20 MASTERWORKS I: ODE TO JOY
28 POPS
32
36 CELEBRITY CONDUCTOR COMPETITION
38 TEXARKANA YOUTH SYMPHONY ORCHESTRA
40 MASTERWORKS II: A WHIRLING DERVISH
46 THE ORCHESTRA SINGS
48 POPS III: BACK TO BACK: THE MUSIC OF ELTON JOHN & BILLY JOEL
49 FOUNDING PATRONS
50 POPS IV: COUNTRY JUKEBOX
52 MASTERWORKS III: SPRINGING FORWARD
59 A VERY SPECIAL THANK YOU
60 SUPPORTERS OF THE TSO
A LETTER FROM THE
R.
ANDREW CLARK
hat an extraordinary milestone we celebrate together! This beautiful program book, made possible through our wonderful partnership with Four States Living Magazine, captures the spirit of two decades of musical excellence in our community. Whether you’re discovering artist biographies, exploring program notes, or connecting with our generous sponsors, we invite you to savor every moment of this special season.
Twenty years ago, Marc-André Bougie, Remica Gray, and Mary Scott Smith dared to dream of something remarkable for Texarkana. On April 4, 2006, that dream became reality when our A Classical Premiere concert filled the air with music that would resonate through our community for decades to come. What a triumphant beginning it was!
From those first inspiring notes, we quickly attracted passionate supporters, received the treasured gift from the Junior League of Texarkana’s 80th Anniversary celebration, and pioneered the creation of our affiliate
Texarkana Youth Symphony Orchestra—ahead of our time in nurturing young musical talent. The seeds planted in those foundational years have flourished beyond our wildest dreams, revitalizing string education in the Texarkana Arkansas School District, inspiring renewed orchestral education in the Texarkana Independent School District, bringing world-class guest artists to the stage, commissioning new works, and employing some of the finest emerging musicians of the early 21st century.
Since joining this incredible musical family in April 2008, I’ve witnessed our Orchestra earn respect far beyond our region—not just for our remarkable origin story (launched during one of the most challenging economic periods in recent history!), but for our unwavering commitment to showcasing emerging musical talent, cultivating deep appreciation for live symphonic music, and educating future generations about the vital role of performing arts in our community.
Our journey from a $150,000 budget to nearly $1 million reflects not just growth, but the profound trust our community has placed in our mission. While we’ve navigated challenges along the way, each step has strengthened our resolve and deepened our impact. As we honor our founding patrons—many now no longer with us—we’re reminded that their leap of faith twenty years ago created a lasting cultural treasure that continues to enrich lives, expand educational opportunities, and contribute to our region’s economic vitality.
Throughout these twenty remarkable years, TSO has embraced an expansive vision of symphonic music that speaks to every heart in our community. For us, symphonic music encompasses the timeless beauty of classical masterworks alongside the excitement of movie scores, television themes, video game soundtracks, Broadway favorites, sports anthems, and even rock concerts. This inclusive approach ensures that everyone can find their musical home with TSO.
Your partnership—as devoted audience members, generous donors, and community ambassadors—makes everything we do possible. As we embark on this anniversary celebration, we invite you to join us in new ways: renewing or expanding your support, becoming a concert or chair sponsor, making an enduring donation to our endowment, or participating in this year’s Celebrity Conductor campaign.
Here’s to twenty years of musical magic, and to the bright future we’ll create together!
With heartfelt gratitude and excitement,
R. Andrew Clark
Executive Director, Texarkana Symphony Orchestra General Manager, Perot Theatre
WELCOME TO THE HISTORIC
he Perot Theatre opened in downtown Texarkana in 1924 and was hailed as the jewel of the Saenger Theatre chain. Called the most beautiful theatre in the South, it featured silent movies, movie premieres, the nationally broadcast Fifth Annual War Bond Drive with host Orson Welles, and live performances by Annie Oakley, Will Rogers, and John Barrymore. By the mid-20th Century the theatre was owned by the Paramount Corporation and served as the entertainment hub of downtown Texarkana. Due to the growth of the modern movie plex and the population shift to the Northwest, the theatre had been reduced to a B movie house by the 1970s. The theater officially closed in 1977 when the City of Texarkana, Texas, purchased it for $19,000 as part of the Model Cities Program. With the help of Texarkana natives H. Ross Perot and his sister, Bette, the theatre was restored to its current elegance at a cost of $2.4 million and reopened in 1981. The theatre was renamed the Perot Theatre in honor of Gabriel Ross and Lulu May Perot, lifelong residents of the city and the parents of Ross and Bette.
Texarkana recently celebrated the 100th Anniversary of the Saenger/ Perot Theatre and 44 years of outstanding artistic performances! The Perot has become, over the last two-decades, a key to the revitalization of downtown for both sides of Texarkana. Now a regional and national destination for tourism and entertainment, the Theatre is currently in the first phase of a multi-million-dollar renovation effort led by the City of Texarkana, Texas, and the Texarkana Symphony Orchestra. Through a $3 million dollar bond, the City of Texarkana, Texas, has established the Perot Theatre as a significant aspect of the City’s future economic development and success.
Managed by the Texarkana Symphony Orchestra, under a contract with the City of Texarkana, Texas, the Perot Theatre is not only the primary performance venue of Texarkana’s own professional symphony orchestra, but also hosts performances of the Texarkana Community Ballet, and the Texarkana Regional Arts and Humanities Council’s Theatre for Young Audiences Series. The Theatre is proud to have hosted some of the world’s most renowned performers, concerts, and shows including Jay Leno, Cary Grant, Anne Murray, Alvin Ailey Dance, the New York City Opera, Warsaw Philharmonic, Marvin Hamlisch, Carol Channing, Harry Belafonte, the Harlem Boys Choir, the Academy of St. Martin in the Fields, Savion Glover, Zuill Bailey, Tony DeSare, the Harlem Quartet, Roy Clark, Ray Charles, the Houston Ballet, Tammy Wynette, Broadway blockbusters, and many more!
The Texarkana Symphony Orchestra is proud to partner with the City of Texarkana, Texas, to manage one of the most beautiful theatres in the United States. For more information about the Perot Theatre, rental inquires, or for a free tour contact the Box Office at 903-792-4992.
The Texarkana Symphony Orchestra (TSO) presented its first concert on April 4, 2006. This performance was led by founding music director Marc-André Bougie. Within months, the Junior League of Texarkana chose to award a $100,000, 80th Anniversary gift, to the Orchestra for its potential to foster educational excellence for children through local access to a professional music ensemble. This generous gift enabled the Board of Directors to immediately launch community outreach efforts, in-school educational programs, and the annual student concerts. The Orchestra established the Texarkana Youth Symphony Orchestra (TYSO) in 2007. Following the phenomenal growth of the artistic endeavors of the Orchestra, the Board of Directors voted to employ an executive director, R. Andrew Clark, and the position was made full-time in January 2011. TSO named the internationally acclaimed conductor, Philip R. Mann, to the position of music director in April 2019.
Performing primarily in the beautiful, historic Perot Theatre, TSO presents a series of classical masterworks, symphonic pops, and educational concerts during its September-May season. The TSO has brought nationally and internationally acclaimed artists to the area to perform as well as participate in educational activities and has commissioned 4 new orchestra works.
Entering its 20th season, the TSO continues to be a point of inspiration to the entire community while endeavoring to be recognized on a regional and national level as a model for artistic excellence and sustainability, as well as a leader in cultural preservation.
The TSO assumed the management responsibilities for the Perot Theatre on October 1, 2021, by a vote of the City of Texarkana, TX, City Council.
When the Texarkana Symphony Orchestra began, my husband Steve and I were raising four young children, all under seven—including a newborn. As members of the symphony, we brought our kids to concerts as soon as they were old enough to sit quietly and listen, not just to save on babysitting, but because we wanted them to grow up loving and understanding music. Before these concerts, I’d play pieces at home and talk about what to listen for, and it became a cherished family tradition. Through the years, our children even joined us on stage in side-by-side concerts with the Texarkana Youth Symphony Orchestra—all six of us performing together on the Perot stage. Though our youngest three are now in college, they still come home for concerts when they can. One of our sons even credits those early TSO experiences as the reason he is now studying conducting and composition, and our daughter, who plays violin and is also studying music, has as a goal of one day performing in a symphony. These many years with the TSO have been a meaningful part of our family’s story and continue to be a source of great joy for us all.
Laura Bennett Flute
The first time I got the opportunity to play in an orchestra happened while I was in college and the experience was truly amazing. A little over 10 years later, I received the news that the city of Texarkana was going to start up a professional symphony orchestra. I remembered the feeling of playing in college so it was just a matter of getting various excerpts of music together and preparing for the audition. After being informed that I successfully passed the audition and was named a member the TSO, I knew that I was about to be part of something big here in Texarkana.
I like being able to perform in many of the different genres that the orchestra has to offer. Not only does the TSO play the works of the great masters of classical music such as Beethoven, Brahms, and Tchaikovsky, the symphony reaches out to other styles such as Jazz, Pop, Country, Motown, and Musicals. The Texarkana Symphony has also given me a unique opportunity to perform during the viewing of great movies such as, The Wizard of Oz, Home Alone, Jurassic Park, and Star Wars.
Steve
Bennett
Trombone
and Conductor of Texarkana Youth Symphony Orchestra
A LETTER FROM THE
TSO BOARD OF DIRECTORS
MARK VAN HERPEN
Welcome to the Texarkana Symphony Orchestra’s 20th Season! What a milestone—and what a joy it is to celebrate two decades of music, culture, and community with you. We’ve planned something truly special to honor the journey we’ve taken together. Whether you’ve been with us from the beginning or are just joining us, we’re thrilled to have you here for what promises to be an unforgettable year.
I’m proud to be serving my seventh year as President of the TSO Board. My connection to the Symphony began in 2017 with the Celebrity Conductor Competition. I didn’t know much about the TSO at the time, but one experience was all it took. Thanks to the passion and vision of Remica Gray and Executive Director and manager of the Perot Theatre, Andrew Clark, I quickly came to understand just how meaningful
this organization is—not just musically, but as a pillar of our community.
Since then, I’ve had the privilege of watching the TSO grow in both reach and impact. With Maestro Philip Mann at the helm as Music Director and Principal Conductor, our performances continue to push creative boundaries and inspire audiences across the region. His leadership, along with the extraordinary talent of our musicians and guest artists, makes every concert something to look forward to.
This season also marks four years since the TSO assumed management of the historic Perot Theatre. We’ve worked hard to preserve the charm of this beloved venue while introducing new programming and enhancements that serve our growing audience. It’s a space where music comes to life—and where our community comes together.
Thank you for being part of our 20th season. Your support makes it all possible. We hope the music moves you, the performances inspire you, and the experience stays with you long after the final note.
Here’s to 20 incredible years—and the many more to come.
Mark Van Herpen President, Texarkana Symphony Orchestra Board of Directors
MARK VAN HERPEN President
DR. ROBERT S. MCGINNIS, III Vice President
R. ANDREW CLARK Executive Director
STEVE BENNETT Youth Symphony Conductor
DIANA NORWOOD Personnel Manager
CATHERINE RICKETT Librarian
PHILIP R. MANN Music Director
MICAH DORSEY Graphic Design
REMICA C. GRAY Volunteer Director of Operations
ROBIN THOMAS Secretary
LESA ASBILLE
KEITH BEASON
JEFF BROWN
DR. MATTHEW BURKS
BUDDY DEESE
JENNIFER DOAN
REMICA C. GRAY
TONJA LUKER HAYS
DOLLY HENLEY
DR. ROBIN HICKERSON
DON HOWREN
LISA SITTERLEY Treasurer
DR. JO KAHLER
DR. SUSAN KEENEY
LEE ANN MCCULLOCH
LINDSEY MCMILLAN
RONALD MILLS
JUDY MORGAN
DAVID J. POTTER
JEFF PRIESKORN
SUSAN ROBBINS
ROBBY ROBERTSON
MEGAN SCHROEDER
DENIS WASHINGTON
ARKANSAS
TYLER RICHARDS
On behalf of the City of Texarkana, Arkansas, we extend our heartiest congratulations to TSO for completing 20 wonderful years of success.
It has been said that a symphony orchestra “plays a crucial role in society by serving as a catalyst for inspiring and creative energy within the community.” Many times, people looking to relocate to Texarkana want to know what cultural opportunities the Twin Cities have available. TSO plays a crucial role by providing community engagement in that area.
With your commitment and the talent of your performers, you have time and time again proven your importance to the Twin Cities and have gained much deserved recognition. Not only does TSO provide live performances that touch the heart and soul, it also provides a learning platform for our youth through programs designed to open the door to symphonic music to them. The community has truly benefitted through your organization.
We wish TSO success for many more years to come!
Yours truly,
Tyler Richards City Manager
TEXAS
DAVID ORR
On behalf of the City of Texarkana, Texas, I want to extend our heartfelt congratulations to the Texarkana Symphony Orchestra on the celebration of your 20th anniversary season. This remarkable milestone is a testament to the vision, dedication, and artistry that have defined the Orchestra since its founding.
For two decades, the Symphony has brought more than just beautiful music to our city. You’ve brought people together. You’ve inspired young minds to dream bigger through music education. You’ve proven that the arts are not a luxury, but a vital part of a thriving, connected, and vibrant community. Your legacy is one of passion, perseverance, and purpose, and we are all better for it.
Texarkana is proud to be the home of such an accomplished and visionary organization. Your performances have elevated our cultural life, and your presence has helped put our city on the map as a place where the arts are not only welcomed but truly celebrated.
We are deeply grateful for the TSO’s enduring contributions and for the role you play in making our city a more vibrant, creative, and dynamic place to live. Here’s to twenty years of excellence and many more to come.
David Orr City Manager
PHILIP MANN
Welcome to the historic 20th Anniversary Season of your Texarkana Symphony Orchestra. In this emerald year, we are thrilled that you have joined us to fête an ensemble that has become a Texarkana gem. This occasion presents the perfect opportunity to reflect on what has been accomplished and to revel in the incredible family and team whose efforts and talents created what you see before you. I have endeavored to craft a season of entertaining and exciting programming that both adds to the TSO’s continuing story with a major sense of event and gives us meaningful chances to look back on the most important architects of our success.
In fitting fashion, an Ode to Joy opens our season connecting our region with a large chorus and four internationally celebrated vocal soloists. Beethoven’s 9th Symphony is always a special occasion, is universally loved, and is traditionally programmed to celebrate with its unforgettable expression of brotherhood and triumph. Later in the season we’ll also celebrate together in a festive masterworks program of Dvořák dances, visiting renowned composer Steven Bryant, and a special solo concerto performed by our very own principal trumpet, Jeremy McBain.
Now a Texarkana custom, our Film with Live Orchestra also celebrates a birthday with a 40th anniversary screening of Back to the Future. Alan Silvestri’s dazzling score brings this iconic film to life in even greater relief with the forces of a full symphony orchestra accompanying the thrilling story. Our entertaining pops line-up continues with two blockbuster programs to suit every taste: Jeans n’ Classics returns by popular demand with the showstopping “The Music of Elton
John and Billy Joel,” and we add a new sound to the symphony with the acclaimed “Country Jukebox,” featuring country chart-toppers from the 1950s to today. Both shows are hit parades, full of favorites, sure to entertain and delight.
Our beloved Christmas at the Perot is an annual holiday tradition that features a grand return of TSO Founding Music Director, Marc-André Bougie. Bougie will command a personally curated and varied program of holiday favorites, choreographed Nutcracker selections, vocal solos, the always entertaining Celebrity Conductor Competition, and glorious choral selections.
Always looking toward the future, we happily renew our Carnegie Hall collaboration with the Link-Up Series in a children’s program, The Orchestra Sings. Now in our 4th year of this initiative, the TSO is reaching more students from our region than ever before with substantive music education experiences and the opportunity to make music an ongoing part of their lives. Prepared through school visits, attendees truly interact and perform with the TSO, and the sights and sounds of 1,500 elementary schoolers playing their prepared works in the Perot is profoundly inspiring.
We close the season with a bang – well, perhaps 3 bangs. The first is the incomparable Norman Krieger, an internationally celebrated pianist, and an artist of profound depth. He is among my most treasured collaborators who will share the stage in one of the grandest piano concertos, Grieg’s A minor. We’ll then celebrate Texarkana’s own young talent with a side-by-side performance featuring the Texarkana Youth Symphony, in a work of Texarkana native, Clint Needham, originally premiered on our 5th anniversary season. The performance concludes with something that once would have been outrageous to even contemplate, Stravinsky’s monumental and earthshattering orchestral ritual, The Rite of Spring. The final sounds of our 20th year will be infused with pyrotechnic splendor. With the Rite, an eruption of symphonic virtuosity, simultaneously ancient and modern, we’ll once again confound the expectations of what is possible in our community. Don’t miss a rare opportunity to experience a performance of your TSO in a work that always signifies an event in any major city of the world, right here, with your fantastic orchestra.
I’m overwhelmed with gratitude at the commitment and contributions of the whole TSO family, including the Perot Theater team. Leading with conviction Andrew Clark, and our tireless Board of Directors under the enthusiastic leadership of Mark Van Herpen, we advance both Texarkana and the arts. Also deserving thanks and recognition are TSO champion Remica Gray, Youth Orchestra Director Steve Bennet, and our entire production team and musician leadership. Of course, the musicians of our symphony, who continually amaze, are a treasure that I count myself blessed to lead. I sincerely thank everyone who continues to contribute to our ongoing story, and please join me in making our 20th anniversary the best season yet.
Yours in music, Philip Mann
ATTENDING A LIVE PERFORMANCE IS NOT THE SAME AS GOING TO A MOVIE. PLEASE SHOW COURTESY TO THOSE SEATED NEAR YOU AND ENSURE MAGIC MOMENTS IN OUR THEATRE BY RESPECTING THE FOLLOWING GOLDEN RULES…
1. Please turn off all electronic devices.
2. Please unwrap all cough drops and candies before the concert begins.
3. If bringing children, instruct them in proper audience behavior and familiarize them with the performance beforehand so they know what to expect.
4. Please refrain from talking, humming, singing, or beating time to the music during the performance.
5. Please use moderation in applying perfume, cologne, or scented lotion, as many people are highly allergic to perfumes.
6. Avoid kicking the back of the seat in front of you, even if it is done in time to the music. Please also prevent your children from doing the same.
7. Playing games, recording performances, and any other uses of mobile devices are forbidden and inappropriate, and may be illegal.
8. For the enjoyment of everyone in the audience and for your safety, please do not leave your seat once the concert begins, and remain seated until the theatre lights are brought up for intermission or the conclusion of the concert. Thank you for your consideration of others, and enjoy the evening!
April 2006
A few weeks earlier, a colleague had called to ask if I was available to play with a newly formed group—the Texarkana Symphony.
I checked my calendar. I was free, so I said yes. To be completely honest, I didn’t really think much of it. Been there, done that. I was expecting just another gig organized by a group with noble albeit somewhat unrealistic ambitions.
The concert itself? It was fine. Could have been better, could have been worse. But there was something about that evening that made me pause and take a second look.
First, the sheer dedication and hard work of everyone involved in putting this project together. Having spent decades in performing arts, I couldn’t help but admire their drive and enthusiasm. Then there was the audience—their reaction was something special. You could feel how deeply they craved live music, how much it meant to them to finally have something like this in their community.
That night, a thought quietly crossed my mind: Maybe… this could actually work. Fast forward 20 years—I am still here. I think we got it right.
Borys Smolaga
Vasco McCoy, Jr. Foundation | Kelley Morgan Foundation
Lois and Cary Patterson | Cabe Cook Foundation | Emily and Gabe Tarr
LaCrecia and Dean Barry Dr.
George W. English, III
The Gray and McGinnis Families
In memory of Florence and George Crank
Vicki and Dr. Roy Deskin
Fulton Grass Company,
Henry and Kathy Struckman
Remica and Danny Gray
Dolly and Paul Henley
Dr. Susan Keeney
Mike and Pete Mankins
Drs. Kathleen and Michael Martin
Barbara and Dr. Paul McCash
Lee Ann and Buddy McCulloch
The Morriss Family
In memory of Martha and Josh Morriss, Jr.
Susan Robbins
Drs. Jennie and Brian So
Barrie Thomson
Vicki and Maurice Orr
TEXARKANA AREA
TEXARKANA YOUTH SYMPHONY ORCHESTRA
Vicki and Maurice Orr
Texarkana Music Teachers Association
AR/TX Music Connection | Barbara and Ludwig Stoeckl
SYMPHONY CHAIR SPONSORS
Underwriting a TSO musician for the Season are:
Bobbie A. Atkinson
Diana and Dr. Kirby Bunel
Drs. Valeria and Matthew Burks
C. Louis & Mary C. Cabe Foundation
Dr. George W. English, III
Katherine and George Lease
Deborah and Michael Malek
Tatiana and Philip Mann
Drs. Kathleen and Michael Martin
Barbara and Dr. Paul McCash
Lee Ann and Buddy McCulloch
Katrina and Dr. Robert McGinnis
Deborah and Ron Mills
Kathy and Donnie Powers
In memory of Dr. Jauquita Hargus
Martha and Jeff Prieskorn
Megan and Trey Schroeder
Mary Scott and Dr. C. Jack Smith
Barbara and Ray Whitney
Dr. Susan Keeney | Lesa and Tony Asbille | Angela and Andrew Clark | DeAnna and Dr. Bret Craytor | Jennifer and Darby Doan
Remica and Danny Gray | Cathy and Mark Van Herpen | Dr. Robin and David Hickerson | Sue and Don Howren | Lee Ann and Buddy McCulloch
Lindsey and Dr. Chris McMillan | Lisa and Rob Sitterley | Mary and Denis Washington | Lynn and Dr. Paul Whitt
Texarkana is a community that has always been passionate about the arts, and the Symphony is honored to help further that legacy by bringing the world of symphonic music to our area. Yet, our capacity to pursue excellence in live performance and educational programs is directly related to the financial support the community provides. It is only through generous gifts from people like you who are passionate about music, education, and their community that we can create this legacy of symphonic music for Texarkana. Please help us set the stage for the present and the future by making an annual fund contribution.
• SUPPORTS THE SYMPHONY’S VISION FOR TEXARKANA TO BE A CENTER OF MUSICAL EXCELLENCE.
• FOSTERS EDUCATIONAL EXCELLENCE THROUGH MUSIC FOR AREA CHILDREN AND YOUTH.
• ENRICHES OUR COMMUNITY THROUGH ACCESS TO LIVE SYMPHONIC PERFORMANCES.
• PROVIDES ECONOMIC GROWTH THROUGH EXPANDED CULTURAL RESOURCES.
TSO’s donor benefits are designed to provide you with up-close access to the music and musicians. As your donor level increases, so does your opportunity to meet TSO musicians and guest artists and receive invitations to special events and post-concert receptions.
Ticket revenue only covers a quarter of the symphony’s operating costs.
AND THERE ARE MANY WAYS TO GIVE:
TSO accepts gifts of any size, and there are multiple ways to make an impact. Donate securities, name the TSO as an insurance policy or IRA beneficiary, request a matching gift from your company, or include the Symphony in your will. Donations are accepted yearround, and payment options can be set up yearly, quarterly, or monthly.
• DEVELOPS A LEGACY FOR TEXARKANA’S FUTURE. PLATINUM: $10,000 OR MORE
$5,000-$9,999
$2,500-$4,999
$1,000-$2,499
$500-$999
ASSOCIATE: $100-$499
FRIEND: UP TO $99
FOR YOUR SUPPORT
25 OCTOBER 2025
7:00 P.M. | PEROT THEATRE
Concert Preview: 6:10PM
PHILIP R. MANN
Conductor
featuring NANCY CURTIS, soprano
DAVIA BOULEY, mezzo-soprano
TIM CULVER, tenor
RICHARD FINK, baritone
with LOUISIANA TECH SINGERS, Nathan Trahan, director
OUACHITA BAPTIST UNIVERSITY CONCERT CHOIR AND THE OUACHITA SINGERS, Alex Favazza, director MEMBERS OF THE HARDING UNIVERSITY CHORUS
CONCERT REPERTOIRE
BEETHOVEN, Ludwig van (1770-1827)
Symphony No. 9, in D Minor, Opus 125, “Choral”
I. Allegro ma non troppo, un poco maestoso
II. Molto vivace
III. Adagio molto e cantabile
IV. Finale
HEIDRICH, Peter (b. 1935)
Variations on “Happy Birthday”
Texarkana native Nancy Curtis enjoys a multifaceted career as a singer of opera, symphonic repertoire, and recitals. She has thrilled audiences with her “rich, powerful tone,” and her artistry has drawn praise from colleagues, audiences, and critics alike.
Hailed as a “stand-out,” Ms. Curtis has been featured with opera companies throughout the United States, including the Virginia Opera (Orfeo ed Euridice), Tulsa Opera (Die Zauberflöte, Hänsel und Gretel , The Crucible), New York City Opera (Hänsel und Gretel), Michigan Opera Theater (Die Zauberflöte), Skylight Opera Theater (Lucia di Lammermoor), Houston Grand Opera (The
Achilles Heel , Street Scene), Birmingham Opera Theater ( Albert Herring ), Tacoma Opera (Rigoletto), Monteux Opera Festival (The Tender Land ), and the Lyric Opera of San Antonio (La Bohème). Other notable roles include Zerbinetta in Ariadne auf Naxos, Olympia in Les Contes d’Hoffmann, and Sister Angelica in Suor Angelica .
With a voice of “surpassing beauty,” Nancy has been presented as the soprano soloist for the Austin Symphony (Mahler’s Symphony No. 4), San Antonio Symphony (La Traviata in concert), Santa Fe Symphony (Messiah), Orchestra X (Beethoven’s Symphony No. 9), Maryland Symphony ( Exsultate, jubilate), Arkansas Symphony (Messiah), Tulsa Philharmonic (Carmina Burana), Virginia Symphony ( Messiah), and concert performances with the Texarkana Symphony, Midland-Odessa Symphony, Conroe Symphony, and the Abilene Philharmonic. Additional solo credits include Brahms’s Ein deutsches Requiem , Mozart’s Requiem , and Vaughan Williams’s Serenade to Music and A Sea Symphony.
As a winner of the prestigious Enrico Caruso International Voice Competition, Ms. Curtis was invited to sing concerts throughout Italy, including an appearance at the famed opera house, Teatro alla Scala. She is a member of the acclaimed choral group Conspirare and was featured on a television special for NPR as well as the 2015 Grammy Award-winning recording, The Sacred Spirit of Russia . Nancy has sung for many of our nation’s leaders, including former Presidents George H. W. Bush, Bill Clinton, and Texas Governor Greg Abbott. She has also had the privilege of singing “The Star-Spangled Banner” for the Houston Texans, including a nationally televised playoff game with an audience of over 26 million viewers.
Ms. Curtis resides in The Woodlands, Texas, with her husband and is the proud mother of two sons.
“It is hard to believe it has been 20 years since the first TSO concert. I remember being pleased at the opportunity to play in the beautiful Perot Theater but not having any idea that from those humble beginnings the TSO would grow into the organization it is today. I appreciate the variety and diversity of the programs we present, from Star Wars to Rite of Spring. I have enjoyed performing music in Texarkana that I have not played anywhere else!”
ARTIST BIO
American contralto Davia Bouley has attracted attention from US and European Audiences alike for her alluring stage presence and voice of “true beauty” (Operawire). She has performed with opera companies, music festivals and concert halls all over the United States and Europe, including the Cincinnati Opera, Theater Dortmund, the Berliner Philharmonie, the Aspen Music Festival, Festspielhaus Baden-Baden, and the Deutsche Oper Berlin.
Current and recent career highlights include her debut as Serena Joy in The Handmaid’s Tale at Detroit Opera, Zweite Dame at the Grand Teton Music Festival in Die Zauberfl öte under the musical direction of Sir Donald Runnicles, Siegrune in Die Walküre with Theater Dortmund, directed by Peter Konwitschny, and a tour of concert debuts as Flosshilde in Der Ring an Einem Abend with the Weimar Staatskapelle, performing at the Festspielhaus Baden-Baden, Isarphilharmonie München, Weimarhalle, Meistersingerhalle Nürnberg, Alte Oper Frankfurt and the Berliner Philharmonie.
Davia made her European debut at the Deutsche Oper Berlin as the 2nd Paysanne in their new production of Meyerbeer’s Le Prophète under the baton of Enrique Mazzola. She then continued to be a regular guest for seven seasons at the company, including Lola in Cavalleria Rusticana, Dritte
Dame in Die Zauberflöte, the Beggar Woman in Graham Vick’s Death in Venice alongside Ian Bostridge, Maestra delle Novizie in Suor Angelica, Hippolyta in A Midsummer Night’s Dream, and the Third Secretary the Berlin premiere of Nixon in China.
US engagements have included Silver Dollar in The Ballad of Baby Doe with Amarillo Opera, the alto soloist in Beethoven’s Ninth Symphony with the Round Top Music Festival, Kate Pinkerton in Madama Butterfly and Little Buttercup in HMS Pinafore with Indianapolis Opera, and Giovanna in Rigoletto and Dritte Dame in Die Zauberflöte with Cincinnati Opera, conducted by Bernard Labadie.
As a concert soloist, Davia has performed many notable works in the alto repertoire, including Bach’s Magnificat, Mozart’s Requiem, Handel’s Messiah, Duruflé’s Requiem, and Debussy’s Trois Chansons. She has also performed contemporary works such as George Crumb’s Unto the Hills and Jean Berger’s Five Songs on Poems of Mary Stuart, Queen of Scots at the Grandin Festival.
A native of Southern California, she holds her master’s degree from the University of Cincinnati CollegeConservatory of Music and a bachelor’s degree from Pepperdine University.
Tenor Timothy Culver has been described as having “a rich but penetrating tenor” and that he “faces florid tenor writing with a fearless vivacity.” Since his professional debut in 2003, he has performed over fifty different stage roles. Equally at home in both operatic and musical theatre works, Mr. Culver has performed with Atlanta Opera, Ann Arbor Symphony, Orlando Philharmonic Orchestra, The Boston Landmarks Orchestra, Cleveland Opera Theater, Canton Symphony Orchestra, Porthouse
Theatre, Akron Symphony, Nightingale Opera Theatre, Bar Harbor Music Festival and the Cleveland Orchestra. Some recent roles include Calaf in Turandot, Cavaradossi in Tosca , Werther in the title role, Pinkerton in Madama Butterfly, Luigi in Il Tabarro, Arturo in Lucia di Lammermoor, Canio in I Pagliacci, Il duca di Mantua in Rigoletto, Alfredo in La Traviata and Nemorino in L’elisir d’amore. During the inaugural season of the Opera Theatre of Lucca in Lucca, Italy, Mr. Culver performed and studied under the direction of internationally renowned baritone, Lorenzo Malfatti. A frequent recitalist, oratorio and concert soloist, Mr. Culver sang in the U.S. premiere of Erwin Schulhoff’s H.M.S. Royal Oak with the Cleveland Chamber Symphony. In 2012, Mr. Culver was selected to participate in the Cleveland Art Song Festival where he worked with international artists Christine Brewer, Roger Vignoles and Warren Jones.
Currently, Mr. Culver is Professor of Voice in the Hugh A. Glauser School of Music at Kent State University, where he earned both his Bachelor and Master of Vocal Performance degrees. He resides in Stow, Ohio with his wife and three children.
ARTIST BIO
BARITONE
Grammy-award winning baritone, Richard Paul Fink, has earned international acclaim as a leading dramatic baritone in a career that has spanned the globe and with an operatic career that featured the best-known and most challenging title roles of the baritone canon.
While Richard enjoys singing in a wide variety of musical styles, from Broadway musicals and cabaret to oratorio
ARTIST BIO
DIRECTOR, LOUISIANA TECH SINGERS
Vocal Music Education at Louisiana Tech University. At LA Tech, Trahan conducts the Chamber Singers and the University Concert Choir. He also teaches courses in conducting, secondary choral methods, secondary applied organ, and introduction to music education. Currently,
and grand opera, his North American opera career has taken him from the Metropolitan Opera in NYC to San Francisco, Chicago, Santa Fe and to most major opera houses in the USA in addition to every major city across Canada from Vancouver to Toronto.
Internationally, among other cities, he’s performed in Tokyo, Sydney, Paris, London, Dublin, Glasgow, Berlin, Hamburg, Salzburg, Vienna, Cape Town, Mexico City, Tel Aviv and in multiple cities across Italy.
In the choral and symphonic realm, career highlights include Britten’s War Requiem (Houston Symphony), Beethoven’s Ninth Symphony in Houston, Toronto and Mexico City, Mahler Songs (Houston Ballet) Carmina Burana (Houston Symphony and Cincinnati May Festival along with multiple performances of the Requiem Masses of Verdi, Faure and Mozart.
His oratorio work includes numerous performances of Handel’s Messiah, Mendelssohn’s Elijah, Dvorak’s Stabat Mater (Symphony of Hawaii) and the Berlioz L’Enfance du Christ (Spoletto Festival, Italy).
he serves as Director of Music & Organist at St. John’s Episcopal Church in Minden, Louisiana.
Professor Trahan received a bachelor’s degree in music education at the University of Louisiana at Monroe and his master’s degree in music education at Florida State University. Trahan completed coursework towards a Ph.D. in music education from Ole Miss and is currently ABD in that endeavor. Choral music is his life’s work, and he has served as a director at the university, high school, and middle school levels.
Trahan holds professional memberships in ACDA, LMEA, NAfME, AGO, and Pi Kappa Lambda. In addition to his career as an educator, he has also enjoyed leading choral programs in many churches and civic capacities throughout the past twenty-five years. The Louisiana Tech Singers look forward to collaborating with the Texarkana Symphony Orchestra in this performance of Beethoven’s 9th Symphony!
Have you ever thought about creating something but really had no idea what you were getting into? I guess, in a weak moment, I became one of those fearless (or crazy) souls. Thankfully, God put the right people in the right places at the right times to form and grow a symphony orchestra for our community. No human could have “orchestrated” it better! What a blessing, and sometimes a challenge, this organization has been in my life! My heart and soul have been filled with the most interesting and talented people, the most capable leaders, the most generous donors, and the most inspiring music.
With gratitude, Remica Gray, Founding Board Member
ALEX FAVAZZA DIRECTOR, THE OUACHITA SINGERS ARTIST BIO
Dr. Alex T. Favazza, Jr. is Assistant Professor of Music and Director of Choral Activities at Ouachita Baptist University (Arkadelphia, AR) where he conducts the Ouachita Singers, Concert Choir, and teaches courses in conducting and choral music. Prior to his appointment at OBU, Dr. Favazza served on the faculties of Southwest Baptist University and the University of New Hampshire. He holds a Ph.D. in Music Education specializing in Choral Conducting from Florida State University, M.M. in Choral Conducting from the University of Southern Mississippi, and B.M. in Vocal Music Education from Middle Tennessee State University. A native of Tennessee, Alex began his career as a public high school choir director in his hometown of Memphis. As a composer, Dr. Favazza’s choral works are published by Hinshaw Music, Colla Voce Music, and Oxford University Press. His compositions have been performed by numerous all-state and regional honor choirs as well as collegiate, high school, community and religious choirs. Dr. Favazza serves as Director of Worship Ministries at First Baptist Church, Arkadelphia, AR.
I can’t believe it’s been 20 years since Marc-André called and asked me to audition for the newly formed Texarkana Symphony Orchestra. The idea that Texarkana could found, support, and sustain a Symphony Orchestra was something that I was not sure would last. Boy was I wrong! 20 years later this organization has become a staple of the community, and I couldn’t be more proud to be a member. Thank you, Texarkana, for your continued support of TSO. From inception through 20 years has been quite a journey. I am excited to see what the Symphony will do in the next 20 years.
Buddy Deese
Ludwig van Beethoven (1770-1827, Bonn - Vienna)
Symphony No. 9 in D minor, Op. 125 “Choral” Composed 1822-1824
I. Allegro ma non troppo, un poco maestoso
II. Molto vivace
III. Adagio molto e cantabile
IV. Presto - Allegro assai
Beethoven’s Ninth Symphony stands as one of the towering achievements in Western music, transforming the symphony from entertainment into a vehicle for humanity’s highest aspirations. Completed in 1824, just three years before his death, this monumental work represents the culmination of Beethoven’s artistic journey and his most profound statement about music’s power to unite mankind.
The symphony’s genesis stretched over decades. Beethoven had long dreamed of setting Friedrich Schiller’s poem “An die Freude” (Ode to Joy) to music, carrying sketches for a “Freude” melody as early as 1793. The revolutionary ideals embedded in Schiller’s text—universal brotherhood, the triumph of joy over suffering, and the divine spark within humanity—resonated deeply with Beethoven’s philosophical outlook.
The First Movement opens with one of music’s most mysterious beginnings: trembling strings create anticipation before the main theme emerges with explosive force. The Second Movement serves as the scherzo, featuring driving rhythm and playful interplay between sections. The Third Movement provides emotional respite through sublime slow music, featuring one of Beethoven’s most beautiful melodic inspirations.
The Fourth Movement revolutionized the symphony by introducing vocal soloists and chorus. After a dramatic opening recalling themes from previous movements, the cellos and basses introduce the famous “Ode to Joy” melody. When the chorus enters with Schiller’s text, they proclaim: “Alle Menschen werden Brüder” (All men shall become brothers). The movement builds to an overwhelming climax celebrating human unity.
The Ninth Symphony premiered on May 7, 1824, at Vienna’s Kärntnertortheater. Despite Beethoven’s complete deafness, he insisted on conducting alongside the official conductor. The audience’s enthusiastic response moved the composer to tears.
This work’s influence extends far beyond the concert hall. The “Ode to Joy” has become an anthem for freedom and unity worldwide, adopted by the European Union and performed at moments of historical significance. In choosing to end his symphonic output with a celebration of human brotherhood, Beethoven created not just a musical masterpiece, but a testament to art’s power to inspire our highest aspirations.
Duration: approximately 70 minutes
Peter Heidrich
(b. 1935, Dresden, Germany)
Happy Birthday Variations
Composed originally for string quartet, arranged for orchestra
Peter Heidrich’s “Happy Birthday Variations” stands as one of the most charming and accessible works in the light classical repertoire, a piece that transforms the world’s most recognizable melody into a delightful journey through the history of musical style. Born in 1935, this German violinist and composer created what has become his most famous work “on a whim” and has continually improved it in special ways ever since.
The work takes as its foundation the familiar melody composed by American educators Mildred and Patty Smith Hill at the end of the 19th century. Originally titled “Good Morning to All,” the song was initially used as a classroom greeting before evolving into the birthday song we know today—surely the most recognized melody worldwide, across all continents and cultures.
Heidrich varied the famous melody in the styles of composers of all epochs, creating what amounts to an authentic history of music, since we recognize the same melody performed in different perfectly recognizable styles. The work exists in multiple versions: originally composed as a theme and 14 variations for string quartet, it now exists in orchestrated versions which are often performed on many occasions, as well as arrangements for piano four-hands and other ensembles.
The variations follow the styles of major composers throughout history: Johann Sebastian Bach, Joseph Haydn, Wolfgang Amadeus Mozart, Ludwig van Beethoven, Robert Schumann, Johannes Brahms, Richard Wagner, Antonín Dvořák, Max Reger, Viennese style, film music style, jazz style, and others. There are even witty mottos for each variation such as “A Decent Piece of Cake for Brahms,” “This Is How Reger Likes It,” and “...Not Only Rules, Dear Schumann...” along with a jazz variation and an homage to the music-dramatist Richard Wagner.
Each variation showcases the distinctive characteristics of its chosen style while maintaining the essential melodic and harmonic structure of the original tune. Bach’s variation might feature intricate counterpoint, Mozart’s could display classical elegance
and wit, Beethoven’s might emphasize dramatic development, and Wagner’s could employ rich harmonic chromaticism. The progression through different historical periods creates both an entertaining musical experience and an educational journey through the evolution of Western classical music.
The work’s appeal lies in its perfect balance of sophistication and accessibility. While demonstrating considerable compositional skill in authentically capturing each composer’s style, the familiar underlying melody ensures that audiences of all backgrounds can follow and enjoy the musical transformations. This makes it an ideal piece for educational concerts, family performances, and special occasions.
The work has become a classic in the Sikorski catalog and continues to be performed worldwide. Its enduring popularity stems from Heidrich’s genuine wit and musical understanding— each variation is not merely a superficial imitation but a thoughtful exploration of how different composers might have approached this simple yet perfect melody.
The orchestral version expands the work’s expressive possibilities, allowing for the full range of orchestral colors and textures that characterize each composer’s style. From the transparent textures of classical Mozart to the massive sonorities of Romantic Wagner, the orchestra provides the perfect medium for realizing these stylistic transformations with maximum impact and authenticity.
Duration: approximately 15 minutes
When forming the Texarkana Symphony Orchestra, Remica asked if I would agree to serve on the Board of Directors. I told her that I loved beautiful music but had no musical talent. She said,
“Great, that is just what we need! We have plenty of musicians on the board, but we need people with a different skill set.”
So, I agreed to join the founding board.
Thereafter, my constituency has been the unsophisticated and unwashed who love to hear beautiful music. I once served as a monitor at the Perot Theater during the rehearsal of the TSO. Everyone knows of the teamwork necessary for sports, but it is impressive to see the degree of coordination, timing, and teamwork required to prepare a performance. During the rehearsal, the conductor would stop the orchestra and tell the members of certain sections the changes he wanted to hear, and then would begin again in the middle of the piece. It was amazing how the entire orchestra began exactly at the right instant, and the timing of various instruments of the orchestra is perfect. If you have never seen an orchestra rehearse, it is impressive and would be worth a ticket.
David J. Potter
FILM with LIVE ORCHESTRA
SATURDAY, NOVEMBER 22, 2025
7:00 P.M. | PEROT THEATRE | PHILIP R. MANN, CONDUCTOR
STEVEN SPIELBERG Presents BACK TO THE FUTURE
A ROBERT ZEMECKIS Film
MICHAEL J. FOX
CHRISTOPHER LLOYD
LEA THOMPSON
CRISPIN GLOVER
Written by
ROBERT ZEMECKIS & BOB GALE
Music by ALAN SILVESTRI
Produced by BOB GALE and NEIL CANTON
Executive Producers
STEVEN SPIELBERG
KATHLEEN KENNEDY and FRANK MARSHALL
Directed by ROBERT ZEMECKIS
Back to the Future in Concert produced by Film Concerts Live!, a joint venture of IMG Artists, LLC and The Gorfaine/Schwartz Agency, Inc.
Producers: Steven A. Linder and Jamie Richardson
Director of Operations: Rob Stogsdill
Production Manager: Sophie Greaves
Production Assistant: Katherine Miron
Worldwide Representation: IMG Artists, LLC
Technical Director: Mike Runice
Music Composed by Alan Silvestri
Music Preparation: Jo Ann Kane Music Service
Film Preparation for Concert Performance: Kristopher Carter and Mako Sujishi
Technical Consultant: Laura Gibson
Sound Remixing for Concert Performance: Chace Audio by Deluxe The score for Back to the Future has been adapted for live concert performance.
With special thanks to: Universal Pictures, Amblin Entertainment, Steven Spielberg, Robert Zemeckis, Bob Gale, Alan Silvestri, David Newman, Michael Silver, Patrick Koors, Tammy Olsen, Lawrence Liu, Chuck Nilsen, Mike Pastrano, Thomas Schroder, Tanya Perra, Chris Herzberger, Noah Bergman, Jason Jackowski, Shayne Mifsud, Darice Murphy, Mark Graham and the musicians and staff of the Texarkana Symphony Orchestra.
www. F ilm C oncerts L ive .com
Tonight’s program is a presentation of the complete film Back to the Future with a live performance of the film’s entire score, including music played by the orchestra during the end credits. Out of respect for the musicians and your fellow audience members, please remain seated until the conclusion of the credits.
© Universal City Studios LLC and Amblin Entertainment, Inc. All Rights Reserved.
PHILIP MANN
MUSIC DIRECTOR AND PRINCIPAL CONDUCTOR
CONCERTMASTER
Kiril Laskarov
* Dr. George W. English, III
ASSOCIATE CONCERTMASTER
Algimantas Staskevicius
* Katherine and George Lease
ASSISTANT CONCERTMASTERS
Daniel Santelices
*Deborah and Ron Mills
Diana N.H. Norwood
*Barbara and Ray Whitney
VIOLIN
Principal Second (TBD)
* Tatiana and Philip Mann
Elizabeth Beck
Linnaea Brophy
Emilio Castro
Ana Corrales
Isabella Cowart
Albert Delgadillo
Elijah Evans
Andrea Finley
Jose Garza
Jackson Hardman
Yida Hu
Ronnamarie Jensen
Javier Laya
Norman Martinez
Marijn Meijer
Nicole Paglilonga
Oksana Pavillionis
Hubert Pralitz
Ciana Rosenbland
Meigh-Wing Shien
Marta Szlubowska
Crissanti Tamez
Lehlani Tamez
Bethany Wildes
VIOLA
Borys B. Smolaga, Principal
* Martha and Jeff Prieskorn
Theresa Anderson
Ethan Cole
J Michele Gunn
Amanda Hamilton
Danny Jordan
Tatiana Kotcherguina
Jorge Zapata Marin
Jared Miller
Thao Pham
Emily Townsend
Juan Vega
CELLO
Brett Andrews, Principal
*Deborah and Mike Malek
Dwight Anderson
Micah Donar
Noemie Golubovic
Dana Hurt
Emmanuel Kwok
Jason Mooney
Kourtney Newton
Milovan Paz
Jorge Rodriguez
Alisha Rufty
Megan Savage
Jarrett Bastow
*Drs. Kathleen and Michael Martin
Joshua Gebhard
Jose La Marca
Jeff Madlock
Kirby Nunez
Sean O’Hara
Lois Robinson
Jose Saavedra
FLUTE
Gabriel Vega, Acting Principal
*Megan and Trey Schroeder
Laura Bennett, Flute II
Kara Compton, Flute III/Piccolo
Rochelle Mann, Alto Flute
Chris Cox
OBOE
Theresa Zale Bridges, Principal
*Barbara and Dr. Paul McCash
Leah Forsyth, Oboe II, English Horn
Eric Giles
Cassandra Goodwin
Katie Haun
CLARINET
Jasper Hensley, Principal
*Kathy and Donnie Powers in memory of Jauquita Hargus
Jake Hale, Acting Second Clarinet
Chastine Hofmeister, Bass Clarinet
Orlanda Scalia, Bass Clarinet
Mason Sagster
BASSOON
Jorge Cruz, Principal
*Drs. Valeria and Matthew Burks
Janelle Ott, Bassoon II
Sara Boyd, Contra Bassoon
Michael Jones
Jonna Griffith
HORN
Brent Shires, Acting Principal
*Diana and Dr. Kirby Bunel
Jacquelyn Adams
Ben Carroll
Vivian Chang
Kristine Coreil
Robin Dauer
Jeremiah Frederick
Currence James
Derek Matthesen
Katie McBain
Evan Mino
Kate Prichett
TRUMPET
Jeremy McBain, Principal
*Katrina and Dr. Robert McGinnis
Buddy Deese, Trumpet II
Jack Evans
Michael Scarlato
Mark Schubert
James Sims
TROMBONE
Mark Windham, Principal
*Lee Ann and Buddy McCulloch
Steve Bennett
Carlito Chavez
BASS TROMBONE
J Mark Thompson, Principal
Jordan Davenport
Jeremy Dowden
Nick Losos
TUBA
Ed Owen, Principal
Crozet Duplantier
Gretchen Renshaw
HARP
Alisa Coffey, Acting Principal
Juliette Buchanan
Victoria Gonzalez
PIANO-MARY SCOTT SMITH
ENDOWED CHAIR
Principal (TBD)
*Mary Scott and Dr. C. Jack Smith
Mary Scott Smith
Jonathon Story
TIMPANI
Derron Bell, Principal
*C. Louis and Mary C. Cabe Foundation
PERCUSSION
Jacob Garcia, Principal
*Bobbie A. Atkinson
David Cavasos
Daniel Crisp
Jamie Esposito
Aaron Guillory
Ryan Lewis
Erick Saoud
Blake Taylor
II
14 DECEMBER 2025
4:00 P.M.
MARC-ANDRE BOUGIE, guest conductor
featuring
CANDACE TAYLOR, soprano with THE TEXARKANA REGIONAL CHORALE, Marc-André Bougie, director
THE COMMUNITY BALLET OF TEXARKANA
Reed Flutes: Kaylie Hughes, soloist
Daines Dickeson
Michelle Lopez
Kenzee Pendley
Lily Trombley
Clara: Anna Johnson
Sugar Plum Fairy: Chloe Vess
Nutcracker Prince: William Porterfield
PLEASANT GROVE HIGH
SCHOOL CURTAIN CALL PRODUCTIONS,
Lisa Newton and Tiffany Beck, directors
BOUGIE, Marc-André (b.1976) Magnificat – Opening Movement
TEXARKANA REGIONAL CHORALE
GOELLER, Dan (b.1973) A Christmas Fantasy
BACH, Johann Sebastian, (1685-1750)
GOUNOD, Charles (1818-1893)
Ave Maria
CANDACE TAYLOR
TEXARKANA REGIONAL CHORALE
ADAM, Adolphe (1803-1856)
O Holy Night
CANDACE TAYLOR
TEXARKANA REGIONAL CHORALE
AMUNDSON, Steve (b.1955) Rejoice!
WILLIAMS, John (b.1932) Somewhere in My Memory TEXARKANA REGIONAL CHORALE
WALDTEUFEL , Émile (1837-1915)
Skaters’ Waltz
STRAUSS Sr., Johann (1804-1849) Radetzky March
POLA , Edward and WYLE, George arr. HAYES, Mark (b. 1953) It’s the Most Wonderful Time of the Year TEXARKANA REGIONAL CHORALE
TCHAIKOVSKY, Pyotr Ilyich (1840-1893) Nutcracker, I. Dance of the Mirlitons “Reed-Flutes” II. March III. Grand Pas de Deux THE COMMUNITY BALLET OF TEXARKANA
ANDERSON, Leroy (1908-1975) Sleigh Ride 2025 CELEBRITY CONDUCTOR
CASE, Delvyn (b.1974) Rocket Sleigh PGHS-CURTAIN CALL PRODUCTIONS
COOTS, J. Fred and GILLESPIE, Haven arr. HOLCOMBE, Bill (1924-2010)
Santa Claus Is Coming to Town CANDACE TAYLOR
TEXARKANA REGIONAL CHORALE SANTA CLAUS
RICHMAN, Lucas (b.1964) A Merry Christmas Sing-Along TUTTI
Soprano 1
Miriam Bougie
Carol Collins-Miles
Wanda Northam
Marie Robinson
Candace Taylor
Sara T. Walker
Soprano 2
Jenni deBie
Wilma Gibbons
Amy Freedman Hanna
Quettia Jean-Louis
Renee Lawson
Susan Morehead
Karin Morrow
Callista Moses
Courtney O’Brien
Haley Patillo
Kathy Peer
Brooklyn Puzz
Susie Stanley
Rita Sullivan
Pat Willis
Elizabeth Woll
Alto 1
Iuliia Bronnikova
Laura Bradley
LaJuana L. Dibrell
Sue Ellen Hall
Cheyann Layton
Patty Mitchell
Samantha Pritchett
Pat Rountree
Lupe Singleton
TEXARKANA REGIONAL CHORALE – FALL 2025
Marc-André Bougie, Music Director & Conductor
Mary Scott Smith, Pianist
Janette Urenda
Sylmari Washington
Lynnel Westerman
Alto 2
Shakebria Cridell
Gloria Elmore
Emily McMillan
Kuturah Patterson
Jimmie Stephens
Tenor 1
Dylan Bradley
Malachi Korach
Tony Lyle
Andrew Patillo
Danny Stinson
Tenor 2
Neil Abeles
Tom Burns
Chuck Richardson
John Stanley
Ryan Sims
Bass 1
George W. English, III
William Graham
Kolton Kimball
Mark Northam
Bass 2
Jonathan Griffin
Deric Kennedy
Marchaz Pruitt
C. Jack Smith
PGHS CURTAIN CALL PRODUCTIONS
Lisa Newton, Director
Tiffany Beck, Asst. Director/Choreographer
Gabe Lohse, Technical Director
Jaeda Archer
Caurie Beck
Morgan Breaux
Charlotte Clark
Addison Fry
Courtlyn Gaines
Alexia Gipson
Victoria Griffin
Raleigh Hardy
Sawyer Julien
Anna Claire Novosad
Annaston Pate
Rylie Romero
Hailee Thompson
Julie Walker
Natalie Walker
Tailiah Washington
Sophee Wyatt
ARTIST BIO
DIRECTOR, TEXARKANA REGIONAL CHORALE
Praised for his visionary musical leadership, captivating performances, and engaging personality, Marc-André Bougie has established himself as a highly sought-after conductor, composer, & educator in North America and abroad. Among several leadership accomplishments, he has been Music Director and Conductor of the Texarkana Regional Chorale since 2004 and Associate Professor of Music at Texarkana College since 2007. He was also the Founding Music Director & Conductor of the Texarkana Symphony Orchestra, which he directed for twelve seasons. He has conducted the New England Symphonic Ensemble (New York, NY), Arkansas Chamber Singers (Little Rock, AR), Orquesta Sinfónica de Falcón (Venezuela), Pleven Philharmonic (Bulgaria), Orchestra Cantelli (Italy), Orchestre des Sources (Canada), Shreveport Symphony, Shreveport Opera, Shreveport Chorale, and Shreveport Metropolitan Ballet – a sum of experiences which speaks to the versatility and adaptability of his conducting style. He made his Carnegie Hall conducting debut in 2010. Marc-André is married to soprano Candace Taylor with whom he collaborates as composer, pianist, & conductor. In 2015 they worked on an album featuring one of their new compositions, Ave Maria . He has won the 2001 MTNA National Composition Competition and holds a master’s degree in Orchestra Conducting from the University of Missouri-Columbia. Marc-André was awarded the Texarkana College 2016 Endowed Chair of Teaching Excellence and received a NISOD Excellence Awards in May 2017 on behalf of Texarkana College. He conducted the New York premiere of his Requiem in 2022, after which he was given the title of Honorary Composer/Conductor for Mid-America Productions. He was also National Finalist for the 2021 & 2023 American Prize – Choral Composition Division. Recent original work premieres have included his Mass of St. John Vianney, Music with poetry by Anne Porter with the TTCCDA Choir at TMEA in San Antonio, Mass of Sts. Peter & Paul, and Te Deum. In March 2024, he conducted the New York premiere of his new Magnificat at Carnegie Hall to critical acclaim. His involvement in the advancement of music in the areas of the conducting profession and education is reflected through his work with organizations dedicated
to these disciplines. Among others, Marc has been a board member of the International Conductors’ Guild, an international organization dedicated to the advancement of the conducting profession, and he was the co-chair of the 2018 Guild Conference in Ft. Worth, TX. He is currently president of the Texas Two-Year College Choral Directors Association.
In the realm of church music, Marc has been Director of Sacred Music at Sacred Heart Catholic Church in Texarkana, TX since 2009, as well as Choir Director at St. Pius X Catholic Church in Shreveport, LA since 2003. He has been involved with Diocesan musical activities in both the Dioceses of Tyler & Shreveport for many years. He has also been guest clinician for the workshop “30 Anthems Everyone Should Know” with Dr. Tim Sharp in Dallas in 2023.
Marc-André’s music has been published and distributed by J & B Music Sales, an Arkansas-based company specializing in choral music since 1978. Publications can be explored and purchased at www.jandbmusicsales.com.
For more information about Marc-André, please visit www.marcandrebougie.com.
Of all the musical adventures that I have embarked on, being the founding music director and conductor of the TSO was probably the most exciting one. Back in 2005 when the symphony was born, there was electricity in the air, and every step we took was a milestone towards laying ground for a dream that would at some point get a life of its own. With its teenage years now in the rear-view mirror (!), TSO is poised for further growth and positive impact on the community. I am proud to have played my part in bringing this vision to life, and I pray for the success of the organization for years to come.
Marc-André Bougie
Associate Professor of Music - Texarkana College
Music Director & Conductor - Texarkana Regional Chorale & Orchestra
Music Director & Organist - Sacred Heart Catholic Church & St. Pius X Catholic Church
Honorary Composer/Conductor - MidAmerica Productions National Finalist - The American Prize in Composition - Major Choral Works
President - TTCCDA
oprano Candace Taylor embodies an eclectic style and vocal range throughout various music genres with concentration in both classical and jazz literature, performing as a soloist throughout the U.S. and abroad including Canada, Italy, and Venezuela. She is active as a concert soloist of the many great masterworks of oratorio/sacred music, a recitalist, a jazz performer, and a recording artist. Concert soloist credits include premiere performances of M. Bougie’s Requiem, Mass of St. John Vianney, Mass of Saints Peter and Paul , Magnificat and Te Deum; Bruckner’s Te Deum; Mozart’s Exsultate Jubilate, Great Mass in C Minor, Coronation Mass, Requiem, and Litaniae Lauretanae; Handel’s
Messiah; Poulenc’s Gloria; Beethoven’s Mass in C , Ninth Symphony, and Choral Fantasy; Bach’s Mass in B Minor and Magnificat ; Mendelssohn’s Elijah; Orff’s Carmina Burana; Haydn’s Creation, Lord Nelson Mass, and Mariazeller Mass; and J. M. Haydn’s Requiem in C Minor. Recording credits include being a featured performer for Sweethearts (Gilbert and Sullivan) and Ave Maria: The Wedding Album (La Musique des Sources).
Candace has been a soloist with the Orchestra Cantelli (Italy), Orquesta Sinfonica de Falcon (Venezuela), Sherman Symphony, Texarkana Symphony, Texarkana Regional Chorale, Shreveport Opera Chorus and the Gilbert & Sullivan Society. She is currently the featured vocalist of the Majestic jazz ensemble.
Candace is a native of Shreveport, LA, and a graduate of Northeast Louisiana University where she studied Occupational Therapy/Cello/Voice. She holds a Master’s degree in Education and practices as an Occupational Therapist/Certified Hand Therapist. She enjoys serving in the music ministry, traveling, performing/collaborating with various music ensembles, and spending time with her daughter Miriam and husband, conductor/composer MarcAndré Bougie.
Highlight of upcoming engagements include soloist for the premiere performance of M. Bougie’s Stabat Mater February 2026.
The primary purpose of the Competition is to bring awareness of the TSO and its mission to a broad crosssection of the Texarkana area and to raise important financial support.
Four community leaders compete for the honor of conducting the orchestra for one selection at the TSO Christmas at the Perot concert on Sunday afternoon, December 14, 2025, at 4:00 p.m.
Anyone may vote to support their favorite candidate and support the TSO in the process. Each vote is $20, and you can vote for as many candidates as you wish, and as many times as your pocketbook allows!
Each competitor has been given the freedom to solicit votes in any manner they choose, so long as it is not illegal, immoral, or unethical!
Conducting Competitors will each receive their own baton, a conducting class from Maestro Philip Mann, and an opportunity to conduct the orchestra at the dress rehearsal. Beyond that, none of the competitors will know who has won until Santa brings them all on stage at the Christmas Concert.
Votes can be cast through PayPal on the Symphony Facebook page, at texarkanasymphony.org or by visiting the Celebrity Conductor table at TSO’s fall 2025 Concerts.
Taylor Callaway, originally from Nashville, Arkansas, has proudly called Texarkana home for the past 14 years. She is the owner of The Beauty BAR txk, a fullservice salon she established in downtown Texarkana 10 years ago. Located across from the historic Perot Theatre, her business has been part of the ongoing revitalization of the downtown district.
Taylor is passionate about supporting the arts, culture, and history of Texarkana, and she is committed to helping ensure that downtown continues to flourish as a vibrant destination for generations to come. She is honored to participate in this fundraiser for the Texarkana Symphony Orchestra and looks forward to the opportunity to step onto the conductor’s podium in support of the arts.
Suki O’Neal is a proud New Boston, Texas native now living in Texarkana, Arkansas, with her husband Warren— her partner in crime and all things adventurous—plus their spoiled fur baby, Lollie. By day, she’s a Public Relations Specialist for CHRISTUS Health, supporting hospitals like St. Michael. By night, she’s the newly crowned CEO of The Friends for a Cause Foundation, a nonprofit she co-founded with her besties 10 years ago to
Justin White serves as the Market President for Guaranty Bank & Trust in Texarkana, where he has been a valued member of the team for the past 12 years. With over 25 years of experience in the banking industry, Justin has built a career dedicated to serving the financial needs of the Texarkana community.
A lifelong resident of Texarkana, Justin graduated from Texas High School in 1996 and went on to earn his bachelor’s degree from Texas A&M University–Texarkana. He remains a proud Eagle and an active supporter of the university, currently serving
Dr. Andrew Singleton Curry is a 25-year resident of Texarkana. He has been married to Caroline for 25 years and has one son, Thomas, who attends the University of Arkansas. Dr. Curry has practiced dentistry in Texarkana for 25 years. He serves on the Texarkana College Foundation Board. He is a past member of the Texarkana College Board of Trustees and is a past president of the Texarkana Museum System. Dr. Curry believes that the Texarkana Symphony Orchestra is an important non-profit and looks forward to raising awareness and financial support for this organization.
champion seven incredible causes in the community. She signed up for this conductor gig not because she knows music (she was a cheerleader, not a band kid), but because she’s all about making a difference—and maybe causing a little harmless chaos with a baton. Suki loves traveling with Warren and her girlfriends, though she swears girls’ trips are 50% cheaper without him. If she wins, expect a full-blown spectacle: sequins, sass, and maybe even a cartwheel. She’s honored to be part of this project and hopes her fundraising efforts light up downtown Texarkana just like her personality lights up every room she walks into.
on the Texas A&M University–Texarkana Foundation Board.
Justin is deeply committed to civic engagement and community leadership. He serves on the Board of Directors and Finance Committee for the Texarkana Chamber of Commerce, chairs the Finance Committee at St. Edward’s Catholic Church, and contributes his time as Assistant Scoutmaster for Boy Scouts of America Troop 86. He is also a member of the Texarkana Noon Lions Club and serves as Vice President of the Texarkana Country Club Board.
Outside of his professional and community roles, Justin is a devoted husband to Kelli White, a Speech Therapist with the Texarkana Independent School District. Together, they are the proud parents of Jeb, Chapman, and Harrison.
MISSION OF THE TYSO:
THE MISSION OF THE TEXARKANA YOUTH SYMPHONY ORCHESTRA IS TO FOSTER A LOVE OF MUSIC AND BUILD FRIENDSHIPS THROUGH EXCELLENCE IN ORCHESTRAL EDUCATION AND PERFORMANCE EXPERIENCES.
CHRISTMAS CONCERT
SUNDAY, DECEMBER 7, 2025, 4:00PM
SULLIVAN PERFORMING ARTS CENTER
JOHN THOMAS THEATRE
3941 SUMMERHILL RD, TEXARKANA, TX
SPRINGING FORWARD, SIDE BY SIDE
SATURDAY, APRIL 25, 2026, 7:00PM PEROT THEATRE 221 MAIN STREET, TEXARKANA, TX
SPRING CONCERT
SUNDAY, MAY 3, 2026, 4:00PM
SULLIVAN PERFORMING ARTS CENTER
JOHN THOMAS THEATRE
3941 SUMMERHILL RD, TEXARKANA, TX
The Texarkana Youth Symphony Orchestra (TYSO) auditions are open to all qualified middle and high school students (ages 10-19) who are prepared to make a commitment to the Youth Orchestra’s rigorous rehearsal and concert schedule. Exceptions for younger ages will occur only with the approval of the student’s private lesson instructor and at the discretion of the TYSO conductor. Auditions are held each fall and spring.
For participation in TYSO, students must successfully pass an audition each year. Students must also be a member of his/her school instrumental program, if provided.
Tuition for participation in TYSO is $125 per year and shall be paid in full by the first rehearsal. Financial aid is available in the form of scholarships for those who demonstrate need as verified by the Federal Free and Reduced Lunch Standards.
The orchestra rehearses every Monday evening from 6:00-7:30PM.
TEXARKANA YOUTH SYMPHONY ORCHESTRA CONDUCTOR
STEVE M. BENNETT
Mr. Bennett received his Music Education degree from Harding University and continued his education at the University of Central Arkansas where he received his master’s degree in instrumental conducting. While completing his undergraduate and graduate degrees, he was a member of the Harding and UCA concert bands and orchestras, the Conway Civic Orchestra, and was the music director of the University of Central Arkansas
summer musical. After his first year at UCA, Mr. Bennett was awarded the Outstanding Graduate Student Award from his professors.
He began his teaching career in the fall of 1995 in Montgomery, Alabama, where he helped start a band program at Alabama Christian Academy. During his five years there, the band competed in many events throughout the school year and received numerous awards at local and state levels. He and his family moved to Texarkana during the summer of 2000 to take on his current position with the Texarkana Independent School District.
His teaching duties since moving to Texarkana include assistant band director at Pine Street Middle School, Texas Middle School, Texas High School, Red Lick Middle School, and the orchestra director at both Texas Middle and High Schools. Mr. Bennett’s teaching duties outside of TISD include both Texarkana College and the University of Arkansas Hope/Texarkana.
As a performer and conductor, Mr. Bennett has been a member of the Texarkana Symphony Orchestra as a trombonist when it premiered in 2006 and the director of the Texarkana Youth Symphony Orchestra since its second season in 2008.
15 JANUARY 2026
PHILIP R. MANN Conductor
with JEREMY McBAIN, trumpet
7:00 P.M. | PEROT THEATRE
Concert Preview: 6:10PM
This concert is in partnership with the Four States Bandmasters Convention, held this weekend on the campus of Texas High School and the Sullivan Performing Arts Center.
BRYANT, Steven (b. 1972)
ARUTIUNIAN, Alexander (1920-2012)
Trumpet Concerto in A-flat Major
JEREMY MCBAIN, trumpet
DVOŘÁK, Antonín Leopold (1881-1904)
Slavonic Dances, op. 72, B. 147 ~20’
No. 1 in B major: Molto vivace
No. 2 in E minor: Allegretto grazioso
No. 5 in B-flat minor: Poco adagio – Vivace
No. 6 in B-flat major: Moderato; quasi menuetto
No. 7 in C major: Allegro vivace
Scherzo capriccioso, in D-flat major, op. 66, B. 131
TSO is pleased to have composer Steven Bryant and his wife, Verena Mösenbichler-Bryant, with us this evening.
r. Jeremy McBain is a trumpet professor at the University of Texas at Tyler, where he teaches applied trumpet, brass chamber music, brass methods, and arranging. He previously taught at Eastern Illinois University, Millikin University, and Saint Mary’s College. An active performer, McBain is principal trumpet of the Texarkana Symphony and a member of the Rose City Brass Quintet and Jazz Orchestra. He has also played with numerous ensembles including the East Texas Symphony and the Bach Society of Houston, and has performed with artists like Doc Severinsen and Michael Brecker. He holds a DMA from the University of Illinois, with earlier degrees from the University of Michigan and University of Houston.
Steven Bryant’s music is chiseled in its structure and intent, fusing lyricism, dissonance, silence, technology, and humor into lean, skillfully-crafted works that enthrall listeners and performers alike. His seminal work Ecstatic Waters, for wind ensemble and electronics, has become one of the most performed works of its kind in the world, receiving over 250 performances in its first five seasons. The orchestral version was premiered by the Minnesota Orchestra to unanimous, rapturous acclaim. The son of a professional trumpeter and music educator, he strongly values music education, and his creative output includes a number of works for young and developing musicians.
15 JANUARY 2026 | PEROT THEATRE
Steven Bryant (b. 1972, Little Rock, Arkansas) Whirlwind (arranged for orchestra) Composed 2011, orchestrated 2013
Sand structural integrity of the original wind ensemble score while exploiting the unique colors available in the symphony orchestra. The arrangement demonstrates how Bryant’s music translates effectively across different instrumental mediums, testament to strong foundational compositional techniques rather than reliance on specific timbral effects.
True to its title, “Whirlwind” creates perpetual motion and swirling energy that seems to defy gravitational musical laws. The work’s brief duration allows it to function as an electrifying concert opener or dynamic palate cleanser between larger works. Bryant’s rhythmic vitality and harmonic language speak to contemporary audiences while remaining accessible to traditional orchestral performers.
The piece reflects Bryant’s broader aesthetic concerns: creating music that is both intellectually rigorous and immediately communicative. Like much of his work, “Whirlwind” avoids academic complexity for its own sake, instead focusing on direct emotional impact and visceral musical experience. The sudden dissipation at the work’s end provides a dramatically satisfying conclusion that leaves audiences both energized and slightly breathless.
Duration: approximately 4-5 minutes
teven Bryant’s “Whirlwind” is a brief, caffeinated work for symphony orchestra. Developed entirely from the opening scalar gesture, the music perpetually swirls around and through the ensemble, unfurling into a bombastic climax, then abruptly dissipating into thin air. Originally composed for wind ensemble in 2011, this orchestral arrangement was transcribed by Verena MoesenbichlerBryant and premiered by the Duke Medicine Orchestra under her direction on November 24, 2013.
Steven Bryant represents a new generation of American composers who seamlessly blend traditional orchestral writing with contemporary sensibilities. Born in 1972 in Little Rock, Arkansas, Bryant studied composition with John Corigliano at The Juilliard School and Cindy McTee at the University of North Texas. His compositional philosophy is direct: “I strive to write music that leaps off the stage to grab you by the collar and pull you in.”
Originally commissioned by The Kappa Kappa Psi North Central District Commissioning Consortium, “Whirlwind” exemplifies Bryant’s mastery of “economy of materials.” The entire work springs from a single opening gesture—a scalar passage that becomes the DNA for everything that follows. This compositional approach reflects Bryant’s background in electronic music and understanding of how simple elements can generate complex, evolving musical structures.
The orchestral version maintains all the kinetic energy
Alexander Arutiunian
(1920-2012, Yerevan, Armenia - Yerevan, Armenia)
Concerto for Trumpet and Orchestra in A-flat major
Composed 1950
I. Andante maestoso - Allegro energico
II. Meno mosso
III. Allegro
Alexander Arutiunian’s Trumpet Concerto stands as one of the most beloved works in the trumpet repertoire, brilliantly showcasing the instrument’s lyrical capabilities alongside its heroic character. Composed in 1950 by the Armenian composer, this concerto emerged from the rich cultural tradition of Soviet Armenia while speaking in a musical language that transcends geographical boundaries.
Born in Yerevan in 1920, Arutiunian studied at the Yerevan Conservatory and later at the Moscow Conservatory, absorbing both Armenian musical traditions and broader currents of 20th-century Russian composition. His trumpet concerto reflects this dual heritage, combining the melodic richness and modal inflections characteristic of Armenian folk music with the structural sophistication of the Russian symphonic tradition.
The concerto’s enduring popularity stems from Arutiunian’s genius in writing music that is simultaneously virtuosic and deeply expressive. Unlike many trumpet concertos that focus primarily on technical display, this work treats the trumpet as both a heroic voice and an intimate storyteller.
The First Movement opens with a majestic orchestral introduction before the trumpet enters with one of the most memorable themes in the concerto literature. The opening melody, marked by wide intervals and rhythmic vitality, immediately establishes the trumpet as protagonist in a musical drama. The movement alternates between lyrical passages showcasing the instrument’s singing qualities and energetic sections displaying brilliant technical capabilities.
The Second Movement reveals the concerto’s emotional heart through music of remarkable tenderness. Here, the trumpet abandons its typically martial associations to become an instrument of profound lyricism. The beautiful melodies, with their modal inflections reminiscent of Armenian folk song, demonstrate why this concerto has become a favorite among musicians and audiences alike.
The Third Movement returns to energetic character with even greater rhythmic drive and technical demands. This finale combines elements of Armenian dance rhythms with classical concerto form requirements, creating music that is both culturally specific and universally appealing.
The concerto’s harmonic language remains essentially tonal while incorporating enough modern elements to give the music a distinctly 20th-century character. Since its premiere, the concerto has become a cornerstone of trumpet literature, equally valued by students and professional soloists seeking music that combines technical challenge with genuine musical substance.
Duration: approximately 20 minutes
Antonín Dvořák
(1841-1904, Nelahozeves, Bohemia - Prague)
Slavonic Dances, Op. 72, B. 147, Nos. 1, 2, 5, 6, 7
Composed 1886
No. 1 (9) in B major - Odzemek (Moderato)
No. 2 (10) in E minor - Mazurka (Allegretto grazioso)
No. 5 (13) in B-flat major - Spacírka (Poco adagio)
No. 6 (14) in B-flat major - Polonaise (Moderato, quasi minuetto)
No. 7 (15) in C major - Srbkinja (Allegro vivace)
Dvořák’s second set of Slavonic Dances represents the composer at his creative peak, combining nationalist fervor with masterful orchestral color. Composed in 1886, eight years after his hugely successful first set (Op. 46), these five selected dances showcase Dvořák’s deepening exploration of Slavic folk traditions and his remarkable ability to transform regional folk material into sophisticated concert works.
When publisher Fritz Simrock commissioned this second set, Dvořák approached the project with greater artistic maturity, creating works that balance popular accessibility with sophisticated musical development. These dances reflect his unique position in 19th-century music—while contemporaries often treated folk material as exotic curiosities, Dvořák approached these traditions as a native son, understanding their emotional and cultural significance from within.
The selection opens with two Bohemian and Polish traditions. No. 1 (Odzemek) presents a rustic round dance from Dvořák’s native Bohemia, transformed into a symphonic miniature of gentle charm with elegant melodic lines and subtle harmonic colorations. No. 2 (Mazurka) draws from Polish tradition, emphasizing the characteristic triple meter
and accented second beat while infusing the music with bittersweet melancholy that recalls Chopin’s piano mazurkas.
The program then shifts to showcase Dvořák’s broader Pan-Slavic sympathies with three contrasting dances. No. 5 (Spacírka) offers a leisurely walking dance whose name literally means “little walk.” The music’s gentle, pastoral character creates an atmosphere of rustic contentment, with Dvořák’s orchestration evoking village musicians through clever use of solo instruments and folk-like accompaniment patterns.
No. 6 (Polonaise) filters Polish court dance tradition through Dvořák’s distinctly personal harmonic language. Unlike the formal, aristocratic polonaises of Chopin or Bach, this version maintains a more intimate, folk-influenced character. The moderate tempo marking “quasi minuetto” suggests the composer’s intention to blend different dance traditions, creating something both familiar and refreshingly original.
No. 7 (Srbkinja) represents Dvořák’s venture into Serbian folk tradition, with “Srbkinja” meaning “Serbian girl.” This vivacious dance features some of the most complex rhythmic patterns in the entire Op. 72 set, with irregular meters and syncopated accents that challenge performers while creating irresistible forward momentum. The music’s wild energy and exotic harmonic touches transport listeners to the Balkan Peninsula’s mountain villages.
The orchestral versions, arranged by Dvořák himself from piano duets, reveal his extraordinary gifts as a colorist. Each dance receives orchestration perfectly suited to its character, using folk instruments’ colors within the standard orchestra—imitating bagpipes, village bands, and rustic fiddles— while maintaining sophisticated artistic standards.
These works appeared during a pivotal moment when rising nationalism was reshaping European artistic expression. This carefully curated selection from Op. 72 demonstrates Dvořák’s success in balancing nationalist expression with universal appeal, offering audiences a musical tour across Slavic Europe while demonstrating that folk culture could provide the foundation for art music of the highest quality.
Duration: approximately 25 minutes
Antonín Dvořák
(1841-1904, Nelahozeves, Bohemia - Prague)
Scherzo Capriccioso, Op. 66, B. 131 Composed 1883
Dvořák’s Scherzo Capriccioso stands as one of his most exuberant and technically brilliant orchestral works, a piece that perfectly captures the composer’s irrepressible joy in music-making and his mastery of orchestral color. Composed in 1883 during one of the most productive periods of his career, this single-movement work demonstrates Dvořák’s ability to create substantial musical architecture while maintaining the spontaneous spirit suggested by its “capriccioso” designation.
The work emerged during Dvořák’s artistic maturity, written between his Sixth and Seventh Symphonies when he was establishing his international reputation. The Scherzo Capriccioso reflects the composer’s growing confidence in handling large orchestral forces and his increasing sophistication in developing motivic material across extended spans. Unlike his earlier works that sometimes struggled with formal proportions, this piece achieves perfect balance between structural logic and expressive freedom.
The “scherzo” designation refers not to the traditional symphonic movement type but rather to the work’s playful, dance-like character. Dvořák constructs the piece in a complex rondo form that allows for both thematic development and the kind of episodic contrast that keeps listeners engaged throughout its substantial length. The “capriccioso” element manifests in the music’s unpredictable shifts of mood, sudden dynamic changes, and the composer’s delight in orchestral effects that seem to emerge from pure creative whim.
The work opens with a mysterious, almost tentative gesture from the strings before erupting into the main theme—a melody of infectious energy that immediately establishes the piece’s spirited character. This opening theme contains within it the rhythmic and melodic seeds that will generate much of the work’s subsequent material, demonstrating Dvořák’s mastery of organic thematic development.
Throughout the piece, Dvořák displays his extraordinary gift for orchestration, treating the orchestra not merely as a
large ensemble but as a collection of individual voices capable of intimate chamber music textures as well as overwhelming tutti passages. His use of folk-influenced melodies and dance rhythms creates music that is unmistakably Czech in character while remaining accessible to international audiences.
The work’s central sections explore more lyrical territory, with Dvořák’s gift for melody coming to the fore in passages of remarkable beauty and sophistication. These quieter episodes provide necessary contrast to the work’s more energetic sections while maintaining the underlying sense of forward momentum that drives the piece toward its brilliant conclusion.
The technical demands placed on the orchestra are considerable, requiring virtuosic playing from all sections. Dvořák’s writing exploits the full range and capabilities of each orchestral family, creating textures that shimmer with color and passages that demand the highest level of ensemble precision. The work has become a favorite among orchestral musicians for its combination of technical challenge and musical reward.
The Scherzo Capriccioso premiered in Prague in 1883 under the composer’s direction and quickly established itself in the international repertoire. Its success helped solidify Dvořák’s reputation as one of Europe’s leading orchestral composers and demonstrated his ability to create works that were both nationally characteristic and universally appealing. The piece represents Dvořák at his most uninhibited, creating music of pure joy that seems to burst with the composer’s love of musical craft and his delight in the orchestra’s expressive possibilities.
Duration: approximately 14 minutes
I was sitting with Remica in the Perot at the very first rehearsal. What would it be like? When the music started, we both looked at each other and were like “oh my God it’s so good!”. Then we were both crying. The beautiful sounds filled the hall perfectly, and we knew the vision of a symphony for Texarkana in our wonderful theater was fulfilling itself right before our eyes. To be a part of creating this organization is one of the greatest experiences of my life.
Mary
Scott Smith
Founding Patron & Principal Pianist 2006-2025
JANUARY 29, 2026 9:30 AM** | PEROT
In collaboration with Carnegie Hall, the Texarkana Symphony Orchestra is participating in Link Up “The Orchestra Sings,” a music education program provided by Carnegie Hall’s Weill Music Institute. The students participating in Link Up attend a culminating concert on January 29, 2026, at the Perot Theatre where they sing, move, and play recorder or the violin with the orchestra from their seats!
The Texarkana Symphony Orchestra is one of 120 national and international orchestras chosen for this program. Carnegie Hall supports TSO’s existing education programs and strengthens their partnerships with local schools. Link Up orchestras pair with students in grades 3-5 to explore orchestral repertoire and fundamental musical skills, including creative work and composition, through a hands-on music curriculum. This partnership also provides a high quality, year-long curriculum that teachers can implement, along with classroom materials, online video and audio resources, and the professional development and support necessary to make the program an engaging experience for students. Schools participating in the Link Up program will have priority seating in January. However, additional schools may attend in the traditional concert setting as well, observing those in the Link Up program, enjoying a live orchestra performance, and considering participation in Link Up in the years to come .
**TSO’s annual student concerts are for local school systems and homeschool groups. Any unused seats will be available to the public after January 14, 2026. For more information on these concerts please contact: Remica Gray, director of operations/education committee chair, at 870-773-3401.
7 FEBRUARY 2026
7:00 P.M. | PEROT
Experience the timeless energy of classic pop-rock reimagined for symphony orchestra, dynamic rock band, and powerhouse vocals. This electrifying performance brings to life the legendary sounds of two masterful singer-songwriters whose music has inspired generations.
DR. AND MRS. GEORGE BOHMFALK
CANDACE TAYLOR AND MARC-ANDRÉ BOUGIE
SCOTTIE AND BOB* BURNETT
JAMES W. BURNETT, III
KELLY ELIZABETH BURNETT
CLEVELAND BURTON*
BETTY AND PERRY* BUTCHER
LOIS TOWLES CAESAR* (IN MEMORIAM)
(FROM DOROTHEA TOWLES)
LUCILLE T. COOK*
FLORENCE* AND GEORGE* CRANK
MR.* AND MRS. CARL CULPEPPER
DR. AND MRS. ROY DESKIN
JENNIFER AND DARBY DOAN
DR. NORMA AND FAY J. DURRANT
DR. GEORGE W. ENGLISH, III
MARY SCOTT AND HOWARD* GOODE
REMICA AND DANNY GRAY
PATRICIA* AND BARRY* GREEN
SAMMYE* AND JIM HALTOM
MARGARET HARRELL*
LOUANNE AND BILLY* HARRELL
PEGGY* AND JASPER* HOWARD
H. LOUISE JOHNSON*
JOHN JAY JONES FUNERAL HOME
KATHY AND GEORGE LEASE
MRS. FLEET F. MAGEE*
MICHAEL AND PETE MANKINS
BARBARA AND DR. PAUL MCCASH
PAMELA MCCOY
DOTTIE AND ED* MILLER
JULIA PECK MOBLEY
JUDY MORGAN
JIM MORGAN
MARTHA* AND JOSH* MORRISS, JR. KAY* AND JIMMY* MURPHY
DRS. WANDA AND JON NORTHAM
MARTHA AND FRED NORTON, JR.
CHARLOTTE AND DAVID POTTER
LAWANDA* AND JOHN RICH
PHYLLIS RUSSELL
MARY ANNE AND CHARLES T. SETTLE
DR. AND MRS. VERNON C. SHAFFER
DRS. ROSANNE STRIPLING AND LARRY SULLIVAN
WEDNESDAY MUSIC CLUB
LYNNEL WESTERMAN
RUTH ELLEN AND DR. DAVE WHITT
DR. AND MRS. DAVID L. WILLIAMS
WILLIAMS MEMORIAL UMC
FINE ARTS DEPARTMENT
BRENDA AND JIM WORKS
JEAN* AND DR. HERB* WREN
WILLIAM WRIGHT
7 MARCH 2026
7:00 P.M. | PEROT THEATRE
PHILIP R. MANN, Conductor
Get ready for a toe-tapping evening celebrating the rich legacy and vibrant spirit of country music! From the golden age of the 1950s to today’s hottest hits, this unforgettable event takes you on a musical journey through decades of heartfelt storytelling, soulful ballads, and highenergy anthems.
Whether you’re drawn to the twang of classic tunes or the polished sound of modern country, there’s something here for everyone. So dust off your boots and join us for a night where the heart of country music comes alive.
25 APRIL 2026
7:00 P.M.
Concert Preview: 6:10PM
PHILIP R. MANN Conductor
and TEXARKANA YOUTH
SYMPHONY ORCHESTRA, in a side-by-side appearance and NORMAN KRIEGER, piano
NEEDHAM, Clint (b. 1981)
Southern Air* 9’
TEXARKANA YOUTH
SYMPHONY ORCHESTRA, in a side-by-side appearance
GRIEG, Edvard Hagerup (1843-1907)
Piano Concerto, in A minor, op. 16 30’
I. Allegro molto moderato
II. Adagio
III. Allegro moderato molto e marcato
NORMAN KRIEGER, piano
STRAVINSKY, Igor Fyodorovich (1882-1971)
Le Sacre du printemps
(The Rite of Spring)
PART I: Adoration of the Earth
Introduction
The Augurs of Spring—
Dances of the Young Girls
Ritual of Abduction
Spring Rounds
Ritual of the Rival Tribes
Procession of the Sage
The Sage
Dance of the Earth
PART II: The Sacrifice
Introduction
Mystic Circle of the Young Girls
Glorification of the Chosen One
Evocation of the Ancestors
Ritual Action of the Ancestors
Sacrificial Dance (The Chosen One)
ARTIST BIO
PIANO
Anative of Los Angeles, Norman Krieger is one of the most acclaimed pianists of his generation and is highly regarded as an artist of depth, sensitivity and virtuosic flair. As the Los Angeles Times put it, “Krieger owns a world of technique-take that for granted. He always knows exactly where he is going and what he is doing. He never for instant miscalculates. He communicates urgently but with strict control. He is alert to every manner of nuance and at every dynamic level his tone flatters the ear.”
Myung -Whun Chung, Donald Runnicles, Leonard Slatkin, Michael Tilson Thomas, Jaap van Zweden and Zubin Mehta are just a few of the conductors with whom Krieger has collaborated. Krieger regularly appears with the major orchestras
of North America, among them the New York Philharmonic, Los Angeles Philharmonic, the Chicago Symphony, Minnesota Orchestra and the National Symphony. He has performed throughout Europe, Asia and South America including tours of Germany, France, Poland, Holland Scandinavia, Korea, China, New Zealand and Israel. He recently performed at the PyeongChang Music festival in Korea. In September 2014, he recorded the Brahms Sonata Op. 1 and the Piano Concerto No. 2 with the London Symphony Orchestra under the baton of Philip Ryan Mann, which will be released on Decca.
In recital, Krieger has appeared throughout the United States, Europe, Mexico and Asia, while chamber music collaborations have included appearances with soprano Sheri Greenawald, violinists Paul Huang, Sarah Chang, Pamela Frank and Mihaela Martin, violist Nobuko Imai, cellists Myung Wha Chung, Jian Wang, Edward Aaron and Frans Helmersen as well as the Tokyo string quartet. His debut at New York City’s prestigious Carnegie Hall and Mostly Mozart Festival earned him an immediate invitation to Lincoln Center’s Great Performers Series. Krieger made headlines by being named the Gold Medal Winner of the first Palm Beach Invitational Piano Competition.
He began his studies in Los Angeles under the tutelage of Esther Lipton. At age 15, he became a full-scholarship student of Adele Marcus at The Juilliard School where he earned both his Bachelor and Master degrees. Subsequently, he studied with Alfred Brendel and Maria Curcio in London and earned an Artist Diploma from the New England Conservatory, where he worked with Russell Sherman.
A champion of contemporary music, he features the music of John Adams, Leonard Bernstein, John Corigliano, Daniel Brewbaker, Donald Crockett, Judith St. Croix, Lukas Foss, Henri Lazarof and Lowell Liebermann among his active repertoire.
Krieger is the founding artistic director of The Prince Albert Music Festival in Hawaii. Since 2008, he has served on the summer faculty at the Brevard Music Festival in North Carolina. From 1997 to 2016 he was a professor at the Thornton School of Music at the University of Southern California. In August 2016 he was appointed Professor of Piano at the Jacobs School of Music at Indiana University.
What an amazing group of people who care so deeply for the musical arts! Marc-André was a refreshingly kind conductor with a contagious passion for music. I enjoy(ed) performing with TSO and look forward to the next 25!
Diana Hector Norwood
25 APRIL 2026 | PEROT THEATRE
Clint Needham
(b. 1981, Texarkana, Texas)
Southern Air
Composed in 2011, as a commission for the Texarkana Symphony Orchestra’s 5th Anniversary
Chis works have been described as “wildly entertaining” and “stunning, brilliantly orchestrated” by the New York Times. As Professor of Composition at Baldwin Wallace Conservatory, Needham has established himself as one of America’s most promising composers of his generation.
The work unfolds as a musical memoir, with Needham seeking to create “the notion of a musical ‘air’ which historically is a typical instrumental work.” This approach connects the piece to the rich tradition of pastoral and folk-influenced classical music while maintaining a distinctly American character. The “folk music” core that Needham mentions serves as the work’s emotional and structural foundation, appearing in various guises throughout the composition.
The orchestral writing showcases Needham’s sophisticated understanding of instrumental color and texture. The first section presents the melodic material in a thick texture, with the melody heard clearly in the beginning and end but dividing the work into two larger orchestral sections. This structural approach allows the composer to explore different emotional territories while maintaining the work’s essential folk character.
A significant feature of the piece is its use of contrasting sections that reflect different aspects of Southern musical culture. The second large-scale section begins with a traditional spiritual at the melody played softly in the woodwinds, creating an intimate, contemplative atmosphere. The music’s gradual transformation demonstrates Needham’s skill at organic development, as the spiritual material evolves and interacts with the work’s other melodic elements.
lint Needham’s “Southern Air” emerges from deeply personal memories of growing up in the American South, creating a nostalgic work for orchestra that captures the essence of a specific place and time. The composer describes the piece as being about his “memories of growing up in the south,” with the main idea being “to create a core ‘folk music’ that would assert itself throughout the work.”
Born in Texarkana, Texas, in 1981, Needham brings an authentic voice to this musical portrait of Southern life. His extensive musical experience includes commissions and performances by leading orchestras across the country, and
The climactic portions of the work reveal Needham’s mastery of orchestral dynamics and dramatic pacing. The music builds toward powerful moments that evoke the expansive landscapes and emotional depth of the American South, while quieter passages capture more intimate memories of place and time.
Needham’s harmonic language combines traditional tonal elements with contemporary techniques, creating music that is both accessible and sophisticated. His orchestration draws on the full range of orchestral colors, using instrumental combinations that evoke specific aspects of Southern musical traditions while maintaining the elevated artistic standards expected in concert music.
“Southern Air” was commissioned by the Texarkana Symphony Orchestra in celebration of their 5th anniversary season, making its premiere particularly meaningful as a homecoming for the composer. The work represents both a personal statement from Needham about his roots and a broader meditation on how place and memory shape artistic expression.
The piece serves as an excellent example of contemporary American orchestral music that draws inspiration from regional folk traditions while speaking to universal themes of memory, place, and belonging. Needham’s success in creating a work that is both personally meaningful and artistically substantial demonstrates his maturity as a composer and his deep understanding of the American musical heritage.
Duration: approximately 8 minutes
Grieg (1843-1907, Bergen, Norway)
Concerto for Piano and Orchestra in A minor, Op. 16
Composed 1868, revised 1907
I. Allegro molto moderato
II. Adagio
III. Allegro moderato molto e marcato
Edvard Grieg’s Piano Concerto in A minor stands as one of the most beloved works in the entire concerto repertoire, a piece that has captivated audiences for over 150 years with its perfect blend of Romantic virtuosity and distinctly Norwegian character. Composed in 1868 when Grieg was just 25 years old, this concerto represents not only the composer’s masterpiece but also one of the finest expressions of musical nationalism in the 19th century.
The concerto emerged during a pivotal period in Grieg’s artistic development. Having studied at the Leipzig Conservatory, where he absorbed the German Romantic tradition, Grieg returned to Norway with a burning desire to create a uniquely Scandinavian musical voice. The Piano Concerto became the perfect vehicle for this ambition, combining the structural sophistication of European concert tradition with the melodic and rhythmic characteristics of Norwegian folk music.
The work’s inspiration came partly from Grieg’s admiration for Schumann’s Piano Concerto, which shares the same key and similar structural elements. However, where Schumann’s concerto is introspective and poetic, Grieg’s is extroverted and dramatic, filled with the fresh air and rugged landscapes of his Norwegian homeland. The composer later revised the work extensively in 1907, refining the orchestration and tightening the structure while preserving its essential character.
The First Movement opens with one of the most famous beginnings in all of classical music: a thunderous orchestral chord followed by the piano’s dramatic cascading passage in octaves. This opening gesture, both commanding and immediately memorable, perfectly encapsulates the concerto’s bold character. The movement follows traditional sonata form but infuses it with folk-inspired melodies that bear the distinctive intervals and modal inflections of Norwegian music. The lyrical second theme, first presented by the cellos,
demonstrates Grieg’s gift for melody that is both sophisticated and accessible.
The Second Movement provides intimate contrast through music of extraordinary beauty and simplicity. Cast in the form of a song without words, this adagio features a haunting melody that seems to emerge from the depths of Norwegian fjords. The movement’s middle section introduces a more agitated character before returning to the opening’s serene contemplation. Grieg’s orchestration here is particularly sensitive, creating chamber music textures that allow every pianistic detail to register with maximum emotional impact.
The Third Movement returns to the concerto’s energetic character through a finale that brilliantly combines sonata and rondo forms. The movement opens with a playful theme that gradually builds in intensity and complexity. Grieg incorporates elements that suggest Norwegian folk dances, particularly the halling, a vigorous peasant dance characterized by strong rhythmic patterns and athletic leaps. The movement’s development showcases both the pianist’s technical abilities and the composer’s skill at creating excitement through purely musical means rather than empty virtuoso display.
Throughout the concerto, Grieg demonstrates his mastery of the relationship between soloist and orchestra. Rather than treating the piano as a mere vehicle for display, he creates genuine musical conversations between piano and orchestra, with each contributing essential material to the work’s emotional and structural development. The orchestration,
particularly in the 1907 revision, shows remarkable sophistication in its use of color and texture.
The concerto’s harmonic language, while fundamentally tonal, incorporates modal elements derived from folk music that give the work its distinctly Norwegian flavor. Grieg’s use of open fifths, flattened sevenths, and irregular phrase structures creates a sound world that is both familiar and exotic, accessible yet authentically regional.
Since its premiere in Copenhagen in 1869, the concerto has maintained its position as one of the most frequently performed works in the piano repertoire. Its combination of melodic beauty, pianistic brilliance, and orchestral color has made it a favorite among performers and audiences alike. The work has served as a calling card for countless pianists, from its early champion Edmund Neupert to modern virtuosos who continue to find new expressive possibilities within its pages.
The concerto’s enduring appeal lies in its perfect balance of populist accessibility and artistic sophistication. Grieg created a work that speaks directly to the heart while satisfying the mind, combining the epic scope of Romantic concerto tradition with the intimate voice of Norwegian nationalism. In doing so, he produced not just Norway’s greatest contribution to the concerto literature, but one of the supreme achievements of 19th-century music.
Duration: approximately 30 minutes
Nothing demonstrates better the Can Do spirit of Texarkana than the formation of the symphony orchestra. Despite humble beginnings around a kitchen table, strong leadership and significant financial support from the community have paved the way for the vibrant concerts we have today. Barbara and I are pleased that we have helped in a small way through our service on the symphony board and as a member of the orchestra.
Dr. Paul McCash
Founding patron & violinist (retired)
Igor Stravinsky
(1882-1971, St. Petersburg, Russia - New York, New York)
The Rite of Spring (Le Sacre du printemps)
Composed 1911-1913
Part I: The Adoration of the Earth
Part II: The Sacrifice
Few works in music history have wielded such revolutionary force as Stravinsky’s “The Rite of Spring.” Premiering on May 29, 1913, at Paris’s Théâtre des Champs-Élysées, this ballet sparked one of the most famous riots in cultural history, forever changing the trajectory of 20th-century music. What audiences experienced that evening was nothing less than the violent birth of modernism.
The work emerged from Stravinsky’s collaboration with impresario Sergei Diaghilev’s Ballets Russes and choreographer Vaslav Nijinsky. Stravinsky conceived the piece as a vision of pagan Russia, depicting ancient rituals culminating in a young maiden dancing herself to death to ensure the earth’s fertility. This primitive, elemental subject matter demanded an entirely new musical language—one that would abandon traditional harmony, melody, and rhythm in favor of something far more primal and visceral.
Part I: The Adoration of the Earth opens with one of music’s most haunting solos: a bassoon singing in its extreme high register, evoking the awakening of nature. What follows is a series of ritualistic dances that build in intensity through Stravinsky’s revolutionary use of rhythm and orchestration. The composer layers irregular meters, creates polyrhythmic textures, and employs the orchestra as a massive percussion instrument. The famous “Augurs of Spring” section pounds out its brutal chords with metric unpredictability that still challenges performers today.
Part II: The Sacrifice grows increasingly violent and ecstatic as the community selects and consecrates the chosen maiden. The music builds to the climactic “Sacrificial Dance,” where irregular rhythms and savage orchestration mirror the victim’s final, frenzied movements. Stravinsky’s use of extreme dynamics, unprecedented dissonance, and rhythmic complexity creates music of almost unbearable intensity.
The 1913 premiere became legendary for the chaos it unleashed. Conservative audience members, expecting traditional ballet, found themselves confronted with Nijinsky’s angular, earthbound choreography and Stravinsky’s assault on musical convention. Shouts, whistles, and physical altercations erupted throughout the theater. Yet this scandal marked the moment when classical music definitively entered the modern age.
Stravinsky’s innovations were manifold. He abandoned traditional tonality in favor of bitonality and atonality, created new approaches to rhythm that influenced generations of composers, and demonstrated the orchestra’s capacity for entirely new colors and textures. His use of folk melodies—transformed beyond recognition— pointed toward new relationships between nationalism and modernism.
The work’s influence extends far beyond classical music. Jazz musicians, rock artists, and film composers have all drawn inspiration from its rhythmic vitality and harmonic innovations. Walt Disney’s “Fantasia” introduced the work to popular audiences, while countless concert performances have established it as a cornerstone of the orchestral repertoire.
What seemed like musical anarchy in 1913 now reveals itself as a masterpiece of structural logic and emotional power. “The Rite of Spring” captures something fundamental about the human condition—our connection to elemental forces, the cycle of death and renewal, and the savage beauty underlying civilized existence. In creating this work, Stravinsky didn’t just compose a ballet; he unleashed music’s primitive power and forever expanded our understanding of what the art form could achieve.
Duration: approximately 35 minutes
It has always been clear to me from the beginning that the TSO has been a gift to the community and the musicians from God. Born and raised in Texarkana, I never imagined Texarkana would have an orchestra of this quality for the community to enjoy.
I was completing my master’s degree at the University of North Texas in May 2026 and had planned to continue my education with a DMA in performance when my wife and I, due to family circumstances, needed to move back to Texarkana to be with our family. A friend contacted me and asked if I was auditioning for the newly founded TSO. I did not know anything about it but quickly sent in my resume and traveled to Texarkana for the audition date and the rest is history.
The first concert was a highlight of my musical career. I was sitting on stage of the Perot Theatre performing for my hometown
some of the most exciting orchestral repertoire music lovers have now come to expect from the TSO. The Ride from Die Walkure, Finlandia, Night on Bald Mountain, and many other famous pieces as well. However, it was Nessun Dorma from Puccini’s Turandot that solidified in my heart what God had done for me and my hometown of Texarkana. Nessun Dorma is my all-time favorite aria, and when the tenor opened up with the recitative, my heart was overwhelmed, and tears filled my eyes. I remember praying on stage and thanking God for the gift of music, this divinely inspired composition, and the opportunity to sit on stage with my fellow musicians, performing in a moment I never would have thought possible in Texarkana.
Twenty years later and I almost always have the same sense of reverence performing with the TSO as I did that day. Thank you God for all of these wonderful years serving and making music as the principal trombonist with the Texarkana Symphony Orchestra.
Mark Windham
The Texarkana Symphony Orchestra wishes to thank the following companies and individuals whose contributions of time and services help make possible the Texarkana Symphony Orchestra’s 2025-2026 season.
NEIL ABELES
SHELLY BROWN
BRENDA BURNS
ANGELA CLARK
TAYLOR COLEMAN
THE GEORGE CRANK FAMILY
DEANNA CRAYTOR
JACOB CUTHBERTSON
JAY DAVIS
MICAH DORSEY
BUNN FAWCETT
ELIZABETH FAWCETT
FIRST BAPTIST CHURCH - TEXARKANA
FIRST PRESBYTERIAN CHURCH
DANNY GRAY
SUE ELLEN HALL
J. BROWN FOR THE HOME
NANCY JACKSON
RONALD MAKARAMBA
KATRINA MCGINNIS
ST. JAMES CHURCH
STEVE MITCHELL, KTXK RADIO
WILLIAM MORRISS
LAURA AND DAVID ORR
PHI THETA KAPPA
MARY ELLEN YOUNG
TC HONOR SOCIETY
RUSSELL ROBERTS
BECKY ROBERTSON
REV. SHERRI WATERS-CLEM
LYNN WHITT
WE GRATEFULLY ACKNOWLEDGE THE GENEROSITY OF THE FOLLOWING DONORS WHO HAVE CONTRIBUTED TO THE TSO IN THE LAST YEAR, AS OF SEPTEMBER 1, 2025.
PLATINUM $10,000+
Arkansas Arts Council
Bobbie Atkinson Foundation
Dr. and Mrs. Kirby Bunel*
Cabe Cook Foundation
Martha and Jeff Prieskorn
City of Texarkana, TX
Judy Kelley Morgan/ Jack B Kelley Enterprises Inc
Kelley & Morgan Families Foundation MGD
Barbara and Dr. Paul McCash*
Vasco McCoy, Jr. Foundation
Ms. Pamela McCoy
Lois and Cary Patterson
Patterson-Troike Foundation
Emily and Gabe Tarr
Texas Commission on the Arts
GOLD $5,000-9,999
LaCrecia and Dean Barry
Vee and Ron Collins
Dr. George W. English, III*
Drs. Kathleen and Michael Martin*
Lee Ann and Buddy McCulloch*
Vicki and Maurice Orr
Janis Robbins
Texas A&M University -Texarkana
Texas Pioneer Foundation
Fred Markham
Barrie Thomson
Adam Garrett Wickliff
SILVER $2,500-4,999
Lilia and Dr. Ross Alexander
Commercial National Bank
Melissa and John Delk
Vicki and Dr. Roy Deskin
Lesley and Adam Dukelow
Farmers Bank & Trust
Fulton Grass Company,
Kathy and Henry Struckman
Remica and Danny Gray
Gray & McGinnis Families in memory of
Florence and George Crank
Dolly and Paul Henley
Sonja and Bob Hubbard
Dr. Susan Keeney
Deborah and Michael Malek*
Mike and Pete Mankins
Katrina and Dr. Robert McGinnis*
The Morriss Family in memory of
Martha and Josh Morriss, Jr.
Susan Robbins
Robbins Toyota
Drs. Jennie and Brian So
Yates Group -
Jim Yates Foundation
BRONZE $1,000-2,499
Debbie and Dr. Chris Alkire
Arkansas Community FoundationTexarkana Area
Bobbie A. Atkinson*
Drs. Valeria and Matthew Burks*
C. Louis and Mary C. Cabe Foundation*
Christus St. Michael Health System
Dr. Jacqueline Santos Day
Farmers Bank & Trust
Lisa and Jay Farris
Four States Living Magazine
James I. Freeman Charitable Trust
James and Barbara Freeman
Wayne H. Garrison Charitable Trust
Carolyn Ann Green
Guaranty Bank & Trust
Haltom & Doan Trial and Appellate Counsel, Jennifer and Darby Doan
Sandra Holmes and Adam Holmes
Suzy and Robert Irwin
JCM Industries Inc. Foundation, John Collins
Dr. Josephine Kahler and Mr. Eddie Lamb
Elaine and Dr. Rodney LaGrone
Katherine and George Lease*
Ledwell Office Solutions
Lisa and Steve Ledwell
LPL Financial
Tatiana and Philip Mann*
Brenda Martinez
Deborah and Ron Mills*
Julia Peck Mobley
Blake Montgomery
Morel Group
Patsy and Don Morriss
Drs. Wanda and Jon Northam
Martha and Fred Norton, Jr.
Oral & Maxillofacial Surgeons of Northeast Texas, PLLC
Dr. Kirby Bunel
Dr. Jacob Duke
Dr. Zach Legan
Dr. Mary Laura Hastings
Dr. Matthew Burks
Debby and Larry Oxford
Kathy and Donnie Powers* in memory of Dr. Jauquita Hargus
Martha and Jeff Prieksorn*
Red River Credit Union
Brad Bailey
Richard Reynolds
John Rich
Nancy and Dr. Joe Robbins
Megan and The Honorable Trey Schroeder*
Lisa and Rob Sitterley
Mary Scott and Dr. C. Jack Smith*
Cathy and Mark Van Herpen
Barbara Vershaw
Malinda and Randal Walker
W.W. Metal Products, Inc.
Judy Wright Walter
Mary and Denis Washington
Barbara and Ray Whitney*
Cindy and Dr. Matthew Young
* CHAIR SPONSORS
SUSTAINER $500-999
Alexander’s Jewelers
Alzheimer’s AllianceTexarkana Area
Lesa and Tony Asbille
Gabrielle Bachers
Benchmark American Brasserie & Café Lucille
Jeff Brown
Jane and Scott Bruner
Samantha and Joe Burzhnski
Cadence Bank and Trust Department
Joan and Judge Jack Carter
CASA for Children
Angela and Andrew Clark
Collom & Carney
Radiology Associates
Tina and John Collins
DeAnna and Dr. Bret Craytor
Crocker’s Fine Jewelry
Nona Eagle Culpepper
Phyllis and Buddy Deese
Digital Press
Jane and Pat Davitt
Jennifer and Darby Doan
Winford Dunn
Gail and Dr. Ed Eichler
Amy and Fr. David Halt
Haltom & Doan
June Hatchett
Buddy and Judge Sherry Hawkins
Betty Jo Hays
Donald A. and Mary Herron
Dr. Robin and David Hickerson
Hilton Garden Inn
Dr. Carol and Garry Hodgson
Holliday, Lemons & Cox, P.C.
Sue and Don Howren
ITNS
Julie’s Deli, Inc.
Dr. Cordell Klein
KTXK 91.5
Literacy Council of Bowie and Miller Counties
Lydia and Bryce Lawrence
Renee and Arnie Lawson
Mary Jayne P. Locke
Main Street Texarkana
Ann and Mike Mayo
Lindsey and Dr. Chris McMillan
Angela Melde
Gloria and Judge John F. Miller, Jr.
Julia Peck Mobley
Diana and Judge Josh Morriss
Rita and William Morriss
Suzanne and Glen Moses
Drs. Rebecca and Dub Narramore
Carol and Bob Nelsen
Paul Norton
Mary Jane Orr
Pecan Point Brewing Company
Pete Mankins Nissan
Rebecca and Stuart Phillips
Charlotte and David Potter
Primary Commons
Cliff and Becky Robertson
Haley and Randy Roeser
Round Table Networks
Simmons Bank
Whoa! As my young violin students like to say—20 years is a long time! I’m so proud to be a charter member of this amazing orchestra.
Before the Texarkana Symphony Orchestra became the vibrant, professional arts organization it is today—and before we made our home at the beautiful and historic Perot Theatre—I was lucky to be part of the early days (when we were all still finding our footing!), playing under Kermit Poling. Back then, we hit the road from Shreveport on what we fondly called the “highway philharmonic,” traveling the winding two-lane State Highway 71 to perform in churches and other local venues. It was especially gorgeous in the fall with all the changing leaves—and this was long before I-49 made things easier!
By 2005, with Maestro MarcAndré Bougie leading the way, the
Lisa and Rob Sitterley
St. James Church
St. James Day School
Susan and John Stanley
Barbara and Ludwig Stoeckl
Texarkana/Chapelwood
Funeral Homes
Texarkana College
Texarkana ER, LLC
Texarkana Magazine
Robin and Joe Thomas
The Historical Society/ Texarkana Museums System
Twisted Fork
University of Arkansas
Hope-Texarkana Foundation
Lynn and Dr. Paul Whitt
Wisdom Animal Clinic, Inc.
ASSOCIATE $100-499
Gail Abrahamson
Rev. Jaimie Alexander
Rhonda Cross Allen
Dr. Tom Alston
Amigo Juan Restaurant
Melinda and Jeffery Arnold
AR/TEX Music Connection
Angela and Brad Bailey
Michala and John Robert Beck
Pamela Beck
Ruth Penney Bell
Kathy and Dan Boyles
Ruth Ann Branin
Yulin and Jerry Brewer
Rebecca and Dr. Randy Brown
Cindy and Jim Bunch
Glenda and Richard Burkhart
Brenda and Dr. Tom Burns
Valerie Buster
Erica and Eric Cain
Bruce Cannedy
Chelsea and Jeff Claybrook
Michelle and Trevor Clayton
Gail and Gene Cogbill
Alice Coleman
William Conyngham
Michelle and Dr. Kenneth Crane
Judge Caroline and Mike Craven
Lori and Jason Cree
Teresa and Tom Crow
Dr. Emily and Dr. Tom Cutrer
Greg Davis
Margaret Fischer Davis
Peggy and Dr. Larry Davis
Lisa and Jason Day
Peggy and Marshall Dear Jamye DeHaan
Anne and Steve Douglas
Christy and Dr. Jacob Duke
Gail and Dr. Ed Eichler
Marsha and James Elliott
The ENT Group
Elizabeth and Bunn Fawcett
Benjamin Floyd
Paula and Michael Foster
Nan and Dr. Bob Fry
Four States Furniture
Whitney and Vickers Fuqua
Gale Gill
Barbara and Howard Glick
Jackie and Bill Gooding
Lindola and William Griffin
TSO was growing into a serious regional orchestra, and it was such an exciting time. I became Principal Second Violin in 2006, and in 2010, I auditioned earned the spot of Assistant Concertmaster—a personal milestone I cherish. Another standout moment for me was in 2019, when I got to perform Vivaldi’s Autumn with my fellow TSO concertmasters and colleagues. What a blast!
These days, I’m especially thankful for Maestro Philip Mann. His leadership and creative vision have brought new energy and unforgettable performances to the stage. He continues to push us to be our best—and it shows in the music we make together.
To our forward-thinking TSO Board and Staff, to our loyal audiences, and especially to the young people who represent the next generation of supporters for this orchestra: THANK YOU!! Here’s to 20 amazing years, and to an even brighter future ahead. Happy Anniversary, Texarkana Symphony Orchestra!
DanSantelices, TSO Assistant Concertmaster
Habitat for Humanity ReStore of Texarkana, Inc.
Karen Hammonds
Kelly Hanna
Amanda Harp
Dr. Teretha F. Harper
Melanie and Jeff Harris
Stacey Louise Hart
Tonja and John Hays
Suzy and John Heath
Highland Park Baptist Church
Janis Fischer Holliday
Kim and John Hollis
Hospice of Texarkana Foundation
Ironwood Grill
Morgan Jayaprabhu
Edward Jones
Rosanna and Karlton Kemp
Sandra Kennedy
Susan LaGrone
Susan and Dennis Landreaux
Amber and Zach Lawrence
M Kaa March
Stephen Mayo
Jon and Harry McCarty
Liza McCubbin
Lacey and Chris McCulloch
Derrick McGary,
State Farm Insurance Agency
Camille and Rob McGinnis
Dr. and Mrs. Gene McMillan
Holland and Cole Meador
Vicki Melde
George Merrill
Cordia Metcalf
Jessica and Bill Miller
Dee Miller and John Greer
Drew Mims Insurance
Joseph Morriss
Lynn and Mike Murrah
Mitch Newton
Ann Nicholas
Carla and Joe Nichols
Melody and Scott Norton
Jeanie and Gary Nutter
Kirk Owens
Bennie and JD Phillips
Jacob Proveaux
William Cheney Pruett
Harvey Purdy
The Purtle Agency
Betty Rateliff
Richardson Fence & Patio, Inc.
Ralph Robertson
Scott Robertson
Jane Rochelle
Jeanna and Mike Rogers
Greg Rose
Lauren and Jason Ross
Ross & Shoalmire
Rosemary and James
Henry Russell
Lucy and Dr. Randy Sarrett
Debbie and Alan Schimming
Angela Sikorski
Sitters, LLC
Deirdre and Dr. Malcolm Smith
Gladys Stanley
Paula and Michael Stevenson
Barbara and Ludwig Stoeckl
Linda and Joe Strickland
Studio 57
Texarkana Area
Community Foundation
Texarkana Music
Teachers Association
Brandi Vickers
Lila and Chesley Walker
Kristi and Ryan Wall
Mel and Ray Walsh
Michelle Warren
Sara and Bob Weber
Kathy and Michael White
Missy and Mike White
Ruth Ellen and Dr. David Whitt
Carolyn N. Whittle
Wiggins Eye Center, PLLC
Darla Wilf
Wilf & Henderson, P.C., CPA’s
Pat and Keith Williams
Sarah and Gary Williams
Aven Williamson
Martha Wisdom
Brenda and Dr. Jim Works
Denise and Harrison Wright
Gayle Wright
Timothy Wright
FaEllen Yates
Stacy Yates
Kris and David Yells
Christy Young
Junie and Dennis Young
Mary Ellen Young
FRIEND UP TO $99
Annie Avery
Barbara Cole
Kimberly and Jay Davis
Sue Ellen Hall
Rashinda and Ryan Hampton
Imogene McAlister
Christina and Bruce Ramsey
Dean Ransdell
Robin Rogers
Peggy Rosiek
John Thomas
Betty and Doug Williams
