Louisiana Philharmonic Orchestra 2014-2015 Concert Program

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2014-2015 SEASONVOLUME 24.1

Program Book - Volume 24.1 32 Louisiana Philharmonic Orchestra

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Program Book - Volume 24.1 3

ContentsContents

Pan-American Life Fiesta SinfonicaLa Triste Historia16

25

Classics2014 - A Strauss Odyssey

Beethoven and Blue JeansBeethoven Symphony No. 7

19 ClassicsEnigma Variations

32 ClassicsBrahms and Bartok

7 Get to know the LPO!

12 Beyond the Stage: LPO in the Community

14 LPO Volunteers

35


Saturday, September 20Play Dat!Holy Cross High School2:30 p.m.

Friday, September 26Enigma VariationsBenjamin Beilman, violinFirst Baptist Church, Covington7:30 p.m.

Saturday, September 27Enigma VariationsBenjamin Beilman, violinMahalia Jackson Theater7:30 p.m.

Thursday, October 2Baroque BrassFirst Baptist Church, New Orleans7:30 p.m.

Friday, October 17Beethoven Symphony No. 7Stephanie Thompson, E-flat clarinetFirst Baptist Church, Kenner7:30 p.m.

Saturday, October 18Beethoven Symphony No. 7Stephanie Thompson, E-flat clarinetColumbia Theatre, Hammond7:30 p.m.

Sunday, October 19Beethoven Symphony No. 7Stephanie Thompson, E-flat clarinetSlidell Municipal Auditorium 2:30 p.m.

Friday, October 24American FanfareNena Lorenz, percussionDavid Salay, percussionJim Atwood, percussionMahalia Jackson Theater7:30 p.m.

Sunday, October 26Halloween ‘Spooktacular’Roussel Hall2:30 p.m.

Saturday, October 11“Sunset Symphony” Park ConcertMandeville Lakefront6 p.m.

Thursday, October 30Brahms and BartokViktor Valkov, pianoMahalia Jackson Theater7:30 p.m.

Saturday, November 1Pan-American Life Fiesta SinfonicaLa Triste Historia Mahalia Jackson Theater7:30 p.m.

Sunday, November 2From a Time of WarViktor Valkov, pianoStage Door Canteen, WWII Museum4:30 p.m.

Thursday, November 6Patrick F. Taylor ConcertSt. Louis Cathedral6:30 p.m.

Friday, November 21Finckel and Mozart Sym. No. 40David Finckel, celloFirst Baptist Church Covington7:30 p.m.

Saturday, November 22Finckel and Mozart Sym. No. 40David Finckel, celloMahalia Jackson Theater7:30 p.m.

Thursday, December 4Yuletide CelebrationFirst Baptist Church, Kenner7:30 p.m.

Friday, December 5Yuletide CelebrationColumbia Theatre, Hammond7:30 p.m.

Saturday, December 6Cirque de NoëlSaenger Theatre7:30 p.m.

Sunday, December 7Yuletide CelebrationSlidell Municipal Auditorium2:30 p.m.

Thursday, December 18Baroque ChristmasEsteli Gomez, sopranoAmanda Crider, mezzo-sopranoNew Orleans Vocal Arts ChoraleFirst Baptist Church, New Orleans7:30 p.m.

Friday, December 19Baroque ChristmasEsteli Gomez, sopranoAmanda Crider, mezzo-sopranoNew Orleans Vocal Arts ChoraleChurch of the King, Mandeville7:30 p.m.

Thursday, January 8, 2015 Béla Fleck and New World SymphonyBéla Fleck, banjoMahalia Jackson Theater7:30 p.m.

For a complete listing of this season’s events, visit LPOmusic.com

Pan American Life Fiesta SinfonicaLa Triste HistoriaNovember 1, 7:30 p.m.Mahalia Jackson Theater

Finckel and Mozart Symphony No. 40November 21, 7:30 p.m.First Baptist Church, Covington

November 22, 7:30 p.m.Mahalia Jackson Theater

American FanfareOctober 24, 7:30 p.m.Mahalia Jackson Theater

Cirque de NoëlDecember 6, 7:30 p.m.Saenger Theater

LPOCalendar of Events

Béla Fleck and New World SymphonyJanuary 8, 7:30 p.m.Mahalia Jackson Theater

January 9, 7:30 p.m.First Baptist Church, Covington


Join Maestro Carlos Miguel Prieto, the Musicians, and the Trustees of the LPO for the

LPO OPUS BALLTribute to Louis Armstrong

A Gala Celebrating the Louisiana Philharmonic Orchestra

SAVE THE DATESaturday, April 18, 6:30 p.m.Sheraton New Orleans Hotel • 500 Canal Street

Paulette and Frank Stewart, Gala Chairs

The evening will include a performance in tribute to Louis Armstrong featuring Kermit Ruffins and the Louisiana Philharmonic Orchestra followed by an fantastic dinner and an opportunity to dance the night away. We hope to celebrate our exceptional orchestra with an elegant evening and a memorable experience. Your generous support of the Louisiana Philharmonic Orchestra contributes to the success of our community programs.

For tickets and information, contact Mimi Kruger at 504-523-6530, ext. 302


Welcome to the Montage Fall 2014 Season

TICKETS: montage.loyno.edu

(504) 865-2074

JAMES CARTER STRING QUARTETSeptember 23, 7:30 p.m. | Roussel Hall (located on Loyola’s campus) | Free

CLARA YANG PIANO RECITALSeptember 24, 7:30 p.m. | Roussel Hall (located on Loyola’s campus) | Free

LOYOLA PRISM CONCERTSeptember 27, 7:30 p.m. | Roussel Hall (located on Loyola’s campus) | Free

AMY THIAVILLE, VIOLIN, and BRIAN HSU, PIANOOctober 10, 7:30 p.m. | Roussel Hall (located on Loyola’s campus) | Free

MARCUS ST. JULIEN with the LOYOLA SYMPHONY ORCHESTRA: ORGAN SYMPHONY EXTRAVAGANZAOctober 19, 5 p.m. | Temple Sinai | Free

IGNATIAN SAXOPHONE QUARTET CONCERTOctober 27, 7:30 p.m. | Roussel Hall (located on Loyola’s campus) | Free

LOYOLA FACULTY BRASS QUINTETNovember 3, 7:30 p.m. | Roussel Hall (located on Loyola’s campus) | Free

LOYOLA CHAMBER ORCHESTRANovember 8, 7:30 p.m. | Roussel Hall (located on Loyola’s campus) | Free

LOYOLA PRISM CONCERT

AMY THIAVILLE/BRIAN HSU

MARCUS ST. JULIEN

15-0814 Montage Fall 2014 LPO Ad.indd 1 8/14/14 4:42 PM

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Garden District G a l l e r y

1332 Washington Avenue • New Orleans, LA 70130 • 504.891.3032 • www.gardendistrictgallery.com

Patti Adams Jim Atwood

Celebrating Five years in the Historic Garden District


Louisiana Philharmonic OrchestraCarlos Miguel Prieto

Adelaide Wisdom Benjamin Music Director and Principal Conductor

ViolinsBenjamin Thacher, Concertmaster The Edward D. and Louise L. Levy Concertmaster ChairBenjamin Hart, Associate ConcertmasterHannah Yim, Assistant ConcertmasterByron Tauchi, Principal Second ViolinXiao Fu, Assistant Principal Second ViolinBurton CallahanQi CaoRazvan ConstantinZorica DimovaJudith Armistead FitzpatrickEva LiebhaberZhaneta MavrovaElizabeth OverwegGabriel PlaticaYaroslav RudnytskyKaren SannoYuki TanakaKate WithrowSarah Yen

ViolasRichard Woehrle, Principal The Abby Ray Catledge and Byrne Lucas Ray Principal Viola ChairBruce Owen, Assistant PrincipalMatthew Carrington*Amelia ClingmanValborg GrossLauren MagnusIla RondeauCarole Shand

CellosJonathan Gerhardt, Principal The Edward B. Benjamin Principal Cello ChairDaniel Lelchuk, Assistant PrincipalRachel HsiehJeanne JaubertKent JensenDavid RosenDimitri Vychko

BassesDavid Anderson, PrincipalWilliam Schettler, Assistant PrincipalMatthew AbramoPaul MacresBenjamin Wheeler

FlutesHeather Zinninger Yarmel, Principal Mary Freeman Wisdom Principal Flute ChairSarah SchettlerPatti Adams, Assistant Principal Richard C. and Nancy Link Adkerson Flute Chair

PiccoloPatti Adams

OboesJaren Atherholt, PrincipalJane Gabka, Assistant PrincipalMichael McGowan

English HornMichael McGowan

ClarinetsChristopher Pell, PrincipalStephanie Thompson, Assistant PrincipalJohn Reeks

E-flat ClarinetStephanie Thompson

Bass ClarinetJohn Reeks

BassoonsAndrew Brady, PrincipalMichael MatushekBenjamin Atherholt, Assistant Principal

ContrabassoonBenjamin Atherholt

French HornsMollie Pate, PrincipalMatthew EckenhoffJoshua PaulusAmy Krueger

TrumpetsVance Woolf, PrincipalStephen OrejudosDoug Reneau, Assistant Principal

TrombonesGreg Miller, PrincipalMatthew Wright

Bass TromboneEvan Conroy

TubaRobert Nuñez, Principal

TimpaniJim Atwood, Principal

PercussionNena Lorenz, Principal*Dave Salay, Acting PrincipalGuy Gauthreaux

HarpRachel Van Voorhees Kirschman, Principal

PianoMary Ann Bulla * denotes musicians that are on leave for the 2014-2015 season.

The string section of the Louisiana Philharmonic Orchestra is listed alphabetically and participates in revolving seating.


Staff, Boards, and CouncilsBoard of Trustees

Hugh W. LongBoard President

Stephen OrejudosOrchestra President

Walter HarrisBoard Vice President

Timothy Kelly, CPATreasurer

Jim AtwoodAssistant Treasurer

Matthew AbramoTiffany AdlerDave AndersonBen AtherholtAdelaide Wisdom Benjamin*Julie F. BreitmeyerJ. Scott Chotin, Jr.Ludovico FeoliAna E. GershanikStephen W. Hales*William D. HessAngela HillWilliam H. HinesDorothy S. JacobsDoug KiltonDonna KleinPaul J. Leaman, Jr.Cameron Kock MayerAlton McReeR. Ranney MizeRobert NunezBoatner Reily*David RosenDavid SalayCourtney-Anne SarpyBruce L. SoltisRichard L. StrubStephanie ThompsonCatherine Burns TremaineHugo C. WedemeyerKate Withrow

Ex Officio:James William BoydAmy FergusonCarlos Miguel PrietoJan RobertTimothy L. Soslow

Of Counsel:Julie Livaudais

*Life Trustees

Northshore Advocacy CouncilJan RobertChair

Michelle BiggsKatherine P. CainJ. Scott Chotin, Jr.*Mary Thomas CoadyMimi Goodyear DossettAnne Marie FargasonSarah A. FreemanRichard F. Knight*Noonie LeJeuneAnn M. LoomisJanet R. LynchBenjamin H. MotionLouise RuschRich SoineWilliam N. StadlerRoy A. St. Paul, Jr.

Prelude Board

Tim SoslowPresident

Caroline GoodMatt Eckenhoff Ali HollenbeckRyan Kreiser Jordan MachaPaul MacresHyma MooreStephen OrejudosJessica RobertsSkylar RosenbloomCurry Smith Sarah Vandergriff

Administrative Staff

James William BoydChief Executive Officer

Rebecca CainDirector of Production

Mimi KrugerDirector of Patron and Institutional Development

Lisa LaFleurDirector of Program Development

Sean SnyderDirector of Marketing and Communications

Joe ToupsDirector of Finance and Administration

Amanda WuerstlinDirector of Education and Community Engagement

Trey BornmannAssociate Director of Information Technology

Ivy MouledouxAssociate Director of Patron Services and Data Systems

Ali HollenbeckHouse Production Manager

JT KaneOrchestra Personnel Manager

Lisa KaneOrchestra Librarian

Cosimo MurrayStage Production Manager

Tommy KruebbeAsst. Stage Production Manager

Ryan KreiserPatron Services and Digital Media Coordinator

Jim AtwoodMusician Engagement Coordinator

Charlotte LewisLPO Volunteer

Hugo C. WedemeyerLPO Volunteer


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FRIENDSOFMUSIC

NEW ORLEANS

A PRESENTATION OFTULANE UNIVERSITY AND

OUR

60TH

SEAS

ON!

WU HAN & DAVID FINCKEL Tuesday 10/21/2014 7:30 PM

EBENE STRING QUARTET Wednesday 11/19/2014 8:00 PM

HERMITAGE PIANO TRIO Tuesday 12/2/2014 8:00 PM

MATTHEW POLENZANI, tenor Tuesday 1/20/2015 8:00 PM

DANISH STRING QUARTET Wednesday 2/11/2015 8:00 PM

POULENC TRIO Tuesday 3/10/2015 8:00 PM

EMERSON STRING QUARTET Wednesday 4/15/2015 8:00 PM

2014-2015

All concerts are in Dixon Hall at Tulane University. Free shuttle from Diboll parking garage.

SUBSCRIBE ONLINE OR CALL 504.895.0690 FOR TICKETS.

WWW.FRIENDSOFMUSIC.ORG

2014-2015 Season Program Book Advertising

Showcase your business while showing your support for the LPO!

Be among the elite few who showcase their businesses to LPO patrons each season.

20,000 copies of the LPO program book are distributed annually at more than 30 concerts regionally in Orleans, Jefferson, Tangipahoa, and St. Tammany Parishes.

For more information or rates, call 504.523.6530, ext. 201 or email

[email protected]


ConductorWidely celebrated as a rising star in the US, Canada, and his native Mexico, Carlos Miguel Prieto’s charismatic conducting, characterized by its dynamism and the expressivity of his interpretations, has led to major engagements and popular acclaim throughout North America and in Europe. In great demand as a guest conductor with many of the top North American orchestras, his relationships with orchestras in Europe, Latin America and the United Kingdom continue to expand.

Recognized as the leading Mexican conductor of his generation, Prieto holds four music directorships: with the LPO, the Orquesta Sinfonica Nacional de Mexico, Orquesta Sinfonica de Mineria, and the YOA Orchestra of the Americas.

Guest engagements of note during 2014-2015 include debuts with New Zealand’s Aukland Philharmonia Orchestra, Scotland’s BBC Scottish Symphony and Great Britain’s Royal Liverpool Philharmonic, with which he leads the UK premiere of Giovanni Sollima’s Antidotum Tarantulae XXI, Concerto for Two Cellos. Additionally, Prieto guests with the NDR Sinfonieorchester, the Calgary Philharmonic, and the Chicago Symphony Orchestra. Recent engagements include Germany’s NDR Radiophilharmonie at the Rheingau Musik Festival, Mainly Mozart, and the Colorado Music Festival.

Renowned for championing Latin American music, Prieto has conducted more than 50 world premieres of works by Mexican and American composers, many of which were commissioned by him.

Prieto has an extensive discography that covers labels including Naxos and Sony. His most recent recording is a highly acclaimed CD for Naxos featuring Carlos Chavez’s Piano Concerto with pianist Jorge Federico Osorio and the Orquesta Sinfonica Nacional de Mexico.

Carlos Miguel Prieto, Music Director and Principal Conductor

Featured MusicianA native of Cape Cod, MA, Benjamin Thacher joined the Louisiana Philharmonic Orchestra in 2013 as Concertmaster, having previously served as the Associate Concertmaster of the Boise Philharmonic Orchestra. Benjamin received a B.M. from the New England Conservatory as a student of Donald Weilerstein. He continued his graduate studies at the San Francisco Conservatory under the tutelage of Ian Swensen. His other teachers have included Nathan Cole (First Associate Concertmaster of the Los Angeles Philharmonic), James Buswell, and Kelly Barr (former violinist of the Boston Symphony).

Benjamin has performed as a soloist with numerous orchestras including the Nashua Symphony, Boise Baroque Orchestra, Cape Cod Symphony, MetroWest Symphony, and Dorchester Symphony, Chatham Chorale Orchestra, and the Rendezvous Festival Orchestra. In 2013, he appeared as a soloist with the Louisiana Philharmonic Orchestra in a performance of Bach’s Brandenburg Concerto. Benjamin has performed in top venues including Carnegie Hall, Alice Tully Hall, and Jordan Hall. He was the first violinist of the Honors String Quartet at the New England Conservatory. In 2003, he performed on ‘From the Top’ a national public radio program.

Benjamin studied for two summers at the Perlman Music Program (PMP) on Shelter Island where he had the unique opportunity to study with world renowned violinist, Itzhak Perlman. He has also attended the Schleswig-Holstein Music Festival, American-Bach Soloists Academy, Yellow Barn, Musicorda, and Greenwood.

A passionate teacher of both violin and viola, Benjamin was the director of strings and orchestra at the Medicine Hat College in Alberta, Canada. He has also taught at the French International School in San Francisco, and at ArtsWest School in Idaho. He has presented masterclasses and has judged young artists competitions throughout the United States and Canada. His students frequently receive top prizes at local and national competitions. Benjamin is currently accepting new students and can be reached via e-mail at [email protected].

Benjamin Thacher,Concertmaster


Martha, Connie, and Vet Boswell, a trio of sisters from

New Orleans, were darlings of radio’s golden age.

Together they pioneered the cheerful, close-harmony

vocal style that became emblematic of 1940s girl

groups. Join The Historic New Orleans Collection in

rediscovering the Boswell Sisters, one of the city’s

most celebrated musical exports.

On view through October 26

The Boswell Sisters; 1932; photoprint by John de Mirjian, photographer; The Historic New Orleans Collection, gift of the Boswell Museum of Music, 2011.0315.83

(504) 523-4662 www.hnoc.org

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Beyond the Stage:Louisiana Philharmonic Orchestra in the Community

Sign up today to hold your seats for the coming school year. Contact Director of Education and Community Engagement, Amanda Wuerstlin, at [email protected] or 504.523.6530, ext. 501.

Return of LPO's Play Dat!We loved Play Dat! so much last season that we brought it back for our 2014-2015 season as part of our opening weekend! What better way to start our season than sitting side by side with our community. With more than 100 participants, we hope to continue and expand Play Dat! each season. Thanks for joining us!

Early Explorers: Orchestra ABCsThese interactive concerts for students in pre-K through first grade provide an interactive way to learn about the instrument families of the orchestra. This season’s program, Orchestra ABC’s, explores the connections between literacy and music.

Slidell Municipal AuditoriumTuesday, October 14

First Baptist Church, KennerWednesday, October 15

Chalmette Cultural Arts CenterTuesday, October 21

Roussel Hall, Loyola University New OrleansWednesday, November 5

Church of the King, MandevilleThursday, November 13

Destrehan High SchoolTuesday, November 18

Young Artists’ Concerto Competition October 18, 2014, Dixon Hall Annex, Tulane University Each season, outstanding K-12 students compete for the opportunity to solo with the LPO on a winter Young People’s Concert. Entries are due October 6, 2014

Visit LPOmusic.com/Education for an application.

Join the LPO and LPO Volunteers, for coffee, cookies, and great music!

2014 - A Strauss OdysseySept. 19 • Mahalia Jackson Theater

Enigma VariationsSept. 26 • Mahalia Jackson Theater

Beethoven Symphony No. 7Oct. 17 • First Baptist Church, Kenner

American FanfareOct. 24 • Mahalia Jackson Theater

Brahms and BartókOct. 30 • Mahalia Jackson Theater

Finckel and Mozart Symphony No. 40Nov. 21 • Mahalia Jackson Theater Rehearsals start at 10 a.m. and cost $10

I thought the Play Dat! experience was one of the best things I’ve ever done! It was way beyond cool to be

able to play alongside such musicians with stratospheric talent!

2013-2014 season Play Dat! participant

“2014-2015 FAMILY CONCERTS

All concerts at Roussel Hall, Loyola University Free for children 12 and under • $10 for all others

2014-2015 OPEN REHEARSALS

LPO MASTERCLASS SERIESFree and open to the public

Viktor Valkov, piano masterclassTuesday, October 28, 6 p.m.University of New Orleans - Recital Hall

David Finckel, cello masterclassSaturday, November 22, 10 a.m.C/M Complex, Choral RoomLoyola University New Orleans

Sound Education

Halloween ‘Spooktacular’Oct. 26, 2:30 p.m.JoAnn Falletta, conductor

Movie Magic!March 8, 2:30 p.m.Jacomo Bairos, conductor

Peter and the WolfApril 19, 2:30 p.m.Carlos Miguel Prieto, conductor

Who Dat? Carlos Miguel Prieto taking a conducting break to play violin at Play Dat!


Carlos Miguel Prieto taking a conducting break to play violin at Play Dat!

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LPO 2014 playbill_Layout 1 8/15/14 2:23 PM Page 1

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

Proudly Supporting the LPO for 24 Seasons!

EVENTS/ACTIVITIES

The Encore ShopShop/Donate/Consign7814 Maple St. • Open Tuesday – Saturday, 11 a.m. – 5 p.m. Donations and consignments by appointment: 504.861.9028

An upscale resale boutique directly benefiting the LPO, The Encore Shop offers high quality women’s designer clothes, shoes and accessories. Owned and operated by LPO Volunteers, the shop contributes 100 percent of its net profits to the LPO.

2014-2015Officers & Committees Chairs

PresidentAmy B. Ferguson

Vice Presidents, AdministrationNancy FridgeKathy Gaspard

Vice Presidents, Education & OutreachBetty GerstnerDebra Judd

Vice President, FundraisingEllen Goldring

Corresponding SecretaryEleanor Straub

Recording SecretaryCharlotte Lewis

TreasurerLouise Schreiner

Financial SecretaryPhilip Straub

ParliamentarianJoel Myers

Encore Shop ChairKathleen Davenport

Book Fair ChairHeidi Charters

Immediate Past-PresidentNancy Pomiechowski

President-ElectSarah Lemaire

Symphony Book FairMay 2015

LPO Volunteers’ largest single-event fundraiser, the 2015 Symphony Book Fair will take place at UNO’s Human Performance Center. Year round, the Book Fair accepts donations of books, CDs, DVDs, art and sheet music at their warehouse (8605 Oak St.) on Tuesdays and Fridays, 10 a.m. – 2 p.m. For more information, please call 504.861.2004.

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

Symphony Volunteers now has a new name to reflect our long-standing relationship with the Louisiana Philharmonic Orchestra. Through its numerous events, activities and membership options. LPO Volunteers still provides a way for anyone to show their support for the great contribution the LPO makes to the Greater New Orleans community.

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.


Louisiana Philharmonic Orchestra

Chamber Music

From a Time of WarChamber Concert with pianist Viktor Valkov

Sunday, Nov. 2, 4:30 p.m.Stage Door CanteenNational WWII Museum

POULENC: Sextet for Wind Quintet and PianoMESSIAEN: Quartet for the End of Time

American StringsChamber Concert with banjoist Béla Fleck

Saturday, Jan. 10, 7:30 p.m.Contemporary Arts Center

FLECK: Quintet “Night Flight Over Water”DVORÁK: American Quartet

Pierrot LunaireChamber Concert with clarinetist Jose Franch-Ballester and conductor Carlos Miguel Prieto

Saturday, March 21, 7:30 p.m.Gallier Hall

STRAUSS, JR.: (arr. Schoenberg): Emperor WaltzesSCHOENBERG: Pierrot Lunaire

Join us as the LPO presents three chamber concerts featuring our world-renowned guest artists with select LPO musicians

Tickets $35 • LPOmusic.com • 504.523.6530Series Sponsor:

Package discounts available

T H E S TO R I E S B EG I N H ER E

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LPO Ad.indd 1 8/1/2014 11:28:49 AM


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Carlos Miguel Prieto, Adelaide Wisdom

Benjamin Music Director and Principal Conductor

Susanna Phillips, soprano

September 19, 7:30 p.m. • Mahalia Jackson Theater

Wiener Philharmoniker Fanfare, TrV 248 (3’)

Till Eulenspiegel’s Merry Pranks, Op. 28 (16’)

Four Last Songs (25’)I. FrühlingII. SeptemberIII. Bein SchlafengehenIV. Im Abendrot

INTERMISSION

Also sprach Zarathustra, Op. 30 (21’)

R. STRAUSS(1864-1949)

R. STRAUSS

Alabama-born soprano Susanna Phillips, recipient of The Metropolitan Opera’s 2010 Beverly Sills Artist Award, continues to establish herself as one of today’s most sought-after singing actors and recitalists. In 2014-15 Phillips returns to the Metropolitan Opera for a seventh consecutive season starring as Antonia in Bartlett Sher’s production of Les Contes D’Hoffmann under the baton of James Levine, as well as a reprise of her house debut role of Musetta in La Bohème. Additional engagements include Countess in Le Nozze di Figaro with Paul McCreesh and the Gulbenkian Orchestra in Lisbon and the title role in Handel’s Agrippina with Boston Baroque under Martin Pearlman.

Phillips’ 2014-15 orchestral engagements are highlighted by a performance of Fauré’s Requiem with the Dallas Symphony Orchestra with Jaap van Zweden and a return to the San Francisco Symphony for Mahler’s Fourth Symphony with Michael Tilson Thomas.

A passionate chamber music collaborator, Phillips will join Eric Owens and the Philadelphia Chamber Music Society for an all Schubert program this season. She sings a recital with Brian Zeger and the Chamber Music Society of Palm Beach, and a tour of trio performances with Paul Neubauer and Anne Marie McDermott.

Highlights of Phillips’ previous seasons include numerous additional Metropolitan Opera appearances as Donna Anna in Don Giovanni, Pamina in Julie Taymor’s

Guest artist travel and accommodations provided by:

This concert is supported by a

generous gift made by Paula Maher

Ms. Phillip’s appearance is

supported by a generous gift made

by Dr. Edward D. Levy Jr.


production of The Magic Flute, Musetta in La Bohème, and as a featured artist in the Met’s Summer Recital Series. She also appeared at Carnegie Hall for a special concert performance as Stella in Previn’s A Streetcar Named Desire opposite Reneé Fleming - a role she went on to perform, to rave reviews, at Lyric Opera of Chicago. She made her Santa Fe Opera debut as Pamina, and subsequently performed a trio of other Mozart roles with the company as Fiordiligi in Così fan tutte, Countess Almaviva in le Nozze di Figaro, and Donna Elvira in Don Giovanni. Additional roles include Elmira in Reinhard Keiser’s The Fortunes of King Croesus, Euridice in Orfeo ed Euridice, and the title role in Lucia di Lammermoor, Countess in le Nozze di Figaro, and Donna Anna, as well as appearances with the Dallas Opera, Minnesota Opera, Fort Worth Opera Festival, Boston Lyric Opera, and Opera Birmingham.

In August 2011, Phillips was featured at the opening night of the Mostly Mozart Festival, which aired live on Live From Lincoln Center on PBS. The same year saw the release of Paysages, her first solo album on Bridge Records, which was hailed as “sumptuous and elegantly sung” (San Francisco Chronicle). The following year saw her European debut as Pamina in Die Zauberflöte at the Gran Teatro del Liceu Barcelona.

Phillips had a magnificent 2005, winning four of the world’s leading vocal competitions: Operalia (both First Place and the Audience Prize), the Metropolitan Opera National Council Auditions, the MacAllister Awards, and the George London Foundation Awards Competition. She has also claimed the top honor at the Marilyn Horne Foundation Competition, and has won first prizes from the American Opera Society Competition and the Musicians Club of Women in Chicago. Phillips has received grants from the Santa Fe Opera and the Sullivan Foundation, and is a graduate of Lyric Opera of Chicago’s Ryan Opera Center. She holds two degrees from The Juilliard School and continues collaboration with her teacher Cynthia Hoffmann.

Born in Birmingham, Alabama and raised in Huntsville, more than 400 people traveled from her hometown to New York City in December 2008 for Phillips’s Metropolitan Opera debut in La Bohème. She continues to be overwhelmed by the support she receives and returns frequently to her native state for recitals and orchestral appearances.

PrOgrAm NOteSBy Michael C. Clive

Wiener Philharmoniker FanfareRichard Strauss

Though Strauss did not compose his Fanfare for the Vienna Philharmonic until he was almost 60 (in 1924), it harks back to the early days of his career. He had a continuing association with the orchestra, and ceremonial commissions were expected from the kind of composer Strauss always aspired to be. When he was only 17, conductor Hans von Bülow anointed him as the heir of Brahms, composer of the Academic Festival Overture — a similarly ceremonial work of great popularity.

The Fanfare was written for the Vienna Philharmonic’s first benefit ball and was played while honored guests, such as the Matron of the Ball, arrived at the event. Opera fans will immediately connect this courtly display with Strauss’

depiction of a Viennese ball and the arrival of its mascot, the Fiakermilli, in his opera Arabella. Like many such pieces, the Wiener Philharmoniker Fanfare is brilliantly dramatic and is dominated by its large brass ensemble (and two sets of timpani!). Opening with a simple, flashing statement, it builds in harmonic and melodic complexity. It has remained in the Vienna Philharmonic’s active repertory since its composition 90 years ago.

Till Eulenspiegel’s Merry PranksRichard Strauss

In Germany, everybody knows Till Eulenspiegel — the incorrigible prankster who always seems to get in deeper and deeper until he finally comes to a comically violent end, only to be resurrected for the next round of mischief.

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Till is the progenitor of American comic strip characters like Dennis the Menace, and we hear his cartoon-y world in the good humor and exaggerated colors of Strauss’ music.

Strauss composed Till Eulenspiegel in 1894 and 1895. It opens with a solo horn theme that bursts upon us with raucous energy, immediately setting the mood. Then Strauss’ gift for vivid narrative takes over, and the music follows Till through the countryside as he escapes wheedling would-be captors, taunts dour clergymen (violas), chases girls (violins), and mocks clownishly pompous schoolmasters (bassoons).

Eventually it all catches up with Till: his capture is signaled by a funeral march, and we hear him argue with his executioner on the way to the gallows. Yet even here, there is a weird sense of unrepentant gaiety beneath it all, and we sense that the death wail of the clarinet is not the last word. You can’t kill a rascal like Till Eulenspiegel; he’ll be back.

Four Last SongsRichard Strauss

Composed when he was 84, Strauss’ suite of Four Last Songs is his last completed work. It brings together the qualities for which Strauss is most noted: orchestral expressiveness, lyric sensitivity, and most especially his affinity for the sumptuous, soaring sound of the soprano voice. Strauss’ artistic alliance with women singers is unique in the annals of music.

These songs are now universally accepted as a single suite, but they actually comprise three settings of verses by Hermann Hesse and an earlier setting of a poem by Joseph von Eichendorff. Though composed independently, they form an artistic unity in their gorgeous combinations of orchestral accompaniment and soprano voice, and in their characteristically German contemplation of natural themes — the seasons, the sunset, falling asleep — and the human cycle of life and death.

Strauss wrote many songs, but the Four Last Songs by themselves have established him as one of classical music’s greatest composers of art songs. Large-scaled yet intimate, they reflect the artist’s life experience and a unique example of a man’s personal expression through the female voice. They are a composer’s final reflections on life and on a life in music.

Also sprach ZarathustraRichard Strauss

When success as an opera composer made him an international celebrity in his 40s, Strauss was already known throughout Europe as a conductor, pianist and composer of tone poems — a form he popularized and refined in his late 20s and his 30s, displaying a gift for emotionally expressive narratives that sparkle with color and virtuosic effects. But from the outset, Strauss’ dramatic tone poem Also sprach Zarathustra was an outlier among these popular works.

Also sprach Zarathustra is based on a shocking and somewhat enigmatic satire of the same title by Friedrich Nietzsche, the heavyweight German philosopher. At first, the voice of the book’s irritable narrator — a skeptical sage who thunders like a biblical prophet even as he ridicules everything in the Bible — seems like a strange subject for an orchestral work. But Zarathustra’s oracular pronouncements give Strauss the chance to create spectacular orchestral effects that suggest cosmic concerns of creation and destiny as well as sonic depictions of natural effects such as sunrise and hinterlands, and human emotions such as yearning and joy.

The nine sections of Strauss’ setting, played with only three major pauses, correspond to sections of Nietzsche’s text. But Strauss’ gift for the specifics of musical narrative are less relevant here than in a tone poem such as Till Eulenspiegel, with its story-driven episodes. Zarathustra’s furious orations are of limited interest today, but the mood-paintings Strauss drew from them are ravishing.

Strauss composed Zarathustra in 1896, when he was 31. But in 1968, 23 years after his death, its place in the orchestral canon changed dramatically. That’s when Stanley Kubrick included its introduction, an intensely dramatic rendering of a sunrise, in his film 2001: A Space Odyssey. Today it has earned its rightful place in the standard repertory. LPO

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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.


ClassiCs eNigmA VAriAtiONS

Benjamin Beilman,violin

September 26, 7:30 p.m. • First Baptist Church, CovingtonSeptember 27, 7:30 p.m. • Mahalia Jackson Theater

The Chairman Dances; Foxtrot for Orchestra (12’)

Concerto in D minor for Violin and Orchestra, Op. 47 (31’)

Allegro moderatoAdagio di moltoAllegro, ma non tanto

Benjamin Beilman, violin

INTERMISSION

Variations on an Original Theme, “Enigma Variations,” Op. 36 (29’)

Enigma: AndanteVariations:

“C.A.E.” L’istesso tempo“H.D.S.- P.” Allegro“R.B.T.” Allegretto“W.M.B.” Allegro di molto“R.P.A.” Moderato“Ysobel” Andantino“Troyte” Presto“W.N.” Allegretto“Nimrod” Moderato“Dorabella - Intermezzo” Allegretto“G.R.S.” Allegro di molto“B.G.N.” Andante“*** - Romanza” Moderato“E.D.U.” - Finale

ADAMS(b. 1947)

SIBELIUS(1865 - 1957)

ELGAR

(1857 - 1934)

Violinist Benjamin Beilman’s “handsome technique, burnished sound and quiet confidence showed why he has come so far so fast” (The New York Times). He is the recipient of the prestigious 2014 Borletti-Buitoni Trust Fellowship, a 2012 Avery Fisher Career Grant, and a 2012 London Music Masters Award. This season, he makes his Alice Tully Hall debut, performing the Sibelius Concerto with the Orchestra of St. Luke’s and Gerard Schwarz. He performs the Mendelssohn Concerto with the San Francisco Symphony and the Higdon Concerto with the Philadelphia Orchestra. He performs at South Mountain Concerts with David Finckel, Wu Han, and Paul Neubauer, and in duo recitals with pianist Andrew Tyson at Bay Chamber Concerts, the Tennessee Arts Academy, and Caramoor. Beilman appears with the Chamber Music Society of Lincoln Center throughout the season in New York and on tour as a member of CMS Two.

Abroad, Beilman has appeared as soloist with the London Philharmonic Orchestra and Stanislaw Skrowaczewski, with the Tonhalle Orchester Zürich and Sir Neville Marriner, with l’Orchestre Métropolitain de Montréal and Yannick Nézet-Séguin, and with the Malaysian Philharmonic and Hans Graf. He has also appeared in recital

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Mr. Beilman's appearance is

supported by a generous gift made by Julie Breitmeyer

This concert is supported by

a generous gift made by Hugo and

Barbara Wedemeyer

Guest artist travel provided by:


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nsinternationally at the Louvre, Tonhalle Zürich, Wigmore Hall, Spannungen, and Festpiele Mecklenburg-Vorpommern. In the U.S., Beilman has performed in Carnegie Hall’s Stern Auditorium with the New York Youth Symphony, as well as with the Los Angeles Chamber Orchestra, the Fort Worth Symphony, the Buffalo Philharmonic, the Indianapolis Chamber Orchestra, the Chicago Philharmonic, the Greenville Symphony, and the Detroit Symphony Orchestra. He made his Weill Recital Hall debut last season in a program that included the premiere of a new work by David Ludwig, commissioned for him by Carnegie Hall.

An avid chamber musician, Beilman is a frequent guest artist at chamber music festivals including at Music@Menlo, Music from Angel Fire, and Chamber Music Northwest as well as at the Bridgehampton, Marlboro, Santa Fe, Seattle, and Sedona Chamber Music Festivals. Beilman collaborates abroad at the Kronberg Academy in Frankfurt, Spectrum Concerts Berlin, the Verbier Festival in Switzerland, and at the Young Concert Artists Festivals in Tokyo and Beijing.

In 2010, he won First Prize in the Young Concert Artists International Auditions and YCA’s Helen Armstrong Violin Fellowship. He performed acclaimed debut recitals in the Young Concert Artists Series in New York, sponsored by the Summis Auspiciis Prize, and in Washington, D.C. at the Kennedy Center.

As First Prize Winner of the 2010 Montréal International Musical Competition and winner of the People’s Choice Award, Beilman recorded Prokofiev’s complete sonatas for violin on the Analekta label in 2011. He won the Bronze Medal at the 2010 International Violin Competition of Indianapolis as well as prizes for the best Bach performance and Mozart sonata performance; First Prize in the 2009 Schmidbauer and Corpus Christi International Competitions in Texas, where he was also awarded the special Bach prize; and the Gold Medal at the Stulberg International String Competition. Beilman was a winner of Astral Artists’ 2009 National Auditions and the Milka/Astral Violin Prize. He was a 2007 Presidential Scholar in the Arts and recipient of a Gold Award in Music from the National Foundation for Advancement in the Arts. He has been heard on NPR’s Performance Today and From the Top, WQXR’s McGraw-Hill Financial Young Artists Showcase, and WFMT’s Impromptu.

Beilman studied with Almita and Roland Vamos at the Music Institute of Chicago, Ida Kavafian and Pamela Frank at the Curtis Institute of Music, and Christian Tetzlaff at the Kronberg Academy. He plays the Guarneri del Gesù, Cremona, 1735 ex Mary Portman on loan from Clement and Karen Arrison through the generous efforts of the Stradivari Society of Chicago.


The Chairman DancesJohn Adams

No living composer has been more influential in the world of opera or more successful in creating new ones than John Adams, and his Nixon in China — which once seemed like an impossibly long shot — now grips and fascinates audiences around the world.

Silky and seductive, with a catchy foxtrot rhythm, The Chairman Dances is often described as an “outtake” from Nixon in China, but was not simply cut from the opera. “The music is not part of the opera,” writes Adams…”but rather a separate response — a purely

musical one — to the irresistible image of a youthful Mao Tse-Tung dancing the foxtrot with his mistress Chiang Ch’ing, former B-movie queen and the future Madame Mao…”

Though not enacted onstage, The Chairman Dances is richly theatrical. Consider this scenario, from the original score: “Chiang Ch’ing, aka The White-Boned Demon, aka Madame Mao, has gatecrashed the Presidential Banquet. She is first seen standing where she is most in the way of the waiters. After a few minutes, she brings out a box of paper lanterns and hangs them around the hall, then strips down to a cheongsam, skin-tight from neck to ankle and slit up to the hip. She signals the orchestra to


play and begins dancing by herself. Mao is becoming excited. He steps down from his portrait on the wall and they begin to foxtrot together…”

Concerto in D minor for Violin and OrchestraJean Sibelius

Sibelius began his musical life determined to achieve greatness as a violinist. “[I]t was a very painful awakening when I had to admit that I had begun my training for the exacting career of an eminent [soloist] too late,” he wrote. He composed his violin concerto in 1903, when he was 36 and his ambitions for a career as a virtuoso were in the past, but his love for the instrument is on every page of the score.

By this time, Sibelius had published some of his most popular works, and his stature was international. But despite his increasing success and productivity, he had trouble paying his bills, and his income could not support the lifestyle he wanted for his family. Health worries, too, nagged at him. For more than five years after he completed and then revised his violin concerto, ear and throat problems plagued him until their cause — a benign tumor — was finally found and removed, in 1908.

None of these woes are evident in his innovative concerto, which takes advantage of the violin’s versatility — integrating the solo part with the orchestra rather than isolating it for virtuosic display. As it opens, a lovely melody, melancholy in mood, takes its place over pulsing strings. The movement blooms in the richness of its accompaniment and in the vigor of the violin’s solo utterance, building to an energized statement in march rhythm. A fiery coda brings it to a close.

The second movement, an Andante, brings us the extended, singing lines that have long been traditional in the central movement of violin concertos — perhaps the most romantic pages Sibelius ever wrote. But it is the final movement, marked Allegro ma non tonto (fast, but not too fast), that has captured most attention among players and critics. Its supreme difficulty belies the “not too fast” marking as its emphatic, swirling dance rhythm builds in energy and technical demands, combining Sibelius’ Nordic aesthetic with the zest of a Gypsy-

inspired finale. It is considered one of the two or three greatest movements in the violin concerto repertory.

Variations on an Original Theme, “Enigma Variations,” Op. 36Edward Elgar

Only 21 miles of the English Channel separate the English town of Dover from the French town of Calais, but Great Britain’s musical traditions can seem far more distant from the European mainland. Who are the great British composers? Of course there are Purcell and the German-born Handel, an adopted favorite son, and the 20th-century giant Benjamin Britten, to name three. Many critics would include Sir Edward Elgar in this group. But Elgar felt that his own compositional style was more aligned with European influences; born in 1857, he was largely self-taught and kept his distance from British musical circles, which were dominated by academics and suspicious of his Roman Catholic faith.

Elgar composed the Enigma Variations in 1898 and 1899, and after some initial resistance, they established his reputation as a composer of greatness. His two symphonies, concertos for the violin and the cello, and the immensely popular Pomp and Circumstance Marches are all standard repertory for today’s orchestras, but the 14 Enigma Variations are especially revered by musicians.

The enigma is the theme itself. Throughout the suite, it remains hidden — in Elgar’s phrase, “not played,” though an introductory variation builds around the unstated subject. The 13 movements that follow are affectionate musical portraits of his closest friends and his wife, Alice. What is the theme uniting these variations? Elgar went to his grave refusing to disclose it or even if it was a melody at all. But listeners enjoy puzzling out the enigma for themselves.

The suite’s ninth variation, “Nimrod,” is an homage to a particularly admired friend, the music editor Augustus J. Jaeger; the movement takes its name from the Old Testament patriarch described as “a mighty hunter before the Lord.” This movement is considered one of the noblest and most quintessentially English utterances in music. LPO


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Outside Of BaChs BArOque BrASS

Edmund Cord, conductor

October 2, 7:30 p.m. • First Baptist Church, New Orleans

Battle Galliard (2’)

Two Pieces (3’)

Ancient Airs and Dances (10’)GagliardaSicilianaPassacaglia

Stay Corydon Thou Swain from The Second Set of English Madrigals (4’)

Mutations from Bach (6’)

Overture from Music for the Royal Fireworks (6’)

INTERMISSION

Praeludium from Holberg Suite (3’)

Canzon Non Toni No. 47 from Sacri Concentus (3’)

Canzon Septimi Toni No. 2 from Sacrae Symphoniae (3’)

Lobet den Herrn (4’)

Capriol Suite (10’)Basse-DansePavaneTordionBranslesPied-en-l’airMattachins

Contrapunctus I from The Art of the Fugue (4’)

SCHEIDT (1587 - 1653)

arr. Ray Mase

SCHEIN (1586 - 1630)

ed. R. King

RESPIGHI (1879 - 1936)

arr. James Haynor

WILBYE(1574 - 1638)

BARBER(1910 - 1981)

HANDEL(1685 - 1759)

arr. Ralph Sauer

GRIEG (1843 - 1907)

arr. James Haynor

HASSLER (1564 - 1612)

arr. William Schaefer

GABRIELI(1554 - 1612)

arr. Robert King

TOPF (c. 1750)

arr. David Baldwin

WARLOCK(1894 - 1930)

arr. James Haynor

BACH(1685 - 1750)

arr. Robert King

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Professor of Music at the Jacobs School of Music at Indiana University, Edmund Cord is former Principal Trumpet of the Israel Philharmonic Orchestra, the Utah Symphony, and the Santa Fe Opera. He has been a soloist with the Israel Philharmonic Orchestra, the Bangkok Symphony, the Utah Symphony, the Hong Kong Pro Arte Orchestra, and various student ensembles. He has also appeared as Guest Principal Trumpet with the symphony orchestras of St. Louis, Houston, Indianapolis, and San Diego, the Ft. Wayne Philharmonic, and the Indianapolis Chamber Orchestra. He has performed with Doc Severinsen, Ella Fitzgerald, Henry Mancini, Marvin Hamlisch, John Williams, the Temptations, Mannheim Steamroller, the Moody Blues, and many others in the jazz and commercial genres.

A charter member of the International Trumpet Guild, Cord coaches and conducts various ensembles and is Director of the Indiana University Brass Choir. From 1994 to 2000 he was the trumpet faculty and a brass coach of the Asian Youth Orchestra. Many of his former students have performance and teaching positions in orchestras, service bands, schools and colleges in the United States, Canada, Mexico, England, Israel, Italy, Australia, China, Japan, Singapore, and Thailand. Cord has presented Masterclasses, clinics, and workshops in brass performance in Australia, England, and Israel, and throughout Asia and North America. He has adjudicated many solo and orchestral competitions, and was Director of the Thailand Brass Festival from 2004 to 2009. Often called for commercial recording dates, he also maintains a busy performance schedule with the Indianapolis Symphony, the Indianapolis Chamber Orchestra, Broadway touring companies, various big bands, and other ensembles.

PrOgrAm NOteS

Secrets of the Baroque Trumpet

The baroque trumpet had a true friend in the late William F. Buckley, Jr. As a theme song for Buckley’s popular television program The Firing Line, he excerpted one of the gorgeous solo lines from Bach’s Brandenburg Concerto No. 2, a dazzling trumpet showcase. It was a shrewd choice, boosting popularity for the instrument and the Brandenburgs. And if your television set was tuned in, there was no mistaking that sound from two rooms away — even with the volume turned down low. Such is the nature of the bright, focused, penetrating, joyful sound of the baroque trumpet.

Baroque composers used the trumpet in abundance. As always, Bach provides ideal models to teach us how. If we visit St. Thomas Church in Leipzig, where Bach worked as Kapellmeister, even the architecture shows how perfectly the trumpet suited the culture of the times: decoration is everywhere. Painted and sculptural ornaments cover virtually every surface, all tributes to the glory of God and all perfectly matched to the treble gleam of the trumpet. If

there is an aural equivalent of gold, it is this instrument’s golden sound. It carries implicit emotional messages: “good news” and “this is important,” making it ideal for religious music and indispensable to rulers who wanted to announce their own importance.

Just a few of Bach’s many examples demonstrate the instrument’s power. His six-part Christmas Oratorio opens with an explosive baroque trumpet fanfare that opens the curtain on the good news of the gospel story, and seems like the most joyful utterance that could possibly be conveyed in music — that is, until the close of the oratorio, when the meaning of the story has been revealed and those same trumpets surpass themselves in jubilation. Similarly, in his Cantata No. 51, “Jauchzet Gott in allen Landen” (“Praise God in all the nations”), there was only one choice to accompany the soprano soloist in praise — the trumpet. The soprano and trumpet lines spur each other on in feats of tribute, and their musical ranges are similar (climbing to high C). Handel’s use of the instrument is instructive as well. We hear it to thrilling effect in Messiah, in “The Trumpet Shall Sound,” and in the aria of celebration

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and praise “Let the Bright Seraphim” from the opera Samson. In selecting this aria for performance at their wedding ceremony in 1981, Prince Charles and Lady Diana Spencer spurred a resurgence of interest in it. (Dame Kiri Te Kanawa’s brilliant rendition might have helped, too.) Its continuing popularity shows us that the baroque trumpet has lost none of its power to thrill.

Humanity’s early music makers knew that a few holes punched into naturally occurring reeds or tubes could create a kind of basic flute. One of the earliest technological developments leading to modern-day instruments was the branching-off of early trumpets from these early flutes. The first known instruments that were silver, bronze or wooden tubes without finger-holes are considered trumpets, and they are seen in representations as early as bas-reliefs dating from about 3,500 years ago found in the Temple of Queen Hatshepsut (Egyptian) in Thebes. But further advances in metallurgy were needed to create the baroque trumpet: the ability to bend the trumpet’s metal tubing, allowing longer lengths of tubing to be arranged more compactly so that a wider range of notes could be played. Around the year 1400, instrument makers introduced an S-shape to the tube, later folding the S back to form a loop. These “natural” trumpets, without finger-operated valves to control the resonating length of tubing, required enormous skill from instrumentalists. Their players had to rely solely on varying air pressure and compressing their lips like a functional reed to control the pitch and volume they produced. Baroque trumpeters still face these formidable challenges, but modern versions of the baroque trumpet are a bit less hazardous to play than were the original antique instruments — which required so much air pressure from trumpeters that their intercranial blood pressure could reach dangerous levels.

With the new musical possibilities for dramatic fanfares and flourishes, the trumpet choir became a must-have item for political bigwigs from the Renaissance onward who wished to announce their own importance. As early as the late 15th century, King Matthias I of

Hungary and Croatia kept 24 trumpeters in his court, while the House of Sforza in Milan struggled along with 18. In the next century, the trumpet’s status and its ubiquity continued to rise throughout Europe as technical advances extended its musical range upward, and sub-groups of trumpet-kettledrum players became responsible for specific registers on their instruments.

Today’s modern, valved trumpets have changed the way we think about trumpet players. In the world of jazz, we’ve learned to appreciate a sound that can be mellow as well as brassy, and fleet, melismatic runs of notes with the soloist’s fingers bobbing like pistons. The baroque sound is ever-bright and intense. And when you hear a trill or a melisma achieved without the aid of valves, you might well wonder: how did they do that?

In preparing this note, your annotator looked deeply into the burning question of whether the phrase “blow your brains out” originated to describe the dangers of trumpet players in the Baroque era — many of whom injured themselves by playing. He could not find a definitive answer. But if you ask a trumpet player, the answer is yes. LPO


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OUTSIDE THE BACHS SERIES

Baroque ChristmasThursday, December 18, 7:30 p.m.First Baptist Church, New Orleans

Friday, December 19, 7:30 p.m.Church of the King, Mandeville

Baroque MassThursday, March 26, 7:30 p.m.First Baptist Church, New Orleans

Tickets from $20LPOmusic.com or 504.523.6530

MARK YOUR CALENDAR!

Sponsored by:


Beetho

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o. 7

Stuart Chafetz is a conductor with an affable podium demeanor and a keen sense of audience engagement. Increasingly in demand with orchestras across the continent, this season Chafetz will be on the podium in Phoenix, Houston, Milwaukee, Detroit, Hawaii, Columbus, Jacksonville, Buffalo, Grand Rapids and others.

Previous conducting appearances include the orchestras of Buffalo, Chicago, Detroit, San Francisco, Toronto, Calgary, Edmonton, Florida, Houston, Indianapolis, Baltimore, Jacksonville, Kansas City, Naples, New Mexico, Phoenix, San Francisco Ballet, and Virginia.

He’s had the privilege to work with renowned artists such as Chris Botti, George Benson, Richard Chamberlain, The Chieftains, John Denver, Marvin Hamlisch, Thomas Hampson, Wynonna Judd, Jim Nabors, Randy Newman, Jon Kimura Parker, and Bernadette Peters.

He previously held posts as resident conductor of the Milwaukee Symphony Orchestra and associate conductor of the Louisville Orchestra. As principal timpanist of the Honolulu Symphony for twenty years, Chafetz would also conduct the annual Nutcracker performances with Ballet Hawaii and principals from the American Ballet Theatre. It was during that time that Chafetz led numerous concerts with the Maui Symphony and Pops.

Chafetz maintains an ongoing special relationship with Naples Philharmonic Orchestra, and annually leads a variety of their concerts including holiday, Memorial Day, parks, and subscription pops. In the summers, Chafetz spends his time at the

BeethOven and Blue Jeans BeethOVeN SymPhONy NO. 7

Stephanie Thompson,E-flat clarinet

Stuart Chafetz, conductor

October 17, 7:30 p.m. • First Baptist Church, KennerOctober 18, 7:30 p.m. • Columbia Theatre, HammondOctober 19, 7:30 p.m. • Slidell Municipal Auditorium

Overture to Il barbiere di Siviglia [The Barber of Seville] (7’)

Suite No. 2 from L’Arlésienne (14’)I. PastoraleIII. MenuettoIV. Farandole

Concerto for E-Flat Clarinet and Orchestra, dedicated to Stephanie Thompson (13’)

Stephanie Thompson, E-flat clarinet

INTERMISSION

Symphony No. 7 in A Major, Op. 92 (36’)

I. Poco sostenuto - VivaceII. AllegrettoIII. PrestoIV. Allegro con brio

ROSSINI (1792 - 1868)

BIZET (1838 - 1875)

DANKNER (b. 1944)

BEETHOVEN(1770 - 1827)

Concerts sponsored by:


Pedelahore and Co., LLP


By Michael C. ClivePrOgrAm NOteS

Chautauqua Institution, where he conducts the annual Fourth of July and Opera Pops concerts with the Chautauqua Symphony Orchestra in addition to his role as that orchestra’s timpanist.

When not on the podium, Chafetz makes his home near San Francisco, CA, with his wife Ann Krinitsky. Chafetz holds a bachelor’s degree in music performance from the College-Conservatory of Music at the University of Cincinnati and a master’s from the Eastman School of Music.

Stephanie Thompson, a native of northeastern Ohio, is entering her 14th season as the Assistant Principal/Second/E-flat Clarinetist of the LPO. Prior to moving to New Orleans, she performed with numerous orchestras in the US and Canada; she also spent a season with the Sarasota Opera company after Hurricane Katrina.

Stephanie’s education includes Bachelor’s and Master’s degrees in Music Performance from Youngstown State University, culminating in a Doctor of Musical Arts degree from the University of Michigan. Some of her notable clarinet teachers include Fred Ormand, Ted Oien, and Clark Brody.

Stephanie is a Clarinet Instructor at Loyola University, where she maintains a large studio of upperclass and graduate students. She has taught at Eastern Michigan University, Hiram College, and Youngstown State University.

After identifying a need for qualified instrument repair technicians in the New Orleans area, she went back to school and spent time apprenticing to learn the craft. She has operated Stephanie Thompson Woodwind Service for six years, specializing in high-end repair and restoration of clarinets. Stephanie is married to LPO bass clarinetist John Reeks, and has two spoiled cats, Esme and Harlowe. She likes to read, run, and practice yoga.

Overture to Il barbiere di Siviglia (The Barber of Seville)Gioachino Rossini

No one brings up a curtain like Rossini. His popular overtures go far beyond the genre’s typical purposes of setting an appropriate mood and whetting the audience’s appetite for the music and the drama to come, but they often break convention along the way. In overtures by other composers, major musical themes that will return later as full-blown arias are previewed, giving a sense of the action as well as the music. But the overture to The Barber of Seville, one of the two or three most popular Rossini ever wrote, doesn’t give us any hints. The reason: He originally composed it three years before Barber for another opera, Aureliano in Palmira, that was a turgid historical drama set in the time of the crusades.

As it turned out, the swashbuckling drama of Aureliana was well adapted to Barber, offering a sense of boisterous action. The opera’s main plot devices,

including disguises revealed, are well conveyed, and Rossini’s patented long-held crescendos build a sense of tension that reflect the comedy’s hoaxes and escapes. Rossini spoofed his own reliance on these dramatically calibrated buildups of volume and tempo, nicknaming them “Monsieur Crescendo.”

Suite No. 2 from L’ArlésienneGeorges Bizet

The brilliantly talented French composer Georges Bizet died only months after the 1875 premiere of Carmen — an opera whose popularity is such that it is taken as confirmation that opera was Bizet’s great musical calling. But Bizet was only 36 when he died, and had already left us a beautiful, sunny symphony that became part of the standard repertory when it was rediscovered. Commissioned to provide incidental music for the play L’Arlésienne by Alphonse Daudet, the endlessly inventive Bizet turned out 27 musical numbers including preludes and

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entr’actes. Daudet supposedly described his own play as “a glittering flop with the loveliest music in the world.” It is dated 1872, three years before Carmen.

As Suite No. 2 from L’Arlésienne shows, a big part of Bizet’s spectacular gift was his ability to create a sense of place in his music, and in this suite, the place is Arles, a sun-drenched town in southern Provence. Though this music is drawn from incidental music for a play rather than an opera, its intensely pictorial quality is as theatrical as his music for the opera stage. The abundance of melody in his incidental music yielded two suites: one by Bizet himself (the Suite No. 1), which enjoyed quick success, and the Suite No. 2, sensitively compiled by the composer of the original recitatives for Carmen, New Orleans native Ernest Guiraud.

Concerto for E-flat Clarinet and OrchestraStephen Dankner

Stephen Dankner, one of the most important composers on the New Orleans music scene, has dedicated his Concerto for E-flat Clarinet and Orchestra to this evening’s soloist, Stephanie Thompson. Born in 1944, Dankner received his Doctor of Musical Arts degree in composition from the Juilliard School in 1971.

Dankner’s flair for the singing line is especially well suited to the E-flat clarinet, often called the soprano clarinet. He fills his music with beauty and wit that evoke the charms of the classical and romantic eras, but with modern sophistication and touches such as jazz notes. His portfolio currently incudes nine symphonies, ten string quartets, six concerti (two for piano, one for violin, two for cello and alto saxophone); three major song cycles; sonatas for violin (2), piano, alto saxophone, cello; three piano trios; a piano quartet; five orchestral tone poems; background environmental music for the New Orleans Aquarium of the Americas and a film score.

Dankner has released seven CD recordings on the Albany, Centaur, Gasparo and Romeo labels, and has received commissions from the National Symphony Orchestra, Albany Symphony Orchestra, Louisiana Philharmonic Orchestra, Minnesota Orchestra, Nashville Symphony, Kansas City Symphony, Longwood Symphony,

Laredo Philharmonic as well as several others in the United States and Europe.

Sympony No. 7 in A majorLudwig van Beethoven

When we think of Beethoven as the Promethean composer who broke boundaries and reinvented forms, the symphony comes immediately to mind; the word “fun” does not. Yet “fun” is a word seen over and over again in critical appreciations of his Symphony No. 7. Its exuberance makes it seem like a symphony of joyful first movements and exciting climaxes, with scarcely a relaxed moment. Richard Wagner called it an “apotheosis of the dance.”

Beethoven completed this symphony in 1812, four years after he finished the Pastorale — the longest such period between his symphonies. Like so many of his larger works, the seventh expresses Beethoven’s engagement with the great ideas of his day and is linked to Napoleon, a man he had once viewed as a champion of human values, but to whom he was now openly hostile.

The premiere brought together many of the most renowned musicians of the time not just as listeners, but into the orchestra itself for a soldiers’ benefit. The sense of occasion and the buoyancy of the music produced a hugely enthusiastic response; then and for decades afterward, audiences demanded that the second movement be encored. On the other hand, some of the professional musicians in the audience felt that the symphony was not just spectacular, but chaotic — notably Friederich Wieck, Schumann’s father-in-law, who described it as the work of a drunken composer. History’s judgment has been far more enthusiastic.


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B E E T H O V E N A N D B L U E J E A N S

Sunday, Dec. 8, 4:30 p.m. Slidell Municipal Auditorium

L O U I S I A N A P H I L H A R M O N I C O R C H E S T R A

Slidell Symphony Society

Pedelahore & Co., LLP

A fun afternoon of holiday musical favorites and festivities for the entire family, featuring choirs from Salmen High School and Clearwood Junior High School (at Slidell concert); Southeastern Louisiana University (at Hammond concert); and sing-alongs!

Friday, Dec. 7, 7:30 p.m. Columbia Theatre, Hammond

Kids $10/Adults from $20 • Purchase online at LPOmusic.com or call 504.523.6530

Sponsored by:

Yuletide CelebrationThursday, December 4, 7:30 p.m.First Baptist Church, KennerFriday, December 5, 7:30 p.m.Columbia Theater, HammondSunday, December 7, 2:30 p.m.Slidell Municipal Auditorium

MARK YOUR CALENDAR!

Sponsored by:


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JoAnn Falletta is internationally celebrated as a vibrant ambassador for music, an inspiring artistic leader, and a champion of American symphonic music. An effervescent and exuberant figure on the podium, she has been praised by The Washington Post as having “Toscanini’s tight control over ensemble, Walter’s affectionate balancing of inner voices, Stokowski’s gutsy showmanship, and a controlled frenzy worthy of Bernstein.” Acclaimed by The New York Times as “one of the finest conductors of her generation,” she serves as the Music Director of the Buffalo Philharmonic Orchestra and the Virginia Symphony Orchestra and Principal Guest Conductor of the Brevard Music Center.

Falletta is invited to guest conduct many of the world’s finest symphony orchestras. She has guest conducted more than one-hundred orchestras in North America, and many of the most prominent orchestras in Europe, Asia, South America, and Africa. Her North America guest conducting appearances have included the orchestras of Philadelphia, Los Angeles, San Francisco, Dallas, St. Louis, Indianapolis, Seattle, Montreal, Toronto, and the National Symphony. International appearances have included the London Symphony, Czech Philharmonic, Seoul Philharmonic, China National Symphony, Shanghai Symphony, Liverpool Philharmonic, Manchester BBC Philharmonic, among

October 24, 7:30 p.m. • Mahalia Jackson Theater

Adagio for Strings (7’)

The Glory and the Grandeur: Concerto for Percussion Trio (12’)

Nena Lorenz, percussionDave Salay, percussionJim Atwood, percussion

INTERMISSION

Symphony No. 3 (38’)I. Molto Moderato, with simple expressionII. Allegro moltoIII. Andantino quasi allegrettoIV. Molto deliberato - Allegro risoluto

BARBER (1910 - 1981)

RUSSELL PECK (b. 1945)

COPLAND (1900 - 1990)


Nena Lorenz, percussion

JoAnn Falletta, conductor

LPO Percussionists' appearance is

supported by a generous gift made

by the


generous gift made by the

Nancy F. Link Foundation


Dave Salay, percussion

Jim Atwood, percussion

others. Falletta’s summer activities have taken her to numerous music festivals including Aspen, Tanglewood, the Hollywood Bowl, Wolf Trap, and the Brevard Festival.

In addition to her current posts with the Buffalo Philharmonic, the Virginia Symphony and the Brevard Music Center, Falletta has held the positions of artistic advisor to the Honolulu Symphony, music director of the Long Beach Symphony Orchestra, associate conductor of the Milwaukee Symphony Orchestra, Principal Guest Conductor of the Phoenix Symphony, and music director of the Denver Chamber Orchestra, the Queens Philharmonic, and the Women’s Philharmonic. From 2011–2014 she served as Principal Conductor of the Ulster Orchestra in Northern Ireland where she made her debut at London’s prestigious Proms with the orchestra in 2011.

Falletta received her undergraduate degree from the Mannes College of Music in New York and her master’s and doctorate degrees from The Juilliard School.

Nena Lorenz has served as Principal Percussionist with the LPO since 2007. She grew up in Sikeston, MO, studying piano at the early age of four before beginning percussion and voice at age 12.

In 2000, Nena received a Bachelor of Music in Percussion Performance from Eastern Illinois University and continued her performance studies at Carnegie Mellon University, earning a Masters of Music performance in 2002 and an Artist Diploma in 2006, studying with Timothy K. Adams, Jr., Principal Timpanist of the Pittsburgh Symphony Orchestra. While in Pittsburgh, she recorded the percussion chamber piece, “Makrokosmos III” (Music for a Summer’s Evening - 2006) and also appeared as a guest soloist at the International Percussion Festival in San Juan, Puerto Rico.

In addition to performing with the LPO, Nena serves as section percussionist in the Colorado Springs Philharmonic and spends her summers playing percussion with the Central City Opera.

In 2012, Nena appeared as a soloist with the LPO. She was honored to perform the festive Concertino for Marimba, written by Guatemalan composer, Jorge Sarmientos in 1957.

In addition to her orchestra performance, Nena has served as Adjunct Professor of Percussion at Xavier University and University of New Orleans. She has also been a guest clinician at Louisiana State University in Baton Rouge.

Dave Salay, originally from Cleveland, Ohio, joined the Louisiana Philharmonic Orchestra in 2007. He serves on the faculty of Loyola University New Orleans and the Greater New Orleans Youth Orchestra Young Artist Academy. Prior to the LPO, he held the position of Principal Percussion with the West Virginia Symphony. Other orchestras Salay has performed with include the Alabama Symphony Orchestra, Fort Wayne Philharmonic, Canton Symphony and Erie Philharmonic. He holds a Bachelor of Music degree from Cleveland State University where he studied with Tom Freer of the Cleveland Orchestra. Dave is an orchestral artist for Freer Percussion and Evans Drum Heads.

Jim Atwood began as timpanist with the New Orleans Symphony (now, the LPO) in 1988 under music director Maxim Shostakovich. Atwood’s performing experiences over three decades are many and varied, ranging from the recording studios of the advertising world (where he was also a writer and arranger) to performances in concert halls around the world as timpanist and percussionist with the Mexico City Philharmonic.

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He has appeared as a concerto soloist with the National Repertoire Orchestra and the Colorado Music Festival as well as the critically acclaimed LPO performances in 1998 of David Schiff’s timpani concerto “Speaking in Drums.” His last appearance as soloist with the LPO was in 2009 in a performance of the Phillip Glass “Concerto Fantasy for Two Timpanists” which he also performed with the San Francisco Ballet. He has performed as an extra percussionist with many orchestras and chamber music groups including the Hamburg Symphony, the New York Philharmonic, the Chicago Symphony, and the Bläserquintett der Staatskapelle Berlin. Most recently, he appeared as a featured artist at the Festival Internacional de Percusión de Patagonia in Argentina.

Atwood is on the faculty of the Loyola University New Orleans School of Music and is also the director of the nationally renowned Cloyd Duff Timpani Masterclass, now in its 33rd year, in addition to appearing in masterclasses, clinics and percussion festival events across the country in presentations covering every aspect of the timpanist’s art and craft. He has recorded on the Forlane label (including a Grand Prix du Disque), Decca, Centaur, Albany, Nonesuch and Rundfunk Berlin-Brandenburg.

Adagio for StringsSamuel Barber

Gorgeous, songful and somber, Samuel Barber’s Adagio for Strings is one of the most familiar and beloved of all American orchestral compositions. Its deeply voiced melodic line remains a constant presence that is both elegiac and hopeful as it passes from one string choir to another — first in the violins and then, a fifth lower, in the violas. As the violas continue to voice the long line, it is taken up by the cellos and further developed, eventually building to a climax in which the basses underline it, adding a sense of depth and timelessness with their unique resonance. A fortissimo climax, like a cry from the heart, is followed by silence, leading to the restatement of the original, with an inversion of its second statement offering perhaps the possibility of healing and hope.

Barber originally composed this work in 1936 as the second movement of his String Quartet, Op. 11. It seems likely that his life partner Gian Carlo Menotti, with his keen marketing sense, knew that Barber had a potential hit on his hands. He ensured that the score would be seen and programmed by Arturo Toscanini when the reticent Barber was less sure of its potential. Toscanini led the premiere in 1938.

Today, almost 80 years later, Barber’s Adagio for Strings is more than just an orchestral staple; it is an almost universal choice when American orchestras seek to provide beauty, solace and inspiration

for their audiences. This was first noted in November 1963, after President John F. Kennedy’s assassination, when hundreds of ensembles throughout the U.S. spontaneously chose to play the Adagio in tribute; it was equally true in the days following 9/11. It is Barber’s most popular and frequently performed work.

The Glory and the Grandeur: Concerto for Percussion TrioRussell Peck

America lost a dynamic, gifted composer when Russell Peck died in 2009 at the age of 64. A Detroit native, he chose his family and his hometown well: though his parents were not career musicians, they loved music, and his father was a chorister with the Detroit Symphony, a major orchestra dating back to 1887. His doting sisters were equally supportive of his calling to music, and his formative influences included not only Mozart and Beethoven but Motown, a mixture unique to one of America’s great music towns.

Russell Peck’s orchestral compositions have received thousands of performances by hundreds of orchestras in the United States, Canada, Europe, Asia, Latin America, and Africa. In 2000-2001 a consortium of 39 American orchestras commissioned Mr. Peck’s Timpani Concerto, Harmonic Rhythm; the premiere performances began with the Louisville Orchestra and proceeded with orchestras throughout the United States, including the Detroit Symphony

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Orchestra and the Rochester Philharmonic Orchestra.

High energy, direct emotional expression and theatrical flair are characteristic of Peck’s compositions, and all these are evident in The Glory and the Grandeur, which deploys a full orchestra and showcases a virtuosic percussion work that has been described as “aerobic.” The score calls for an unusually comprehensive range of percussion instruments, including toms and snare drums, four keyboard instruments, and metallic percussion ranging from opera (gliss) gongs to Western cymbals, Chinese cymbals and small, mounted cymbals called crotales. Peck’s performance notes indicate that the percussion trio should set up in front of the orchestra, visually framing the drama of their movements as part of the composition’s overall effect.

Its opening is drawn from Peck’s popular Lift-Off, a chamber piece for percussion trio, but goes beyond that work’s scope to incorporate fast, virtuosic runs on marimba and xylophone. In one daredevil passage, Peck directs that all three percussion players convene at the marimba, playing rapid lines that cross over one another. Rarely is orchestral music so theatrical, both in sight and sound.

Symphony No. 3Aaron Copland

America has taken the music of Aaron Copland to its heart, conferring upon him the honorific title of “Dean of American Composers,” and as listeners we feel we

know his music. But do we? To most of us, his work as a symphonist is not as familiar as his theatrical scores and picturesque suites, but it is the source of one of classical American music’s most famous anecdotes: In 1925, just after Copland had returned to the U.S. after composition studies with Nadia Boulanger in Paris (the first of many American composers to do so), his Symphony for Organ and Orchestra received its premiere under the baton of Walter Damrosch. Addressing the audience, Maestro Damrosch said “If a young man at the age of 23 can write a symphony like that, in five years he will be ready to commit murder.”

After two decades Copland still had not murdered anyone, but he had received the commission for his Symphony No. 3 from the Boston Symphony Orchestra and its music director Serge Koussevitzky, who led the premiere. Koussevitzky told his listeners and the music press that Copland’s third was the greatest American symphony ever composed.

The symphony is a fusion of Copland’s cherished “Americana” style, heard in his theatrical works, and his explorations as a symphonist. As the symphony develops, it first hints at and then announces one of the most familiar themes in American music: the brass passage that we know as Fanfare for the Common Man. Like Barber’s Adagio for Strings, the fanfare was extracted to become a staple of the orchestral repertory. LPO

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Sponsored by:

Thursday, December 18, 7:30 p.m.First Baptist Church, New OrleansFriday, December 19, 7:30 p.m.NEW VENUE: Church of the King, Mandeville

Patrick Quigley, conductorEsteli Gomez, sopranoAmanda Crider, mezzo-sopranoNew Orleans Vocal Arts Chorale

Sponsored by:

Baroque ChristmasNew Orleans • Mandeville

Sunday, Dec. 7, 2:30 p.m. Slidell Municipal Auditorium

Friday, Dec. 5, 7:30 p.m. Columbia Theatre, Hammond

Thursday, Dec. 4, 7:30 p.m. First Baptist Church, Kenner

Robert Bernhardt, conductor

A fun holiday concert featuring musical favorites and festivities for the entire family, with local choirs and sing-alongs!

B E E T H O V E N A N D B L U E J E A N SK e n n e r • H a m m o n d • S l i d e l l

CIRQUE DE NOËLSaturday December 6, 7:30 p.m.Saenger Theater

Cirque de la Symphonie returns in a performance that combines death-defying cirque acts with holiday orchestral music.


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Viktor Valkov, piano

2012 New Orleans International Piano Competition Gold Medalist

Winner of the 2012 New Orleans International Piano Competition, Viktor Valkov has received high acclaim by critics as “lion of the keyboard” and “sensational.” Since 2002, he has given recitals in United States, Japan, Germany, Italy, Greece, Bulgaria, and Macedonia. In 2003, he received an invitation from the New Symphony Orchestra and conductor Rossen Milanov to perform Dimitar Nenov’s Grande Piano Concerto. In 2007, Valkov made his debut with the Sofia Philharmonic Orchestra.

One of Valkov’s latest solo projects featured Busoni’s Fantasia Contrappuntistica as the focal point. During the 2011-2012 season, Valkov presented a program of music from the 1600’s by composers such as Froberger, L. Couperin, Frescobaldi, Buxtehude, and selections from the Fitzwilliam Virginal Book.

Valkov frequently performs in a cello and piano duo with the Bulgarian cellist, Lachezar Kostov. The Kostov-Valkov Duo debuted at Carnegie Hall in 2009 and, in 2011, won the Liszt-Garisson International Competition, where they were awarded first prize, the overall Liszt Prize, and the special prizes in the collaborative artists category.

Valkov has made several recordings for the Bulgarian National Radio archive, many

ClassiCs

BrAhmS ANd BArtOkOctober 30, 7:30 p.m. • Mahalia Jackson Theater

Dances of Galánta (15’)

Concerto No. 1 for Piano and Orchestra (25’)

I. Allegro moderatoII. AndanteIII. Allegro molto


INTERMISSION

Symphony No. 3 in F Major, Op. 90 (33’)

I. Allegro con brioII. AndanteIII. Poco allegrettoIV. Allegro

KODÁLY (1882 - 1967)

BARTÓK (1881 - 1945)

BRAHMS (1933 - 1897)




generous gift made by Dotty Jacobs

Mr. Valkov’s performance is

dedicated to the memory of Dr. John

M. Yarborough


Piano provided by:



Dances of GalántaZoltán Kodály

In the Europe of Haydn, Beethoven and Mozart, Austria was a fearsome political powerhouse; its union with Hungary in 1867, ruled by the ancient House of Hapsburg, made it the third most populous and second-largest country in Europe, after Russia. These geopolitical realities are reflected in the development of European classical music. Magyar folk music, with its piquant sonorities and foot-stamping dance rhythms, has always provided more than just rustic touches of color to highlight elegant classical compositions; it was actually a primary inspiration for composers dating back to Haydn. Brahms not only composed rhapsodies and dances that were explicitly Hungarian, but also showed Magyar influences in his larger-scale works.

With his friend and compatriot Béla Bartók, the Hungarian composer Zoltán Kodály pioneered the study of ethnomusicology, making Magyar musical sources (and all “roots music”) a subject for serious study and appreciation. Born in 1882 in the Hungarian town of Kecskemét, Kodály distinguished himself as both a composer and an educator. The Dances of Galánta are characteristic of his most popular works, full of tart Hungarian melodies and vibrant energy. If one function of dance music is to make us want to get up and dance, the Dances of Galánta are brilliantly successful.

Musicologists view this dance suite as the successor of an earlier piano suite by Kodály, Dances of Marosszék. In his own program note on the Galánta dances, Kodály describes growing up in the country town — a stop on the route between Vienna and Budapest — and hearing a gypsy band playing traditional melodies. These were the first “orchestral sonorities” the young Kodály ever heard,

and though the band disappeared, he never forgot their music. The rest is music history.

Concerto No. 1 for Piano and OrchestraBéla Bartók

Born in 1881, Béla Bartók is often credited as one of the founders of modern ethnomusicology as well as a seminal modernist. Like György Ligeti, he was ethnically Hungarian but hailed from a region that now forms part of Romania, where his father was head of an agricultural college and his mother was a teacher. Both were able musicians, and Béla’s mother gave him his first piano lessons. After his father’s death the family relocated to the city now known as Bratislava, where Béla’s schoolmates included the fellow composer Ernö (Ernst von) Dohnányi.

While the basic facts of Bartók’s biography look similar to those of his friend and colleague Zoltán Kodály, his extraordinary gifts as a composer and musical innovator put him on another level of music history. During his lifetime, even as his challengingly modern compositions were going unheard, conductors and fellow musicians sensed the urgency of bringing his extraordinary talents before the public. His own piano concertos were the ideal vehicle; as the musicologist Phillip Huscher notes, Bartók’s formidable skills as a pianist would have made him a major figure in 20th-century music even if he had not gone on to a more brilliant career as a composer.

Bartók composed his Piano Concerto No. 1 in 1926 for his own performance in appearances with American orchestras planned for 1927. His tour was to begin with the concerto’s New York premiere, but rehearsal time proved insufficient, and its introduction

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of which have been broadcast. He has also recorded for Bulgarian National Television and Macedonian Radio and Television. In 2008, he recorded the entire music for cello and piano by Nikolay Roslavets in collaboration with the cellist Lachezar Kostov. The recording was released by NAXOS in March 2011.

Valkov earned a master’s degree from the Juilliard School studying with Jerome Lowenthal and Matti Raekallio. In the fall of 2010, Valkov began pursuing a doctorate degree at Rice University with Jon Kimura Parker.


was postponed until the tour’s end. Fritz Reiner conducted the premiere, and later introduced the work to Chicago audiences.

It’s fair to state that no earlier work had combined the piano’s sonorous and percussive qualities like this one. With its relentless energy, wandering tonality and spiky intervals, this concerto shows us a new way to listen to the piano. Marked in E minor, it is the last large-scale work in which Bartók specifies a key signature.

Symphony No. 3 in F majorJohannes Brahms

Johannes Brahms’ distinctive,

flowing sound seems almost dateless today...certainly no less modern than the music of Richard Wagner. But during their lifetimes, Wagner was cast as pioneer and iconoclast, while Brahms was the reluctant champion of romantic tradition. The fact is that Brahms, for all his discipline and mastery of the classical order in music, went his own way — with the exception, perhaps, of his symphonies. Like every symphonist who followed Beethoven, Brahms toiled in the shadow of the master’s nine symphonies, especially the revolutionary Choral Symphony, No. 9, which revolutionized the form. Brahms was a successful

composer in his 40s before he nervously brought his first symphony before the public, and its success did little to ease his anxieties about the form. Neither did admiring listeners who called the work “Beethoven’s tenth.”

Brahms composed his Symphony No. 3 in Wiesbaden during the summer of 1883, nearly six years after completing his second. Hans Richter, who led the premiere with the Vienna Philharmonic, acclaimed it as “Brahms’ Eroica” — high praise that seemed to reawaken Beethoven’s ghost yet again. Brahms continued to refine the work until its publication the following year.

Today we hear in Brahms’ third a magnificent symphony of flowing lyricism by a composer who learned from Beethoven’s mastery without imitating him. Musicologists detect a melodic reference to Brahms’ unmarried status throughout the symphony: variations of the motif F-A-F, for the German “frei aber froh” (“free but happy”). To some listeners, the burnished bronze of the symphony’s surface suggests hidden melancholy. But as its rich, passionate finale subsides, we are left with feelings of warm solitude rather than loneliness. LPO

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

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PIANO CONCERTO SHOWCASEPresented by the Musical Arts Society of New Orleans

Saturday, March 28, 7:30 p.m.Roussel Hall, Loyola University New Orleans

Featuring New Orleans International Piano Competition medalists performing:

Schumann: Concerto in A minorMarianna Prjevalskaya, gold

Beethoven: Concerto No. 5 in E-flat major “Emperor”Florian Feilmair, silver

Prokofiev: Concerto No. 2 in G minorKenny Broberg, bronze

Tickets from $20LPOMusic.com • 504.523.6530


Pan-ameriCan life fiesta sinfOniCa

LA triSte hiStOriANovember 1, 7:30 p.m. • Mahalia Jackson Theater

Symphony No. 3, Ofrenda a los muertos (40’)

LA TRISTE HISTORIA, Written and Produced by Ben Young Mason, Executive Producer - Duncan Copp, Commissioned by The Houston Symphony

INTERMISSION

Sinfonía India [Symphony No. 2]

Four Dances from EstanciaI. The Land WorkersII. Wheat DanceIII. The CattlemenIV. Final Dance (Malambo)

Huapango

JUAN TRIGOS (b. 1965)

CHAVEZ(1899 - 1978)

GINASTERA(1916 - 1983)

PABLO-MONCAYO(1912 - 1958)

Concert sponsored by:

Symphony No. 3, Ofrenda a los muertosJuan Trigos

La Triste Historia began as a short story written more than a decade ago by producer Ben Young Mason. As a boy, he and his sister accompanied their parents on business trips to Northern Mexico, specifically Chihuahua, where they were spellbound by the exuberant fiestas and religious holidays. He remembered, “The most deeply moving of all of these was El Día de los Muertos (Day of the Dead), the time when the gates of the underworld were thrown open and the spirits of the departed were loosed to walk again upon the earth.”

This annual celebration takes place on November 1 and 2 in Mexican cities as a way to honor and celebrate the lives of passed family members and friends. “Our parents took us to the panteón (cemetery) to see families gathered

around candlelit, marigold-strewn gravesites, eating and drinking and telling stories about their loved ones. There was reverence, but also much laughter and a few tears if the wound was still fresh. When I began a love story set against the backdrop of the Mexican Revolution, this most ancient and seminal celebration became its heart,” said Mason.

Mason began to think of his story as an accompaniment for a symphony. Having learned about the Houston Symphony’s past innovative film projects like the HD Odyssey series, which used a visual medium to connect the audience to the music, Mason approached the organization with this idea of putting his story to film and commissioning a symphony to underscore it. Thus, the early idea of La Triste Historia was born.

The Houston Symphony approached well-known and pre-eminent Mexican composer Juan Trigos

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PrOgrAm NOteSBy Michael C. CliveLa Triste Historia note provided by the Houston Symphony





to create this film score, the aesthetic which is self-described as Sacred Abstract Folklore. “I was very pleasantly surprised at the novelty of this concept. It was not about writing incidental music for a film, but to compose a symphony. The idea of making a movie with a visual script, taking music as the protagonist, is a very original twist in the history of cinema and indeed meant a big challenge for me,” said Trigos. The symphony is made up of four movements: “Costumbres y encuentro,” “Amor y danza de muertos,” “Revolución” and “Día de muertos (Pasacalle),” each one progressing the story through the unspoken emotions of the main characters and the turbulence of their world.

Since this is a silent film with no dialogue, Trigos was sensitive to musically expressing the strong emotions that came through Mason’s story. He described the most prevalent throughout his score, “the sense of nostalgia and deep sadness of things that no longer exist, the blithe or mocking spirit (very Mexican) represented by the skulls and especially the mystical, related to the Day of the Dead.”

For Executive Producer Duncan Copp, the film required a newer approach than the ones he previously created for the Houston Symphony, “Early on it was clear we’d need a powerful device to visualize Ben’s colorful narrative.” Copp introduced British animation company ticktockrobot, led by creative director Simon Armstrong, to the project and La Triste Historia became an animated film. “Stylized animation gave us the freedom to immerse our characters in a world centered around the Mexican landscape and culture. Simon’s abstract backdrops created a wonderful pastoral on which La Triste Historia plays out.”

Accompanied by specially shot material, as well as carefully sourced film archives from the Mexican Revolution, the production presents a stylized world, bringing to life the written narrative with Trigos’ evocative symphony. “Animation provided us with a powerful palette to illuminate, in an abstract form, the vibrant visual metaphors that abound in Mexican culture: the butterfly that signifies the souls of the departed, and the owl, a symbol of death and destruction. As a team, we had a lot of fun exploring how to subtly weave in these salient allegories.” Another subliminal example are the illuminating skulls and skeletons which flicker through the bodies of the

protagonists at different moments in the film, cleverly foreshadowing death while also linking back to the iconography associated with Day of the Dead.

Copp described La Triste Historia as “a journey within a journey,” a fitting description when thinking of the evolution of this project. Jesús and Magdalena’s tragic love story united an international team from Mexico, the U.S. and the UK.; it required a wonderful immersion into Mexican history and culture, specifically El Día de los Muertos (Day of the Dead); and it was the Houston Symphony’s first foray into producing an animated film.

Sinfonía India [Symphony No. 2]Carlos Chavez

In Western classical music, India is often a code-word for the otherness of Eastern exoticism, usually fabricated from whole cloth by European composers — the India of Delibes’ opera Lakme, for example. Carlos Chávez’s hugely popular Sinfonía India does precisely the opposite. It is based on traditional music of Mexican Indians: the Huicholes of Nayarit, the Uaquis of Sonora, and the Seris of Tiburón Island in Baja California. Secondary themes in the symphony are also taken from folkloric sources, and the scoring combines the traditional Western orchestra with the sounds of ancient Mexican percussion instruments that have been made for centuries from butterfly cocoons, gourds, deer hooves and pottery. No culture gap here: this symphony has enthralled listeners throughout the world since its premiere in 1936.

An internationally revered figure in 20th-century music, Carlos Antonio de Padua Chávez y Ramírez was born in Mexico City in 1899 to a distinguished family: His paternal grandfather had served as governor of the state of Aguascalientes, and his father, who died when Carlos was only 3, invented a plow that gained use throughout the U.S. His childhood echoes that of many distinguished composers: signs of precocity in his first piano lessons from his brother Manuel, and more intensive instruction at a young age.

Chávez’ interest in the indigenous music of Mexico has been traced as far back as family vacations to Tlaxcala, Michoacán, Guanajuato, and Oaxaca, where he heard folk melodies in their original settings. This influence defines

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his Sinfonía India, an absorbing symphony that is intensified by its complex, layered rhythms and its sweeping pace. Its timeless sound, which seems to resonate with prehistory, grips us even during moments when the tempo slows. The symphony is played without a break, but Chávez considered it to be a three-movement work. In addition to his achievements as a composer, Chávez was a major conductor, educator, journalist and music theorist who helped found and directed the Mexican Symphonic Orchestra. Most U.S. classical enthusiasts have yet to discover his compositions, of which this symphony is the most popular. He died in 1978 at age 79.

Four Dances from EstanciaAlberto Ginastera

Like the Mexican composer Carlos Chávez, Alberto Ginastera was deeply influenced by the folk music of his home-land, Argentina. His compositions com-bined traditional folk elements with Euro-pean classical forms, gradually shifting in emphasis from national to international. Fans of the movie The Competition with Richard Dreyfuss and Amy Irving will recall Ginastera’s enthralling Piano Sonata No. 1, which combines stretches of twelve-tone composition with peppery, Argen-tinian-inspired rhythms.

Ginastera composed Estancia for American Ballet Caravan in 1941, when he was 25. The ballet’s scenario, in one act and five scenes based on Argentine coun-try life, fit Ginastera’s musical interests like a glove. Though problems with the tour-ing company prevented the ballet itself from being produced until 1952, Ginas-tera extracted a suite of four dances from the score, and it received its premiere at the Teatro Coloacuten in Buenos Aires in 1943. Even without the dancers on stage, we can envision the tough, hard-working field hands in the first dance movement, “Los trabajadores agrícolas” (The Land Workers). As the rhythm ebbs, we hear the lyrical “Danza del trigo” (The Wheat Dance) and then “Los peones de haci-enda” (The Cattle Men), with its intrigu-ing, syncopated rhythms. (Apparently, Argentinian cattlemen can really dance.) The rousing, fast-paced “Malambo” has a can-you-top-this quality — not surprising, since it is named for a dance that is part of

rodeo-style gaucho contests.

HuapangoJosé Pable Moncayo

Mexican composer José Pablo Moncayo was born 13 years after Carlos Chávez, but his untimely death at age 46 meant his career entirely overlapped that of Chávez — and resembled it in many other ways, as well. Like Chávez, Mon-cayo showed his talent early, received his first instruction in music from an older brother and was groomed for advanced study at a young age, starting his prepara-tions at age 14 and entering the National Conservatory at age 17. He also became an important educator as well as a com-poser, establishing literature courses and a composition course for students at the conservatory.

His concern with literature shows a cross-cultural breadth of vision that is also reflected in Moncayo’s life as a composer. He studied theory with José Rolon, who was a student of the eminent Parisians Nadia Boulanger and Paul Dukas. Mon-cayo also had a long, productive friend-ship with the American composer Aaron Copland, another Boulanger disciple. Co-pland’s participation in a 1932 festival of chamber music that Moncayo organized was just one affirmation of this remark-able relationship, which was marked by a deeply felt exchange of ideas and affec-tion.

Huapango, probably Moncayo’s most popular work, takes its name from a Mexican dance rhythm related to the fandango and danced at popular coast-al fiestas of the same name. The sound is spirited but mercurial, darting eas-ily from major to minor keys and shift-ing from double to triple meters. Com-posed in a style that originated in the port of Alvarado, Moncayo’s Huapango is composed in three parts whose names alone are enough to make us want to get up and dance: the Ziqui Ziri, the Balaju, and El Gavilan. When especially virtuosic couples step up to perform these dances, they traditionally do so on wooden plat-forms with rhythmic heel-stamping flair that we can almost see as we listen. LPO

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


ChamBer musiC

FrOm A time OF WArNovember 2, 4:30 p.m. • Stagedoor Canteen, The National WWII Museum

Sextet for Piano and Wind Quintet, Op. 100 (20’)

I. Allegro VivaceII. DivertissementIII. Finale

Heather Yarmel, fluteJaren Atherholt, oboeChristopher Pell, clarinetAndrew Brady, bassoonJoshua Paulus, hornViktor Valkov, piano

INTERMISSION

Quartet for the End of Time (50’)I. Crystal liturgyII. VocaliseIII. Abyss of birdsIV. InterludeV. Praise to the eternity of JesusVI. Dance of the fury, for the seven trumpetsVII. Tangle of rainbows, for the Angel who announces the end of timeVIII. Praise to the immortality of Jesus

Eva Liebhaber, violinRachel Hsieh, celloChristopher Pell, clarinetViktor Valkov, piano

POULENC(1899 - 1963)

MESSIAEN(1908 - 1992)


Eva Liebhaber, violin

Rachel Hsieh, cello

Heather Yarmel, flute

Costa Rican violinist Eva Liebhaber has been a member of the LPO since 2008. She holds degrees from Rice University and Arizona State University and her primary teachers include Jonathan Swartz, Radoslaw Szulc, and Kathleen Winkler.

Eva has performed as a guest with orchestras such as Orquesta Sinfónica de Minería in Mexico City, Malaysian Philharmonic in Kuala Lumpur, and New World Symphony in Miami.

Eva has participated in summer festivals such as Jeunesses Musicales World Orchestra, Orchesterakademie aus Schloss Esterhazy, Grand Teton Music Festival, and Castleton Music Festival and has performed in Germany, Austria, France, Mexico, Costa Rica, Taiwan, Indonesia, and Malaysia. She has performed alongside soloists like Yo-Yo Ma, Itzhak Perlman, Gil Shaham and under the baton of Günther Schuller, Donald Runnicles and Lorin Maazel.

Hailing from Flint, Michigan, cellist Rachel Hsieh joined the LPO in 2013. She received her bachelor’s degree in cello performance at the University of Michigan where she studied with Erling Blöndal Bengtsson. A recipient of the Gregor Piatigorsky Scholarship, Hsieh earned a master’s degree and graduate performance diploma at the Peabody Conservatory under Alan Stepansky.

In 2012, Rachel was selected by Maestro Lorin Maazel to join the Castleton Festival Orchestra in Castleton, Virginia where she has spent the past three summers.

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Jaren Atherholt, oboe

Andrew Brady, bassoon

Christopher Pell, clarinet

Joshua Paulus, horn

Heather Zinninger Yarmel joined the LPO as Principal Flutist in September 2011. A native of Louisville, KY, she received a master’s degree from Rice University’s Shepherd School of Music and a bachelor’s degree and performer’s certificate from the Eastman School of Music. Her primary teachers include Leone Buyse, Bonita Boyd, Tallon Perkes, and Donald Gottlieb.

A prizewinner in several national competitions, Yarmel has performed as a guest in the flute sections of the Houston Symphony, San Antonio Symphony, Buffalo Philharmonic, Rhode Island Philharmonic, and New World Symphony.

A devoted educator, she currently teaches at New Orleans Center for Creative Arts and Xavier University of Louisiana.

Jaren Atherholt joined the Louisiana Philharmonic Orchestra as Principal Oboist in 2007. She earned her bachelor's degree from the Cleveland Institute of Music where she studied with John Mack and master's degree from Rice University where she studied with Robert Atherholt.

Jaren has performed as guest Associate Principal Oboist with the Pittsburgh Symphony, and Guest Principal Oboist with the Florida Orchestra and Syracuse Symphony. Jaren spent four summers performing in the Marlboro Music Festival and currently spends her summers performing in the Grand Teton Music Festival in Jackson Hole, WY.

LPO Principal Clarinetist Christopher Pell appeared as a soloist with the LPO in 2013 when he stepped in at a moment’s notice to perform Copland’s Clarinet Concerto. He has won second prize in the Vandoren Emerging Artists Competition, first prize in the International Clarinet Association High School Competition, and has competed in the ARD International Music Competition in Munich, Germany.

As a chamber musician Christopher has performed with Twickenham Fest, the Lake George Music Festival, the Cape Cod Chamber Music Festival, the Orlando Chamber Soloists, and the Louisiana Philharmonic Chamber Series. He has twice been a fellow of The Tanglewood Music Center and graduated from The Juilliard School in 2013 while studying with Jon Manasse. Christopher is a Buffet Crampon Artist and exclusively plays on Buffet Crampon clarinets.

Bassoonist Andrew Brady, 22, from Johnson City, TN., began bassoon study at age 14. In 2009, he performed on NPR’s From the Top; and in 2010 he won the Grand Prize in the Pasadena Showcase House for the Arts Competition, which was adjudicated by members

of the Los Angeles Philharmonic.In January 2011, Brady performed Mozart’s bassoon concerto with the Seattle Symphony

under invitation from Gerard Schwarz. Brady has appeared with the Los Angeles Opera Company orchestra, having performed under Maestros James Conlon and Placido Domingo.

Andrew is a recent graduate of The Colburn School Conservatory of Music, where he received a Bachelor of Music degree studying with Richard Beene. Brady has served as LPO principal bassoonist since September 2013.

Joshua Paulus currently serves as third horn of the LPO. Prior to the LPO, Joshua performed with orchestras across the country such as the Milwaukee Symphony Orchestra, the New World Symphony, and the Dayton Philharmonic Orchestra.

Joshua received his master’s degree from Northwestern University where his principal teachers were Gail Williams and Bill Barnewitz. He received his bachelor’s degree from the University of Dayton under Richard Chenoweth. Paulus’ thesis on the use of the off-stage horn was featured in a presentation at the International Horn Symposium and was published as a full-length article in the journal of the International Horn Society.

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$250,000+Estate of Leroy R. Nolan

$100,000+Mrs. Paula L. Maher

$50,000+Mrs. Adelaide Wisdom Benjamin

$20,000+ Susan and William HessEstate of Robert Z. HirschDorothy S. JacobsMr. Paul J. Leaman, Jr.Hugh W. Long and Susan L. KrinskyMr. and Mrs. Charles B. MayerMr. J. Robert PopeMr. Peter RogersDr. and Mrs. Richard L. StrubMr. and Mrs. Hugo C. Wedemeyer $10,000+ E. Tiffany AdlerMrs. Philip Breitmeyer IIMr. J. Scott Chotin, Jr.Eileen A. ElliottJuan and Ana GershanikDr. Edward D. Levy, Jr.Drs. R. Ranney and Emel Songu MizeMs. Courtney-Anne SarpyJerry W. Zachary Stand Partners - $5,000+ Mr. and Mrs. Kenneth J. BoudreauxDr. Misook Yun and James William BoydDr. Carolyn M. ClawsonSybil M. and D. Blair Favrot Family FundMrs. Ellen FrohnmayerDr. and Mrs. Stephen W. HalesDrs. Henrietta and Walter HarrisMr. Mark McCrearyVincent P. Saia and Glynn StephensEstate of Dorothy B. SkauMr. and Mrs. Philip StraubMs. Catherine B. TremaineMs. Lizbeth A. Turner and Mr. Clarence D. Wolbrette

Seibel Society - $3,000+AnonymousDr. and Mrs. Joseph J. BiundoMs. Susan P. BowersDr. and Mrs. Gerald CohenArthur A. Crais, Jr.Mr. and Mrs. William H. EllsworthDr. James A. H. FarrowMr. and Mrs. Lyle W. FergusonMr. James C. Gulotta and Ms. Susan G. TalleyDr. and Mrs. Bernard M. JaffeTimothy and Virginia KellyMr. and Mrs. Charles W. Lane IIIBob and Charlotte LewisDr. Ray J. LousteauJoel and Bert MyersRita OdenheimerMr. and Mrs. Robert J. PatrickRuth and Larry RosenLouise and Richard Rusch

Maj. Gen. (Ret.) and Mrs. Thomas A. SandsMr. and Mrs. Bernard Van der LindenLawrence M. and Georgia B. Young

Con Brio - $1,500+AnonymousRonald G. Amedee M.D. and Elisabeth H. Rareshide M.D.Mrs. Bethlehem K. AndrewsMr. Larry BlakeRoselyn B. Boneno, Ph.D.Mrs. Donald M. BradburnDrs. Andrea S. and Archie W. BrownMr. E. John Bullard, IIIDr. and Mrs. Salvador CaputtoCarolyn B. ChandlerJean ChappellMs. Nancy L. ClaypoolMs. Veronica Costanza and Mr. Gerald SellarRobin and Bruce CrutcherGeorge & Milly Denegre FundHenrietta B DetersSally T. DuplantierHenry and Joan FolseMs. Anne B. GauthierLarry GayRobert and Valborg GrossEstate of Byrde Berenson HaspelMs. Angela Hill and Dr. Irwin M. MarcusAbba J. Kastin, M.D.Ellen and Stephen ManshelLt. Col. (Ret.) and Mrs. Dwight R. McGheeSanford L. Pailet, M.D.John and Ellen PecoulLaura Walker PlunkettMr. and Mrs. John R. SarpyMr. and Mrs. Juergen F. A. SeifertMr. and Mrs. Bruce L. SoltisDr. and Mrs. Olivier ThelinMr. and Mrs. Richard A. ThompsonJoe and Judy ToupsMr. and Mrs. W. J. WilkinsonMs. Grace Morris WilliamsonMr. George H. Wilson, Jr.

$1,000+AnonymousMr. Jack BelsomMr. George L. BernsteinDiane and John ButlerKathy and Gordon CainMr. John L. Cleveland, Jr.Mrs. F.J. Dastugue, Jr.Robert and Ruth ForceLionel H. Head, M.D.Dr. and Mrs. Stephen E. HellmanMike and Carol HollandSonia M. KenwoodLestelle Communications, LLCMr. and Mrs. Robert LyallDr. and Mrs. Troy MacalusoMr. and Mrs. Jonathan C. McCallNancy Hudson MillerSuzanne and Ben MotionDr. Cecilia A. MoutonMax Nathan, Jr.Mr. and Mrs. Ernest L. O'BannonDr. and Mrs. John L. OchsnerMr. and Mrs. William F. RyanMr. and Mrs. I. William Sizeler

Orchestra Fund: Individual SupportThe following individuals are gratefully acknowledged for new and renewed gifts made to the LPO’s Orchestra Fund between July 1, 2013 and June 30, 2014


Drs. Zoe and Scott SonnierMrs. Claire L. WhitehurstMary WidmannKathryn Wildgen

Allegro - $600+AnonymousMr. and Mrs. Richard M. AdlerApolline RestaurantMr. Michael L. BakerMs. Carol BallantineBobby Joseph BennettEd and Michelle BiggsMr. and Mrs. Robert B. BransonMargaret W. BrookeSally T. BurasDr. Raquel CortinaMs. Marlene L. DonovanMimi and Bill DossettMr. Robert C. EvansAnne Marie FargasonDr. Gregory S. FerrissAshley Poole FuselierMr. and Mrs. Calvin J. GrisafeMr. and Mrs. Richard D. Herr Gail and Henry HoodMr. Steven A. JacobsonJudge Martin Coady and Mrs. Mary Thomas JosephKatherine KelleyStephanie and Thomas KlekampMr. and Mrs. Herman S. Kohlmeyer, Jr.Ms. Adrienne LabordeNoonie and Clay LeJeuneAnn M. LoomisJanet R. LynchHelen R. MalinDr. Richard and Maggie McConnellMaya’s Meauxbar BistroMiLaDavid and Sue MillerMr. and Mrs. Denis MillinerEric and Erlinda NyeAlex and Mary PagnuttiRalph’s on the ParkMrs. Joseph RaultDr. and Mrs. Gayden Robert, Jr.Mr. John RuschBeth and Jim RyanBrian and Jackie SchneiderLain and Nicole St. PaulMr. and Mrs. William N. StadlerMs. Vera W. ThibautMr. and Mrs. James ThibautDr. and Mrs. Leonard B. ThienPeter and Joyce WalkerEric and Regina WedigDr. and Mrs. Roy S. Weiner

$250+AnonymousMr. and Mrs. Herschel L. Abbott, Jr.Ms. Lisa AmossJohn W. AndrewsCapt. and Mrs. Gary BairDr. and Mrs. Luis A. BalartJoAnne Barry and Kenneth BoultonMr. John S. BatsonJack C. and Clare Benjamin Designated Fund

Mr. and Mrs. Phelan A. BrightMrs. Florence BrownMs. Charlotte A. Brunner and Mr. Alan M. ShillerBurkedale FoundationMr. Harold H. BurnsDr. and Mrs. Michael CareyChadwick Family FoundationMs. Ann R. Duffy and Mr. John R. SkinnerMr. and Mrs. Edgar L. Chase IIIChocolates for GoodJane Clayton, M.D.Dr. and Mrs. Laurence CortezMr. William CoskreyDuane and Harvey CouchDr. and Mrs. Rafael DucosDr. and Mrs. Charles L. DupinEat New OrleansMaryellen and Rod EckenhoffDrs. Melanie and Kenneth C. EhrlichLillie Eyrich and Rose VinesMrs. Francella S. FlurryMr. and Mrs. Richard W. FreemanDr. and Mrs. Harold A. Fuselier, Jr.Mr. and Mrs. Stephen J. GaiennieMr. and Mrs. Bruce A. GordonDr. and Mrs. Michael S. HanemannRick Henderson, M.D.Danella and George Hero, IIIMr. and Mrs. Charles W. Hill, Jr.Mr. and Mrs. Charles F. Hirling, Jr.Heidi and Arthur HuguleyGary and Winkie HymelMr. and Mrs. Leslie L. InmanMs. Ailleen JanneyT. Larry and Darlene JohnsonMrs. Keith KenneyBill and Rosina KilpatrickKiwanis Club of Algiers - Morning EditionRuth and Larry KullmanMrs. Catherine C. LeakeMr. and Mrs. Robert E. Leake, Jr.Mr. Dwayne O. LittauerLittle Gem SaloonCarolyn Wood LorioLowenburg Family FoundationMr. Jordy J. LuftJoel and Suzy MagueJohn and Brigitta MalmValerie MarcusDr. and Mrs. William A. MartinMr. and Mrs. G. Edward MerrittLouise MoffettMs. Babs MollereGerri and Robert J. MoraMr. and Mrs. James T. MurphyDr. Guillermo Náñez-FalcónDr. James A. Oakes IIIPaul G. and Elizabeth Hofmann O'Connor Family FoundationMr. Robert S. ReddingtonDr. and Mrs. James E. RicciardiMrs. Patricia A. RiggleDr. and Mrs. Raoul P. RodriguezPaul and Margaret RosenfeldMrs. J. William RosenthalAnthony M. RotoloMrs. Barbara S. SamuelsJohn and Ann ScharfenbergDrs. John and Sylvia Schneller, IIIMs. Marie-Louise Schramel

Orchestra Fund: Individual SupportThe following individuals are gratefully acknowledged for new and renewed gifts made to the LPO’s Orchestra Fund between July 1, 2013 and June 30, 2014:


The following individuals are gratefully acknowledged for contributions made to the LPO’s Orchestra Fund between July 1, 2013 and June 30, 2014:

Ms. Louise C. SchreinerMark and Sally SeylerMr. and Mrs. Joseph ShefskyAlexandra K. Shikhris and Eduard V. DanilyantsKatherine E. SiebelMrs. Dorothy P. SmithMr. Burton SmoliarRicardo and Sally SorensenMr. Timothy L. SoslowDr. and Mrs. Robert W. StaffordDiana and Rodney StieffelCharles and Ann StuartClaude Summers and Ted PebworthMr. William TebowTextron Marine & Land SystemsDr. Sam A. and Virginia R. Threefoot FundDrs. Gregory and Ann TiltonLeonard G. Tubbs, Jr.Mr. Joseph D. Vinson, Jr.Mr. W.F. Von Almen IIMrs. John M. Yarborough, Jr.

$100+AnonymousJoseph and Marguerite AbramoDr. Jeffrey Albert and Dr. Jennifer MilesJudy and Allain AndryBlaise and Janet AngelicoBill ArthursJim AtwoodMrs. Ann H. BabingtonDr. Marcus D. BallardMr. and Mrs. August J. BarbierDr. and Mrs. John H. BaronMeredith BeersMr. and Mrs. Richard E. BeltzMs. Ellen K. BentzYolande and Stephen BernardGinger BerriganMs. Virginia BesthoffMs. Jessica Richard BilyeuMr. Thomas BlumBarbara BolingMr. William H. Bottomley IIIBobby and Denise BreauxMelinda O'Bryant-Brencick and Vincent BrencickLucille Haueser BrianDr. Harold Brody and Donald SmithDr. and Mrs. Charles L. Brown, Jr.Gillian F. BrownDr. Georgia M. Bryant and Mr. W. Alton Bryant, Jr.Ms. Kimberlee BurtDoris and Ralph CadowJane CainHorner CainMark CaldwellClaudia and Steve CampbellMr. and Mrs. Carlo Capomazza di CampolattaroCamille CarterSharon CassiereJoseph and Dianne CaverlyIrene Gonzalez CeriseDr. Stuart and Gail ChalewLoredana ChapmanChurros CafeJames T. ClavinMichael and Linda ConeyLee and Valarie Connell/The Connell GroupMarcia Cooke and Ted CottonBob and Margaret CorcoranJohn Stone Coulter Fund

Mr. Bruce P. CreightonCrescent Title, LLCDr. and Mrs. Stephen S. DanknerMarion and Bart DarbyMr. Gerald G. Daussin, Jr.Dr. Marsha DavisMs. Linda DawsonKatherine de MontluzinDr. and Mrs. Edward De MouyMs. Marilyn V. DittmannMr. Elroy W. EckhardtMartha J. EdwardsMr. James F. Elliott, IIIMr. and Mrs. Joseph M. Elliot, IIIMs. Lois ElliottMs. Lin EmeryMr. and Mrs. Thomas EscobedoDr. Jane EyrichKay and Tim FavrotMs. Jean C. FeltsDrs. Annette and Julio FigueroaMrs. Rosemarie B. FowlerKnowles French, Jr.Elizabeth and John FutrellJoanna M. GiorlandoJoy B.GiraudMadeline GoddardMrs. Jacqueline GoldDavid and Shanni GoldsteinJeffrey GoodKirk and Holly GrohDr. Owen M. GrossmanLinda and Norm GutzaitMs. Ann H. HamiltonMs. Mary Ann HandMs. Rachel HarneyMr. and Mrs. Kim L. HarveyKaysey HasslockMrs. Mildred F. HawksheadMrs. Sandra HellerChip and Stephanie HellmersJohn Hill and John WeimerJudith HinesW.M. HingleMr. and Mrs. F. Wilson HoodRichard HouseMr. and Mrs. Jonathan A. HunterDr. and Mrs. Thomas M. Irwin, Jr.Robbie and Cheryl JarrellMs. Barbara Jezek-WithrowErwin R. JohnsonJung’s Golden DragonK. Gee’sChuck and Debra KirbyDolores KrinskyMr. Jerry L. KubnickMr. and Mrs. Ted LabordeKatherine LagendykErin L. LandryMr. Henrik A. LarsenMs. Mary LaVallaByron and Pat LeBlancGladys LeBretonCynthia L. LeBretonDonna LewMichael LifseyChristian LiljeMs. Belva LockerLoraine A. LockwoodJay and Dara LongMs. Wilma S. Longstreet

Orchestra Fund: Individual Support


Mr. and Mrs. Lee H. LongstreetMr. and Mrs. James B LootensMs. Jacquelyn LothschuetzMs. Faina LushtakDr. Joan M. and John O. LylesMs. Marjory M. LymanMrs. Irene E. MackenrothFrancis J. Madary, Jr.Ernie and Mary MaloneEstate of Berthe ManginDr. Daniel and Mrs. Judy MarshallNancy MartinsonRegina MatthewsDennis and Joanna MaynardCheryl and Eddie MazoueMrs. Sally W. McGeheeWilliam McGowanLamont McLoughlin, IIIDr. Howard W. MielkeMr. and Mrs. Joseph O. MikesMr. and Mrs. Dean H. MillerMr. and Mrs. R. Kent MitchellBrenda and Michael MoffittDr. and Mrs. Lee Roy Morgan, Jr.Jane E. Morgan, Ph.D.Nathanael and Elizabeth MullenerKay and Tony MumphreyHarriet H. MurrellMs. Bonnie NelsonAva, Leon, and Zack NowalskyJohn O'NealVernon PalmerPatricia PaulusMr. William PenickDr. and Mrs. H. Gunther PerdigaoRoy J. Perrin and Leia Ann Fricky, M.D.Mr. Robert L. Pettit, Jr.Mrs. Jennifer S. PhillipsMs. Murray M. PittsBarbara Watts PloetzNancy H. PomiechowskiMrs. Sylvia PorteousDr. William and Jane PreauMr. and Mrs. Sidney PultizerDrs. Alison Quayle and Alistair RamsayYolita E. RauscheJohn and Martha Reaves HeadDr. and Mrs. Richard J. ReedMr. William ReevesKeith and Vicki RheaMrs. Joan W. RigbyMr. James G. RichmanMs. Virginia RoddyDr. Carlos Rodriguez FierroMolly RondeauMs. Carol H. Rosen

Mr. David S. RosenAndre and Robbie RubensteinJack RyanAndrew J. Sanchez, Jr., M.D.Mr. and Mrs. Edgar L. SchambachCharles and Reda ScherMr. Bill SchettlerMs. Helen SchneidauDr. and Mrs. Coleman S. SchneiderMr. and Mrs. Richard SchornsteinMr. and Mrs. John SeidelMr. and Mrs. George D. SeversonDr. and Mrs. Jay M. ShamesMary L. ShannonWill SibbaldGuy and Tommiann SmithBrianna SmykMr. Richard T. SoineJeffrey and Catherine CoitKent StaufferDr. Maureen W. Stein and Ted NassMr. D. Kirk StirtonMs. Jon B. StraussMr. and Mrs. Juan SuarezMr. and Mrs. George R. SumnerNia K. Terezakis, M.D.James and Caroline TheusMr. and Mrs. William E. ThibodeauxMs. Susan S. ThorburnMr. and Mrs. Randy TingstromDr. and Mrs. Karl TornyosMr. and Mrs. L. Azeo TorreTwelve Mile LimitMr. Eugene Von RosenbergMr. Edward M. WadsworthMs. Eileen B. WallenDr. and Mrs. Terence E. WalshMrs. Trudi L. WatkinsDr. Robert M. WatzkeMrs. Liselotte L. WeilMrs. Joel WeinstockMs. Katherine M. WhannMs. Sibyl M. WhiteDenyce WhiteMr. and Mrs. Cornelis WillemsJohn WilliamsAlice B. WilliamsMs. Noel WilliamsEllen Winchell and Mario PhilippMs. Julie W. WoolfolkDalt Wonk and Josephine SacaboJoan N. Yarborough and John W. LaneyDr. and Mrs. Steven D. YellinRobert and Nell Nolan YoungAlea Zone

The following individuals are gratefully acknowledged for contributions made to the LPO’s Orchestra Fund between July 1, 2013 and June 30, 2014:

Orchestra Fund: Individual Support

Stand Partners is a new and exciting program pairing donors of $5,000 and above with LPO musicians to create a richer and more meaningful experience for LPO patrons and, in return, grow support for the talented and incredible musicians of the LPO. The Seibel Society welcomes all Orchestra Fund donors of $3,000 and above. The society honors Jutta Reumann-Seibel and the LPO’s first music director, Klauspeter Seibel (1936-2011), by underwriting the fees of young soloists and conductors who perform with the Orchestra, as well as contributing toward the costs of musicians’ salaries. Con Brio is an exclusive group of LPO patrons who donate $1,500 or more to the Orchestra Fund each year. Members enjoy musical events during the season with Carlos Miguel Prieto and guest artists. Allegro is a group of LPO patrons who donate $600 or more to the Orchestra Fund each year. Members enjoy musical events during the season with Carlos Miguel Prieto and guest artists. Allegro was founded by an exclusive group of Northshore patrons supporting the regional series of the LPO.

$100,000+The Andrew W. Mellon FoundationLois and Lloyd Hawkins, Jr. FoundationLPO Volunteers

$50,000+Edward Wisner FundFidelity Homestead Savings BankFreeport-McMoRan Foundation Arts Fund

$20,000+Chevron CorporationHall PianoJoe W. and Dorothy Dorsett Brown FoundationKathleen Moore Vick FoundationLouisiana Division of the ArtsThe Theresa Bittenbring Marque & John Henry Marque FundMary Freeman Wisdom FoundationNancy F. Link FoundationPan-American LifePeoples HealthRoosevelt HotelRosaMary FoundationSheraton New Orleans $10,000+AT&TArts Council of New OrleansBoatner Reily Family FundCarey Limousine ServiceDeltaEugenie and Joseph Jones Family FoundationFerber Family of the Jewish Endowment FoundationFirst NBCGPOA FoundationIberia BankKeller Family FoundationMerrill LynchJames R. Moffett Family FoundationNew Orleans Theatre Association

$5,000+ Ann and Gordon Getty FoundationChristwoodElla West Freeman FoundationGeorges Lurcy Charitable and Educational TrustThe J. Edgar Monroe FoundationJones WalkerKabacoff Family FoundationMonsanto FundNew Orleans City Council/Cox Communications Louisiana’s Community Grant ProgramRegions Financial CorpResource BankSlidell Memorial HospitalSlidell Symphony Society

$1,000+Baptist Community MinistriesBenjamin M. Rosen Family FoundationBritten-Pears FoundationBruce J. Heim FoundationDownman Family FoundationHeymann-Wolf FoundationLakeview Regional Medical CenterLouisiana Department of Culture Recreation and TourismMarrero Land & Improvement Association Ltd.Marti'sNew Orleans City Council/Harrah's New Orleans Community Support New Orleans Jazz and Heritage FoundationNew Orleans SilversmithsPedelahore & Co., LLPRalph Brennan Restaurant GroupRotary Club of HammondRotary Club of MetairieTargetWeil-Bohn FoundationWhole Foods Market

Corporate, Foundation, and Government Support

Amadeus Society

Mr. John S. BatsonMrs. Adelaide Wisdom BenjaminDrs. Andrea S. and Archie W. BrownMs. Nancy L. ClaypoolDr. Jane EyrichRobert and Valborg GrossDr. and Mrs. Stephen W. HalesHugh W. Long and Susan L. Krinsky

Mr. Mark McCrearyDrs. R. Ranney and Emel Songu MizePeter RogersMs. Courtney-Anne SarpyLillian Eyrich and Rosemary VinesMs. Lizbeth A. Turner and Mr. Clarence D. Wolbrette

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.


Commemorative GivingIn Memory of Michael ArmstrongGregory and Leigh Strain

In Honor of Adelaide BenjaminGinger F. Burke

In Honor of Eugene and Lucille BrianLucille Haueser Brian

In Memory of Ulysses D. DetersHenrietta B Deters

In Honor of Delight Escobedo Thompson Mr. and Mrs. Thomas Escobedo

In Memory of Philip B. FrohnmayerMrs. Ellen Frohnmayer

In Memory of Marjorie M. GehlDrs. Andrea S. and Archie W. BrownEvelyn B. ChristmanMr. George L. DanskerMs. Louise HoffmanDr. Edward D. Levy, Jr.Andrew J. Sanchez, Jr., M.D.Connie Steward

In Honor of Ana and Juan GershanikMr. William Tebow

In Memory of JoAnn Flom GreenbergMr. Paul J. Leaman, Jr.Loraine A. Lockwood and Tony WattsMs. Marie-Louise SchramelDenyce White

In Honor of Mrs. Richard IngoliaMrs. Rosemarie B. Fowler

In Memory of Elnita Ehler JezekMs. Barbara Jezek-Withrow

In Memory of Margaret JohnsonErwin R. Johnson

In Honor of Mr. and Mrs. John LabordeMs. Mary Jane Phelan

In Honor of Paul J. Leaman, Jr.Ms. Marilyn V. Dittmann

In Honor of Ignatius Lococo, Sr.Santo Lococo

In Memory of Carolyn Lutz LousteauDr. Ray J. Lousteau

In Honor of LPO VolunteersMrs. Sandra Heller

In Memory of Catherine Clew MazoueCheryl and Eddie Mazoue

In Honor of Mr. and Mrs. George Nalley and Mrs. Jeanie DewJudith Hines

In Honor of Joshua PaulusPatricia Paulus

In Honor of Ellen and John PecoulCamille Carter

In Honor of Carlos Miguel PrietoMr. and Mrs. Robert J. Patrick

In Memory of Walker Y. Ronaldson, Jr.Karla AucoinBarbara BolingMarilyn V. Dittmann and Paul J. Leaman, Jr.Ms. Katherine P. GageDr. Edward D. Levy, Jr.

In Memory of Fay and Joseph H. RosenbergAva, Leon, and Zack Nowalsky

In Memory of Mark RossiDean and Pamela Rossi

In Honor of Thomas and Barbara SandsVincent P. Saia and Glynn StephensCarolyn Teaford

In Honor of Courtney-Anne SarpyMs. Katherine P. GageMr. and Mrs. Robert J. Whann, III

In Memory of Sylvia SchreinerMichael and Jamey HillMrs. Keith KenneyDorothy and Fred RosenbaumMs. Louise C. Schreiner

In Memory of Klauspeter SeibelDr. and Mrs. Stephen S. Dankner

In Honor of Debbie StemacDr. and Mrs. Leonard B. Thien

In Honor of Mr. and Mrs. Lewis StirlingJohn Williams

In Honor of Lorraine ThienBarbara Watts Ploetz

In Honor of Rachel van VoohreesErnie and Mary Malone

In Honor of Eileen WallenDr. and Mrs. John H. Baron

In Memory of Ruth P WartelleMr. and Mrs. Patrick R. Judge

In Memory of Harold H. WedigEric and Regina Wedig


46 Louisiana Philharmonic Orchestra

Commemorative GivingIn Memory of John YarboroughBaptist Community MinistriesDr. and Mrs. Joseph J. Biundo Dr. Harold Brody and Donald SmithMs. Kimberlee BurtMarion and Bart DarbyKatherine de MontluzinDr. and Mrs. Charles L. Dupin Juan and Ana GershanikRichard House

Mr. and Mrs. Herman S. Kohlmeyer, Jr.Katherine A Martensen and C Louis IrwinDr. Edward D. Levy, Jr. Louise MoffettAndre and Robbie RubensteinSonda and Ted StaceyMr. Clifford S. WrightJoan N. Yarborough and John W. LaneyMs. Becky YatesDr. and Mrs. Steven D. Yellin

Virginia D. Kock EndowmentDarwin S. Fenner Memorial Fund

Weil Family Fund

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

Capitalization Campaign

Campaign Committee $25,000+AnonymousMrs. Adelaide Wisdom BenjaminMr. and Mrs. Sydney J. Besthoff, IIIBoh FoundationRobert and Katherine BohMrs. Philip Breitmeyer, IISusan and Ralph BrennanMarion and Pepper BrightMr. J. Scott Chotin, Jr.JoAnn Flom GreenbergDorothy S. JacobsBarbara and Erik F. JohnsenErik F. Johnsen Family FoundationMr. Paul J. Leaman, Jr.Dr. Edward D. Levy, Jr.Hugh W. Long and Susan L. KrinskyMrs. Paula L. MaherDrs. R. Ranney and Emel Songu MizeMs. Courtney-Anne SarpyMs. E. Alexandra Stafford and Mr. Raymond M. Rathle, Jr.Selley FoundationDr. and Mrs. Richard L. StrubLPO VolunteersMrs. Phyllis M. TaylorMs. Catherine B. TremaineFran and George Villere

Other ContributorsMr. and Mrs. Edgar L. Chase IIIDr. Carolyn M. ClawsonEileen A. ElliottMr. and Mrs. H. Mortimer Favrot., Jr.Sybil M. and D. Blair Favrot Family FundFenner-French FoundationDr. and Mrs. Ludovico FeoliJuan and Ana GershanikDr. and Mrs. Stephen W. HalesDrs. Henrietta and Walter HarrisSusan and William HessMs. Angela Hill and Dr. Irwin M. MarcusMrs. Martha IngramTimothy and Virginia KellyDonna G. and Russell KleinLestelle Communications LLCLPO Musician TrusteesGustaf W. McIlhenny Family FoundationMr. and Mrs. Charles B. MayerMr. and Mrs. Dick H. Piner, Jr.Nancy H. PomiechowskiMr. and Mrs. J. Cornelius RathborneAnne Brown ReilyBoatner Reily Family FundPeter RogersMr. and Mrs. I. William SizelerMr. Timothy L. SoslowMr. and Mrs. Philip StraubLuther and Zita Templeman FoundationMr. St. Denis J. Villere, IIMr. and Mrs. Hugo C. Wedemeyer

The goal of the Capitalization Campaign is to stabilize the LPO’s operating budget. The LPO extends our sincere gratitude to the following individuals for their incredible philanthropic support and for investing in the future of orchestral music in Louisiana! In particular, the success of this campaign has been made possible through the extraordinary generosity of Mrs. Phyllis M. Taylor and chairs, Mr. Paul J. Leaman, Jr. and Dr. Richard L. Strub. For information on how to contribute, please call 504-523-6530 ext. 302.

Chairs: Mr. Paul J. Leaman, Jr. • Dr. Richard L. Strub


Amadeus


Bequest Beneficiary designationCharitable remainder trustCharitable lead trustRetirement assetsLife insurance policy

Commercial annuity contractBank accountInvestment accountOutright gift of other assets

Amadeus

Amadeus Society is LPO’s planned giving society formed to recognize the generosity and vision of individuals whose thoughtful estate planning will ensure that the LPO continues to provide the best orchestral music to our audiences and the highest quality education programs to students, families, and teachers throughout the region for years to come.

We offer a range of gift planning opportunities that allow you to make a lasting difference at the LPO while meeting your personal financial and philanthropic goals.

Options for LPO Planned Giving:

For more information, contact Mimi Kruger at 504.523.6530, ext.302 or [email protected]

ChristwoodThe Northshore’s Premier Retirement Community

A SPECIAL THANKS TO THESE LPO SPONSORS AND PARTNERS

NEW ORLEANS TRADITION, NATIONAL REPUTATION.For more than a century, Villere & Company has earned the trust of

New Orleans families, non-profits, and businesses. Our investment process is based on deep research, a focus on innovation, and an eye for seeking hidden value.

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Visit www.villere.com to discover why America’s leading business reporters—from Barron’s to The Wall Street Journal—are all talking about Villere & Company and to explore our investment advisory services for individuals, families, and non-profits.

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

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

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504-525-0808, www.villere.com

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Documents

Louisiana Philharmonic Orchestra 2014-2015 Concert Program