Texarkana Symphony Orchestra 2024-2025 Season Program Book

TABLE OF

CONTENTS 6

LETTER FROM THE EXECUTIVE DIRECTOR

8

WELCOME TO THE HISTORIC PEROT THEATRE

9

THE GOLDEN RULES OF THEATRE

10

LETTER FROM THE PRESIDENT

11

BOARD OF DIRECTORS AND ENDOWED CHAIR PROGRAM

12

LETTER FROM DR. ROBIN HICKERSON

14

LETTER FROM PHILIP MANN

17

BRAVO AND APPLAUSE

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SUPPORTING THE SYMPHONY

21-25

TSO PRESENTS: HAPPY CENTENNIAL, PEROT THEATRE!

27-29

TSO PRESENTS: BLOCKBUSTER BROADWAY

31

WITH NORM LEWIS

2023/2024 ORCHESTRA ROSTER

32-33

TSO PRESENTS: STAR WARS: A NEW HOPE

34-35

CELEBRITY CONDUCTOR COMPETITION

37-38

TSO PRESENTS: CHRISTMA S AT THE PEROT

39 40-41 42

MEMORIALS AND HONORARIUMS TEXARKANA YOUTH SYMPHONY ORCHESTRA STUDENT CONCERT “THE ORCHESTRA SWINGS ” CARNEGIE HALL WEILL MUSIC INSTITUTE LINK UP PROGRAM

43-47

TSO PRESENTS: A FLAIR FOR THE DRAMATIC

49-52

TSO PRESENTS: PA SSIONATE DEVOTION

53 55-58 59 60-62

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FOUNDING PATRONS TSO PRESENTS: LA SKAROV AND SAINT-SAËNS SPECIAL THANKS SUPPORTING THE SYMPHONY: PATRON DONOR LIST

TEXARKANASYMPHONY.ORG | 2024/2025 PROGRAM

PUBLISHED BY Texarkana Symphony Orchestra PROGRAM BOOK PRODUCTION Dr. Robin Rogers Four States Living Magazine 4104 Summerhill Square Texarkana, TX 75503 903-792-2262 www.fourstatesliving.com Graphic Design: Shane Darby BUSINESS OFFICE Texarkana Symphony Orchestra 421 Hickory Street Texarkana, AR 71854 870-773-3401 www.texarkanasymphony.org

2024/2025 PROGRAM | TEXARKANASYMPHONY.ORG

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A LETTER FROM THE

EXECUTIVE DIRECTOR

R. ANDREW CLARK

W

elcome to the Texarkana Symphony Orchestra’s 19th Season!

This beautiful program book is made possible by our ongoing partnership with Four States Living Magazine. This year I am happy to introduce Elizabeth Schwartz, a freelance writer and music historian from Portland, Oregon, as our new program note writer for the season. Whether by supporting TSO’s many sponsors or preparing for each concert by reading the biographies and program notes ahead of time, there is something for everyone to enjoy.

This is a special season for the TSO as the beautiful Perot Theatre, which we call home and are now privileged to manage, celebrates its 100th Anniversary. I believe those who led our community back in 1924 would be proud of the ongoing mission to preserve

this wonderful space, to modernize it when necessary, and, most importantly, to now recognize it as the centerpiece of Texarkana’s downtown renaissance. Maestro Mann has fashioned a brilliant season opening concert to celebrate the Perot Theatre’s milestone by selecting symphonic works which were either written in or are connected to the year 1924. Additionally, this opening concert features a special dedication as it is sponsored, in part, in memory of Victor Hlavinka. Victor was not only a long-time TSO Board member, but he also became a personal friend. Countless times, the Orchestra and I would come to depend on Vic’s immense legal knowledge and wisdom. For more than a decade, Vic was at the heart of every negotiation with conductors, guest artists, and finally in our efforts to become the managers of the Perot Theatre. Vic, you are dearly missed! This season is full of wonderful symphonic music as we welcome violinist, Grace Park; Broadway legend, Norm Lewis; bandoneon player, Julien Labro; as well as our own Kiril Laskarov, violinist, and Tatitana Roitman Mann, pianist, as guest artists. Additionally, we are pleased to present another movie concert in November. Star Wars™ has long been a request of our audience members. We hope you will use it as an opportunity to invite your friends and family to see and hear the orchestra, maybe for the first time!

As I close, I am reminded of one of the books I use in my music appreciation classes, Every Song Ever by New York Times jazz critic Ben Ratliff. In this wonderful little book, he talks about how listening to music has changed so much over the course of the last 50 years. An important concept for us to think about as an orchestra is the fact that almost all types of music can now be acquired on a device we carry with us each day. Music, in both live performances and broadcast recordings, has been turned upside down! TSO has been blessed, during our almost twenty years, to be able to adjust to these changes by successfully reaching our demographic with a broad definition of symphonic music. For TSO this means that symphonic music represents not only our endeavor to instill a love of classical music in our community, but also a genre encompassing movies, tv, video games, Broadway, sporting events, and even rock bands. Your partnership as ticket buyers and donors to this work is vital. I hope you will be moved to support the TSO by renewing or increasing your past gift, becoming a new supporter, chair sponsor or concert sponsor, or even by voting for your favorite Celebrity Conductor Candidate.

Cheers to Season Nineteen!

R. Andrew Clark Executive Director, Texarkana Symphony Orchestra General Manager, Perot Theatre

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PHOTO BY BRIAN JONES

WELCOME TO THE HISTORIC

PEROT THEATRE CELEBRATING

100 YEARS!

T

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

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the Perot Theatre in honor of Gabriel Ross and Lulu May Perot, lifelong residents of the city and the parents of Ross and Bette.

This year Texarkana celebrates the 100th Anniversary of the Saenger/ Perot Theatre and 43 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 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 GOLDEN RULES OF

THEATRE 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, VIDEOING PERFORMANCES,

AND ANY OTHER USES OF YOUR 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! 2024/2025 PROGRAM | TEXARKANASYMPHONY.ORG

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A LETTER FROM THE

PRESIDENT

TSO BOARD OF DIRECTORS

MARK VAN HERPEN

W

elcome to Season 19 of the Texarkana Symphony Orchestra! We are excited to offer an array of exciting events for you to enjoy this season. I am equally excited, as well as honored, to begin my sixth year as President of the TSO board. My involvement with the TSO began when I was asked to be a contestant in the Celebrity Conductor Competition in 2017. I must admit, I knew little about the symphony at that time, but agreed to participate. I had no idea of the impact I was about to experience. By becoming acquainted with Remica Gray and Andrew Clark, I witnessed firsthand the passion and drive they both have for the symphony and quickly developed a passion for it, myself.

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I was asked the following season to become a board member, which I also accepted with honor. I was elected President the following year and am very pleased to still hold that position. I strongly believe the symphony, as well as other arts available to us in Texarkana, is a vital asset to our community. My hope is that a growing number of people in our area will come to that realization and that our support will continue to flourish.

We are fortunate to have the renowned Philip Mann as our Music Director and Principal Conductor. With his worldwide reputation of being an “expressively graceful, yet passionate” artist, his range spans from symphonic repertoire, opera, and new music to experimental collaborations. Along with Philip, are the many talented musicians who grace our stage at each performance. Additionally, we have an array of exceptionally talented guest performers in the lineup.

Since assuming management of the beloved Perot Theatre three years ago, we are proud to have offered exciting new experiences, in addition to the TSO performances. We have many more slated for this season, as we continue to make needed improvements to the theatre. We very much appreciate your support this season, as always. We sincerely hope that you find joy in each performance!

Mark Van Herpen President, Texarkana Symphony Orchestra Board of Directors

BOARD OF DIRECTORS MARK VAN HERPEN President

DR. ROBERT S. MCGINNIS, III Vice President

R. ANDREW CLARK Executive Director STEVE BENNETT Youth Symphony Conductor

PHILIP R. MANN Music Director

DIANA NORWOOD Personnel Manager CATHERINE RICKETT Librarian

MICAH DORSEY Graphic Design REMICA C. GRAY Volunteer Director of Operations

ROBIN THOMAS Secretary

LISA SITTERLEY Treasurer

Lesa Asbille Dr. Susan Keeney Jeff Brown Lee Ann McCulloch Dr. Matthew Burks Lindsey McMillan Buddy Deese Ronald Mills Jennifer Doan Judy Morgan Remica C. Gray David Orr Tonja Luker Hays David J. Potter Dolly Henley Jeff Prieskorn Dr. Robin Hickerson Susan Robbins Don Howren Robby Robertson Dr. Jo Kahler Megan Schroeder Denis Washington

ORCHESTRA ENDOWED CHAIR PROGRAM The Texarkana Symphony Orchestra (TSO) announced, in the summer of 2023, its Endowed Orchestra Chair program. By naming an Endowed Chair in honor or memory of yourself, a family member or loved one, or an important person in the life of the community, you contribute to the long-term financial health and artistic growth of the orchestra. Endowing a chair demonstrates gratitude for the role that the TSO plays in your life and, for the musicians, creates an immediate connection from the stage to the audience.

TSO’s first Endowed Chair campaign begin with the goal of $35,000, to endow, for 20 years, the principal keyboard chair in honor of one of the Orchestra’s founders and longtime principal pianist, Mary Scott Smith. Below you will find those that have already contributed to this effort, and we would welcome your gift to help us finish the goal by donating for this chair. Additionally, we have listed below the rates to endow other chairs and information about our existing annual chair sponsorship program.

Contributors to the Mary Scott Smith Endowed Principal Keyboard Chair: Bobbie Atkinson Foundation Dr. Susan Keeney Janella and Dr. Wilson Garrett Kelley-Morgan Foundation Remica and Danny Gray Patterson-Troike Foundation Information on Endowing or Sponsoring TSO Musician Chairs: Named Chairs are offered for either a 1-year, 20-year, 50-year, or Permanent period.

1-YEAR

20-YEAR

50-YEAR

PERMANENT

MUSIC DIRECTOR

$50,000

$300,000

$500,000

$1,000,000

CONCERTMASTER

$2,000

$50,000

$100,000

$500,000

STRING PRINCIPALS

$1,500

$35,000

$50,000

$500,000

OTHER PRINCIPALS

$1,500

$25,000

$40,000

$500,000

SECTION CHAIRS

30% less than corresponding principal $1,500

$250,000

Chair Sponsorship Program: The TSO has had an annual chair sponsorship program for several years. Unlike an Endowed Chair, these named chair sponsorships expire at the end of each season. Those who have been longtime annual chair sponsors have the option during the 2024-2025 Season to convert to an Endowed Chair and the Orchestra will provide a discount of $10,000, to either the 20-Year or 50-Year Endowment levels.

Perot Theatre, packed full of elementary-aged students and their teachers, I think I finally got it. These students traveled from all over the city and came together to participate in a program called The Orchestra Moves. The students were from diverse backgrounds and varying musical expertise, yet they felt confident and secure as they danced, sang, played instruments, and stomped to the beat. They were happy. They believed in music, and so did I!

A LETTER FROM THE

PRESIDENT & CEO TEXARKANA USA REGIONAL CHAMBER OF COMMERCE

DR. ROBIN HICKERSON

Music is love and love is music if you know what I mean People who believe in music are the happiest people I’ve ever seen So clap your hands and stomp your feet and shake those tambourines Lift your voices to the sky and tell me what you see I believe in music I believe in love I believe in music I believe in love

I

-Mac Davis

n the early 70s, Mac Davis recorded I Believe in Music. I have fond memories of singing along to this popular tune during my childhood, although I did not understand the song’s true meaning. Fast forward to the spring of 2023. As I sat in the

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As my love for the symphony grew, I became more involved by purchasing concert tickets, participating in the Celebrity Conductor Contest, and eventually answering the call to serve on the Texarkana Symphony Orchestra Board. Music and the arts have the power to unite us as one community and draw others to our city. We are incredibly fortunate to have dedicated support for the arts in Texarkana, but there is more work to do.

As I wind up a lifetime of work in education and embark on a new journey as President and CEO of the Texarkana Chamber of Commerce, I’d like to encourage all of you to renew your love and belief in music to ensure quality of life for our youth as well as current and future residents of our hometown, Texarkana, USA. Sincerely,

Robin Hickerson

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A LETTER FROM THE

PHOTO BY NANCY NOLAN

MUSIC DIRECTOR PHILIP MANN

D

ear Listeners and Friends,

Thank you for joining us, and welcome to the 19th season of your Texarkana Symphony Orchestra. Titled “Enduring Passion,” our season is designed to excite, inflame, and delight. My programming capitalizes on historic anniversaries and a palpable sense of shared, musical momentum in our historic home. I believe the symphony has hit its stride, with a great community story to tell and a dynamic, upward trajectory. As many of you may have experienced, I am rapt with anticipation, optimism, and a desire to share the details of a season years in the making.

The exquisite Perot Theater, celebrating its Centennial in 2024, receives an opening concert fête inspired by the year and decade of its construction. Premiered in 1924, Respighi’s Pines of Rome, is among the greatest orchestrated spectacles ever conceived, and provides a triumphant introductory note. Our opener is further infused with the Roaring Twenties as we nod to Texarkana’s railroad tradition with Pacific 231 (1924) performed with the original film, and hear gypsy pyrotechnics in Ravel’s Tzigane (1924) with violin virtuoso, and Naumburg Competition Laureate, Grace Park.

Our fall hit parade continues with international star of stage and screen, Norm Lewis, making his Texarkana

debut. Lewis graces some the artforms biggest venues with our nation’s most revered orchestras and will bring his singular style to Broadway and American Songbook favorites. Not to be outdone with one pops hit, the TSO meets popular demand and builds on a new tradition with a grand screening, along with simultaneous full symphony orchestra accompaniment, of the iconic John Williams – George Lucas collaboration, Star Wars, Episode IV A New Hope.

Our beloved Christmas at the Perot returns with an entertaining show featuring numerous talents: soprano Rachel Copeland, TSO Chamber Singers, humor, style, guests like Curtain Call Productions and the Texarkana Youth Symphony Orchestra, another great group of Celebrity Conductor competitors, and all the holiday tunes we crave. We’ll also continue our Carnegie Hall collaboration with our Link Up children’s program, The Orchestra Swings, that reaches students from across our region with an unforgettable chance to fall in love with music.

Two returning favorite soloists rek indle their TSO relationships – pianist Tatiana Roitman Mann performs Michael Daugherty’s eclectic and entertaining Le Tombeau du Liberace, and Concertmaster, Kiril Laskarov, offers Saint- Saëns romantic masterpiece Concerto No. 3. We’ll also heat things up with Tchaikovky’s passionate Serenade which is paired with international bandoneon soloist Julien Labro for several iconic tango works paired with a special world premiere of his concerto, El Fueye del Tiburón (The Bellows of the Shark). Finally, we will close the season in grand fashion with Rachmaninoff ’s Symphonic Dances and Texarkana native Clint Needham’s Hands that Built a City.

As you gaze forward in our home surrounded by beautiful sounds, please know that these memories can only be created with the extraordinary commitment and contributions of the whole TSO family, which includes the Perot Theater team. Leading both with vision and aplomb is Andrew Clark, and our great Board of Directors under the spirited leadership of Mark Van Herpen. Also deserving of thanks and recognition is TSO stalwart Remica Gray, Youth Orchestra Director Steve Bennett, our entire production team and musician leadership, and of course, the musicians of our symphony orchestra.

To everyone who has contributed energy, expertise, talents, time and resources in support of this great community success, please have my most sincere thanks. I’m so proud to be a part of our continuing story.

Yours in music,

Philip Mann

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BRAVO!

SEASON CONCERT SPONSORS

Vasco McCoy, Jr. Foundation | Kelley Morgan Foundation Lois and Cary Patterson | Cabe Cook Foundation | Emily and Gabe Tarr

Dr. George W. English, III The Gray and McGinnis Families

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 Florence and George Crank

Vicki and Roy Deskin Fulton Grass Company, Henry and Kathy Struckman Remica and Danny Gray Dolly and Paul Henley Dr. Susan Keeney

In memory of Martha and Josh Morriss, Jr.

TSO Board of Directors

Susan Robbins Drs. Jennie and Brian So Barrie Thomson

STUDENT CONCERTS IN THE PEROT THEATRE Vicki and Maurice Orr

TEXARKANA AREA

TEXARKANA YOUTH SYMPHONY ORCHESTRA Vicki and Maurice Orr | Malinda and Randal Walker 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 Mary Scott and Dr. C. Jack Smith Barbara and Ray Whitney Alan and Kathie Woll

APPLAUSE!

SPECIAL EVENTS UNDERWRITERS

Dr. Susan Keeney | Angela and Andrew Clark | DeAnna and Dr. Bret Craytor | 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 Mary and Denis Washington | Lynn and Dr. Paul Whitt

THE WAYNE GARRISON CHARITABLE TRUST

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SUPPORTING THE

SYMPHONY 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.

ENHANCE YOUR EXPERIENCE:

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 postconcert receptions.

YOUR SUPPORT IS VITAL…

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.

PLATINUM: $10,000 OR MORE

GOLD: $5,000-$9,999 SILVER: $2,500-$4,999

• • • •

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. DEVELOPS A LEGACY FOR TEXARKANA’S FUTURE.

WANT TO MEET THE MAESTRO AND MUSICIANS UP CLOSE?

Become a Symphony Chair Sponsor at $1,500 per year and be invited to attend an orchestra rehearsal, sit on the stage, and meet TSO musicians and the Maestro up-close.

CONSIDER WHAT IT WOULD TAKE TO SPONSOR A CONCERT?

TSO’s annual concert sponsors dramatically impact the orchestra and our community by ensuring the vital need for live symphonic performances in Texarkana. You can become a concert sponsor for as little as $2,500 per year. For more information, call the TSO office at 870-773-3401.

YOUR GENEROSITY IS RECOGNIZED BY: • • • • •

LISTING IN THE PROGRAM BOOK DISCOUNT ON SEASON TICKET PURCHASES INVITATIONS TO TSO EVENTS (ASSOCIATE AND ABOVE) COMPLIMENTARY TICKETS (BRONZE AND ABOVE) TAX-DEDUCTIBLE GIFTS (MINUS THE VALUE OF ANY COMPLIMENTARY TICKETS USED)

HOW TO GIVE MAIL

SUSTAINER: $500-$999 ASSOCIATE: $100-$499

CALL

FRIEND: UP TO $99

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•

your donations to Texarkana Symphony Orchestra 421 Hickory Street Texarkana, Arkansas 71854

BRONZE: $1,000-$2,499

DID YOU KNOW...

YOUR SUPPORT IS VITAL TO TEXARKANA, EVERY GIFT, NO MATTER THE SIZE…

Ticket revenue only covers a quarter of the symphony’s operating costs.

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the TSO Office at 870-773-3401 The TSO is pleased to accept your credit card donations.

ONLINE

Visit the website at: www.texarkanasymphony.org Click the “Support Us” tab.

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MASTERWORKS I

HAPPY CENTENNIAL,

PEROT THEATRE! SATURDAY, OCTOBER 12, 2024 PEROT THEATRE | 7:00 P.M. 221 Main Street, Texarkana, Texas Concert Preview: 6:10 p.m.

GRACE PARK Violin

PHILIP R. MANN Conductor

CONCERT REPERTOIRE HONEGGER, Arthur (1892-1955) Pacific 231 (1924)

TCHAIKOVSKY, Pyotr Ilyich (1840-1893) arr., Alexander Glazunov Souvenir d’un Lieu Cher, op. 42 (Memory of a Dear Place) I. Méditation II. Scherzo III. Mélodie

7’

16’

10’

10’

RAVEL, Maurice (1875-1937) Tzigane GRACE PARK

INTERMISSION PRICE, Florence Beatrice (1887-1953) Andante Moderato

RESPIGHI, Ottorino (1879-1936) Pines of Rome

I. The Pines of the Villa Borghese II. Pines near a catacomb III. The Pines of the Janiculum IV. The Pines of the Appian Way

23’

ARTIST BIO

GRACE PARK VIOLIN

P

raised by the San Francisco Chronicle as being “fresh, different and exhilarating” and Strings Magazine as “intensely wrought and burnished “, violinist Grace Park captivates audiences with her artistry, passion and virtuosity.

Winner of the Naumburg International Violin Competition, she showcases her artistry as a dynamic soloist and dedicated chamber musician.

Ms. Park has appeared as soloist, recitalist, and chamber musician throughout the United States, Europe, Asia, and Canada at venues such as Walt Disney Hall, The Kennedy Center, The Rudolfinum in Prague, Metropolitan Museum

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of Art, Jordan Hall and Rockefeller University. Most recent debuts include recital debut at Carnegie Hall and concerto debuts with Prague Philharmonia, Colorado Symphony and Orchestra NOW at the Bard Festival. She has performed in festivals such as Music @ Menlo, IMS Prussia Cove, Festival Mozaic, Yellowbarn, and Chamber Music Society of Palm Beach where she has performed with many of today’s celebrated artists.

Ms. Park recently recorded her debut album of works of Mozart and Dvorak with Prague Philharmonia and their music director, Emmanuel Villaume, which is set to be released the Spring of 2024.

A devoted and passionate educator, Ms. Park is an alumnus of Carnegie Hall’s Ensemble Connect and has taught masterclasses and coached at Conservatorio de Musica de Cartagena, Mannes School of Music, University of North Carolina, Washington and Lee University, North Dakota State University, Skidmore College, among others.

As a native to Los Angeles, California, Ms. Park began violin at the age of 5 where she trained at the Colburn School of Music. She continued her studies at Colburn Conservatory and New England Conservatory for her Bachelor and Master of Music degrees. Principal teachers are Donald Weilerstein, Miriam Fried, Sylvia Rosenberg, and Robert Lipsett. She now resides in New York City.

She performs on a 1717 Giuseppe Filius Andrea Guarneri on loan from an anonymous sponsor.

PROGRAM NOTES MASTERWORKS 1:

HAPPY CENTENNIAL,

PEROT THEATRE!

have so minutely described the onrush of my locomotive across the great spaces that it would be inhuman to disabuse them! One of them, confusing Pacific with the Pacific Ocean, even evoked the smells of the open sea. To tell the truth, in Pacific I was on the trail of a very abstract and quite ideal concept, by giving the impression of a mathematical acceleration of rhythm, while the movement itself slowed …”

Souvenir d’un Lieu Cher, Op. 42 (Memoriesof a Dear Place) Pyotr Ilyich Tchaikovsky (arr. Glazunov)

Pacific 231 Arthur Honegger

B: March 10, 1892, Le Havre, France D: November 27, 1955, Paris

Work composed: 1923 World premiere: Serge Koussevitzky led the Paris Opéra orchestra on May 8, 1924.

Instrumentation: piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, bass drum, cymbal, tam tam, tenor drum, and strings Estimated duration: 7 minutes “I have always loved locomotives passionately. For me they are living creatures, and I love them as others love women or horses.”

– Arthur Honegger In the decade after WWI, several European composers began exploring their musical fascination with the sounds of the industrial world. Arthur Honegger’s Pacific 231, the first of his three mouvements symphoniques, is the best-known and most performed of these programmatic works. Like many people, Honegger was enamored of trains and train travel; the title Pacific 231 refers to the arrangement of axels on a particular type of steam locomotive commonly used in France.

The music begins with “the quiet turning-over of the machine at rest,” writes Honegger, to “the sense of exertion as it starts up, the increase in speed and then finally the emotion, the sense of passion inspired by a 300-ton train hurtling through the night.” We hear the slow laboring of the engine as it picks up speed, along with the mechanical non-tonal sounds of the giant engine at work. The first recognizable melody does not emerge until halfway through the work; a restless melody in the winds trails off and away, like the steam from the smokestack. It swirls through a mood of mechanistic agitation as the train picks up speed, before it eventually lumbers to a stop.

Critics and audiences alike responded with enthusiasm to Pacific 231. Honegger wryly observed, “So many, many critics

B: May 7, 1840, Kamsko-Votinsk, Viatka province, Russia D: November 6, 1893, St. Petersburg

Work composed: Dedicated to “Brailov,” Nadezhda von Meck’s Ukrainian estate. Originally for violin and piano. In 1896, Alexander Glazunov arranged the Souvenir for violin and orchestra.

World premiere: undocumented Instrumentation: solo violin, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, harp, and strings Estimated duration: 17 minutes In December 1876, Pyotr Ilyich Tchaikovsky began an epistolary relationship with Mrs. Nadezhda von Meck, a wealthy widow and ardent fan of Tchaikovsky’s music.

Mme. von Meck offered to become Tchaikovsky’s patron on the condition that they never meet in person, to which the introverted Tchaikovsky agreed.

Although neither of them could have predicted it at the time, Mme. von Meck was to become something of a fairy godmother – or perhaps guardian angel – to Tchaikovsky.

Six months after they met, Tchaikovsky encountered Antonina Ivanova Milyukova, a former student obsessed with her one-time professor. She sent Tchaikovsky several impassioned letters, which alarmed the composer; eventually Milyukova threatened to kill herself if Tchaikovsky did not return her affection. This untenable situation, combined with Tchaikovsky’s tortured feelings about his sexual orientation and his desire to silence gossip about it, led to a hasty, ill-advised union. Tchaikovsky fled from Milyukova a month after the wedding. Although they were never legally divorced, the marriage officially ended after three months; Mme. von Meck gave Tchaikovsky 10,000 rubles to bestow on Milyukova as a financial settlement. Tchaikovsky subsequently suffered a nervous breakdown and went to Switzerland to recover.

While he recuperated, Tchaikovsky began work on Méditation, which became the first movement of his Souvenir d’un lieu cher (Memories of a Dear Place). Several months later, Tchaikovsky completed two more movements, Scherzo and Mélodie, while staying at Brailova, Mme. von Meck’s Ukrainian estate. In gratitude, Tchaikovsky dedicated the 2024/2025 PROGRAM | TEXARKANASYMPHONY.ORG

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PROGRAM NOTES (continued) MASTERWORKS 1: HAPPY CENTENNIAL, PEROT THEATRE! Souvenir to “Brailov,” the “dear place” referenced in the title, and gave the original manuscript to Mme. von Meck. “I have left my pieces with Marcel [the estate manager] to give to you,” Tchaikovsky wrote her. “In my opinion, the first of these is the best, but it gave me the most trouble; it is called Méditation and is to be played a tempo Andante. The second is a very brisk scherzo, and the third – Chant sans paroles [song without words]. On giving these pieces to Marcel I experienced an indescribable melancholy, which stayed with me even as I sat down to write this; until I saw the lilacs still in full bloom, the grass still long, and the roses only just starting to blossom!”

Tzigane Maurice Ravel

B: March 7, 1895, Ciboure, Basses-Pyrénées, France D: December 28, 1937, Paris

Work composed: 1924, for violin and piano. Ravel created the orchestral version two months after the premiere. Written for and dedicated to violinist Jelly d’Arányi, grand-niece of violinist Joseph Joachim.

World premiere: April 26, 1924, with d’Arányi and pianist Henri Gil-Marchex in London. D’Arányi also gave the orchestral premiere on November 30, 1924, in Paris with Gabriel Pierné leading the Colonne Orchestra.

Instrumentation: solo violin, piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, trumpet, triangle, bell on F-sharp, suspended cymbal, celesta, harp, and strings.

Estimated duration: 10 minutes The name Jelly d’Arányi may be unfamiliar today, but in the 1920s, the Hungarian virtuoso violinist was renowned among leading composers, performers, and audiences alike.

D’Arányi formed a chamber trio with cellist Pablo Casals, and toured with Béla Bartók in London and Paris performing recitals for violin and piano; d’Arányi also premiered both of Bartók’s violin sonatas, which he wrote for her. English composers Vaughan Williams and Gustav Holst likewise wrote and dedicated works to d’Arányi, and she was a close friend of Edward Elgar.

In July 1922, d’Arányi met Maurice Ravel at a private musical gathering, where she performed his newly composed Sonata for Violin and Cello. Ravel was captivated. Biographer Arbie Orenstein described what happened next: “Late in the evening Ravel asked the Hungarian violinist to play some Gypsy melodies. After Mlle. d’Arányi obliged, the composer asked for one more melody, and then another. The Gypsy melodies continued until about 5 a.m., with everyone

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exhausted except the violinist and the composer. That evening was to mark the initial gestation of Tzigane.”

Over the next two years, as Ravel worked on other projects, including his orchestration of Mussorgsky’s Pictures at an Exhibition, he was also immersing himself in the Hungarian Gypsy melodies d’Arányi had played for him that memorable summer night. Tzigane captures the raw, improvisational quality of the Gypsy (Roma) music of Hungary, particularly in the extended opening cadenza. Totally exposed, the solo violin executes a series of non-Western Magyar scalar passages, alternating with highly expressive interludes, as if the violin is pouring out the soul of its performer.

Ravel, mindful of d’Arányi’s skill, also included plenty of technically demanding tricks, which showcased both her virtuosity and the highly flavored music itself: lightning-fast runs requiring incredible dexterity, harmonics, and doublestops abound throughout.

Andante moderato Florence Price

B: April 9, 1887, Little Rock, AR D: June 3, 1953, Chicago

Work composed: 1929. Originally written as the second movement of Price’s String Quartet No. 1 in G major World premiere: undocumented Instrumentation: string orchestra Estimated duration: 7 minutes As the first Black female American composer to have a symphony performed by a major orchestra, Florence Price enjoyed considerable renown during her lifetime. Her compositional skill and fame notwithstanding, however, the entrenched institutional racism and sexism of the white male classical music establishment effectively erased Price and her music from general awareness for decades after her death in 1953. More than 50 years later, in 2009, a large collection of scores and unpublished works by Price were discovered in a house in rural Illinois. Since then, many ensembles and individual musicians have begun including Price’s music in concerts, so that audiences can discover her rich, distinctive, and polished body of work for the first time.

The daughter of a musical mother, Price was a prodigy, giving her first recital at age four and publishing her first composition at 11. During her childhood and teens in Little Rock, Arkansas, Price’s mother was the guiding force behind her piano and composition studies. In 1903, at age 16, Price won admittance to New England Conservatory (she had to “pass” as Mexican and listed her hometown as Pueblo, Mexico, to circumvent prevailing racial bias against Blacks), where she double majored in organ performance and piano pedagogy. While at NEC, Price also studied composition

with George Whitefield Chadwick. Chadwick was an early advocate for women as composers, which was highly unusual at the time, and he believed that American composers generally should incorporate the rich traditions of American vernacular sounds into their own music, rather than trying to imitate European styles. Price, already inclined in this direction, was encouraged by Chadwick, and many of her works reflect the expressive, distinctive idioms of what were then referred to as “Negro” traditions: spirituals, ragtime, and folkdance rhythms whose origins trace back to Africa.

The Andante moderato on tonight’s program originated as a movement from Price’s first string quartet. Price’s expressive writing showcases her love and mastery of American musical idioms. The warm simplicity of the melody suggests a hymn or spiritual, or the slow passage of time on a summer afternoon.

I pini di Roma (Pines of Rome) Ottorino Respighi B: July 9, 1879, Bologna D: April 18, 1936, Rome

Work composed: May 1923 - 1924 World premiere: Pines oWf Rome was first performed in Rome at the Teatro Augusteo on December 14, 1924, under the direction of Bernardino Molinari.

Instrumentation: 3 flutes (one doubling piccolo), 2 oboes, English horn, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 6 horns, 4 trumpets, 3 trombones, tuba, timpani, bass drum, cymbals, orchestra bells, ratchet, snare drum, tambourine, triangle, celeste, organ, piano, harp, and strings.

Estimated duration: 26 minutes

attention to orchestral detail in the third movement, The Pines of the Janiculum, where the composer specifies a live recording of a nightingale be played over the music at the conclusion of the movement. This innovative blend of live vs. recorded music predates the concept of musique concrete or “found sound,” which gained popularity in the 1960s and 70s, by forty years.

Respighi includes a description of each of the four movements in the score: “The Pines of Villa Borghese (Allegretto vivace). Children are at play in the pine grove of the Villa Borghese, dancing the Italian equivalent of “Ring Around a Rosy;” they mimic marching soldiers and battles; they chirp with excitement like swallow at evening; and they swarm away.

Suddenly the scene changes … Pines Near a Catacomb (Lento) … and we see the shadows of the pines which crown the entrance of a catacomb. From the depths rises a dolorous chant, which spreads solemnly, like a hymn, and then mysteriously dies away. The Pines of the Janiculum (Lento). There is a tremor in the air. The pines of Janiculum Hill are profiled in the full moon. A nightingale sings. The Pines of the Appian Way (Tempo di marcia). Misty dawn on the Appian Way. Solitary pines stand guard over the tragic campagna. The faint unceasing rhythm of the numberless steps. A vision of ancient glories appears to the poet’s fantasy: trumpets blare and a consular army erupts, in the brilliance of the newly risen sun, toward the Sacred Way, mounting to a triumph on the Capitoline Hill.” © Elizabeth Schwartz

When the New York Philharmonic gave the American premiere of Pines of Rome in 1926, with Arturo Toscanini conducting, Ottorino Respighi, referring to himself in the third person, wrote the following program note: “While in his preceding work, Fountains of Rome, the composer sought to reproduce by means of tone an impression of Nature, in Pines of Rome he uses Nature as a point of departure, in order to recall memories and vision. The centuries-old trees which so characteristically dominate the Roman landscape become witnesses to the principal events in Roman life.”

From the opening bars, the listener is enveloped in the brilliant colors of Respighi’s dazzling orchestrations. Each of the four movements portrays the celebrated pines in different locations at different times of day. Respighi paid specific 2024/2025 PROGRAM | TEXARKANASYMPHONY.ORG

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CONCERT REPERTOIRE STROMMEN, Carl Salute to Broadway POPS I

BLOCKBUSTER BROADWAY NORM LEWIS WITH

SATURDAY, NOVEMBER 9, 2024

PEROT THEATRE | 7:00 P.M. 221 Main Street, Texarkana, Texas

PHILIP R. MANN Conductor

STROUSE, Charles and ADAMS, Lee This is Life, from Golden Boy

SHIRE, David, MALTBY, JR., Richard Starting Here, Starting Now, from Starting Here, Starting Now

WILSON, Meredith Ya Got Trouble, from The Music Man WEBBER, Andrew Music of the Night, from The Phantom of the Opera SCHÖNBERG, Claude-Michel and BOUBILL, Alain Selections from Les Misérables BOUBILL, Alain, and SCHÖNBERG, Claude-Michel Stars, from Les Misérables

BOUBILL, Alain, SCHÖNBERG, Claude-Michel, and KRETZMER, Herbert Bring Him Home, from Les Misérables

GERSHWIN, George and Ira I Got Plenty o’Nuttin’, from Porgy and Bess

INTERMISSION

with Broadway Legend

TOWNSHEND, Peter Pinball Wizard, from The Who’s Tommy

NORM LEWIS

MENKEN, Alan, ASHMAN, Howard, and SLATER, Glenn The Little Mermaid The World Above Poor Unfortunate Souls

WEBBER, Andrew Lloyd Selections from Jesus Christ Superstar

Vocalist

also featuring

JOSEPH JOUBERT

SMALLS, Charlie Home, from The Wiz SONDHEIM, Stephen Being Alive, from Company FLAHERTY, Stephen, and AHRENS, Lynn Make Them Hear You, from Ragtime

Norm Lewis appears courtesy of The Katz Company.

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ARTIST BIO

NORM LEWIS VOCALIST

E

mmy, Grammy, Tony, and SAG Award nominee, NORM LEWIS, was recently seen onstage starring in the national tour of the Tony Award-winning production of A Soldier’s Play and in Andrew Lloyd Webber’s West End Concert of “Love Never Dies.” He starred in Spike Lee’s critically acclaimed, “Da 5 Bloods,” and in the groundbreaking FX series, Pose. Additionally, Mr. Lewis can be seen starring opposite Hilary Swank in the feature “The Good Mother,” Amazon Prime’s newest series, Swarm, and Hulu’s, Up Here. He was also seen as ‘Caiaphas’ in the award-winning NBC television special, “Jesus Christ Superstar Live in Concert!,” alongside John Legend, Sara Bareilles, and Alice Cooper.

Mr. Lewis returned to Broadway in the Fall of 2021, starring in Chicken and Biscuits at the Circle In The Square Theatre. He previously appeared in the Broadway revival of Once on This Island and as Sweeney Todd in the Off-Broadway production of Sweeney Todd: The Demon Barber of Fleet Street at the Barrow Street Theatre, receiving the AUDELCO Award for his performance. In May of 2014, he made history as The Phantom of the Opera’s first African American Phantom on Broadway.

He has been seen on PBS in the Live From Lincoln Center productions of Showboat with Vanessa Williams, Norm Lewis: Who Am I?, New Year’s Eve: A Gershwin Celebration with Diane Reeves, as well as American Voices with Renée Fleming and the PBS Specials First You Dream – The Music of Kander & Ebb and Ella Wishes You A Swingin’ Christmas. He can be seen recurring in the VH1 series, Daytime Divas, also alongside Vanessa Williams. His additional television credits include Women of The Movement, Law & Order, Dr. Death, Mrs. America, Better Things, The Unbreakable Kimmy Schmidt, Bull, Chicago Med, Gotham, The Blacklist, and Blue Bloods, as well as in his recurring role as Senator Edison Davis on the hit drama Scandal.

Mr. Lewis is a proud, founding member of Black Theatre United, an organization which stands together to help protect Black people, Black talent and Black lives

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of all shapes and orientations in theatre and communities across the country. He received Tony, Drama Desk, Drama League, and Outer Critics Circle award nominations for his performance as Porgy in the Broadway production of The Gershwins’ Porgy & Bess. Other Broadway credits include Sondheim on Sondheim, The Little Mermaid, Les Misérables, Chicago, Amour, The Wild Party, Side Show, Miss Saigon, and The Who’s Tommy. In London’s West End he has appeared as Javert in Les Misérables and Les Misérables: The 25th Anniversary Concert, which aired on PBS. Off-Broadway Mr. Lewis has performed in Dessa Rose (Drama Desk nomination, AUDELCO Award), Shakespeare in the Park’s The Tempest, The Two Gentlemen of Verona (Drama League nomination), Captains Courageous, and A New Brain. His regional credits include Porgy in The Gershwins’ Porgy and Bess (A.R.T.), Ragtime, Dreamgirls (with Jennifer Holliday), First You Dream, Sweeney Todd, and The Fantasticks.

His additional film credits include Christmas In Tune (starring opposite Reba McEntire), Magnum Opus, Winter’s Tale, Sex and the City 2, Confidences, and Preaching to the Choir.

Norm’s albums “The Norm Lewis Christmas Album” & “This is The Life” can be found on Amazon.com as well as cdbaby.com.

ARTIST BIO

JOSEPH JOUBERT

J

oseph Joubert is a native New Yorker and Grammy nominated musician who’s well known as a pianist, arranger, orchestrator, Broadway conductor, and music director. Mr. Joubert currently is music supervisor, orchestrator and co-arranger for “The Wiz” revival that’s on Broadway. In addition he’s co-orchestrator of Alan Menken’s “Hercules”. His Broadway orchestration credits include: “Caroline or Change”, “The Color Purple”(Drama Desk Nomination), “Disaster”, “Violet”(Drama Desk Nomination) and “Leap of Faith”. He was Musical Director for Berry Gordy’s “Motown The Musical” and was assistant conductor for “Nice Work If You Can Get It” and “Billy Elliot”. He was guest conductor for Encore’s “Tap Dance Kid ”. He has orchestrated and played for “Respect” starring Jennifer Hudson as well as conducting the score for Kris Bowers. Mr. Joubert is a sought after music director for Broadway stars and has collaborated with Cynthia Erivo, Deborah Cox, Ken Page, Norm Lewis and recently did a PBS special with Melissa Erico. Mr. Joubert was music supervisor and orchestrator for Classic Stage Company’s “Carmen Jones” starring Anika Noni Rose to rave reviews.

As a record producer and arranger/orchestrator he has worked with Diana Ross, George Benson, Patti LaBelle, Whitney Houston, Cissy Houston, Jennifer Holliday, Dionne Warwick, Luther Vandross, Norm Lewis and Diane Reeves as well as classical singers including Denyce Graves,

Esther Hinds, Harolyn Blackwell, Florence Quivar, Simon Estes, and Kathleen Battle. His orchestrations are used by symphonies across the USA including The New York Philharmonic and Philadelphia orchestras. He is a founding member of MUSE - musicians united for social equity He received a grammy nomination for Best Arrangement Accompanying A Vocal for the Broadway Inspirational Voices! Great Joy”.

Mr. Joubert is at home arranging and performing in any style from classical to pop, gospel to Broadway, spiritual to R & B. He has reinterpreted classic hymns on his solo piano CD Total Praise and most recent solo piano CD A Mighty Fortress Is Our God: The Joubert Experience released by GIA Publications. His published arrangements are performed all over the world. As Musical Director for Judy Collins for five years he performed with the London Symphony and many of the major American orchestras. At the request of the composer Coleridge Taylor Perkinson Mr. Joubert recorded “Grass” with the Chicago Sinfonietta on Cedille Records.

Born in New York City, the son of a Baptist minister, he began playing the piano at the age of eight and by age sixteen had made his Town Hall debut with full orchestra. He received his Bachelor of Music and Master of Music degrees from Manhattan School of Music, where he studied with Dora Zaslavsky, and won the nationwide piano competition of the National Association of Negro Musicians in 1980.

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Danny Jordan Tatiana Kotcherguina Thao Pham Emily Townsend Jorge Luis Zapata

ORCHESTRA ROSTER 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 M.H. Norwood *Barbara and Ray Whitney VIOLIN Principal Second Violin (to be auditioned) *Tatiana and Philip Mann Elizabeth Beck Yasmine Bougacha Linnaea Brophy Emilio Castro Ana Corrales Albert Delgadillo Elijah Evans Andrea Finley Juan Carlos Flores Jose Garza J. Michele Gunn Ciara Charlesse Hagar Ming-Wei Hsieh Yida Hu Thane Isaac Ronnamarie Jensen Anna Larson Javier Laya Norman Martinez Marijn Meijer Emma Milian Nicole Paglialonga Oksana Pavilionis Jennifer Sherman Crissanti Garcia Tamez Leihlani Garcia Tamez Chloe Trevor VIOLA Borys B. Smolaga, Principal *Martha and Jeff Prieskorn Anna Bass-Mattingly J. Michele Gunn Amanda Hamilton

CELLO Brett Andrews, Principal *Deborah and Mike Malek Marina Diago Noemie Golubovic Jason Mooney Kourtney Newton Jose Ottonello Milovan Paz Jorge A. Rodriguez Alisha Rufty BASS Jarrett Bastow *Drs. Kathleen and Michael Martin John Hunter Justin Kujawski Jeff Madlock Sean O’Hara Lois Robinson Jose Saavedra Diaz FLUTE Gabriel Vega, Acting Principal Laura Bennett, Second Flute Kara Compton, Flute 3/Piccolo Chris Cox Stephen Clark OBOE Theresa Zale Bridges, Principal *Barbara and Dr. Paul McCash Leah Forsyth, Second Oboe Shannon Clardy Eric Giles Kristin Perry CLARINET Jasper Hensley, Principal *Kathy and Donnie Powers in memory of Jauquita Hargus Cheyenne Cruz, Second Clarinet/Bass Clarinet *Alan and Kathie Woll Jared Davis Brian Do Chastine Hofmeister BASSOON Jorge Cruz, Principal *Drs. Valeria and Matthew Burks Janelle Ott, Second Bassoon Sarah Boyd, Contra Bassoon Neva Abrisz Jonna Griffith Michael Jones HORN Brent Shires, Acting Principal *Diana and Dr. Kirby Bunel Jacqueline Adams Adam Black Vivian Yu-hsuan Chang Kristine Coreil James Currence

Robin Dauer Derek Matthesen Katie McBain Evan Mino TRUMPET Jeremy McBain, Principal *Katrina and Dr. Robert McGinnis Buddy Deese, Second Trumpet Micah Bell Michael V. Scarlatto

TROMBONE Mark Windham, Principal *Lee Ann and Buddy McCulloch Steve Bennett, Second Trombone Carlito Chavez Dr. Jeremy L. Dowden Nick Losos

BASS TROMBONE J. Mark Thompson, Principal Jordan Davenport TUBA Ed Owen, Principal Crozet Duplantier HARP Juliette Buchanan Alisa Coffey Victoria Gonzales

PIANO – MARY SCOTT SMITH ENDOWED CHAIR Principal (to be auditioned) *Mary Scott and Dr. C. Jack Smith Robert Cruz Jonathon Story

TIMPANI Derron Bell, Principal *C. Louis and Mary C. Cabe Foundation Ryan Lewis

PERCUSSION Jacob Garcia, Principal *Bobbie A. Atkinson David Cavazos Daniel Crisp Jaime Esposito Aaron Guillory Ryan Lewis Erick Saoud Mark Schubert Blake Taylor JAZZ COMBO Sarah Roberts, Bb Clarinet/ Tenor Saxophone TBA, Bb Trumpet Nick Losos, Trombone Jeff Madlock, Bass (upright) Blake Taylor, Trap Set *CHAIR SPONSOR

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PERFORMED BY THE TEXARKANA SYMPHONY ORCHESTRA

SATURDAY, NOVEMBER 23, 2024 7:00 P.M. | PEROT THEATRE | PHILIP R. MANN, CONDUCTOR

John Williams Star Wars Film Concert Series Star Wars: A New Hope Twentieth Century Fox Presents A Lucasfilm Ltd. production Starring Mark Hamill Harrison Ford Carrie Fisher Peter Cushing and Alec Guinness Written and Directed by George Lucas Produced by Gary Kurtz Music by John Williams

Original Motion Picture Soundtrack available at Disneymusicemporium.com

© & TM Lucasfilm Ltd. Presentation licensed by Disney Concerts in association with 20th Century Fox Film Corp., Lucasfilm Ltd., and Warner/Chappell Music. © All rights reserved.

JOHN WILLIAMS In a career spanning more than six decades, John Williams has become one of America’s most accomplished and successful composers for f ilm and the concert stage.

He remains one of our nation’s most distinguished and contributive musical voices. He has composed the music for more than one hundred films, including all nine Star Wars films, the first three Harry Potter films, Schindler’s List, E.T. the Extra-Terrestrial, Jaws, Jurassic Park, Saving Private Ryan, Lincoln, Close Encounters of the Third Kind, Superman and the Indiana Jones films. He served as music director of the Boston Pops Orchestra for fourteen seasons and remains their Laureate Conductor. He has composed numerous works for the concert stage including two symphonies and more than a dozen concertos commissioned by some of America’s most prominent orchestras. He has received five Academy Awards and fifty-three Oscar nominations, seven British Academy Awards, twenty-five Grammys, four Golden Globes, and five Emmys. His other honors include the Kennedy Center Honors, the National Medal of Arts, an honorary KBE from Queen Elizabeth II, the Life Achievement Award from the American Film Institute, Spain’s Princess of Asturias Award for the Arts, and the Gold Medal from the UK’s prestigious Royal Philharmonic Society.

Star Wars Film Concert Series Production Credits President, Disney Music Group Ken Bunt SVP/GM, Disney Concerts Chip McLean Supervising Technical Director Alex Levy – Epilogue Media Film Preparation Ramiro Belgardt Business Affairs, Lucasfilm Rhonda Hjort Chris Holm For Booking Inquires: Emily.

Yoon@TeamWass.com

Music Preparation Mark Graham Matthew Voogt

VP, Disney Concerts Gina Lorscheider

Operations, Disney Concerts Brannon Fells Royd Haston

Business Affairs, Disney Concerts Darryl Franklin Leigh Zeichick Neiloofar Sajedi Elena Contreras Addison Granillo Narine Minasian Christy Swintek Svetlana Tzaneva

Marketing & Publicity Lisa Linares Lillian Matulic

Business Affairs, Warner-Chappell Scott McDowell

JoAnn Kane Music Service Disney Music Library

Tonight’s program is a presentation of the complete film Star Wars: A New Hope 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.

© & TM Lucasfilm Ltd. Presentation licensed by Disney Concerts in association with 20th Century Fox Film Corp., Lucasfilm Ltd., and Warner/Chappell Music. © All rights reserved.

THE

TEXARKANA THE

SYMPHONY

ORCHESTRA

FOURTEENTH

PRESENTS

ANNUAL

CELEBRITY CONDUCTOR C O M P E T I T I O N

SOME QUICK FACTS ABOUT THE COMPETITION:

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 15, 2024, 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 2024 Concerts.

2024 CELEBRITY CONDUCTOR COMPETITORS

D

Dr. Ross Alexander

r. Ross Alexander was appointed as the fifth President of Texas A&M University-Texarkana in August 2023. Previously, he served for six years as Provost and Executive Vice President for Academic Affairs at the University of North Alabama (UNA). Prior to UNA, he held numerous leadership positions at Indiana University East (IUE), including Dean of the School of Humanities and Social Sciences. Before IUE, he was a faculty member and administrator at the University of North Georgia for many years. Dr. Alexander is an award-winning teacher, adviser, and scholar who maintains an active research agenda in the areas of American national government, online education, and organizational leadership. Dr. Alexander enjoys reading history, physical fitness, and advocating for A&M-Texarkana in the community and across the region.

Dr. Alexander is a former college football player who earned his Bachelor of Arts degree with a double major in Political Science and History from Beloit College in 1996. He earned his M.P.A. from Arizona State University in 1998 and his Ph.D. in Political Science from Northern Illinois University in 2002. He also holds a certificate in Management and Leadership in Education from Harvard University.

Ross is the proud husband to Lilia Alexander, a native of Bulgaria who came to the United States on a tennis scholarship. Together they have three children, Victoria, Madelaine, and Ross Jr.

A

Ashley Taylor Cooper

shley Taylor Cooper, daughter of Jeff Taylor and the late Kathy Taylor, has proudly called Texarkana home for all 47 years of her life. From an early age, Ashley developed a passion for horses, competing in numerous rodeo queen contests from the age of 5 to 21. Alongside her equestrian pursuits, she honed her musical talents, taking private piano lessons and mastering pieces like “Fur Elise.”

Ashley has dedicated herself to her community, serving for eight years in the Texarkana Junior League, where she is now a sustainer. A versatile professional, she spent seven years as a hair stylist before transitioning to education, teaching first grade at Liberty Eylau Primary for five years. For the past decade, she has excelled in network marketing, and in the last four years, she has made her mark as a realtor with Coldwell Banker Elite, becoming the #1 REALTOR® in the Texarkana MLS on the buy side in 2023.

In her personal life, Ashley is a devoted dog mom to her min pin Goldie and two chihuahuas, Lulu and Midge.

An avid tennis player, she captains her local 3.5 team. She enjoys spending time with her boyfriend, family, reading, and traveling. A memorable moment in her life was singing in a public speaking class, where she humorously discovered she couldn’t carry a tune!

F

Amy Halt

rom an early age, Amy Halt has had a love for music from listening to her record player to singing in church.

She moved to Texarkana from Illinois in the summer of 2020 with her husband Dave and son Liam. Her daughter, Sarah, and son–in-law, Nick, live in Kalamazoo which she likes to frequent, especially in the summer.

Amy teaches at the Texarkana Arkansas School District Magnet School, Harmony Academy of Music and Arts.

Formerly, she served on the Illinois Symphony Orchestra Educational Committee bringing musicians into school classrooms, and currently coordinates for TASD with Texarkana Symphony Orchestra and Carnegie Hall’s Link Up program. She loves how the Texarkana Symphony Orchestra has inspired her students. After students attended The Orchestra Rocks with the TSO, her Razorback Beats Enrichment Group begged to perform “O Fortuna” by Carl Orff for their Spring Concert. Students worked with Mrs. Halt to add instruments while working with Mrs. Ferrell on their Latin skills. The TSO motivated her students to share their own love of music with their family and friends. Amy is a National Board-Certified Music Teacher with her Master’s in Teaching and Learning from Illinois State University. She loves hiking, reading, traveling, and misses her Irish Band. She is a proud supporter of the TSO and Texarkana.

I

Ben King

ntroducing Ben King—Texarkana’s own attorney by day, aspiring conductor by night! Ben is an attorney at Ross & Shoalmire PLLC, where he spends his days crafting legal strategies and estate plans while occasionally dreaming of wielding a baton conducting the Texarkana Symphony Orchestra.

Ben’s musical journey began in the hallowed halls of Pittsburg Elementary School, where he bravely joined the choir possessing no singing abilities and an unmatched talent for clearing rooms with his singing. Fortunately, he had enough rhythm to shift his talents to the drums, and he kept the beat as a percussionist beginning in middle school through his time at Pittsburg High School. Ben’s musical journey continued at Texas A&M University, where he proudly marched as a member of the Fightin’ Texas Aggie Band.

Ben’s deep-seated love for music and support for the Texarkana Symphony Orchestra have made him an enthusiastic participant in this year’s Celebrity Conductor competition. He’s eager to contribute to the TSO’s mission and hopes to fulfill his dream to lead the Orchestra with the same energy he once brought to the drum section at Pittsburg High School and Texas A&M, and all while not worrying about having any off-key notes of his own.

Join Ben in making this year’s Celebrity Conductor competition a great success, as he combines his love for music with a bit of friendly competition. With your support, he can hit the right notes on the fundraising front and his dream will become a reality—no singing required!

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CONCERT REPERTOIRE FRY, Gary A Merry Olde Christmas 4’

POPS III

CHRISTMAS

AT THE

PEROT

SUNDAY, DECEMBER 15, 2024

PEROT THEATRE | 4:00 P.M. 221 Main Street, Texarkana, Texas

WILSEN, Meredith arr., Mark Hayes It’s Beginning to Look Like Christmas NILES, John Jacob arr., Gary Fry I Wonder as I Wander

RACHEL COPELAND

4’ 4’

PROKOFIEV, Sergie Troika, from Lieutenant Kijé 3’ VERDI, Giuseppe Ave Maria, piena di grazia, from Otello, Act IV

RACHEL COPELAND

5’

CUSTER, Calvin Hanukkah Festival Overture 7’

PHILIP R. MANN Conductor

featuring RACHEL COPELAND, soprano with The Texarkana Symphony Chamber Singers, Scott Thornhill, conductor

Texarkana Youth Symphony Orchestra, Steve Bennett, conductor

The Community Ballet of Texarkana Sugar Plum Fairy Lauren Friday Russian Reagan Goodman Tyler Hodge

Arabian Kaleigh Bolton Kylee Eaves Jillian Turner

Pleasant Grove High School Curtain Call Productions, Lisa Newton and Tiffany Beck

Caurie Beck Owen Braza Morgan Breaux Lyla Breto Rhoda Clements Addison Fry Alexia Gipson Kaylee Hunt

Sawyer Julien Trae Raymond Rylie Romero Abigail Thrash Emma Sharp Kaylynn Sharp Jared Thrash Sophee Wyatt

TCHAIKOVSKY, Pyotr Ilyich Suite from Nutcracker, opus 71a Dance of the Sugar Plum Fairy 3’

Arabian Dance 3’ Russian Dance (Trepak) 1.5’

COMMUNITY BALLET of TEXARKANA

INTERMISSION COLERIDGE-TAYLOR, Samuel Christmas Overture 6’ RICHMAN, Lucas Coventry Carol 4’ ANDERSON, Leroy Sleigh Ride 4’ 2024 CELEBRITY CONDUCTOR RICHMAN, Lucas Reindeer Variations from A Christmas Wish 9’

PGHS-CURTAIN CALL PRODUCTIONS ADAM, Adolphe O Holy Night 5’

RACHEL COPELAND O’NEILL, Paul arr., Bob Phillips Wizards in Winter (Trans-Siberian Orchestra) 3’

TEXARKANA YOUTH SYMPHONY ORCHESTRA RUTTER, John The Very Best Time of Year

3’

FINNEGIN, John Christmas Sing Along 7’ 2024/2025 PROGRAM | TEXARKANASYMPHONY.ORG

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ARTIST BIO

RACHEL E. COPELAND SOPRANO

R

achel E. Copeland continues to receive acclaim as a “revelation with her coloratura soprano leaping easily to impossible heights!” She is a sought after artist combining her crystalline voice with her compelling and energetic stage presence. Ms. Copeland recently debuted at Avery Fisher Hall as the soprano soloist in Mozart’s Coronation Mass to rave reviews as well as performances with the Brussels Chamber Orchestra in a concert of arias and duets. Other career highlights include the Contessa in Mozart’s Le Nozze di Figaro with Cleveland Opera Theater, Frasquita in Bizet’s Carmen with San Diego Opera, Micäela in Peter Brook’s Le tragédie de Carmen with Indianapolis Opera, and Woglinde in Wagner’s Das Rheingold and First Nymph in Dvorak’s Rusalka with North Carolina Opera. She returned to Apollo’s Fire, the Cleveland Baroque Orchestra in 2013 to great acclaim as the Queen of the Night in Mozart’s The Magic Flute, including a national broadcast and her debut at Severance Hall, the prestigious home to the Cleveland Symphony Orchestra. Other considerable performances include Ms. Copeland’s appearances as Zdenka in Strauss’s Arabella, Musetta and Mimì in La bohème, Lauretta in Puccini’s beloved Gianni Schicchi, Lucia in Donizett’s Lucia di Lammermoor, Juliette in Gounod’s Romèo et Juliette, Adele in J. Strauss’ Die Fledermaus, Mabel in The Pirates of Penzance, and Papagena in The Magic Flute. Internationally, Ms. Copeland has performed the roles of Donna Elvira in Mozart’s Don Giovanni and Adina in Donizetti’s L’elisir d’amore. Upcoming engagements include a world premiere workshop with Cleveland Opera Theatre, a world premiere with Penn State Opera Theater, and a role and company debut of Agueda in Mayo, Bisperas ng Liwanag in Naga City and Manila, Philippines.

In addition to the operatic stage, Ms. Copeland has been praised for her “elegant and smooth tone” in oratorio and symphonic works. As a frequent performer with the Helena Symphony (MT), Ms. Copeland has most recently sung the role of Eve in Hadyn’s The Creation and Bach’s St. Matthew Passion. Other notable engagements were with Apollo’s Fire for Handel’s Messiah, The Choral Society of Durham (NC) as the soprano soloist in Barber’s Prayers of Kierkegaard, and the soprano soloist in Hadyn’s Lord Nelson’s Mass and Missa belle tempori.

Dr. Copeland was previously on the faculty of East Carolina University School of Music where she served as the Associate

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Director (2016 – 2018), the Coordinator of Graduate Studies (2014 – 2018), and a member of the Voice Faculty (2011 – 2018). In both academic years 2017 – 18 and 2014 -2015, Dr. Copleand was nominated for the Robert Wright Alumni Excellence in Teaching Award at East Carolina University. Many of Dr. Copeland’s students have received awards, scholarships, assistantships, and are featured in principle roles at the undergraduate and graduate level at prestigious music schools like Boston Conservatory, Indiana University, Florida State University, Oberlin Conservatory of Music, and the University of North Texas.

Dr. Copeland is frequently sought after as a master class technician both nationally and abroad and has been on the faculty of the Cornish American Song Institute in Falmouth, England since 2016. During the summers of 2011 and 2012, Dr. Copeland was a faculty member of Musica nelle Marche in Urbania, Italy.

Administratively, Dr. Copeland serves at General Manager for the Hawaii Performing Arts Festival and has previously served in the positions of Program Director and Operations Manager for Oberlin in Italy in Arezzo, Italy. Dr. Copeland holds the Doctor of Music degree in Vocal Performance with a minor in Music History from Indiana University; the Master of Music degree in Voice Performance from Baylor University; and the Bachelor of Music Education degree in Choral Conducting from Baylor University. Dr. Copeland began an appointment at Pennsylvania State University School of Music as a member of the Voice Department in 2018.

Memorials & Honorariums Memorials and Honorariums given to TSO in the last year as of September 1, 2024.

GIFTS IN HONOR Andrew Clark Sue Sanderson Garden Club

Steinway Piano made possible by Dr. and Mrs. Charles Hollingsworth and Family.

Robin Thomas Mary Scott & Dr. C. Jack Smith

GIFTS IN MEMORY Jean Alston Janis Robbins Jane Rochelle Lucille Cook Cadence Bank Trust Department Angela and Andrew Clark Remica and Danny Gray Deborah and Ron Mills Vicki and Maurice Orr Cathy and Mark Van Herpen Yvonne Clements Remica and Danny Gray Drs. Dub and Rebecca Bowden Narramore Victor Hlavinka Angela and Andrew Clark Remica and Danny Gray Sherry and Buddy Hawkins Camille and Rob McGinnis Deborah and Ron Mills Texarkana Law Wives TSO Board of Directors Judge Edward Miller Remica and Danny Gray Dr. Susan Keeney Judge John and Gloria Miller TSO Board of Directors Walker Ogden Lindsey and Dr. Chris McMillan Dr. & Mrs. Gene McMillan and Family Betty Rateliff Eddie E. Robbins Dr. Tom and Jean Alston

COME OUT TEXARKANA YOUTH SYMPHONY ORCHESTRA

CONDUCTOR STEVE M. BENNETT

&PLAY!

M

r. 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.

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 AT THE PEROT, SIDE BY SIDE SUNDAY, DECEMBER 15, 2024, 4:00PM PEROT THEATRE 221 MAIN STREET, TEXARKANA, TX SPRING CONCERT SUNDAY, MAY 4, 2025, 4:00PM SULLIVAN PERFORMING ARTS CENTER JOHN THOMAS THEATRE 3941 SUMMERHILL RD, TEXARKANA, TX 40

TEXARKANASYMPHONY.ORG | 2024/2025 PROGRAM

ABOUT THE YOUTH ORCHESTRA: 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.

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JANUARY 30, 2025 9:30 AM** | PEROT THEATRE This is a program of Carnegie Hall’s Weill Music Institute In collaboration with Carnegie Hall, the Texarkana Symphony Orchestra is participating in Link Up “The Orchestra Swings,” a music education program provided by Carnegie Hall’s Weill Music Institute. The students participating in Link Up attend a culminating concert on January 30, 2025, 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 .

REPERTOIRE FOR THIS CONCERT INCLUDES: Thomas Cabaniss “Come to Play” George Gershwin “I Got Rhythm” Florence Price “Juba” from Symphony No. 1 Duke Ellington “Duke’s Place”

John Clayton “Recorder Mae and the Giant Swing Machine” Wynton Marsalis “Midwestern Moods” from Swing Symphony Duke Ellington “It Don’t Mean a Thing (If It Ain’t Got That Swing)” Traditional “When the Saints Go Marching In”

**TSO’s annual student concerts are for local school systems and homeschool groups. Any unused seats will be available to the public after January 6, 2025. For more information on these concerts please contact: Remica Gray, director of operations/education committee chair, at 870-773-3401.

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MASTERWORKS II

A FLAIR FOR THE DRAMATIC SATURDAY, FEBRUARY 8, 2025 PEROT THEATRE | 7:00 P.M. 221 Main Street, Texarkana, Texas Concert Preview: 6:10 p.m.

TATIANA R. MANN Piano

PHILIP R. MANN Conductor

CONCERT REPERTOIRE MOZART, Wolfgang Amadeus (1756-1791) Symphony No. 35, in D Major, K. 385, “Haffner” I. Allegro con Spirito II. Andante III. Menuetto IV. Presto DAUGHERTY, Michael (b.1954) Le tombeau de Liberace I. Rhinestone kickstep II. How do I love thee?

III. Sequin Music (piano only) IV. Candelabra Rhumba

TATIANA ROITMAN MANN

~20’

~20’

INTERMISSION STRAUSS, Richard (1864-1949) Le Bourgeois Gentilhomme, TrV 228c, op. 60 36’ I. Ouverture (Overture) II. Menuett (Minuet) III.Der Fechtmeister (The Fencing Master) IV. Auftritt und Tanz der Schneider (Entry and Dance of the Tailors) V. Menuett des Lully (Lully’s Minuet) VI. Courante VII. Auftritt des Cléonte (Entry of Cléonte; after Lully) VIII. Vorspiel (Prelude to Act II) IX. Das Diner (The Dinner) 2024/2025 PROGRAM | TEXARKANASYMPHONY.ORG

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ARTIST BIO

TATIANA R. PIANO MANN

P

erformances of pianist Tatiana Roitman Mann have been recognized by the BBC as “formidable…both accurate and with rarely seen joy.”

Tatiana has appeared as a soloist and recitalist across North America and Europe; radio broadcasts include H.VillaLobos’ Mystic Sextet, on NPR’s Performance Today, and B. Bartok’s Contrasts on New York’s classical music station, WQXR, G. Gershwin’s Rhapsody in Blue on Little Rock’s KLRE. Mann’s recording of the original, big band version of Gershwin’s Rhapsody in Blue was released on Naxos in the album Jazz Nocturne – American Concertos of the Jazz Age.

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Most recently, Tatiana can be heard on the album Finding Home, released in 2022 on Sony Classical Korea, performing chamber music by S. Prokofiev, A. Copland, and A. Kernis.

The recording can be purchased on Apple Music and on Amazon.

A s a p er for mer of contemp or a r y work s , she premiered Speak No Evil by E. McKinley at the American Composer’s Forum, and performed For Don by M. Babbitt, with the composer in attendance, in celebration of his 90th birthday at Tanglewood’s Contemporary Music Festival.

As the recipient of Peggy Rockefeller Memorial Fellowship at Tanglewood, she worked with James Levine, Dawn Upshaw, Yo-Yo Ma, Charles Rosen and Claude Frank.

Engagement highlights include Petrushka with San Diego Symphony, Beethoven’s Choral Fantasy in Sydney, Australia, as well as performances in the US of Gershwin’s Rhapsody in Blue, Beethoven’s Piano Concerto #4, op.58, Saint-Saëns’ Piano Concerto #4, op.44, Mozart’s Piano Concerto #23, K488 and DeFalla’s Evenings in the Gardens of Spain under the batons of M/Os Imre Pallo, Philip Mann, Jahja Ling and Beverly Everett, among others.

Tatiana Roitman Mann holds graduate degrees from Manhattan School of Music, the Royal Academy of Music in London, and a D.M.A. in Piano Performance from University of Minnesota. Her principal teachers include Mr. John Melnyk, Prof. Tatiana Sarkissova, Prof. Alexander Braginsky, and Dr. Marc Silverman.

PROGRAM NOTES MASTERWORKS I1:

A FLAIR FOR THE DRAMATIC Symphony No. 35 in D major, “Haffner” K. 385 Wolfgang Amadeus Mozart B: January 27, 1756,Salzburg, Austria D: December 5, 1791, Vienna

Work composed: 1782 World premiere: Mozart conducted the premiere at one of his subscription concerts in Vienna on March 23, 1783.

Instrumentation: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings Estimated duration: 17 minutes During the summer of 1782, 26-year-old Wolfgang Amadeus Mozart was juggling several projects at once.

The previous year, he had left his hometown and his unappreciative employer, the Archbishop of Salzburg, to settle in Vienna. Mozart’s opera The Abduction from the Seraglio had premiered on July 16, 1782; just after the opera began its run, Mozart started making an arrangement of the opera’s music for wind ensemble – “otherwise someone will beat me to it and get the profits,” as he explained in a letter to his father Leopold. Mozart was also preparing for his upcoming marriage to Constanze Weber, his landlady’s daughter. In the midst of all this activity, Leopold wrote Mozart requesting some celebratory music for the occasion of the ennoblement of Sigmund Haffner, a Salzburg friend whom Mozart had known since childhood. “I am up to my eyes in work,” Mozart replied. “And now you ask me to write a new symphony too! … Well, I must just spend the night over it, for that is the only way; and for you, dearest father, I’ll make the sacrifice. You may rely on having something from me by every post. I shall work as fast as possible and, as far as haste permits, I shall write something good.” Mozart sent the Haffner symphony to Leopold in Salzburg in early August 1782.

In 1783, Mozart asked Leopold to return the Haffner score, so Mozart could perform it on one of his Viennese subscription concerts. Afterwards, Mozart wrote to Leopold, “The theatre could not have been more crowded and … every box was full. But what pleased me most of all was that His Majesty the Emperor was present and, goodness! – how delighted he was and how he applauded me!”

The music begins with a full-bodied rhythmic unison theme that leaps up an octave, punctuated by delicate grace notes in the strings and unexpected pauses. This unusual theme dominates the entire first movement. Mozart broke with the convention of his time in this movement by omitting a contrasting second theme. The Andante and Menuetto display the aristocratic grace of Mozart’s style and simultaneously pay tribute the newly established nobility of Haffner. We can imagine the guests at Haffner’s celebration dancing to the lively Menuetto, which contrasts a hearty booming phrase played by the full orchestra, including trumpets and timpani, with a gentle response by the strings alone.

For the Presto, Mozart borrowed a tune from his opera, The Abduction from the Seraglio. In the score, Mozart indicates this movement should “go as fast as possible,” and its lively energy echoes the words of the original tune, “Ha! What triumph will be mine now!” as sung by Osmin, the gatekeeper of the seraglio (harem). Mozart may have intended the selection of this music as an homage to Haffner, who “triumphed” in his quest for nobility, or perhaps Mozart intended it as a snub to his former employer, the Archbishop of Salzburg.

Le tombeau de Liberace Michael Daugherty

B: April 28, 1954, Cedar Rapids, IA

Work composed: 1996 Instrumentation: solo piano, flute (doubling piccolo), oboe, clarinet, bassoon, 2 horns, trumpet, trombone, tuba, bass drum, castanets, chimes, finger cymbals, glockenspiel, large whip, maracas, ride cymbal, sizzle cymbal, snare drum, splash cymbal, tambourine, 2 triangles, wind chimes, xylophone, and strings Estimated duration: 16 minutes Multiple Grammy Award-winning composer Michael Daugherty has been praised by The Times (London) as “a

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PROGRAM NOTES (continued) MASTERWORKS I1: A FLAIR FOR THE DRAMATIC master icon maker” with a “maverick imagination, fearless structural sense, and meticulous ear.” His orchestral music, recorded by Naxos, has received six Grammy Awards, including Best Contemporary Classical Composition in 2011 for Deus ex Machina for Piano and Orchestra, and in 2017 for Tales of Hemingway for Cello and Orchestra.

Daugherty’s music combines the eclectic influences of jazz pianist/composer Gil Evans and classical avant-garde composer György Ligeti with the hyperbolic, Technicolor qualities of American pop culture. Among Daugherty’s compositions are homages to Superman comics, Elvis Presley, Jackie Kennedy Onassis, and Liberace.

Liberace held a particular fascination for Daugherty, who writes, “The pianist and entertainer known as Liberace is one of the most intriguing American icons for crossing over, in more ways than one. Dressed in spectacular furs and rhinestone costumes, Wladziu Valentino Liberace (1919-1993) was famous for performing polkas, Broadway tunes, and arrangements of the classical piano repertoire accompanied by a Las Vegas showband. In my tribute to Liberace, I do not treat popular music as a foreign intrusion into the abstract idiom of contemporary classical composition.

Starting from the vernacular idiom, I have composed Le Tombeau de Liberace as a meditation on the American sublime:

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a lexicon of forbidden music. The first movement, ‘Rhinestone Kickstep,’ conveys the feeling of strutting down the glittering cement streets of Las Vegas in boogie-woogie rhythms. The second movement, ‘How Do I Love Thee?,’ comes from the well-known sonnet by Elizabeth Barrett Browning, frequently recited by Liberace during his performances. In ‘Sequin Music,’ the arpeggiated piano riffs are based on a sequence of musical notes which I noticed on the wall of Liberace’s famous piano-shaped swimming pool. The effect of the cadenza is dodecaphonic [using all 12 tones]: after all, Liberace’s Los Angeles mansion was not so far from [Arnold] Schoenberg’s neighborhood. The composition concludes with ‘Candelabra Rhumba,’ a pianistic tour de force that recreates the excitement of a Vegas showband, keeping the candles on Liberace’s candelabra lit.”

Suite from Le bourgeois gentilhomme, Op. 60 Richard Strauss B: June 11, 1864, Munich D: September 8, 1949, GarmischPartenkirchen, Germany

Work composed: 1912; revised in 1916, 1917, and 1920 World premiere: The first version premiered on October 12, 1912, in Stuttgart. The orchestral suite heard in tonight’s

performance was first conducted by Strauss on January 31, 1920, in Vienna.

Instrumentation: solo male actor, 2 flutes (both doubling piccolo), 2 oboes (1 doubling English horn), 2 clarinets, 2 bassoons (1 doubling contrabassoon), 2 horns, trumpet, trombone, timpani, bass drum, cymbal, glockenspiel, snare drum, tambourine, triangle, keyboard, harp, and strings Estimated duration: 60 minutes Richard Strauss’ collaboration with librettist Hugo von Hofmannsthal yielded several successes, most notably Der Rosenkavalier. But one hit does not guarantee another, as the two men discovered when they tried (and failed) to produce a new version of Le bourgeois gentilhomme. This comedy, by 17th-century French playwright and actor Molière, centers on the hapless Monsieur Jourdain, an ordinary man who unexpectedly comes into wealth. Despite his attempts to acquire all the trappings and mannerisms of a gentleman, Jourdain’s basically Philistine nature remains. Le bourgeois gentilhomme was a huge hit at its premiere on October 14, 1670 (Molière played the title role himself), with incidental music

by French Baroque composer Jean-Baptiste Lully.

Strauss and Hofmannsthal tried no less than three times to mount a theatrical version of Le bourgeois gentilhomme. The first attempt, in 1912, featured the play (with incidental music

by Strauss) as a prelude to their opera Ariadne auf Naxos. Not surprisingly, the combination of a satirical play about the

nouveau-riche followed by a wholly serious (and lengthy) opera proved unworkable, for both artistic and logistical reasons.

Four years later, Strauss and Hofmannsthal tried to combine the two works again in a different format, replacing Molière’s play with a new prologue that featured characters from Ariadne.

Dissatisfied with this version, Hofmannsthal persuaded Strauss to rework the 1912 play into a musical comedy. The drama was refashioned into three acts, removing all references to Ariadne. Strauss added to his 1912 incidental music.

Unfortunately, this version, too, was unsuccessful. Finally, in 1920, Strauss created an orchestral suite from his original incidental music. This purely musical version premiered to enthusiastic audiences in Vienna, and was subsequently used to stage several ballet productions.

Le bourgeois gentilhomme brims with humor, wit, and references to other musical works. The Arrival and Dance of the Tailors, Lully’s Minuet and the Courante pay homage to Lully and French Baroque style. In the final movement, The Dinner, Strauss pokes fun by quoting from Wagner’s “Rhine” music during the fish course, while the mutton is accompanied by a self-quote from the sheep music in Don Quixote and the fowl is served up with bird music from Der Rosenkavalier and a fleeting reference to Verdi’s “La donna è mobile.” The final scene, in which the kitchen boy leads the guests in a dance, concludes with, of course, a Strauss waltz. © Elizabeth Schwartz

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MASTERWORKS III

PASSIONATE DEVOTION SATURDAY, MARCH 22, 2025 PEROT THEATRE | 7:00 P.M. 221 Main Street, Texarkana, Texas Concert Preview: 6:10 p.m.

JULIEN LABRO Bandoneón

PHILIP R. MANN Conductor

CONCERT REPERTOIRE TCHAIKOVSKY, Pyotr Ilyich (1840-1893) Serenade, op. 48, C major, TH 48 I. Pezzo in forma di Sonatina II. Walzer III. Élégie IV. Finale (Tema Russo)

28’

INTERMISSION PIAZZOLLA, Astor Pantaleón (1921-1992) arr., Julien Labro Adios Nonino

7’

LABRO, Julien (b. 1980) El Fueye del Tiburón (The Bellows of the Shark) 20’ Concerto for bandoneon and strings

World Premiere BACALOV, Luis Enríquez (1933-2017) Il Postino 5’ 2024/2025 PROGRAM | TEXARKANASYMPHONY.ORG

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ARTIST BIO

JULIEN LABRO BANDONEÓN

H

eralded as “the next accordion star” by Howard Reich of the Chicago Tribune, Julien Labro has established himself as one of the foremost accordion and bandoneón players in both the classical and jazz genres. Deemed to be “a triple threat: brilliant technician, poetic melodist and cunning arranger,” his artistry, virtuosity, and creativity as a musician, composer and arranger have earned him international acclaim and continue to astonish audiences worldwide.

French-born Labro was influenced early on by traditional folk music and the melodic, lyrical quality of the French chanson. Upon discovering the music of jazz legends, he quickly became inspired by the originality, freedom, creativity, and the endless possibilities in their musical language. After graduating from the Marseille Conservatory of Music, Labro began winning international awards including the Coupe Mondiale, the Castelfidardo Competitions, and many others.

In 1998, Labro moved to the United States, where he further pursued his musical dream. Equipped with advanced degrees in classical music, jazz studies, and composition, Labro draws from his diverse academic background and eclectic musical influences as he searches for new themes and untried concepts, transforming and developing his creative ideas into new projects.

Labro has collaborated with numerous symphony orchestras and chamber ensembles, often playing the dual roles of solo artist as well as composer/arranger. These include the conductorless Boston-based chamber orchestra, A Far Cry, Spektral Quartet, Arneis Quartet, Ensemble Vivant of Toronto, and Curtis On Tour from the Curtis Institute of Music faculty of Philadelphia. He has been a guest soloist with numerous symphonies such as the Boston Symphony Orchestra, the Detroit Symphony Orchestra, Orchestra of St Luke’s, New World Symphony, the Hartford Symphony, the Arkansas Symphony, the Grand Rapids Symphony, the Cape Cod Symphony, the Cleveland Pops Orchestra, the Lebanese Philharmonic Orchestra, the Qatar Philharmonic Orchestra and many more.

Julien’s musical journey has taken him all across North and South America, Europe, Asia, and the Middle East.

His classical collaborations include A Far Cry, Spektral

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Quartet, Detroit Symphony Orchestra, Orchestra of St Luke’s, New World Symphony, the Qatar Philharmonic, The Paul Taylor Dance Company and the New York City Ballet.

Julien has written for numerous ensembles, from quartets to full symphony orchestras. He has premiered works by Pulitzer Prize-winning composer Du Yun, Bryce Dessner, Angélica Negrón, Clarice Assad, Ethan Iverson, and Avner Dorman. Julien has collaborated with Cassandra Wilson, Maria Schneider, Anat Cohen, João Donato, Marcel Khalife, Paquito D’Rivera, Pablo Ziegler, Uri Caine, Miguel Zenón, James Carter, John Clayton, guitarists Larry Coryell, Tommy Emmanuel, and John and Bucky Pizzarelli. After a busy summer touring the US performing at prestigious festivals such as Ravinia Festival and Tanglewood Music Festival, Labro will open his 2023 season performing with the Boston Symphony Orchestra at Symphony Hall, Orchestra of St Luke’s and the Paul Taylor Dance Company at Lincoln Center. Spring of 2024 will see Labro zigzag the US with concerto appearances, chamber concerts with his ongoing collaboration with the Takács Quartet, a premier and residency with Camerata Pacifica, performances with the Maria Schneider Orchestra, and premier a new collaboration with Evan Lurie and Mark Ribot at Big Ears Festival in Knoxville, TN. In his free time, Labro is working on composing a second bandoneón concerto that will be a sequel to his first El Fueye Del Tiburón (The Bellows of the Shark). To learn more about Labro, visit julienlabro.com.

PROGRAM NOTES MASTERWORKS II1:

PASSIONATE DEVOTION

Serenade in C major for Strings, Op. 48 Pyotr Ilyich Tchaikovsky B: May 7, 1840, Kamsko-Votinsk, Viatka province, Russia D: November 6, 1893, St. Petersburg

Work composed: 1880 World premiere: October 30, 1881, in St. Petersburg Instrumentation: string orchestra. Tchaikovsky added a note to the score: “The larger the string orchestra, the better will the composer’s desires be fulfilled.”

Estimated duration: 28 minutes Pyotr Ilyich Tchaikovsky, who dubbed Mozart “the Christ of music,” composed the Serenade for Strings as a tribute to his favorite composer. “It is intended to be an imitation of [Mozart’s] style,” Tchaikovsky wrote, “and I should be delighted if I thought I had in any way approached my model.”

Tchaikovsky worked on the Serenade at the same time as the 1812 Overture, and his feelings about the two works could not have contrasted more strongly. “You can imagine, beloved friend, that my muse has been benevolent of late when I tell you that I have written two long works very rapidly,” Tchaikovsky wrote to his patron, Nadezhda von Meck, “the festival Overture [the 1812] and a Serenade in four movements for string orchestra. The Overture will be very noisy; I wrote it without much warmth or enthusiasm and therefore it has no great artistic value. The Serenade, on the contrary, I wrote from inner conviction. It is a heartfelt piece and so, I dare to think, is not without artistic qualities.” Indeed, Tchaikovsky was so pleased with his Serenade that upon its completion he wrote his publisher, “I am violently in love with this work and cannot wait for it to be played.” At its premiere, the audience responded in a similar fashion, calling for an encore of the second movement.

Even Anton Rubinstein, Tchaikovsky’s stern teacher, who was often harshly critical of his student’s music, conceded that the Serenade was Tchaikovsky’s finest work.

The opening Pezzo in forma di Sonatina (Piece in the form of a Sonatina) begins with a slow introduction, in the manner

of an 18th century string serenade. This full hymn-like melody gives way to an energetic tune that suggests the buoyancy and joy of Mozart. The lilting Waltz has delighted audiences since its premiere; here Tchaikovsky eloquently in captures the essential cosmopolitan Viennese flavor of this dance with its shimmer and sparkle. In the Elegie, we hear hints of the brooding quality most associated with Tchaikovsky’s style, but the overall mood is meditative rather than melancholy. In the final movement, Tchaikovsky indicates a Russian theme (Tema Russo), and the slow introduction is indeed a Russian folk tune, paired with another Russian folksong full of hustle and bustle. The hymn melody from the first movement returns to conclude the Serenade.

Adios Nonino (Farewell, Nonino) Astor Piazzolla

B: March 11, 1921, Mar del Plata, Argentina D: July 5, 1992, Buenos Aires

Work composed: October 1959 World premiere: undocumented Instrumentation: solo bandoneón, 2 flutes (1 doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 4 horns, timpani, bass drum, bells, crotales, cymbals, guiro, triangle, xylophone, piano, harp, and strings Estimated duration: 8 minutes “For me, tango was always for the ear rather than the feet.”

– Astor Piazzolla Astor Piazzolla is inextricably linked with tango. He took a dance from the back rooms of Argentinean brothels and blurred the lines between popular and “art” music to such an extent that, in the case of his music, such categories no longer apply.

Piazzolla was a master of the bandoneón, a small accordion-like instrument of German origin, which served as a portable church organ. The distinctive sound of the bandoneón became a fundamental element of Piazzolla’s tangos, and he developed a distinctive way of playing the instrument, standing up with one foot on a stool, rather than sitting down as was customary. When asked about his unconventional stance, Piazzolla said he played standing up so he wouldn’t be mistaken for an old woman.

In October 1959, while Piazzolla was touring Central America, he received word of his father’s unexpected death in a bicycle accident. Shocked and grief-stricken, Piazzolla cut the tour short and traveled to New York, where he wrote Adios Nonino. Five years earlier, Piazzolla had composed a tango simply titled Nonino, an affectionate term for grandfather; in Adios Nonino, he used the same rhythm from his earlier work, and combined it with an unforgettable melody full of nostalgic longing. Adios Nonino quickly became, and remained, Piazzolla’s best-known and most performed work. In 1979, 2024/2025 PROGRAM | TEXARKANASYMPHONY.ORG

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PROGRAM NOTES (continued) MASTERWORKS II1: PASSIONATE DEVOTION Piazzolla, reflecting on Adios Nonino’s enduring popularity, remarked, “Perhaps I was surrounded by angels. I was able to write the finest tune I have written. I don’t know if I shall ever do better. I doubt it.”

El Fueye del Tiburón (The Bellows of the Shark) (US Premiere) Julien Labro B: 1981, Toulouse, France

Work composed: 2022 World premiere: December 23, 2022, in Seoul, South Korea Instrumentation: solo bandoneón and string orchestra Estimated duration: 14 minutes Julien Labro fell in love with the accordion at age nine, and picked up the bandoneón after he discovered the music of Astor Piazzolla. Today Labro is a virtuoso performer on both instruments, and has been hailed by the Chicago Tribune as “the next accordion star.” Like all solo artists who play niche instruments, Labro is constantly working to expand the repertoire, as well as dispel listeners’ often narrow

preconceptions of both instruments. To that end, Labro began writing his own works for bandoneón and accordion. These serve as vehicles for his own performances, but he hopes they will also inspire future players.

El Fueye del Tiburón is Labro’s homage to Piazzolla. The title references Piazzolla’s passion for shark fishing, and also plays with the word “fueye” (bellows), a nickname Argentinean bandoneón players use for their instrument. “Piazzolla compared trying to catch a shark with the wrestling you end up having to do to hold the bandoneón on your knee in this very awkward position,” Labro explains. “Piazzolla is the ultimate shark in this piece. I’ve always wanted to write something for him because he’s done so much for the instrument. He brought the bandoneón to places it had never been before, and it still wouldn’t be there if it wasn’t for him. Bandoneón is so linked to tango music, and Piazzolla struggled all his life to make people understand that the music he was writing was not tango.

It was a whole new genre.”

The first two movements feature extended cadenzas for the bandoneón, and Labro uses the second movement cadenza to improvise (or preview) thematic ideas that will emerge in the music that follows. “The first movement is uptempo and has some angular, spiky melodies, along with a lot of shifting meters and rhythmic play. It’s quite a tour de force to put together with the orchestra.” In the second movement, the orchestra provides a sonic bed over which the soloist executes long melodies.

“There’s a bit of milonga flavor to it [milonga is a slow tango rhythm], while the third movement is mostly in 6/8, with a few odd shifts of meter, and might sound a bit like a tarantella.”

Il Postino (The Postman) Luis Enríquez Bacalov B: August 30, 1933, Buenos Aires D: November 15, 2017, Rome

Work composed: 1994 as part of the soundtrack for the film Il Postino World premiere: Il postino was first screened at the Venice Film Festival on September 1, 1994 Instrumentation: solo bandoneón and string orchestra Estimated duration: 4 minutes The Argentinean composer Luis Enríquez Bacalov is best known for his film music, particularly his Oscar-winning score for the 1994 Italian film Il Postino. Tonight’s selection, probably the most recognizable excerpt from the score, is the music Bacalov composed for the title credits. It captures the sun-warmed beauty of the Italian island where the story takes place, and evokes the friendship between Mario, the title character, and Chilean poet Pablo Neruda, who lives in exile on the island. © Elizabeth Schwartz

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T E X A R K A N A

S Y M P H O N Y

O R C H E S T R A

FOUNDING PATRONS FOUNDING SPONSOR

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TEXARKANASYMPHONY.ORG | 2024/2025 PROGRAM

MASTERWORKS IV

LASKAROV

AND SAINT-SAËNS SATURDAY, APRIL 26, 2025 PEROT THEATRE | 7:00 P.M. 221 Main Street, Texarkana, Texas Concert Preview: 6:10 p.m.

KIRIL LASKAROV Violin

PHILIP R. MANN Conductor

CONCERT REPERTOIRE NEEDHAM, Clint (b. 1981) The Hands that Built a City I. Stories from the Past II. What I Remember III. Dreams of the Future

SAINT-SAËNS, Charles-Camille (1835-1921) Concerto for Violin, no. 3, op. 61, B minor I. Allegro non troppo II. Andantino quasi allegretto III. Molto moderato e maestoso; Allegro non troppo

KIRIL LASKAROV

~8’

29’

INTERMISSION RACHMANINOFF, Sergei Vasilyevich (1873-1943) Symphonic Dances, op. 45 35’ I. Non allegro – Lento - Tempo [original title “Noon”] II. Andante con moto, tempo di valse [original title “Twilight”] III. Lento assai - Allegro vivace [original title “Midnight”] 2024/2025 PROGRAM | TEXARKANASYMPHONY.ORG

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ARTIST BIO

KIRIL LASKAROV VIOLIN

K

iril Laskarov is in his 26th season as Concertmaster of the Arkansas Symphony and 15th season as Concertmaster of the Texarkana Symphony. A native of Bulgaria, he received a Bachelor of Arts from the State Academy of Music in Sofia and a Master’s from Southern Illinois University at Carbondale where he studied with Michael Barta. Laskarov has appeared as a soloist with the Arkansas Symphony, Las Vegas (NV) Philharmonic, Monroe (LA) Symphony, Southern Illinois Symphony, Abilene (TX) Philharmonic, Symphony Irvine (CA), and Texarkana (TX) Symphony and as a concertmaster with the Arkansas Philharmonic, Monroe (LA) Symphony, Southern Illinois Festival, and McCall (ID) Festival Orchestra.

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PROGRAM NOTES MASTERWORKS IV:

LASKAROV AND SAINT-SAËNS The Hands That Built A City Clint Needham

B: August 20, 1981, Texarkana, TX

Work composed: 2023 World premiere: The Texarkana Symphony gave the first performance on December 8, 2023, as part of the festivities surrounding the city’s sesquicentennial celebrations.

Instrumentation: piccolo, 2 flutes, oboe, English horn, 2 clarinets, bass clarinet, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, bell tree, brake drum, crash cymbal, glockenspiel, kick drum, snare drum, suspended cymbals, tambourine, 3 tom toms, triangle, vibraphone, 2 wood blocks, piano, harp, and strings Estimated duration: 9.5 minutes The music of Texarkana native Clint Needham has been described as “wildly entertaining” and “stunning, brilliantly orchestrated” by the New York Times, as well as “well-crafted and arresting … riveting” by the Herald Times.

Needham has received commissions and performances by leading orchestras across the country including the Minnesota Orchestra, Orpheus Chamber Orchestra, Pittsburgh Symphony, Omaha Symphony, American Composers Orchestra, Spokane Symphony, Kaleidoscope Chamber Orchestra, Cabrillo Festival Orchestra, and the New York Classical Players, among others. Needham is also an educator who currently serves as composer-in-residence and professor of composition at the Baldwin Wallace Conservatory of Performing Arts.

Needham writes, “The Hands that Build a City was commissioned by the Texarkana Symphony Orchestra to celebrate the City of Texarkana’s 150th anniversary. The piece serves as both a tribute to the city’s rich heritage and a reflection on its continued growth, weaving together its history, present, and future.

“The first section imagines the early days, when settlers established themselves along the Red River, laying the foundation for a community that would soon become Texarkana. The music captures the city’s transformation

into a vital railroad hub, where the rhythm of trains and industry forged connections between people and places, turning Texarkana into a thriving twin city straddling the Texas-Arkansas state lines.

“In the second section, I sought to capture the essence of my childhood in Texarkana, paying homage to the region’s pastoral setting and the people who shaped my formative years.

“The final section looks ahead, expressing a vision of hope and optimism for Texarkana’s future. As the city continues to evolve, this movement reflects the aspirations for unity, progress, and a prosperous tomorrow.”

Violin Concerto No. 3 in B minor, Op. 61 Camille Saint-Saëns B: October 9, 1835, Paris D: December 16, 1921, Algiers

Work composed: March 1880, written for and dedicated to violinist Pablo de Sarasate World premiere: de Sarasate gave the premiere at a Châtelet concert in Paris on January 2, 1881 Instrumentation: solo violin, 2 flutes (1 doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, 3 trombones, timpani, and strings.

Estimated duration: 30 minutes Camille Saint-Saëns’ career spanned seven decades; during that time, he was both vilified by conservatives for his endorsement of Richard Wagner’s music in the late 1850s, and dismissed by Claude Debussy as “the musician of tradition” in 1903. One explanation for Debussy’s remark could be Saint-Saëns’ preference for established (and, to his French detractors, foreign) genres: symphonies, concertos, sonatas, and chamber music.

On July 19, 1870, French soldiers invaded neighboring Prussia, igniting the Franco-Prussian War. The conflict dragged on for another seven months and resulted in a humiliating defeat for France. Afterwards, Saint-Saëns joined a movement to revive French art and culture. In particular, Saint-Saëns set himself the task of proving the French could produce not just operas and ballets but also achieve renown in the abstract genres – symphonies, string quartets, concertos – dominated by German composers. To that end, Saint-Saëns co-founded the Société Nationale de Musique, whose motto, “ars gallica,” emphasized the Society’s mission to nurture new French music.

Saint-Saëns completed 10 concertos overall: five for piano, 2 for cello, and three for violin. Of those for violin, No. 3 in B minor is the most popular and performed today.

Written for the virtuoso Spanish violinist Pablo de Sarasate, who had premiered Saint-Saëns’ first violin concerto at age 15, Op. 61 deftly combines Sarasate’s matchless technique with 2024/2025 PROGRAM | TEXARKANASYMPHONY.ORG

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PROGRAM NOTES (continued) MASTERWORKS IV: LASKAROV AND SAINT-SAËNS Saint-Saëns’ masterful command of harmony and melody.

The outer movements abound with singable themes and fiery passages, while the central Andantino features a lilting barcarolle – a French sea lullaby.

We can hear Sarasate’s influence in this concerto – SaintSaëns consulted the man he called “his violinist” during the writing of Op. 61 – particularly in the closing moments of the second movement, which feature a series of feather-light harmonic arpeggios (players sound harmonics by barely touching the string with their finger, rather than pressing down while they bow; Sarasate was known for his ability to execute harmonics with seeming ease). One reviewer opined that the Andantino “shows what can be done by a great musician when he imposes on himself the simplicity which embarrasses the lesser man.”

Symphonic Dances for Large Orchestra, Op. 45 Sergei Rachmaninoff B: April 1, 1873, Oneg, Russia D: March 28, 1943, Beverly Hills, CA

Work composed: the summer and autumn of 1940. The published score bears the inscription: “Dedicated to Eugene Ormandy and The Philadelphia Orchestra.”

World premiere: Eugene Ormandy led the Philadelphia Orchestra on January 3, 1941 Instrumentation: piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets, bass clarinet, alto saxophone, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, bass drum, chimes, cymbals, drum, orchestra bells, tam-tam, tambourine, triangle, xylophone, piano, harp, and strings.

Estimated duration: 35 minutes Sergei Rachmaninoff had great regard for the Philadelphia Orchestra and its music director, Eugene Ormandy. As a pianist, he had performed with them on several occasions, and as a composer, he appreciated the full, rich sound Ormandy and his musicians produced. Sometime during the 1930s, Rachmaninoff remarked that he always had the unique sound of this ensemble in his head while he was composing orchestral music: “[I would] rather perform with the Philadelphia Orchestra than any other of the world.” When Rachmaninoff began working on the Symphonic Dances, he wrote with Ormandy and the orchestra in mind. Several of Rachmaninoff ’s other orchestral works, including the Rhapsody on a Theme of Paganini and the Piano Concerto No. 4, were also either written for or first performed by Ormandy and the Philadelphia Orchestra.

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T he Sy mphon ic Da nces t u r ned out to be Rachmaninoff’s final composition. Although not as wellknown as the piano concertos or the Rhapsody on a Theme of Paganini, Rachmaninoff himself and many others regard the Symphonic Dances as his greatest orchestral work. “I don’t know how it happened,” the composer remarked. “It must have been my last spark.”

Nervous pulsing violins open the Allegro, over which the winds mutter a descending minor triad (three-note chord). The strings set a quickstep tempo, while the opening triad becomes both the melodic and harmonic foundation of the movement as it is repeated, reversed and otherwise developed. The introspective middle section features the first substantial melody, sounded by a distinctively melancholy alto saxophone. The Allegro concludes with a return of the agitated quickstep and fluttering triad.

Muted trumpets and pizzicato strings open the Andante con moto with a lopsided stuttering waltz, followed by a subdued violin solo. This main theme has none of the Viennese lightness of a Strauss waltz; its haunting, ghostly quality borders on the macabre suggestive of Sibelius’ Valse triste or Ravel’s eerie La valse. Rachmaninoff ’s waltz is periodically interrupted by sinister blasts from the brasses.

In the Lento assai: Allegro vivace, Rachmaninoff borrows the melody of the Dies irae (Day of Wrath) from the requiem mass. Rachmaninoff had used this iconic melody many times before, most notably in Isle of the Dead and the Rhapsody on a Theme of Paganini. In the Symphonic Dances, the distinctive descending line has even more suggestive power; we can hear it as Rachmaninoff ’s final statement about the end of his compositional career. This movement is the most sweeping and symphonic of the three and employs all the orchestra’s sounds, moods, and colors. In addition to the Dies irae, Rachmaninoff also incorporates other melodies from the Russian Orthodox liturgy, including the song “Blagosloven Yesi, Gospodi,” describing Christ’s resurrection, from Rachmaninoff’s choral masterpiece All-Night Vigil.

On the final page of the Symphonic Dances manuscript, Rachmaninoff wrote, “I thank Thee, Lord!” © Elizabeth Schwartz

A

V E R Y

S P E C I A L

THANK YOU 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 2024-2025 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 MATT FRY DANNY GRAY SUE ELLEN HALL TRENT HANNA J. BROWN FOR THE HOME NANCY JACKSON RONALD MAKARAMBA KATRINA MCGINNIS ST. JAMES CHURCH

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SUPPORTING THE

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Dr. Kenneth Crane Lori Cree Kelly and John Crisp Representative Carol J. Dalby Andi Darby Leigh Davis Jamye DeHaan Thomas Dixon Anne and Steve Douglas Joe Dowd Christy and Dr. Jacob Duke Emma Dunkeson Carla Dupree Eagle Dental Center of Texarkana Mark Looney DDS East Funeral Home Brad Thomas Ginger and Kevin Ells The ENT Group Ron and Shirley Evans Austin Ezell Elizabeth and Bunn Fawcett Flanagan Financial Group LLC Bruce Flint Judy and Judge David Folsom Theresa Fontenot Paula and Michael Foster Sonya and David Freeze Whitney and Vickers Fuqua Bevo Gandy Will and Traci Garun Gary Gathright

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SUPPORTING THE

SYMPHONY Nancy Gathright Ly and Aaron Gaylor Sharon and Dr. Richard Gibson Kristen and Derick Giles Gale Gill Barbara and Howard Glick Jackie and Bill Gooding Habitat for Humanity ReStore of Texarkana, Inc. Allen Hall Chastity and Spencer Hale Hambleton State Farm LaRinda Harjo Amanda Harp Dr. Teretha F. Harper Melanie and Jeff Harris Joe Hart Sienna Hart Taylor and Steven Harvey Michael Hawkins Tonja and John Hays Layla Hazin Debbie and James Herrington Hickerson Investments Prissy and Dr. Randy Hickerson Senator Jimmy Hickey, Jr. Highland Park Baptist Church

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Becky and Gary Hill Dr. Carol and Garry Hodgson Janis Fischer Holliday Kim and John Hollis Hospice of Texarkana Foundation Rachel and Kenneth Houston HY Holdings, Inc. Ironwood Grill Sylvia and Mike Ingram Nancy and Charles Jackson Lekia Jones Tine Jones Michelle and Chris Karam Greg Kemp Rosanna and Karlton Kemp Jerry D. Killian Elaine and Dr. Rodney LaGrone Susan and Dennis Landreaux Angela and Michael Little Payton Lockey Lisa and Mark Looney Myra Loving Mark E. Luckett Tammie and Lifford Luthringer Jeff Madlock Chase and David Magness Connie and Kale Magness Kaa March Brooklyn Markle Kayla and Eric Marks

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Joey Martin Melissa and Josh Martin Stacy and Ben Mayo Mary Ted and Gary Mayo Gabe McBride Derrick McGary, State Farm Insurance Agency Camille and Rob McGinnis Dr. and Mrs. Gene McMillan Josh McWilliams Cassy and Fred Meisenheimer George Merrill Dee Miller and John Greer Drew Mims Insurance Joseph Morriss Mt. Kirby Investments Chandler Murphy Lynn and Mike Murrah Connie Nations Jeanie and Gary Nutter Malise and Dr. Dennis O’Banion Lenna J. O’Dell Debby and Larry Oxford Greta Parks Logan Parks Sally Patton Jeff and Terri Peace Sylvio Personna/Ayuko Personna Bennie and JD Phillips Billy Power Robin Proctor Harvey J. Purdy Savannah and Thomas Quinn Linda and Dennis Ramsey Betty Rateliff Tracy Ratliff Trish and Tim Reed Regional Systems Linda and Roger Roberts Kerry and Alan Ribble Jessica and Blake Rich JR Rich Richardson Fence & Patio, Inc. Kim Roberts Ralph Robertson James Rochelle Jane Rochelle Jeanna and Mike Rogers Dillon C. Roseberry Lucy and Dr. Randy Sarrett Dr. Cheryl and Joe Saul-Sehy Dr. Eddy Scates Megan Schroeder Kathleen and David Setula Cheryl and Nelson Shaw Toneia and James Sheets Sitters, LLC Joanna and Loyd Smith Michelle Smith Young So Gladys Stanley Lainey and Dr. Brian Steele Jennifer and John Steele

Laura and Dr. Stephen Steele Studio 57 Mark Sutherland SWEMP Federal Credit Union Texarkana Area Community Foundation Texarkana Music Teachers Association Robin and Joe Thomas Cheryl and Chris Timmons Debbie and Dr. Doug Trippe Sylvia and John Ulmer Carlos Vasquez Judy E. Vaughan John Warmack Amy Warren Sara and Bob Weber Greg White Kelli and Justin White Brad and Libby White Carolyn N. Whittle Rendi and Dr. Josh Wiggins Wiggins Eye Center, PLLC Wilf & Henderson, P.C., CPA’s Brenda and Dr. David Williams Marion and Marvin Williams Pat and Keith Williams Willrest Co/Café Lucille Tiffany and Kenneth Wilson Gesche & Christoph Woerlein Brenda and Jim Works Carla Wren Gayle Wright LeAnne and Tim Wright Timothy Wright Camille Wrinkle FaEllen Yates Stacy Yates Dr. Jason Yost Junie and Dennis Young

FRIEND UP TO $99

Sara M. Barnett Bob Bell Jean Bratton Barbara Cole Kimberly and Jay Davis Tonya and Michael Dumdei Helen Floyd Sue Ellen Hall Rashinda and Ryan Hampton Marietta and Fred Hanson Suzy and John Heath Tabitha Houchens JR Building Supplies Carol Ann May Jean McAlister Christina and Bruce Ramsey Sue Richter Rogena and Mike Sheets Bill and Jimmie Stephens Betty and Doug Williams Lynn Willing-Bond