Page 1

The 23rd Season 2013-2014

Volume 23.3




Louisiana Philharmonic Orchestra


Contents Contents 10 Get to know the LPO!

20 Symphony

Shostakovich ‘Leningrad’

Pan-American Life Fiesta Sinfonica


Beyond the Stage: LPO in the Community

23 Live with the LPO


Symphony Volunteers, Inc.

Quint and West 27 Philippe Side Story


Organ Symphony

30 Mahler ‘Tragic’ Symphony

Program Book - Volume 23.3

Paquito D’Rivera:


Calendar of Events


Organ Symphony March 13, 7:30 p.m. Featuring organist Paul Jacobs First Baptist Church, New Orleans

Thursday, March 13, 2014 Organ Symphony featuring organist Paul Jacobs First Baptist Church, New Orleans 7:30 p.m.

Tuesday, April 22, 2014 Fidelity’s Concerts in the Park Swing in the Oaks New Orleans City Park 7 p.m.

Sunday, March 16, 2014 Chamber Concert: King of Instruments featuring organist Paul Jacobs Christ Church Cathedral 2:30 p.m.

Tuesday, May 6, 2014 Fidelity’s Concerts in the Park Swing in the Park Lafreniere Park, Metairie 7 p.m. Saturday, May 10, 2014 Swing in the Pines Bogue Falaya Park, Covington 6 p.m.

Thursday, March 20, 2014 Shostakovich ‘Leningrad’ Symphony featuring pianist Juho Pohjonen Mahalia Jackson Theater 7:30 p.m. Saturday, March 22, 2014 Pan American Life Fiesta Sinfonica Paquito D’Rivera: Live with the LPO featuring clarinetist Paquito D’Rivera Mahalia Jackson Theater 7:30 p.m.

Philippe Quint and West Side Story April 11, 7:30 p.m. Mahalia Jackson Theater

Sunday, March 23, 2014 Family Concert: LPO Under the Sea with Carlos Miguel Prieto conducting Roussel Hall - Loyola University 2:30 p.m. Friday, March 28, 2014 Evening at the Opera with Robert Lyall conducting First Baptist Church, Covington 7:30 p.m.

Fidelity’s Concerts in the Park Swing in the Oaks April 22, 7 p.m. New Orleans City Park

Friday, April 11, 2014 Philippe Quint and West Side Story featuring violinist Philippe Quint Mahalia Jackson Theater 7:30 p.m. Saturday, April 12, 2014 Fabergé Opus Ball Concert featuring pianist Lola Astanova and guest conductor Jahja Ling The Civic Theatre 6 p.m.


Sunday, April 13, 2014 Some Enchanted Evening Heritage Park, Slidell 6 p.m.

Saturday, May 17, 2014 Remember the King: Elvis Through the Years Mahalia Jackson Theater 7:30 p.m. Friday, May 23, 2014 Beethoven Symphony No. 9 First Baptist Church, Covington 7:30 p.m. Saturday, May 24, 2014 Beethoven Symphony No. 9 Mahalia Jackson Theater 7:30 p.m. 2014-2015 Opening Night

Saturday, April 12, 2014 Fabergé Opus Ball Gala dinner and dancing with Phillip Manuel Hyatt Regency New Orleans 7:30 p.m. Remember the King: Elvis Through the Years May 17, 7:30 p.m. Mahalia Jackson Theater

Thursday, May 15, 2014 Mahler ‘Tragic’ Symphony Mahalia Jackson Theater 7:30 p.m.

Friday, September 19, 2014 2014 - A Strauss Odyssey featuring soprano Susanna Phillips Mahalia Jackson Theater 7:30 p.m. 2014-2015 Northshore Opening Night

Friday, September 26, 2014 Enigma Variations featuring violinist Benjamin Beilman First Baptist Church, Covington 7:30 p.m. Saturday, September 27, 2014 Enigma Variations featuring violinist Benjamin Beilman Mahalia Jackson Theater 7:30 p.m. For a complete listing of this season’s events, visit

Louisiana Philharmonic Orchestra



Delightful from the inside out. We’ve taken everything residents love about Christwood . . . and expanded on it! Now open, The Atrium makes it easy for you to make Christwood part of your future plan . . . starting now. With a beautiful atrium as its centerpiece, our new building includes independent living residences in your choice of two exceptional floor plans. Both feature 10-foot ceilings, ample storage and an outdoor patio or balcony overlooking our beautiful 125-acre campus. Plus, you’ll enjoy all of Christwood’s signature services: maintenance-free living, all-inclusive amenities and the full benefits of continuing care—providing you the assurance of long-term on-site health care if ever needed. Hurry, only a limited number of Atrium apartments are available. Call (985) 898-0515 for more information.

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In the Fr e n ch Q ua r te r

Program Book - Volume 23.3

100 Christwood Blvd. • Covington, LA 70433 Phone: (985) 898-0515 Toll-Free: (800) 480-4361 693703


new orleans FRIENDS OF MUSIC & tulane university present the




HARLEM QUARTET Monday, October 21, 2013 PACIFICA QUARTET with MARC-ANDRÉ HAMELIN piano Thursday, November 14, 2013 ARNAUD SUSSMANN violin, with pianist MICHAEL BROwN Monday, December 9, 2013 MISHA and CIPA DICHTER duo pianos Tuesday, January 21, 2014 ARIEL QUARTET with ALISA wEILERSTEIN cello Monday, February 3, 2014 VENICE BAROQUE ORCHESTRA Wednesday, February 26, 2014 NEw YORK wOODwIND QUINTET Wednesday, April 2, 2014 All concerts begin at 8 p.m. in Dixon Hall on Tulane University’s Newcomb campus. Subscribe online at WWW.FRIENDSOFMUSIC.ORG or call 895.0690 for tickets.

2013-2014 6

Louisiana Philharmonic Orchestra

Louisiana Philharmonic Orchestra Carlos Miguel Prieto

Adelaide Wisdom Benjamin Music Director and Principal Conductor


Benjamin Thacher, Concertmaster The Edward D. and Louise L. Levy Concertmaster Chair Benjamin Hart, Associate Concertmaster Hannah Yim, Assistant Concertmaster Byron Tauchi, Principal Second Violin Xiao Fu, Assistant Principal Second Violin Burton Callahan Qi Cao Razvan Constantin Zorica Dimova Judith Armistead Fitzpatrick Eva Liebhaber Janeta Mavrova Elizabeth Overweg Gabriel Platica Yaroslav Rudnytsky Karen Sanno Yuki Tanaka Kate Withrow Sarah Yen


Oboes Jaren Atherholt, Principal Jane Gabka, Assistant Principal Michael McGowan

English Horn

Michael McGowan


Christopher Pell, Principal Stephanie Thompson, Assistant Principal John Reeks

E-flat Clarinet

Stephanie Thompson

Bass Clarinet John Reeks


Andrew Brady, Principal Michael Matushek Benjamin Atherholt, Assistant Principal


Benjamin Atherholt

Richard Woehrle, Principal The Abby Ray Catledge and Byrne Lucas Ray Principal Viola Chair Bruce Owen, Assistant Principal Kathleen Magill Carrington Matthew Carrington Amelia Clingman Valborg Gross Ila Rondeau Carole Shand

French Horns



Jonathan Gerhardt, Principal The Edward B. Benjamin Principal Cello Chair Daniel Lelchuk, Assistant Principal Rachel Hsieh Jeanne Jaubert Kent Jensen David Rosen Dimitri Vychko


David Anderson, Principal William Schettler, Assistant Principal Matthew Abramo Paul Macres Benjamin Wheeler


Heather Zinninger Yarmel, Principal Mary Freeman Wisdom Principal Flute Chair Sarah Schettler Patti Adams, Assistant Principal Richard C. and Nancy Link Adkerson Flute Chair


Mollie Pate, Principal Jaclyn Rainey, Associate/Assistant Principal Joshua Paulus Jena Gardner Matthew Eckenhoff


Vance Woolf, Principal Stephen Orejudos Doug Reneau, Assistant Principal Greg Miller, Principal Matthew Wright Bass Trombone Evan Conroy


Robert Nunez, Principal


Jim Atwood, Principal


Nena Lorenz, Principal Dave Salay


Rachel Van Voorhees Kirschman, Principal


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

Patti Adams

Program Book - Volume 23.3


Staff, Board, and Councils Administrative Staff

Board of Trustees

James William Boyd

Hugh W. Long

Chief Executive Officer

Rebecca Cain

Director of Production

Mimi Kruger

Director of Patron and Institutional Development

Lisa LaFleur

Director of Program Development

Sean Snyder

Director of Marketing and Communications

Joe Toups

Director of Finance and Administration

Amanda Wuerstlin

Director of Education and Community Engagement

Trey Bornmann

Assoc. Director of Information Technology

Ali Hollenbeck

House Production Manager

JT Kane

Orchestra Personnel and Popular Programming Manager

Lisa Kane

Orchestra Librarian

Cosimo Murray

Stage Production Manager

Debbie Stemac

Patron Services Manager

Tommy Kruebbe

Asst. Stage Production Manager

Stacy Salay

Artistic Coordinator

Ryan Kreiser

Board President

Barbara Sands Chair

Stephanie Thompson

Bethlehem K. Andrews Stephen David Beck Mary Biundo Manuel F. Blanco Donald R. Boomgaarden Luz Caputto Jacquelyn Brechtel Clarkson Nancy L. Claypool Belinda Constant Joan M. Coulter Connie P. Ernst Diane R. Fee Rosemarie B. Fowler Anne B. Gauthier Robert S. Gross Henrietta A. Harris Marlene Jaffe Abba J. Kastin Susan L. Krinsky Paula L. Maher Rhesa McDonald Sheila McGhee Gail McKenna Nancy Hudson Miller Denis Milliner Emel Songu Mize Brenda Moffitt Cuqui H. Moore Joel G. Myers John A. Pecoul Laura Walker Plunkett C. Leonard Raybon Rafael R. Shabetai Margaret Shields A. Betty Speyrer Peter Stedman Eleanor F. Straub Charles L. Taylor Cheryl Toye Jennifer Van Vrancken Barbara B. Wedemeyer Edie Wilson Ellaine Wilson Ann Yarborough John M. Yarborough, Jr. Joseph Young, Jr.

Orchestra President

Walter Harris Board Vice President

Sarah Schettler Orchestra Vice President

Ila Rondeau Secretary

Timothy Kelly Treasurer

Matthew Carrington Assistant Treasurer Tiffany Adler Adelaide Wisdom Benjamin* Julie F. Breitmeyer J. Scott Chotin, Jr. Eileen Elliott Ludovico Feoli Ana E. Gershanik Stephen W. Hales* William D. Hess Angela Hill William H. Hines Dorothy S. Jacobs Donna Klein Paul J. Leaman, Jr. James F. Lestelle Cameron Kock Mayer Alton McRee R. Ranney Mize Boatner Reily* Doug Reneau David Rosen David Salay Karen Sanno Courtney-Anne Sarpy William L. Schettler Richard L. Strub Catherine Burns Tremaine Hugo C. Wedemeyer Kate Withrow Richard Woehrle

Charlotte Lewis

Ex Officio: James William Boyd Amy Ferguson Carlos Miguel Prieto Jan Robert Barbara Sands Timothy L. Soslow

Hugo C. Wedemeyer

Of Counsel: Julie Livaudais

Patron Services Coordinator

Jim Atwood

Orchestra Personnel Administrator Symphony Volunteer Symphony Volunteer

*Life Trustees


Southshore Advocacy Council

Northshore Advocacy Council Jan Robert Chair Michelle Biggs Katherine P. Cain J. Scott Chotin, Jr. Mary Thomas Coady Mimi Goodyear Dossett Anne Marie Fargason Sarah A. Freeman Richard F. Knight Noonie LeJeune Ann M. Loomis Janet R. Lynch Benjamin H. Motion Louise Rusch Rich Soine William N. Stadler Roy A. St. Paul, Jr.

Louisiana Philharmonic Orchestra

Fourteen Floors. countless stories.

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Program Book - Volume 23.3



Carlos Miguel Prieto, Music Director and Principal Conductor One of the most dynamic young conductors on the classical stage today, Carlos  Miguel Prieto is renowned as an exciting, insightful, and charismatic communicator  with a strong, versatile command of various composers and styles. Prieto is music  director of the Orquesta Sinfónica Nacional de Mexico and the Orquesta Sinfónica de Minería in his native Mexico, and of the Louisiana Philharmonic Orchestra and  the YOA Orchestra of the Americas in the United States. In high demand as a guest  conductor  both nationally and internationally, among Prieto’s numerous North  American  guest conducting credits are the symphony orchestras of Boston, Chicago, Seattle, Dallas,  Toronto, Houston, Indianapolis, Colorado, Vancouver  and Calgary, and every major orchestra in Mexico. He has conducted orchestras  throughout Europe, Russia, Israel and Latin America and Japan. In the recording arena, Prieto has made a series of recordings of Latin American  and Mexican music for the Urtext label. His most recent recordings include Cedille  Records’ April 2013 release of Mexican composer Carlos Chavez’s rarely performed/ recorded 1940 Piano Concerto, featuring Mexican pianist Jorge Federico Osorio and the Orquesta Sinfónica Nacional; and a live-recorded 12 DVD  set of Mahler’s  Symphonies Nos. 1 - 10 with the Orquesta Sinfónica de Minería in March 2013; with violinist Philippe Quint and the Orquesta Sinfónica de Minería featuring works by  Bruch, Beethoven and Mendelssohn for Avanticlassic.  His recording of Korngold’s  Violin Concerto with violinist Philippe Quint and the Minería for Naxos received a  Grammy nomination.  A graduate of Princeton and Harvard Universities (where he was concertmaster  of the orchestra), Prieto studied conducting with Jorge Mester, Enrique  Diemecke, Charles Bruck and Michael Jinbo.

Featured Musician

Vance Woolf is the Principal Trumpet with the LPO, a position he has held since 2000. Vance is a regular featured soloist with the LPO and has performed works ranging from Bach’s Brandenburg Concerto to Arutunian’s Concerto for Trumpet and Arban’s Carnival of Venice. He joined the Loyola University New Orleans faculty in 2008 as Instructor of Classical Trumpet. In 2013 he was also invited to join the faculty of Louisiana State University. Originally from Motueka, New Zealand, He received his Bachelor of Music Degree from Victoria University of Wellington. While attending University in New Zealand he served as a cornetist with the Central Band of the Royal New Zealand Air force. Upon graduation he travelled to the United States and earned a master’s degree from the San Francisco Conservatory of Music, where he studied with Mario Guarneri. Vance spent two summers at the Music Academy of the West where his teachers included the legendary Adolph Herseth. He was also successful in being selected twice to the Pacific Music Festival in Japan. Prior to accepting his current position with the LPO, Vance was working towards a Doctoral degree at the University of Miami where he was studying with one of his trumpet heroes, Gil Johnson, the former Principal Trumpet with the Philadelphia Orchestra. Vance continues to be successful in the American orchestra scene. In recent years he has been a semifinalist for positions with the New York Philharmonic and the Boston Symphony Orchestra. He has been a regular substitute with the San Francisco Symphony, performing with them for their 2010 American tour and 2011 European tour. In 2013 he performed Mahler’s Third Symphony with the San Antonio Symphony as their Guest Principal Trumpet. In December of 2013, Vance released his self titled debut recording featuring works of Morricone, Pezel and Schubert. More information about this recording and others can be found on his website


Louisiana Philharmonic Orchestra



Lloyd Labatut Vice President North Shore Region (985)847-0507 NMLS# 90577


Ann Graham

Loan Officer Slidell/Mandeville/ Covington (985)847-0570 NMLS# 84565




Becky Roberts

Loan Officer Slidell/Mandeville/ Covington (985)847-0570 NMLS# 315911





Julie Baudier

Loan Officer Metairie Branch (504)828-2990 NMLS#93147



Kristie Berggren Loan Officer Metairie Branch (504)828-2990 NMLS#80857

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Loan Officer Metairie Branch (504)828-2990 NMLS#1017645

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Don’t Miss Our Upcoming Performances! Hound of the Baskervilles* March 14 – 15 and 20 – 22, 7:30 p.m., Marquette Theater

James Carter String Quartet March 18, 7:30 p.m., Roussel Hall

Loyola University Wind Ensemble March 22, 3 p.m., Roussel Hall

Loyola Concert Band March 30, 3 p.m., Roussel Hall

Loyola Ballet Spring Concert* April 4 – 5, 8 p.m., Roussel Hall

Loyola Chorale and University Chorus perform Dona nobis pacem and Jesu meine Freude JANUARY 24, 7:30 P.M. April 8, 7:30 p.m., Roussel Hall JANUARY 26, 3 P.M.

Opera Workshop: H2Opera* April 24, 7:30 p.m., Roussel Hall

VICTOR GOINES WITH THE LOYOLA JAZZ BAND* March 15, 4:30 p.m. Roussel Hall

Program Book - Volume 23.3

Roussel Hall $40 preferred seating with $25 reserved seating

Loyola Symphony Orchestra Concerto Competition Winners April 26, 7:30 p.m., Roussel Hall

*TICKETS: or (504) 865-2074


Beyond the Stage: Louisiana Philharmonic Orchestra in the Community

Here We Grow Again! What a great year for LPO Education! We successfully expanded our programming to include high schoolers and adults with “Band Together” and “Play Dat!” and had a great time doing it. We plan to continue all this season’s new programming in 2014-2015 and hope that you will join us. Visit for next season’s education schedule. LPO’s Play Dat! - Recap A new LPO tradition has started after having a fabulous time with our 170 piece orchestra on Saturday, February 1. Thanks to all of the musicians who joined us! With participants ranging in age from 13-71 and from places as far away as Michigan, music really does bring people together. So, break out those instruments now and get ready to Play Dat! in 2015!

Who Dat?

LPO bass trombonist Evan Conroy demonstrating his instrument at a YPC.

My favorite part of the concert was the performance because it sounded wonderful. – Avoc Hynes Elementary, 1st grade


Who Dat?

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

LPO MASTERCLASS SERIES Presented by Loyola University New Orleans Free and open to the public Paul Jacobs, organ masterclass Friday, March 14, 2 p.m. Rayne Memorial United Methodist Church Paquito D’Rivera, clarinet/saxophone masterclass Friday, March 21, 6 p.m. C/M Complex, Room 240 Loyola University New Orleans Philippe Quint, violin masterclass Wednesday, April 9, 6 p.m. C/M Complex, Room 240 Loyola University New Orleans


LPO Under the Sea March 23, 2:30 p.m. Roussel Hall, Loyola University New Orleans Carlos Miguel Prieto, conductor Free for children 12 and under $10 for all others

2013-2014 OPEN REHEARSALS Join the LPO and Symphony Volunteers, Inc., for coffee, cookies, and great music! Appalachian Spring March 7 • First Baptist Church, Kenner Organ Symphony March 13 • First Baptist Church, New Orleans Philippe Quint and West Side Story April 11 • Mahalia Jackson Theater Rehearsals start at 10 a.m. and cost $10

Louisiana Philharmonic Orchestra

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Classical selections and favorite programs like World of Opera and the New York Philharmonic. • Weeknights at 8pm.

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Complete program schedule at W WNO 89.9 FM • K TLN 9 0.5 FM • W WNO1 • W WNO2 • W WNO3 • W WNO.ORG





A fun evening of outstanding music, elegant dining, fanciful dancing, and fine wine.

Saturday, April 12, 2014 Patron Party: 5:00 p.m. Civic Theatre Lobby

Concert: 6:00 p.m.

Civic Theatre with pianist Lola Astanova, conductor Jahja Ling, and the LPO

Seated Dinner: 7:30 p.m.

Hyatt Regency Hotel, New Orleans

Dancing: 9:00 p.m.

Music provided by Phillip Manuel *Black tie optional

Program Book - Volume 23.3


Symphony Volunteers, Inc. P.O. Box 4036 New Orleans, Louisiana 70138-4036

Proudly Supporting the LPO for 23 Seasons! EVENTS/ACTIVITIES The Encore Shop Shop/Donate/Consign 7814 Maple St. An upscale resale boutique directly benefiting the LPO, The Encore Shop offers high quality women’s designer clothes, shoes and accessories. Owned and operated by Symphony Volunteers Inc., the shop contributes 100 percent of its net profits to the LPO. Open: Tuesday – Saturday, 11 a.m. – 5 p.m. Donations and consignments by appointment: 504.861.9028

Bucket Brigade

Our version of passing the hat, Symphony Volunteers canvas the crowd bearing bright yellow buckets at the annual Concerts in the Park. To join in the fun, contact Bucket Brigade Chair Sarah Lemaire at 504-275-9023.

Symphony Book Fair March 28-30, 2014 (Friday – Sunday) SVI’s largest single-event fundraiser, the 61st Symphony Book Fair takes place at UNO’s Human Performance Center. Year round, the Book Fair accepts donations of books, CDs, DVDs, art, and sheet music at their warehouse (8605 Oak St.) on Tuesdays and Fridays, 10 a.m. – 2 p.m. For more information, call 504.861.2004.

2013-2014 Officers, Committees & Chairs President Amy B. Ferguson Vice Presidents, Administration Nancy Fridge Kathy Gaspard Vice Presidents, Education & Outreach Betty Gerstner Debra Judd Vice President, Fundraising Ellen Goldring Corresponding Secretary Marie Summitt Recording Secretary Charlotte Lewis Treasurer Louise Schreiner Financial Secretary Philip Straub

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

Join us! Fun, friendship, a fabulous cause. Contact Membership Chair Linda Ferguson at 504.282.0709 or visit to become a member and help us support the LPO.


Parliamentarian Joel Myers Encore Shop Chair Kathleen Davenport Book Fair Chair Heidi Charters Immediate Past-President Nancy Pomiechowski President-Elect Sarah Lemaire

Louisiana Philharmonic Orchestra

Appalachian Spring Appalachian Spring

March 7, 7:30 p.m. • First Baptist Church, Kenner March 8, 7:30 p.m. • Columbia Theatre, Hammond March 9, 2:30 p.m. • Slidell Municipal Auditorium Robert Bernhardt, conductor Benjamin Hart, violin RESPIGHI




Trittico Botticelliano, P. 151 (6’) La primavera: Allegro vivace

No. 1 “La primavera” from The Four Seasons for Violin and Orchestra, R. 269 (11’)

Robert Bernhardt, conductor

Giunt’e la primavera: Allegro Mormorio di fronde e piante, il capraro che dorme il cane che grida: Largo Danza pastorale: Allegro

Benjamin Hart, violin



Suite No. 1 from Peer Gynt, Op. 46 (4’) Morning Mood



Voices of Spring, Op. 410 (6’)

Benjamin Hart, violin

Sponsored by:






Overture to The Creatures of Prometheus, Op. 43 (5’) Suite from Appalachian Spring (23’)

Slidell Symphony Society Pedelahore & Co., LLP

(1945 orchestration)

With more than three decades of experience as a Music Director, conductor of pops, and in the opera pit, Bob Bernhardt continues to bring his unique combination of easy style, infectious enthusiasm, and wonderful musicianship to the podium. Now in his 32nd season with the Louisville Orchestra, and 17th as Principal Pops Conductor, he accepted the post of Assistant Conductor in 1981 and has worked with the Louisville Orchestra in every season since. He is concurrently Principal Pops Conductor of the Chattanooga Symphony and Opera, where he previously spent 19 seasons as Music Director, and now is in his 22nd year with the company. He is also Artist-in-Residence at Lee University. In the past three seasons, Bob has made his conducting debut with the Baltimore Symphony, Dallas Symphony, Houston Symphony, Cincinnati Pops, Las Vegas Philharmonic, and Santa Barbara Symphony, all of which were rewarded with return engagements. He has a continuing eight-year relationship with the Edmonton Symphony conducting there several

Program Book - Volume 23.3


Appalachian Spring

times each season, and has returned as guest conductor with the Detroit Symphony, Seattle Symphony, Tucson Symphony, and the Boston Pops. With the latter, he has been a frequent guest for twenty-one years, making his debut there in 1992 at the invitation of John Williams. Born in Rochester, New York, he holds a master’s degree from the University of Southern California’s School of Music where he studied with Daniel Lewis. He is also a Phi Beta Kappa, summa cum laude graduate of Union College in Schenectady, New York where he was an Academic All-American baseball player. He and his wife, Nora, live in Chattanooga, Tennessee. Benjamin Hart joined the LPO in 2013. Previously, he was a member of the Owensboro Symphony Orchestra, Evansville Philharmonic, and Terre Haute Symphony Orchestra. He also plays frequently with the IRIS Orchestra in Germantown, Tenn. Ben earned a M.M. from Indiana University in 2012, where he studied with Alexander Kerr. He received a B.M. with honors from Vanderbilt University, where he worked with Christian Teal. He also studied with Kent Perry and John McGrosso in his home town of St. Louis, Missouri. As a chamber musician, Ben has appeared across the U.S. and Europe with the Ars Nova String Quartet. In 2011, the quartet participated in the Advanced Quartet Studies program at the Aspen Music Festival, studying with members of the Emerson, Takács, Juilliard, Cleveland, Concord, and American String Quartets. Ben has also spent summers at the Innsbrook Institute, Kent Blossom, Britt Festival, and Vanderbilt Academie in Aix en Provence, France. Benjamin’s passion extends beyond the stage, having received recognition for his original compositions, including chamber music and a trombone concerto. He studied composition privately with P.Q. Phan at Indiana University. He is also known for his traditional hymn arrangements, having produced two hymn albums with his sibling band, Harts on Strings. As a native of St. Louis, Ben is a die-hard Cardinals fan. He enjoys baseball history, stats, and playing the game. He also appreciates old cars, good food, and road-trips.

LPO CHAMBER CONCERT THE KING OF INSTRUMENTS Sunday, March 16, 2:30 p.m. Christ Church Cathedral Tickets: $35 • Students with ID $10 at the Door or 504.523.6530 Guest organist Paul Jacobs joins an LPO Brass Quintet to perform works by Bach, Gabrieli, Duruflé, and Brahms. Sponsored by:


Louisiana Philharmonic Orchestra

Organ Symphony

This concert is supported by a generous gift in memory of Dora Ferber.

March 13, 7:30 p.m. • First Baptist Church, New Orleans Jean-Marie Zeitouni, conductor • Paul Jacobs, organ La Cathédrale Engloutie (5’) Jean-Marie Zeitouni, conductor


(b. 1949)

Organ Concerto No. 4 (25’) Robust Soaring Whirling, with Agitation

Paul Jacobs, organ INTERMISSION


(1835 - 1921)

Symphony No. 3 in C minor, Op. 78, “Organ Symphony” (36’) Part I Adagio-Allegro moderato Poco adagio

Paul Jacobs, organ Sponsored by:

Part II Allegro Moderato-Presto Maestoso-Allegro

Paul Jacobs, organ

Jean-Marie Zeitouni, music director of the Columbus Symphony and since 2011 artistic director of I Musici de Montréal, has emerged as one of Canada’s brightest young conductors. His eloquent yet fiery style results in regular re-engagements across North America. In 2006, he recorded his first album with Les Violons du Roy titled “Piazzolla” which received a Juno Award for Classical Album Of The Year in the category Solo or Chamber Ensemble in 2007. They also have two subsequent recordings: Bartok in 2008 and Britten in 2010. In the past seasons, appearances as guest conductor in North America have included performances with the Calgary Philharmonic, Houston Symphony, Montreal Symphony, Orchestre Symphonique de Quebec, Oregon Symphony, San Antonio Symphony, Seattle Symphony, Toronto Symphony, Vancouver Symphony, and Winnipeg Symphony. Jean-Marie Zeitouni graduated from the Montreal Conservatory in conducting, percussion and theory. He studied with Maestro Raffi Armenian.

Program Book - Volume 23.3


Organ Symphony


(1862 - 1918) Orch. Colin Mathews

Organ Symphony

Described by The Chicago Tribune as “one of the most supremely gifted organists of his generation,” Grammy award-winning organist Paul Jacobs unites technical skills of the first order with probing emotional artistry. Jacobs played the first concert on the newly restored Kuhn organ at Alice Tully Hall in New York, performing Bach’s monumental Clavier-Ubung III as part of Lincoln Center’s first annual White Light Festival in 2010. A favorite and frequent guest of the San Francisco Symphony, he has performed and toured with them and Michael Tilson-Thomas in varied repertoire including Lou Harrison’s Concerto for Organ with Percussion and Copland’s Organ Symphony, both of which were recorded on the SFSO label. He has been guest soloist with the Philadelphia Orchestra, California’s Pacific Symphony, the Kansas City Symphony, the Cincinnati Symphony with James Conlon at the Cincinnati May Festival and previously with the Chicago Symphony and Pierre Boulez in Janacek’s Glagolitic Mass. His recording of the Messiaen Livre du Saint Sacrement, released by Naxos in 2010, was awarded that year’s Best Solo Instrumental Grammy of the Year, the first time a disc of solo organ music has received this honor. Prodigiously talented from his earliest years, at 15 Jacobs was appointed head organist of a parish of 3,500 in his hometown, Washington, Pennsylvania. He studied at the Curtis Institute of Music, double-majoring with John Weaver for the organ and Lionel Party for the harpsichord, and at Yale University with Thomas Murray. Paul Jacobs joined the faculty of The Juilliard School in 2003, and was named chair of the organ department in 2004, one of the youngest faculty appointees in the school’s history. He received Juilliard’s prestigious William Schuman Scholar’s Chair in 2007.

Program Notes By Michael C. Clive

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

La Cathédrale Engloutie Claude Debussy

With his compatriot Ravel, Claude Debussy is considered the father of Impressionism in music. The dates are certainly right; Debussy was born in 1862, and Impressionism in painting began to take shape in the 1870s. But what does Impressionism in music mean? In painting we can see how the fleeting impression is captured, how light and air fill the canvas rather than an arrangement of solid objects. For the musical equivalent we need only listen to La cathedrale engloutie, with its emphasis on mood over narrative, its crystalline textures and dreamlike quality of sound. Originally published in 1910 as the tenth prelude in the first of Debussy’s two-volume set of piano preludes, La cathedrale engloutie – usually translated as The Sunken Cathedral – is based on a Breton myth. But story is not at issue here so much as image: the depiction of a cathedral gradually taking


shape and rising from under the water on days when the sea is clear. The transparent textures, the ambiguous and everchanging tonality and the fluid, rocking motion of the water are characteristic of Debussy’s Impressionism, and they were staples of his music throughout his composing career. Orchestrations by Henry Wood, Leopold Stokowski and Colin Matthews find ingenious ways not only to expand the scale of Debussy’s piano to an entire orchestra, but to retain the delicacy of mood that is essential to Impressionism. As the music slowly takes shape, so does our impression of the cathedral rising from the clear waters of the isle of Ys, with bells tolling and priests chanting in the distance. Mysterious parallel fifths set the mood – ironic for a religious tableau, since parallel fifths were all but taboo even in Debussy’s day. The cathedral gradually materializes through the fog until the sacred sound of the organ is heard and felt, signaling the cathedral’s return to the sea.

Louisiana Philharmonic Orchestra

Organ Concerto No. 4 Stephen Paulus

Symphony No. 3 in C minor Camille Saint-Saëns

It’s possible to experience a lifetime of great music without encountering a live performance of Camille Saint-Saëns’ thrilling Organ Symphony. The reason: in addition to a conductor and orchestra that have mastered the idiom of Saint-Saëns’ elegant, precise style, this symphony demands a first-rate organ and organist as well as a piano. Much admired but less often programmed, the Organ Symphony could be viewed as emblematic of its composer’s place in music history. Born in 1835, when the Romantic era was still young, the spectacularly gifted Saint-Saëns lived

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Organ Symphony

One of the most prominent and prolific composers on the current scene, Stephen Paulus has composed more than 400 works that have been performed throughout the world, winning acclaim from sources including the New York Times, Los Angeles Times, Cleveland Plain Dealer and Opera News. A native of Summit, NJ, Paulus studied composition at the University of Minnesota, earning his Ph.D. in 1979. He found early success with a commission for Opera Theatre of St. Louis, one of America’s leading opera festivals, and has now written 10 operas that have entered the repertory of the Boston Lyric Opera, Washington Opera, Minnesota Opera, Sacramento Opera, The Berkshire Opera Company, and others. Paulus has demonstrated a special affinity for choral and religious works, and for organ composition. With 55 orchestral works to his credit, he has served as Composer-in-Residence with the orchestras of Atlanta, Minnesota, Tucson and Annapolis. Conductors who have premiered his works include Christoph van Dohnanyi, Kurt Masur, Osmo Vanska, Neville Marriner and Leonard Slatkin. Paulus’ distinctively American compositional style has been described as rugged, angular, lyrical, lean, rhythmically aggressive, and gorgeous – especially well suited to the depth and vigor of the pipe organ.

through one of the most turbulent periods in music history. He was one of the greatest of all music prodigies, outpacing even Mozart and Mendelssohn; he began composing at age 3, and performed one of Beethoven’s violin sonatas in a Paris salon at age 4. By age 10, in a legendary concert in Paris, he followed his performance of a movement from Beethoven’s C-minor piano concerto with an offer to play any of Beethoven’s 32 piano sonatas from memory. What is one composer to do with all of that craft? We hear much of it in the Organ Symphony, which brings together a range of knowledge that few others could command. The symphony combines SaintSaëns’ facility for sonic dazzle with larger ambitions. In an introductory note he observes that the work’s movements are paired, so that it seems to be divided in halves rather than four movements. Beyond that, the development is cyclical, with thematic material evolving throughout the symphony. It opens with an introductory theme comprised of a rising four-note figure; no sooner is it heard than it begins to evolve in an Allegro development. Formally constructed, the movement seems to build tension with its large orchestral forces mounting in waves, only to let them subside. Eventually the development resolves into a serene conclusion that almost whispers. This opening is followed by a calm Adagio that introduces the organ not in thunder, but tranquility: with subtle, pianissimo pedal points. It combines with a lush melody in the strings that demonstrates not the typical Romantic struggle, but a coexistence that seems to express a harmonious view of the natural world. For organ enthusiasts, the fourth movement of this symphony offers one of the great climactic moments in music: an organ chord in C-major spanning three and a half octaves. The marking is single-forte, but the effect is as huge as a mighty fortissimo, and soloists are within their discretion to blast it as loud as they deem fit, depending on the venue and the collaboration of the day. The point is not mere aural spectacle, but, as the composer wrote, “the defeat of the restless, diabolical element” leading to “the blue of a clear sky.” In this symphony, the sky is quite literally the limit. LPO

Shostakovich ‘Leningrad’ Symphony This concert is supported by a generous gift from Charles and Cammie Mayer.

March 20, 7:30 p.m. • Mahalia Jackson Theater Carlos Miguel Prieto, conductor Juho Pohjonen, piano

Shostakovich Leningrad


(1756 - 1791)

Concerto No. 15 in B-flat major for Piano and Orchestra, K. 450 (25’) I. Allegro II. Andante III. Allegro

Carlos Miguel Prieto, conductor

Juho Pohjonen, piano INTERMISSION


(1906 - 1975)

Symphony No. 7 in C major, Op. 60, “Leningrad” (69’) I. Allegretto II. Moderato - Poco allegretto III. Adagio IV. Allegro non troppo

Juho Pohjonen, piano

Sponsored by:

One of the brightest young instrumental talents to emerge from Finland today, Juho Pohjonen has attracted great attention as one of the Nordic countries’ most intriguing and talented pianists. Season highlights for 2012–13 included performances with The Philharmonia Orchestra and Esa-Pekka Salonen, Atlanta Symphony Orchestra with Robert Spano, and Iceland Symphony with François-Xavier Roth. At the end of the 2011–12 season, Pohjonen made his debut at the Aspen Music Festival performing Messiaen’s Des canyons aux étoiles... with Robert Spano. He continues to work with the Chamber Music Society of Lincoln having been selected as one of fourteen musicians to join the ‘CMS Two Residency Program for Outstanding Young Artists’ between 2009–2012. Pohjonen has given recitals in Hong Kong, Dresden, Hamburg, Helsinki, London (Wigmore Hall), New York (Carnegie Hall), San Francisco, Vancouver, Warsaw and at the Lucerne Piano, Savonlinna and Bergen festivals. He has performed with orchestras including Los Angeles Philharmonic, San Francisco Symphony, Atlanta Symphony, Philharmonia Orchestra, Finnish Radio Symphony, Swedish Radio Symphony, Helsinki Philharmonic, and Lahti Symphony - with whom he toured Japan. Most recently, Juho has worked with such conductors as Esa-Pekka Salonen, Marek Janowski, Hugh Wolff,


Louisiana Philharmonic Orchestra

Shostakovich Leningrad

and Lionel Bringuier. Pohjonen’s debut recording “Plateaux” features a performance of Scandinavian composer Pelle Gudmundsen-Holmgreen’s piano concerto Plateaux pour Piano et Orchestre with the Danish National Symphony Orchestra and solo piano piece for piano. His sensational opening recital at 2010’s Music@Menlo Festival led to a recording for the Music@Menlo Live 2010 series titled Maps and Legends: Disc 8. Pohjonen was selected by András Schiff as the winner of the 2009 Klavier Festival Ruhr Scholarship. In addition, he has won numerous prizes in both Finnish and international competitions, including: First Prize at the 2004 Nordic Piano Competition in Nyborg, Denmark, First Prize at the International Young Artists 2000 Concerto Competition, Stockholm, the Prokofiev Prize at the AXA Dublin International Piano Competition 2003, and was a prize winner at The Helsinki International Maj Lind Piano Competition 2002. Juho’s studies began in 1989, when he entered the Junior Academy of the Sibelius Academy, Helsinki where he studied with Meri Louhos and Hui-Ying Liu-Tawaststjerna and completed his master’s degree in 2008. In addition, Juho has participated in several masterclasses of world-class pianists such as András Schiff, Leon Fleisher, Jacob Lateiner, and Barry Douglas.

Program Notes By Michael C. Clive

Concerto No. 15 in B-flat major for Piano and Orchestra Wolfgang Amadeus Mozart

We often find commercial and domestic considerations rubbing elbows with the sublime when we look into the background of Mozart’s compositions. His piano concertos are among his most beautiful and important works, but in his frequent letters to his father, he describes them casually, focusing on the practical problems they posed. His No. 15, in the key of B-flat major – classed as a “concertante” work for piano and orchestra, with substantial parts to display both solo piano and orchestra – was composed for performance at a series of concerts at the Trattnerhof and Burgtheater halls in Vienna in 1784, with Mozart himself at the keyboard. He composed his Concerto No. 16 for the same concert series, and pianists often compare the two. So did Mozart. “I consider them both to be concertos that make one sweat,” he wrote his father. “But the B-flat one [No. 15] beats the one in D [No. 16] for difficulty.” Musicologists note that he brought a new level of sophistication to the scoring of woodwind instruments in this concerto,

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including them (rather than just the strings) in melodic exchanges with the soloist – a practice he would repeat in later “grand” concertos. For the soloist, the No. 15 – like so many of Mozart’s concertos – poses the deceptively difficult challenge of making the music sound transparently simple and spontaneous even when its construction is complex and its passage work technically challenging. It contains more than the usual share of rapid scales and chords that must be perfectly and gracefully articulated. The concerto is structured in the traditional sequence of fast-slow-fast movements; the final Allegro is one of Mozart’s many rondo finales, with repeated statements of the initial melody providing opportunities for both composer and soloist to demonstrate their skills.

Symphony No. 7 in C major, Op. 60, “Leningrad” Dmitri Shostakovich

Stalin himself attacked the music of the 26-year-old Dimitri Shostakovich, denouncing the most highly acclaimed Russian opera since Tchaikovsky’s “Queen of Spades.” The young composer knew


Shostakovich Leningrad


that his bad review in Pravda wasn’t just about art; it was a potential death sentence from a mass murderer. As a family man who had seen fellow-artists terrorized and sent to the gulags, Shostakovich knew he was in danger. During the following two decades, until Stalin’s death in 1953, he became known as an ardent apologist, producing evidence of his “reform” in public statements, written testimony, and music such as the Symphony No. 7 – which toes the party line by glorifying the Russian people’s heroic endurance of the siege of Leningrad in World War II. But was his apology sincere, or is there – as many now believe – a bitter critique beneath the surface? Shostakovich had originally intended to dedicate his seventh symphony to Stalin, but instead dedicated it to the city of Leningrad. It is estimated that of the 25 million Soviet citizens who died in World War II, perhaps a million and a half were civilians claimed by disease, starvation and slaughter in the brutal Nazi invasion of Leningrad. The survivors endured hardships that beggar the imagination, and for those who attended the premiere of Shostakovich’s seventh by the Leningrad Symphony Orchestra in its 1941-42 season, hearing the symphony was an overwhelmingly emotional experience. Among the most memorable of Russia’s wartime dispatches were reports of listeners to Shostakovich’s seventh staggering out of the concert hall, weeping. Played in the West from scores smuggled out of the USSR on microfiche, the seventh became an iconic artifact – a cry of protest against fascism. For many listeners, the symphony is a specific narrative of the horrors of war. Its opening Allegretto can last a half hour and sets out opposing musical quotations from Germanic and Russian sources. Shostakovich deploys the snare drum and the brass choir (especially trumpets) with ever-increasing tension to give us the sense of invasion. We hear the warning howl of sirens and the chaos of war’s destruction and, in a recapitulation and brief coda, equally horrific calmness: the aftermath of destructive forces. The symphony’s interior movements, marked Moderato (poco allegretto) and

Adagio, seem to bring memories of Leningrad and its environs recollected in the tranquility of war’s aftermath. Momentary flashes of gaiety are quickly subdued, as if to remind listeners of the larger narrative. As with many of his predecessors, Shostakovich roots his music in the Russian landscape. The second movement, in fact, was originally labeled “Homeland,” and the third “Our Country’s Wide Spaces;” it includes musical depictions of the Neva River in twilight. The final Allegro non troppo brings together elements from all we have heard, leaving us to contemplate its meaning and to ponder the way ahead. Do we hear optimism for a better, more peaceful future, or only resignation and endurance in the face of suffering, as in Mussorgsky’s “Boris Godunov” – another monument of Russian music in which the people are the hero? In the wake of World War II, another question – whether Shostakovich had sold out to Stalin and become a “good communist,” as he was described in U.S. obituaries after his death in 1965 – affected critical opinion of the seventh symphony. The American composer-critics Paul Bowles and Virgil Thomson were dismissive, describing the symphony as intermittently gripping and banal; but reading them today, we can perceive their ideological eagerness to condemn. By contrast, in the memoir Shostakovich published after Stalin’s death he describes himself as a steadfast if covert resister of Stalin’s terror, and claims that his seventh symphony describes an atrocity that began long before the War at Stalin’s hands; the Nazis, he said, only “finished off” what the Russian dictator had himself begun. Musicologists are still mulling Shostakovich’s relationship with Stalin, and their questions may never be fully answered. As of this writing, you’ll find the following disclaimer on the Wikipedia entry for the Shostakovich Symphony No. 7: “The neutrality of this article is disputed…. Please do not remove this message until the dispute is resolved.” It has been there since December, 2012. LPO Program annotator Michael Clive lives in the Litchfield Hills of Connecticut. He writes for the Pacific Symphony and is Editor-in-Chief for The Santa Fe Opera, and for many publications on music and the arts.

Louisiana Philharmonic Orchestra

Pan-American Life Fiesta Sinfonica

Paquito D’Rivera: Live with the LPO March 22, 7:30 p.m. • Mahalia Jackson Theater Carlos Miguel Prieto, conductor Paquito D’Rivera, clarinet/saxophone ARTURO MÁRQUEZ

(b. 1950)

D’RIVERA (b. 1948)

Danzón No. 2 (10’)

Carlos Miguel Prieto, conductor

Paqutio D’Rivera

Cape Cod Concerto: Double Concerto for Clarinet, Piano, and Orchestra (20’) Benny at 100: in honor of Benny Goodman’s 100th Birthday Bandoneon Lecuonerias Chiquita Blues

Paquito D’Rivera, clarinet Alex Brown, piano INTERMISSION


Adagio (on a Mozart theme)





(1921 - 1992) arr. Daniel Freiberg


(b. 1922) arr. Alex Brown


Paquito D’Rivera, clarinet/saxophone

Sponsored by:

Waltz for Sonny

Contradanza Vals Venezolano Paquito D’Rivera, clarinet Christopher Pell, clarinet


(1896 - 1963)

Ante el Escorial and Andalucia


To Brenda with Love

Program Book - Volume 23.3


Paqutio D’Rivera

Paquito D’Rivera defies categorization. The winner of eleven Grammy Awards, he is celebrated both for his artistry in Latin jazz and his achievements as a classical composer. Born in Havana, Cuba, he performed at age 10 with the National Theater Orchestra, studied at the Havana Conservatory of Music and, at 17, became a featured soloist with the Cuban National Symphony. As a founding member of the Orquesta Cubana de Musica Moderna, he directed that group for two years, while at the same time playing both the clarinet and saxophone with the Cuban National Symphony Orchestra. He eventually went on to premier several works by notable Cuban composers with the same orchestra. Additionally, he was a founding member and co-director of the innovative musical ensemble Irakere. With its explosive mixture of jazz, rock, classical and traditional Cuban music never before heard, Irakere toured extensively throughout America and Europe, won several Grammy nominations (1979, 1980) and a Grammy (1979). His numerous recordings include more than 30 solo albums. In 1988, he was a founding member of the United Nation Orchestra, a 15-piece ensemble organized by Dizzy Gillespie to showcase the fusion of Latin and Caribbean influences with jazz. D’Rivera continues to appear as guest conductor. A Grammy was awarded the United Nation Orchestra in 1991, the same year D’Rivera received a Lifetime Achievement Award from Carnegie Hall for his contributions to Latin music. Additionally, D’Rivera’s highly acclaimed ensembles- the Chamber Jazz Ensemble, the Paquito D’Rivera Big Band, and the Paquito D’Rivera Quintet are in great demand worldwide. While D’Rivera’s discography reflects a dedication and enthusiasm for Jazz, Bebop and Latin music, his contributions to classical music are impressive. They include solo performances with the London Philharmonic, the London Symphony Orchestra, the Warsaw Philharmonic Orchestra, the National Symphony Orchestra, the Baltimore Symphony, the Florida Philharmonic Orchestra, and the Brooklyn Philharmonic. He has also performed with the Puerto Rico Symphony Orchestra, the Costa Rica National Symphony, the Simon Bolivar Symphony Orchestra, the Bronx Arts Ensemble, and the St. Luke’s Chamber Orchestra, among others. In his passion to bring Latin repertoire to greater prominence, D’Rivera has successfully created, championed and promoted all types of classical compositions, including his three chamber compositions recorded live in concert with distinguished cellist Yo-Yo Ma in September 2003. The chamber work “Merengue,” from that live concert at Zankel Hall, was released by Sony Records and garnered Paquito his 7th Grammy as Best Instrumental Composition 2004. In addition to his extraordinary performing career as an instrumentalist, D’Rivera has rapidly gained a reputation as an accomplished composer. The prestigious music house, Boosey and Hawkes, is the exclusive publisher of D’Rivera’s compositions. Recent recognition of his compositional skills came with the award of a 2007 John Simon Guggenheim Fellowship in Music Composition, and the 2007-2008 appointment as Composer-In-Residence at the Caramoor Center for Music and the Arts with the Orchestra of St. Luke’s. D’Rivera’s works often reveal his widespread and eclectic musical interests, which range from Afro-Cuban rhythms and melodies, including influences encountered in his many travels, and back to his classical origins. His numerous commissions include compositions for Jazz at Lincoln Center, the Library of Congress, the National Symphony Orchestra and Rotterdam Philharmonic, the Turtle Island String Quartet, Ying String Quartet, the International Double Reed Society, Syracuse University, Montreal’s Gerald Danovich Saxophone Quartet, and the Grant Park Music Festival. LPO


Louisiana Philharmonic Orchestra

Evening at the Opera

This concert is supported by a generous gift from J. Scott Chotin.

March 28, 7:30 p.m. • First Baptist Church, Covington Robert Lyall, conductor • Norah Amsellem, soprano Sarah Jane McMahon, soprano • Noah Stewart, tenor Liam Bonner, baritone PUCCINI

Capriccio Sinfonico (16’)


From La Bohème

(1858 - 1924)

Robert Lyall, conductor

“Che gelida manina” (5’) Rodolfo


Evening at the Opera

“Mi chiamano Mimi” (5’) MIMÍ Norah Amsellem

“O soave fanciulla” (4’) Mimí, Rodolfo

“Musetta’s Waltz” (3’) Musetta

Act II finale (tutti) INTERMISSION

MUSETTA Sarah Jane McMahon

scene from Act III (19’) (tutti)

“O Mimì, tu più non torni” (4’) Rodolfo, Marcello

scene from Act IV (6’) (tutti)

RODOLFO Noah Stewart

“Sono andati” duet (6’) Mimí, Rodolfo

Act IV finale (4’) (tutti)

MARCELLO Liam Bonner

Sponsored by:

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Robert Lyall was named General Director of the New Orleans Opera Association in November of 1998. Lyall is also Artistic Director of Opera Grand Rapids, and is former General Director of Knoxville Opera Company, Artistic Director of the Mississippi Opera, and Music Director of both the Victoria Symphony Orchestra and the Oak Ridge Symphony Orchestra. The conductor has lead performances at Carnegie Hall, Istanbul State Opera, Seattle Opera, Opera Theatre of Saint Louis and Bulgarian State Opera. Lyall has guest conducted throughout the United States and Mexico, to much acclaim.

Evening at the Opera

French soprano Norah Amsellem has been engaged by leading opera companies around the world including the Vienna State Opera, Royal Opera House Covent Garden, The Metropolitan Opera, Opéra National de Paris and Teatro alla Scala and has been praised for her dramatic intensity and soaring vocal technique. She is an accomplished concert artist, including collaborations with renowned conductors including James Levine, Riccardo Muti, Daniele Gatti, Seiji Ozawa, Zubin Mehta, Daniel Barenboim and George Prêtre. Recent performances include Micaëla in Carmen with Seattle Opera, a role she has performed at Covent Garden and in her debuts at Opéra National de Paris and The Metropolitan Opera with Placido Domingo and Maestro James Levine. Amsellem was also heard at Teatro Regio di Torino as Musetta, which she has performed with San Francisco Opera. Sarah Jane McMahon is recognized for her “beautiful vocal sophistication” and “sparkling stage presence.” Recently, Sarah Jane sang a Gala concert opposite Placido Domingo and made her debut with The San Francisco Symphony, Munich Philharmonic, the Wiener Konzert Haus, Bremen’s Die Glocke, and the Santo Domingo Festival in The Dominican Republic. A summa cum laude graduate of Loyola University New Orleans and Yale University, recent concert appearances have included Christmas Concerts with The San Francisco Symphony, California Symphony, and Shreveport Symphony; Carmina Burana at Avery Fisher Hall and with the Tulsa Opera and Ballet; and the Rutter Requiem at Carnegie Hall. Noah Stewart’s musical development started in Harlem where he studied classical music at The Harlem School of the Arts. At a young age, Stewart developed a passion for opera, languages, art song, oratorio, and concert repertoire, and committed himself to pursuing an operatic career. He was recommended by his mentor, the great soprano Leontyne Price, to attend The Juilliard School, where he was awarded a full scholarship. By the end of his senior year at Juilliard, Stewart was already receiving attention from the professional classical community. He was accepted into the San Francisco Opera’s prestigious Merola Program, where he was given his first taste of modern opera as The Wizard in Conrad Susa’s Transformations. He was subsequently invited to become a San Francisco Opera Adler Fellow. Praised by Opera News for his “rich, versatile voice” and “beautiful instrument,” rising baritone Liam Bonner returns to Houston Grand Opera as Eisenstein in Die Fledermaus and will also return to Los Angeles Opera as the title role in Benjamin Britten’s Billy Budd in a production directed by Francesca Zambello and conducted by James Conlon. Bonner earned a Master of Music degree from the Manhattan School of Music and a Bachelor of Fine Arts from Carnegie Mellon University in his home city of Pittsburgh, Pennsylvania. Additionally, he is a former member of the Houston Grand Opera Studio, as well as San Francisco Opera’s Merola Program and Studio and Apprentice Artist at Central City Opera. He is a national semi-finalist in the Metropolitan Opera National Council Auditions, and an award winner from the George London Foundation and Houston Grand Opera’s Eleanor McCollum Competition. LPO


Louisiana Philharmonic Orchestra

Philippe Quint and West Side Story This concert is supported by a generous gift from Phyllis Taylor.

April 11, 7:30 p.m. • Mahalia Jackson Theater Carlos Miguel Prieto, conductor • Philippe Quint, violin DAVID ANDERSON

Celebration: A Tone Poem for Orchestra (15’)


Concerto in D Major for Violin and Orchestra, Op. 35 (24’)

(b. 1962)

(1897 - 1957)

Carlos Miguel Prieto, conductor

Moderato nobile Romance: Andante Finale: Allegro assai vivace

Philippe Quint, violin INTERMISSION

(b .1938)


(1918 - 1990)

Chaconne for Violin and Orchestra from The Red Violin (17’) Philippe Quint, violin Symphonic Dances from West Side Story (23’)

Philippe Quint and West Side Story


Philippe Quint, violin

Sponsored by:

I. Prologue II. “Somewhere” III. Scherzo IV. Mambo V. Cha Cha VI. Meeting Scene VII.”Cool” Fugue VIII. Rumble IX. Finale

Award-winning American violinist Philippe Quint is a multifaceted artist whose wide range of interests has led to several Grammy nominations for his albums, performances with major orchestras throughout the world at venues ranging from the Gewandhaus in Leipzig to Carnegie Hall in New York, a leading role in a major independent film called Downtown Express, and explorations of tango with his band The Quint Quintet. Quint’s formidable discography includes a large variety of rediscovered treasures along with popular works from standard repertoire. In November 2013, he released Opera Breve with pianist Lily Maisky, a unique collection of opera transcriptions for violin and piano featuring both popular and rare songs, on Avanticlassic. Quint’s first album for Avanticlassic, a recording of the Mendelssohn and Bruch Violin Concertos and Beethoven’s Romances with the Orquesta Sinfónica de Minería led by Carlos Miguel Prieto, was released in 2012. Gramophone described Quint’s performance as “pure sound and refined expression. An account well worth hearing.” His recordings

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of William Schuman’s Violin Concerto (2007) and Korngold’s Violin Concerto (2009) were both nominated for Grammy Awards. Constantly in demand worldwide, Quint’s most recent appearances include performances with the orchestras of Chicago, Detroit, Indianapolis, New Jersey, Minnesota, Bournemouth, Houston, Weimar Staatskapelle, Royal Liverpool, China National, Orpheus, Berlin Komische Oper, Nordwestdeutsche and Bochumer Symphonikers, and Cape Town Philharmonic. He has performed under the batons of Marin Alsop, Carl St. Clair, Daniel Hege, Andrew Litton, Kurt Masur, Jorge Mester, Kenneth Schermerhorn, Steven Sloane, Michael Stern, Bramwell Tovey, Gregory Vajda, and Martin Yates. Philippe Quint studied at Moscow’s Special Music School for the Gifted with the famed Russian violinist Andrei Korsakov, and made his orchestral debut at the age of nine. After emigrating to the United States, he earned both bachelor’s and master’s degrees from Juilliard. His distinguished pedagogues included Dorothy Delay, Cho-Liang Lin, Masao Kawasaki, and Felix Galimir.

Program Notes By Michael C. Clive

Philippe Quint and West Side Story

Celebration: A Tone Poem for Orchestra David Anderson

This piece was written on request from Peter Bay in honor of the Britt Classical Festival’s 50th Anniversary, and commissioned for the 50th season. My goal was to capture many of the wonderful aspects of the Britt as experienced by all the wonderful musicians throughout the years. I wanted to highlight each section of the orchestra in virtuosic ways. Each section is called upon to their utmost limit, and implements the largest orchestral instrumentation possible. The form is an extended Rondo that is expanded and compressed, features I have always admired in many wonderful composers. The extended middle section is dedicated in memory of many Britt Orchestra musician family members lost over the years. Most distinctly is a poignant passage dedicated to John Trudeau, the founder of the Festival, who returned annually to visit and even guest conduct. One composer he loved, as a trombone player, was Robert Schumann. I used the trombone section to imply a Schumann influenced choral. I also wanted to feature compositional styles of composers that Britt musicians love to perform here, such as Mahler, Respighi,


Brahms, Copland, and Tchaikovsky, and always receive a huge standing ovation from Britt audiences. The main ideas of this piece are: Celebration, Memorial, Elegy, Retrospection, and Triumph. Now here’s to the continuation of a fantastic classical music festival for many, many more years! Program note written by David Anderson

Concerto in D Major for Violin and Orchestra, Op. 35 Erich Korngold

Erich Wolfgang Korngold was one of the composers who fled Germany and Austria before the onset of World War II and settled in Hollywood, helping to create a musical golden age to match the golden age of American Cinema. Success in the film industry proved a mixed blessing for this enormously gifted composer, who seemed destined to be misunderstood wherever he went. Born in the AustroHungarian town of Brno, he was well known before he even published a note, thanks to his father’s reputation as a music critic; it was suspected that early successes came from leveraging his father’s fame rather than musical merit. In America, when his name became synonymous with movie music, some classical composers viewed him as a sellout. And when he finally

Louisiana Philharmonic Orchestra

Chaconne for Violin and Orchestra from The Red Violin John Corigliano

The musical soundtrack for the 1998 Canadian feature “The Red Violin” had to be more than the usual movie music; after all, the almost magically perfect violin of the title and the music expressing its character are the heart and soul of the drama as the instrument passed from one player to another. The distinguished American classical composer John Corigliano was selected to write the score. Describing its challenges, he writes: A story this episodic needed to be tied together with a single musical idea. For this purpose I used the Baroque device of a chaconne: a repeated pattern of chords upon which the music is built. For violin fanciers, his choice was especially apt because of its resonance with the Bach Chaconne, a seminal work of the violin repertory. Corigliano continues:

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…[D]uring the summer of 1997 while the film was being shot all over the world, I remained at home and composed the 17-minute “the Red Violin: Chaconne for Violin and Orchestra,” a concert work based on the existing elements, and given its world premiere in San Francisco… Corigliano’s beautiful Chaconne not only became a concert work favored by prominent soloists internationally, but also became the basis of a concerto in which he incorporates other elements from the film score. As a stand-alone work it is one of the most admired new additions to a genre that includes Bach’s Chaconne and the Ravel Tzigane.

Symphonic Dances from West Side Story Leonard Bernstein

The creation of West Side Story is the stuff of legend. It brought together three acknowledged geniuses on a daring venture at a time when the musical theater was exploding with creativity. Bernstein – at age 37 still a young composer, but already an internationally famous conductor – was the perfect composer for this landmark musical. Stephen Sondheim, now the living patriarch of American musical theater, was scarcely 25 when he joined the team. But choreographer-director Jerome Robbins – famously brilliant, volatile and domineering – was the dominant force in the collaboration. Guided by his creative vision, West Side Story became a music-drama in which dance was the motivic force for plot development; many dance aficionados consider it a full-length ballet that also happens to be a Broadway musical. Innovative and inspired, the dance music in West Side Story astounded its first listeners with its melodic inventiveness and complex Latin rhythms. When assembled as a suite and with scoring expanded from the Broadway pit ensemble of 26 players to a full orchestra, it takes its place as a spectacular orchestral showpiece and the most frequently programmed of Bernstein’s symphonic works. LPO Program annotator Michael Clive lives in the Litchfield Hills of Connecticut. He writes for the Pacific Symphony and is Editor-in-Chief for The Santa Fe Opera, and for many publications on music and the arts.

Philippe Quint and West Side Story

rededicated himself to composing for the concert hall and the opera house, still other composers were less than receptive. Today it is the music that establishes Korngold’s rightful place in music, though exactly what that might be still depends on whom you ask. But the violin concerto, composed in his characteristically lush, melodic style, is most often cited as the cornerstone of his reputation. Here Korngold bridges the concert hall and Hollywood: its opening Moderato nobile movement is built around themes from his scores for Another Dawn and Juarez; in the central Romanze movement, the main theme is a quotation from his Anthony Adverse; and in the final Allegro assai vivace, an energetic movement with plenty of virtuoso licks, the proceedings build to a rollicking climax based on a melody from “The Prince and the Pauper.” Championed by Jascha Heifetz, the concerto soon entered the standard repertory. It is dedicated to Alma Mahler, the widow of Gustav Mahler, Korngold’s mentor in music; considering all the European culturati who nursed bad crushes on this charismatic woman, it’s quite possible that Korngold did, too.


Mahler ‘Tragic’ Symphony This concert is supported by a generous gift from Barbara and Hugo Wedemeyer.

May 15, 7:30 p.m. • Mahalia Jackson Theater Carlos Miguel Prieto, conductor MAHLER

(1860 - 1911)

Symphony No. 6 in A Minor, “Tragic” (79’)

I. Allegro energico, ma non troppo II. Andante moderato III. Scherzo IV. Finale

Carlos Miguel Prieto, conductor

Sponsored by:

Program Notes By Michael C. Clive

Symphony No. 6 in A Minor Mahler ‘Tragic’ Symphony

Gustav Mahler

Critics of the past are easy targets for today’s music fans — perhaps too easy when they pan the music that we have come to love. But in the case of Gustav Mahler, reading contemporary assessments of his compositions is fascinating. In the century since his death, Mahler has come to be celebrated as perhaps the greatest symphonist since Beethoven. But during his lifetime, Mahler had greater success as a conductor than as a composer, and even that was mitigated by problems in Vienna and New York City, where he was appointed principal conductor of the Metropolitan Opera in 1907 and also led the New York Philharmonic. Though his performances earned tremendous acclaim, his conflicts with the trustees of both organizations broke his spirit and damaged his health, and in 1911 he returned to Vienna, where he died of pneumonia that same year. The magisterial eleventh edition of the Encyclopedia Britannica, published in 1911, was known to provide authoritative explanations of anything worth explaining; editors did not see fit to include an article


on Mahler. The highly respected New York paper the Herald Tribune, in noting Mahler’s passing, was respectful of his achievements as a conductor, but noted “We cannot see how any of his music can long survive him.” Mahler had his influences – the brassy thunder of Bruckner, the superb craftsmanship of Brahms – but his style was utterly unique, and in retrospect it is surprising that its greatness was so long in gaining recognition beyond the community of his fellow composers. The music world waited for Beethoven’s heir; yet the one symphonist who built on Beethoven’s legacy, who created symphonic statements of monumental scope and philosophical content employing huge orchestral forces, who integrated choruses and vocal solos into the symphonic form, was marginalized. Even Beethoven’s obsessiveness in carrying his ideas to completion is echoed in Mahler, though the sound of the result could not be more different. The aural bliss of the Mahler sound seems to suspend all dimensions, especially time; one modernday musicologist has compared the effect to taking a long, hot bath in heaven. “Too long,” “too loud” and “too

Louisiana Philharmonic Orchestra

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controversial aspect of the symphony remains the placement of the scherzo as either the second or third movement; it seems likely that Mahler changed his mind more than once regarding their order, and musicologists cite conflicting evidence on which sequence should prevail, but the one we will hear tonight – with the scherzo in third place – seems intuitively right. For those listeners who hear in this symphony a narrative line of a hero’s life – perhaps Mahler’s own life – the opening Allegro suggests the protagonist’s entry and march into engagement with life’s challenges. He is met by what musicologist Pal Bekker calls “an unchangeable verdict of Fate:” a martial motif in oboes and trumpets emphasized by the pounding of timpani. Does Man have command of his own destiny in the face of such implacable forces? The woodwind chorale that follows, calm and self-possessed, suggests a dignified bearing in life. In the serene Andante moderato that we hear as the second movement, ardent lyricism suggests the redemptive, humanizing satisfactions of love in the midst of life’s travails – especially since Mahler composed this symphony when his marriage to the legendary beauty and intellectual muse Alma Schindler was at its happiest. The sense of haunted fearfulness seems absent from this movement, and it is suffused with a romantic glow; but it is followed by the demonic scherzo, a movement of interwoven motifs that lead us inexorably back toward the impersonal forces of Fate we encountered in the first movement. The final movement, an Allegro moderato leading to an Allegro energico, is huge – like a symphony within a symphony. It has a retrospective quality, as if the hero were recalling life’s past events and their collisions with the forces of Fate. A final brass chorale suggests the hero’s courageous engagement with life, but in the end, it is Fate that prevails. LPO

Mahler ‘Tragic’ Symphony

discordant” seem to have been the chief critical complaints. The late Nicolas Slonimsky, whose pronouncements about musical merit had the authority of law, said that it took until the second half of the 20th century for critics to catch up with Mahler. But even into the 1960s, Harold C. Schonberg, the esteemed chief music critic for the New York Times, called Mahler’s symphonies the expressions of a “simpering adolescent.” The reason: Like Beethoven, Mahler used the breadth of the symphonic form to explore the philosophical questions that concerned and even frightened him – oppositional ideas such as momentary pleasure versus eternal beauty, the joys of life versus the mystery of death, the sublime versus the vulgar. He had known tragedy and struggle in his personal life, including the loss of a daughter to scarlet fever, his own diagnosis with a serious heart condition, and his stormy relations with musical institutions such as the Met and the Vienna Staatsoper. Much of Mahler’s music seems to grope beautifully for the meaning of everyday concerns in the context of the eternal, and the texts he chose for his symphonies and art songs often address these questions directly. In many respects, his sixth symphony is the most conventional and traditional of his symphonies; there is no text and no specific story line. Many listeners hear it as a depiction of the life and death of a prototypical hero, an interpretation that could explain why the name “Tragic” has stuck with it. But unlike classical tragedy, the symphony does not end with a climactic resolution of truth and emotional catharsis. It is, in fact, Mahler’s only symphony that does not end in a final statement of positive transformation and triumph, a fact that prompted the British conductor Bruno Walter to call it “the first piece in the history of music.” Still, the symphony is comprised of the four traditional movements, and they unfold in a manner that lends itself to listening either with or without a programmatic narrative. The most

Program annotator Michael Clive lives in the Litchfield Hills of Connecticut. He writes for the Pacific Symphony and is Editor-in-Chief for The Santa Fe Opera, and for many publications on music and the arts.


Beethoven Symphony No. 9

This concert is supported by a generous gift from J. Robert Pope

May 24, 7:30 p.m. • Mahalia Jackson Theater Carlos Miguel Prieto, conductor Leslie Ann Bradley, soprano Margaret Lattimore, mezzo-soprano Thomas Studebaker, tenor Kevin Deas, bass Symphony Chorus of New Orleans,

Leslie Ann Bradley, soprano

Steven Edwards, music director

New Orleans Vocal Arts Chorale, Meg Frazier, music director

BRUCKNER (1824 - 1896)


(1833 - 1897)

Psalm 150 (9’) Leslie Ann Bradley, soprano Symphony Chorus of New Orleans New Orleans Vocal Arts Chorale

Rhapsody for Alto, Male Chorus, and Orchestra, Op. 53 (13’)

Beethoven Symphony No. 9

Margaret Lattimore, mezzo-soprano Symphony Chorus of New Orleans New Orleans Vocal Arts Chorale

Margaret Lattimore, mezzo-soprano


BEETHOVEN (1770 - 1827)

Symphony No. 9 in D minor, Op. 125, “Choral” (65’)

I. Allegro ma non troppo, un poco maestoso II. Molto vivace III. Adagio molto e cantabile IV. Presto - Allegro assai - Allegro assai vivace

Thomas Studebaker, tenor

Leslie Ann Bradley, soprano Margaret Lattimore, mezzo-soprano Thomas Studebaker, tenor Kevin Deas, bass Symphony Chorus of New Orleans New Orleans Vocal Arts Chorale

Kevin Deas, bass

Sponsored by:


Louisiana Philharmonic Orchestra

Praised as a “vocal and dramatic powerhouse”, soprano Leslie Ann Bradley looks forward to a rewarding 2013-2014 season filled with debuts and return engagements. Recent seasons have included Bach’s Mass in B minor for Orquesta Sinfónica Nacional de México, Brahms’ Requiem for the Mendelssohn Choir and the Vancouver Cantata Singers, concerts with the Aldeburgh Connection and Chorus Niagara, Micaëla in Carmen for Pacific Opera Victoria, Valentine in Les Huguenots for Opera in Concert, Elijah with the Elora Music Festival, and Messiah for Brott Music in Hamilton. Bradley holds a master’s degree from the University of Toronto, a Diploma from the University of Toronto’s Opera Division and she is also an alumna of the Orford Festival. She attended Tanglewood and the Académie International de musique Maurice Ravel in France, studying with the renowned Françoise Pollet. Her success there was marked by receiving the Prix du chant Pierre Bernac as winner of the Academy’s voice competition.

Beethoven Symphony No. 9

Grammy nominated mezzo-soprano Margaret Lattimore has gained acclaim in recent seasons for her versatility in performing the works of Handel, Rossini, and Mozart alongside Mahler, Verdi, and Wagner. She returns to the Metropolitan Opera for the 201314 season as the Countess in Andrea Chénier, the Third Lady in The Magic Flute, and for the world premiere of Nico Muhly’s Two Boys. She will also appear in recital at the Library of Congress performing Wagner’s Wesendonck Lieder in honor of the 200th anniversary of the composer’s birth. After winning the Metropolitan Opera National Council Auditions at the age of 24, Lattimore became a member of the Metropolitan Opera Lindemann Young Artist Development Program. In October of that same year, she made her Met debut as Dorotea in Stiffelio. Her subsequent engagements at the Met include Marcellina in Le Nozze di Figaro, Jordan Baker in The Great Gatsby, and Meg Page in Falstaff. Other recent opera appearances include performances with New York City Opera, Washington National Opera, Dallas Opera, Florida Grand Opera, Central City Opera, and Boston Lyric Opera, among others. On the concert stage, she has performed with the New York Philharmonic, Boston Symphony Orchestra, Philadelphia Orchestra, and Houston Symphony. Lattimore is a graduate of the Crane School of Music at the State University of New York at Potsdam where she met her voice teacher, Patricia Misslin. She resides with her husband and young son in New York. Thomas Studebaker has established himself as a powerful young Heldentenor having appeared with many of the world’s leading orchestras and opera companies since 1995. Highlights of Studebaker’s most recent orchestral engagements include Beethoven’s Symphony No. 9 with the London Philharmonic Orchestra and New York Philharmonic with conductor Kurt Masur, the New York Philharmonic with Lorin Maazel, the Netherlands Radio Philharmonic at the Concertgebouw in Amsterdam, as well as with the Atlanta Symphony Orchestra, Sydney Symphony, and the Israel Philharmonic. Studebaker made his debut as Siegmund in Die Walküre at New Orleans Opera and has since repeated the role at Lyric Opera of Chicago and at the famed Teatro Colón in Buenos Aires under the direction of Charles Dutoit. He has sung Naraboth in Salome for the Santa Fe Opera, Seattle Opera, and L’Opéra de Montreal, was Froh in Das Rheingold in Seattle, Max in Der Freischütz with the Opera Orchestra of New York at Carnegie Hall, sang Erik in Der fliegende Holländer with the Pittsburgh Opera and Opera Australia, and in concert with Michael Tilson Thomas and the San Francisco Symphony, and has sung

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Melot in Tristan und Isolde with the Los Angeles Philharominc and Esa-Pekka Salonen, the New York Philharmonic with Kurt Masur, and the Metropolitan Opera with conductor James Levine. A graduate of the Curtis Institute of Music and Illinois State University, Studebaker teaches on the voice faculty of Butler University in Indianapolis, Indiana. Kevin Deas has gained international acclaim as one of America’s leading bassbaritones. He is perhaps most acclaimed for his signature portrayal of the title role in Porgy and Bess, having performed it with the New York Philharmonic, Philadelphia Orchestra, National Symphony, St. Paul Chamber Orchestra, the symphonies of Atlanta, Baltimore, Calgary, Houston, San Francisco, and Vancouver. His recent performances include Beethoven’s Symphony No. 9 with the Colorado Symphony, National Arts Centre Orchestra, and Pacific Symphony; Haydn’s Lord Nelson Mass with Boston Baroque; Mozart’s Requiem and Fauré’s Requiem with the Vermont Symphony; Ravel’s L’enfant et les sortileges with the New York Philharmonic; and Copland’s Old American Songs and Elgar’s The Dream of Gerontius with the Chicago Symphony.

Program Notes By Michael C. Clive

Psalm 150 Anton Bruckner

Beethoven Symphony No. 9

By enlarging the scope of the symphony, Beethoven also enlarged the opportunities and the creative imagination of the composers who came after him – composers such as Anton Bruckner and Gustav Mahler, both of whom we associate with big orchestras and big musical ideas. But Bruckner’s monumentality is not just a matter of size and sound. Yes, his symphonies deploy large orchestral forces and build to deep fortissimos, and they tax every section of the ensemble – especially those famously clarion brasses. But it took all these layers of sound to match the depth of Bruckner’s inspiration, which was grounded in deep religious faith. Born in 1824, 11 years after the revolutionary Richard Wagner, Bruckner received much of his education in an Augustinian monastery, and throughout his life seemed to embody two irreconcilable opposites: the meekness and humility of a servant of God, and the artistic vision of a musical iconoclast. He wrote a great deal of sacred music early in his composing career, including three large-scale masses. But almost all of these works preceded his work as a symphonist (though the symphonies do embody religious feeling


and occasionally quote from his sacred compositions). The two major exceptions are his Te Deum, which he finished in 1884, and Psalm 150, his last sacred composition, dated 1892, when Bruckner was 68. Psalm 150 was commissioned by Richard Heuberger, a composer, writer and conductor who wanted a work for mixed chorus and orchestra to open a Viennese music festival in May 1892. Though it was not ready in time for the festival’s opening in May, its premiere in November of that year won approval from critics including the powerful Eduard Hanslick. The psalm’s poetry, which enjoins listeners to “praise God with music and dance,” surely held special significance for Bruckner.

Rhapsody for Alto, Male Chorus, and Orchestra, Op. 53 Johannes Brahms

Of all the German and Austrian composers who came after Beethoven, Brahms may have borne the heaviest burden of expectation; despite earlier successes he did not produce his first symphony until he was in his 40s, and the musical public tormented him with references to “Beethoven’s tenth” even before its premiere. In his ravishingly

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Symphony No. 9 in D minor, Op. 125, “Choral” Ludwig van Beethoven Though Beethoven’s rebellious spirit ushered Romanticism into classical music, he pondered the great philosophical issues of the Enlightenment, which had come earlier. He examines these ideas in major works including this towering Symphony No. 9, the Choral – the symphony that changed all those that came after it. He completed this masterpiece in 1824, three years before his death; by listening to it, you participate in one of the greatest historical utterances in behalf of human freedom and universal brotherhood, the single idea for which he advocated most consistently and most passionately. We hear Beethoven’s dedication to

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human freedom boldly expressed in the Ninth even before Friedrich Schiller’s words in the choral section. In the symphony’s first movement, solemn yet unpredictable statements suggest a longing for freedom; they sound tense and unresolved. Yet in the movement’s extended middle section, Beethoven’s development of these themes — normally a time of tension and complexity — remains relatively calm until a thundering major chord shocks us out of our relaxed listening mode. Breaking with symphonic tradition, Beethoven places a brisk scherzo in second movement position, rather than preceding the finale. In the midst of the third movement, a tranquil adagio, our serenity is interrupted by the thundering series of chords that introduces the fourth movement. These sound frightening to some ears — Wagner called them shrieks — but remember that Beethoven also woke us up with booming chords after the subdued development in the first movement. These chords serve also to remind us that in the routine calmness of daily events, history lies in wait for us. They are emphatic statements that alert us to the importance of what is to follow. After the arresting introduction and thematic statement in the cellos and basses, the famous choral section puts forward its universally famous, anthem-like melody in a way that emphasizes every word and every beat in every measure. Of course, there is much more to the movement than this chorus and its vocal solos for soprano, mezzo-soprano, tenor and baritone: in a symphony acknowledged to be monumental, this is the monumental movement. The music historian and pianist Charles Rosen calls it a symphony within a symphony, and proves the point by analyzing four movements within the movement. Nearly two centuries after it was composed, Beethoven’s Ninth is regarded as a triumphant expression of human rights. Its chorale has been adopted as an anthem by the European Union, and it was led by Leonard Bernstein at the site of the former Berlin Wall to mark its destruction.

Beethoven Symphony No. 9

beautiful chamber works, we hear the great composer breathing a bit more freely than in his symphonies and concertos; and in the choral works such as A German Requiem and the Alto Rhapsody, we get both the scale of the full orchestra and chorus and the flowing spontaneity of the chamber works. Brahms composed the Alto Rhapsody in 1869 as a wedding gift for Robert and Clara Schumann’s daughter, Julie. A setting of verses from Goethe’s Harzreise im Winter, the rhapsody describes a journey that is both metaphorical and real – a passage through the mountains by a misanthropic wanderer who has withdrawn from the world. In the course of his travels, he finds the inner resources to throw off the yoke of suffering, rejoining the world of humanity and finding affirmation in life. Brahms’ passionate admiration of Clara Schumann, almost certainly platonic, continues to fascinate us; was he also in love with her daughter, Julie, for whom he wrote the rhapsody? Regardless of the answer, this work’s message of pain redeemed through acceptance and love is fitting both as a matrimonial blessing and as a benediction for the composer’s life. The soloist’s entrance in the second movement is revered as one of the most poetic moments in the Brahms canon.


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


Orchestra Fund:

Individual Support

The following individuals are gratefully acknowledged for new and renewed gifts made to the LPO’s Orchestra Fund between January 1, 2013 and December 31, 2013: $50,000+

Mrs. Adelaide Wisdom Benjamin Mrs. Jeri L. Nims Estate of Leroy R. Nolan


Susan and William Hess Estate of Robert Z. Hirsch Mrs. Dorothy S. Jacobs Hugh W. Long and Susan L. Krinsky Mr. and Mrs. Charles B. Mayer Drs. R. Ranney and Emel Songu Mize Mr. J. Robert Pope Mr. and Mrs. Carlos Miguel Prieto Dr. and Mrs. Richard L. Strub Mr. and Mrs. Roland von Kurnatowksi Mr. and Mrs. Hugo C. Wedemeyer


Tiffany Adler Mrs. Philip Breitmeyer, II Mr. J. Scott Chotin, Jr.* Eileen A. Elliott Dr. and Mrs. Ludovico Feoli Juan and Ana Gershanik Mr. Paul J. Leaman, Jr. Dr. Edward D. Levy, Jr. Mr. Mark McCreary Mr. Peter Rogers Ms. Courtney-Anne Sarpy Mr. and Mrs. Philip Straub Ms. Catherine B. Tremaine


Anonymous Mr. and Mrs. Kenneth J. Boudreaux Misook Yun and James William Boyd Mrs. Ellen Frohnmayer Dr. and Mrs. Stephen W. Hales Drs. Henrietta and Walter Harris Mr. and Mrs. Edward F. Martin Estate of Dorothy B. Skau Vincent P. Saia and Glynn Stephens Mr. and Mrs. Gregory P. Speyrer Ms. Lizbeth A. Turner and Mr. Clarence D. Wolbrette Lawrence M. and Georgia B. Young Jerry W. Zachary

Seibel Patrons $3,000+

Anonymous Dr. and Mrs. Joseph J. Biundo Ms. Susan P. Bowers Dr. and Mrs. Gerald Cohen Mr. and Mrs. William H. Ellsworth Dr. James A. H. Farrow Sybil M. and D. Blair Favrot Family Fund

Mr. and Mrs. Lyle W. Ferguson Mr. and Mrs. Alan Franco Mr. James C. Gulotta and Ms. Susan G. Talley Dr. and Mrs. Bernard M. Jaffe Mr. and Mrs. Erik F. Johnsen Timothy and Virginia Kelly Mr. and Mrs. Charles W. Lane, III Bob and Charlotte Lewis Dr. Ray J. Lousteau Mrs. Paula L. Maher Estate of Berthe Mangin Joel and Bert Myers Rita Odenheimer Mr. and Mrs. Robert J. Patrick Louise and Richard Rusch* Nan and J.O. Sanders, III* Maj. Gen. (Ret.) and Mrs. Thomas A. Sands Mr. and Mrs. I. William Sizeler Mr. and Mrs. Bernard Van der Linden

Con Brio Patrons $1,500+

Anonymous Ronald G. Amedee, M.D. and Elisabeth H. Rareshide, M.D. Mrs. Bethlehem K. Andrews Jack Belsom Mr. Larry Blake Mr. and Mrs. Carlos A. Bonilla, Jr. Mrs. Donald M. Bradburn Drs. Andrea S. and Archie W. Brown Mr. E. John Bullard, III Dr. and Mrs. Salvador Caputto Carolyn B. Chandler Mr. and Mrs. Walter F. Chappell, III Jacquelyn Brechtel Clarkson Ms. Nancy L. Claypool Orlin and Shirley Trusty Corey Ms. Veronica Costanza and Mr. Gerald Sellar* Arthur A. Crais, Jr. Robin and Bruce Crutcher George & Milly Denegre Fund Henrietta B. Deters Ms. Marlene L. Donovan Sally T. Duplantier Henry and Joan Folse Mr. Raul Fonte and Ms. Helen Flammer Mr. and Mrs. George J. Fowler, III Mrs. Rosemarie B. Fowler Rev. Susan S. Gaumer Kurt Gitter and Alice Yelen Robert and Valborg Gross Susan G. Guidry Ms. Angela Hill and Dr. Irwin M. Marcus Abba J. Kastin, MD Ellen and Stephen Manshel Mr. and Mrs. Dwight R. McGhee Sanford L. Pailet, MD John and Ellen Pecoul

* denotes member of Allegro


Louisiana Philharmonic Orchestra

Orchestra Fund:

Individual Support

The following individuals are gratefully acknowledged for new and renewed gifts made to the LPO’s Orchestra Fund between January 1, 2013 and December 31, 2013:

Mr. and Mrs. Dick H. Piner, Jr. Laura Walker Plunkett Nancy H. Pomiechowski Ruth and Larry Rosen Jerry and Rita Satawa Mr. and Mrs. Juergen F. A. Seifert Mari Carmen Servitje Guy and Tommiann Smith* Mr. and Mrs. Bruce L. Soltis Lewis and Patricia Stirling, III Mrs. Sara B. Stone Dr. and Mrs. Olivier Thelin Mr. and Mrs. Richard A. Thompson Honorable Sarah S. Vance and R. Patrick Vance Mr. and Mrs. W. J. Wilkinson Ms. Grace Morris Williamson Mr. George H. Wilson, Jr. Mr. and Mrs. John M. Wilson


Anonymous Mr. George L. Bernstein Roselyn B. Boneno, Ph.D. Diane and John Butler Kathy and Gordon Cain* Mr. John L. Cleveland, Jr. Mr. William Coskrey Mrs. F.J. Dastugue, Jr. Mr. Robert C. Evans Mr. and Mrs. Robert Force Mrs. Lillian L. Glazer Lionel H. Head, M.D. Dr. and Mrs. Stephen E. Hellman Mike and Carol Holland* Donna G. Klein Sally and Dick Knight* Lestelle Communications, LLC Joseph D. Lewis Robert and Lauren Lyall Dr. and Mrs. Troy Macaluso Mr. and Mrs. Jonathan C. McCall Nancy Hudson Miller Suzanne and Ben Motion Dr. Cecilia A. Mouton Max Nathan, Jr. Mr. and Mrs. William F. Ryan Ms. Carla D. Seyler and Mr. Mark T. Winter Mr. and Mrs. I. William Sizeler Mr. Timothy L. Soslow Mr. Thomas F. Ward Mrs. Claire L. Whitehurst Ms. Mary Widmann Patricia M. Woodstein


Anonymous Mr. and Mrs. Christopher M. Adams

Mr. and Mrs. Richard M. Adler Jeffrey Albert and Dr. Jennifer Miles* Mr. and Mrs. Tom Ballantine* Bobby Joseph Bennett* Ed and Michelle Biggs* Sally T. Buras* Dr. Raquel Cortina Mimi and Bill Dossett* Mr. and Mrs. Joseph M. Elliot, III* Dr. and Mrs. Gregory S. Ferriss Colette and Joseph Friend Ashley Poole Fuselier* Mr. Emmet W. Geary, Jr. Mr. and Mrs. Calvin J. Grisafe Mr. and Mrs. Richard D. Herr Gail and Henry Hood* Mr. Steven A. Jacobson Katherine Kelley Ms. Adrienne Laborde* Noonie and Clay LeJeune* Ann M. Loomis* Janet R. Lynch* Mr. and Mrs. Adam Marcus Dr. and Mrs. William A. Martin David and Sue Miller* Mr. and Mrs. Denis Milliner Harriet H. Murrell Mr. and Mrs. Eric B. Nye* Mr. and Mrs. Ernest L. O’Bannon Alex and Mary Pagnutti* Mrs. Joseph Rault Dr. and Mrs. Gayden Robert, Jr.* Benjamin M. Rosen Family Foundation Mr. John Rusch* Brian and Jackie Schneider Drs. Zoe and Scott Sonnier Lain and Nicole St. Paul* Mr. and Mrs. William N. Stadler* Mr. and Mrs. James Thibaut* Ms. Vera Thibaut* Joe and Judy Toups Peter and Joyce Walker* Helen Whalen* Kathryn Wildgen*


Anonymous Mr. and Mrs. Herschel L. Abbott, Jr. Mr. and Mrs. Robert Amoss John W. Andrews Capt. and Mrs. Gary Bair Mr. Michael L. Baker Dr. and Mrs. Luis A. Balart Ms. JoAnne E. Barry and Mr. Kenneth O. Boulton Carol O. Bartels Mr. John S. Batson Jack C. and Clare Benjamin Designated Fund

* denotes member of Allegro

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Orchestra Fund:

Individual Support

The following individuals are gratefully acknowledged for contributions made to the LPO’s Orchestra Fund between January 1, 2013 and December 31, 2013: Ms. Barbara M. Bowen Joe and Martha Boudreaux Melinda O’Bryant-Brencick and Vincent Brencick Mr. and Mrs. Phelan A. Bright Ms. Charlotte A. Brunner and Mr. Alan M. Shiller Burkedale Foundation Jane Clayton, MD Dr. and Mrs. Laurence Cortez Duane and Harvey Couch Richard and Fernell Cryar Dr. and Mrs. Rafael Ducos Dr. and Mrs. Charles L. Dupin Drs. Melanie and Kenneth C. Ehrlich Lillie Eyrich and Rose Vines Mrs. Francella S. Flurry Mr. and Mrs. Marcel Garsaud, Jr. Mr. and Mrs. Bruce A. Gordon Ellen Hall Mr. and Mrs. Kim L. Harvey Danella and George Hero, III William and Sharon Horne Heidi and Arthur Huguley Gary and Winkie Hymel Mrs. Richard K. Ingolia Ms. Ailleen Janney T. Larry and Darlene Johnson Mr. and Mrs. Herman S. Kohlmeyer, Jr. Sonia M. Kenwood Ruth and Larry Kullman Mr. and Mrs. Kenneth Lawder, Jr. Frederick Lee Lawson Mrs. Catherine C. Leake Mr. and Mrs. Robert E. Leake, Jr. Mr. and Mrs. Edward F. LeBreton Lowenburg Family Foundation Francis J. Madary, Jr. Helen R. Malin Will G. Mangham Joseph L. McReynolds Mr. and Mrs. Machale A. Miller Mary S. Moore with Direct Mail Plus Gerri and Robert Mora Nathanael and Elizabeth Mullener Mr. and Mrs. James T. Murphy Dr. Guillermo Náñez-Falcón New Orleans Rotary Fund Dr. James A. Oakes, III Mr. and Mrs. L. Dow Oliver Mrs. Ruth R. Olivera Dr. and Mrs. James E. Ricciardi Mrs. Patricia A. Riggle John Rigney Molly Rondeau Paul and Margaret Rosenfeld Mrs. J. William Rosenthal Anthony M. Rotolo Beth and Jim Ryan John and Ann Scharfenberg


Mark and Sally Seyler Mr. and Mrs. Joseph Shefsky Dr. and Mrs. Louis G. Shenk Katherine E. Siebel Mrs. Dorothy P. Smith Kathleen Smyk Ricardo and Sally Sorensen Dr. and Mrs. Robert W. Stafford Charles and Ann Stuart Mrs. Carroll Suggs Claude Summers and Ted Pebworth Textron Marine & Land Systems Dr. and Mrs. Leonard B. Thien Dr. Sam A. and Virginia R. Threefoot Fund Drs. Gregory and Ann Tilton Textron Marine and Land Systems Tripolo Gallery Leonard G. Tubbs, Jr. Mr. W.F. Von Almen, II Mr. and Mrs. David Wagstaff Julia and Cedric Walker Ms. Eileen B. Wallen Mr. and Mrs. Bruce Waltzer Eric and Regina Wedig Dr. and Mrs. Roy S. Weiner Dr. and Mrs. John M. Yarborough, Jr. Robert and Nell Nolan Young $150+ Anonymous Mr. Gary Acosta Blaise and Janet Angelico Paul and Rosalie Atkinson Mrs. Ann H. Babington Peter and Sandra Barsczeski Jeffrey and Kasey Bealer Mr. and Mrs. Jack C. Benjamin Tom Bergeon Ms. Virginia Besthoff Mr. and Mrs. Robert B. Branson Dr. and Mrs. Frederick W. Brazda Lucille Haueser Brian Dr. and Mrs. Charles L. Brown, Jr. Mrs. Florence Brown Dr. and Ms. Jon C. Brown Mr. Harold H. Burns Milton and Rita Bush James T. Calvin Robert J. Cangelosi and Ann Yvette de la Villesbret Dr. and Mrs. Michael Carey Joseph and Dianne Caverly Chadwick Family Foundation Dr. Stuart and Gail Chaleu Dr. Flora Finch Cherry Burton Greenberg and Jim Clavin Lee and Valarie Connell/The Connell Group Marcia Cooke and Ted Cotton Russell and Carolyn Cornelius Mrs. Joan M. Coulter

Louisiana Philharmonic Orchestra

Orchestra Fund:

Individual Support

The following individuals are gratefully acknowledged for contributions made to the LPO’s Orchestra Fund between January 1, 2013 and December 31, 2013:

Mr. Bruce P. Creighton Katherine de Montluzin Dr. and Mrs. Edward De Mouy Philip M. Delony Addison and Penny Ellis Ms. Lin Emery Kay and Tim Favrot Mr. and Mrs. H. Mortimer Favrot, Jr. Ms. Jean C. Felts Michael C. Finn Mr. and Mrs. Richard W. Freeman Knowles French, Jr. Dr. and Mrs. Harold A. Fuselier, Jr. Elizabeth and John Futrell Mr. and Mrs. Stephen J. Gaiennie Joanna M. Giorlando Joy B. Giraud David and Shanni Goldstein Dr. and Mrs. Michael S. Hanemann Mr. Michael D. Harold and Dr. E. Quinn Peeper Hegedus Architects Edward Heller Mr. and Mrs. Chip Hellmers Rick Henderson, MD Danella and George Hero, III W. M. Hingle Mr. and Mrs. Jonathan A. Hunter John Hill and John Weimer Mr. and Mrs. Leslie L. Inman Ms. Georgette Ioup Robbie and Cheryl Jarrell Ms. Barbara Jezek-Withrow Carl Kendall Bill and Rosina Kilpatrick Mr. Jerry L. Kubnick Mr. James C. Landis Erin L. Landry Steven J. Lane Jule Henle Lang Mr. Henrik A. Larsen Ms. Mary LaValla Mrs. Catherine C. Leake Cynthia L. LeBreton Mr. Stanley P. Leibo Mrs. Edward N. Lennox Mr. Dwayne O. Littauer Jay and Dara Long Ms. Wilma S. Longstreet Mr. and Mrs. James B Lootens Carolyn Wood Lorio Jacquelyn Lothschuetz Judy Loyde Ms. Faina Lushtak Dr. Joan M. and John O. Lyles Mrs. Irene E. Mackenroth Joel and Suzy Mague John and Brigitta Malm John C. Martin, Jr. Mr. and Mrs. Peter A. Mayer Kim Mcelwee and Denise Bergeron

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Mr. and Mrs. Jonathan C. McCall Lamont McLoughlin, III Mr. and Mrs. G. Edward Merritt Mr. and Mrs. R. Kent Mitchell Brenda and Michael Moffitt Mrs. Mary Monsted Kay and Tony Mumphrey Nagendra Family Celena Neal Paul G. and Elizabeth Hofmann O’Connor Family Foundation Dr. and Mrs. John L. Ochsner Vernon and Martha Palmer Mr. William Penick Roy J. Perrin and Leia Ann Fricky, M.D. Barbara Watts Ploetz Joyce and Sidney Pulitzer Drs. Alison Quayle and Alistair Ramsay Mrs. Edmann J. Rathke Yolita E. Rausche John and Martha Reaves Head William Reeves Keith and Vicki Rhea James and Monique Robinson Dr. and Mrs. Raoul Rodriguez Edward and Karla Salo Mrs. Barbara S. Samuels Mr. and Mrs. Edgar L. Schambach Ms. Nancy W. Schluckebier Dr. and Mrs. Coleman S. Schneider Florence and Richard Schornstein Kathleen and Edmund Schrenk Mr. and Mrs. Robert Sebastian Mr. and Mrs. Rafael R. Shabetai Ms. Carole A. Shand Mary L. Shannon Eric Sharp Alexandra K. Shikhris and Eduard V. Danilyants Timothy and Willa Slater George and Dolores Smith Southern Coin and Precious Metals Anita Snow and Hilary Thompson Dr. Maureen W. Stein and Ted Nass Diana and Rodney Stieffel Ms. Jon B. Strauss Mr. and Mrs. Juan Suarez Dr. and Mrs. James Theis Caroline G. Theus Mr. and Mrs. William E. Thibodeaux Ms. Susan S. Thorburn Matthew and Julie Ungarino Gerard and Evita Victor Mr. Joseph D. Vinson, Jr. Mr. Eugene Von Rosenberg Mr. and Mrs. Robert J. Whann, III Mr. and Mrs. Robert Whann Mr. and Mrs. Cornelius Willems John C. Williams Ellen Winchell and Mario Philipp Ms. Julie W. Woolfolk


Corporate, Foundation, and Government Support $100,000+

Lois and Lloyd Hawkins Jr. Foundation The Andrew W. Mellon Foundation Symphony Volunteers, Inc. Zemurray Foundation

James R. Moffett Family Foundation Kathleen Moore Vick Foundation Keller Family Foundation Merrill Lynch New Orleans Theatre Association



Edward Wisner Donor Advised Fund Joan Coulter Fund Fidelity Homestead Savings Bank Freeport-McMoRan Foundation Arts Fund Reily Foundation


Arts Council of New Orleans The Theresa Bittenbring Marque & John Henry Marque Fund Chevron Corporation Joe W. and Dorothy Dorsett Brown Foundation Hall Piano Company Louisiana Division of the Arts Mary Freeman Wisdom Foundation National Endowment for the Arts Pan-American Life Peoples Health Roosevelt New Orleans RosaMary Foundation Sheraton New Orleans


AT&T Carey Limousine Service Chaffe McCall Collins C. Diboll Private Foundation Delta Airlines Ella West Freeman Foundation Entergy Eugenie and Joseph Jones Family Foundation ExxonMobil Ferber Family of the Jewish Endowment Foundation First NBC GPOA Foundation Greater New Orleans Foundation Iberia Bank

Ann and Gordon Getty Foundation Carey Limousine Service Christwood Retirement Community Cox Charities Fund Exterior Designs Georges Lurcy Charitable and Educational Trust Goldring Family Foundation Jones Walker Kabacoff Family Foundation J. Edgar Monroe Foundation Monsanto Fund Nola Media Group Regions Financial Corp Resource Bank Slidell Memorial Hospital Slidell Symphony Society Woldenberg Foundation


Britten-Pears Foundation Bruce J. Heim Foundation Doris and Peter S. Hansen Memorial Fund Downman Family Foundation Eason Weinmann Foundation Harrah’s Casino of New Orleans Heymann-Wolf Foundation Kiwanis Club of Algiers - Morning Edition Lakeview Regional Medical Center Louisiana Department of Culture Recreation and Tourism Marrero Land & Improvement Association Ltd. New Orleans Jazz and Heritage Foundation New Orleans Silversmiths Pedelahore & Co., LLP Ralph Brennan Restaurant Group Rotary Club of Metairie Target Weil-Bohn Foundation Whole Foods Market

Library Fund In Honor of Stephen Ms. Emily Lapouble


In Memory of Raphael Ross, M.D. Dr. Carolyn Jones Ross Dr. Joyce Sidorfsky

Louisiana Philharmonic Orchestra

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

Campaign Committee $25,000+

Other Contributors

Anonymous Mrs. Adelaide Wisdom Benjamin Mr. and Mrs. Sydney J. Besthoff, III Boh Foundation Robert and Katherine Boh Mrs. Philip Breitmeyer, II Susan and Ralph Brennan Marion and Pepper Bright Mr. J. Scott Chotin Jr. JoAnn Flom Greenberg Dorothy S. Jacobs Barbara and Erik F. Johnsen Erik F. Johnsen Family Foundation Mr. Paul J. Leaman, Jr Dr. Edward D. Levy Jr. Hugh W. Long and Susan L. Krinsky Mrs. Paula L. Maher Drs. R. Ranney and Emel Songu Mize Ms. Courtney-Anne Sarpy Ms. E. Alexandra Stafford and Mr. Raymond M. Rathle, Jr. Selley Foundation Dr. and Mrs. Richard L. Strub Symphony Volunteers, Inc. Mrs. Phyllis M. Taylor Ms. Catherine B. Tremaine

Mr. and Mrs. Edgar L. Chase III Dr. Carolyn M. Clawson Eileen A. Elliott Mr. and Mrs. H. Mortimer Favrot. Jr. Sybil M. and D. Blair Favrot Family Fund Fenner-French Foundation Dr. and Mrs. Ludovico Feoli Juan and Ana Gershanik Dr. and Mrs. Stephen W. Hales Drs. Henrietta and Walter Harris Susan and William Hess Ms. Angela Hill and Dr. Irwin M. Marcus Mrs. Martha Ingram Timothy and Virginia Kelly Donna G. and Russell Klein Lestelle Communications LLC LPO Musician Trustees Mr. and Mrs. Charles B. Mayer Nancy H. Pomiechowski Mr. and Mrs. J. Cornelius Rathborne Anne Brown Reily Boatner Reily Family Fund Peter Rogers Mr. and Mrs. I. William Sizeler Mr. Timothy L. Soslow Mr. and Mrs. Philip Straub Mr. St. Denis J. Villere, II Mr. and Mrs. Hugo C. Wedemeyer

Amadeus Society LPO’s planned gift society that recognizes the generosity and vision of individuals whose thoughtful planning will help ensure that the LPO continues to provide the best orchestral music to our audiences and the highest quality education programs to students, families, and teachers throughout the region for years to come. Mr. John S. Batson Mrs. Adelaide Wisdom Benjamin Drs. Andrea S. and Archie W. Brown Ms. Nancy L. Claypool Dr. Jane Eyrich Robert and Valborg Gross Dr. and Mrs. Stephen W. Hales Hugh W. Long and Susan L. Krinsky

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Mr. Mark McCreary Drs. R. Ranney and Emel Songu Mize Peter Rogers Ms. Courtney-Anne Sarpy Lillian Eyrich and Rosemary Vines Ms. Lizbeth A. Turner and Mr. Clarence D. Wolbrette


Commemorative Giving In Honor of Adelaide Benjamin

In Memory of Margaret Johnson

In Memory of Dorothea Bowers

In Honor of Mr. and Mrs. John Laborde

Ginger F. Burke

Mr. Mark McCreary

In Memory of Peter M. Dombourian Ray and Ellen Cook

In Memory of Carol Haik Eyrich and Lorraine Halse Vines Lillie Eyrich and Rose Vines

In Honor of Anne Marie Fargason Carmel and Ellen Fargason

In Honor of Rosemarie Fowler Mrs. Richard K. Ingolia

In Honor of Ana and Juan Gershanik Mr. and Mrs. Jose L. Banos Jr. Alan Franco Mr. William Tebow

In Memory of Lillian L. Glazer Juan and Ana Gershanik

In Memory of JoAnn Flom Greenberg

Ms. Mary Jane Phelan

In Memory of Charlotte F Lang Ms. Margaret P. New

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

In Memory of Bette A. Leibo Mr. Stanley P. Leibo

In Honor of Ignatius Lococo, Sr. Santo Lococo

In Memory of Carolyn Lutz Lousteau Dr. Ray J. Lousteau

In Honor of Paula Maher

M.G. Maher & Company, Inc. Staff

In Memory of Marjorie Manget Lucie and John Cavaroc

Mr. Paul J. Leaman, Jr. Lory Lockwood and Tony Watts Ms. Marie-Louise Schramel Denyce White

In Memory of Catherine Clew Mazoue

In Honor of Nancy Harvey Hales

Camille Carter

Mr. Paul J. Leaman, Jr. Lory Lockwood and Tony Watts Ms. Marie-Louise Schramel Denyce White

In Memory of Kathleen Brooks Hightower Kathleen Moore Vick Foundation

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

In Memory of Marvin L. “Buddy” Jacobs

Cheryl and Eddie Mazoue

In Honor of Ellen and John Pecoul In Honor of Carlos Miguel Prieto Mr. and Mrs. Robert J. Patrick

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

In Memory of Mark Rossi Dean and Pamela Rossi

In Memory of Joyce Joseph Dennery Sabatier Anonymous

Dr. Edward D. Levy Jr. Mr. Mark McCreary LPO Musicians Mrs. Ann Allison Cox Strub

In Honor of Thomas and Barbara Sands

In Honor of Dotty Jacobs

In Honor of Barbara Sands

In Memory of Elnita Ehler Jezek

In Honor of Courtney-Anne Sarpy

Mrs. Carol Good

Ms. Barbara Jezek-Withrow


Erwin R. Johnson

Vincent P. Saia and Glynn Stephens Carolyn Teaford

Ms. Katherine P. Gage Ms. Jane Gage Mr. and Mrs. Robert J. Whann, III

Louisiana Philharmonic Orchestra

Commemorative Giving In Memory of Dr. Benjamin Seltzer

In Honor of Lorraine Thien

In Memory of Klauspeter Seibel

In Honor of Eileen Wallen

Dr. and Mrs. John H. Baron

Dr. and Mrs. Stephen S. Dankner David and Shanni Goldstein

In Honor of Deborah Stemac Dr. and Mrs. Leonard B. Thien

In Honor of Mr. and Mrs. Lewis Stirling John Williams

In Honor of Mrs. Richard L. Strub Macon and Hill Riddle

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Barbara Watts Ploetz

Dr. and Mrs. John H. Baron

In Memory of Ruth P. Wartelle Mr. and Mrs. Patrick R. Judge

In Honor of Rachel Van Voorhees and Arnold Kirschman Ernie and Mary Malone

In Memory of Harold H. Wedig Eric and Regina Wedig


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Louisiana Philharmonic Orchestra 2013-2014 Program Book Vol. 3