage.
SUBSCRIBE ONLINE OR CALL 504.895.0690 FOR TICKETS. WWW.FRIENDSOFMUSIC.ORG
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Conductor
Carlos Miguel Prieto, Music Director and Principal Conductor Widely celebrated as a rising star in the US, Canada, and his native Mexico, Carlos Miguel Prieto’s charismatic conducting, characterized by its dynamism and the expressivity of his interpretations, has led to major engagements and popular acclaim throughout North America and in Europe. In great demand as a guest conductor with many of the top North American orchestras, his relationships with orchestras in Europe, Latin America and the United Kingdom continue to expand. Recognized as the leading Mexican conductor of his generation, Prieto holds four music directorships: with the LPO, the Orquesta Sinfonica Nacional de Mexico, Orquesta Sinfonica de Mineria, and the YOA Orchestra of the Americas. Guest engagements of note during 2014-2015 include debuts with New Zealand’s Aukland Philharmonia Orchestra, Scotland’s BBC Scottish Symphony and Great Britain’s Royal Liverpool Philharmonic, with which he leads the UK premiere of Giovanni Sollima’s Antidotum Tarantulae XXI, Concerto for Two Cellos. Additionally, Prieto guests with the NDR Sinfonieorchester, the Calgary Philharmonic, and the Chicago Symphony Orchestra. Recent engagements include Germany’s NDR Radiophilharmonie at the Rheingau Musik Festival, Mainly Mozart, and the Colorado Music Festival. Renowned for championing Latin American music, Prieto has conducted more than 50 world premieres of works by Mexican and American composers, many of which were commissioned by him. Prieto has an extensive discography that covers labels including Naxos and Sony. His most recent recording is a highly acclaimed CD for Naxos featuring Carlos Chavez’s Piano Concerto with pianist Jorge Federico Osorio and the Orquesta Sinfonica Nacional de Mexico.
Featured Musician
Benjamin Thacher, Concertmaster
A native of Cape Cod, MA, Benjamin Thacher joined the Louisiana Philharmonic Orchestra in 2013 as Concertmaster, having previously served as the Associate Concertmaster of the Boise Philharmonic Orchestra. Benjamin received a B.M. from the New England Conservatory as a student of Donald Weilerstein. He continued his graduate studies at the San Francisco Conservatory under the tutelage of Ian Swensen. His other teachers have included Nathan Cole (First Associate Concertmaster of the Los Angeles Philharmonic), James Buswell, and Kelly Barr (former violinist of the Boston Symphony). Benjamin has performed as a soloist with numerous orchestras including the Nashua Symphony, Boise Baroque Orchestra, Cape Cod Symphony, MetroWest Symphony, and Dorchester Symphony, Chatham Chorale Orchestra, and the Rendezvous Festival Orchestra. In 2013, he appeared as a soloist with the Louisiana Philharmonic Orchestra in a performance of Bach’s Brandenburg Concerto. Benjamin has performed in top venues including Carnegie Hall, Alice Tully Hall, and Jordan Hall. He was the first violinist of the Honors String Quartet at the New England Conservatory. In 2003, he performed on ‘From the Top’ a national public radio program. Benjamin studied for two summers at the Perlman Music Program (PMP) on Shelter Island where he had the unique opportunity to study with world renowned violinist, Itzhak Perlman. He has also attended the SchleswigHolstein Music Festival, American-Bach Soloists Academy, Yellow Barn, Musicorda, and Greenwood. A passionate teacher of both violin and viola, Benjamin was the director of strings and orchestra at the Medicine Hat College in Alberta, Canada. He has also taught at the French International School in San Francisco, and at ArtsWest School in Idaho. He has presented masterclasses and has judged young artists competitions throughout the United States and Canada. His students frequently receive top prizes at local and national competitions. 10 Louisiana Philharmonic Orchestra Benjamin is currently accepting new students and can be reached via e-mail at Thacher86@gmail.com.
Discovery News, music, arts and culture – discover the new, delve deeper into the familiar. WWNO is radio for discovery –
radio that starts conversations, and stops you in your tracks.
WWNO New Orleans Public Radio. Powered by you. W WNO 89.9 FM • K TLN 9 0.5 FM • W WNO2 Classical • W WNO3 Jazz • W WNO.ORG
Martha, Connie, and Vet Boswell, a trio of sisters from New Orleans, were darlings of radio’s golden age. Together they pioneered the cheerful, close-harmony vocal style that became emblematic of 1940s girl groups. Join The Historic New Orleans Collection in rediscovering the Boswell Sisters, one of the city’s most celebrated musical exports.
On view through October 26 533 Royal Street In the French Quarter Tuesday–Saturday: 9:30 a.m.–4:30 p.m. Sunday: 10:30 a.m.–4:30 p.m. Free admission
The Boswell Sisters; 1932; photoprint by John de Mirjian, photographer; The Historic New Orleans Collection, gift of the Boswell Museum of Music, 2011.0315.83
(504) 523-4662
Program Book - Volume 24.1
www.hnoc.org
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Beyond the Stage: Louisiana Philharmonic Orchestra in the Community
Sound Education Sign up today to hold your seats for the coming school year. Contact Director of Education and Community Engagement, Amanda Wuerstlin, at amanda.wuerstlin@lpomusic.com or 504.523.6530, ext. 501. Return of LPO's Play Dat!
We loved Play Dat! so much last season that we brought it back for our 2014-2015 season as part of our opening weekend! What better way to start our season than sitting side by side with our community. With more than 100 participants, we hope to continue and expand Play Dat! each season. Thanks for joining us!
Early Explorers: Orchestra ABCs
These interactive concerts for students in pre-K through first grade provide an interactive way to learn about the instrument families of the orchestra. This season’s program, Orchestra ABC’s, explores the connections between literacy and music. Slidell Municipal Auditorium Tuesday, October 14 First Baptist Church, Kenner Wednesday, October 15 Chalmette Cultural Arts Center Tuesday, October 21 Roussel Hall, Loyola University New Orleans Wednesday, November 5 Church of the King, Mandeville Thursday, November 13 Destrehan High School Tuesday, November 18
Young Artists’ Concerto Competition
October 18, 2014, Dixon Hall Annex, Tulane University Each season, outstanding K-12 students compete for the opportunity to solo with the LPO on a winter Young People’s Concert. Entries are due October 6, 2014 Visit LPOmusic.com/Education for an application.
LPO MASTERCLASS SERIES Free and open to the public Viktor Valkov, piano masterclass Tuesday, October 28, 6 p.m. University of New Orleans - Recital Hall David Finckel, cello masterclass Saturday, November 22, 10 a.m. C/M Complex, Choral Room Loyola University New Orleans
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“
Who Dat?
Carlos Miguel Prieto taking a conducting break to play violin at Play Dat!
I thought the Play Dat! experience was one of the best things I’ve ever done! It was way beyond cool to be able to play alongside such musicians with stratospheric talent! 2013-2014 season Play Dat! participant
2014-2015 FAMILY CONCERTS Halloween ‘Spooktacular’ Oct. 26, 2:30 p.m. JoAnn Falletta, conductor Movie Magic! March 8, 2:30 p.m. Jacomo Bairos, conductor Peter and the Wolf April 19, 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
2014-2015 OPEN REHEARSALS Join the LPO and LPO Volunteers, for coffee, cookies, and great music! 2014 - A Strauss Odyssey Sept. 19 • Mahalia Jackson Theater Enigma Variations Sept. 26 • Mahalia Jackson Theater Beethoven Symphony No. 7 Oct. 17 • First Baptist Church, Kenner American Fanfare Oct. 24 • Mahalia Jackson Theater Brahms and Bartók Oct. 30 • Mahalia Jackson Theater Finckel and Mozart Symphony No. 40 Nov. 21 • Mahalia Jackson Theater Rehearsals start at 10 a.m. and cost $10
Louisiana Philharmonic Orchestra
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P.O. Box 4036 New Orleans, Louisiana 70138-4036 SymphonyVolunteers.org
Symphony Volunteers now has a new name to reflect our long-standing relationship with the Louisiana Philharmonic Orchestra. Through its numerous events, activities and membership options. LPO Volunteers still provides a way for anyone to show their support for the great contribution the LPO makes to the Greater New Orleans community.
Proudly Supporting the LPO for 24 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 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 May 2015
LPO Volunteers’ largest single-event fundraiser, the 2015 Symphony Book Fair will take place at UNO’s Human Performance Center. 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, a fabulous cause. Contact Membership Chair Linda Ferguson at 504.282.0709 or visit SymphonyVolunteers.org to become a member and help us support the LPO.
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2014-2015 Officers & Committees Chairs President Amy B. Ferguson Vice Presidents, Administration Nancy Fridge Kathy Gaspard Vice Presidents, Education & Outreach Betty Gerstner Debra Judd Vice President, Fundraising Ellen Goldring Corresponding Secretary Eleanor Straub Recording Secretary Charlotte Lewis Treasurer Louise Schreiner Financial Secretary Philip Straub Parliamentarian Joel Myers Encore Shop Chair Kathleen Davenport Book Fair Chair Heidi Charters Immediate Past-President Nancy Pomiechowski President-Elect Sarah Lemaire
Louisiana Philharmonic Orchestra
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Louisiana Philharmonic Orchestra
Ad.indd 1
Chamber Music
8/1/2014 11:28:49
Join us as the LPO presents three chamber concerts featuring our world-renowned guest artists with select LPO musicians
From a Time of War
American Strings
Pierrot Lunaire
Chamber Concert with pianist Viktor Valkov
Chamber Concert with banjoist Béla Fleck
Sunday, Nov. 2, 4:30 p.m. Stage Door Canteen National WWII Museum
Saturday, Jan. 10, 7:30 p.m. Contemporary Arts Center
Chamber Concert with clarinetist Jose Franch-Ballester and conductor Carlos Miguel Prieto
POULENC: Sextet for Wind Quintet and Piano MESSIAEN: Quartet for the End of Time
FLECK: Quintet “Night Flight Over Water” DVORÁK: American Quartet
Tickets $35 • LPOmusic.com • 504.523.6530
Saturday, March 21, 7:30 p.m. Gallier Hall STRAUSS, JR.: (arr. Schoenberg): Emperor Waltzes SCHOENBERG: Pierrot Lunaire
Series Sponsor:
Package discounts available
Program Book - Volume 24.1
15
Classics
2014 - A Strauss Odyssey 2014 - A Strauss Odyssey
September 19, 7:30 p.m. • Mahalia Jackson Theater R. STRAUSS
(1864-1949)
Wiener Philharmoniker Fanfare, TrV 248 (3’)
This concert is supported by a generous gift made by Paula Maher
Till Eulenspiegel’s Merry Pranks, Op. 28 (16’) Four Last Songs (25’) I. Frühling II. September III. Bein Schlafengehen IV. Im Abendrot
INTERMISSION
R. STRAUSS
Also sprach Zarathustra, Op. 30 (21’)
Carlos Miguel Prieto, Adelaide Wisdom Benjamin Music Director and Principal Conductor
Susanna Phillips, soprano
Guest artist travel and accommodations provided by:
Ms. Phillip’s appearance is supported by a generous gift made by Dr. Edward D. Levy Jr.
Alabama-born soprano Susanna Phillips, recipient of The Metropolitan Opera’s 2010 Beverly Sills Artist Award, continues to establish herself as one of today’s most sought-after singing actors and recitalists. In 2014-15 Phillips returns to the Metropolitan Opera for a seventh consecutive season starring as Antonia in Bartlett Sher’s production of Les Contes D’Hoffmann under the baton of James Levine, as well as a reprise of her house debut role of Musetta in La Bohème. Additional engagements include Countess in Le Nozze di Figaro with Paul McCreesh and the Gulbenkian Orchestra in Lisbon and the title role in Handel’s Agrippina with Boston Baroque under Martin Pearlman. Phillips’ 2014-15 orchestral engagements are highlighted by a performance of Fauré’s Requiem with the Dallas Symphony Orchestra with Jaap van Zweden and a return to the San Francisco Symphony for Mahler’s Fourth Symphony with Michael Tilson Thomas. A passionate chamber music collaborator, Phillips will join Eric Owens and the Philadelphia Chamber Music Society for an all Schubert program this season. She sings a recital with Brian Zeger and the Chamber Music Society of Palm Beach, and a tour of trio performances with Paul Neubauer and Anne Marie McDermott. Highlights of Phillips’ previous seasons include numerous additional Metropolitan Opera appearances as Donna Anna in Don Giovanni, Pamina in Julie Taymor’s
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Louisiana Philharmonic Orchestra
2014 - A Strauss Odyssey
production of The Magic Flute, Musetta in La Bohème, and as a featured artist in the Met’s Summer Recital Series. She also appeared at Carnegie Hall for a special concert performance as Stella in Previn’s A Streetcar Named Desire opposite Reneé Fleming - a role she went on to perform, to rave reviews, at Lyric Opera of Chicago. She made her Santa Fe Opera debut as Pamina, and subsequently performed a trio of other Mozart roles with the company as Fiordiligi in Così fan tutte, Countess Almaviva in le Nozze di Figaro, and Donna Elvira in Don Giovanni. Additional roles include Elmira in Reinhard Keiser’s The Fortunes of King Croesus, Euridice in Orfeo ed Euridice, and the title role in Lucia di Lammermoor, Countess in le Nozze di Figaro, and Donna Anna, as well as appearances with the Dallas Opera, Minnesota Opera, Fort Worth Opera Festival, Boston Lyric Opera, and Opera Birmingham. In August 2011, Phillips was featured at the opening night of the Mostly Mozart Festival, which aired live on Live From Lincoln Center on PBS. The same year saw the release of Paysages, her first solo album on Bridge Records, which was hailed as “sumptuous and elegantly sung” (San Francisco Chronicle). The following year saw her European debut as Pamina in Die Zauberflöte at the Gran Teatro del Liceu Barcelona. Phillips had a magnificent 2005, winning four of the world’s leading vocal competitions: Operalia (both First Place and the Audience Prize), the Metropolitan Opera National Council Auditions, the MacAllister Awards, and the George London Foundation Awards Competition. She has also claimed the top honor at the Marilyn Horne Foundation Competition, and has won first prizes from the American Opera Society Competition and the Musicians Club of Women in Chicago. Phillips has received grants from the Santa Fe Opera and the Sullivan Foundation, and is a graduate of Lyric Opera of Chicago’s Ryan Opera Center. She holds two degrees from The Juilliard School and continues collaboration with her teacher Cynthia Hoffmann. Born in Birmingham, Alabama and raised in Huntsville, more than 400 people traveled from her hometown to New York City in December 2008 for Phillips’s Metropolitan Opera debut in La Bohème. She continues to be overwhelmed by the support she receives and returns frequently to her native state for recitals and orchestral appearances.
Program Notes By Michael C. Clive
Wiener Philharmoniker Fanfare Richard Strauss
Though Strauss did not compose his Fanfare for the Vienna Philharmonic until he was almost 60 (in 1924), it harks back to the early days of his career. He had a continuing association with the orchestra, and ceremonial commissions were expected from the kind of composer Strauss always aspired to be. When he was only 17, conductor Hans von Bülow anointed him as the heir of Brahms, composer of the Academic Festival Overture — a similarly ceremonial work of great popularity. The Fanfare was written for the Vienna Philharmonic’s first benefit ball and was played while honored guests, such as the Matron of the Ball, arrived at the event. Opera fans will immediately connect this courtly display with Strauss’
Program Book - Volume 24.1
depiction of a Viennese ball and the arrival of its mascot, the Fiakermilli, in his opera Arabella. Like many such pieces, the Wiener Philharmoniker Fanfare is brilliantly dramatic and is dominated by its large brass ensemble (and two sets of timpani!). Opening with a simple, flashing statement, it builds in harmonic and melodic complexity. It has remained in the Vienna Philharmonic’s active repertory since its composition 90 years ago.
Till Eulenspiegel’s Merry Pranks Richard Strauss
In Germany, everybody knows Till Eulenspiegel — the incorrigible prankster who always seems to get in deeper and deeper until he finally comes to a comically violent end, only to be resurrected for the next round of mischief.
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2014 - A Strauss Odyssey
Till is the progenitor of American comic strip characters like Dennis the Menace, and we hear his cartoon-y world in the good humor and exaggerated colors of Strauss’ music. Strauss composed Till Eulenspiegel in 1894 and 1895. It opens with a solo horn theme that bursts upon us with raucous energy, immediately setting the mood. Then Strauss’ gift for vivid narrative takes over, and the music follows Till through the countryside as he escapes wheedling would-be captors, taunts dour clergymen (violas), chases girls (violins), and mocks clownishly pompous schoolmasters (bassoons). Eventually it all catches up with Till: his capture is signaled by a funeral march, and we hear him argue with his executioner on the way to the gallows. Yet even here, there is a weird sense of unrepentant gaiety beneath it all, and we sense that the death wail of the clarinet is not the last word. You can’t kill a rascal like Till Eulenspiegel; he’ll be back.
Four Last Songs Richard Strauss
Composed when he was 84, Strauss’ suite of Four Last Songs is his last completed work. It brings together the qualities for which Strauss is most noted: orchestral expressiveness, lyric sensitivity, and most especially his affinity for the sumptuous, soaring sound of the soprano voice. Strauss’ artistic alliance with women singers is unique in the annals of music. These songs are now universally accepted as a single suite, but they actually comprise three settings of verses by Hermann Hesse and an earlier setting of a poem by Joseph von Eichendorff. Though composed independently, they form an artistic unity in their gorgeous combinations of orchestral accompaniment and soprano voice, and in their characteristically German contemplation of natural themes — the seasons, the sunset, falling asleep — and the human cycle of life and death. Strauss wrote many songs, but the Four Last Songs by themselves have established him as one of classical music’s greatest composers of art songs. Large-scaled yet intimate, they reflect the artist’s life experience and a unique example of a man’s personal expression through the female voice. They are a composer’s final reflections on life and on a life in music.
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Also sprach Zarathustra Richard Strauss
When success as an opera composer made him an international celebrity in his 40s, Strauss was already known throughout Europe as a conductor, pianist and composer of tone poems — a form he popularized and refined in his late 20s and his 30s, displaying a gift for emotionally expressive narratives that sparkle with color and virtuosic effects. But from the outset, Strauss’ dramatic tone poem Also sprach Zarathustra was an outlier among these popular works. Also sprach Zarathustra is based on a shocking and somewhat enigmatic satire of the same title by Friedrich Nietzsche, the heavyweight German philosopher. At first, the voice of the book’s irritable narrator — a skeptical sage who thunders like a biblical prophet even as he ridicules everything in the Bible — seems like a strange subject for an orchestral work. But Zarathustra’s oracular pronouncements give Strauss the chance to create spectacular orchestral effects that suggest cosmic concerns of creation and destiny as well as sonic depictions of natural effects such as sunrise and hinterlands, and human emotions such as yearning and joy. The nine sections of Strauss’ setting, played with only three major pauses, correspond to sections of Nietzsche’s text. But Strauss’ gift for the specifics of musical narrative are less relevant here than in a tone poem such as Till Eulenspiegel, with its story-driven episodes. Zarathustra’s furious orations are of limited interest today, but the mood-paintings Strauss drew from them are ravishing. Strauss composed Zarathustra in 1896, when he was 31. But in 1968, 23 years after his death, its place in the orchestral canon changed dramatically. That’s when Stanley Kubrick included its introduction, an intensely dramatic rendering of a sunrise, in his film 2001: A Space Odyssey. Today it has earned its rightful place in the standard repertory. 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
Classics
Enigma Variations September 26, 7:30 p.m. • First Baptist Church, Covington September 27, 7:30 p.m. • Mahalia Jackson Theater The Chairman Dances; Foxtrot for Orchestra (12’)
SIBELIUS
Concerto in D minor for Violin and Orchestra, Op. 47 (31’)
(b. 1947)
(1865 - 1957)
Enigma Variations
ADAMS
This concert is supported by a generous gift made by Hugo and Barbara Wedemeyer
Allegro moderato Adagio di molto Allegro, ma non tanto
Benjamin Beilman, violin INTERMISSION
ELGAR
(1857 - 1934)
Variations on an Original Theme, “Enigma Variations,” Op. 36 (29’)
Enigma: Andante Variations: “C.A.E.” L’istesso tempo “H.D.S.- P.” Allegro “R.B.T.” Allegretto “W.M.B.” Allegro di molto “R.P.A.” Moderato “Ysobel” Andantino “Troyte” Presto “W.N.” Allegretto “Nimrod” Moderato “Dorabella - Intermezzo” Allegretto “G.R.S.” Allegro di molto “B.G.N.” Andante “*** - Romanza” Moderato “E.D.U.” - Finale
Guest artist travel provided by:
Carlos Miguel Prieto, Adelaide Wisdom Benjamin Music Director and Principal Conductor
Benjamin Beilman, violin
Mr. Beilman's appearance is supported by a generous gift made by Julie Breitmeyer
Violinist Benjamin Beilman’s “handsome technique, burnished sound and quiet confidence showed why he has come so far so fast” (The New York Times). He is the recipient of the prestigious 2014 Borletti-Buitoni Trust Fellowship, a 2012 Avery Fisher Career Grant, and a 2012 London Music Masters Award. This season, he makes his Alice Tully Hall debut, performing the Sibelius Concerto with the Orchestra of St. Luke’s and Gerard Schwarz. He performs the Mendelssohn Concerto with the San Francisco Symphony and the Higdon Concerto with the Philadelphia Orchestra. He performs at South Mountain Concerts with David Finckel, Wu Han, and Paul Neubauer, and in duo recitals with pianist Andrew Tyson at Bay Chamber Concerts, the Tennessee Arts Academy, and Caramoor. Beilman appears with the Chamber Music Society of Lincoln Center throughout the season in New York and on tour as a member of CMS Two. Abroad, Beilman has appeared as soloist with the London Philharmonic Orchestra and Stanislaw Skrowaczewski, with the Tonhalle Orchester Zürich and Sir Neville Marriner, with l’Orchestre Métropolitain de Montréal and Yannick Nézet-Séguin, and with the Malaysian Philharmonic and Hans Graf. He has also appeared in recital
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Enigma Variations
internationally at the Louvre, Tonhalle Zürich, Wigmore Hall, Spannungen, and Festpiele Mecklenburg-Vorpommern. In the U.S., Beilman has performed in Carnegie Hall’s Stern Auditorium with the New York Youth Symphony, as well as with the Los Angeles Chamber Orchestra, the Fort Worth Symphony, the Buffalo Philharmonic, the Indianapolis Chamber Orchestra, the Chicago Philharmonic, the Greenville Symphony, and the Detroit Symphony Orchestra. He made his Weill Recital Hall debut last season in a program that included the premiere of a new work by David Ludwig, commissioned for him by Carnegie Hall. An avid chamber musician, Beilman is a frequent guest artist at chamber music festivals including at Music@Menlo, Music from Angel Fire, and Chamber Music Northwest as well as at the Bridgehampton, Marlboro, Santa Fe, Seattle, and Sedona Chamber Music Festivals. Beilman collaborates abroad at the Kronberg Academy in Frankfurt, Spectrum Concerts Berlin, the Verbier Festival in Switzerland, and at the Young Concert Artists Festivals in Tokyo and Beijing. In 2010, he won First Prize in the Young Concert Artists International Auditions and YCA’s Helen Armstrong Violin Fellowship. He performed acclaimed debut recitals in the Young Concert Artists Series in New York, sponsored by the Summis Auspiciis Prize, and in Washington, D.C. at the Kennedy Center. 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. He won the Bronze Medal at the 2010 International Violin Competition of Indianapolis as well as prizes for the best Bach performance and Mozart sonata performance; First Prize in the 2009 Schmidbauer and Corpus Christi International Competitions in Texas, where he was also awarded the special Bach prize; and the Gold Medal at the Stulberg International String Competition. Beilman was a winner of Astral Artists’ 2009 National Auditions and the Milka/Astral Violin Prize. He was a 2007 Presidential Scholar in the Arts and recipient of a Gold Award in Music from the National Foundation for Advancement in the Arts. He has been heard on NPR’s Performance Today and From the Top, WQXR’s McGraw-Hill Financial Young Artists Showcase, and WFMT’s Impromptu. 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 the Guarneri del Gesù, Cremona, 1735 ex Mary Portman on loan from Clement and Karen Arrison through the generous efforts of the Stradivari Society of Chicago.
Program Notes By Michael C. Clive
The Chairman Dances John Adams
No living composer has been more influential in the world of opera or more successful in creating new ones than John Adams, and his Nixon in China — which once seemed like an impossibly long shot — now grips and fascinates audiences around the world. Silky and seductive, with a catchy foxtrot rhythm, The Chairman Dances is often described as an “outtake” from Nixon in China, but was not simply cut from the opera. “The music is not part of the opera,” writes Adams…”but rather a separate response — a purely
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musical one — to the irresistible image of a youthful Mao Tse-Tung dancing the foxtrot with his mistress Chiang Ch’ing, former B-movie queen and the future Madame Mao…” Though not enacted onstage, The Chairman Dances is richly theatrical. Consider this scenario, from the original score: “Chiang Ch’ing, aka The WhiteBoned Demon, aka Madame Mao, has gatecrashed the Presidential Banquet. She is first seen standing where she is most in the way of the waiters. After a few minutes, she brings out a box of paper lanterns and hangs them around the hall, then strips down to a cheongsam, skin-tight from neck to ankle and slit up to the hip. She signals the orchestra to
Louisiana Philharmonic Orchestra
play and begins dancing by herself. Mao is becoming excited. He steps down from his portrait on the wall and they begin to foxtrot together…”
Concerto in D minor for Violin and Orchestra Sibelius began his musical life determined to achieve greatness as a violinist. “[I]t was a very painful awakening when I had to admit that I had begun my training for the exacting career of an eminent [soloist] too late,” he wrote. He composed his violin concerto in 1903, when he was 36 and his ambitions for a career as a virtuoso were in the past, but his love for the instrument is on every page of the score. By this time, Sibelius had published some of his most popular works, and his stature was international. But despite his increasing success and productivity, he had trouble paying his bills, and his income could not support the lifestyle he wanted for his family. Health worries, too, nagged at him. For more than five years after he completed and then revised his violin concerto, ear and throat problems plagued him until their cause — a benign tumor — was finally found and removed, in 1908. None of these woes are evident in his innovative concerto, which takes advantage of the violin’s versatility — integrating the solo part with the orchestra rather than isolating it for virtuosic display. As it opens, a lovely melody, melancholy in mood, takes its place over pulsing strings. The movement blooms in the richness of its accompaniment and in the vigor of the violin’s solo utterance, building to an energized statement in march rhythm. A fiery coda brings it to a close. The second movement, an Andante, brings us the extended, singing lines that have long been traditional in the central movement of violin concertos — perhaps the most romantic pages Sibelius ever wrote. But it is the final movement, marked Allegro ma non tonto (fast, but not too fast), that has captured most attention among players and critics. Its supreme difficulty belies the “not too fast” marking as its emphatic, swirling dance rhythm builds in energy and technical demands, combining Sibelius’ Nordic aesthetic with the zest of a Gypsy-
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Variations on an Original Theme, “Enigma Variations,” Op. 36 Edward Elgar
Only 21 miles of the English Channel separate the English town of Dover from the French town of Calais, but Great Britain’s musical traditions can seem far more distant from the European mainland. Who are the great British composers? Of course there are Purcell and the Germanborn Handel, an adopted favorite son, and the 20th-century giant Benjamin Britten, to name three. Many critics would include Sir Edward Elgar in this group. But Elgar felt that his own compositional style was more aligned with European influences; born in 1857, he was largely self-taught and kept his distance from British musical circles, which were dominated by academics and suspicious of his Roman Catholic faith. Elgar composed the Enigma Variations in 1898 and 1899, and after some initial resistance, they established his reputation as a composer of greatness. His two symphonies, concertos for the violin and the cello, and the immensely popular Pomp and Circumstance Marches are all standard repertory for today’s orchestras, but the 14 Enigma Variations are especially revered by musicians. The enigma is the theme itself. Throughout the suite, it remains hidden — in Elgar’s phrase, “not played,” though an introductory variation builds around the unstated subject. The 13 movements that follow are affectionate musical portraits of his closest friends and his wife, Alice. What is the theme uniting these variations? Elgar went to his grave refusing to disclose it or even if it was a melody at all. But listeners enjoy puzzling out the enigma for themselves. The suite’s ninth variation, “Nimrod,” is an homage to a particularly admired friend, the music editor Augustus J. Jaeger; the movement takes its name from the Old Testament patriarch described as “a mighty hunter before the Lord.” This movement is considered one of the noblest and most quintessentially English utterances in music. LPO
Enigma Variations
Jean Sibelius
inspired finale. It is considered one of the two or three greatest movements in the violin concerto repertory.
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.
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Outside of Bachs
Baroque Brass October 2, 7:30 p.m. • First Baptist Church, New Orleans SCHEIDT
Battle Galliard (2’)
(1587 - 1653) arr. Ray Mase
SCHEIN
Baroque Brass
(1586 - 1630) ed. R. King
RESPIGHI
(1879 - 1936) arr. James Haynor
Two Pieces (3’) Edmund Cord, conductor
Ancient Airs and Dances (10’) Gagliarda Siciliana Passacaglia
WILBYE
Stay Corydon Thou Swain from The Second Set of English Madrigals (4’)
BARBER
Mutations from Bach (6’)
HANDEL
Overture from Music for the Royal Fireworks (6’)
(1574 - 1638)
(1910 - 1981) (1685 - 1759) arr. Ralph Sauer
INTERMISSION
GRIEG
(1843 - 1907) arr. James Haynor
Praeludium from Holberg Suite (3’)
HASSLER
Canzon Non Toni No. 47 from Sacri Concentus (3’)
GABRIELI
Canzon Septimi Toni No. 2 from Sacrae Symphoniae (3’)
(1564 - 1612) arr. William Schaefer (1554 - 1612) arr. Robert King
TOPF
(c. 1750) arr. David Baldwin
WARLOCK
(1894 - 1930) arr. James Haynor
BACH
(1685 - 1750) arr. Robert King
Lobet den Herrn (4’)
Capriol Suite (10’) Basse-Danse Pavane Tordion Bransles Pied-en-l’air Mattachins
Contrapunctus I from The Art of the Fugue (4’)
Guest artist travel provided by:
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Louisiana Philharmonic Orchestra
Baroque Brass
Professor of Music at the Jacobs School of Music at Indiana University, Edmund Cord is former Principal Trumpet of the Israel Philharmonic Orchestra, the Utah Symphony, and the Santa Fe Opera. He has been a soloist with the Israel Philharmonic Orchestra, the Bangkok Symphony, the Utah Symphony, the Hong Kong Pro Arte Orchestra, and various student ensembles. He has also appeared as Guest Principal Trumpet with the symphony orchestras of St. Louis, Houston, Indianapolis, and San Diego, the Ft. Wayne Philharmonic, and the Indianapolis Chamber Orchestra. He has performed with Doc Severinsen, Ella Fitzgerald, Henry Mancini, Marvin Hamlisch, John Williams, the Temptations, Mannheim Steamroller, the Moody Blues, and many others in the jazz and commercial genres. A charter member of the International Trumpet Guild, Cord coaches and conducts various ensembles and is Director of the Indiana University Brass Choir. From 1994 to 2000 he was the trumpet faculty and a brass coach of the Asian Youth Orchestra. Many of his former students have performance and teaching positions in orchestras, service bands, schools and colleges in the United States, Canada, Mexico, England, Israel, Italy, Australia, China, Japan, Singapore, and Thailand. Cord has presented Masterclasses, clinics, and workshops in brass performance in Australia, England, and Israel, and throughout Asia and North America. He has adjudicated many solo and orchestral competitions, and was Director of the Thailand Brass Festival from 2004 to 2009. Often called for commercial recording dates, he also maintains a busy performance schedule with the Indianapolis Symphony, the Indianapolis Chamber Orchestra, Broadway touring companies, various big bands, and other ensembles.
Program Notes Secrets of the Baroque Trumpet The baroque trumpet had a true friend in the late William F. Buckley, Jr. As a theme song for Buckley’s popular television program The Firing Line, he excerpted one of the gorgeous solo lines from Bach’s Brandenburg Concerto No. 2, a dazzling trumpet showcase. It was a shrewd choice, boosting popularity for the instrument and the Brandenburgs. And if your television set was tuned in, there was no mistaking that sound from two rooms away — even with the volume turned down low. Such is the nature of the bright, focused, penetrating, joyful sound of the baroque trumpet. Baroque composers used the trumpet in abundance. As always, Bach provides ideal models to teach us how. If we visit St. Thomas Church in Leipzig, where Bach worked as Kapellmeister, even the architecture shows how perfectly the trumpet suited the culture of the times: decoration is everywhere. Painted and sculptural ornaments cover virtually every surface, all tributes to the glory of God and all perfectly matched to the treble gleam of the trumpet. If
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there is an aural equivalent of gold, it is this instrument’s golden sound. It carries implicit emotional messages: “good news” and “this is important,” making it ideal for religious music and indispensable to rulers who wanted to announce their own importance. Just a few of Bach’s many examples demonstrate the instrument’s power. His six-part Christmas Oratorio opens with an explosive baroque trumpet fanfare that opens the curtain on the good news of the gospel story, and seems like the most joyful utterance that could possibly be conveyed in music — that is, until the close of the oratorio, when the meaning of the story has been revealed and those same trumpets surpass themselves in jubilation. Similarly, in his Cantata No. 51, “Jauchzet Gott in allen Landen” (“Praise God in all the nations”), there was only one choice to accompany the soprano soloist in praise — the trumpet. The soprano and trumpet lines spur each other on in feats of tribute, and their musical ranges are similar (climbing to high C). Handel’s use of the instrument is instructive as well. We hear it to thrilling effect in Messiah, in “The Trumpet Shall Sound,” and in the aria of celebration
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Baroque Brass
and praise “Let the Bright Seraphim” from the opera Samson. In selecting this aria for performance at their wedding ceremony in 1981, Prince Charles and Lady Diana Spencer spurred a resurgence of interest in it. (Dame Kiri Te Kanawa’s brilliant rendition might have helped, too.) Its continuing popularity shows us that the baroque trumpet has lost none of its power to thrill. Humanity’s early music makers knew that a few holes punched into naturally occurring reeds or tubes could create a kind of basic flute. One of the earliest technological developments leading to modern-day instruments was the branching-off of early trumpets from these early flutes. The first known instruments that were silver, bronze or wooden tubes without finger-holes are considered trumpets, and they are seen in representations as early as basreliefs dating from about 3,500 years ago found in the Temple of Queen Hatshepsut (Egyptian) in Thebes. But further advances in metallurgy were needed to create the baroque trumpet: the ability to bend the trumpet’s metal tubing, allowing longer lengths of tubing to be arranged more compactly so that a wider range of notes could be played. Around the year 1400, instrument makers introduced an S-shape to the tube, later folding the S back to form a loop. These “natural” trumpets, without fingeroperated valves to control the resonating length of tubing, required enormous skill from instrumentalists. Their players had to rely solely on varying air pressure and compressing their lips like a functional reed to control the pitch and volume they produced. Baroque trumpeters still face these formidable challenges, but modern versions of the baroque trumpet are a bit less hazardous to play than were the original antique instruments — which required so much air pressure from trumpeters that their intercranial blood pressure could reach dangerous levels. With the new musical possibilities for dramatic fanfares and flourishes, the trumpet choir became a musthave item for political bigwigs from the Renaissance onward who wished to announce their own importance. As early as the late 15th century, King Matthias I of
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Hungary and Croatia kept 24 trumpeters in his court, while the House of Sforza in Milan struggled along with 18. In the next century, the trumpet’s status and its ubiquity continued to rise throughout Europe as technical advances extended its musical range upward, and subgroups of trumpet-kettledrum players became responsible for specific registers on their instruments. Today’s modern, valved trumpets have changed the way we think about trumpet players. In the world of jazz, we’ve learned to appreciate a sound that can be mellow as well as brassy, and fleet, melismatic runs of notes with the soloist’s fingers bobbing like pistons. The baroque sound is ever-bright and intense. And when you hear a trill or a melisma achieved without the aid of valves, you might well wonder: how did they do that? In preparing this note, your annotator looked deeply into the burning question of whether the phrase “blow your brains out” originated to describe the dangers of trumpet players in the Baroque era — many of whom injured themselves by playing. He could not find a definitive answer. But if you ask a trumpet player, the answer is yes. 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.
MARK YOUR CALENDAR!
OUTSIDE THE BACHS SERIES Baroque Christmas
Thursday, December 18, 7:30 p.m. First Baptist Church, New Orleans Friday, December 19, 7:30 p.m. Church of the King, Mandeville Sponsored by:
Baroque Mass Thursday, March 26, 7:30 p.m. First Baptist Church, New Orleans
Tickets from $20
LPOmusic.com or 504.523.6530
Louisiana Philharmonic Orchestra
Beethoven and Blue Jeans
Beethoven Symphony No. 7 October 17, 7:30 p.m. • First Baptist Church, Kenner October 18, 7:30 p.m. • Columbia Theatre, Hammond October 19, 7:30 p.m. • Slidell Municipal Auditorium ROSSINI
(1792 - 1868)
Overture to Il barbiere di Siviglia [The Barber of Seville] (7’)
BIZET
Suite No. 2 from L’Arlésienne (14’)
DANKNER
Concerto for E-Flat Clarinet and Orchestra, dedicated to Stephanie Thompson (13’)
(1838 - 1875)
Pedelahore and Co., LLP
I. Pastorale III. Menuetto IV. Farandole
Stephanie Thompson, E-flat clarinet
Beethoven Symphony No. 7
(b. 1944)
Concerts sponsored by:
Stuart Chafetz, conductor
INTERMISSION
BEETHOVEN
(1770 - 1827)
Symphony No. 7 in A Major, Op. 92 (36’) I. Poco sostenuto - Vivace II. Allegretto III. Presto IV. Allegro con brio
Guest artist travel provided by: Stephanie Thompson, E-flat clarinet
Stuart Chafetz is a conductor with an affable podium demeanor and a keen sense of audience engagement. Increasingly in demand with orchestras across the continent, this season Chafetz will be on the podium in Phoenix, Houston, Milwaukee, Detroit, Hawaii, Columbus, Jacksonville, Buffalo, Grand Rapids and others. Previous conducting appearances include the orchestras of Buffalo, Chicago, Detroit, San Francisco, Toronto, Calgary, Edmonton, Florida, Houston, Indianapolis, Baltimore, Jacksonville, Kansas City, Naples, New Mexico, Phoenix, San Francisco Ballet, and Virginia. He’s had the privilege to work with renowned artists such as Chris Botti, George Benson, Richard Chamberlain, The Chieftains, John Denver, Marvin Hamlisch, Thomas Hampson, Wynonna Judd, Jim Nabors, Randy Newman, Jon Kimura Parker, and Bernadette Peters. He previously held posts as resident conductor of the Milwaukee Symphony Orchestra and associate conductor of the Louisville Orchestra. As principal timpanist of the Honolulu Symphony for twenty years, Chafetz would also conduct the annual Nutcracker performances with Ballet Hawaii and principals from the American Ballet Theatre. It was during that time that Chafetz led numerous concerts with the Maui Symphony and Pops. Chafetz maintains an ongoing special relationship with Naples Philharmonic Orchestra, and annually leads a variety of their concerts including holiday, Memorial Day, parks, and subscription pops. In the summers, Chafetz spends his time at the
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Chautauqua Institution, where he conducts the annual Fourth of July and Opera Pops concerts with the Chautauqua Symphony Orchestra in addition to his role as that orchestra’s timpanist. When not on the podium, Chafetz makes his home near San Francisco, CA, with his wife Ann Krinitsky. Chafetz holds a bachelor’s degree in music performance from the College-Conservatory of Music at the University of Cincinnati and a master’s from the Eastman School of Music.
Beethoven Symphony No. 7
Stephanie Thompson, a native of northeastern Ohio, is entering her 14th season as the Assistant Principal/Second/E-flat Clarinetist of the LPO. Prior to moving to New Orleans, she performed with numerous orchestras in the US and Canada; she also spent a season with the Sarasota Opera company after Hurricane Katrina. Stephanie’s education includes Bachelor’s and Master’s degrees in Music Performance from Youngstown State University, culminating in a Doctor of Musical Arts degree from the University of Michigan. Some of her notable clarinet teachers include Fred Ormand, Ted Oien, and Clark Brody. Stephanie is a Clarinet Instructor at Loyola University, where she maintains a large studio of upperclass and graduate students. She has taught at Eastern Michigan University, Hiram College, and Youngstown State University. After identifying a need for qualified instrument repair technicians in the New Orleans area, she went back to school and spent time apprenticing to learn the craft. She has operated Stephanie Thompson Woodwind Service for six years, specializing in high-end repair and restoration of clarinets. Stephanie is married to LPO bass clarinetist John Reeks, and has two spoiled cats, Esme and Harlowe. She likes to read, run, and practice yoga.
Program Notes By Michael C. Clive
Overture to Il barbiere di Siviglia (The Barber of Seville) Gioachino Rossini
No one brings up a curtain like Rossini. His popular overtures go far beyond the genre’s typical purposes of setting an appropriate mood and whetting the audience’s appetite for the music and the drama to come, but they often break convention along the way. In overtures by other composers, major musical themes that will return later as full-blown arias are previewed, giving a sense of the action as well as the music. But the overture to The Barber of Seville, one of the two or three most popular Rossini ever wrote, doesn’t give us any hints. The reason: He originally composed it three years before Barber for another opera, Aureliano in Palmira, that was a turgid historical drama set in the time of the crusades. As it turned out, the swashbuckling drama of Aureliana was well adapted to Barber, offering a sense of boisterous action. The opera’s main plot devices,
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including disguises revealed, are well conveyed, and Rossini’s patented longheld crescendos build a sense of tension that reflect the comedy’s hoaxes and escapes. Rossini spoofed his own reliance on these dramatically calibrated buildups of volume and tempo, nicknaming them “Monsieur Crescendo.”
Suite No. 2 from L’Arlésienne Georges Bizet
The brilliantly talented French composer Georges Bizet died only months after the 1875 premiere of Carmen — an opera whose popularity is such that it is taken as confirmation that opera was Bizet’s great musical calling. But Bizet was only 36 when he died, and had already left us a beautiful, sunny symphony that became part of the standard repertory when it was rediscovered. Commissioned to provide incidental music for the play L’Arlésienne by Alphonse Daudet, the endlessly inventive Bizet turned out 27 musical numbers including preludes and
Louisiana Philharmonic Orchestra
Concerto for E-flat Clarinet and Orchestra Stephen Dankner
Stephen Dankner, one of the most important composers on the New Orleans music scene, has dedicated his Concerto for E-flat Clarinet and Orchestra to this evening’s soloist, Stephanie Thompson. Born in 1944, Dankner received his Doctor of Musical Arts degree in composition from the Juilliard School in 1971. Dankner’s flair for the singing line is especially well suited to the E-flat clarinet, often called the soprano clarinet. He fills his music with beauty and wit that evoke the charms of the classical and romantic eras, but with modern sophistication and touches such as jazz notes. His portfolio currently incudes nine symphonies, ten string quartets, six concerti (two for piano, one for violin, two for cello and alto saxophone); three major song cycles; sonatas for violin (2), piano, alto saxophone, cello; three piano trios; a piano quartet; five orchestral tone poems; background environmental music for the New Orleans Aquarium of the Americas and a film score. Dankner has released seven CD recordings on the Albany, Centaur, Gasparo and Romeo labels, and has received commissions from the National Symphony Orchestra, Albany Symphony Orchestra, Louisiana Philharmonic Orchestra, Minnesota Orchestra, Nashville Symphony, Kansas City Symphony, Longwood Symphony,
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Laredo Philharmonic as well as several others in the United States and Europe.
Sympony No. 7 in A major Ludwig van Beethoven
When we think of Beethoven as the Promethean composer who broke boundaries and reinvented forms, the symphony comes immediately to mind; the word “fun” does not. Yet “fun” is a word seen over and over again in critical appreciations of his Symphony No. 7. Its exuberance makes it seem like a symphony of joyful first movements and exciting climaxes, with scarcely a relaxed moment. Richard Wagner called it an “apotheosis of the dance.” Beethoven completed this symphony in 1812, four years after he finished the Pastorale — the longest such period between his symphonies. Like so many of his larger works, the seventh expresses Beethoven’s engagement with the great ideas of his day and is linked to Napoleon, a man he had once viewed as a champion of human values, but to whom he was now openly hostile. The premiere brought together many of the most renowned musicians of the time not just as listeners, but into the orchestra itself for a soldiers’ benefit. The sense of occasion and the buoyancy of the music produced a hugely enthusiastic response; then and for decades afterward, audiences demanded that the second movement be encored. On the other hand, some of the professional musicians in the audience felt that the symphony was not just spectacular, but chaotic — notably Friederich Wieck, Schumann’s father-inlaw, who described it as the work of a drunken composer. History’s judgment has been far more enthusiastic.
Beethoven Symphony No. 7
entr’actes. Daudet supposedly described his own play as “a glittering flop with the loveliest music in the world.” It is dated 1872, three years before Carmen. As Suite No. 2 from L’Arlésienne shows, a big part of Bizet’s spectacular gift was his ability to create a sense of place in his music, and in this suite, the place is Arles, a sun-drenched town in southern Provence. Though this music is drawn from incidental music for a play rather than an opera, its intensely pictorial quality is as theatrical as his music for the opera stage. The abundance of melody in his incidental music yielded two suites: one by Bizet himself (the Suite No. 1), which enjoyed quick success, and the Suite No. 2, sensitively compiled by the composer of the original recitatives for Carmen, New Orleans native Ernest Guiraud.
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.
MARK YOUR CALENDAR! P H I L H A R M O N I C O R C H E S T R A
L O U I S I A N A
BEETHOVEN AND BLUE JEANS
Yuletide Celebration
Thursday, December 4, 7:30 p.m. First Baptist Church, Kenner Friday, December 5, 7:30 p.m. Friday, Dec. 7, 7:30 p.m. Columbia Theater, Hammond Columbia Theatre, Hammond Sunday, Dec. 8, 4:30 p.m. Sunday, December 7, 2:30 p.m. Slidell Municipal Auditorium A fun afternoon of holiday musical favorites and Slidell Municipal Auditorium festivities for the entire family, featuring choirs from Salmen High School and Clearwood Junior High School (at Slidell concert); Southeastern Louisiana University (at Hammond concert); and sing-alongs!
Sponsored by:
Sponsored by: Slidell Symphony Society Pedelahore & Co., LLP
Kids $10/Adults from $20 • Purchase online at LPOmusic.com or call 504.523.6530
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Classics
American Fanfare October 24, 7:30 p.m. • Mahalia Jackson Theater BARBER
Adagio for Strings (7’)
(1910 - 1981)
RUSSELL PECK
(b. 1945)
This concert is supported by a generous gift made by the Nancy F. Link Foundation
The Glory and the Grandeur: Concerto for Percussion Trio (12’) Nena Lorenz, percussion Dave Salay, percussion Jim Atwood, percussion INTERMISSION
COPLAND
American Fanfare
(1900 - 1990)
Symphony No. 3 (38’)
I. Molto Moderato, with simple expression II. Allegro molto III. Andantino quasi allegretto IV. Molto deliberato - Allegro risoluto
JoAnn Falletta, conductor
Nena Lorenz, percussion
Guest artist travel provided by:
LPO Percussionists' appearance is supported by a generous gift made by the
JoAnn Falletta is internationally celebrated as a vibrant ambassador for music, an inspiring artistic leader, and a champion of American symphonic music. An effervescent and exuberant figure on the podium, she has been praised by The Washington Post as having “Toscanini’s tight control over ensemble, Walter’s affectionate balancing of inner voices, Stokowski’s gutsy showmanship, and a controlled frenzy worthy of Bernstein.” Acclaimed by The New York Times as “one of the finest conductors of her generation,” she serves as the Music Director of the Buffalo Philharmonic Orchestra and the Virginia Symphony Orchestra and Principal Guest Conductor of the Brevard Music Center. Falletta is invited to guest conduct many of the world’s finest symphony orchestras. She has guest conducted more than one-hundred orchestras in North America, and many of the most prominent orchestras in Europe, Asia, South America, and Africa. Her North America guest conducting appearances have included the orchestras of Philadelphia, Los Angeles, San Francisco, Dallas, St. Louis, Indianapolis, Seattle, Montreal, Toronto, and the National Symphony. International appearances have included the London Symphony, Czech Philharmonic, Seoul Philharmonic, China National Symphony, Shanghai Symphony, Liverpool Philharmonic, Manchester BBC Philharmonic, among
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Louisiana Philharmonic Orchestra
Dave Salay, percussion
American Fanfare
others. Falletta’s summer activities have taken her to numerous music festivals including Aspen, Tanglewood, the Hollywood Bowl, Wolf Trap, and the Brevard Festival. In addition to her current posts with the Buffalo Philharmonic, the Virginia Symphony and the Brevard Music Center, Falletta has held the positions of artistic advisor to the Honolulu Symphony, music director of the Long Beach Symphony Orchestra, associate conductor of the Milwaukee Symphony Orchestra, Principal Guest Conductor of the Phoenix Symphony, and music director of the Denver Chamber Orchestra, the Queens Philharmonic, and the Women’s Philharmonic. From 2011–2014 she served as Principal Conductor of the Ulster Orchestra in Northern Ireland where she made her debut at London’s prestigious Proms with the orchestra in 2011. Falletta received her undergraduate degree from the Mannes College of Music in New York and her master’s and doctorate degrees from The Juilliard School.
Nena Lorenz has served as Principal Percussionist with the LPO since 2007. She grew up in Sikeston, MO, studying piano at Jim Atwood, the early age of four before beginning percussion and voice at percussion age 12. In 2000, Nena received a Bachelor of Music in Percussion Performance from Eastern Illinois University and continued her performance studies at Carnegie Mellon University, earning a Masters of Music performance in 2002 and an Artist Diploma in 2006, studying with Timothy K. Adams, Jr., Principal Timpanist of the Pittsburgh Symphony Orchestra. While in Pittsburgh, she recorded the percussion chamber piece, “Makrokosmos III” (Music for a Summer’s Evening - 2006) and also appeared as a guest soloist at the International Percussion Festival in San Juan, Puerto Rico. In addition to performing with the LPO, Nena serves as section percussionist in the Colorado Springs Philharmonic and spends her summers playing percussion with the Central City Opera. In 2012, Nena appeared as a soloist with the LPO. She was honored to perform the festive Concertino for Marimba, written by Guatemalan composer, Jorge Sarmientos in 1957. In addition to her orchestra performance, Nena has served as Adjunct Professor of Percussion at Xavier University and University of New Orleans. She has also been a guest clinician at Louisiana State University in Baton Rouge. Dave Salay, originally from Cleveland, Ohio, joined the Louisiana Philharmonic Orchestra in 2007. He serves on the faculty of Loyola University New Orleans and the Greater New Orleans Youth Orchestra Young Artist Academy. Prior to the LPO, he held the position of Principal Percussion with the West Virginia Symphony. Other orchestras Salay has performed with include the Alabama Symphony Orchestra, Fort Wayne Philharmonic, Canton Symphony and Erie Philharmonic. He holds a Bachelor of Music degree from Cleveland State University where he studied with Tom Freer of the Cleveland Orchestra. Dave is an orchestral artist for Freer Percussion and Evans Drum Heads. Jim Atwood began as timpanist with the New Orleans Symphony (now, the LPO) in 1988 under music director Maxim Shostakovich. Atwood’s performing experiences over three decades are many and varied, ranging from the recording studios of the advertising world (where he was also a writer and arranger) to performances in concert halls around the world as timpanist and percussionist with the Mexico City Philharmonic.
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He has appeared as a concerto soloist with the National Repertoire Orchestra and the Colorado Music Festival as well as the critically acclaimed LPO performances in 1998 of David Schiff’s timpani concerto “Speaking in Drums.” His last appearance as soloist with the LPO was in 2009 in a performance of the Phillip Glass “Concerto Fantasy for Two Timpanists” which he also performed with the San Francisco Ballet. He has performed as an extra percussionist with many orchestras and chamber music groups including the Hamburg Symphony, the New York Philharmonic, the Chicago Symphony, and the Bläserquintett der Staatskapelle Berlin. Most recently, he appeared as a featured artist at the Festival Internacional de Percusión de Patagonia in Argentina. Atwood is on the faculty of the Loyola University New Orleans School of Music and is also the director of the nationally renowned Cloyd Duff Timpani Masterclass, now in its 33rd year, in addition to appearing in masterclasses, clinics and percussion festival events across the country in presentations covering every aspect of the timpanist’s art and craft. He has recorded on the Forlane label (including a Grand Prix du Disque), Decca, Centaur, Albany, Nonesuch and Rundfunk Berlin-Brandenburg.
Program Notes American Fanfare
By Michael C. Clive
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Adagio for Strings Samuel Barber
Gorgeous, songful and somber, Samuel Barber’s Adagio for Strings is one of the most familiar and beloved of all American orchestral compositions. Its deeply voiced melodic line remains a constant presence that is both elegiac and hopeful as it passes from one string choir to another — first in the violins and then, a fifth lower, in the violas. As the violas continue to voice the long line, it is taken up by the cellos and further developed, eventually building to a climax in which the basses underline it, adding a sense of depth and timelessness with their unique resonance. A fortissimo climax, like a cry from the heart, is followed by silence, leading to the restatement of the original, with an inversion of its second statement offering perhaps the possibility of healing and hope. Barber originally composed this work in 1936 as the second movement of his String Quartet, Op. 11. It seems likely that his life partner Gian Carlo Menotti, with his keen marketing sense, knew that Barber had a potential hit on his hands. He ensured that the score would be seen and programmed by Arturo Toscanini when the reticent Barber was less sure of its potential. Toscanini led the premiere in 1938. Today, almost 80 years later, Barber’s Adagio for Strings is more than just an orchestral staple; it is an almost universal choice when American orchestras seek to provide beauty, solace and inspiration
for their audiences. This was first noted in November 1963, after President John F. Kennedy’s assassination, when hundreds of ensembles throughout the U.S. spontaneously chose to play the Adagio in tribute; it was equally true in the days following 9/11. It is Barber’s most popular and frequently performed work.
The Glory and the Grandeur: Concerto for Percussion Trio Russell Peck
America lost a dynamic, gifted composer when Russell Peck died in 2009 at the age of 64. A Detroit native, he chose his family and his hometown well: though his parents were not career musicians, they loved music, and his father was a chorister with the Detroit Symphony, a major orchestra dating back to 1887. His doting sisters were equally supportive of his calling to music, and his formative influences included not only Mozart and Beethoven but Motown, a mixture unique to one of America’s great music towns. Russell Peck’s orchestral compositions have received thousands of performances by hundreds of orchestras in the United States, Canada, Europe, Asia, Latin America, and Africa. In 20002001 a consortium of 39 American orchestras commissioned Mr. Peck’s Timpani Concerto, Harmonic Rhythm; the premiere performances began with the Louisville Orchestra and proceeded with orchestras throughout the United States, including the Detroit Symphony
Louisiana Philharmonic Orchestra
Symphony No. 3 Aaron Copland
America has taken the music of Aaron Copland to its heart, conferring upon him the honorific title of “Dean of American Composers,” and as listeners we feel we
know his music. But do we? To most of us, his work as a symphonist is not as familiar as his theatrical scores and picturesque suites, but it is the source of one of classical American music’s most famous anecdotes: In 1925, just after Copland had returned to the U.S. after composition studies with Nadia Boulanger in Paris (the first of many American composers to do so), his Symphony for Organ and Orchestra received its premiere under the baton of Walter Damrosch. Addressing the audience, Maestro Damrosch said “If a young man at the age of 23 can write a symphony like that, in five years he will be ready to commit murder.” After two decades Copland still had not murdered anyone, but he had received the commission for his Symphony No. 3 from the Boston Symphony Orchestra and its music director Serge Koussevitzky, who led the premiere. Koussevitzky told his listeners and the music press that Copland’s third was the greatest American symphony ever composed. The symphony is a fusion of Copland’s cherished “Americana” style, heard in his theatrical works, and his explorations as a symphonist. As the symphony develops, it first hints at and then announces one of the most familiar themes in American music: the brass passage that we know as Fanfare for the Common Man. Like Barber’s Adagio for Strings, the fanfare was extracted to become a staple of the orchestral repertory. LPO
American Fanfare
Orchestra and the Rochester Philharmonic Orchestra. High energy, direct emotional expression and theatrical flair are characteristic of Peck’s compositions, and all these are evident in The Glory and the Grandeur, which deploys a full orchestra and showcases a virtuosic percussion work that has been described as “aerobic.” The score calls for an unusually comprehensive range of percussion instruments, including toms and snare drums, four keyboard instruments, and metallic percussion ranging from opera (gliss) gongs to Western cymbals, Chinese cymbals and small, mounted cymbals called crotales. Peck’s performance notes indicate that the percussion trio should set up in front of the orchestra, visually framing the drama of their movements as part of the composition’s overall effect. Its opening is drawn from Peck’s popular Lift-Off, a chamber piece for percussion trio, but goes beyond that work’s scope to incorporate fast, virtuosic runs on marimba and xylophone. In one daredevil passage, Peck directs that all three percussion players convene at the marimba, playing rapid lines that cross over one another. Rarely is orchestral music so theatrical, both in sight and sound.
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.
CIRQUE DE NOËL Saturday December 6, 7:30 p.m. Saenger Theater BEETHOVEN AND BLUE JEANS K e n n e r
•
H a m m o n d
Thursday, Dec. 4, 7:30 p.m. First Baptist Church, Kenner
•
S l i d e l l
Robert Bernhardt, conductor
A fun holiday concert Friday, Dec. 5, 7:30 p.m. Columbia Theatre, Hammond featuring musical favorites and festivities for the Sunday, Dec. 7, 2:30 p.m. entire family, with local Slidell Municipal Auditorium choirs and sing-alongs! Sponsored by:
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Cirque de la Symphonie returns in a performance that combines death-defying cirque acts with holiday orchestral music.
Baroque Christmas New Orleans • Mandeville
Thursday, December 18, 7:30 p.m. First Baptist Church, New Orleans Friday, December 19, 7:30 p.m. NEW VENUE: Church of the King, Mandeville Sponsored by:
Patrick Quigley, conductor Esteli Gomez, soprano Amanda Crider, mezzo-soprano New Orleans Vocal Arts Chorale
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Classics
Brahms and Bartok October 30, 7:30 p.m. • Mahalia Jackson Theater KODÁLY
Dances of Galánta (15’)
BARTÓK
Concerto No. 1 for Piano and Orchestra (25’)
(1882 - 1967)
(1881 - 1945)
This concert is supported by a generous gift made by Dotty Jacobs
I. Allegro moderato II. Andante III. Allegro molto
Viktor Valkov, piano INTERMISSION
BRAHMS
(1933 - 1897)
Symphony No. 3 in F Major, Op. 90 (33’)
Brahms and Bartok
I. Allegro con brio II. Andante III. Poco allegretto IV. Allegro
Carlos Miguel Prieto, Adelaide Wisdom Benjamin Music Director and Principal Conductor
Viktor Valkov, piano 2012 New Orleans International Piano Competition Gold Medalist
Guest artist travel and accommodations provided by:
Piano provided by:
Mr. Valkov’s performance is dedicated to the memory of Dr. John M. Yarborough
Winner of the 2012 New Orleans International Piano Competition, Viktor Valkov has received high acclaim by critics as “lion of the keyboard” and “sensational.” Since 2002, he has given recitals in United States, Japan, Germany, Italy, Greece, Bulgaria, and Macedonia. In 2003, he received an invitation from the New Symphony Orchestra and conductor Rossen Milanov to perform Dimitar Nenov’s Grande Piano Concerto. In 2007, Valkov made his debut with the Sofia Philharmonic Orchestra. One of Valkov’s latest solo projects featured Busoni’s Fantasia Contrappuntistica as the focal point. During the 2011-2012 season, Valkov presented a program of music from the 1600’s by composers such as Froberger, L. Couperin, Frescobaldi, Buxtehude, and selections from the Fitzwilliam Virginal Book. Valkov frequently performs in a cello and piano duo with the Bulgarian cellist, Lachezar Kostov. The Kostov-Valkov Duo debuted at Carnegie Hall in 2009 and, in 2011, won the Liszt-Garisson International Competition, where they were awarded first prize, the overall Liszt Prize, and the special prizes in the collaborative artists category. Valkov has made several recordings for the Bulgarian National Radio archive, many
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Louisiana Philharmonic Orchestra
of which have been broadcast. He has also recorded for Bulgarian National Television and Macedonian Radio and Television. In 2008, he recorded the entire music for cello and piano by Nikolay Roslavets in collaboration with the cellist Lachezar Kostov. The recording was released by NAXOS in March 2011. Valkov earned a master’s degree from the Juilliard School studying with Jerome Lowenthal and Matti Raekallio. In the fall of 2010, Valkov began pursuing a doctorate degree at Rice University with Jon Kimura Parker.
Program Notes By Michael C. Clive
Dances of Galánta Zoltán Kodály
Program Book - Volume 24.1
Concerto No. 1 for Piano and Orchestra Béla Bartók
Born in 1881, Béla Bartók is often credited as one of the founders of modern ethnomusicology as well as a seminal modernist. Like György Ligeti, he was ethnically Hungarian but hailed from a region that now forms part of Romania, where his father was head of an agricultural college and his mother was a teacher. Both were able musicians, and Béla’s mother gave him his first piano lessons. After his father’s death the family relocated to the city now known as Bratislava, where Béla’s schoolmates included the fellow composer Ernö (Ernst von) Dohnányi. While the basic facts of Bartók’s biography look similar to those of his friend and colleague Zoltán Kodály, his extraordinary gifts as a composer and musical innovator put him on another level of music history. During his lifetime, even as his challengingly modern compositions were going unheard, conductors and fellow musicians sensed the urgency of bringing his extraordinary talents before the public. His own piano concertos were the ideal vehicle; as the musicologist Phillip Huscher notes, Bartók’s formidable skills as a pianist would have made him a major figure in 20th-century music even if he had not gone on to a more brilliant career as a composer. Bartók composed his Piano Concerto No. 1 in 1926 for his own performance in appearances with American orchestras planned for 1927. His tour was to begin with the concerto’s New York premiere, but rehearsal time proved insufficient, and its introduction
Brahms and Bartok
In the Europe of Haydn, Beethoven and Mozart, Austria was a fearsome political powerhouse; its union with Hungary in 1867, ruled by the ancient House of Hapsburg, made it the third most populous and second-largest country in Europe, after Russia. These geopolitical realities are reflected in the development of European classical music. Magyar folk music, with its piquant sonorities and foot-stamping dance rhythms, has always provided more than just rustic touches of color to highlight elegant classical compositions; it was actually a primary inspiration for composers dating back to Haydn. Brahms not only composed rhapsodies and dances that were explicitly Hungarian, but also showed Magyar influences in his larger-scale works. With his friend and compatriot Béla Bartók, the Hungarian composer Zoltán Kodály pioneered the study of ethnomusicology, making Magyar musical sources (and all “roots music”) a subject for serious study and appreciation. Born in 1882 in the Hungarian town of Kecskemét, Kodály distinguished himself as both a composer and an educator. The Dances of Galánta are characteristic of his most popular works, full of tart Hungarian melodies and vibrant energy. If one function of dance music is to make us want to get up and dance, the Dances of Galánta are brilliantly successful. Musicologists view this dance suite as the successor of an earlier piano suite by Kodály, Dances of Marosszék. In his own program note on the Galánta dances, Kodály describes growing up in the country town — a stop on the route between Vienna and Budapest — and hearing a gypsy band playing traditional melodies. These were the first “orchestral sonorities” the young Kodály ever heard,
and though the band disappeared, he never forgot their music. The rest is music history.
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was postponed until the tour’s end. Fritz Reiner conducted the premiere, and later introduced the work to Chicago audiences. It’s fair to state that no earlier work had combined the piano’s sonorous and percussive qualities like this one. With its relentless energy, wandering tonality and spiky intervals, this concerto shows us a new way to listen to the piano. Marked in E minor, it is the last large-scale work in which Bartók specifies a key signature.
Symphony No. 3 in F major Johannes Brahms
Brahms and Bartok
Johannes Brahms’ distinctive, flowing sound seems almost dateless today...certainly no less modern than the music of Richard Wagner. But during their lifetimes, Wagner was cast as pioneer and iconoclast, while Brahms was the reluctant champion of romantic tradition. The fact is that Brahms, for all his discipline and mastery of the classical order in music, went his own way — with the exception, perhaps, of his symphonies. Like every symphonist who followed Beethoven, Brahms toiled in the shadow of the master’s nine symphonies, especially the revolutionary Choral Symphony, No. 9, which revolutionized the form. Brahms was a successful
composer in his 40s before he nervously brought his first symphony before the public, and its success did little to ease his anxieties about the form. Neither did admiring listeners who called the work “Beethoven’s tenth.” Brahms composed his Symphony No. 3 in Wiesbaden during the summer of 1883, nearly six years after completing his second. Hans Richter, who led the premiere with the Vienna Philharmonic, acclaimed it as “Brahms’ Eroica” — high praise that seemed to reawaken Beethoven’s ghost yet again. Brahms continued to refine the work until its publication the following year. Today we hear in Brahms’ third a magnificent symphony of flowing lyricism by a composer who learned from Beethoven’s mastery without imitating him. Musicologists detect a melodic reference to Brahms’ unmarried status throughout the symphony: variations of the motif F-A-F, for the German “frei aber froh” (“free but happy”). To some listeners, the burnished bronze of the symphony’s surface suggests hidden melancholy. But as its rich, passionate finale subsides, we are left with feelings of warm solitude rather than loneliness. LPO
Program annotator Michael Clive writes for the Pacific Symphony and is Editor-in-Chief for The Santa Fe Opera.
PIANO CONCERTO SHOWCASE Presented by the Musical Arts Society of New Orleans Saturday, March 28, 7:30 p.m. Roussel Hall, Loyola University New Orleans
Featuring New Orleans International Piano Competition medalists performing: Schumann: Concerto in A minor Marianna Prjevalskaya, gold Beethoven: Concerto No. 5 in E-flat major “Emperor” Florian Feilmair, silver Prokofiev: Concerto No. 2 in G minor Kenny Broberg, bronze
Tickets from $20
LPOMusic.com • 504.523.6530
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Louisiana Philharmonic Orchestra
Pan-American Life Fiesta Sinfonica
La Triste Historia
November 1, 7:30 p.m. • Mahalia Jackson Theater JUAN TRIGOS
(b. 1965)
Concert sponsored by:
Symphony No. 3, Ofrenda a los muertos (40’) LA TRISTE HISTORIA, Written and Produced by Ben Young Mason, Executive Producer - Duncan Copp, Commissioned by The Houston Symphony INTERMISSION
CHAVEZ
(1899 - 1978)
GINASTERA
Sinfonía India [Symphony No. 2] Four Dances from Estancia I. The Land Workers II. Wheat Dance III. The Cattlemen IV. Final Dance (Malambo)
(1916 - 1983)
PABLO-MONCAYO
Carlos Miguel Prieto, Adelaide Wisdom Benjamin Music Director and Principal Conductor
Huapango
(1912 - 1958) La Triste Historia
Guest artist travel and accommodations provided by:
Program Notes
By Michael C. Clive La Triste Historia note provided by the Houston Symphony
Symphony No. 3, Ofrenda a los muertos Juan Trigos
La Triste Historia began as a short story written more than a decade ago by producer Ben Young Mason. As a boy, he and his sister accompanied their parents on business trips to Northern Mexico, specifically Chihuahua, where they were spellbound by the exuberant fiestas and religious holidays. He remembered, “The most deeply moving of all of these was El Día de los Muertos (Day of the Dead), the time when the gates of the underworld were thrown open and the spirits of the departed were loosed to walk again upon the earth.” This annual celebration takes place on November 1 and 2 in Mexican cities as a way to honor and celebrate the lives of passed family members and friends. “Our parents took us to the panteón (cemetery) to see families gathered
Program Book - Volume 24.1
around candlelit, marigold-strewn gravesites, eating and drinking and telling stories about their loved ones. There was reverence, but also much laughter and a few tears if the wound was still fresh. When I began a love story set against the backdrop of the Mexican Revolution, this most ancient and seminal celebration became its heart,” said Mason. Mason began to think of his story as an accompaniment for a symphony. Having learned about the Houston Symphony’s past innovative film projects like the HD Odyssey series, which used a visual medium to connect the audience to the music, Mason approached the organization with this idea of putting his story to film and commissioning a symphony to underscore it. Thus, the early idea of La Triste Historia was born. The Houston Symphony approached well-known and preeminent Mexican composer Juan Trigos
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La Triste Historia
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to create this film score, the aesthetic which is self-described as Sacred Abstract Folklore. “I was very pleasantly surprised at the novelty of this concept. It was not about writing incidental music for a film, but to compose a symphony. The idea of making a movie with a visual script, taking music as the protagonist, is a very original twist in the history of cinema and indeed meant a big challenge for me,” said Trigos. The symphony is made up of four movements: “Costumbres y encuentro,” “Amor y danza de muertos,” “Revolución” and “Día de muertos (Pasacalle),” each one progressing the story through the unspoken emotions of the main characters and the turbulence of their world. Since this is a silent film with no dialogue, Trigos was sensitive to musically expressing the strong emotions that came through Mason’s story. He described the most prevalent throughout his score, “the sense of nostalgia and deep sadness of things that no longer exist, the blithe or mocking spirit (very Mexican) represented by the skulls and especially the mystical, related to the Day of the Dead.” For Executive Producer Duncan Copp, the film required a newer approach than the ones he previously created for the Houston Symphony, “Early on it was clear we’d need a powerful device to visualize Ben’s colorful narrative.” Copp introduced British animation company ticktockrobot, led by creative director Simon Armstrong, to the project and La Triste Historia became an animated film. “Stylized animation gave us the freedom to immerse our characters in a world centered around the Mexican landscape and culture. Simon’s abstract backdrops created a wonderful pastoral on which La Triste Historia plays out.” Accompanied by specially shot material, as well as carefully sourced film archives from the Mexican Revolution, the production presents a stylized world, bringing to life the written narrative with Trigos’ evocative symphony. “Animation provided us with a powerful palette to illuminate, in an abstract form, the vibrant visual metaphors that abound in Mexican culture: the butterfly that signifies the souls of the departed, and the owl, a symbol of death and destruction. As a team, we had a lot of fun exploring how to subtly weave in these salient allegories.” Another subliminal example are the illuminating skulls and skeletons which flicker through the bodies of the
protagonists at different moments in the film, cleverly foreshadowing death while also linking back to the iconography associated with Day of the Dead. Copp described La Triste Historia as “a journey within a journey,” a fitting description when thinking of the evolution of this project. Jesús and Magdalena’s tragic love story united an international team from Mexico, the U.S. and the UK.; it required a wonderful immersion into Mexican history and culture, specifically El Día de los Muertos (Day of the Dead); and it was the Houston Symphony’s first foray into producing an animated film.
Sinfonía India [Symphony No. 2] Carlos Chavez
In Western classical music, India is often a code-word for the otherness of Eastern exoticism, usually fabricated from whole cloth by European composers — the India of Delibes’ opera Lakme, for example. Carlos Chávez’s hugely popular Sinfonía India does precisely the opposite. It is based on traditional music of Mexican Indians: the Huicholes of Nayarit, the Uaquis of Sonora, and the Seris of Tiburón Island in Baja California. Secondary themes in the symphony are also taken from folkloric sources, and the scoring combines the traditional Western orchestra with the sounds of ancient Mexican percussion instruments that have been made for centuries from butterfly cocoons, gourds, deer hooves and pottery. No culture gap here: this symphony has enthralled listeners throughout the world since its premiere in 1936. An internationally revered figure in 20th-century music, Carlos Antonio de Padua Chávez y Ramírez was born in Mexico City in 1899 to a distinguished family: His paternal grandfather had served as governor of the state of Aguascalientes, and his father, who died when Carlos was only 3, invented a plow that gained use throughout the U.S. His childhood echoes that of many distinguished composers: signs of precocity in his first piano lessons from his brother Manuel, and more intensive instruction at a young age. Chávez’ interest in the indigenous music of Mexico has been traced as far back as family vacations to Tlaxcala, Michoacán, Guanajuato, and Oaxaca, where he heard folk melodies in their original settings. This influence defines
Louisiana Philharmonic Orchestra
his Sinfonía India, an absorbing symphony that is intensified by its complex, layered rhythms and its sweeping pace. Its timeless sound, which seems to resonate with prehistory, grips us even during moments when the tempo slows. The symphony is played without a break, but Chávez considered it to be a threemovement work. In addition to his achievements as a composer, Chávez was a major conductor, educator, journalist and music theorist who helped found and directed the Mexican Symphonic Orchestra. Most U.S. classical enthusiasts have yet to discover his compositions, of which this symphony is the most popular. He died in 1978 at age 79.
Four Dances from Estancia Alberto Ginastera
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Huapango
José Pable Moncayo
Mexican composer José Pablo Moncayo was born 13 years after Carlos Chávez, but his untimely death at age 46 meant his career entirely overlapped that of Chávez — and resembled it in many other ways, as well. Like Chávez, Moncayo showed his talent early, received his first instruction in music from an older brother and was groomed for advanced study at a young age, starting his preparations at age 14 and entering the National Conservatory at age 17. He also became an important educator as well as a composer, establishing literature courses and a composition course for students at the conservatory. His concern with literature shows a cross-cultural breadth of vision that is also reflected in Moncayo’s life as a composer. He studied theory with José Rolon, who was a student of the eminent Parisians Nadia Boulanger and Paul Dukas. Moncayo also had a long, productive friendship with the American composer Aaron Copland, another Boulanger disciple. Copland’s participation in a 1932 festival of chamber music that Moncayo organized was just one affirmation of this remarkable relationship, which was marked by a deeply felt exchange of ideas and affection. Huapango, probably Moncayo’s most popular work, takes its name from a Mexican dance rhythm related to the fandango and danced at popular coastal fiestas of the same name. The sound is spirited but mercurial, darting easily from major to minor keys and shifting from double to triple meters. Composed in a style that originated in the port of Alvarado, Moncayo’s Huapango is composed in three parts whose names alone are enough to make us want to get up and dance: the Ziqui Ziri, the Balaju, and El Gavilan. When especially virtuosic couples step up to perform these dances, they traditionally do so on wooden platforms with rhythmic heel-stamping flair that we can almost see as we listen. LPO Program annotator Michael Clive writes for the Pacific Symphony and is Editor-in-Chief for The Santa Fe Opera.
La Triste Historia
Like the Mexican composer Carlos Chávez, Alberto Ginastera was deeply influenced by the folk music of his homeland, Argentina. His compositions combined traditional folk elements with European classical forms, gradually shifting in emphasis from national to international. Fans of the movie The Competition with Richard Dreyfuss and Amy Irving will recall Ginastera’s enthralling Piano Sonata No. 1, which combines stretches of twelvetone composition with peppery, Argentinian-inspired rhythms. Ginastera composed Estancia for American Ballet Caravan in 1941, when he was 25. The ballet’s scenario, in one act and five scenes based on Argentine country life, fit Ginastera’s musical interests like a glove. Though problems with the touring company prevented the ballet itself from being produced until 1952, Ginastera extracted a suite of four dances from the score, and it received its premiere at the Teatro Coloacuten in Buenos Aires in 1943. Even without the dancers on stage, we can envision the tough, hard-working field hands in the first dance movement, “Los trabajadores agrícolas” (The Land Workers). As the rhythm ebbs, we hear the lyrical “Danza del trigo” (The Wheat Dance) and then “Los peones de hacienda” (The Cattle Men), with its intriguing, syncopated rhythms. (Apparently, Argentinian cattlemen can really dance.) The rousing, fast-paced “Malambo” has a can-you-top-this quality — not surprising, since it is named for a dance that is part of
rodeo-style gaucho contests.
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Chamber Music
From a Time of War November 2, 4:30 p.m. • Stagedoor Canteen, The National WWII Museum POULENC
(1899 - 1963)
Series sponsored by:
Sextet for Piano and Wind Quintet, Op. 100 (20’) I. Allegro Vivace II. Divertissement III. Finale
Heather Yarmel, flute Jaren Atherholt, oboe Christopher Pell, clarinet Andrew Brady, bassoon Joshua Paulus, horn Viktor Valkov, piano INTERMISSION
MESSIAEN
From a Time of War
(1908 - 1992)
Viktor Valkov, piano
Quartet for the End of Time (50’)
I. Crystal liturgy II. Vocalise III. Abyss of birds IV. Interlude V. Praise to the eternity of Jesus VI. Dance of the fury, for the seven trumpets VII. Tangle of rainbows, for the Angel who announces the end of time VIII. Praise to the immortality of Jesus
Eva Liebhaber, violin Rachel Hsieh, cello Christopher Pell, clarinet Viktor Valkov, piano
Eva Liebhaber, violin
Guest artist travel provided by:
Costa Rican violinist Eva Liebhaber has been a member of the LPO since 2008. She holds degrees from Rice University and Arizona State University and her primary teachers include Jonathan Swartz, Radoslaw Szulc, and Kathleen Winkler. Eva has performed as a guest with orchestras such as Orquesta Sinfónica de Minería in Mexico City, Malaysian Philharmonic in Kuala Lumpur, and New World Symphony in Miami. Eva has participated in summer festivals such as Jeunesses Musicales World Orchestra, Orchesterakademie aus Schloss Esterhazy, Grand Teton Music Festival, and Castleton Music Festival and has performed in Germany, Austria, France, Mexico, Costa Rica, Taiwan, Indonesia, and Malaysia. She has performed alongside soloists like Yo-Yo Ma, Itzhak Perlman, Gil Shaham and under the baton of Günther Schuller, Donald Runnicles and Lorin Maazel.
Rachel Hsieh, cello
Heather Yarmel, flute
Hailing from Flint, Michigan, cellist Rachel Hsieh joined the LPO in 2013. She received her bachelor’s degree in cello performance at the University of Michigan where she studied with Erling Blöndal Bengtsson. A recipient of the Gregor Piatigorsky Scholarship, Hsieh earned a master’s degree and graduate performance diploma at the Peabody Conservatory under Alan Stepansky. In 2012, Rachel was selected by Maestro Lorin Maazel to join the Castleton Festival Orchestra in Castleton, Virginia where she has spent the past three summers.
38
Louisiana Philharmonic Orchestra
Jaren Atherholt, oboe
Christopher Pell, clarinet
Jaren Atherholt joined the Louisiana Philharmonic Orchestra as Principal Oboist in 2007. She earned her bachelor's degree from the Cleveland Institute of Music where she studied with John Mack and master's degree from Rice University where she studied with Robert Atherholt. Jaren has performed as guest Associate Principal Oboist with the Pittsburgh Symphony, and Guest Principal Oboist with the Florida Orchestra and Syracuse Symphony. Jaren spent four summers performing in the Marlboro Music Festival and currently spends her summers performing in the Grand Teton Music Festival in Jackson Hole, WY. LPO Principal Clarinetist Christopher Pell appeared as a soloist with the LPO in 2013 when he stepped in at a moment’s notice to perform Copland’s Clarinet Concerto. He has won second prize in the Vandoren Emerging Artists Competition, first prize in the International Clarinet Association High School Competition, and has competed in the ARD International Music Competition in Munich, Germany. As a chamber musician Christopher has performed with Twickenham Fest, the Lake George Music Festival, the Cape Cod Chamber Music Festival, the Orlando Chamber Soloists, and the Louisiana Philharmonic Chamber Series. He has twice been a fellow of The Tanglewood Music Center and graduated from The Juilliard School in 2013 while studying with Jon Manasse. Christopher is a Buffet Crampon Artist and exclusively plays on Buffet Crampon clarinets.
From a Time of War
Andrew Brady, bassoon
Heather Zinninger Yarmel joined the LPO as Principal Flutist in September 2011. A native of Louisville, KY, she received a master’s degree from Rice University’s Shepherd School of Music and a bachelor’s degree and performer’s certificate from the Eastman School of Music. Her primary teachers include Leone Buyse, Bonita Boyd, Tallon Perkes, and Donald Gottlieb. A prizewinner in several national competitions, Yarmel has performed as a guest in the flute sections of the Houston Symphony, San Antonio Symphony, Buffalo Philharmonic, Rhode Island Philharmonic, and New World Symphony. A devoted educator, she currently teaches at New Orleans Center for Creative Arts and Xavier University of Louisiana.
Bassoonist Andrew Brady, 22, from Johnson City, TN., began bassoon study at age 14. In 2009, he performed on NPR’s From the Top; and in 2010 he won the Grand Prize in the Pasadena Showcase Joshua Paulus, horn House for the Arts Competition, which was adjudicated by members of the Los Angeles Philharmonic. In January 2011, Brady performed Mozart’s bassoon concerto with the Seattle Symphony under invitation from Gerard Schwarz. Brady has appeared with the Los Angeles Opera Company orchestra, having performed under Maestros James Conlon and Placido Domingo. Andrew is a recent graduate of The Colburn School Conservatory of Music, where he received a Bachelor of Music degree studying with Richard Beene. Brady has served as LPO principal bassoonist since September 2013. Joshua Paulus currently serves as third horn of the LPO. Prior to the LPO, Joshua performed with orchestras across the country such as the Milwaukee Symphony Orchestra, the New World Symphony, and the Dayton Philharmonic Orchestra. Joshua received his master’s degree from Northwestern University where his principal teachers were Gail Williams and Bill Barnewitz. He received his bachelor’s degree from the University of Dayton under Richard Chenoweth. Paulus’ thesis on the use of the off-stage horn was featured in a presentation at the International Horn Symposium and was published as a full-length article in the journal of the International Horn Society.
Program Book - Volume 24.1
39
Orchestra Fund:
Individual Support
The following individuals are gratefully acknowledged for new and renewed gifts made to the LPO’s Orchestra Fund between July 1, 2013 and June 30, 2014 $250,000+
Estate of Leroy R. Nolan
$100,000+
Mrs. Paula L. Maher
$50,000+
Mrs. Adelaide Wisdom Benjamin
$20,000+
Susan and William Hess Estate of Robert Z. Hirsch Dorothy S. Jacobs Mr. Paul J. Leaman, Jr. Hugh W. Long and Susan L. Krinsky Mr. and Mrs. Charles B. Mayer Mr. J. Robert Pope Mr. Peter Rogers Dr. and Mrs. Richard L. Strub Mr. and Mrs. Hugo C. Wedemeyer
$10,000+
E. Tiffany Adler Mrs. Philip Breitmeyer II Mr. J. Scott Chotin, Jr. Eileen A. Elliott Juan and Ana Gershanik Dr. Edward D. Levy, Jr. Drs. R. Ranney and Emel Songu Mize Ms. Courtney-Anne Sarpy Jerry W. Zachary
Stand Partners - $5,000+
Mr. and Mrs. Kenneth J. Boudreaux Dr. Misook Yun and James William Boyd Dr. Carolyn M. Clawson Sybil M. and D. Blair Favrot Family Fund Mrs. Ellen Frohnmayer Dr. and Mrs. Stephen W. Hales Drs. Henrietta and Walter Harris Mr. Mark McCreary Vincent P. Saia and Glynn Stephens Estate of Dorothy B. Skau Mr. and Mrs. Philip Straub Ms. Catherine B. Tremaine Ms. Lizbeth A. Turner and Mr. Clarence D. Wolbrette
Seibel Society - $3,000+
Anonymous Dr. and Mrs. Joseph J. Biundo Ms. Susan P. Bowers Dr. and Mrs. Gerald Cohen Arthur A. Crais, Jr. Mr. and Mrs. William H. Ellsworth Dr. James A. H. Farrow Mr. and Mrs. Lyle W. Ferguson Mr. James C. Gulotta and Ms. Susan G. Talley Dr. and Mrs. Bernard M. Jaffe Timothy and Virginia Kelly Mr. and Mrs. Charles W. Lane III Bob and Charlotte Lewis Dr. Ray J. Lousteau Joel and Bert Myers Rita Odenheimer Mr. and Mrs. Robert J. Patrick Ruth and Larry Rosen Louise and Richard Rusch
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Maj. Gen. (Ret.) and Mrs. Thomas A. Sands Mr. and Mrs. Bernard Van der Linden Lawrence M. and Georgia B. Young
Con Brio - $1,500+
Anonymous Ronald G. Amedee M.D. and Elisabeth H. Rareshide M.D. Mrs. Bethlehem K. Andrews Mr. Larry Blake Roselyn B. Boneno, Ph.D. Mrs. Donald M. Bradburn Drs. Andrea S. and Archie W. Brown Mr. E. John Bullard, III Dr. and Mrs. Salvador Caputto Carolyn B. Chandler Jean Chappell Ms. Nancy L. Claypool Ms. Veronica Costanza and Mr. Gerald Sellar Robin and Bruce Crutcher George & Milly Denegre Fund Henrietta B Deters Sally T. Duplantier Henry and Joan Folse Ms. Anne B. Gauthier Larry Gay Robert and Valborg Gross Estate of Byrde Berenson Haspel Ms. Angela Hill and Dr. Irwin M. Marcus Abba J. Kastin, M.D. Ellen and Stephen Manshel Lt. Col. (Ret.) and Mrs. Dwight R. McGhee Sanford L. Pailet, M.D. John and Ellen Pecoul Laura Walker Plunkett Mr. and Mrs. John R. Sarpy Mr. and Mrs. Juergen F. A. Seifert Mr. and Mrs. Bruce L. Soltis Dr. and Mrs. Olivier Thelin Mr. and Mrs. Richard A. Thompson Joe and Judy Toups Mr. and Mrs. W. J. Wilkinson Ms. Grace Morris Williamson Mr. George H. Wilson, Jr.
$1,000+
Anonymous Mr. Jack Belsom Mr. George L. Bernstein Diane and John Butler Kathy and Gordon Cain Mr. John L. Cleveland, Jr. Mrs. F.J. Dastugue, Jr. Robert and Ruth Force Lionel H. Head, M.D. Dr. and Mrs. Stephen E. Hellman Mike and Carol Holland Sonia M. Kenwood Lestelle Communications, LLC Mr. and Mrs. Robert Lyall Dr. and Mrs. Troy Macaluso Mr. and Mrs. Jonathan C. McCall Nancy Hudson Miller Suzanne and Ben Motion Dr. Cecilia A. Mouton Max Nathan, Jr. Mr. and Mrs. Ernest L. O'Bannon Dr. and Mrs. John L. Ochsner Mr. and Mrs. William F. Ryan Mr. and Mrs. I. William Sizeler
Louisiana Philharmonic Orchestra
Orchestra Fund:
Individual Support
The following individuals are gratefully acknowledged for new and renewed gifts made to the LPO’s Orchestra Fund between July 1, 2013 and June 30, 2014: Drs. Zoe and Scott Sonnier Mrs. Claire L. Whitehurst Mary Widmann Kathryn Wildgen
Allegro - $600+
Anonymous Mr. and Mrs. Richard M. Adler Apolline Restaurant Mr. Michael L. Baker Ms. Carol Ballantine Bobby Joseph Bennett Ed and Michelle Biggs Mr. and Mrs. Robert B. Branson Margaret W. Brooke Sally T. Buras Dr. Raquel Cortina Ms. Marlene L. Donovan Mimi and Bill Dossett Mr. Robert C. Evans Anne Marie Fargason Dr. Gregory S. Ferriss Ashley Poole Fuselier Mr. and Mrs. Calvin J. Grisafe Mr. and Mrs. Richard D. Herr Gail and Henry Hood Mr. Steven A. Jacobson Judge Martin Coady and Mrs. Mary Thomas Joseph Katherine Kelley Stephanie and Thomas Klekamp Mr. and Mrs. Herman S. Kohlmeyer, Jr. Ms. Adrienne Laborde Noonie and Clay LeJeune Ann M. Loomis Janet R. Lynch Helen R. Malin Dr. Richard and Maggie McConnell Maya’s Meauxbar Bistro MiLa David and Sue Miller Mr. and Mrs. Denis Milliner Eric and Erlinda Nye Alex and Mary Pagnutti Ralph’s on the Park Mrs. Joseph Rault Dr. and Mrs. Gayden Robert, Jr. Mr. John Rusch Beth and Jim Ryan Brian and Jackie Schneider Lain and Nicole St. Paul Mr. and Mrs. William N. Stadler Ms. Vera W. Thibaut Mr. and Mrs. James Thibaut Dr. and Mrs. Leonard B. Thien Peter and Joyce Walker Eric and Regina Wedig Dr. and Mrs. Roy S. Weiner
$250+
Anonymous Mr. and Mrs. Herschel L. Abbott, Jr. Ms. Lisa Amoss John W. Andrews Capt. and Mrs. Gary Bair Dr. and Mrs. Luis A. Balart JoAnne Barry and Kenneth Boulton Mr. John S. Batson Jack C. and Clare Benjamin Designated Fund
Program Book - Volume 24.1
Mr. and Mrs. Phelan A. Bright Mrs. Florence Brown Ms. Charlotte A. Brunner and Mr. Alan M. Shiller Burkedale Foundation Mr. Harold H. Burns Dr. and Mrs. Michael Carey Chadwick Family Foundation Ms. Ann R. Duffy and Mr. John R. Skinner Mr. and Mrs. Edgar L. Chase III Chocolates for Good Jane Clayton, M.D. Dr. and Mrs. Laurence Cortez Mr. William Coskrey Duane and Harvey Couch Dr. and Mrs. Rafael Ducos Dr. and Mrs. Charles L. Dupin Eat New Orleans Maryellen and Rod Eckenhoff Drs. Melanie and Kenneth C. Ehrlich Lillie Eyrich and Rose Vines Mrs. Francella S. Flurry Mr. and Mrs. Richard W. Freeman Dr. and Mrs. Harold A. Fuselier, Jr. Mr. and Mrs. Stephen J. Gaiennie Mr. and Mrs. Bruce A. Gordon Dr. and Mrs. Michael S. Hanemann Rick Henderson, M.D. Danella and George Hero, III Mr. and Mrs. Charles W. Hill, Jr. Mr. and Mrs. Charles F. Hirling, Jr. Heidi and Arthur Huguley Gary and Winkie Hymel Mr. and Mrs. Leslie L. Inman Ms. Ailleen Janney T. Larry and Darlene Johnson Mrs. Keith Kenney Bill and Rosina Kilpatrick Kiwanis Club of Algiers - Morning Edition Ruth and Larry Kullman Mrs. Catherine C. Leake Mr. and Mrs. Robert E. Leake, Jr. Mr. Dwayne O. Littauer Little Gem Saloon Carolyn Wood Lorio Lowenburg Family Foundation Mr. Jordy J. Luft Joel and Suzy Mague John and Brigitta Malm Valerie Marcus Dr. and Mrs. William A. Martin Mr. and Mrs. G. Edward Merritt Louise Moffett Ms. Babs Mollere Gerri and Robert J. Mora Mr. and Mrs. James T. Murphy Dr. Guillermo Náñez-Falcón Dr. James A. Oakes III Paul G. and Elizabeth Hofmann O'Connor Family Foundation Mr. Robert S. Reddington Dr. and Mrs. James E. Ricciardi Mrs. Patricia A. Riggle Dr. and Mrs. Raoul P. Rodriguez Paul and Margaret Rosenfeld Mrs. J. William Rosenthal Anthony M. Rotolo Mrs. Barbara S. Samuels John and Ann Scharfenberg Drs. John and Sylvia Schneller, III Ms. Marie-Louise Schramel
41
Orchestra Fund:
Individual Support
The following individuals are gratefully acknowledged for contributions made to the LPO’s Orchestra Fund between July 1, 2013 and June 30, 2014: Ms. Louise C. Schreiner Mark and Sally Seyler Mr. and Mrs. Joseph Shefsky Alexandra K. Shikhris and Eduard V. Danilyants Katherine E. Siebel Mrs. Dorothy P. Smith Mr. Burton Smoliar Ricardo and Sally Sorensen Mr. Timothy L. Soslow Dr. and Mrs. Robert W. Stafford Diana and Rodney Stieffel Charles and Ann Stuart Claude Summers and Ted Pebworth Mr. William Tebow Textron Marine & Land Systems Dr. Sam A. and Virginia R. Threefoot Fund Drs. Gregory and Ann Tilton Leonard G. Tubbs, Jr. Mr. Joseph D. Vinson, Jr. Mr. W.F. Von Almen II Mrs. John M. Yarborough, Jr. $100+ Anonymous Joseph and Marguerite Abramo Dr. Jeffrey Albert and Dr. Jennifer Miles Judy and Allain Andry Blaise and Janet Angelico Bill Arthurs Jim Atwood Mrs. Ann H. Babington Dr. Marcus D. Ballard Mr. and Mrs. August J. Barbier Dr. and Mrs. John H. Baron Meredith Beers Mr. and Mrs. Richard E. Beltz Ms. Ellen K. Bentz Yolande and Stephen Bernard Ginger Berrigan Ms. Virginia Besthoff Ms. Jessica Richard Bilyeu Mr. Thomas Blum Barbara Boling Mr. William H. Bottomley III Bobby and Denise Breaux Melinda O'Bryant-Brencick and Vincent Brencick Lucille Haueser Brian Dr. Harold Brody and Donald Smith Dr. and Mrs. Charles L. Brown, Jr. Gillian F. Brown Dr. Georgia M. Bryant and Mr. W. Alton Bryant, Jr. Ms. Kimberlee Burt Doris and Ralph Cadow Jane Cain Horner Cain Mark Caldwell Claudia and Steve Campbell Mr. and Mrs. Carlo Capomazza di Campolattaro Camille Carter Sharon Cassiere Joseph and Dianne Caverly Irene Gonzalez Cerise Dr. Stuart and Gail Chalew Loredana Chapman Churros Cafe James T. Clavin Michael and Linda Coney Lee and Valarie Connell/The Connell Group Marcia Cooke and Ted Cotton Bob and Margaret Corcoran John Stone Coulter Fund
42
Mr. Bruce P. Creighton Crescent Title, LLC Dr. and Mrs. Stephen S. Dankner Marion and Bart Darby Mr. Gerald G. Daussin, Jr. Dr. Marsha Davis Ms. Linda Dawson Katherine de Montluzin Dr. and Mrs. Edward De Mouy Ms. Marilyn V. Dittmann Mr. Elroy W. Eckhardt Martha J. Edwards Mr. James F. Elliott, III Mr. and Mrs. Joseph M. Elliot, III Ms. Lois Elliott Ms. Lin Emery Mr. and Mrs. Thomas Escobedo Dr. Jane Eyrich Kay and Tim Favrot Ms. Jean C. Felts Drs. Annette and Julio Figueroa Mrs. Rosemarie B. Fowler Knowles French, Jr. Elizabeth and John Futrell Joanna M. Giorlando Joy B.Giraud Madeline Goddard Mrs. Jacqueline Gold David and Shanni Goldstein Jeffrey Good Kirk and Holly Groh Dr. Owen M. Grossman Linda and Norm Gutzait Ms. Ann H. Hamilton Ms. Mary Ann Hand Ms. Rachel Harney Mr. and Mrs. Kim L. Harvey Kaysey Hasslock Mrs. Mildred F. Hawkshead Mrs. Sandra Heller Chip and Stephanie Hellmers John Hill and John Weimer Judith Hines W.M. Hingle Mr. and Mrs. F. Wilson Hood Richard House Mr. and Mrs. Jonathan A. Hunter Dr. and Mrs. Thomas M. Irwin, Jr. Robbie and Cheryl Jarrell Ms. Barbara Jezek-Withrow Erwin R. Johnson Jung’s Golden Dragon K. Gee’s Chuck and Debra Kirby Dolores Krinsky Mr. Jerry L. Kubnick Mr. and Mrs. Ted Laborde Katherine Lagendyk Erin L. Landry Mr. Henrik A. Larsen Ms. Mary LaValla Byron and Pat LeBlanc Gladys LeBreton Cynthia L. LeBreton Donna Lew Michael Lifsey Christian Lilje Ms. Belva Locker Loraine A. Lockwood Jay and Dara Long Ms. Wilma S. Longstreet
Louisiana Philharmonic Orchestra
Orchestra Fund:
Individual Support
The following individuals are gratefully acknowledged for contributions made to the LPO’s Orchestra Fund between July 1, 2013 and June 30, 2014: Mr. and Mrs. Lee H. Longstreet Mr. and Mrs. James B Lootens Ms. Jacquelyn Lothschuetz Ms. Faina Lushtak Dr. Joan M. and John O. Lyles Ms. Marjory M. Lyman Mrs. Irene E. Mackenroth Francis J. Madary, Jr. Ernie and Mary Malone Estate of Berthe Mangin Dr. Daniel and Mrs. Judy Marshall Nancy Martinson Regina Matthews Dennis and Joanna Maynard Cheryl and Eddie Mazoue Mrs. Sally W. McGehee William McGowan Lamont McLoughlin, III Dr. Howard W. Mielke Mr. and Mrs. Joseph O. Mikes Mr. and Mrs. Dean H. Miller Mr. and Mrs. R. Kent Mitchell Brenda and Michael Moffitt Dr. and Mrs. Lee Roy Morgan, Jr. Jane E. Morgan, Ph.D. Nathanael and Elizabeth Mullener Kay and Tony Mumphrey Harriet H. Murrell Ms. Bonnie Nelson Ava, Leon, and Zack Nowalsky John O'Neal Vernon Palmer Patricia Paulus Mr. William Penick Dr. and Mrs. H. Gunther Perdigao Roy J. Perrin and Leia Ann Fricky, M.D. Mr. Robert L. Pettit, Jr. Mrs. Jennifer S. Phillips Ms. Murray M. Pitts Barbara Watts Ploetz Nancy H. Pomiechowski Mrs. Sylvia Porteous Dr. William and Jane Preau Mr. and Mrs. Sidney Pultizer Drs. Alison Quayle and Alistair Ramsay Yolita E. Rausche John and Martha Reaves Head Dr. and Mrs. Richard J. Reed Mr. William Reeves Keith and Vicki Rhea Mrs. Joan W. Rigby Mr. James G. Richman Ms. Virginia Roddy Dr. Carlos Rodriguez Fierro Molly Rondeau Ms. Carol H. Rosen
Mr. David S. Rosen Andre and Robbie Rubenstein Jack Ryan Andrew J. Sanchez, Jr., M.D. Mr. and Mrs. Edgar L. Schambach Charles and Reda Scher Mr. Bill Schettler Ms. Helen Schneidau Dr. and Mrs. Coleman S. Schneider Mr. and Mrs. Richard Schornstein Mr. and Mrs. John Seidel Mr. and Mrs. George D. Severson Dr. and Mrs. Jay M. Shames Mary L. Shannon Will Sibbald Guy and Tommiann Smith Brianna Smyk Mr. Richard T. Soine Jeffrey and Catherine Coit Kent Stauffer Dr. Maureen W. Stein and Ted Nass Mr. D. Kirk Stirton Ms. Jon B. Strauss Mr. and Mrs. Juan Suarez Mr. and Mrs. George R. Sumner Nia K. Terezakis, M.D. James and Caroline Theus Mr. and Mrs. William E. Thibodeaux Ms. Susan S. Thorburn Mr. and Mrs. Randy Tingstrom Dr. and Mrs. Karl Tornyos Mr. and Mrs. L. Azeo Torre Twelve Mile Limit Mr. Eugene Von Rosenberg Mr. Edward M. Wadsworth Ms. Eileen B. Wallen Dr. and Mrs. Terence E. Walsh Mrs. Trudi L. Watkins Dr. Robert M. Watzke Mrs. Liselotte L. Weil Mrs. Joel Weinstock Ms. Katherine M. Whann Ms. Sibyl M. White Denyce White Mr. and Mrs. Cornelis Willems John Williams Alice B. Williams Ms. Noel Williams Ellen Winchell and Mario Philipp Ms. Julie W. Woolfolk Dalt Wonk and Josephine Sacabo Joan N. Yarborough and John W. Laney Dr. and Mrs. Steven D. Yellin Robert and Nell Nolan Young Alea Zone
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 costs 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.
Program Book - Volume 24.1
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Corporate, Foundation, and Government Support $100,000+
The Andrew W. Mellon Foundation Lois and Lloyd Hawkins, Jr. Foundation LPO Volunteers
$50,000+
Edward Wisner Fund Fidelity Homestead Savings Bank Freeport-McMoRan Foundation Arts Fund
$20,000+
Chevron Corporation Hall Piano Joe W. and Dorothy Dorsett Brown Foundation Kathleen Moore Vick Foundation Louisiana Division of the Arts The Theresa Bittenbring Marque & John Henry Marque Fund Mary Freeman Wisdom Foundation Nancy F. Link Foundation Pan-American Life Peoples Health Roosevelt Hotel RosaMary Foundation Sheraton New Orleans
$10,000+
AT&T Arts Council of New Orleans Boatner Reily Family Fund Carey Limousine Service Delta Eugenie and Joseph Jones Family Foundation Ferber Family of the Jewish Endowment Foundation First NBC GPOA Foundation Iberia Bank Keller Family Foundation Merrill Lynch James R. Moffett Family Foundation New Orleans Theatre Association
$5,000+
Ann and Gordon Getty Foundation Christwood Ella West Freeman Foundation Georges Lurcy Charitable and Educational Trust The J. Edgar Monroe Foundation Jones Walker Kabacoff Family Foundation Monsanto Fund New Orleans City Council/Cox Communications Louisiana’s Community Grant Program Regions Financial Corp Resource Bank Slidell Memorial Hospital Slidell Symphony Society
$1,000+
Baptist Community Ministries Benjamin M. Rosen Family Foundation Britten-Pears Foundation Bruce J. Heim Foundation Downman Family Foundation Heymann-Wolf Foundation Lakeview Regional Medical Center Louisiana Department of Culture Recreation and Tourism Marrero Land & Improvement Association Ltd. Marti's New Orleans City Council/Harrah's New Orleans Community Support New Orleans Jazz and Heritage Foundation New Orleans Silversmiths Pedelahore & Co., LLP Ralph Brennan Restaurant Group Rotary Club of Hammond Rotary Club of Metairie Target Weil-Bohn Foundation Whole Foods Market
Amadeus Society LPO’s planned gift society that recognizes the generosity and vision of individuals whose thoughtful planning will help 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.
Mr. John S. Batson Mrs. Adelaide Wisdom Benjamin Drs. Andrea S. and Archie W. Brown Ms. Nancy L. Claypool Dr. Jane Eyrich Robert and Valborg Gross Dr. and Mrs. Stephen W. Hales Hugh W. Long and Susan L. Krinsky
44
Mr. Mark McCreary Drs. R. Ranney and Emel Songu Mize Peter Rogers Ms. Courtney-Anne Sarpy Lillian Eyrich and Rosemary Vines Ms. Lizbeth A. Turner and Mr. Clarence D. Wolbrette
Louisiana Philharmonic Orchestra
Commemorative Giving In Memory of Michael Armstrong Gregory and Leigh Strain
In Honor of Mr. and Mrs. George Nalley and Mrs. Jeanie Dew Judith Hines
In Honor of Adelaide Benjamin Ginger F. Burke
In Honor of Eugene and Lucille Brian Lucille Haueser Brian
In Memory of Ulysses D. Deters Henrietta B Deters
In Honor of Delight Escobedo Thompson Mr. and Mrs. Thomas Escobedo
In Memory of Philip B. Frohnmayer Mrs. Ellen Frohnmayer
In Memory of Marjorie M. Gehl
In Honor of Joshua Paulus Patricia Paulus
In Honor of Ellen and John Pecoul Camille Carter
In Honor of Carlos Miguel Prieto Mr. and Mrs. Robert J. Patrick
In Memory of Walker Y. Ronaldson, Jr. Karla Aucoin Barbara Boling Marilyn V. Dittmann and Paul J. Leaman, Jr. Ms. Katherine P. Gage Dr. Edward D. Levy, Jr.
Drs. Andrea S. and Archie W. Brown Evelyn B. Christman Mr. George L. Dansker Ms. Louise Hoffman Dr. Edward D. Levy, Jr. Andrew J. Sanchez, Jr., M.D. Connie Steward
In Memory of Fay and Joseph H. Rosenberg
In Honor of Ana and Juan Gershanik
In Honor of Thomas and Barbara Sands
Mr. William Tebow
In Memory of JoAnn Flom Greenberg Mr. Paul J. Leaman, Jr. Loraine A. Lockwood and Tony Watts Ms. Marie-Louise Schramel Denyce White
In Honor of Mrs. Richard Ingolia Mrs. Rosemarie B. Fowler
In Memory of Elnita Ehler Jezek Ms. Barbara Jezek-Withrow
In Memory of Margaret Johnson Erwin R. Johnson
In Honor of Mr. and Mrs. John Laborde Ms. Mary Jane Phelan
In Honor of Paul J. Leaman, Jr. Ms. Marilyn V. Dittmann
In Honor of Ignatius Lococo, Sr. Santo Lococo
In Memory of Carolyn Lutz Lousteau Dr. Ray J. Lousteau
In Honor of LPO Volunteers Mrs. Sandra Heller
In Memory of Catherine Clew Mazoue Cheryl and Eddie Mazoue
Program Book - Volume 24.1
Ava, Leon, and Zack Nowalsky
In Memory of Mark Rossi Dean and Pamela Rossi
Vincent P. Saia and Glynn Stephens Carolyn Teaford
In Honor of Courtney-Anne Sarpy Ms. Katherine P. Gage Mr. and Mrs. Robert J. Whann, III
In Memory of Sylvia Schreiner Michael and Jamey Hill Mrs. Keith Kenney Dorothy and Fred Rosenbaum Ms. Louise C. Schreiner
In Memory of Klauspeter Seibel Dr. and Mrs. Stephen S. Dankner
In Honor of Debbie Stemac Dr. and Mrs. Leonard B. Thien
In Honor of Mr. and Mrs. Lewis Stirling John Williams
In Honor of Lorraine Thien Barbara Watts Ploetz
In Honor of Rachel van Voohrees Ernie and Mary Malone
In Honor of Eileen Wallen Dr. and Mrs. John H. Baron
In Memory of Ruth P Wartelle Mr. and Mrs. Patrick R. Judge
In Memory of Harold H. Wedig Eric and Regina Wedig
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Commemorative Giving In Memory of John Yarborough Baptist Community Ministries Dr. and Mrs. Joseph J. Biundo Dr. Harold Brody and Donald Smith Ms. Kimberlee Burt Marion and Bart Darby Katherine de Montluzin Dr. and Mrs. Charles L. Dupin Juan and Ana Gershanik Richard House
Mr. and Mrs. Herman S. Kohlmeyer, Jr. Katherine A Martensen and C Louis Irwin Dr. Edward D. Levy, Jr. Louise Moffett Andre and Robbie Rubenstein Sonda and Ted Stacey Mr. Clifford S. Wright Joan N. Yarborough and John W. Laney Ms. Becky Yates Dr. and Mrs. Steven D. Yellin
Capitalization Campaign The goal of the Capitalization Campaign is to stabilize the LPO’s operating budget. The LPO extends our sincere gratitude to the following individuals for their incredible philanthropic support and for investing in the future of orchestral music in Louisiana! In particular, the success of this campaign has been made possible through the extraordinary generosity of Mrs. Phyllis M. Taylor and chairs, Mr. Paul J. Leaman, Jr. and Dr. Richard L. Strub. For information on how to contribute, please call 504-523-6530 ext. 302.
Chairs: Mr. Paul J. Leaman, Jr. • Dr. Richard L. Strub Campaign Committee $25,000+
Anonymous Mrs. Adelaide Wisdom Benjamin Mr. and Mrs. Sydney J. Besthoff, III Boh Foundation Robert and Katherine Boh Mrs. Philip Breitmeyer, II Susan and Ralph Brennan Marion and Pepper Bright Mr. J. Scott Chotin, Jr. JoAnn Flom Greenberg Dorothy S. Jacobs Barbara and Erik F. Johnsen Erik F. Johnsen Family Foundation Mr. Paul J. Leaman, Jr. Dr. Edward D. Levy, Jr. Hugh W. Long and Susan L. Krinsky Mrs. Paula L. Maher Drs. R. Ranney and Emel Songu Mize Ms. Courtney-Anne Sarpy Ms. E. Alexandra Stafford and Mr. Raymond M. Rathle, Jr. Selley Foundation Dr. and Mrs. Richard L. Strub LPO Volunteers Mrs. Phyllis M. Taylor Ms. Catherine B. Tremaine Fran and George Villere
Other Contributors
Mr. and Mrs. Edgar L. Chase III Dr. Carolyn M. Clawson Eileen A. Elliott Mr. and Mrs. H. Mortimer Favrot., Jr. Sybil M. and D. Blair Favrot Family Fund Fenner-French Foundation Dr. and Mrs. Ludovico Feoli Juan and Ana Gershanik Dr. and Mrs. Stephen W. Hales Drs. Henrietta and Walter Harris Susan and William Hess Ms. Angela Hill and Dr. Irwin M. Marcus Mrs. Martha Ingram Timothy and Virginia Kelly Donna G. and Russell Klein Lestelle Communications LLC LPO Musician Trustees Gustaf W. McIlhenny Family Foundation Mr. and Mrs. Charles B. Mayer Mr. and Mrs. Dick H. Piner, Jr. Nancy H. Pomiechowski Mr. and Mrs. J. Cornelius Rathborne Anne Brown Reily Boatner Reily Family Fund Peter Rogers Mr. and Mrs. I. William Sizeler Mr. Timothy L. Soslow Mr. and Mrs. Philip Straub Luther and Zita Templeman Foundation Mr. St. Denis J. Villere, II Mr. and Mrs. Hugo C. Wedemeyer
Endowment Fund
We are grateful to the following donors who have helped secure the future for the Louisiana Philharmonic Orchestra through Endowment Fund contributions:
Virginia D. Kock Endowment Darwin S. Fenner Memorial Fund
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Weil Family Fund
Louisiana Philharmonic Orchestra
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A SPECIAL THANKS TO THESE LPO SPONSORS AND PARTNERS
Christwood
The Northshore’s Premier Retirement Community
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.
Amadeus We offer a range of gift planning opportunities that allow you to make a lasting difference at the LPO while meeting your personal financial and 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.302 or mimi.kruger@lpomusic.com
Program Book - Volume 24.1
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