The 23rd Season 2013-2014
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Volume 23.2
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Louisiana Philharmonic Orchestra
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Contents Contents 10 Get to know the LPO!
20 Baroque Christmas
12 LPO in the Community
25 Gluzman and Sibelius
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Symphony Volunteers, Inc.
28 Chinese New Year
15
Britten Centennial Celebration
32 BolĂŠro
Beyond the Stage:
Program Book - Volume 23.2
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Calendar of Events
LPO
Saturday, November 23 Britten Centennial Chamber Concert featuring violinist Karen Gomyo Performing Arts Ctr. Recital Hall, UNO 7:30 p.m.
Baroque Christmas December 12, 7:30 p.m. First Baptist Church, New Orleans December 14, 7:30 p.m. Mandeville High School Auditorium
Sunday, November 24 Family Concert: Young Person’s Guide to the Orchestra Roussel Hall, Loyola University 2:30 p.m. Thursday, December 5 Yuletide Celebration Pontchartrain Center, Kenner 7:30 p.m.
Friday, February 7 Boléro featuring Lilya Zilberstein, piano First Baptist Church, Covington 7:30 p.m.
Saturday, December 7 A Liberty Bank Christmas Xavier University Convocation Center 7 p.m. Sunday, December 8 Yuletide Celebration Slidell Municipal Auditorium 4:30 p.m. Thursday, December 12 Baroque Christmas First Baptist Church, New Orleans 7:30 p.m. Saturday, December 14 Baroque Christmas Mandeville High School Auditorium 7:30 p.m.
Cirque de la Symphonie January 18, 7:30 p.m. January 19, 2:30 p.m. Mahalia Jackson Theater
Thursday, January 9 Gluzman and Sibelius Mahalia Jackson Theater 7:30 p.m. Friday, January 10 Gluzman and Sibelius First Baptist Church, Covington 7:30 p.m.
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Saturday, January 18 Cirque de la Symphonie Mahalia Jackson Theater 7:30 p.m.
Saturday, February 8 Boléro featuring Lilya Zilberstein, piano Mahalia Jackson Theater 7:30 p.m. Wednesday, February 19 Postcards from Paris presented in collaboration with The Historic New Orleans Collection St. Louis Cathedral 7:30 p.m. Friday, March 7 Appalachian Spring First Baptist Church, Kenner 7:30 p.m. Saturday, March 8 Appalachian Spring Columbia Theatre, Hammond 7:30 p.m. Sunday, March 9 Appalachian Spring Slidell Municipal Auditorium 2:30 p.m.
Saturday, January 11 A Soldier’s Tale - Chamber Concert featuring violinist Vadim Gluzman New Orleans Athletic Club Ballroom 7:30 p.m. Chinese New Year featuring Wu Man, pipa January 31, 7:30 p.m. Mahalia Jackson Theater
Friday, January 31 Chinese New Year featuring Wu Man, pipa Mahalia Jackson Theater 7:30 p.m. Saturday, February 1 LPO Play Dat! UNO Lakefront Arena 2:30 p.m.
Friday, December 6 Yuletide Celebration Columbia Theatre, Hammond 7:30 p.m.
A Soldier’s Tale - Chamber Concert featuring violinist Vadim Gluzman January 11, 7:30 p.m. New Orleans Athletic Club Ballroom
Sunday, January 19 Cirque de la Symphonie Mahalia Jackson Theater 2:30 p.m.
Thursday, March 13 Organ Symphony featuring Paul Jacobs, organ First Baptist Church, New Orleans 7:30 p.m. Sunday, March 16 The King of Instruments Chamber Concert featuring Paul Jacobs, organ Christ Church Cathedral 7:30 p.m. For a complete listing of this season’s events, visit LPOmusic.com
Louisiana Philharmonic Orchestra
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Program Book - Volume 23.2
100 Christwood Blvd. • Covington, LA 70433 Phone: (985) 898-0515 Toll-Free: (800) 480-4361 www.christwoodrc.com 693703
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new orleans FRIENDS OF MUSIC & tulane university present the
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season
HARLEM QUARTET Monday, October 21, 2013 PACIFICA QUARTET with MARC-ANDRÉ HAMELIN piano Thursday, November 14, 2013 ARNAUD SUSSMANN violin, with pianist MICHAEL BROwN Monday, December 9, 2013 MISHA and CIPA DICHTER duo pianos Tuesday, January 21, 2014 ARIEL QUARTET with ALISA wEILERSTEIN cello Monday, February 3, 2014 VENICE BAROQUE ORCHESTRA Wednesday, February 26, 2014 NEw YORK wOODwIND QUINTET Wednesday, April 2, 2014 All concerts begin at 8 p.m. in Dixon Hall on Tulane University’s Newcomb campus. Subscribe online at WWW.FRIENDSOFMUSIC.ORG or call 895.0690 for tickets.
2013-2014 6
Louisiana Philharmonic Orchestra
Louisiana Philharmonic Orchestra Carlos Miguel Prieto
Adelaide Wisdom Benjamin Music Director and Principal Conductor
Violins
Benjamin Thacher, Concertmaster† Joseph Meyer, 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 Janeta 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 Kathleen Magill Carrington Matthew Carrington Amelia Clingman Valborg Gross Ila Rondeau Carole Shand
Cellos
Oboes Jaren Philleo, 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† Matthew McDonald, Principal* Michael Matushek Benjamin Atherholt, Assistant Principal
Contrabassoon
Benjamin Atherholt
French Horns
Joshua Paulus, Principal† Mollie Pate, Principal* Jaclyn Rainey, Associate/Assistant Principal Jena Gardner Tyler Holt Matthew Eckenhoff
Trumpets
Vance Woolf, Principal Stephen Orejudos Doug Reneau, Assistant Principal
Jonathan Gerhardt, Principal The Edward B. Benjamin Principal Cello Chair Daniel Lelchuk, Assistant Principal Rachel Hsieh Jeanne Jaubert Kent Jensen David Rosen Dimitri Vychko
Trombones
Basses
Jim Atwood, Principal
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
Piccolo
Patti Adams
Program Book - Volume 23.2
Greg Miller, Principal Matthew Wright Evan Conroy, Bass Trombone
Tuba
Robert Nunez, Principal
Timpani
Percussion
Nena Lorenz, Principal Dave Salay
Harp
Rachel Van Voorhees Kirschman, Principal
Piano
Mary Ann Bulla The string section of the Louisiana Philharmonic Orchestra is listed alphabetically and participates in revolving seating. † Acting *On leave for the 2013-2014 season
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Staff, Board, and Councils Administrative Staff
Board of Trustees
James William Boyd
Hugh W. Long
Chief Executive Officer
Rebecca Cain
Director of Production
Lisa LaFleur
Director of Program Development
W. Mark McCreary
Director of Philanthropy
Sean Snyder
Director of Marketing and Communications
Board President
Barbara Sands Chair
Stephanie Thompson
Bethlehem K. Andrews Stephen David Beck Mary Biundo Manuel F. Blanco Donald R. Boomgaarden Luz Caputto Jacquelyn Brechtel Clarkson Nancy L. Claypool Belinda Constant Joan M. Coulter Connie P. Ernst Diane R. Fee Rosemarie B. Fowler Anne B. Gauthier Robert S. Gross Henrietta A. Harris Marlene Jaffe Abba J. Kastin Susan L. Krinsky Paula L. Maher Rhesa McDonald Sheila McGhee Gail McKenna Nancy Hudson Miller Denis Milliner Emel Songu Mize Brenda Moffitt Cuqui H. Moore Joel G. Myers John A. Pecoul Laura Walker Plunkett C. Leonard Raybon Rafael R. Shabetai Margaret Shields A. Betty Speyrer Peter Stedman Eleanor F. Straub Charles L. Taylor Cheryl Toye Jennifer Van Vrancken Barbara B. Wedemeyer Edie Wilson Ellaine Wilson Ann Yarborough John M. Yarborough, Jr. Joseph Young, Jr.
Orchestra President
Walter Harris Board Vice President
Sarah Schettler Orchestra Vice President
Ila Rondeau Secretary
Joe Toups
Timothy Kelly
Director of Finance and Administration
Treasurer
Amanda Wuerstlin
Matthew Carrington
Director of Education and Community Engagement
Trey Bornmann
Assoc. Director of Information Technology
Mimi Kruger
Assoc. Director of Philanthropy
Ali Hollenbeck
House Production Manager
JT Kane
Orchestra Personnel and Popular Programming Manager
Lisa Kane
Orchestra Librarian
Cosimo Murray
Stage Production Manager
Suzanne Raether
Foundations Manager
Debbie Stemac
Patron Services Manager
Tommy Kruebbe
Asst. Stage Production Manager
Stacy Salay
Artistic Coordinator
Ryan Kreiser
Patron Services Coordinator
Jim Atwood
Assistant Treasurer Tiffany Adler Adelaide Wisdom Benjamin* Julie F. Breitmeyer J. Scott Chotin, Jr. Eileen Elliott Ludovico Feoli Ana E. Gershanik Stephen W. Hales* William D. Hess Angela Hill William H. Hines Dorothy S. Jacobs Donna Klein Paul J. Leaman, Jr. James F. Lestelle Cameron Kock Mayer Alton McRee R. Ranney Mize Boatner Reily* Doug Reneau David Rosen David Salay Karen Sanno Courtney-Anne Sarpy William L. Schettler Richard L. Strub Catherine Burns Tremaine Hugo C. Wedemeyer Kate Withrow Richard Woehrle Ex Officio: James William Boyd Amy Ferguson Carlos Miguel Prieto Jan Robert Barbara Sands Timothy L. Soslow
Orchestra Personnel Administrator
Of Counsel: Julie Livaudais
Charlotte Lewis
*Life Trustees
Symphony Volunteer
Hugo C. Wedemeyer
Southshore Advocacy Council
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 Adrienne Laborde Noonie LeJeune Ann M. Loomis Janet R. Lynch Benjamin H. Motion Louise Rusch Rich Soine William N. Stadler Roy A. St. Paul, Jr.
Symphony Volunteer
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Louisiana Philharmonic Orchestra
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Program Book - Volume 23.2
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Conductor
Carlos Miguel Prieto, Music Director and Principal Conductor One of the most dynamic young conductors on the classical stage today, Carlos Miguel Prieto is renowned as an exciting, insightful, and charismatic communicator with a strong, versatile command of various composers and styles. Prieto is music director of the Orquesta Sinfónica Nacional de Mexico and the Orquesta Sinfónica de Minería in his native Mexico, and of the Louisiana Philharmonic Orchestra and the YOA Orchestra of the Americas in the United States. In high demand as a guest conductor both nationally and internationally, among Prieto’s numerous North American guest conducting credits are the symphony orchestras of Boston, Chicago, Seattle, Dallas, Toronto, Houston, Indianapolis, Colorado, Vancouver and Calgary, and every major orchestra in Mexico. He has conducted orchestras throughout Europe, Russia, Israel and Latin America and Japan. In the recording arena, Prieto has made a series of recordings of Latin American and Mexican music for the Urtext label. His most recent recordings include Cedille Records’ April 2013 release of Mexican composer Carlos Chavez’s rarely performed/ recorded 1940 Piano Concerto, featuring Mexican pianist Jorge Federico Osorio and the Orquesta Sinfónica Nacional; and a live-recorded 12 DVD set of Mahler’s Symphonies Nos. 1 - 10 with the Orquesta Sinfónica de Minería in March 2013; with violinist Philippe Quint and the Orquesta Sinfónica de Minería featuring works by Bruch, Beethoven and Mendelssohn for Avanticlassic. His recording of Korngold’s Violin Concerto with violinist Philippe Quint and the Minería for Naxos received a Grammy nomination. A graduate of Princeton and Harvard Universities (where he was concertmaster of the orchestra), Prieto studied conducting with Jorge Mester, Enrique Diemecke, Charles Bruck and Michael Jinbo.
Featured Musician
Sarah Schettler joined the Louisiana Philharmonic Orchestra as Second Flutist in September of 2007. She holds a Bachelor of Music in Flute Performance from Millikin University, Master of Music degrees in Flute Performance and Musicology from the University of North Texas, and a Doctor of Music from The Florida State University. In 2005, she was one of six flutists worldwide to be accepted into Trevor Wye’s Flute Studio, located in southern England. Her former teachers include Terri Sundberg, Charles DeLaney, Stephanie Jutt, and Trevor Wye. Before moving to New Orleans, Sarah served as Assistant Professor of Music at Texas A&M University-Kingsville, where she taught flute and music theory, and Columbus State University, where she taught applied flute. She has performed with the Corpus Christi and Victoria Symphonies in south Texas and with the Orquestra Sinfonica de U.A.N.L. in Monterrey, Mexico. Sarah was a semifinalist in the 2004 National Flute Association Young Artist Competition and first prize winner in the 2005 Flute Society of Kentucky Young Artist Competition. She has performed at the National Flute Association’s conventions in Dallas, Nashville, and New Orleans. As an educator, Sarah serves as the flute instructor at Tulane University and the University of New Orleans. She also maintains a private studio out of her home, where she teaches beginners through adults. Many of her students have successfully auditioned for Louisiana All-State, area Honor Bands, and have continued as music majors at the university level. During the summers, she teaches at New England Music Camp in Sidney, Maine. As a member of the musician-governed Louisiana Philharmonic Orchestra, Sarah has served on its Education, Artistic Partnership, and Musicians’ Committees and as Corporate Secretary and Vice President. Sarah lives in Broadmoor with her husband, Bill, a bassist in the Louisiana Philharmonic Orchestra, and her miniature schnauzer, Rudy. When she’s not practicing or teaching, she can be found working on a home renovation project. 10 Louisiana Philharmonic Orchestra
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Don’t Miss Our Upcoming Performances! A Bicentennial Celebration of Verdi and Wagner with the Loyola Symphony Orchestra & Loyola Chorus Nov. 23, 7:30 p.m. Roussel Hall Music Industry Forum: John Goodman Nov. 25, 5 p.m. Roussel Hall The Priests* Nov. 26, 7:30 p.m. Roussel Hall Loyola Symphony Orchestra Dec. 6, 7:30 p.m. Roussel Hall
Christmas at Loyola Dec. 8, 3 p.m. Holy Name of Jesus Church Donald Harrison: King of Nouveau Swing* Jan. 23, 7:30 p.m. Old U.S. Mint 400 Esplanade Avenue Loyola Theatre: Albertine in Five Times* Feb. 5 – 8, 7:30 p.m. Feb. 9, 2 p.m. Lower Depths Theater Washington Garcia Piano Recital Feb. 21, 7:30 p.m. Roussel Hall
JANUARY 24, 7:30 P.M. JANUARY 26, 3 P.M. Roussel Hall $40 preferred seating $25 reserved seating
*TICKETS: montage.loyno.edu or (504) 865-2074
Program Book - Volume 23.2
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Beyond the Stage: Louisiana Philharmonic Orchestra in the Community
Here We Grow Again! We’re excited to offer even more educational programming this year, for kids ages 5 to 105! We’ll be visiting additional venues for our Early Explorers, Young People’s Concerts, and Open Rehearsals and will add a community side by side concert called “LPO’s Play Dat!” More than 1,000 high school students attended our new education concert “Band Together” in October. Young People’s Concerts: The Orchestra Moves, LPO Style The LPO is partnered with Carnegie Hall’s Link Up program for the third year in a row. Link Up is a national program that provides students with workbooks so that they may learn recorder or violin pieces to play along with the LPO at our YPCs in the month of January. We’ll be performing at seven different venues in the Greater New Orleans area including Mahalia Jackson Theater for this series and are excited to have students accompany the orchestra on “The Blue Danube” and “Nocturne” from A Midsummer Night’s Dream.
LPO’s Play Dat! You’ve been coming to our concerts for years, but this is your chance to be a part of the orchestra! Join us on Saturday, February 1 at the Lakefront Arena for LPO’s first ever PLAY DAT! Open to amateur players 13 and up. With a $40 participant fee ($25 for students 13-18) you will receive a t-shirt, lunch, and a full rehearsal and performance with the LPO as led by our very own Carlos Miguel Prieto. Featuring your favorite classics as well as “Saints Go Marching In!” We hope to see you at the Arena on February 1.
LPO MASTERCLASS SERIES Presented by Loyola University New Orleans Free and open to the public Karen Gomyo, violin masterclass Saturday, Nov. 23, 10 a.m. Roussel Hall Lilya Zilberstein, piano masterclass Saturday, Feb. 8, 10 a.m. Roussel Hall
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“
I wanted to thank you. I had a terrific time today at the LPO. My favorite part was when the tuba played the Saints song. Your friend, Graham
– Lusher Charter School 1st Grade
2013-2014 FAMILY CONCERTS Young Person’s Guide to the Orchestra November 24, 2:30 p.m. Roussel Hall, Loyola University New Orleans LPO Under the Sea March 23, 2:30 p.m. Roussel Hall, Loyola University New Orleans Carlos Miguel Prieto, conductor Free for Children 12 and under $10 for all others
2013-2014 OPEN REHEARSALS Join the LPO and Symphony Volunteers, Inc., for coffee, cookies, and great music! Gluzman and Sibelius Jan. 9 • Mahalia Jackson Theater Chinese New Year Jan. 31 • Mahalia Jackson Theater Boléro Feb. 7 • Mahalia Jackson Theater Appalachian Spring March 7 • First Baptist Church, Kenner Rehearsals start at 10 a.m. and cost $10
Louisiana Philharmonic Orchestra
New Orleans’ Source for Classical Music Classical Weeknights: 89.9 FM, 90.5 FM, WWNO1 Favorites like World of Opera, Live From the Concertgebouw, and more. Weeknights at 8 pm. Listen on FM or HD radio, computer, or smartphone.
24-hour Classical: WWNO2 24/7/365, with Farrar Hudkins weekdays at 9 am. Listen on HD radio, computer, or smartphone. Full schedule at wwno.org. Questions? Comments? Call 504-280-7000 or write comments@wwno.org.
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Program Book - Volume 23.2
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Symphony Volunteers, Inc. P.O. Box 4036 New Orleans, Louisiana 70138-4036 SymphonyVolunteers.org
Proudly Supporting the LPO for 23 Seasons! EVENTS/ACTIVITIES The Encore Shop Shop/Donate/Consign 7814 Maple St. 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 Symphony Volunteers Inc., the shop contributes 100 percent of its net profits to the LPO. Open: Tuesday – Saturday, 11 a.m. – 5 p.m. Donations and consignments by appointment: 504.861.9028
Attention Northshore! Our 3rd annual Northshore Picnic, “An Afternoon Interlude,” will be held Sunday, April 6, 2014 on in Lacombe. For more information, call Anne Marie Fargason at 985.626.8117.
Symphony Book Fair March 28-30, 2014 (Friday – Sunday) SVI’s largest single-event fundraiser, the 61st Symphony Book Fair takes 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, call 504.861.2004.
2013-2014 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 Marie Summitt Recording Secretary Charlotte Lewis Treasurer Louise Schreiner Financial Secretary Philip Straub
Direct Volunteer Support for the LPO In addition to fundraising, Symphony 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, SVI members help the LPO 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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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
Britten Centennial Celebration This concert is supported by a generous gift from New Orleans Silversmiths.
Britten Centennial
November 22, 7:30 p.m. • Mahalia Jackson Theater Carlos Miguel Prieto, conductor Karen Gomyo, violin • Tyler Smith, tenor Symphony Chorus of New Orleans Steven Edwards, music director
BRITTEN
(1913-1976 )
Ballad of Heroes, Op. 14 (15’)
Tyler Smith, tenor
Tyler Smith, tenor Symphony Chorus of New Orleans
Concerto for Violin and Orchestra, No. 1, Op. 15 (32’) Moderato con moto Vivace Passacaglia: Andante lento (un poco meno mosso)
Karen Gomyo, violin
Karen Gomyo, violin
INTERMISSION
BRITTEN
“Four Sea Interludes” from Peter Grimes, Op. 33a (16’)
Dawn: Lento e tranquillo Sunday morning: Allegro spiritoso Moonlight: Andante comodo e rubato Storm: Presto con fuoco
The Young Person’s Guide to the Orchestra, Op. 34 (17’)
Theme: Allegro maestoso e largamente Variation A (flutes and piccolo): Presto Variation B (oboes): Lento Variation C (clarinets): Moderato Variation D (bassoons): Allegro alla marcia Variation E (violins): Brillante-Alla polacca Variation F (violas): Meno mosso Variation G (cellos): L’istesso tempo Variation H (basses): Comminciando len to ma poco a poco accelerando al Allegro Variation I (harp): Maestoso Variation J (horns): L’istesso tempo Variation K (trumpets): Vivace Variation L (trombones): Allegro pomposo Variation M (percussion): Moderato Fugue: Allegro molto
Program Book - Volume 23.2
Carlos Miguel Prieto, conductor
Sponsored by:
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LPO LAGNIAPPE
Britten Centennial
BRITTEN CENTENNIAL CHAMBER CONCERT November 23, 7:30 p.m. Performing Arts Center Recital Hall, University of New Orleans Tickets: $35 I Students with ID $10 at the Door LPOmusic.com or 504.523.6530 Guest violinist Karen Gomyo joins select members of the LPO to perform works by Benjamin Britten and Dmitri Shostakovich. Sponsored by:
Tyler Smith, dramatic tenor, is an Instructor of Voice at Loyola University. Tyler has appeared in numerous operatic and concert performances throughout the United States, Europe, and South America. Most recently he performed the role of Canio in Pagliacci for the Southern Opera and Musical Theater Company and for New Orleans Opera as well as the role of Maxwell in Pensacola Opera’s world premiere of The Widow’s Lantern. In 2001 he made his Houston Grand Opera Debut in Carlisle Floyd’s Of Mice and Men (directed by Francesca Zambello), which has been released on the Albany label. He has also recorded Dominic Argento’s Casanovas Homecoming, which released by Newport Classics. Mr. Smith is a graduate of Southeastern Louisiana University, the University of North Carolina at Greensboro, and was recently awarded his Doctorate in Music from the University of Houston.
Born in Tokyo, violinist Karen Gomyo grew up in Montreal and New York. Recipient of the prestigious Avery Fisher Career Grant in 2008, she has been hailed by the Chicago Tribune as “A first-rate artist of real musical command, vitality, brilliance and intensity”. Gomyo’s engagements as soloist have included those with the Cleveland Orchestra, New York Philharmonic, Los Angeles Philharmonic, Philadelphia Orchestra, San Francisco, Sydney, Saint Louis, Cincinnati, Dallas, Houston, Montreal, Toronto, Vancouver, and Tokyo symphony orchestras, the Hong Kong Philharmonic and the National Symphony of Washington D.C. In Europe she has performed with City of Birmingham Symphony, Royal Scottish National Symphony, Orchestre National de Lille, Scottish Chamber Orchestra, Royal Liverpool Philharmonic, Bergen Philharmonic, Norwegian Opera Orchestra, Salzburg Camerata, Vienna Chamber Orchestra, and Den Haag Residentie Orkest, among others. She has worked with such conductors as Leonard Slatkin, Neeme Jarvi, David Robertson, David Zinman, Gilbert Varga, Yannick Nezet-Seguin, Hannu Lintu, Andrey Boreyko, Hans Graf, Louis Langree, James Gaffigan, and Pinchas Zukerman. In recital and chamber music, Gomyo has performed in festivals in the U.S., Austria, Germany, France, Norway, Ukraine, Holland, Spain, Italy, Japan, and Canada, collaborating with such artists as Heinrich Schiff, Lynn Harrell, Alisa Weilerstein, and Christian Poltera.
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Louisiana Philharmonic Orchestra
Britten Centennial
Karen Gomyo is deeply interested in the Nuevo Tango music of Astor Piazzolla, and in 2012, along with Piazzolla cohorts Pablo Ziegler (piano), Hector del Curto (Bandoneon), Claudio Ragazzi (electric guitar), and Pedro Giraudo (double bass) plus classical pianist Alessio Bax, she toured a unique program featuring the music of Piazzolla and the classical composers who influenced him. She will participate with these artists again in Seattle in 2014. In 2008 Gomyo performed at the First Symposium for the Victims of Terrorism held at the United Nations in New York, and in 2009 was the guest soloist for the New York Philharmonic’s Memorial Day concert at the Cathedral of St. John the Divine. Karen Gomyo plays on a Stradivarius violin that was bought for her exclusive use by a private sponsor. She lives in New York City.
Program Notes By Michael C. Clive
The June 7, 1945 premiere of Benjamin Britten’s opera Peter Grimes brought an immediate understanding that Britain’s and the world’s classical music landscape had been changed. Britten, then only 32, was already recognized as a potentially major talent. Grimes not only added a 20th-century masterpiece to the operatic canon, but also confirmed his standing as the greatest British-born composer since Henry Purcell.
Ballad of Heroes, Op. 14 Benjamin Britten
If a pacifist can be said to be ferocious in his anti-war beliefs, then Britten was. He composed this “ballad” – actually a choral work written in three continuous movements – for a music festival in 1939, with war looming in Europe. Though it predates his blistering War Requiem by more than two decades, it is equally passionate in its indictment of the horrors of war. Its first movement is an extended funeral march that sets poetic lines by Randall Swingler, followed by a scherzo full of modern complexity that contrasts with the challenging directness of the opening. In this movement Britten quotes a verse of acid, ironic lightness by Auden. (Yes, Britten was a lover of poetry and poets, and before his famous romantic and creative partnership with the tenor Peter Pears, he had an affair with Auden and collaborated on many projects including the six superb Caba-
Program Book - Volume 23.2
ret Songs.) The ballad closes with a slow, powerful chorale that reprises the funeral march we hear in the opening.
Concerto for Violin and Orchestra Benjamin Britten
Britten’s violin concerto was already in progress in 1939 when his disgust at Europe’s slide into war prompted him to leave England for the United States. Thus the concerto can be heard as a “wartime work” even though it does not respond to the horrific events of World War II in a programmatic way, as did composers such as Shostakovich and Bohuslav Martinu. But we know that Britten revered Shostakovich and was deeply affected by Alban Berg’s great violin concerto, which achieves an incredibly expressive, elegiac quality despite its atonality. The heartbroken Berg wrote his concerto after the death of a friend’s young daughter, and it seems likely that Berg’s expressiveness and Shostakovich’s sneering (musical) sarcasm widened Britten’s ideas about the form’s possibilities. Overall, the sound of Britten’s concerto is dark and mournful, brooding over the war and what it might portend. The lesson of World War II, according to his countryman William Golding, was that “man produces evil the way bees produce honey.” Perhaps within the sadness of the concerto we can hear a bit more of the possibility of redemption than the writer Golding found. In the fall of 1939, shortly after the war’s
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Britten Centennial
outbreak, Britten wrote “It is at times like these that work is so important – that humans can think of other things than blowing each other up!” He also called the concerto his best work to date. The concerto conforms to the usual three-movement, fast-slow-fast format, and the choice of d minor as a key signature was also traditional for the violin – favored by Mendelssohn, among others. But the fast movement in this work is the central one, framed by two slower, more introspective ones. To this listener, it seems a work of contemplation rather than virtuosic display (though playing it is anything but easy).
“Four Sea Interludes” from Peter Grimes, Op. 33a Benjamin Britten
Peter Grimes is one of only a handful of 20th-century operas that have won a place in the standard repertory, and its four brooding, beautiful Sea Interludes are standards in the concert hall. We have to turn to Debussy for music that comes anywhere close to the stirring, visceral evocation of sea, wind and sky that we hear in these interludes. But this music is far from French elegance, or even from the British Empire’s proud naval dominion over the seas. Instead, it captures the marine culture of an island nation: the loneliness of mending nets and gear, watching the weather and hoping for a good catch, going out on dangerous seas in small boats, and hoping for a safe return. There is a rugged, windswept beauty here. Grimes also confronts aspects of British culture that concerned Britten throughout his life: homophobia and the social pressure to conform. The openly gay Britten worked with librettist Montagu Slater, basing the opera on the extended poem The Borough by George Crabbe, but the opera intensifies Slater’s dramatic line. With two of Grimes’s young apprentices lost at sea under mysterious circumstances, the hermetic, willful Grimes is the object of his neighbors’ hostile suspicions. (The disappearances strongly raise questions about pederasty, a stand-in for British in-
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tolerance of homosexuality – and Grimes, the gruff, taciturn loner, is a stand-in for the fiercely independent Britten.) As with the superb tone-painting in the Sea Interludes, Britten demonstrates mastery and a fresh voice, tonal yet unpredictable. The opera also gives him the opportunity to develop colorful human profiles and incorporate stunning choral passages along with a shattering mad scene – sung by a male protagonist for once.
The Young Person’s Guide to the Orchestra Benjamin Britten
The sudden and enormous success of Peter Grimes made Britten a natural choice when the British Ministry of Education sought a musical score to accompany an educational film on orchestral instruments; he was engaged in 1945, the same year as the opera’s premiere. The Young Person’s Guide was ready in 1946, and was played in concert even before the film’s initial showing that fall. It quickly became the most widely known English musical composition since Elgar’s familiar Pomp and Circumstance marches. While Grimes could be called an “adults-only” opera, The Young Person’s Guide – like Prokofiev’s Peter and the Wolf, written about a decade earlier – could be called music that is accessible to children, but written to a very adult standard. It is thoroughly enjoyable regardless of the listener’s age. The familiar principal theme of this theme and variations is drawn from Henry Purcell’s gorgeous 1695 Rondeau from incidental music for Abdelazer, and we hear it stated in full by the orchestra and then cycled through the brasses, strings and harp, and even – deliciously – in the percussion. After this introduction, we are guided through a series of 13 variations showcasing individual instruments, making The Young Person’s Guide one of those pieces that requires solo work from every section of the orchestra. (Ravel’s Bolero is another.) “Nowhere to hide,” as players sometimes say. LPO Program annotator Michael Clive writes for the Pacific Symphony and is Editor-in-Chief for The Santa Fe Opera.
Louisiana Philharmonic Orchestra
Beethoven
and
Blue Jeans
Yuletide Celebration December 5, 7:30 p.m. • Pontchartrain Center December 6, 7:30 p.m. • Columbia Theatre, Hammond December 8, 4:30 p.m. • Slidell Municipal Auditorium Michael Hall, conductor A Christmas Festival
(1803-1869)
ALAN SILVESTRI
(b. 1950) arr. Jerry Brubaker
Concert Suite from The Polar Express
Michael Hall, conductor
ENGELBERT HUMPERDINCK Prelude to Hansel and Gretel (1854-1921)
ROBERT WENDEL
(b. 1951)
Beethoven and Blue Jeans Yuletide Celebration
LEROY ANDERSON
Little Bolero Boy
PIOTR ILYICH TCHAIKOVSKY Selections from The (1840-1893) Nutcracker Suite, Op. 71a
Sponsored by:
JAMES STEPHENSON Rudolph the Red Nosed (b. 1969) Reindeer INTERMISSION
JOHANN STRAUSS, JR. Overture to Die (1825-1899) Fledermaus
Slidell Symphony Society Pedelahore & Co., LLP
RALPH VAUGHAN WILLIAMS Fantasia on Greensleeves (1872-1958) adapted by Ralph Greeves
NIKOLAI RIMSKY-KORSAKOV Dance Of The Tumblers (1844 - 1908)
LEROY ANDERSON Selections from Suite Of Carols For Brass, Strings, And Woodwinds VICTOR HERBERT “March of the Toys” from (1859 - 1924) Babes in Toyland arr. Langey
JAMES STEPHENSON TRADITIONAL
Holiday Overture Christmas Medley
arr. Jack Gardner
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Baroque Christmas This concert is supported by a generous gift from Catherine Burns Tremaine.
December 12, 7:30 p.m. • First Baptist Church, New Orleans December 14, 7:30 p.m. • Mandeville High School Carlos Miguel Prieto, conductor • Sarah Shafer, soprano Daniel Weeks, tenor • Michael Sumuel, bass-baritone Symphony Chorus of New Orleans Baroque Christmas
Steven Edwards, Music Director
J.S. BACH (1685-1750)
Heather Zinninger Yarmel, flute
Suite No. 2 in B minor for Orchestra, BWV 1067 (19’) Overture Rondeau Sarabande Bourrée I Bourrée II Polonaise/Double Menuet Badinerie
Jaren Philleo, oboe
Heather Zinninger Yarmel, flute
Brandenburg Concerto No. 2 in F major, BWV 1047 (13’) [Allegro] Andante Allegro Assai
Heather Zinninger Yarmel, flute Jaren Philleo, oboe Vance Woolf, trumpet Benjamin Thacher, violin
Vance Woolf, trumpet
INTERMISSION
HANDEL
(1685-1759)
Selections from Messiah (36’)
Sinfonia Comfort Ye My People Ev’ry Valley Shall Be Exalted And The Glory Of The Lord Regoice Greatly, O Daughter Of Zion Behold The Lamb Of God Why Do The Nations So Furiously Rage Let Us Break Their Bonds Asunder I Know That My Redeemer Liveth The Trumpet Shall Sound Thou Shalt Break Them With A Rod Of Iron “Hallelujah” Chorus
Sarah Shafer, soprano Daniel Weeks, tenor Michael Sumuel, bass-baritone Symphony Chorus of New Orleans
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Benjamin Thacher, violin
Sponsored by:
Lakeview Regional Medical Center
Louisiana Philharmonic Orchestra
Sarah Shafer, soprano
Baroque Christmas
Praised for her “luminous voice” and “intensely expressive interpretations,” (The New York Times) soprano Sarah Shafer is quickly emerging as a sought-after artist. Sarah recently made her professional operatic debut in the role of Barbarina and the cover role of Susanna in Le Nozze di Figaro at the Glyndebourne Festival and at the BBC Proms in London’s Royal Albert Hall. Roles for this coming season include her American debut with Opera Memphis singing Adina in L’Elisir d’Amore and Papagena in Opera Company of Philadelphia’s Die Zauberflöte. On the concert stage, Shafer was recently heard as Sophie in Strauss’ Suite from Der Rosenkavalier with the Quad City Symphony Orchestra. Other recently performed works include Mozart’s Mass in C Minor and Requiem, Handel’s Messiah and Dixit Dominus, and Mahler’s Fourth Symphony. Sarah has also appeared as soloist with the Richmond Symphony Orchestra, the Boca Raton Symphonia, and Master Chorale of South Florida.
Daniel Weeks maintains an active performing career while being a member of the voice faculty at the University of Louisville. He is very excited to announce the release of his Centaur Records CD with pianist, Naomi Oliphant titled, “Women of Firsts.” This past season, he performed Beethoven’s 9th Symphony with the Bozeman Symphony, and at Avery Fisher Hall with the National Chorale. He recently sang Handel’s Messiah with the Indianapolis Symphony, Bach’s Magnificat with the Houston Symphony, and sang the role of Curley in Carlyle Floyd’s Of Mice and Men with the Kentucky Opera. He also Michael Sumuel, sang Bach’s Easter Oratorio and Rossini’s Stabat Mater with bass-baritone the Winter Park Bach Festival, Vaughan Williams’ Serenade to Music and Haydn’s Lord Nelson Mass with the Columbus Symphony, and Haydn’s Lord Nelson Mass with the Huntsville Symphony. Weeks has sung with opera companies including the Cincinnati Opera, Florentine Opera, Austin Lyric Opera, Kentucky Opera, Nevada Opera, and San Francisco’s Western Opera Theater among others. As a concert performer, the symphonies he has performed with include; Houston Symphony, Dallas Symphony, Pittsburgh Symphony, Cincinnati Symphony, Columbus Symphony, Louisville Orchestra, Orchestra of St. Luke’s, Florida Orchestra, Kentucky Symphony, Xalapa Symphony (Mexico), and National Youth Orchestra of Caracas, Venezuela. Daniel Weeks, tenor
Bass-baritone Michael Sumuel opens his 2013-2014 season with a return to Houston Grand Opera in a production of Johann Strauss’ Die Fledermaus singing the role of Frank, alongside Susan Graham. This season also marks his debut with the Baltimore Symphony Orchestra under the baton of Edward Polochick performing Handel’s Messiah and at Central City Opera singing the title role in Le Nozze di Figaro. After a successful performance with the Dayton Opera in the 2012-2013 season, Sumuel will return to perform as a feature soloist in an “Around the World” New Year’s Eve concert with the Dayton Philharmonic. He will also be performing selected pieces with Mercury Baroque Houston in a project
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called “Napoleon and the Battle of Nations.” Sumuel’s competition accolades include the 2009 Fielder Grant for Career Advancement and winner of the 2009 Dallas Opera Guild Vocal Competition. An alumnus of the Merola Opera Program at San Francisco Opera Center and Filene Young Artist program at Wolf Trap Opera. At Wolf Trap Opera, Sumuel performed the roles of Selim in Rossini’s Il turco in Italia, Theseus in Britten’s A Midsummer Night’s Dream, Lelio in Wolf-Ferrari’s Le donne curiose and has also been seen in recital with pianist Steven Blier. Sumuel holds degrees from both Columbus State University and Rice University.
Baroque Christmas
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. Before college, Heather graduated from Interlochen Arts Academy. Her primary teachers include Leone Buyse, Bonita Boyd, Tallon Perkes, and Donald Gottlieb. A prizewinner in several national competitions, Heather was awarded first prize in the National Flute Association’s Orchestral Audition Competition. She 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. During her summers, she has participated in the Tanglewood Music Center, Music Academy of the West, National Repertory Orchestra, and Chautauqua Institution Music Festival. A devoted educator, she previously served on the faculty of the Michael P. Hammond Preparatory Program at Rice University. She currently teaches at New Orleans Center for Creative Arts and Xavier University of Louisiana. Jaren Philleo joined the LPO as Principal Oboist in 2007. Originally from Fairbanks, AK, she left home at sixteen to pursue oboe study at the Interlochen Arts Academy with Daniel Stolper. After graduating from Interlochen, she earned her bachelor’s degree in music performance from the Cleveland Institute of Music where she studied with John Mack and a master’s degree from the Shepherd School of Music at Rice University where she studied with Robert Atherholt. Prior to joining the LPO, Philleo spent two seasons as Principal Oboist of the Sarasota Opera Orchestra. She has performed as guest Principal Oboist with the Pittsburgh Symphony, Florida Orchestra, and Syracuse Symphony. She has been a featured concerto soloist with the LPO, Spoleto Festival USA Orchestra, Washington Chamber Symphony at the Kennedy Center, and the Fairbanks Symphony. Philleo currently serves as the adjunct oboe instructor at Tulane University where she teaches private oboe lessons and coaches chamber music ensembles. Vance Woolf joined the LPO as Principal Trumpet in 2000 and has been a regular featured soloist performing works ranging from the high baroque concertos of Torelli and Tartini, to Arban’s Carnival of Venice and Arutunian’s Concerto for Trumpet. In 2008, Vance joined the faculty of Loyola University New Orleans as Instructor of Classical Trumpet. Originally from New Zealand, Vance served as a Cornetist in the Central Band of the Royal New Zealand Air force while completing his Bachelor of Music Degree. He later traveled to the U.S. to pursue his trumpet studies, earning a Master’s Degree from the San Francisco Conservatory of Music where he studied with Mario Guarneri. In recent years he has been a semifinalist for positions with the New York Philharmonic and the Boston Symphony Orchestra. He has been a regular substitute with the San Francisco Symphony, and performed with them for their 2010 American tour and 2011
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Louisiana Philharmonic Orchestra
European tour. He has also performed with the Houston Symphony and extensively with the New Zealand Symphony Orchestra.
Baroque Christmas
A native of Cape Cod, MA, Benjamin Thacher enjoys an active and versatile career as a violinist, violist, conductor, and music educator. He recently was appointed Concertmaster of the Louisiana Philharmonic Orchestra, having previously served as the Associate Concertmaster of the Boise Philharmonic. Benjamin received a bachelor’s degree in violin performance from the New England Conservatory of Music under the tutelage of Donald Weilerstein and James Buswell. He continued his graduate studies at the San Francisco Conservatory of Music studying with Ian Swensen. Benjamin attended the Perlman Music Program for three summers and studied privately with violinist, Itzhak Pelrman. He is currently the concertmaster of the Rondezvous festival orchestra and the associate concertmaster of the McCall Summer Festival Orchestra. A passionate teacher of violin and viola, Benjamin has held positions as head of strings at the Medicine Hat College in Alberta, Canada. He is currently on the faculty at the Utah Music Festival and School and has presented numerous masterclasses and has adjudicated young artists competitions throughout the United States and Canada.
Program Notes By Michael C. Clive
George Frideric Handel and Johann Sebastian Bach, two of the greatest classical composers who ever lived, were born in the same year and the same country. They elevated music of the Baroque era to its greatest heights, and the era died with them. Yet for all their similarities, the two were a study in contrasts. Handel traveled widely to learn the latest musical styles, was aggressively entrepreneurial, and made himself the “Mr. Music” of 18th century England, producing the most popular and fashionable musical entertainments of his day. And Bach, the very image of artistic discipline and conservatism, was actually something of a musical technophile. He kept up with the rapidly evolving changes in musical instruments, composing and transcribing music to exploit their new capabilities…a classic “early adopter.” Both composers were born in Germany in 1685 — Bach in the town of Eisenach, and Handel 36 days later in Halle, 80 miles away. When the young Handel was taken by his father to visit Saxe-Weissenfels, where he tried his hands (and feet) at the organ of the court chapel, the Duke Johann Adolf, noticing the prodigy’s talent in music, recommended the young Georg Friedrich for studies with Friedrich Wilhelm Zachau, a distinguished organist located in
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Halle. Handel proved himself not only talented but also industrious, enrolling in the University of Halle in 1702 and becoming the probationary organist at the Domkirche there when he was just 17. Bach, too, was an accomplished organist and eventually gained recognition throughout Europe for his virtuosity. Born into an extremely musical family, he was taught violin and harpsichord by his father, Johann Ambrosius Bach, and clavichord by his brother, Johann Christoph Bach. But Johann Sebastian and his family well knew that the “king of instruments” was the most important of all skills to have, and by his late teens he had a profound mastery of it. In fact, both Bach and Handel journeyed to the German city of Lübeck to meet the great organist Buxtehude and apply for the job to succeed him. (Handel probably made the trip a year earlier than Bach.) While Bach remained in Germany and made his musical vocation within the church, Handel took an early interest in opera, the most opulently secular of musical entertainments. His first opera was produced at the Hamburg Opera in 1705, when he was not yet 20. The following year he undertook an extended trip to Italy, visiting Florence, Rome, Naples, and Venice. Voraciously assimilating the lessons of Ital-
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ian composition and dramatization, Handel composed another opera, Rodrigo, which was produced in Florence in 1707. His religious oratorios took on an operatic flair, and though he returned to Germany in 1710 and accepted a position as Kapellmeister to the Elector of Hannover, his operatic bent was confirmed later that year, when he visited London to produce his opera Rinaldo.
Suite No. 2 in B minor for Orchestra Brandenburg Concerto No. 2 Baroque Christmas
Johann Sebastian Bach
When compared to the worldly, financially savvy Handel, Bach strikes us as a man of rather austere piety. His creative output was dominated by sacred music, but his orchestral suites and the Brandenburg concertos are exceptions: The Suite No. 2 in B minor is one of only four such suites that he composed, and the popular Brandenburgs, which have become orchestral staples and a holiday tradition, were written on spec as a kind of job application to the Margrave of Brandenburg, who never bothered to listen to them. In fact, they were probably not performed during Bach’s lifetime. The Suite No. 2 emphasizes a single melodic voice (homophony) rather than multiple voices playing against each other (polyphony). This melodic treatment and the showcasing of the transverse flute (the familiar, modern flute, held sideways against the lips) account for the frequent description of this sound as “French” (not to be confused with the six French and English suites that Bach wrote for the harpsichord). In Bach’s day, the transverse flute was a relatively new instrument, more fleet and fluid than the usual recorder — another reason for the “French” descriptor. The alternation of fast and slow dance movements, seven in this case, is the precursor of the four-movement symphonic format. All the Brandenburgs, and particularly the Brandenburg Concerto No. 2, were popular before Bach-loving politico William F. Buckley chose this concerto’s third movement in the mid-1960s to be the theme of his long-running television show Firing Line. The national exposure not only increased the popularity of all six concer-
24
tos, but also brought new attention to the Baroque trumpet featured in this one, with its incomparably bright sound and explosive energy. The inferior valveless Baroque trumpets of the 17th and 18th centuries are thought to have caused the occasional cerebral hemorrhage, and to have given rise to the phrase “blow your brains out” — all the more reason to show some appreciation to the trumpeter in this concerto. The Brandenburgs’ classic format of a small group of soloists (concertino) arrayed against a larger group of chamber players (ripieno) is the forerunner of the concerto grosso form.
Messiah George Frideric Handel
A series of musical successes for the English court and the ascension of King George I prompted Handel to settle permanently in London, establishing the Royal Academy of Music in 1720 expressly for the production of his operas, which became the most fashionable entertainments in England. His remarkable run as an opera composer and impresario — during which he was in charge of casting, rehearsing, staging and production — lasted more than 20 years. After a reversal of public taste and private fortunes, Handel wrote his last opera in 1741 and his most famous oratorio, Messiah, in 1742, providing listeners with an intensely dramatic concert experience without the costs of scenery, special effects and costumes. Composition of Messiah was completed within 24 days, a breakneck pace for so expansive a work. The text was provided by Charles Jennens, drawn mainly from the biblical books of Isaiah and the gospel of St. Matthew. There are many traditional accounts of seemingly divine inspiration as Handel worked. In one, his assistant walked into the room where he was composing after shouting to him for minutes on end with no response. He supposedly found Handel in tears, pen in hand, and asked what was wrong. “I thought I saw the face of God,” Handel said. LPO Program annotator Michael Clive writes for the Pacific Symphony and is Editor-in-Chief for The Santa Fe Opera.
Louisiana Philharmonic Orchestra
Gluzman And Sibelius
This concert is supported by a generous gift from Dotty Jacobs in memory of Marvin “Buddy” Jacobs.
January 9, 7:30 p.m. • Mahalia Jackson Theater January 10, 7:30 p.m. • First Baptist Church, Covington Carlos Miguel Prieto, conductor • Vadim Gluzman, violin
LIADOV
The Enchanted Lake, Op. 62 (7’)
(1855-1914)
(1934-1998)
Concerto No. 4 for Violin and Orchestra (35’) Andante Vivo Adagio Lento
Vadim Gluzman, violin INTERMISSION
SIBELIUS
(1865-1957)
Symphony No. 2 in D major, Op. 43 (44’) Allegretto Andante, ma rubato Vivacissimo Finale: Allegro moderato
Carlos Miguel Prieto, conductor
Sponsored by:
Christwood
The Northshore’s Premier Retirement Community
Vadim Gluzman’s extraordinary artistry brings back to life the glorious violinistic tradition of the 19th and 20th centuries. His wide repertoire embraces contemporary music and his performances are heard around the world through live broadcasts and a striking catalogue of award-winning recordings exclusively for the BIS label. The Israeli violinist appears regularly with major orchestras such as the Chicago Symphony, London Philharmonic, Israel Philharmonic, London Symphony, San Francisco Symphony, Minnesota Orchestra and NHK Symphony.. In the 2013-14 season, Gluzman begins a new collaboration as Creative Partner and Principal Guest Artist of the ProMusica Chamber Orchestra in Columbus, Ohio. As Artist of the Year with the Bergen Philharmonic Orchestra, he performs a series of three concerts with conductor Andrew Litton, which will result in a new album of concertos by Shostakovich and Gubaidulina. In the United States Vadim is making his début with the Philadelphia Orchestra under Tugan Sokhiev, and in the United Kingdom, Gluzman’s highly anticipated Wigmore Hall recital follows last year’s acclaimed Proms debut. Gluzman’s latest CD features Sergei Prokofiev’s Sonatas No. 1 and 2 as well as three transcriptions from Romeo and Juliet. Accolades for his extensive discography under the exclusive contract with BIS Records include Gramophone’s Editor’s Choice, Classica Magazine’s esteemed Choc de Classica award, and Disc of the Month by The Strad, BBC Music Magazine, ClassicFM, and others.
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Gluzman and Sibelius
SCHNITTKE
Vadim Gluzman, violin
Vadim Gluzman plays the extraordinary 1690 ‘ex-Leopold Auer’ Stradivari, on extended loan to him through the generosity of the Stradivari Society of Chicago.
LPO LAGNIAPPE
Program Notes
A Soldier’s Tale Chamber concert featuring violinist Vadim Gluzman with select members of the LPO Saturday, January 11, 7:30 p.m. New Orleans Athletic Club Ballroom Tickets: $35 - LPOMusic.com or 504.523.6530
Gluzman and Sibelius
Sponsored by:
Program Notes By Michael C. Clive
The Enchanted Lake, Op. 62 Anatoli Liadov
Anatoli Liadov, was born just 11 years after Nikolai Rimsky-Korsakov (in 1855). But like most Russian composers of the era, Liadov looked to Rimsky as a father figure. Rimsky’s judgments about his colleagues’ music were magisterial and his knowledge of compositional technique was encyclopedic. Liadov, whose own family was prominent in the field of music, was well disposed to learn from the elder composer’s success, and more so than other composers in The Five, his work actually sounded similar to Rimsky’s: shimmering, translucent and iridescent are frequent descriptors. He rarely built drama or blared a fortissimo as Rimsky could, but he certainly could cast a spell – moody, colorful, atmospheric. And, like Rimsky, he was a master orchestrator who could create such effects with utter fluency. We hear all of this in Liadov’s The Enchanted Lake. Like many of Liadov’s compositions, it is based on a Russian fairy tale, and seems to shine with magic and moonlight. For the five or six minutes of its duration, it’s best to listen not for a story line, but for the glimmer of stars above the lake. Liadov himself characterized this mesmerizing music as seemingly immobile – a phrase that had special resonance for his frustrated admirers, including Rimsky himself, for this gifted composer was
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as famous for his laziness as for his music. In Conservatory, Liadov apparently saw little reason to expend more than a little effort; once his career was launched, his compositional output was meager. Despite his prominence as a conductor and a researcher in Russian folk music, which he published in arrangements for voice and piano, he seemed unproductive and unmotivated in writing his own music (though, in fairness, a tendency toward pessimistic self-criticism may have held him back). Liadov’s celebrated sloth has a special connection to The Enchanted Lake: while composing it, he declined a commission for a more important score that might well have transformed his career. That commission was The Firebird, which launched Stravinsky as an international composer.
Concerto No. 4 for Violin and Orchestra Alfred Schnittke
Russian composer Alfred Schnittke’s dates are 1934 – 1998, which makes him one of the first composers of international stature whose life and works were documented on the Internet as well as in print during his lifetime. Fate made his influences unusually diverse: His first musical studies were in Vienna, where his father was posted translating Russian into Ger-
Louisiana Philharmonic Orchestra
Program Book - Volume 23.2
in Schnittke’s hands. Though these techniques are not always apparent upon first listening, they never fail to command our attention, and deepen upon further listening.
Symphony No. 2 in D Major Jean Sibelius
A great symphonist’s most popular symphony, Sibelius’ second took rise from the Finnish master’s 1901 visit to Italy and was completed in 1902. If you don’t recognize it, wait for the triumphant spirit of the final movement, which can sound familiar even if you never heard it before. It is a culmination in every sense. Among post-Beethoven symphonists, Sibelius and Mahler seemed to represent polar opposites in their ideas about the symphony. They even had a chance to discuss the subject with each other, acknowledging their different aims – Mahler’s as expansive and philosophical as the world, the heavens, life and death; Sibelius’ a more detailed projection of the human imagination and the physical world. Some critics have heard Sibelius’ second, with its traditional four-movement presentation and predominance of traditional sonata allegro form, as offering a symphonic future more directly in line with Beethoven’s disciplined formalism. Mahler’s symphonies cast off in a new direction without apparent constraints. Many listeners also detect a strong political message in Sibelius’ second. Is Sibelius’ an account of Finland’s oppression as a duchy controlled by Tsar Nicholas II of Russia and its emergence as a free nation? Quite possibly. The symphony begins with the unalloyed pleasure of Sibelius’ travels in a land he adored (he described the symphony’s sparkling first movement as a colorful Italian mosaic). But we can choose to hear the bright colors of the first movement as offering the promise of freedom; the darker second movement, with its shift to D minor, could reflect suffering under foreign dominion; the tumultuous scherzo creates an atmosphere of fevered resistance; and perhaps the triumphant finale transmutes the sunny optimism of the first movement’s Italy to the emergence of Finland as a free and sovereign nation. LPO
Gluzman and Sibelius
man; in 1948 his family returned to Russia, adding Soviet influences to his early loves of Mozart and Schubert, and he entered the Moscow Conservatory in 1961. He had a particular affinity for the music of Shostakovich, and was fascinated by the bold modernism of the Italian composer Luigi Nono, whom he met when Nono visited the Soviet Union. Schnittke’s stylistic arc spanned early serialism that incorporated many sources in his own unique way, dubbed “polystylism.” Later he turned away from atonality and toward a more inclusive, mellower, inward style typified by his fourth violin concerto. Time has not yet given us a comprehensive picture of Schnittke as an artist. Certainly he suffered the pressures and uncertainties that composers faced in the Soviet Union as well as ill health, and much of his early music is described as bleak, pessimistic or brooding. Yet he was not without humor, having composed an opera called Life with an Idiot and a Symphony No. 0, which your annotator has not been able to find. Like American composers such as Leonard Bernstein and Aaron Copland, Schnittke was committed to popular, theatrical music; he wrote the scores for over 70 Russian films and declared he was dedicated to bridging the gap between “serious” and “popular” styles. String instruments dominate Schnittke’s chamber sonatas and concertos. His friendships with great Russian fiddlers seem to have inspired him, among them violinist Grigori Zhislin, violist Yuri Bashmet and violinist Gidon Kremer, to whom the Concerto No. 4 is dedicated. Schnittke described it movingly as a collaboration and a tribute to a beloved friend. The concerto is full of surprises. Comprised of four movements rather than the usual three, it ranges from tender, introspective tonality to dissonances that are almost shocking. Violin fans may hear a similarity in the opening percussion to the Beethoven violin concerto, and Schnittke features percussion throughout. He also incorporates Kremer’s and his own initials (among others) into the work’s musical subjects and ancient dance rhythms into the development sections – antique, highly technical approaches that sound modern
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Chinese New Year
This concert is supported by a generous gift from Mrs. Jeri L. Nims.
January 31, 7:30 p.m. • Mahalia Jackson Theater Carlos Miguel Prieto, conductor • Wu Man, pipa Enkelejda Shkosa, mezzo-soprano Anthyony Dean Griffey, tenor STRAVINSKY
Fireworks, Op. 4 (4’)
(1882-1971)
ZHAO JIPING
Chinese New Year
(b. 1945)
Wu Man, pipa
Pipa Concerto No. 2 Wu Man, pipa Co-commissioned by the Louisiana Philharmonic Orchestra INTERMISSION
MAHLER
(1860-1911)
Das Lied von der Erde (59’)
Das Trinklied vom Jammer der Erde [The Drinking Song of Earth’s Misery] Der Einsame in Herbst [The Lonely One in Autumn] Von der Jugend [Of Youth] Von der Schönheit [of Beauty] Der Trunkene im Frühling [The Drunk in Spring] Der Abschied [The Parting]
Enkelejda Shkosa, mezzo-soprano
Enkelejda Shkosa, mezzo-soprano Anthony Dean Griffey, tenor
Anthony Dean Griffey, tenor
Sponsored by:
Internationally renowned pipa (Chinese lute) virtuoso, Wu Man, has been cited by the Los Angeles Times as ‘the artist most responsible for bringing the pipa to the Western World.’ Born in Hangzhou, China, Wu Man studied at the Central Conservatory of Music in Beijing where she became the first recipient of a master’s degree in pipa. She currently lives in Boston where she was chosen as a Bunting Fellow at the Radcliffe Institute of Advanced Study at Harvard University. Wu Man was selected by Yo-Yo Ma as the winner of the City of Toronto Glenn Gould
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Louisiana Philharmonic Orchestra
Protégé Prize in music and communication. She is also the first artist from China to have performed at the White House with the noted cellist with whom she now performs as part of the Silk Road Project. Wu Man has collaborated with distinguished musicians such as Yo-Yo Ma, David Zinman, Yuri Bashmet, and Cho-liang Lin. In the orchestral world she has performed with the New York Philharmonic, the Boston Symphony Orchestra, Stuttgart Chamber Orchestra, and many others. Her touring has taken her to the major music halls of the world including Carnegie Hall and Lincoln Center.
Chinese New Year
Born in Albania, Enkelejda Shkosa studied at the Academy of Fine Arts in Tirana. In 1995 she graduated from the G. Verdi Conservatory in Milan and in that same year was awarded first prize at the Leila Gencer International Competition in Istanbul. She then made her debut in major Italian and European theaters singing in productions such as Moïse et Pharaon, L’occasione fa il ladro, Petite Messe Solennelle, Otello, Il Viaggio a Reims at Rossini Opera Festival in Pesaro; Roberto Devereux and Maria Stuarda at Teatro Regio in Torino; Dom Sébastien roi de Portugal in Bergamo and in Bologna; the Brahms’ Alto Rhapsody, Madama Butterfly and Il Barbiere di Siviglia at Teatro San Carlo in Napoli; and Rigoletto, Così fan tutte, Dom Sébastien and La Dama di picche at Covent Garden of London. She has also performed at Opéra Bastille in Parigi (Madama Butterfly and Les Contes d’Hoffman); Théâtre du Châtelet (Otello); Opéra Garnier (Cosi fan tutte); Opéra Monnaie (La Cenerentola); Teatro alla Scala (Petite Messe Solennelle); Semperoper in Dresda (L’Italiana in Algeri); and Staatsoper in Vienna (Il Barbiere di Siviglia). Notable conductors Shkosa has worked with include Sir Colin Davis, Riccardo Chailly, Bruno Campanella, Myung-Whun Chung, James Conlon, Daniel Oren, Antonio Pappano, Daniele Gatti, Carlo Rizzi, and Vladimir Jurowski. Her discography includes the collection Il Salotto and Otello (Opera Rara), Thaïs and Cavalleria Rusticana (Decca), Beatrice et Benedict and La Damnation de Faust recorded with the London Symphony Orchestra.
American tenor Anthony Dean Griffey has captured critical and popular acclaim on stages around the world. The combination of his beautiful and powerful lyric tenor voice, gift of dramatic interpretation, and superb musicianship have earned him the highest praise from critics and audiences alike. Griffey has appeared in the world’s most prestigious opera houses including the Metropolitan Opera, San Francisco Opera, Los Angeles Opera, Santa Fe Opera, Houston Grand Opera, Paris Opera, Teatro dell’Opera in Rome, and the Saito Kinen Festival in Japan. His many roles include the title roles in Peter Grimes, Idomeneo, Oedipus Rex, and Kurka’s The Good Soldier Schweik; Florestan in Fidelio, Erik in Die Fliegende Holländer, and Jim Mahoney in The Rise and Fall of the City of Mahagonny. A celebrated concert performer, Griffey appears regularly with many distinguished international orchestras including the New York Philharmonic, Chicago Symphony Orchestra, Boston Symphony Orchestra, Los Angeles Philharmonic, London Symphony Orchestra, Berlin Philharmonic, Radio Filharmonisch Orkest Holland at the Concertgebouw, and
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Chinese New Year
the Saito Kinen Orchestra in Japan among others. He has also appeared in the world’s most prominent festival including the BBC Proms. The list of acclaimed conductors he has worked with includes James Conlon, Sir Andrew Davis, Sir Colin Davis, Christophe Eschenbach, Alan Gilbert, James Levine, Lorin Maazel, Sir Neville Marriner, Kurt Masur, Seiji Ozawa, Esa-Pekka Salonen, Andre Previn, Robert Spano, Michael Tilson Thomas, and Jaap van Zweden among others. Since the start of his career Griffey has taken an active role in many charitable efforts, advocating for arts programs in the Guilford County Public Schools, raising money for the Mental Health Association as well as giving benefit concerts for the “Open Door Shelter” for which Griffey has raised hundreds of thousands of dollars for the homeless in his hometown. Griffey holds degrees from Wingate University, the Eastman School of Music, the Juilliard School and was a member of the Metropolitan Opera’s Lindemann Young Artists Program. He was awarded the Doctorate of Humane Letters from Wingate University in May 2012 and was also inducted into the North Carolina Music Hall of Fame in 2011. He currently holds the position of Distinguished Artist-in-Residence at the University of North Carolina School of the Arts.
Program Notes By Michael C. Clive
Fireworks, Op. 4 Igor Stravinsky
Described as an “orchestral fantasy,” Stravinsky’s Fireworks is brief, effervescent and celebratory. But the sad backstory of this composition belies its gaiety; it was composed in 1908 as a wedding gift for the daughter of Stravinsky’s beloved teacher, Rimsky-Korsakov, who died just days before the marriage. It was among his first publicly performed works, predating his international career (he received the commission for The Firebird in 1909, and the epoch-making Rite of Spring was premiered in 1913). But Fireworks, despite its brevity, clearly demonstrated that Stravinsky was capable of writing great ballet music. And as fate would have it, the very enthusiastic audience at its premiere in St. Petersburg included Serge Diaghilev, the great ballet impresario and founder of the Ballets Russes. Global fame quickly followed.
Pipa Concerto No. 2 Zhao Jiping
Composer Zhao Jiping, long one of the most prominent composers in China,
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has been gaining prominence throughout the world in recent years. Western audiences are gaining familiarity with his remarkable music not only through his scores to popular feature films such as Red Sorghum, Raise the Red Lantern and Farewell, My Concubine, but through increased interest in Chinese music and culture generally, and particularly in the pipa – sometimes called the “Chinese violin” for its four strings and human expressiveness, though it more closely resembles the Western lute. Born in Shaanxi Province in the city of Pingliang in1945, Zhao studied at the Central Conservatory of Music in Beijing. He is one of the international collaborators in Yo-Yo Ma’s Silk Road Project, for which his recent commissions include Summer in the High Grassland and The Battle Remembered. Of his work with the Project, Zhao has said “I have a mental picture of the Silk Road, of a bazaar filled with people trading goods, calling out for attention, bargaining with each other. Slowly the sun sets and I move away from the bazaar, out into the desert, until it disappears and all I can see is sand and the very quiet, still night sky. The people of that ancient Silk Road have disappeared, but the cultures have contin-
Louisiana Philharmonic Orchestra
Das Lied von der Erde Gustav Mahler
East meets West and symphony meets song in Gustav Mahler’s Das Lied von der Erde (“The Song of the Earth”). Composed in 1908 and 1909, Das Lied von de Erde is a setting of six texts adapted from classic Chinese poems into the German language by translator Hans Bethge. Not surprisingly, most listeners – even Mahler enthusiasts, a special breed – consider this great and highly personal work to be one of the greatest of all song cycles. But Mahler considered it a symphony, and the fact that it lacks a number only underscores the very personal nature of its subject. Always with his eyes and ears on the eternal, Mahler included solo voices and chorales in a number of his symphonies in contemplating the nature
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of life on earth and what might lie beyond it. And he was famously superstitious about cataloguing his symphonies as they approached the number nine – the last in Beethoven’s canon. In the end, although Mahler’s symphonies do include a number nine and a posthumously edited tenth, his wife affirmed that the master himself felt that Das Lied von der Erde ”was really the ninth.” While it is true that Mahler composed this work with a keen awareness of his own mortality – he suffered from heart disease – listeners who come to it in the expectation of unremitting darkness should keep their ears open and be ready for a surprise. This vocal symphony is full of tenderness as well as melancholy. It is a loving valediction to a world held dear and an ardent appreciation of what makes it beautiful, tinged with awe and wonder at what might lie beyond it. While he was writing it, illness could make his daily life a torment and a grim reminder; yet the music of Das Lied von der Erde is devoid of the complaints and anguished outcries in some of Mahler’s earlier symphonies. Bethge’s translations, anthologized in the evocatively titled The Chinese Flute, include verses by some of China’s most revered poets – known for expressing the eternal beauty and harmony of the natural world, and humanity’s small, transient place in it. Mahler found these verses so deeply resonant with his own feelings that he appended lines of his own in several of them. His orchestrations and musical materials here are characteristically large, but the effects he achieves are intimate and meditative – directed inward, to the composer’s and listener’s very soul. In the extended interlude between the two vocal segments of the Abschied (“farewell”) we sense why: It is here that Mahler struggles, as we all must, to reconcile his inner, spiritual life with his life in the outer world. And in a transcendent finale underscored by the starry tones of the celesta and the words “ewig…ewig…”, we realize that he has succeeded. LPO
Chinese New Year
ued. Those people have left something in each of our hearts.” Zhao has received numerous international honors, including awards at the Cannes and Berlin Film Festivals, and has been widely acclaimed for his ability to combine traditional Chinese musical forms with Western orchestral forces. In 1995 he was the subject of the documentary film Music for the Movies: Zhao Jiping. He is currently Director of the Institute of Dance and Drama of Shaanxi Province. Coinciding with Zhao’s increasing fame is the emergence of the great pipa virtuoso Wu Man, who has mounted a virtual campaign to attract new listeners to the instrument and to the vast, varied traditions of Chinese provincial music. With its graceful, teardrop-shaped body and extended neck with up to 26 frets, the pipa has been played in China for almost two thousand years. Though the instrument reached the height of its popularity in the T’ang Dynasty and has suffered changing fortunes in recent years, the advent of steel strings, with their plangent, penetrating sound, has greatly increased its versatility. Today, listeners from many countries are seeking out music for the pipa – and composers such as Zhao are providing it.
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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Boléro
This concert is supported by a generous gift from Dr. Richard and Ann Cox Strub.
February 7, 7:30 p.m. • First Baptist Church, Covington February 8, 7:30 p.m. • Mahalia Jackson Theater Carlos Miguel Prieto, conductor • Lilya Zilberstein, piano PROKOFIEV (1891-1953)
Suite from Love for Three Oranges, Op. 33a (15’)
Les Ridicules Le Magicien Tchelio et Fata Morgana jouent aux cartes March Scherzo Le Prince et la princesse Le Fuite
Lilya Zilberstein, piano
Concerto No. 3 in C major for Piano and Orchestra, Op. 26 (28’) Andante - Allegro Andantino Allegro ma non troppo
Boléro
Lilya Zilberstein, piano
Carlos Miguel Prieto, conductor
INTERMISSION
RAVEL
Alborada del gracioso (7’)
(1875-1937)
Rapsodie espagnole (15’) Prélude á la nuit Malagueña Habañera Feria
Sponsored by:
Boléro (14’)
Since winning First Prize in the 1987 Busoni International Piano Competition, Lilya Zilberstein has established herself as one of the finest pianists in the world. Artist-inResidence of the Stuttgart Philharmonic in 2012/13, she will appear this coming season with the Columbus Symphony, Dortmund Symphony, Düsseldorf Symphony, Orquestra Filarmônica de Minas Gerais/Brazil, Orquestra Filarmónica de la UNAM/Mexico, Orquesta Sinfónica de Minería/Mexico, Qatar Philharmonic, Saarbrücken Staatstheater Orchestra, and the Stuttgart Philharmonic. She will also appear at the Campos do Jordao, Mondsee, and Ireland Chamber Music festivals. In North America, Zilberstein has appeared with the symphonies of Chicago (at Ravinia), Colorado, Dallas, Indianapolis, Montreal, and Saint Louis, as well as the Pacific Symphony, to name a few. Her worldwide engagements have included the Berlin Philharmonic, Czech Philharmonic, London Symphony, Moscow Philharmonic, NHK Symphony
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Louisiana Philharmonic Orchestra
(Tokyo), Orquesta Sinfónica Nacional de México, Royal Philharmonic, La Scala Orchestra, and the Vienna Symphony. Festival engagements include Lugano, Chautauqua, and Mostly Mozart, both in New York and Japan. Zilberstein has presented numerous recitals with Martha Argerich. In addition to show-stopping performances in Norway, France, Italy and Germany, a CD of the Brahms Sonata for Two Pianos played by Zilberstein and Argerich was released in 2003. Highlights of this season’s collaboration with Martha Argerich include performances in Hamburg and Bremen. Ms. Zilberstein has also collaborated on extensive tours in the United States, Canada and Europe with Russian violinist Maxim Vengerov. Featured on the EMI recording Martha Argerich and Friends: Live from the Lugano Festival, Mr. Vengerov’s and Ms. Zilberstein’s performance of the Brahms Sonata No. 3 for Violin and Piano won a Grammy nomination for best classical album, as well as best chamber music performance. Zilberstein has also made numerous recordings for Deutsche Grammophon; these include the Rachmaninov Concerti Nos. 2 and 3 with Claudio Abbado and the Berlin Philharmonic, the Grieg Concerto with Neeme Järvi and the Göteborg Symphony, as well as solo works of Rachmaninov, Shostakovich, Mussorgsky, Liszt, Schubert, Brahms, Debussy, Ravel, and Chopin. A native of Moscow, Lilya Zilberstein is a graduate of the Gnessin Pedagogical Institute. In addition to the Busoni Competition Gold Medal, she was the 1998 Prizewinner of the Accademia Musicale Chigiana in Siena, Italy (other recipients include Gidon Kremer, Anne-Sophie Mutter and Esa-Pekka Salonen). She moved to Hamburg in 1990, where she lives with her husband and their two sons. Ms. Zilberstein was Guest Professor of Piano at the Hamburg Musikhochschule from 2009-2013. Boléro
Program Notes By Michael C. Clive
Suite from Love for Three Oranges Sergei Prokofiev
Sergei Prokofiev could hardly have picked a less auspicious time to visit America than 1918, when Russia was coping with the cataclysms of its own revolution and World War I. The trip’s opening passage by rail spanned four months of serial delays. Immigration officials detained him when he finally reached San Francisco, and in Chicago, where he had been engaged to lecture, the reception wasn’t much better. If all this sounds like a picaresque adventure, that may be one reason why Prokofiev’s picaresque opera The Love for Three Oranges is so inspired. He worked on the opera during his travels, which — like the opera —brought forth relatively good fortunes from adventures that were sometimes funny, but not lightweight. Prokofiev drew the libretto from a Russian
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adaptation of a commedia del’arte play by Carlo Gozzi in which a young prince laughs at a witch’s clumsiness. She curses him to seek and fall in love with three oranges. Two of them conceal maidens who perish before the prince, finally learning his lesson, rescues and marries the third. The Suite based on the opera was commissioned in 1924, and comprises six movements that glisten with a tart, melodious humor. Prokofiev also arranged two movements of the Suite – the famous March and the Scherzo – as bravura piano solos.
Concerto No. 3 in C Major for Piano and Orchestra, Op. 26 Sergei Prokofiev
Despite their overlapping dates and the stylistic links between French and Russian music, Ravel’s and Prokofiev’s piano
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Boléro
styles could hardly be more different. The fluidity, translucency and elegance of Ravel’s piano works incorporate experimental scales and textural effects that are diaphanous by comparison with Prokofiev’s muscular style: vigorous, powerful, often spiky and percussive. Yet Prokofiev also gives us exciting melodic lines. His five piano concertos comprise perhaps the greatest grouping of concertos for a single instrument written in the past century. Prokofiev offered his own notes for this concerto. “The first movement,” he writes, “opens quietly with a short introduction (Andante, 4/4). The theme is announced by an unaccompanied clarinet and is continued by the violins for a few bars…” He continues in this manner for a blow-byblow narrative of the movement, which, while accurate, scarcely conveys a sense of its excitement or its technical demands. But as they progress, his descriptions gain color and clarity. “The second movement consists of a theme with five variations,” he writes. “…In the first variation, the piano treats the opening of the theme in quasisentimental fashion, and resolves into a chain of trills, as the orchestra repeats the closing phrase. The tempo changes to Allegro for the second and third variations, and the piano has brilliant figures, while snatches of the theme are introduced here and there in the orchestra…” Finally, he suggests the energy and flair of the concerto’s closing movement. “[It] begins with a staccato theme for bassoons and pizzicato strings, which is interrupted by the blustering entry of the piano. The orchestra holds its own with the opening theme, however, and there is a good deal of argument, with frequent differences of opinion as regards key. Eventually the piano takes up the first theme and develops it to a climax. With a reduction of tone and a slackening of tempo, an alternative theme is introduced in the woodwinds. The piano replies with a theme that is more in keeping with the caustic humor of the work. This material is developed, and there is a brilliant coda.”
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Alborada del gracioso Maurice Ravel
The jester is a curious figure who appears throughout European painting and literature. He is Shakespeare’s fool and the commedia del’arte’s harlequin, the joker in a deck of cards and the gracioso depicted in Spanish paintings and stage comedies. It is his voice we hear in Ravel’s lovely Alborada del gracioso, usually translated as “Morning Song of the Jester,” awakening to the world with the classless naïvete of the outsider. The Alborada was originally composed as part of Ravel’s five-movement piano suite Miroirs (mirrors). The suite was completed in 1905, with each movement bearing a personal dedication; the Alborada honors Ravel’s friend and supporter M.D. Calvocoressi, a music critic and early supporter of his work. The writing is a miracle of fluidity, seeming to require boneless hands; orchestrated, it flashes with color and light. Hearing either version, we can’t imagine it existing in any other form. The Alborada is full of sun, sea and sounds reminiscent of strummed guitars, all of which bewitched Ravel, here gathered episodically in a way that his biographer Alexis Roland-Manuel described as “the swooning flow of the lovelorn melodic line which interrupts the angry buzzing of guitars.” But to some listeners, at least, that buzzing is anything but angry; it is as proud and emphatic like Flamenco as it alternates with the soft breezes of morning.
Rapsodie Espagnole Maurice Ravel
Living and listening in a warm climate, it’s hard to imagine the allure that the warmth of Spain held for French composers of the late 19thMediterranean, the Riviera, the Camargue – but its classical tradition is of cool understatement and and early 20th centuries. Not that France is exactly polar – it has the rigorous, disciplined technique. For composers such as Chabrier, Lalo, Bizet, Massenet and Debussy, Spain was a place of magic and magnetism, of bright sunshine and hot blood where sensuality
Louisiana Philharmonic Orchestra
Boléro
Maurice Ravel
Ravel loved Spain and its dance forms, and these two elements could hardly be more strongly stated in his Boléro. But what made it an unexpected, runaway hit was his willingness to push forms and take risks. It was almost as if he had dared himself to try the impossible: Would it be possible to compose a work that had “no form…no development…almost no modulation”? We all know the answer. Boléro became one of the great success stories in orchestral history, achieving a popularity that blessed and bedeviled Ravel by turns. About three years after its premiere he told a newspaper interviewer, “Before its first performance, I issued a warning to the effect that what I had written was a piece lasting 17 minutes and consisting wholly of ‘orchestral tissue without music’ — of
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one very long, gradual crescendo. There are no contrasts, and practically no invention…” Ravel could hardly have dreamed that 85 years after its composition it would be in scores of movies and gruesomely arranged for high school marching bands. It was originally a commission by Ida Rubinstein, a dancer who asked Ravel merely to transcribe six pieces from Albéniz’s Iberia suite. There were copyright restrictions, probably not insoluble, but Ravel suggested composing an original one-movement dance work instead. The rest, as they say, is history. Premiered in 1928, Boléro was sensationally successful from the start. Though originally presented as a staged ballet, it quickly took on a life of its own as a concert work and has remained in the standard orchestral repertoire, always attended by controversy over tempo and dynamics. Ravel wanted an unvarying beat that would clock in at a performance time of about 17 minutes. But today our ears are more attuned to the sound of Boléro, and conductors often take a more pliant approach. And so do the players: virtually every member of the extended orchestral family is revealed in solo turns. LPO
Boléro
took precedence over elegance, and they all put their fascination to musical descriptions of Spain. So did Ravel, but geography and circumstance gave him a closer claim on Iberian culture; he was born in the Basses-Pyrenees, just a few miles from the Spanish border, and was fascinated by his Basque mother’s exquisitely refined descriptions of Spanish culture. His evocations of its dance rhythms and expressive harmonies are authentic. No less a Spaniard than Manuel de Falla, who greatly admired Ravel, was astonished by what he called the Rapsodie’s Spanish character and the “subtly genuine Spanishness of Ravel.” The Rapsodie is comprised of four brief, seductive movements. Like the Alborada del Gracioso, it was originally composed for piano (four hands), in 1907. (The Habanera movement dates back to 1895.) The following year he orchestrated it, spending more time developing the orchestral score than on the original composition. Despite limited initial success, the Rapsodie became one of Ravel’s more popular orchestral works, a spectacular early example of his mastery of orchestral color.
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.
LPO LAGNIAPPE Special Concert:
Postcards from Paris
presented in collaboration with The Historic New Orleans Collection Nicholas Carter, conductor Michael White, clarinet Thomas Kientz, organ Ryutaro Suzuki, piano Julia Knecht, soprano Charles Moore, tenor
Wednesday, February 19, 7:30 p.m. St. Louis Cathedral Free Admission
LPOmusic.com or 504.523.6530
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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, 2012 and October 1, 2013: $50,000+
Mrs. Adelaide Wisdom Benjamin Mrs. Jeri L. Nims Estate of Leroy R. Nolan
$20,000+
Susan and William Hess Estate of Robert Z. Hirsch Mrs. Dorothy S. Jacobs Hugh W. Long and Susan L. Krinsky Mr. and Mrs. Charles B. Mayer Drs. R. Ranney and Emel Songu Mize Mr. J. Robert Pope Mr. and Mrs. Carlos Miguel Prieto Dr. and Mrs. Richard L. Strub Mr. and Mrs. Roland von Kurnatowksi Mr. and Mrs. Hugo C. Wedemeyer
$10,000+
Tiffany Adler Mrs. Philip Breitmeyer, II Mr. J. Scott Chotin, Jr.* Eileen A. Elliott Dr. and Mrs. Ludovico Feoli Juan and Ana Gershanik Mr. Paul J. Leaman, Jr. Dr. Edward D. Levy, Jr. Mr. Mark McCreary Mr. Peter Rogers Ms. Courtney-Anne Sarpy Mr. and Mrs. Philip Straub Ms. Catherine B. Tremaine
$5,000+
Anonymous Mr. Richard C. Adkerson Misook Yun and James William Boyd Philip and Ellen Frohnmayer Ms. Anne B. Gauthier Dr. and Mrs. Stephen W. Hales Drs. Henrietta and Walter Harris Caroline and Philip Loughlin Mr. and Mrs. Edward F. Martin Vincent P. Saia and Glynn Stephens Mr. and Mrs. Gregory P. Speyrer Lawrence M. and Georgia B. Young Jerry W. Zachary
Seibel Patrons $3,000+
Anonymous Dr. and Mrs. Joseph J. Biundo Mr. and Mrs. Kenneth J. Boudreaux Dr. and Mrs. Gerald Cohen Arthur A. Crais, Jr. Mr. and Mrs. William H. Ellsworth Dr. James A. H. Farrow Sybil M. and D. Blair Favrot Family Fund Mr. and Mrs. Lyle W. Ferguson * denotes member of Allegro
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Mr. and Mrs. Alan Franco Mr. James C. Gulotta and Ms. Susan G. Talley Ms. Angela Hill and Dr. Irwin M. Marcus Dr. and Mrs. Bernard M. Jaffe Mr. and Mrs. Erik F. Johnsen Timothy and Virginia Kelly Mr. and Mrs. Charles W. Lane, III Bob and Charlotte Lewis Dr. Ray J. Lousteau Mrs. Paula L. Maher Estate of Berthe Mangin Ellen and Stephen Manshel Rita Odenheimer Mr. and Mrs. Robert J. Patrick Louise and Richard Rusch* Nan and J.O. Sanders, III* Maj. Gen. (Ret.) and Mrs. Thomas A. Sands David P. Schulingkamp Mr. and Mrs. I. William Sizeler Ms. Lizbeth A. Turner and Mr. Clarence D. Wolbrette Mr. and Mrs. Bernard Van der Linden Mr. and Mrs. W. J. Wilkinson
Con Brio Patrons $1,500+
Anonymous Ronald G. Amedee M.D. and Elisabeth H. Rareshide M.D. Mrs. Bethlehem K. Andrews Jack Belsom Mr. and Mrs. Sydney J. Besthoff, III Mr. Larry Blake Mr. and Mrs. Carlos A. Bonilla, Jr. Mrs. Donald M. Bradburn Drs. Andrea S. and Archie W. Brown Mr. E. John Bullard, III Dr. and Mrs. Salvador Caputto Carolyn B. Chandler Mr. and Mrs. Walter F. Chappell, III Mr. and Mrs. Edgar L. Chase, III Jacquelyn Brechtel Clarkson Dr. Carolyn M. Clawson Ms. Nancy L. Claypool Orlin and Shirley Trusty Corey Ms. Veronica Costanza and Mr. Gerald Sellar* Robin and Bruce Crutcher Henrietta B. Deters Ms. Marlene L. Donovan Sally T. Duplantier Dr. and Mrs. Gregory S. Ferriss Henry and Joan Folse Mr. Raul Fonte and Ms. Helen Flammer Mr. and Mrs. George J. Fowler, III Mrs. Rosemarie B. Fowler Rev. Susan S. Gaumer Kurt Gitter and Alice Yelen Robert and Valborg Gross Susan G. Guidry Abba J. Kastin, MD Ellen and Stephen Manshel
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, 2012 and October 1, 2013:
Mr. and Mrs. Dwight R. McGhee Ms. Barbara B. Mollere Joel and Bert Myers Sanford L. Pailet, MD John and Ellen Pecoul Mr. and Mrs. Dick H. Piner, Jr. Laura Walker Plunkett Nancy H. Pomiechowski Ruth and Larry Rosen Jerry and Rita Satawa Mr. and Mrs. Juergen F. A. Seifert Mari Carmen Servitje Guy and Tommiann Smith* Mr. and Mrs. Bruce L. Soltis Lewis and Patricia Stirling, III Mrs. Sara B. Stone Dr. and Mrs. Olivier Thelin Mr. and Mrs. Richard A. Thompson Mr. and Mrs. Richard A. Van Wootten Honorable Sarah S. Vance and R. Patrick Vance Ms. Grace Morris Williamson Mr. George H. Wilson, Jr. Mr. and Mrs. John M. Wilson
$1,000+
Anonymous Mr. and Mrs. Herschel L. Abbott, Jr. Mr. George L. Bernstein Roselyn B. Boneno, Ph.D. Diane and John Butler Kathy and Gordon Cain* Mr. John L. Cleveland Jr. Mr. William Coskrey Mrs. F.J. Dastugue, Jr. George & Milly Denegre Fund Mr. Robert C. Evans Mike and Terry Fontham Mr. and Mrs. Robert Force Mrs. Lillian L. Glazer Lionel H. Head, M.D. Dr. and Mrs. Stephen E. Hellman Kirschman Enterprises, LLC Donna G. Klein Sally and Dick Knight* Lestelle Communications, LLC Joseph D. Lewis Robert and Lauren 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. Timothy L. Soslow Mr. Thomas F. Ward Mrs. Claire L. Whitehurst Ms. Carla D. Seyler and Mr. Mark T. Winter Patricia M. Woodstein * denotes member of Allegro
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$600+
Anonymous Mr. and Mrs. Christopher M. Adams Mr. and Mrs. Richard M. Adler Jeffrey Albert and Dr. Jennifer Miles* Bobby Joseph Bennett* Ed and Michelle Biggs* Sally T. Buras* Dr. Raquel Cortina Mimi and Bill Dossett* Mr. and Mrs. Joseph M. Elliot, III Colette and Joseph Friend Ashley Poole Fuselier* Ms. Joanne Gallinghouse* Mr. Emmet W. Geary, Jr. 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 Ms. Adrienne Laborde* Toni and Allan Ledbetter* Noonie and Clay LeJeune* Ann M. Loomis* Janet R. Lynch* Mr. and Mrs. Adam Marcus Dr. and Mrs. William A. Martin David and Sue Miller* Mr. and Mrs. Denis Milliner Harriet H. Murrell Mr. and Mrs. Eric B. Nye* Alex and Mary Pagnutti* Mrs. Joseph Rault Dr. and Mrs. Gayden Robert, Jr.* Benjamin M. Rosen Family Foundation Mr. John Rusch* Drs. Zoe and Scott Sonnier Lain and Nicole St. Paul* Mr. and Mrs. William N. Stadler* Mr. and Mrs. James Thibaut* Ms. Vera Thibaut* Joe and Judy Toups Mr. and Mrs. Joseph Ward* Peter and Joyce Walker* Helen Whalen* Kathryn Wildgen*
$300+
Anonymous Mr. and Mrs. Robert Amoss John W. Andrews Capt. and Mrs. Gary Bair Mr. Michael L. Baker Dr. and Mrs. Luis A. Balart Jack C. and Clare Benjamin Designated Fund Ms. JoAnne E. Barry and Mr. Kenneth O. Boulton
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Orchestra Fund:
Individual Support
The following individuals are gratefully acknowledged for contributions made to the LPO’s Orchestra Fund between July 1, 2012 and June 30, 2013: Carol O. Bartels Mr. John S. Batson Ms. Barbara M. Bowen Joe and Martha Boudreaux Melinda O’Bryant-Brencick and Vincent Brencick Mr. and Mrs. Phelan A. Bright Mrs. Florence Brown Ms. Charlotte A. Brunner and Mr. Alan M. Shiller Burkedale Foundation Jane Clayton, MD Duane and Harvey Couch Richard and Fernell Cryar Dr. and Mrs. Rafael Ducos Dr. and Mrs. Charles L. Dupin Drs. Melanie and Kenneth C. Ehrlich Lillie Eyrich and Rose Vines Mrs. Francella S. Flurry Mr. and Mrs. Stephen J. Gaiennie Mr. and Mrs. Marcel Garsaud, Jr. Terry C. Gay Mr. and Mrs. Bruce A. Gordon Mimi and Billy Groome Ellen Hall Mr. and Mrs. Kim L. Harvey Rick Henderson, MD Danella and George Hero, III Mr. Gregory Holt William and Sharon Horne Patrick R. and Phyllis Hugg Heidi and Arthur Huguley Gary and Winkie Hymel Mrs. Richard K. Ingolia Ms. Ailleen Janney T. Larry and Darlene Johnson Mr. and Mrs. Herman S. Kohlmeyer, Jr. Ruth and Larry Kullman Mr. and Mrs. Kenneth Lawder, Jr. Frederick Lee Lawson Mrs. Catherine C. Leake Mr. and Mrs. Robert E. Leake, Jr. Mr. and Mrs. Edward F. LeBreton Lowenburg Family Foundation Francis J. Madary, Jr. Joel and Suzy Mague Helen R. Malin John and Brigitta Malm Will G. Mangham Joseph L. McReynolds Mr. and Mrs. Machale A. Miller Mary S. Moore with Direct Mail Plus Nathanael and Elizabeth Mullener Mr. and Mrs. James T. Murphy Dr. Guillermo Náñez-Falcón New Orleans Rotary Fund Dr. James A. Oakes, III Mr. and Mrs. L. Dow Oliver Mrs. Ruth R. Olivera Dr. and Mrs. James E. Ricciardi Mrs. Patricia A. Riggle
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John Rigney Molly Rondeau Dr. and Mrs. Irving L. Rosen Paul and Margaret Rosenfeld Mrs. J. William Rosenthal Anthony M. Rotolo John and Ann Scharfenberg Mark and Sally Seyler Mr. and Mrs. Joseph Shefsky Dr. and Mrs. Louis G. Shenk Katherine E. Siebel Mrs. Dorothy P. Smith Kathleen Smyk Ricardo and Sally Sorensen Dr. and Mrs. Robert W. Stafford Charles and Ann Stuart Mrs. Carroll Suggs Claude Summers and Ted Pebworth Textron Marine & Land Systems Dr. and Mrs. Leonard B. Thien Dr. Sam A. and Virginia R. Threefoot Fund Drs. Gregory and Ann Tilton Textron Marine and Land Systems Tripolo Gallery Mr. W.F. Von Almen, II Mr. and Mrs. David Wagstaff Julia and Cedric Walker Ms. Eileen B. Wallen Mr. and Mrs. Bruce Waltzer Eric and Regina Wedig Dr. and Mrs. Robert G. Weilbaecher Dr. and Mrs. John M. Yarborough, Jr. Robert and Nell Nolan Young $150+ Anonymous Mr. Gary Acosta Blaise and Janet Angelico Paul and Rosalie Atkinson Mrs. Ann H. Babington Peter and Sandra Barsczeski Jeffrey and Kasey Bealer Mr. and Mrs. Jack C. Benjamin Tom Bergeon Ms. Virginia Besthoff Robert and Katherine Boh Mr. and Mrs. Robert B. Branson Dr. and Mrs. Frederick W. Brazda Lucille Haueser Brian Dr. and Mrs. Charles L. Brown Jr. Mr. Harold H. Burns Dr. and Ms. Jon C. Brown Milton and Rita Bush James T. Calvin Robert J. Cangelosi and Ann Yvette de la Villesbret Mr. and Mrs. Carlo Capomazza di Campolattaro Dr. and Mrs. Michael Carey Joseph and Dianne Caverly Chadwick Family Foundation Dr. Stuart and Gail Chaleu
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, 2012 and June 30, 2013:
Dr. Flora Finch Cherry Burton Greenberg and Jim Clavin Lee and Valarie Connell/The Connell Group Marcia Cooke and Ted Cotton Russell and Carolyn Cornelius Dr. and Mrs. Laurence Cortez Mrs. Joan M. Coulter Mr. Bruce P. Creighton Marsha Davis Katherine de Montluzin Dr. and Mrs. Edward De Mouy Philip M. Delony Addison and Penny Ellis Ms. Lin Emery Kathleen G. Favrot Mr. and Mrs. H. Mortimer Favrot, Jr. Ms. Jean C. Felts Mr. and Mrs. Richard W. Freeman Knowles French, Jr. Dr. and Mrs. Harold A. Fuselier, Jr. Elizabeth and John Futrell Joanna M. Giorlando Joy B. Giraud David and Shanni Goldstein Mr. Michael D. Harold and Dr. E. Quinn Peeper Hegedus Architects Mr. and Mrs. Chip Hellmers Danella and George Hero, III Mr. and Mrs. Jonathan A. Hunter John Hill and John Weimer Mr. and Mrs. Leslie L. Inman Ms. Georgette Ioup Robbie and Cheryl Jarrell Celia L. Katz Carl Kendall Bill and Rosina Kilpatrick Mr. Jerry L. Kubnick Mr. James C. Landis Erin L. Landry Steven J. Lane Jule Henle Lang Mr. Henrik A. Larsen Ms. Mary LaValla Mrs. Catherine C. Leake Cynthia L. LeBreton Mr. Stanley P. Leibo Mrs. Edward N. Lennox Mr. Dwayne O. Littauer Jay and Dara Long Ms. Wilma S. Longstreet Mr. and Mrs. James B Lootens Carolyn Wood Lorio Jacquelyn Lothschuetz Judy Loyde Ms. Faina Lushtak Dr. Joan M. and John O. Lyles Mrs. Irene E. Mackenroth John and Brigitta Malm John C. Martin, Jr. Mr. and Mrs. Peter A. Mayer Kim Mcelwee and Denise Bergeron
Program Book - Volume 23.2
Mr. and Mrs. Jonathan C. McCall Lamont McLoughlin, III Mr. and Mrs. G. Edward Merritt Mrs. Ellis Mintz Mr. and Mrs. R. Kent Mitchell Brenda and Michael Moffitt Mrs. Mary Monsted Kay and Tony Mumphrey Nagendra Family Celena Neal Drs. Lynne H. and Harold R. Neitzschman Paul G. and Elizabeth Hofmann O’Connor Family Foundation Dr. and Mrs. John L. Ochsner Ms. Linda Osborne Vernon and Martha Palmer Roy J. Perrin and Leia Ann Fricky, M.D. Joyce and Sidney Pulitzer Drs. Alison Quayle and Alistair Ramsay Mrs. Edmann J. Rathke Yolita E. Rausche John and Martha Reaves Head Keith and Vicki Rhea James and Monique Robinson Beth and Jim Ryan Edward and Karla Salo Mrs. Barbara S. Samuels Mr. and Mrs. Edgar L. Schambach Ms. Nancy W. Schluckebier Dr. and Mrs. Coleman S. Schneider Florence and Richard Schornstein Kathleen and Edmund Schrenk Mr. and Mrs. Robert Sebastian Mr. and Mrs. Rafael R. Shabetai Ms. Carole A. Shand Eric Sharp Alexandra K. Shikhris and Eduard V. Danilyants Mrs. Leona Z. Shlosman Timothy and Willa Slater George and Dolores Smith Southern Coin and Precious Metals Anita Snow and Hilary Thompson Dr. Maureen W. Stein and Ted Nass Diana and Rodney Stieffel Ms. Jon B. Strauss Mr. and Mrs. Juan Suarez Dr. and Mrs. James Theis Caroline G. Theus Mr. and Mrs. William E. Thibodeaux Ms. Susan S. Thorburn Leonard G. Tubbs Jr. Matthew and Julie Ungarino Gerard and Evita Victor Mr. Joseph D. Vinson, Jr. Mr. Eugene Von Rosenberg Art and Martie Waterman Dr. and Mrs. Roy S. Weiner Mr. and Mrs. Robert J. Whann, III Mr. and Mrs. Robert Whann Ellen Winchell and Mario Philipp Ms. Julie W. Woolfolk Mr. Michael Zarou
39
Commemorative Giving In Honor of Adelaide Benjamin Mrs. Philip Breitmeyer II Ginger F. Burke Ms. Ann Cohen Caroline and Philip Loughlin Mrs. Mary K. Zervigon
In Memory of Edward B. Benjamin, Jr. Dr. and Mrs. David W. Aiken Sr. Florence Andre Mrs. Philip Breitmeyer II Mr. E. John Bullard III Mr. Robert R. Casey Mr. Lewis R. Donelson Mr. and Mrs. J. Thomas Eubank Donna Fraiche Mr. and Mrs. Kenneth W. Gideon Craig Goldblatt and Alisa Klein Ms. Mary L. Goldman Robert and Valborg Gross Dr. Edward D. Levy Jr. Caroline and Philip Loughlin Mr. and Mrs. Edward F. Martin Mr. Edward C. Mathes Judy and Scott McCue Jere D. McGaffey Lynne and Rick McMillan Ms. Barbara B. Mollere Joel and Bert Myers Ashley, Julia, Pearce and Murray Nelson New Orleans Lawn and Tennis Club Mrs. Sylvia Porteous Margaret and Wade Shields Mr. Charles F. Stamper Antoinette and Erik J. Stapper Starmount Residential, Inc. Mrs. Sara B. Stone
In Honor of Joseph Biundo Mr. and Mrs. Mark Miller
In Memory of Robert (Bud) Cohn Ms. Lois Blatter
In Memory of Peter M. Dombourian Ray and Ellen Cook
In Memory of Carol Haik Eyrich and Lorraine Halse Vines Lillie Eyrich and Rose Vines
In Honor of Anne Marie Fargason Carmel and Ellen Fargason
In Honor of Rosemarie Fowler Mrs. Richard K. Ingolia
In Honor of Ana and Juan Gershanik Mr. and Mrs. Jose L. Banos Jr. Alan Franco
In Memory of Lillian L. Glazer Juan and Ana Gershanik
In Honor of Nancy Harvey Hales Mrs. Donald M. Bradburn
In Memory of Kathleen Brooks Hightower Kathleen Moore Vick Foundation
In Honor of Mrs. Richard Ingolia Mrs. Rosemarie B. Fowler
In Memory of Marvin L. “Buddy” Jacobs
In Memory of Dorothea Bowers Mr. Mark McCreary
Dr. Edward D. Levy Jr. Mr. Mark McCreary LPO Musicians Mrs. Ann Allison Cox Strub
In Memory of Donald Bradburn
In Honor of Dotty Jacob
Dr. and Mrs. Joseph J. Biundo E. Howell and Katie Crosby Patricia D. Crosby Steven P. Darwin Mr. Julian B. Feibelman Jr. and Ms. Joan von K. Hooper
In Memory of Donald Bradburn (con’t) Jaeun M. Kwon, M.D. Dr. Edward D. Levy Jr. Mrs. J. William Rosenthal John and Ann Scharfenberg Ms. Marie-Louise Schramel Dr. and Mrs. Leonard B. Thien
40
Mr. and Mrs. Arthur Welden Barry and Jane Woofter Dr. and Mrs. John M. Yarborough Jr.
Mrs. Carol Good
In Honor of Donna and Russell Klein Madalyn and Robert Schenk
In Honor of Mr. and Mrs. John Laborde Ms. Mary Jane Phelan
In Memory of Charlotte F Lang Ms. Margaret P. New
In Honor of Mrs. Sydney Touchstone Lawder Mr. and Mrs. Gifford Touchstone
Louisiana Philharmonic Orchestra
Commemorative Giving In Memory of Bette A. Leibo
In Memory of Joyce Joseph Dennery Sabatier
Mr. Stanley P. Leibo
Anonymous
In Honor of Dr. Edward Levy, Jr. Kit Hinnant Carol Rosen Geri Rosen Mr. and Mrs. Richard Schornstein
In Honor of Thomas and Barbara Sands Vincent P. Saia and Glynn Stephens
In Honor of Courtney-Anne Sarpy
In Memory of Carolyn Lutz Lousteau
Ms. Katherine P. Gage Ms. Jane Gage Mr. and Mrs. John R. Sarpy Mr. and Mrs. Robert J. Whann, III
Dr. Ray J. Lousteau
In Honor of Paula Maher
M.G. Maher & Company, Inc. Staff
In Memory of Marjorie Manget
In Memory of Dr. Benjamin Seltzer
In Honor of Dr. William McKinnon and Suzanne Parker
In Memory of Klauspeter Seibel
Dr. and Mrs. John H. Baron
Lucie and John Cavaroc
Dr. and Mrs. Stephen S. Dankner David and Shanni Goldstein
Mrs. Irene E. Mackenroth Dr. and Mrs. Roy S. Weiner
In Honor of Deborah Stemac Dr. and Mrs. Leonard B. Thien
In Honor of Jeri Nims Mr. Paul J. Leaman, Jr.
In Honor of Mr. and Mrs. Lewis Stirling
In Memory of Leroy Nolan
John Williams
Mrs. Joan M. Coulter Maureen Heaslip Dr. and Mrs. Howard W. Mielke Karen A. Milliff
In Honor of Mrs. Richard L. Strub Macon and Hill Riddle
In Memory of William G. Palmer
In Memory of Richard Thomson
In Honor of Carlos Miguel Prieto
In Honor of Eileen Wallen
Mr. and Mrs. Robert J. Patrick
Dr. and Mrs. John H. Baron
In Memory of Fay and Joseph H. Rosenberg
In Memory of Ruth P. Wartelle
Ms. Mary Bess Matthews
Mr. Mark McCreary
Mr. and Mrs. Patrick R. Judge
Ava, Leon, and Zack Nowalsky
In Memory of Harold H. Wedig Eric and Regina Wedig
In Memory of Mark Rossi Dean and Pamela Rossi
In Memory of Carroll C. Wilson Mrs. Philip Breitmeyer II
Library Fund In Honor of Stephen Ms. Emily Lapouble
Program Book - Volume 23.2
In Memory of Raphael Ross, M.D. Dr. Carolyn Jones Ross Dr. Joyce Sidorfsky
41
Corporate, Foundation, and Government Support $100,000+
Lois and Lloyd Hawkins Jr. Foundation The Andrew W. Mellon Foundation Symphony Volunteers, Inc. Zemurray Foundation
$50,000+
Joan Coulter Fund Fidelity Homestead Association Freeport-McMoRan Foundation Arts Fund Reily Foundation
$20,000+
Arts Council of New Orleans The Theresa Bittenbring Marque & John Henry Marque Fund Chevron Corporation Joe W. and Dorothy Dorsett Brown Foundation Hall Piano Company First NBC Louisiana Division of the Arts Mary Freeman Wisdom Foundation National Endowment for the Arts New Orleans Publishing Group Pan-American Life Peoples Health Roosevelt New Orleans RosaMary Foundation Sheraton New Orleans
$10,000+
ArtPlace AT&T Carey Limousine Service Chaffe McCall Collins C. Diboll Private Foundation Delta Airlines Ella West Freeman Foundation Entergy Eugenie and Joseph Jones Family Foundation ExxonMobil Foundation Ferber Family of the Jewish Endowment Foundation GPOA Foundation Greater New Orleans Foundation Iberia Bank Kathleen Moore Vick Foundation Keller Family Foundation Merrill Lynch New Orleans Theatre Association
42
$5,000+
Ann and Gordon Getty Foundation Bergeron Auto Carey Limousine Service Christwood Retirement Community Exterior Designs Georges Lurcy Charitable and Educational Trust Goldring Family Foundation Jones Walker Monsanto Fund NOLA Lending Group, LLC Nola Media Group Regions Financial Corp Resource Bank Slidell Memorial Hospital St. Tammany Parish Hospital Whitney National Bank Woldenberg Foundation
$1,000+
Brewster and Lillian Stalter Family Foundation Britten-Pears Foundation Bruce J. Heim Foundation Cox Charities Fund Domino Sugar Doris and Peter S. Hansen Memorial Fund Downman Family Foundation Eason Weinmann Foundation Heymann-Wolf Foundation Kiwanis Club of Algiers - Morning Edition Lakeview Regional Medical Center Louisiana Department of Culture Recreation and Tourism Marrero Land & Improvement Association Ltd. New Orleans Jazz and Heritage Foundation New Orleans Silversmiths Pedelahore & Co., LLP Ralph Brennan Restaurant Group Rotary Club of Metairie Target Weil-Bohn Foundation Whole Foods Market
Louisiana Philharmonic Orchestra
Capitalization Campaign Chairs: Mr. Paul J. Leaman, Jr. • Dr. Richard L. Strub
Campaign Committee $25,000+
Other Contributors
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. Dr. and Mrs. Richard L. Strub Symphony Volunteers, Inc. Mrs. Phyllis M. Taylor Ms. Catherine B. Tremaine
Mr. and Mrs. Edgar L. Chase III Dr. Carolyn M. Clawson Eileen A. Elliott 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 Mr. and Mrs. Charles B. Mayer Nancy H. Pomiechowski Boatner Reily Family Fund Peter Rogers Mr. Timothy L. Soslow Mr. and Mrs. Philip Straub Mr. St. Denis J. Villere, II Mr. and Mrs. Hugo C. Wedemeyer
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
Program Book - Volume 23.2
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
43
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