Overture March 2014 by Overture

March 2014

Acadianaâ&#x20AC;&#x2122;s Publication for the Arts

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2 March 2014

Overture Magazine

Celebrating 60 years in aCadiana 600 Silverstone Road 337.981.7600

•

325 Oil Center Drive 337.233.6975

Lafayette, LA www.paulsfinejewelry.com Acadiana’s Publication for the Arts

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March 2014

features The Acadiana Symphony and Chorus join forces with the Baton Rouge Symphony and Chorus to present a grand scale concert production of divine inspiration and breathtaking sound rarely performed in cities the size of Lafayette because of the number of musicians and singers necessary to do it justice.

HONDROS AND MAHLER: PHOTOGRAPHY AND MUSIC

14 Aleksey Stemmer / Shutterstock.com

Art inspires art: an internationally-known, award-winning photographer stayed grounded, was inspired, and demonstrated compassion by listening to classical music while documenting through his photography the best and worst in humanity.

Getty Images

CONCERT FEATURE: MAHLER’S RESURRECTION

CREATED BY FAITHFUL MASSES: A STUDY OF TWO CATHEDRALS Massive architectural structures devoted to worship created by hundreds of “artists” commissioned by the church put their heart, soul and talents to create a space that attracts, inspires and encourages a connection with a higher power generation after generation.

MANCIN DYLLA: EMOTION AND THE GUITAR

A world-renown solo guitarist that not only graces the stage and engages the audience in a way that is rarely seen or heard, but he has won every major guitar competition in the world. Dylla is a guitarist in a class of his own.

COURTNEY GRANGER

Small town Louisiana fiddler and singer from Eunice grows up on the road, learning more than just music along the way. He sits down to talk about it with Overture Magazine.

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Antony McAulayr / Shutterstock.com

CHORALE ACADIENNE Fresh new direction underway for Chorale Acadienne’s 14-15 season. Expect some old and some new—there will definitely be something for everyone. Take a sneak peek at what Chorale Acadienne has in store for the next year.

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MAKE TONIGHT MEMORABLE. P L AY T O H E R H E A RT.

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contents

8 OPENING NOTES Jenny Krueger, Executive Director 10 FANFARE Mariusz Smolij, Music Director & Conductor 12 GUEST COLUMN John White, Superintendent of the State of Louisiana

22 TOOLS OF THE TRADE Paul Ayo, E’s Kitchen 26 LINK UP! STUDENTS ROCK WITH THE ORCHESTRA! ASO’s Conservatory of Music 32 TRICYCLE JOURNEY Acadiana Symphony Women’s League Mad Hatter’s Luncheon 36 LES MISERABLE Christian Youth Theater of Lafayette 38 CREATIVITY IN CONCERT Right Angle 42 LOOKING AT PAINTINGS: PART III Lisa Osborn 46 SYMPHONY SEAUXCIAL HIGHLIGHTS Heartstrings Concert 46 COMMUNITY SEAUXCIAL HIGHLIGHTS American Heart Association Go Red Luncheon

on the cover View of St. Peter’s Cathedral in Rome, Italy at Twilight.

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Overture Magazine

March 2014 Vol. 1, No. 6

PUBLISHED BY

EDITOR Jenny Krueger jenny@acadianasymphony.org

PROJECT MANAGER Rebecca Doucet rebecca@acadianasymphony.org

WRITERS Emily Brupbacher Johanna B. Divine Ann B. Dobie Samantha Hoffpauir ACCOUNT EXECUTIVE Carolyn Brupbacher carolyncb@me.com • 337.277.2823

GRAPHIC DESIGN/LAYOUT Mike Bedgood • Innovative Digital, LLC mike@inndgtl.com • 337.322.2854

CONTRIBUTING WRITERS Paul Ayo, Lisa B. Osborn Mariusz Smolij, John White MAILING ADDRESS 412 Travis Street Lafayette, LA 70503 EMAIL overture@acadianasymphony.org ON THE WEB acadianasymphony.org

Overture Magazine is published nine times a year and distributed free of charge by Acadiana Symphony Orchestra & Conservatory of Music. No parts of this periodical may be reproduced in any form without the prior written consent of Overture Magazine. The owners, publishers, and editors shall not be responsible for loss or injury of any submitted manuscripts, promotional material and/or art. Unsolicited material may not be returned. Advertising in Overture Magazine does not imply endorsement by Overture Magazine or Acadiana Symphony Orchestra & Conservatory of Music. Overture Magazine reserves the right, without giving specific reason, to refuse advertising if copy does not conform with the editorial policies. Overture Magazine does not necessarily agree with nor condone the opinions, beliefs or expressions of our writers and advertisers. Neither the publishers nor the advertisers will be held responsible for any errors found in the magazine. The publishers accept no liability for the accuracy of statements made by the advertisers. © 2013 Overture Magazine. All Rights Reserved.

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Opening Notes

What Is Your Legacy? Jenny Krueger, Executive Director

Have you given much thought to your legacy? Many great historical moments and monuments that we enjoy were the work of people propelled forward by their individualism. What are you doing today to leave your mark? Some consciously spend their days trying to make a difference. Others move through life planting seeds, unaware of how their work is transforming the landscape of the world they will someday leave behind. For me, my legacy is certainly a work in progress, but it is definitely about the work I do. I feel the need to make sure that my daily efforts ultimately help create a place that is a little bit better than when I arrived. I am fortunate enough to be able to see (from time to time) small glimpses of the fruition of my hard work…and honestly, there is nothing My work…… more satisfying. As you read the March issue of Overture you will read about legacies in the making and legacies made. I hope that it will allow you will think about your legacy in a different light.

is my legacy

Patrick Swayze

You will be intrigued by Gustav Mahler’s Resurrection Symphony, and his ability to leave behind a legacy of sound that transports and inspires all who listen. Learn about Chris Hondros and how his passion for classical literature, music and his mastery of photography left behind a legacy that we have all come to recognize. Experience architectural masterpieces through the eyes of their creators, and be uplifted by the legacies of beauty these masters have left for us all to enjoy. This issue we add a special three-part series by Paul Ayo of E’s Kitchen. Paul takes an artist’s approach in the way he selects the tools he uses for his kitchen creativity. This issue, Paul will take us on a tour of the tools available to the culinary artist in all of us. Nothing is better than a legacy of good food to eat! I hope the March issue will make you feel enlightened, and give you hope to experience something new. I hope it allows you to stop, sit down with a friend, and experience the part you play in the beauty that is all around us. 8 March 2014

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Fanfare

Musical Cathedrals Mariusz Smolij, Music Director and Conductor

There are many beautiful churches and places of worship around the world that provide a unique space for prayer and reflection, regardless of size, style, or location. A cathedral is a church that is distinguished by the church authority it represents, most often by remarkable architecture, craftsmanship, and art, such as sculpture and paintings. Some of the most famous cathedrals that come to mind are located in Paris, Barcelona, Cologne, Istanbul, Moscow, and the Vatican. The power of music plays an important role in prayer, worship, and contemplation. Compositions of compelling music provide spiritual architecture and art for the soul. Regardless of length, instrumentation, or musical style, important works of music bring harmony and inspiration to the human spirit. Those compositions that are considered masterpieces feature brilliant compositional technique, extraordinary structure, and musical art that are capable of providing listeners with a transcendent experience. Musical masterpieces that are cathedrals of music include J.S. Bach’s B-minor Mass, L.van Beethoven’s Symphony No. 9, W.A. Mozart’s Requiem and G. Mahler’s Symphony No. 2, also called the Resurrection Symphony. Mahler, in my opinion, is a superb “composer of feelings” and a musical spiritualist. His Resurrection Symphony describes human emotions on a spiritual journey from darkness and doubt to inspiration, faith, and hope. Like an architect of a monumental

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cathedral, he employs huge musical building blocks—grand orchestra with massive brass and percussion, paired with off-stage band, big chorus, and vocal soloists. Like a talented sculptor, he molds all of the musical sections into a glorious whole with perfect technical precision and balance. Like the most talented painter, he uses musical colors to paint the most vivid pictures and contrasts them with the most delicate and sublime shadows. All the power and beauty of orchestral and vocal timbres, supported by touching spiritual poetry serve only one goal—to touch the human heart and soul. Listening to Mahler’s Resurrection Symphony is similar to the experience one can find in a magnificent cathedral. We are reminded of the nature of our existence and provided with hope for the future. I am delighted that my long-time dream of bringing this “musical cathedral” to Lafayette will become a reality this month. It is my sincere hope that many of you will put some time aside to visit.

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Guest Appearance

Art Impacts On Education John White, Superintendent of the State of Louisiana

Like many in Louisiana, I love Mardi Gras. I find to the Bayou through Acadiana, up to the Delta it exhilarating, purely beautiful, and so completely and Northwest. Big bands blowing loud down the street corridors and smaller bands summoning the unlike anything else on earth. For many of us in public education, it is also a break, underdog spirit. Big kids going on to college and little a time to be with family, to celebrate, and to take your kids getting their first shot on the big stage. Girls and boys, young men and young women, students of all mind off the daily challenges of work in schools. backgrounds. But, among the many joys of Mardi Gras, perhaps When students participate in the arts with focus my favorite is actually its role as a showcase for the artistic talents of tens of thousands of Louisiana and vigor, they join a timeless and essential human youth. Parents, teachers, and students know this process. They express themselves with energy while aspect of Mardi Gras well, of course, but those of keeping to age-old disciplines and rhythms. The result us taking Fat Tuesday off can forget that on that day is an intellect and instinct that cannot be captured in words. It defines people and shapes how they interact, many of our kids are most decidedly on. immediately and for the rest of their lives. I recall my first Mardi Gras day as state This Mardi Gras, and in the year to come, let us superintendent. I was standing on St. Charles Avenue in New Orleans. And for all the splendor of the floats remember the extraordinary cultural assets of our and the cascading beads, what captivated me most state and its communities. And let us remember that that day was band after band, dancer after dancer, an essential part of growing up is being given the all bedazzled in spectacular costumes, marching mile chance to explore them and to experience the sense of being alive that comes with making art. after mile, showing what they can do. School names we all know. From New Orleans

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Acadianaâ&#x20AC;&#x2122;s Publication for the Arts

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Concert Feature

Mahler’s Resurrection

Johanna B. Divine

Considered one of the greatest symphonic compositions of all times, Gustav Mahler’s Resurrection Symphony No. 2 is an ode to hope, faith and the beauty of afterlife and resurrection. Featuring an immense orchestra, full chorus and two solo vocalists, performances of this seminal work are often limited to major cities with the musical resources to undertake a concert of this scale.

Davidson and mezzo-soprano Susan Platts. With its musical and lyrical narration, Mahler’s Resurrection is a highly personal testimony of the composer describing his internal struggles and spiritual journey. As such, the first four movements are largely instrumental, passing through different moods, and culminating in the fifth and final movement featuring vocal soloists and choruses presenting a text written It’s no wonder, then, why “Experiencing this in part by Mahler and ASO conductor Mariusz German poet Freidrich Smolij considers ASO’s masterpiece live, in the Klopstock and inspired upcoming performance of by traditional German presence of almost 300 Resurrection in partnership folk tales and songs. With with the Baton Rouge orchestral musicians and so many musicians and Symphony Orchestra singers on stage, the finale singers cannot be matched (BRSO) a once-in-aof Mahler’s Resurrection lifetime opportunity for by any technology. This is nothing short of musicians and listeners alike. breathtaking. “Even if is the kind of music that “This piece takes each listener you take this piece out of on a spiritual journey, from touches the soul.” the spiritual context,” says darkness and doubt through Smolij, “and consider reflection and hope, to a magnificent finale that has elevated the spirit of listeners it simply in terms of the large and beautiful group of for over a century,” says Smolij. “Experiencing this sounds produced, it’s absolutely incomparable. It’s a masterpiece live, in the presence almost 300 orchestral work of genius.” musicians and singers cannot be matched by any technology. This is the kind of music that touches the soul.”

Art Konovalov / Shutterstock.com

For Smolij, a longtime admirer of Mahler’s work, producing and conducting this concert is a dream fulfilled. “I’ve wanted to present this masterpiece to our audience for a long time, but it requires such huge musical resources that I knew ASO or BRSO alone would not be able to ‘do justice’ to this magnificent work. I presented the idea to Timothy Muffitt [BRSO Music Director] one year ago and am simply delighted how fully he embraced it.” The performance will feature the combined orchestras and choruses of ASO and BRSO along with visiting soloists, soprano Ilana 14 March 2014

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Photo by Nouveau Photeau

According to Smolij, the solo parts, both soprano and mezzo soprano require experienced and mature singers with both great sensitivity and vocal control. Davidson, a Grammy®-winning American soprano, brings assured musicality and interpretive insight to her work—critical for any singer performing a piece with such spiritual depth. Platts, a British-born mezzo soprano, is known for her rich and wide-ranging voice and particularly esteemed for her performances of Mahler’s works. This will be their first time performing with ASO.

The performance is sponsored in part by Jones Walker Law Firm and Mignon Faget, artist and jewelry designer, both of whom hold a deep appreciation for the transformative power of art and music. “Supporting the arts in local communities has always been important to me,” says Faget. “Our state is rich in culture and it is important to have commitments from organizations such as the Acadiana Symphony Orchestra that are dedicated to promoting the growth of our cultural economy.” When asked the most compelling reason for audiences to attend the upcoming performance of Mahler’s Resurrection, ASO conductor Smolij turns to history, and to spirituality: “We have to remember that most composers at the time were writing to celebrate dates on a church calendar—they were writing from a religious perspective, not necessarily from their own perspective. Mahler was born into a Jewish family and came to the Christian faith through his own exploration. This rare personal journey of spiritual exploration is inseparable from the piece itself. Here, Mahler is asking, ‘Why am I on this earth?’ ‘What do I make of this life around me?’ and ‘What happens when I die?’ These are significant human questions, universal questions, important regardless of faith, education or culture. A concert like this may not take place again in Lafayette in many, many years. I would encourage everyone to take advantage of this incredible artistic—and life-affirming—opportunity.” Mahler’s Symphony No. 2 in C minor, Resurrection will be performed by the Acadiana Symphony Orchestra and Baton Rouge Symphony Orchestra on Saturday, March 15, 2014, 6:00pm at Heymann Performing Arts Center. Tickets are available online at www.acadianasymphony.org or by calling 337-232-4277. Acadiana’s Publication for the Arts

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Hondros and Mahler:

Photography & Music By Ann B. Dobie

After jobs with various newspapers, he returned to New York to begin work as an international reporter.

Getty Images

Hondros’ photojournalism appealed not only to the general public, but it won him the respect and admiration of his colleagues as well. David Hume Kennedy, for example, wrote:

The name Chris Hondros may not be one you mention every day, but chances are good that you have seen his photographs on the covers and pages of newspapers and magazines such as The New York Times, Newsweek, The Washington Post and the Los Angeles Times. Covering battle zones around the world, he documented wars in Lebanon, Afghanistan, Kashmir, the West Bank, Iraq, and more. So powerful was his visual reporting that in 2005 his photograph of an Iraqi girl whose family of five had been shot for failing to stop at a U. S. checkpoint produced a worldwide outcry that caused one of the children to be flown to Boston for treatment. Born in New York to Greek and German immigrants, both of them survivors of World War II, Hondros grew up in Fayetteville, North Carolina. After studying English literature at North Carolina State University, he moved on to Ohio’s School of Visual Communication where he earned a Master’s degree. 16 March 2014

Chris Hondros pursues his photography where most others fear to tread. As a person who has covered several wars . . ., I have a point of view that not only appreciates what it is that Chris does, but how difficult and dangerous it is to do it. In my eyes, however, he isn’t a “war photographer,” but rather an extraordinarily gifted, creative, and inventive photographer who happens to spend a lot of time toiling in the fields of fire. Over the years his photographs earned numerous awards, including a nomination for finalist for a Pulitzer Prize for Breaking News Photography, the Robert Capa Gold Medal for “exceptional courage and enterprise” in his work from Iraq, the coveted John Faber Award given by the Overseas Press Club, and more. It also earned him invitations from prestigious universities, cultural organizations, and publications to serve as a lecturer and essayist on issues of war and international conflict. His images have been displayed in galleries and at exhibitions from South Korea to France to New York City, making him the subject of profiles in magazines such as the Smithsonian, The New York Times, and Newsweek, and the focus of pieces aired by CNN and NPR. Hondros’ work came to an end when he was killed at the age of 41 along with two other photographers on assignment in Libya on April 20, 2011. His death was mourned by family and friends and by those who knew him only through his photographs. Overture Magazine

Chris Hondros / Getty Images

Although the public is familiar with his pictures, less well known was the man behind them. Unlike the stereotypical hard-bitten photojournalist, Hondros is described by friends and colleagues as a quiet, steady,

cultivated man, noted for his compassion and humanity. He was a reader of history, a Shakespeare lover, a student of geopolitics, and an avid chess player, but above all he loved music. Chip East, also a photojournalist, said, “He knew more about classical music than anyone I know. He knew every beat to every symphony, every opera.” East added, “He would be conducting with his hands as he walked around.” On at least one occasion he joined the performance of a group of musicians by projecting his photographs on a screen while they played. The work was called “Baghdad in D Minor”: music by Bach, photographs by Hondros. His images accompanied the music; the music accompanied his images. Mahler was his special passion. As Lafayette journalist Kristin Askelson, a friend and colleague of Hondros, notes: He would talk about Mahler at the drop of a hat. But it wasn’t just music; he was an allaround classical thinker. He loved classical literature and thought about the world, history and mankind in much bigger terms than many of his contemporaries. While Chris was photographing wars and other conflicts around the world, he always carried his classical music and his literature with him. I think it kept him grounded. I think it helped him put into perspective the awful things he was seeing. Hondros’ work can be viewed on his website: www.chrishondros.com. Testament, a collection of his photographs and writings spanning a decade of coverage of the world’s conflicts, is available from Amazon. Acadiana’s Publication for the Arts

Expect more imagination. Every dream starts with a creative spark. That’s one of the main reasons Regions is so committed to supporting the arts in our communities. It’s also why we focus on making banking so easy. You shouldn’t have to sacrifice the fun and excitement of your dreams just to make them come true. So we put our imaginations to work each day, finding the best ways to help you reach your goals. Imagination might not be what you expect from a bank, but maybe we can help change that.

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MIGNON FAGET

noted Louisiana artist and designer mignon faget has created extraordinary jewelry for over 40 years. She is inspired by the nature, architecture, traditions and beauty of her native environment. each handcrafted object of adornment is designed in her new orleans studio.

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Created by Faithful Masses: A Study of Two Cathedrals

By Samantha Hoffpauir Acadianaâ&#x20AC;&#x2122;s Publication for the Arts

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Throughout history and around the world, churches have served multiple purposes in their communities. The most important role, naturally, is to function as place of worship for the faithful. Churches also work to educate people of all ages. They may offer sanctuary to persecuted, impoverished, and infirmed souls. A church often stands as one of, if not the, defining landmark of the community in which it sits. However, it cannot owe its permanence to just one person, one vision, for its inception. The creation of a house of worship is borne by groups of the faithful. Many hands work in harmony to design and build a church. One of the world’s most well-known churches, the Basilica of St. Peter in Rome, Italy, was chiefly designed by Renaissance artists Donato Bramante, Carlo Maderno, Gian Lorenzo Bernini, and Michelangelo Buonarroti. The Basilica of St. Peter, a triumph of collaboration, is one of the most renowned works of Renaissance architecture. To this day, it is one of the largest churches on the planet, one which millions of pilgrims flock to each year.

rather than cold piles of brick and mortar. He was primarily a sculptor, and with a sculptor’s vision, he saw buildings as dynamic beings— metaphors of the human body. This Renaissance perspective gave due to the people who inhabited the Basilica of St. Peter in Michelangelo’s time as well as created as ‘bloodline’ for people to worship at the Basilica for many centuries hence. The design of the Basilica was a group effort that spanned many years and involved many of Michelangelo’s contemporaries. Its architecture demonstrates the degree to which collaboration, wedded to the ideal of buildings as complex organisms, produce a masterpiece.

Andrei Pop / Shutterstock.com

salvo77_na / Shutterstock.com

Almost every major architect in sixteenth-century Rome contributed to the design of the Basilica of St. Peter. Each one slightly modified his predecessor’s scheme, yet the final product is a cohesive whole, formed by many geniuses of the Italian Renaissance rather than just one individual. At its inception, Donato Bramante sketched plans of a majestic space. Bramante gave his successors the latitude to give this space, feed this living Michelangelo envisioned buildings as living organisms, organism, new ideas and different concoctions. Though

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the foundation of the Basilica was poured one hundred years before the nave was constructed, the enormous scale of the entire structure assured a consistent design. Closer to home, the Cathedral of St. John the Evangelist, in Lafayette, is another church that owes its existence to the collaboration of many faithful people. It is the third church to stand on the site that was dedicated to worship in 1821. The present-day Cathedral was completed in 1916 in the Dutch-Romanesque style. The massive structure of brick walls contrasts with graceful arches and precise red and white brickwork. Its octagonal steeple is flanked by turrets and is a visual point of reference for downtown Lafayette. Many local laborers and bricklayers constructed the Cathedral while others throughout the world created the ornamentation within its walls. The flambeau stained glass windows, which depict the life of St. John the Evangelist, were made in Munich, Germany. The main altar, a marble masterpiece with mosaic representations of wheat and grapes, symbolizing the Sacrament of the Eucharist, was created in Italy. The Casavant Frères pipe organ, a staple of the Cathedral since 1985, is from Quebec. The Cathedral of St. John the Evangelist stands as a testament to the devotion of the faithful, one that crosses borders and generations. Places of worship can be found in practically every community throughout the world. Designing and building a formal house of worship is not the work of one person. Indeed, many souls must come together to create a physical testament to God’s power, mercy, and love. Church architecture is truly the fruit of masses of the faithful, and their creations give solace and succor to the generations that follow. Acadiana’s Publication for the Arts

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Tools of the Trade By Paul Ayo, E’s Kitchen

At E’s Kitchen, we make cooking fun. We carry great kitchen gadgets, The German-style knife is great for cutting up large cookware, knives, wine, spirits, and even have meals to-go. We also offer cuts of meat and mass quantities of vegetables. The handles are usually thick for a solid grip. The blades are classes featuring some of Acadiana’s best cooks and chefs. This is the beginning of a 3-part series where I will usually thick along the spine, which adds to the heft and cover a variety of topics about the culinary arts and the the solid feel of the knife in the hand. What most of diversity of Acadiana cuisine. Today’s cooks and chefs us think of when we think of a chef’s knife is actually a have an immense variety of tools to pick from, including German design. Other German knives that are common many specialty tools as well as the tried and true kitchen are pairing knives and boning knife. basics. Let’s start by talking about the tools of the trade. What is an artist without the proper tools? The one tool no culinary artist can do without is a good knife. In the kitchen, a great knife is to a chef is what a great chisel is to a sculptor. We cannot bring our vision to the plate without a good knife to work with. Knives, just like any other tool, come in several different styles, sizes, and variations to get the job done. Two countries dominate the knife world. Germany and Japan are the two biggest makers of great knives and they both have their own distinct style. The Japanese style, with its “D” shaped handle, slim blade and light weight, is my personal tool of choice. Others prefer the heavier, stouter feel of the As with many other items, great designs and ideas are German knives, with their classic shaped knife handle. Neither is inherently better than the other, just different. copied and reinterpreted. The Germans now make some There are technical differences, but it really comes down of the common Japanese knives and the Japanese now make some German style knives. No matter what your to feel when selecting a style of knife. preference, a great knife is essential in the kitchen for The Japanese knives are typically made for more precise a culinary artist to create their art and bring pleasure to cutting. Traditionally, Asian food is served in bite-size those they serve. A painter can’t be expected to work with pieces. The chef does all of the cutting in the kitchen so one brush. For the culinary artist, there is not only one that the guest may enjoy the meal without having to work. perfect knife. Many chefs will have a varied collection, Some of the distinct designs in this style are the Santuko, but usually just one favorite. an all-purpose blade, the Nakiri vegetable knife, and the If you have any questions please contact us at cooking@eskitchen.com Yanagiba, or sushi knife. 22 March 2014

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ASO’s Conservatory of Music

Link Up! Students Rock With the Orchestra! Samantha Hoffpauir, Photos by Nouveau Photeau

This March, 2,000 students from across Acadiana will fill the Heymann Performing Arts Center to participate in Link Up!, an interactive concert developed by Carnegie Hall and locally produced by Acadiana Symphony Orchestra & Conservatory of Music. Link Up! is a unique educational experience that enables students in grades 3 – 5 to sing, compose, play the recorder, and explore orchestral repertoire over a school year. The students then gather together to perform the music they learn with the Acadiana Symphony Orchestra. Now in its third year, Link Up! has grown to include partner schools from five parishes. This year’s theme is “The Orchestra Rocks!” Link Up! students will explore rhythm, pulse, and groove, drawing on selections such as Gustav Holst’s “Mars – the Bringer of War” from The Planets and “O Fortuna!” from the Carmina Burana. “The Orchestra Rocks” also includes an exciting drumline piece that will feature percussion students from the University of Louisiana at Lafayette. Attending a Link Up! concert is an unforgettable experience – the orchestra and students performing onstage, as well as two thousand participating students in the audience singing and playing recorders in unison

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and harmony is a remarkable feat that is the product of many teachers, parents, and volunteers. Link Up! was developed by Carnegie Hall of New York City and is a three year curriculum – each year builds on the last, though students can join in any year. The goals of Link Up! are to help orchestras connect with their communities and strengthen partnerships with schools and to create an interactive and fun educational experience for students. By performing in small ensembles and with the orchestra, students learn to analyze and interpret essential elements of music such as rhythm and melody. Students learn about orchestral families – how instruments interact, and learn to apply this knowledge to places outside the classroom. Local schools can sign up to participate in Link Up! at the beginning of the school year. Teachers receive the Link Up! curriculum and work with their students throughout the year to learn the repertoire. Any student can participate in Link Up!, from the budding musician to those who attend music class perhaps every other week. This flexibility enables all students, regardless of their musical ability, to learn to perform and to participate in a dynamic and interactive concert. “The Orchestra Rocks!” Link Up! presented by Acadiana Symphony Orchestra & Conservatory of Music on Friday, March 21 at 9:30 am and 11am at the Heymann Performing Arts Center. Call (337) 2324277 or go to www.acadianasymphony.org for more information.

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Symphony Series

Marcin Dylla: Emotion and the Guitar

Ann B. Dobie, Photos by Dario Griffin Photography

When Marcin Dylla played with the Acadiana Symphony Orchestra in the fall of 2007, reviewer Ray Blum called him “one of the most formidable and talented instrumentalists to have graced the Heymann Performing Center stage in some time.” Blum claimed that “The man simply gathered the audience into his musical embrace and kept them there.” Reviewers around the world have been equally ecstatic. Richard Storm, writing in the Herald Tribune, stated: “Incredible is a word used far too frequently these days, but the Polish guitarist Marcin Dylla restored the meaning of the word in an absolutely stunning concert.” The Washington Post’s Stephen Brookes hailed him as “among the most gifted guitarists on the planet.” Time and again his playing is described as passionate, sensuous, and poetic, praised for emphasizing “the emotional story being told.” If such euphoric reviews are not convincing enough, the awards Dylla has garnered are compelling proof of his remarkable musicianship. Between 1996 and 2007 he won 19 First Prizes at the most celebrated international music competitions in the world, the most recent being the Guitar Foundation of America International Competition in Los Angeles, known as the most prestigious guitar contest in the world. Following his triumph there he toured over 50 cities in North America, Mexico, and Canada. In 2008 his CD recording for Naxos became one of the company’s “Top 10 Bestselling Albums,” and two years later he was honored in his native Poland with a nomination for a Fryderyk Award in the category of Solo Classical Music Album of the Year. (The name of the award refers to the original Polish spelling variant of Frederick

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Chopin’s first name. Its value in Poland can be compared to the American Grammy.) One highly notable honor was an invitation from Cecilia Rodrigo, the daughter of the legendary Spanish composer Joaquin Rodrigo, to perform the world premiere of a newly discovered guitar work by her father entitled “Toccata para guitarra.” Although written in 1933, it was not performed until 2006 when Dylla played it at the Reina Sofia Museum of Modern Art in Madrid. It was a suitable composition for Dylla, as he is known for Overture Magazine

performing grand pieces, such as Magnus Lindberg’s “Mano a Mano,” the final one on the program to be played in Lafayette on March 30, 2014.

Such honors are not surprising. Born in Chorzow, Poland, in 1976, Marcin Dylla received his first guitar lessons at the Ruda Slaska Music Conservatory, followed by studies at the Music Academy of Katowice and the Music Academies of Basel (Switzerland), Freiburg (Germany), and Maastriche (The Netherlands), respectively. He is currently a professor at the Music Academy in Krakow and Katowice. Dylla’s education is evident in his fondness for combining elements of the old and new, which he achieves musically by performing new works that include themes written by composers of the past. An example is Nicolas Maw’s “Music of Memory,” which presents variations based on a motif from one of Mendelssohn’s quartets. However, in Maw’s work the theme appears at the end, and the entire form is reversed. Ponce’s “Theme, Variations and Fugue on Folia de España,” which opens the Lafayette recital, is another famous guitar work in variation form.

E P I P H A NY D A Y S C H O O L

Regardless of the form of the pieces played, those musical characteristics that reviewers and audiences alike have found to be so moving are sure to be in evidence during the Dylla concert at the Acadiana Center for the Arts. The audience will listen for the passionate, the sensuous and the poetic. They will follow “the emotional story being told.”

Call or visit us online and schedule a tour today!

Dylla will perform a solo recital on March 30 at the AcA. Tickets available at acadianasymphony.org. Acadiana’s Publication for the Arts

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March 2014 29

Photo by Dave Simpson

Courtney Granger

Whether playing Cajun fiddle at La Poussiere in Breaux Bridge, or singing George Jones halfway around the world in Macedonia, Courtney Granger stays true to his deep musical roots. Originally from Eunice, Louisiana, he picked up the fiddle at the age of eight, and never looked back. Home on a short break from touring with the Pine Leaf Boys, Courtney offered Overture his insight on Cajun music and culture along with a few lessons from life on the road.

OM: Did you grow up playing music? CG: Yes, it was always in my life. My Mom grew up in a generation where it wasn’t cool to be Cajun, so she steered way from the music and language. She loved country music— George Jones, Conway Twitty, all the greats. But my Dad grew up around the Balfa Brothers, so he felt it was important for me to hear them. Through him, I really started to understand the importance of my family and the legacy of this music.

Photo by Greg Miles

ve Simpson

Photo by Da

By Johanna B. Divine

OM: When did you start playing professionally? CG: I started playing with Kevin Naquin and the Ossun Playboys in 1995. I think we were one of the last bands to play the old dancehall circuit. It was interesting, I was 15 years old at that point and really started to understand what an audience wants, how to play for the audience. Here are these people who go to the dance each week and they want to hear certain songs at certain times…and they’re going to let you know what they want, no matter how old you are! It was a great experience for me.

In 1999, Christine [Balfa] called and asked me to join Balfa Toujours. They were between bass players, so I learned to play for that tour. Dirk [Powell] loaned me his bass and we went on the road for three weeks straight. It was like getting flung into the bullpen. I had never seen the world like I did that summer. We traveled all over the U.S. and Canada. At that point in my life, I had only been to Florida, Mississippi, and West OM: Tell us more about your family and musical Virginia. It was just a joy being on the road with my family. I heritage. turned eighteen that year, and I’ll never forget it. CG: My grandmother, Cecile Balfa, is the oldest sister of the Balfa family, so my Dad was a nephew to the Balfa brothers. OM: When did you start playing with the Pine Leaf When I started getting into music, I was playing Cajun fiddle Boys? and singing Cajun and country songs. I pretty much started CG: Wilson [Savoy] called and said they were looking for a singing when I started playing, learning how to pronounce the seasoned player, someone who was well traveled and knew the words through Ann’s book [Cajun Music: Reflection of a People by ropes and asked if I’d like to do it. It was perfect timing for Ann Savoy] and the ‘yellow’ book [Ye Yaille Chere by Raymond me. I’ve been with the band five years now and recorded on Francois]. I’m not fluent in French, but through the music I their last three studio albums, plus one live album. We’ve been all over the world—Turkey, Macedonia, the Middle East. Our learned the language. name is out there with the U.S. Department of State, so we’re 30 March 2014

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doing a lot of good things.

OM: How would you describe this band?

OM: How have you “grown up” playing music and touring? CG: For the first time in my life, I’m playing with my own age group. We’re the same generation, going through the same things as young men. We can relate to each other and it comes out in the music. Most of my career, I’ve been playing with people older than me, so I’ve always been ‘the kid’. This band has helped me mature as a musician, and become more grateful for the opportunity to play with Balfa Toujours, Ray Abshire and others. Going away and coming back to it gives you a real appreciation for the music, and the people who make it. At the same time, traveling around the world has opened my mind to a more tolerant way of being. I’m more able to accept what I don’t know, what I’m not familiar with. As a small town

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Photo by Greg Miles

CG: We’re a pretty rockin’, high-energy band with a slightly more modern sound. I think we’re more of a Louisiana band now—not just Cajun, but playing old rock-and-roll and country while still staying true to Louisiana culture and the integrity of the music. We try to keep it as traditional as we can without crossing that line and losing what makes it great.

boy, I was naturally kind of small-minded. On the road, I saw things for the first time that we would normally look down on here, but were accepted in other places. That was a big eye opener for me. Tolerance and acceptance—that’s what traveling has taught me. Courtney Granger plays regularly with the Pine Leaf Boys (www.pineleafboys.com), Pine Leaf Trio, Ray Abshire and Balfa Toujours. He also teaches fiddle, vocals, dance and guitar at music camps around the country, including Louisiana Folk Roots Dewey Balfa Cajun and Creole Heritage Week, held April 6-10, 2014 at Vermilionville in Lafayette.

March 2014 31

Leauxcal Event

Mad Hatter’s Luncheon: Tricycle Journey Emily Brupbacher, Photos by Carolyn Brupbacher On Monday, March 17, the Acadiana Symphony Women’s League will host its annual Mad Hatter’s Luncheon at City Club in River Ranch. A much-anticipated local event, the Mad Hatter’s Luncheon consists of a fashion-filled style show as well as a live and a silent auction. Attendees will enjoy a delicious lunch and can partake in a cash cocktail bar as they enjoy festivities. All proceeds from the luncheon will go towards the Acadiana Symphony Orchestra’s Link-Up Children Concerts. These concerts are a beloved series of performances that exposes children to a variety of music and encourages them to express themselves in a creative way. Thanks to the fundraising efforts of the Acadiana Symphony Women’s League, these concerts are offered free to the community.

internationally to promote our unique region and culture. The theme for the Mad Hatter’s Luncheon is “Tricycle Journey,” and will feature Banks’ renowned “Little Red Tricycle” painting. The Little Red Tricycle by Banks is actually a series of paintings, which feature a young girl riding a red tricycle and journeying to wherever her trike wheels take her. The painting Banks created for the Mad Hatter’s Luncheon has the same little girl on the tricycle, but Banks has added a hat to her attire, as well as a prominent musical note on her dress, both of which are subtle nods to the Luncheon.

There is something to be said about the idea behind this painting—a vehicle that takes a little girl on a journey. It relates strongly to the idea that music can take you places. It’s why the AWSL is so passionate about raising money for the ASO’s Link-Up Children’s Concerts. For so many Founded in 1987, the Acadiana children, this exposure to music is their first step in a lifelong journey of Symphony Women’s League is devoted to self-expression that can give them freedom and take them beyond their providing services and financial support wildest dreams. to the Acadiana Symphony Orchestra. “The Children’s Concerts and the Conservatory of Music are both It’s made up of over 250 members and provides volunteers and financial support highly important aspects of the Acadiana Symphony Association,” says for various service projects, including Judy Dunn, President of the Acadiana Symphony Women’s League. Symphony Suppers, Children’s Concerts, “They are our way of giving back to our community, and fundraising and Orchestra Relations (which provides events like the Mad Hatter’s Luncheon make these opportunities for food for symphony musicians at the ASO children possible.” dress rehearsals throughout the season). Doors for the 2014 Mad Hatter’s Luncheon will open at 10:30 AM. The Mad Hatter’s Luncheon, however, is Lunch and the Style Show will begin at 11:45 am. There will also be a one of their biggest and most successful hat parade, a silent auction, the Mad Hatter and his gang, and many fundraisers. Since the first Mad Hatter’s surprises along the way. Some of the auction prizes tie into the unique Luncheon in 1991, the Acadiana “Tricycle Journey” theme. Stuller Fine Jewelry is working on a one-ofSymphony Women’s League has provided a-kind red tricycle necklace that attendees can bid on. There will also a fun-filled event for attendees while managing to raise tens of thousands be five tricycles decorated by local artists and an adult tryke donated by of dollars. Capitol Cyclery. Bob Dunn will act as the lively auctioneer. This year’s Mad Hatter’s Luncheon promises to be full of all the The Acadiana Symphony Women’s League’s Mad Hatter’s Luncheon excitement and entertainment attendees have come to expect from will take place in City Club at River Ranch on Monday, March 17. Doors this grand event. The 2014 theme is based heavily on the visual art of open at 10:30 AM. Individual tickets to the luncheon may be purchased Vergie Banks, a local artist. For years now, Banks has created art that for $55. Tables of 8 are available for $440. Gold tables of 8, seated at the represents Acadian culture. Banks’ work has been used both locally and runway, are available for $525. Hats are optional but encouraged!

32 March 2014

Overture Magazine

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Sunday, March 30, 2014 /// 3:00 pm Acadiana Center for the Arts

guest artist: Marcin Dylla, guitar solo recital

Program: M. Ponce – Sonata Romantica (Homage to F. Schubert) M. Lindberg – Mano a Mano A. Diabelli – Sonata in F Major F. Schubert – Lieder E. Granados – Valses Poeticos

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Chorale Acadienne

With the 2014-2015 season underway, Chorale Acadienne is changing direction and leadership with the help and guidance of its longtime members and supporters. In November 2013, the Board of Directors was charged with finding a new Artistic Director, somewhat unexpectedly. “An Executive Committee meeting was called immediately,” says Board President Stuart Burgess. “By meeting time, two of our members had already offered their conducting services for the remaining concerts of the season. Among our members are directors of school choral/instrumental groups, church choirs, and orchestras. We are very fortunate that our members care so much that they will rearrange their own schedules to take on this extra commitment.”

mid-summer. “We look forward to moving ahead with this process, and input from our singers is critical to the committee’s recommendation for a finalist,” continues Burgess. “Our previous search resulted in resumes from around the U.S., and of course we anticipate that there will be interest in the position locally, which is

The Board anticipates new leadership in place by 34 March 2014

Overture Magazine

certainly welcome.” John Frank Reeve, Minister of Music at First Baptist Church of Lafayette, and Rusty Roden, Registrar and Middle School Choral Director at Ascension Episcopal School are currently directing the 36th season of Chorale Acadienne. After stepping up to take the baton, Reeve and Roden successfully led the annual Christmas concert and are now working to complete their spring programming. “I count it a privilege to be a part of this outstanding group and look forward to helping in whatever way I can,” says Reeve. “Chorale Acadienne has and will continue to champion outstanding choral music in Acadiana.” arrangements which portray important parts of our The chorale members are excited about the rest of history.” the season. Singing member Kim Carter says that the Chorale Acadienne’s spring offerings include new leadership is challenging the group technically Celebrating Oscar’s Music: An Evening of Nominated and Winning resulting in a better overall blend. “Rusty (Roden) Songs from the Movies, held Saturday, March 22, 6.30 has chosen some great songs that will appeal to all p.m. at the Petroleum Club of Lafayette and A ages,” she says. “We’re doing everything from 1940’s Celebration of American Choral Music, held Friday, May 2, classics to Disney and James Bond show tunes. Our 7.30 p.m. at St. Mary’s Catholic Church. For more final concert in May will feature American tunes such information or tickets, visit www.choraleacadienne. as Shenandoah as well as some wonderful spiritual com or call 337-349-5342.

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March 2014 35

CYT Proudly Presents

Les Miserables

Christian Youth Theater of Lafayette (CYT) will delight audiences with its spring production of Les Miserables. The “school edition” presented by CYT adapts Les Mis, the longest running musical in the world, to appeal to all ages. The show opens on May 8 at Angelle Hall at UL Lafayette. Set in 19th century France, Les Miserables celebrates the spirit of those who struggle against overwhelming odds. Imprisoned for stealing a loaf of bread, petty “I condemn slavery, I banish thief Jean Valjean poverty, I treat disease, I lighten is released from his the night, and I hate hatred. 19-year term and not only becomes That is what I am, and that is why an honest man, I have written Les Miserables.” but the mayor - Victor Hugo of a prosperous town and a loving adoptive father – violating his parole in the process. Only years later, after Valjean proves his mettle during a student uprising and heroically saves the life of a young man, does the ex-convict finally feel fully redeemed. The musical, adapted from Victor Hugo’s timeless novel, brings an exuberant twist to the grand and inspirational story that has touched the hearts of millions.