November 2014
March On Acadiana’s Publication for the Arts
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November 2014
features
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Regal Grandeur: ASO’S Handel’s Music for the Royal Fireworks The story behind the music commissioned by King George II of Great Britain to celebrate the end of war.
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Zachary Richard, Poet Delve inside the Louisiana native, internationally renowned artist’s perspective on poetry, French language, music, and the importance of hearing spoken word live.
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IBERIABANK: A True Appreciator of Local Art An institution devoted to more than meeting your financial needs, it supports and displays art throughout its branches for all to enjoy.
Kelly Guidry: The Chainsaw Sculptor
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Read about how the artist takes a rugged piece of wood or metal and transforms it to something beautiful yet natural with incredible attention to detail using a chainsaw.
A Trombone Man at Notre Dame Lafayette boy scores it big with the Fighting Irish, marching band that is. Learn about the deep tradition and notoriety that comes with being in the band.
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contents
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8 OPENING NOTES Jenny Krueger, Executive Director 10 FANFARE Mariusz Smolij, Music Director & Conductor 14 GUEST COLUMN Jan Swift, Executive Director, Upper Lafayette Development Foundation 20 INTO THE UNKNOWN Two members of The705 venture into the mysterious world of “The Arts” 24 THE MARCHING BAND The importance of the marching band and the silence that would be felt without them. 26 THE MAKEUP OF AN ORCHESTRA Getting to know ASO’s String Section 34 ASO’S CONSERVATORY OF MUSIC Applauding the ASO Conservatory’s Scholarship Recipients
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36 THE ARTICLE Parents helping kids discover their creativity 42 The Artist Behind the Politician Senator Page Cortez and Senator Jonathan “JP” Perry 44 Applauding Educators A musical gift for our friends and partners in education 46 WHAT TO READ Reading Suggestions From a Pro 47 WHAT TO LISTEN TO Maestro Suggested Listening Options
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48 STATE OF THE SYMPHONY A look at the financial health of today’s symphonies 50 SYMPHONY SEAUXCIAL HIGHLIGHTS Firebird Maestro Circle Reception 52 COMMUNITY SEAUXCIAL HIGHLIGHTS CD Release Party for Anya Burgess and Kristi Guillory 6 November 2014
Overture Magazine
November 2014 Vol. 2, No. 3
PUBLISHED BY
EDITOR Jenny Krueger jenny@acadianasymphony.org
PROJECT MANAGER Rebecca Doucet rebecca@acadianasymphony.org
WRITERS Emily Brupbacher Catherine Schoeffler Comeaux Johanna B. Divine Ann Dobie John Guidry ACCOUNT EXECUTIVE Carolyn Brupbacher carolyncb@me.com • 337.277.2823
CONTRIBUTING WRITERS Dave & Margo Baker Blake Lagneaux, Cory Lagrange Mariusz Smolij, Jan Swift MAILING ADDRESS 412 Travis Street Lafayette, LA 70503 EMAIL overture@acadianasymphony.org ON THE WEB acadianasymphony.org
Overture Magazine is published nine times a year and distributed free of charge by Acadiana Symphony Orchestra & Conservatory of Music. No parts of this periodical may be reproduced in any form without the prior written consent of Overture Magazine. The owners, publishers, and editors shall not be responsible for loss or injury of any submitted manuscripts, promotional material and/or art. Unsolicited material may not be returned. Advertising in Overture Magazine does not imply endorsement by Overture Magazine or Acadiana Symphony Orchestra & Conservatory of Music. Overture Magazine reserves the right, without giving specific reason, to refuse advertising if copy does not conform with the editorial policies. Overture Magazine does not necessarily agree with nor condone the opinions, beliefs or expressions of our writers and advertisers. Neither the publishers nor the advertisers will be held responsible for any errors found in the magazine. The publishers accept no liability for the accuracy of statements made by the advertisers. © 2014 Overture Magazine. All Rights Reserved.
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Opening Notes
Be Calm, and March On! Jenny Krueger, Executive Director
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The November issue of Overture is all about camaraderie. Have you been fortunate enough to experience the power of camaraderie? As a musician, I have had numerous opportunities to be a part of this powerful force. My first experience with the benefits of camaraderie was my first year of high school. I was terrified! I was certain I would have no friends, until I walked into day one of marching band. After a day of sweating, and learning new drills, I figured out that no matter how loudly I played my piccolo my Mom was never going to hear me over the brass section. I also realized I had a hundred new marching band friends. That was a great feeling. Suddenly, the burden of high school didn’t seem so daunting. I was part of a team! I was where I belonged. All of these years later, through my musical journey, I am still Where our music is welcome lucky enough to experience the magic that kind of we will play it loud, camaraderie creates. As you read the November issue of Overture, you will read stories about camaraderie that will allow you to think about certain artistic activities in a unique way. You might even want to join a band!
Where our music is challenged, we will play it louder! Marching Band Oath
You will be inspired by the poetry of Zachary Richard. His explanation about the similarities in poetry and song writing will leave you looking at poetry in a different light. If you love the fight song of your alma mater, then reading about Lafayette native Grant Krampe’s experience in the Norte Dame Band of the Fighting Irish will leave you with a big smile on your face. Take some time to meet Conservatory scholarship students, and let the personality of Kelly Guidry the ‘Saw Sculpter’ entertain you. This time of year can be busier than any other time of the year…so, lift your head high, be calm, and march on! 8 November 2014
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Fanfare
Symphony 101: What IS Symphony? Mariusz Smolij, Music Director and Conductor
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In today’s English, symphony defines both the large instrumental ensemble performing orchestral works as well as the musical orchestral form that was developed in 18th century. In the prior centuries the word symphonia in Greek meant “agreement of sound” and in Italian sinfonia indicated a wide range of instrumental compositions, often referring to an overture or an opening movement of a larger work such as opera or oratorio. The classical composers of the 18th century formulated a structure for the symphony as a composition of four movements: fast – slow – dance – fast. With certain modifications and editions, this is still the basic reference point for composers writing symphonies today. If there is one composer that is responsible for creating the symphonic form, it is Franz Joseph Haydn (1732 – 1809). He wrote 104 symphonies and perfected its structure, serving as a model for subsequent generations of composers from W.A. Mozart to K. Penderecki. Many of Haydn’s symphonies feature characteristic titles and show his clever sense of humor. There is a “Farewell Symphony” that gradually reduces the forces of the orchestra to just two players. The “Surprise Symphony” includes an unexpected loud chord in a very quiet second movement, making us believe that Haydn wanted to make sure that everyone was awake during the gentle passages. ASO November concert will feature Haydn’s Symphony No. 59 “Fire Symphony”. The title refers to the fast and fiery nature of its opening movement. Among the greatest symphonists following Haydn was Ludwig van Beethoven (1770- 1827), who enlarged the size of the orchestra and its dynamic range, extended the length of the composition and added chorus. French Romantic composer Hector Berlioz (1803 – 1869), in his Symphonie Fantastic was among the first to introduce literary program to go along with musical narration. German composer Gustav Mahler (1860 – 1911) further extended the musical forces incorporating adult and children choruses, vocal
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soloists, off stage bands and huge brass and percussion sections. Composers of the 20th and 21st centuries continue to write symphonies in styles ranging from imitations of the early classical form (S. Prokofiev’s “Classical Symphony”) to works that incorporate current themes into Romantic structures ( J. Corigliano’s Symphony No. 1 dedicated to “friends lost to AIDS”). If you would like to explore some of the most popular symphonies or at least a few individual movements, I would recommend starting with the following (more details about each piece on page 47): W.A. Mozart – Symphony No. 35 “Haffner” (the first movement was featured in the movie Amadeus) L. van Beethoven – Symphony No. 5 and No. 7. The first movement of No. 5 starts with the most famous symphonic motive and the Finale of No. 7 is a gregarious happy dance. A. Dvorak – Symphony No. 9 “From the New World” (featuring themes inspired by Negro Spirituals) P. Tchaikovsky – Symphony No. 4. After the opening fanfares, the first movement charms with Tchaikovsky’s unmatched melodies, all in the form of a Waltz. G. Mahler – Symphony No. 6 “Tragic.” The first movement is, in my opinion, the most forceful and brilliant symphonic march in the entire orchestral literature. Overture Magazine
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Concert Feature
Regal Grandeur: ASO’s Handel’s Music for the Royal Fireworks Ann Dobie
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Despite all the disappointing distractions, Handel’s Music for the Royal Fireworks was well received. It took the form of a dance suite in six movements, two of them acknowledging the occasion the work celebrated. The third movement, which honors the peace treaty itself, is called “La Paix” (“The Peace”), and the fourth,“La Réjouissance” (“The Rejoicing”), commemorates the public
Photo by Nouveau Photeau
Initially plans for the celebration did not include music at all. Later King George relented, but not without imposing certain guidelines. He specified that whatever Handel came up with should not be too long, and he hoped there would be no “fiddles.” After trying unsuccessfully to include a few violins, Handel ultimately acquiesced and produced a “warlike” work that called for nine trumpets, nine horns, 24 oboes, 12 bassoons and a contrabassoon, three pairs of kettledrums, and an unspecified number of side drums. It comes as no surprise, then, that the work’s alternate title is A Grand Overture of Warlike Instruments. When performed at subsequent concerts it often carried that name despite the fact that Handel rescored the suite for full orchestra— including “fiddles.”
Anticipation of the Green Park event was so great that (over Handel’s objections) a public rehearsal of the music was scheduled to be held in Vauxhall Pleasure Gardens a week before the scheduled performance. Tickets sold for two shillings and six pence. Around 12,000 people attended the concert, causing a threehour traffic jam of carriages on London Bridge. For the actual celebration the music preceded the fireworks, which turned out to be fortunate since most of the fireworks would not light and rain began to fall. Worst of all, one of the pavilions located where the musicians had played just an hour earlier caught fire and burned to the ground. Horace Walpole reported that the evening was “pitiful and ill-conducted, [but] very little mischief was done, and but two persons killed.” Photo by Philip Gould
The year was 1749. The War of Austrian Succession was finally over. The Treaty of Aix-La-Chapelle had been signed the year before, and England was ready to celebrate. The festivities, to be held on April 27 in London’s Green Park, promised to be a grand occasion replete with fireworks and music. George Frederick Handel, under contract to King George II, was chosen to compose suitable music for the gala. After all, he had pleased the royals in the past with his Coronation Anthems written for George II and the Water Music composed for his father, George I.
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Photo by Nouveau Photeau
jubilation that came with the end of the war. The Acadiana Symphony Orchestra’s performance of the Royal Fireworks Music will not take place in a park or be accompanied by fizzled fireworks and rain. Instead, Maestro Smolij has chosen to present it at St. John’s Cathedral because of its vibrant acoustics that will enhance the music. As he points out, “Every work of music is created with a certain physical/acoustical space in mind, and the closer we get to the stylistic requirements of the music in selecting the performance venue, the better the overall result will be and the closer the musicians will come to fulfilling the composer’s intentions.” Handel’s Music for the Royal Fireworks remains a favorite with concert goers in general, but it has also retained its connections with royalty. On June 1, 2002, it was performed at the Golden Jubilee of Queen Elizabeth II at Buckingham Palace gardens, complete with fireworks that worked.
Photo by Philip Gould
To purchase tickets to this concert event on November 16th please visit: www. acadianasymphony.org.
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Guest Appearance
Art Transforms A Community
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Jan Swift, Executive Director, Upper Lafayette Development Foundation
Exposure to the arts, whatever the medium, is transformative. Whether you are attending a live theatrical performance, admiring a beautiful painting in the hushed quiet of a museum, being swept away by our symphony orchestra’s breathtaking rendition of a Beethoven masterpiece, or hearing inspirational poetry recited by the author, creative expressions uplift the spirit and satisfy the soul.
opportunities? What would your life be like without ever having access to the fine arts that inspire and challenge? On the flip side, for recreational travelers or businesses looking for a corporate site in which to locate, how attractive is a city with a lack of arts and culture? Who wants to visit, work or live in a place where there is very little offered in the way of culture and entertainment?
Pablo Picasso’s quote, “Art washes away from the soul the dust of everyday life,” affirms the School districts nationwide continue to cut arts transformation that occurs when we enjoy a creative programs in the quest to balance the budget. The human endeavor: We are whisked into our very nonprofit arts sector, in particular organizations own inner creative world where all is possible and dedicated to delivering arts programs to youth, are all is good. needed more than ever. Without an opportunity to The various mediums of art provide priceless gifts; priceless, that is, in that the artists are sharing learn at a young age about painting, writing, dance, acting or singing, how many potential geniuses have their gifts given by our Creator. At the very same never realized their unlimited potential? None of time, these gifts are not “price-less,” in that the these programs operate for free. At what cost do we artists who share their gifts must be compensated choose to save money by slashing these programs? for their time and talent, communities must build and maintain venues in which to hold events, and artists must have access to training to hone their skills.
For those fortunate enough to travel to reach the worlds of entertainment outside of our community, Broadway plays, first rate concerts and world class museums can be a memorable getaway. But what about the majority of us who aren’t frequent travelers, whether the reason is lack of funds or familial obligations which restrict or negate travel 14 November 2014
Visual and performing arts and artists transform a mundane existence into the extraordinary. An extraordinary community values and sustains its arts community and as a result, entices residents and visitors alike to participate in the symphony of life it offers. What kind of community do you want?
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Zachary
Poet Richard By Catherine Schoeffler Comeaux
In 1970 at Tulane University, poet Allen Ginsberg sat alone on the quadrangle playing a harmonium and chanting. A young guitar playing hippy sat next to him; Ginsburg taught him a mantra. “It was a chance encounter that certainly had little importance for Ginsburg, but would change my life,” recalls Zachary Richard - singer, songwriter, Louisiana’s own French poet laureate. Greatly influenced by the Beat poets, Zachary began writing poems in English but has never been published in the language of Shakespeare. Inspired by his first visit to Québec, he began to write, en francais - the language of his hometown Scott, Louisiana. His third published collection of French poetry, “Faire Récolte”, was awarded the Prix Champlain in Québec and the Prix Roland Gasparic in Budapest, Roumania. Zachary Richard recently shared with Overture his thoughts on poetry, language, rap music and how they all relate to the beginning of time. Overture Magazine: Can you speak to the difference that occurs in the creative process when some ideas lead to lyrics 16 November 2014
and others to poetry? Zachary Richard: Poetry and song-writing are first cousins. The natures of both comprise similar elements: words, rhythm, the sounds of words, and a sense of melody. I am grateful to be able to do both because they complement one another. My poetry is free verse so I am able to play with sentence structure, syntax and meaning in ways that are not possible in popular song. My song-writing, on the other hand, is very strictly defined. Usually, in my style, the sentences are of a predictable length, often alexandrines with a very rigorous rhyme scheme. Songwriting offers me the possibility of expressing myself in a well-defined format, while poetry allows me the freedom to explore language and meaning that would not resonate well in the folk song genre. OM: You write in both French and English. Could you speak to how the French language in North America, like all languages, is in flux? What part does poetry play in this?
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ZR: The days of the old-generation native French speakers in Louisiana are drawing to a close, but at the same time, a new French speaking collective is emerging. This community is not specifically “Cadien” although most of its members would identify themselves as such. This is very exciting to me. The “new generation Francophones” identify strongly with the international French community. Today we understand that the salvation of French in Louisiana
will be through education, specifically French immersion. It is inevitable that the French language of Louisiana will evolve, losing some of its colloquialisms in the process. This is the nature of the evolution of language. What is important is that our young students speak French, not whether they roll their “r’s”. As Louisiana French poet laureate, I am working on two projects which are very exciting: a poetry contest for students in French Immersion and a statewide tour of an original copy of “Les Cenelles,” a collection of French language poetry published in New Orleans in 1848 by Black Créoles. In collaboration with the State Library of Louisiana and the Louisiana Endowment for the Humanities, we will be touring the state beginning in September 2015 to tell its story and promote French language poetry. OM: What does the future of poetry look like? ZR: The most important development in poetry in the 18 November 2014
last 50 years is the onset of rap music which has gone well beyond the confines of a principally black, urban phenomenon. (Witness the success of groups like Radio Radio, Loco Locass and rap groups of just about every language on Earth). Spoken word and Slam are reaching a new young hip audience. Call it what you will, this is poetry. Poetry has gotten a bad rap (no pun intended), not because it is boring, but because it was (and still is) poorly taught. Poetry is not some old dead person’s uninspiring babble, real poetry is the living word; it is the expression of human emotion in rhythm. Music preceded poetry. Chimpanzees beat on trees to communicate with each other when they crossed the forest, but it was the onset of language which allowed the human spirit to realize itself. As the Bible says in John 1:1, “In the beginning was the Word, and the Word was with God, and the Word was God”. In the Dogon creation myth, the ancestors communicated by means of cries and grunts until the master of water, life, speech, and fertility taught them language. The association of speech to water, life and fertility is very telling. In the Dogon view, language is as fundamental to human life as water and fertility. In my view, poetry needs to be redeemed from its poor reputation. Poetry is NOT words spread out over a page. Poetry is a living, breathing expression in the same spirit as the popular song. Imagine never hearing a song, but only reading the lyrics. That is, however, the way that most people experience poetry. No wonder most think it’s boring. Poetry should be read aloud, it should be heard, it should be listened to “live”. The internet offers an incredible opportunity for the distribution of the spoken word. Over the next few months, I will be recording and uploading much of my poetry on-line in order to share the true experience of poetry with listeners around the world. The University of Louisiana Press will be re-publishing “Faire Récolte” in November and I will be uploading and making available 23 poems. With many more to come. UL Press will also publish a new collection “Outre le mont” in May, 2015. Overture Magazine
The following is a piece from that collection: Ils arrivent tôt
Early Arrivals
plus d’une vingtaine tel l’aiguille d’une boussole, pointée directe vers l’ouest. mon coeur sursaute, surpris de les voir dans cette fin d’été le vert des bouleaux étouffé de chaleur. une petite pluie fine frottant la terre comme les doux baisers d’un enfant. le ciel est bas avec un dessin de nuage comme de l’eau boueuse barbotée par une main lente ou bien l’aile d’un canard volant.
more than twenty like the needle of a compass pointing directly west my heart jumps, suprised to see them at the end of summer the green of the birches suffocated by the heat. a light, misty rain carresses the earth like the gentle kisses of a child. the sky below a cloud drawing like muddied water splashed by a lazy hand or better the wing of a migrating bird
29 août, 2001. Aux Chênes du Marais
29 August, 2001 At the Marsh Oaks
Acadiana’s Publication for the Arts
To read an uncut version of this interview as well as a translation in French, visit Zachary Richard’s blog at www.zacharyrichard.com.
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Into the Unknown By Blake Lagneaux & Cory LaGrange, Photos by Nouveau Photeau A night at the symphony: a scene that can invoke images of cufflinks, cumberbunds, and carefully curated coifs; an evening of fine arts and musical masterworks written by composers with names we would not attempt to pronounce in mixed company. Although your humble authors are neither newbies nor novices when it comes to the world of fine music appreciation, let’s just say neither of us owns a pair of gilded symphony glasses.
than 30 years ago. That’s an impressive tenure, no doubt, especially when you consider that it’s longer than one of us has been alive. (We won’t mention which of us.) To these newbies, it was a wonderful testament to the legacy of a thriving local arts institution; one that should continue to thrive in Lafayette.
The Acadiana Symphony Orchestra has adopted FIRE as its theme for the 2014/2015 concert season. Each of its events follows that theme in some way, shape or fashion, whether it’s inspired by fireworks, Christmas by the fire, or fire-inspired musical compositions. For their kickoff event, “Fired Up,” it seemed the September weather was also inspired by the heat-tinged theme. But if there’s one thing that can drive a large man to don a twill jacket in temperatures nearing 100 degrees, even after sundown, it’s a night of great music at the Acadiana Symphony Orchestra!
But, we wondered, who will carry that torch? Who attends these events? Are they reserved for our city’s fanciest? To our relief, a marked majority of those in attendance were not what we would have considered “typical symphony aficionados.” Opting for polos over tuxedo jackets, and even Nikes over wing tips, the seats were filled with everyday folks who were locals with a passion for fine musical composition… at least for the evening.
The evening began with an introduction by ASO’s Executive Director, Jenny Krueger. We were struck that, during her thank yous and acknowledgements, Krueger recognized board members who had been part of the organization’s original Board of Directors, more 20 November 2014
The symphony-going experience is thoughtfully enriched by Maestro Marius Smolij. Lauded by the likes of The New York Times, Smolij uses each selection as a teaching opportunity. The Maestro, knowing that his audience is filled with more enthusiasts than experts, introduces each piece with historical context and a crash course on each composer. Always convivial, and never condescending, his comments serve as a warm, playful invitation into his musical world. Overture Magazine
While the audience was treated to familiar pieces from some of the most recognizable periods of classical composition, Maestro Smolij introduced a contemporary piece, “Dance of Sparks” by Wojciech Kilar, with a warning. He expressed that this would be the 5th performance of the piece, and we were the tiebreaker for whether or not his live audiences enjoyed the piece. Of course, after such an introduction - and a quirky, lively performance - the audience was fully enamored with the piece. Being pop culture buffs, we can’t help but relate our fine art experiences to the worlds of film, television, and yes, even Saturday morning cartoons. Blame it on Bugs, but it’s pretty tough to separate classical music from classic Looney Tunes. In some cases, a foray into the fine arts may even lead to an inevitable Internet Movie Database (IMDB) search. Take the aforementioned Wojciech Kilar for example. The Polish composer boasts an impressive list of movie credits, including film scores for The Pianist, Bram Stoker’s Dracula, and countless others. Actually, 166 films total… but who’s counting? In the Venn diagram where pop culture meets classical music, you would be hard pressed to find a more crowd-pleasing crossover than the final selection of the evening. The symphony performance ended with perhaps the most recognizable of Beethoven’s works, Symphony No. 9, or Ode to Joy, a fitting and appropriate piece for the inevitable air of satisfaction felt by those in attendance.
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Painting by Francis Pavy
IBERIABANK:
A True Appreciator of Local Art By Emily Brupbacher, Photos by Lucius Fontenot
In a city like Lafayette, art is ubiquitous. Everything is creative and artistic, from our homes, to our food, to our music. Even our local businesses have an imaginative side just waiting to be unleashed, as well as an appreciation for the arts that they are more than happy to share with the community.
Painting by Hunt Slonem
IBERIABANK is one such business, and it should be no surprise that one of our most premier local banks is home to a truly stunning art collection. “We wanted our clients and guests to enjoy our signature spaces,
which are designed to be distinctive and to reflect the uniqueness of the communities in which we operate,” says Daryl Byrd, President and CEO of IBERIABANK. 22 November 2014
Part of the reason why Byrd is so passionate about the IBERIABANK art collection is that he views it as a way to endow these communities with a rich appreciation of the arts. “Our investment in art is “Our investment just one component of in art is just one our overall community component of our investment strategy overall community and, we believe, is a investment strategy demonstration of our support of the visual and, we believe, is arts,” he explains. a demonstration of
It is this attitude that our support of the led Byrd to make a visual arts.” conscious decision to –Daryl Byrd invest in, and heavily feature, local art in the IBERIABANK collection. “Our preference is to buy and feature contemporary work from artists with local ties,” Byrd notes. “While that may seem like a narrow scope, we have a wide variety of beautiful and interesting pieces across our franchise—everything from photographs by Debbie Fleming Caffery to a fabulous triptych by Francis Pavy. A few of my favorites are pieces by Hunt Slonem, George Dunbar, and Elmore Morgan.” Call it community service at its most creative: part
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of what sets IBERIABANK apart from other banks is its altruism toward the arts. “For many years, we have supported the arts through financial support and volunteerism,” Byrd says. “We believe that a vibrant arts community is an important attribute of a broader diverse and successful community.”
For more information about IBERIABANK and its locations, please visit: www. iberiabank.com.
Acadiana’s Publication for the Arts
Painting by Elmore Morgan
Painting by George Dunbar
Its devotion to local communities, as well as its trusted and renowned service, makes IBERIABANK a company locals appreciate in return. “We want to differentiate our company from other banking options, and we do that in many ways, including the creation of signature office space and our commitment to serving our communities,” says Byrd.
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The Marching Band By John Guidry
Not all alumni remember their university’s alma mater. They were probably introduced to it as freshmen, heard it here and there during their tenure as students, and joined in singing it at graduation. Many more people, however, probably remember their university’s fight song – especially in Louisiana. They probably knew it before attending the university, joined in singing it at sporting events as students, and still sing it at sporting events today as adults. What makes these songs so memorable? Certainly there are fond (or not so fond) memories attached to these songs related to sporting events. No doubt they are heard often in various commercials on television and radio. But one outstanding feature they all share is that they were so often heard played live by a school band, not piped in via a recording.
Imagine a football game at ULL or LSU without their respective bands. Their participation is so familiar and integral to the game that it is hard to fathom the silence that would result from their absence. “Fans would go into the stadium an hour before the game started to watch us warm up and do our pre-game routine,” says Wendy Mayfield, who played for The Golden Band from Tigerland during all four of her years at LSU. “We always had to be at the stadium very early, and when we’d walk around outside in our uniforms, fans would cheer for us and offer us food and beer.” 24 November 2014
Bands are obviously important to fans, but they are also important to the individuals who play within them. Mayfield, a French horn and mellophone player from Austin, Texas, decided to attend LSU after seeing the group in person as a high school senior. She was awarded a scholarship for performing in the band. “I wasn’t sure about where I wanted to go to school, but when I saw LSU’s band, I immediately decided that I wanted to go there. I knew I wanted to be part of a group that had such a tradition of quality.” The band also served as a built-in social group to ease the anxiety of moving to a new place. “I knew absolutely no one in Louisiana and I was nervous about moving here,” Mayfield says, “but I had built-in friends with the band. We still keep in touch, hang out, and attend each other’s weddings.” Jillian Hebert even met her husband while she was part of ULL’s Pride of Acadiana band. “The band was like a giant family, all working toward the same goal,” says Hebert, who served as the group’s drum major during her last two years at ULL. “I was twenty-one at the time and there were guys in the band who were almost thirty. Even though they were older and had been there longer, they always treated me like a big sister instead of a little kid.” As drum major, Hebert felt the same obligation to quality that Mayfield felt playing for a beloved and well-respected program. “It was a big responsibility – fans go to games to watch the team and hear the band. The band is important to them.” For more information on LSU’s Golden Band from Tigerland, visit www. bands.lsu.edu. For more information on ULL’s Pride of Acadiana band, visit www.ulbands.com. Overture Magazine
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The Makeup of an Orchestra:
Getting to Know ASO’s String Section
By Johanna Divine 26 November 2014
Overture Magazine
The Acadiana Symphony Orchestra’s string section spans the globe, with musicians from China to Ukraine, Romania to New Orleans. As the 2014-15 season begins, a few of the symphony’s gifted players took time out to talk with Overture about how they came to ASO, and why they continue to call Acadiana home.
Concertmaster Lauren Baker grew up in the symphony. “I was born in New Orleans to two symphony players, and began playing violin at a very young age. My parents were playing all over the south – Louisiana, Florida, Mississippi, Alabama – and I would travel with them and play alongside my mother. By the time I graduated high school I had been playing professionally for quite some time.” After studying at Oberlin Conservatory under David Cerone followed by a short hiatus from music, Baker returned to New Orleans and made up for lost time. “I played every gig I could – opera, symphony, ballet, theater, Vegas acts that came through. It was wonderful. So, when my first husband was transferred to Lafayette, I came kicking and screaming.” Baker was pleasantly surprised by life in Lafayette, and has never left. She currently teaches and plays music full-time, and continues to feel satisfied with everything Lafayette and ASO have to offer. “I’ve been with ASO since the beginning,” says Baker, “and we’ve grown from a community orchestra to a professional symphony orchestra with a palpable connection to our community. What sets ASO apart from other orchestras is our vision, our focus on education and the way we are able engage with our audiences. It is wonderful – and it is rare!” Young musicians in Lafayette know Dragos Filip as the strings teacher at LJ Alleman Arts Academy, but area concertgoers may recognize him as Assistant Principal Cellist of ASO and an active member of the Baton Rouge, Rapides, and Gulf Coast Symphonies. A native of Bucharest, Romania, Dragos began playing cello at the age of eight and performed early on as a member of the Young Musicians International Symphony Orchestra, made up of outstanding young musicians from across Europe. He received both his Bachelors and Masters degrees in Music Performance from Southeastern Louisiana University in Hammond, under the tutelage of Daniel Cassin. “I heard about the ASO back in 2006 when I first started my studies in the U.S.,” says Filip. “I continue to admire ASO’s excellent musicianship and the leadership of Music Director and Conductor Mariusz Smolij. In terms of success, this combination has no limits!” Originally from Shanghai, China, Yonghao Pan studied at the Middle School of Shanghai Conservatory, The Julliard School in New York and Louisiana State University in Baton Rouge. As the former Principal Double Bassist
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Acadiana’s Publication for the Arts
November 2014 27
violin, viola and chamber ensemble at SLU’s Community Music School. A member of ASO since 2009, Tsyrkot also plays with Baton Rouge Symphony Orchestra and Rapides Symphony Orchestra and has continued to expand her skill set by earning a Masters of Business Administration. Like other ASO musicians, Iya enjoys ASO’s collaboration with the community and its association with the Conservatory of Music: “Not only does ASO provide high quality music education, we also invite young, local musicians to be a part of ASO’s professional performances.” “This community
is at home in Louisiana. “Before I formally auditioned for ASO, I was asked to sub several times. My experience with ASO has been wonderful, and I have been with the orchestra for 10 years now.” Pan explains, “Mariusz Smolij is a very musical and detail oriented conductor, and it has been a great experience to work with him. Also, the quality of programming at ASO is second to none. I have been able to play some of the most exciting compositions here, pieces that many musicians never have the opportunity to perform.”
connection, along with our ‘thematic seasons,’ wherein all the season’s concerts are thematically linked, really set us apart. It’s simply brilliant, and I hope our audience members enjoy the performances as much as we musicians do.”
Photo by Danny Izzo, Nouveau Photeau
for the New England Symphonic Ensemble, Pan played over 70 concerts in Carnegie Hall, where he worked with renowned musicians, composers and conductors. “We often worked with choir conductors,” said Pan. “The most famous among them was John Rutter, a celebrated British composer and conductor. We performed many works under his direction and had the honor of premiering some of his works in the US.” As Acting Principal Double Bass for Acadiana Symphony Orchestra and Assistant Principal Double Bass for Baton Rouge Symphony Orchestra, Pan
Violinist Iya Tsyrkot grew up in Chernivtsi, Ukraine, studying music at the S. Vorobkevych State Arts School of Chernivtsi and M. Lysenko Lviv National Music Academy. She completed her Bachelors and Masters degrees at Southeastern Louisiana University (SLU), and also taught 28 November 2014
Experience ASO’s community connections and hear the symphony string section first hand at the upcoming Masterwork Concert No. 3, “Royal Fireworks,” held November 16 at 3:00pm. This special performance includes UL Lafayette Chamber Singers and Chorale performing in the historic St. John’s Cathedral in downtown Lafayette. For information or tickets, call 337-232-4277 or visit acadianasymphony.org.
Overture Magazine
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November 2014 29
Kelly Guidry: The Chainsaw Sculptor
By Emily Brupbacker Photos by Lucius Fontenot
30 November 2014
Overture Magazine
For many art lovers, the medium of sculpture calls to mind slabs of marble carved into various forms by a creator armed with chisel. Louisiana native Kelly Guidry takes a different approach. Kelly is known to locals “The Chainsaw Guy,” a moniker he earned based on his unique approach to his sculpting.
“My primary tools are the chainsaw, the angle grinder, the welding machine, and the plasma cutter,” Guidry explains. “The tools and materials that I use largely define my unique style. Primarily, I use cedar and cypress, mild steel and copper. But I also often incorporate paint, wire, stain, fiber, nails, screws, and all manner of found objects.” While Kelly studied art in college, he felt drawn at a young age to sculpting as a creative outlet. “I completed my first wood carving in 1993, while taking a beginning sculpture class at UL,” says Guidry. “Technically, I started sculpting things out of the scraps I found on the floor of my grandfather’s work shop when I was five.” There was something about sculpture that was particularly
appealing to Guidry. “From a young age it was apparent that I had a natural talent and aptitude toward art. But it wasn’t until college that I found the gritty, tactile language of wood and metal sculpture—a medium that could be developed into a truly definitive style of personal expression, a style that was uniquely my own.” Guidry’s creative process mixes elements of the traditional with the distinctive—he starts out with a sketch of an idea, like many artists, but will then use a chainsaw as his first sculpting tool. “When I start
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November 2014 31
Kelly’s method and work is popular with many locals, and the Acadiana culture is something that inspires him. “Living in Acadiana has definitely influenced me,” Guidry says. “In high school and college I made a particular effort for my art to disassociate with anything “Cajun.” I did not want to be defined that way. Since moving to Breaux Bridge, I have taken a renewed pride in my heritage. Rather than rejecting the old icons—the crawfish, the Fleur de Lis, the accordion—I try to give them a fresh representation.”
out using my chainsaw, that’s the most physical and dangerous part of the process,” Guidry says. “This is where the wooden part of the piece takes on about 90% of its shape. Next, I refine the shape with a series of grinders, sanders, rasps and smaller saws.” 32 November 2014
This fresh, updated approach to traditional art has become a trademark of Kelly Guidry. “I feel that my process is quite unlike the typical impression someone gets when you say ‘Chainsaw sculptor,’ he says. “I often use tools in ways that they were not intended to be used. My process is basically problem-solving. It’s connecting different elements in a way that is structurally sound and visually pleasing, to make it look like they’re not just ‘stuck together.’” For more information about Kelly Guidry and his art, please visit www. kellyguidry.com.
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November 2014 33
ASO’s Conservatory of Music
Applauding the ASO Conservatory’s Scholarship Recipients Emily Brupbacher, Photos by Nouveau Photeau
T
The Acadiana Symphony Orchestra’s Conservatory provides local students the opportunity to study music under the guidance of some of Lafayette’s most talented and prestigious music professionals. In an effort to help students achieve their musical dreams, the Conservatory offers students of all ages the opportunity to receive scholarships that will assist them in paying for their tuition.
These scholarships go towards the costs of students’ private lessons which can cost anywhere from $437 to $870 for the Fall and Spring semester classes, and between $232-$510 for the Summer semester. Scholarship recipients are required to perform at all ASO Conservatory recitals, and may also be asked to perform at various events throughout the semester.
“There is no age limit to receive a scholarship,” says Miguel Ochoa, Conservatory Registrar. “If students are interested in applying for a scholarship, they must audition.” Auditions for the ASO Conservatory Scholarships are held every spring. Congratulations to the recipients of the 2014-2015 Conservatory Scholarships: o Lillian Bertrand, 8, Piano
o Molly Moore, 12, Piano
o Margaret Caffery, 14, Flute
o Eli Schmidt, 10, Violin
o Gianna Caffery, 12, Violin
o Payton Daugereau, 19, Cello
o Matthew Doherty, 16, Fiddle o Jennifer Kendrick, 26, Violin o Emily Moore, 8, Piano
o Kaytlyn Reed, 7, Piano
o Annie Summerhays, 15, Piano
o Emma Smith, 17, French Horn o Madeline Weber, 15, Violin
Conservatory students hold up signs that capture what their music means to them. To learn more about the ASO Conservatory scholarship program and music classes offered at the Conservatory, please visit www.acadianasymphony.org/conservatory/ 34 November 2014
Overture Magazine
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November 2014 35
the ARTicle The Artistic Blending of Two Families Dave and Margo Baker
The arts have always played an important role in the Baker family. They’re not a traditional group. They are a blended family. “Margo introduced me to her paintings the first night I met her,” recalls Dave. “Margo was my neighbor. I was divorced and she was a single mom with two boys. Eventually, I married the girl next door.”
Margo’s boys, Simon and Ben, were surrounded by art early thanks to their grandmother who made pottery in her backyard studio and garden, and their grandfather who enjoyed woodworking. Their other grandmother sewed heirloom garments and their late grandfather was a photographer. Margo, an art major at UL, had her own projects for her art classes but always had paper, scissors, glue, and other art supplies around for the boys to enjoy
the Gulf Coast, and Central America. His travels have expanded his art and music appreciation. He has a vast vinyl music collection now and frequents music venues, even volunteering for Festival International. He recently purchased a banjo and is teaching himself to play.
Ben was always creative with paper and wood. He always liked to take the fresh cut of the Christmas tree home to make something. Ben has never looked at things in a traditional way and his path to today is kind of a zig-zag. He works at a local nursery where he continues to be creative with arrangements, landscaping, and pottery. He’s very successful at what he does and receives inspiration from kayaking, camping, and fishing in Louisiana.
Margo and Dave were married in 1999. While residing In the early days of the internet, both Simon and Ben in New Iberia, their family expanded with the birth of John would print “tabs” and taught themselves how to play guitar. Michael and Thomas who were also surrounded by visual They flirted with piano lessons and guitar lessons, but arts. Margo had her backyard studio lovingly named “The most of their music taste and talent was their own. Margo Mama House.” She had little projects to keep the boys busy, remembers how the boys would “snicker at us about some but usually they helped themselves to her supplies. John of the inappropriate music we took away from them when Michael created “art by accident.” Thomas created “hybrid they were young. It seems trivial now that they’re adults, but toys” by fusing together broken toys to make new ones. it was similar to when our own parents were uneasy when Margo, once an art teacher at St. Edward School and MTV came into our living rooms in the 1980s.” private art instructor, now dedicates her time as a fullSimon, now a Biology grad student at UL Lafayette, likes a wide range of music and art. Simon has had great opportunities in field research in the Gulf of Mexico,
36 November 2014
time artist. You can find her work in shows throughout Louisiana. Dave depends on digital media for visual art at work, creating graphics to complement his famous
Overture Magazine
weather forecasts. Dave is really passionate about old photo restoration and loves photography. “It’s just awesome when you catch that personal moment or that perfect visual shot.”
The Baker family moved back to Lafayette three years ago. Enrolling their children in the L. J. Alleman Arts Academy was a priority for them. Thomas now plays the cello at L. J. Alleman and John Michael, a student at Lafayette High School, plays the viola and sings in the men’s choir. Both boys play piano, sing with their church, perform on mission trips, and have tried theater and visual arts. Their musical interests are eclectic: Classical and Celtic music and, most recently, Opera! “We remember when a slow playing violin would move John Michael to tears as a toddler. It was adorable. His brother Thomas would sometimes join him, taking cue that it was crying time. Plato said, “Music training is a more potent instrument than any other because rhythm and hearing find their way into the inward place of the soul.” “When you’re holding two bawling children during a violin solo, you could say the soul has been touched,” recalls Margo.
The Bakers enjoy the arts and are thankful to live in an area that is abundant in culture and pride. The community and the Lafayette Parish schools continue to support their children in the arts with teachers who are creative, energetic, and foster appreciation in their children. The Bakers agree that they are blessed to be here. Acadiana’s Publication for the Arts
November 2014 37
A Trombone Man at Notre Dame By Ann Dobie
38 November 2014
Overture Magazine
In a recent conversation with Grant, I had the opportunity to ask him about his move to the University and the role that being a member of the band has played in it. His answers were unfailingly positive, reflecting the pleasure he takes from his music and the colleagues he has met through it. Clearly, it has given him valuable lessons about responsibility and dependability at the same time that it has helped him to make lifelong friends. Here is the story as he tells it:
OM: What are the memorable moments from your time in the St. Thomas More High School band? Grant: I think that the most memorable moments in band were those moments immediately before and after our performances. The rush of adrenaline that comes from standing on the field surrounded by your friends and classmates and knowing that you are about to perform an incredible show, followed by the surge of pride after you finish that last note, is incomparable. OM: How would your life have been different if you hadn’t been in the band? Grant: The band taught me a lot about respect. In the band, we weren’t just representing ourselves; we were also the face of the school we went to. Especially when in uniform, we all represented the St. Thomas More Band, and that itself taught me how to carry myself with pride and act in a way that reflected positively on all of us as a whole. OM: Why did you choose to play the trombone as opposed to some other instrument? Grant: That’s actually a matter of just pure luck! In 5th grade I had my heart set on playing the saxophone, but the minute I walked into my middle school band room to try out different instruments, Mr. Green from Lafayette Music Company looked at me, handed me the trombone mouthpiece, and said, “That’s a trombone player right there.” Although I had absolutely no
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Acadiana’s Publication for the Arts
ROYAL FIREWORKS
This time last year, Grant Krampe was a music student at St. Thomas More High School enjoying his senior year sharing good times with friends—many of them members of the marching band. This year he is studying hard at Notre Dame University, still sharing good times with friends—many of them members of the marching band. His trombone has made the transition less stressful than it might have been because the experiences he had with it at STM have helped him to find his place in the larger, more complex institution.
Sunday, November 16, 2014 3:00 pm St. John’s Cathedral
GUEST ARTISTS: UL Lafayette Chorale and UL Lafayette Chamber Singers
PROGRAM: George Frederick Handel – Music for Royal Fireworks Wolfgang Amadeus Mozart – Missa Brevis K220 (“Sparrow Mass”) Joseph Heydn – Symphony No. 59 (“Fire Symphony”)
TICKETS: www.acadianasymphony.org
MASTERWORK NO.3 November 2014 39
desire to play the trombone, eight years later, here I am playing trombone for the Band of the Fighting Irish, and I wouldn’t want it any other way. OM: What is different about playing in the Notre Dame band? Grant: While I had an immense amount of pride in my high school band, there’s something unique about being a member of a college marching band that’s even older than its’ iconic football team. The band has a huge reputation, and even quasi-celebrity status. Whenever I wear my uniform, people stop me and ask for
OM: Do you plan to keep playing trombone after you graduate? Grant: Absolutely! I love playing the trombone. It’s just a great instrument for expressing yourself and relieving stress. It can be loud and raunchy as well as powerful and soothing. It’s an extremely versatile instrument and I can’t imagine not playing it for the rest of my life. OM: Do you keep up your friendships from the high school band? Grant: Another big yes. I still text my friends and share my life up here with them while they keep me posted on the goings-on back home. I can’t wait to see them again in October. My friends from high school band were a huge influence on how I developed into the person I am today, and I plan on keeping them close for a long time.
pictures with their kids, or talk about what instrument I play, or simply ask for directions! The community here loves and respects the bandand we play a big role at the university. Being in the Band of the Fighting Irish invokes a sense of being a part of something far older and greater than myself. OM: In what ways is it like playing in the high school band? Grant: It’s an interesting experience. That sense of responsibility I started to develop when I became a leader in my high school band has increased at Notre Dame. All of us are adults in the band here, and it’s up to us to attend practice, get our fees paid, take care of our uniforms, and show up for performances. No teachers or parents will call us or remind us when we miss practice or fail to fill out a certain form. And while that does add more responsibility, it creates a higher sense of dedication and pride within the members of the band. Because of the responsibility that is placed on us as members of the band, we know that everyone at practice really wants to be part of the organization. OM: How does a band come to develop camaraderie and friendships? Grant: I don’t always know how it’s possible, but after a week of training for band, I already had over thirty people I had never met before, from every corner of the country, whom I could sincerely call my friends. We work together, perform together, eat together, study together, and play together. Something about working through music every day, and, at the end of the week, putting on that uniform and collectively representing every member of the band who has ever gone through Notre Dame, builds an incredibly strong sense of community. 40 November 2014
OM: What is special about being at Notre Dame? Grant: I think what makes Notre Dame special is that it’s so much more than just a university. Your time at Notre Dame doesn’t really end when you leave the campus. The community built and the lessons learned at Notre Dame will follow me for the rest of my life. Outside of just the university aspect of Notre Dame, there is an enormous collection of spiritual, athletic, community, and artistic activities that draws students together. It encourages us to branch out, get outside of our comfort-zone, and, while we learn more about the people and cultures around us, discover who we really are as people. Notre Dame’s mission of educating students in “mind, body, and spirit” is taken very seriously here, and it really is an incredible place to grow as a person and make friendships that will last an entire lifetime, as well as get an excellent education. For Grant Krampe, music has clearly meant much more than finding musical gratification. Through the experiences he has had playing trombone in high school and college bands, he has found camaraderie that will last long past the days of marching on the field. Overture Magazine
Acadiana’s Publication for the Arts
November 2014 41
ARTIST BEHIND thePolitician
the
Senator Page Cortez and Senator Jonathan “JP” Perry By Johanna Divine • Photo by Lucius Fontenot
Louisiana State Senators from Districts 23 and 26, respectively, Page Cortez and Jonathan “JP” Perry take their elected positions very seriously. “But the key,” says Perry, “is not to take yourself too seriously.” The longtime friends and colleagues balance work, family and artistic endeavors with genuine ease and a sense of true camaraderie. They recently spoke with Overture about how their art informs – and enriches – life and work in south Louisiana. Born in Kaplan and elected to the House of Representatives in 2007, JP Perry had been a successful comedian for six years before he took office. “When I decided to run,” he says, “the political consultants advised me to take down my website and stop doing comedy because it would hurt me in the race. What I came to find out, was that comedy was a big part of how people could relate to me. You see, I did a lot of non-profit work, I emceed for a lot of organizations, and I think people would see and hear me and think, ‘He’s one of us.’ So when I realized that, I went right back into doing comedy. It’s something I love and it’s true to who I am.” JP discovered comedy in 2003, during his last year of law school. “My wife and I attended Cajun Comic Relief, 42 November 2014
and at the time there were five comedians on the bill, all of whom were past winners of the International Cajun Joke Telling Contest. I read that and turned to my wife (who doesn’t think I’m funny at all!) and said, ‘I wonder where that contest is.’ She turned back to me and said, ‘Well, I hope you don’t find out!’ So, of course, from that point on I was on a mission to win that contest!” Perry did win, and was contacted two weeks later to perform at a charity event in Baton Rouge. With guidance from wellknown Cajun comedian and mentor Murray Conque, Perry has since performed hundreds of times in Louisiana and throughout the country. He attributes his success to hard work, clean material and a genuine love of Cajun people and culture. “I’m a former Kaplan police officer, a former prosecutor, and I’ve been in politics for awhile. I married a Cajun girl and we have four kids. You put all that together, and the material just kind of writes itself !” Elected in 2007, Lafayette native Page Cortez spent four years in the House and the past four years in the Senate. He began playing guitar as a young man, and always saw it as a way to relax, laugh and spend time with friends. In college, he played regularly with a group of musicians who
Overture Magazine
After a few years of playing at informal gatherings and parties, friends and family encouraged them to play in public. Cortez continues, “We decided to schedule a gig on a Saturday night at Antlers in downtown Lafayette. We named the event ‘Guido-Stock’ after Mike Guidroz (who was part of the band) and we packed the house. We had so much fun that first night that the next year we rented Grant Street and asked for a suggested admission charge
“Here in Louisiana, we’re real people. We play music, we tell jokes, we talk about real-life issues. That’s just part of life and work in south Louisiana, and it’s why we love what we do.” Senator Page Cortez to help fund Miles Perret Cancer Services. We did that for about 10 years, and some years would raise as much as $10,000 for Miles Perret.”
From humble beginnings, Page has since appeared on stages in Louisiana, Texas and at the Country Rendez-Vous Festival in Craponne sur Arzon, France. One of Page’s band members, Ted Lee, has played professionally since college and now leads the Houston-based band, Bayou Roux. “Ted invited me to guest appear with Bayou Roux in France in 2012,” says Cortez. “We were the headliner, and it was a huge crowd. When we did the final encore, we invited all the artists on stage – from traditional country and western to zydeco and pop artists. It was a real treat and we got to meet a lot of artists and a lot of fans.” Cortez recalls when French audience members found out he was a senator from Louisiana. “They were stunned – they all wanted to meet the ‘senator in blue jeans.’ Overseas, the politicians are rarely seen outside of public office. It’s a much more formal way of interacting with your constituents there. But here, in Louisiana, we’re real people. We play music, we tell jokes, we talk about real-life issues. That’s just part of life and work in south Louisiana, and it’s why we love what we do. ” To learn more about Jonathan “JP” Perry as a Senator and comedian, visit senate.legis.state.la.us/Perry/ and www.cajuncomedy.com. For more about Page Cortez and Bayou Roux, visit senate.legis.state.la.us/Cortez and www. bayouroux.com. Acadiana’s Publication for the Arts
SPECIAL EVENT
APPLAUDING EDUCATORS
continued to get together after graduation. “After college we went on with our lives, got married and had children,” says Cortez. “As our kids grew up, we started having regular Thursday night get-togethers that would always lead to a jam session.”
Friday, November 14, 2014 7:00 pm St. John’s Cathedral
FREE CONCERT BY WORLD-RENOWNED PIANIST STEPHEN HOUGH
FIRST COME, FIRST SERVED. FOR INFORMATION:
acadianasymphony.org
November 2014 43
Applauding Educators
A Musical Gift For Our Friends and Partners In Education By Jenny Krueger and Rebecca Doucet I’m changing the world one day at a time. I teach.
It is easy to get distracted by the headlines surrounding education. While the headlines are important, so are those who quietly continue to do their work for the benefit of our children. Teachers spend more time with our children than almost anyone else. Their influence over our most prized possession is significant. Often they get lost in the battles on the playground and the boardroom warzone. We often forget to provide the teachers in our children’s lives with the “thank you” they deserve.
This month, a very special anonymous Acadiana Symphony Orchestra (ASO) donor is providing the perfect thank you to the educators who make a difference; a musical gift to all of our friends and partners in education. If you teach preschool, elementary, middle school, high school, or at the collegiate level in any public, private or home school program, you and your guests will be treated to a free concert by Steven Hough, world renowned piano soloist, and your Acadiana Symphony Orchestra. The Washington Post proclaimed Stephen “A virtuoso who begins where others leave off.”
“Fire Symphony” by Joseph Haydn.
Named by The Economist as one of 20 Living Polymaths and often described as a Renaissance man, British pianist Stephen Hough is a man of many talents. Not only is he one of the world’s leading concert pianists, he also is an accomplished writer and composer. His musical achievements have resulted in many awards and accolades for his concerts and a discography of more than fifty recordings. An avid writer, Stephen Hough has written for London’s The Guardian, The Times, and Telegraph Media Group. His cultural blog has become quite popular—10-15 thousand hits per week—as it touches on a variety of topics including theology, music, psychology, and art.
ASO is delighted to bring an artist of this caliber for educators, their families, and their students to enjoy. The free concert will be held Friday, November 14th at 7 pm, at St. John’s Cathedral. Seating will be available on a first It is fitting that Steven will perform Schumann’s Piano Concerto in come, first served basis. Please arrive early to ensure your seat. Then sit back, relax, and enjoy the sounds of “the A-minor, op 54, because Robert Schumann wrote the concerto for his wife, Clara Wieck. Robert and Clara had most perfect piano playing conceivable” according to The eight children of their own. Clara managed to juggle the Guardian. responsibilities of raising eight children with her own To learn more about Stephen Hough, please visit www.stephenhough.com. More information about the concert can be found at www.acadianasymphony. piano career. I believe they knew a thing or two about org. educating children. Also on the program is the famous 44 November 2014
Overture Magazine
Acadiana’s Publication for the Arts
November 2014 45
By Emily Brupbacher, School Library Media Specialist
What to Read: Local Authors to Check Out
Maitland DeLand, M.D. Maitland DeLand, M.D., is a radiation oncologist who specializes in treating women’s and children’s cancers. In addition to founding OncoLogics, a set of cancer treatment centers, DeLand is also the author of several children’s book series. The Great Katie Kate is a collection of books starring the irrepressible Katie Kate, a brave, spunky superhero who empowers kids who are dealing with diseases. With titles like The Great Katie Kate Explains Epilepsy, The Great Katie Kate Discusses Diabetes, and The Great Katie Kate Tackles Questions About Cancer, DeLand’s charming characters give children dealing with real-life struggles a sense of hope and acceptance. For readers in need of a spirited holiday book series, Baby Santa is a fun and festive set of books that introduces a little-known character in the Claus family—Santa and Mrs. Claus’s son, Baby Santa. With a sense of whimsy and magic that comes only with Christmas, DeLand’s Baby Santa series offers readers a chance to explore parent and child relationships as they read about Santa and his son and their efforts to save the spirit of Christmas. The message about the importance of generosity and gift-giving is also something parents are sure to appreciate as they share these books with their children. 46 November 2014
DeLand’s Busy Bee series stars Bambina Bee, a curious young bee who is fascinated with all she sees. Bambina Bee discovers something new every day about the busy world buzzing around her. Busy Bees at Work and Play gives readers a glimpse into the busy world of bees and shows that everyone in the community can contribute and make a difference. Busy Bees on Broadway is a music-filled tale that is sure to leave readers with an appreciation of the arts. Fishing for Flowers is an ode to every child’s imagination, telling the tale of two young children who go on a fishing trip and encounter a visually stunning showcase of the beauty of nature. Fishing for Flowers is a simple and imaginative reminder that there is beauty all around us, if you only know how to look for it.
For more information on Maitland DeLand, M.D., or to purchase her books, please visit www.delandbooks.com.
Jady Regard Football fans of all ages will love Jady Regard’s series Born to Be a... Titles include local favorites such as Born to Be a Ragin Cajun, Born to Be a Tiger, and every cheerleader’s favorite, Born to Be a Tiger, Too. Kids will love that their favorite local sports teams are represented, and familiar sights such as Cypress Lake, Cajun Field, and Tiger Stadium will make kids feel right at home as they cheer on their favorite teams. To order Jady Regards’ books, please visit www.paperbackswap.com/JadyRegard/author/.
Overture Magazine
What To LISTEN To
By Mariusz Smolij, Music Director and Conductor, Acadiana Symphony Orchestra
If the Finale were reduced to a few instruments and If you would like to explore some of the most popular simplified, this could be a celebration dance at anyone’s symphonies or at least a few individual movements, I would recommend starting with the following pieces (my wedding or another happy occasion. favorite renditions in parentheses): A. Dvorak – Symphony No. 9 “From the New World” (2nd movement) W.A. Mozart – Symphony No. 35 K.385 “Haffner” The composer was inspired to create this symphony (1st movement) This is one of the most popular Mozart’s symphonies by local American music he discovered during his travels in this country. All of the movements are full of out of his entire output of 41. The first movement memorable melodies, but the second part is especially has been used in “Amadeus,” the famous 1984 Oscar famous for its haunting melody inspired by a Negro winning movie portraying the composer’s life. The Spiritual and introduced by solo English horn. abundant energy of the opening bars combined with beautiful lyrical theme introduced later in the same P. Tchaikovsky – Symphony No. 4 (1st movement) movement perfectly represents Mozart’s artistic This is one of the most frequently performed personality - unending creative drive and unsurpassed symphonies by orchestras around the world. It is both beauty that give joy to generation after generation of a favorite work among the concert goers as well as the listeners. Highly recommended for everyone between performing musicians. In the first movement, after age one and one hundred and one! the opening fanfares, the composer shows us how the orchestra can “dance.” The entire musical narration is L. van Beethoven – Symphony No. 5 (1st structured around the rhythm and pulse of a waltz. movement) and No. 7 (4th movement) The first movement of Beethoven’s Fifth starts with G. Mahler – Symphony No. 6 “Tragic.” (1st the most famous symphonic motive in the entire movement) symphonic or perhaps entire classical music literature. Next to Symphony No. 2, “Resurrection,” this is my The composer is using it as the primary “musical cell” favorite Mahler composition. The first movement is, in throughout the entire movement that is characterized my opinion, the most forceful and brilliant symphonic by relentless rhythmic drive and powerful musical march in the entire orchestral literature. This special 20 narration. This is truly a musical masterpiece that is minutes long march takes us through a wide gamut of exciting from the very first to the very last note. The Finale of the Seventh is one gregarious happy dance. It emotions and atmospheres culminating with a powerful finale. It is a perfect introduction to the marvelous is easy to see here how close the music of the greatest world of Mahler’s art. masters can be to the simplest forms of expression.
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State of the
Symphony By John Guidry
It has been a rough couple of years for the Atlanta Symphony Orchestra. The southern metropolis’ orchestra musicians and chorus members are currently locked out (prevented from playing until a financial agreement is reached between the board of directors and the performers) for the second time in two years. The lockout is not due to a lack of quality—the orchestra, which has existed since 1945, has for years been lauded as a high quality program through which a number of excellent musicians have passed. Between 1986 and 2003, the orchestra won four Grammy Awards for Best Classical Album for recordings of Verdi, Vaughan Williams, and Berlioz. Though affected significantly by the recession, Atlanta itself has a population of about a half million people and a GDP of around $250 billion. For years the city has been one of the few in the United States to boast permanent, professional, resident companies for opera, ballet, music, and theater. But for the second year, its symphony is not performing. The immediate reasons, of course, are largely financial. Lower 48 November 2014
tickets sales and “donor fatigue” are common issues as fewer people attend symphonic performances in person and longtime donors feel the monetary strain of years of support. A number of other issues include musician pay and benefits and conflicts among venues, management, and performers. It is interesting to note that of the cities having issues with their symphonies, most house at least one professional sports team. When money gets tight, the arts—particularly the performing arts—are often the first entities to suffer cuts. Unfortunately, Atlanta is far from alone. Numerous other symphony orchestras in the United States have been suffering in the past several years. The Indianapolis Symphony, St. Paul Chamber Orchestra, and Minnesota Orchestra have all dealt with lockouts recently. The Memphis Symphony Orchestra is close to shutting down. The Chicago Chamber Musicians is not performing this season. Green Bay’s 100-yearold symphony will be closing its doors after this Overture Magazine
season after posting a $20,000 deficit over the past two years. Honolulu, Nashville, and Philadelphia have all seen their orchestras face bankruptcy in recent years. Even such a renowned entity as The Metropolitan Opera narrowly avoided a lockout this season only with the aid of a federal
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mediator in the eleventh hour. There are other issues at play, however. Obviously, the nature of entertainment has changed drastically in the country over the past fifty years or even over the past twenty years. In today’s world of instant gratification, self-glorification, and over-stimulation, an evening at the orchestra is seen as slow, old-fashioned, and dull by many. Why go to the symphony when one can watch videos online or download hours of music from home? Ralph Waldo Emerson once said “Every genuine work of art has as much reason for being as the earth and the sun.” The beauty conveyed in art points people towards something greater than themselves and contributes to the “great conversation” that is the human condition. Regardless of beliefs and religious affiliation, it is impossible to listen to a piece such as Mahler’s Symphony No. 2 without feeling something—be it self-reflection or at least empathy for the artist. In spite of the doom and gloom associated with a number of symphony orchestras in larger cities, there are still many groups enjoying success—particularly in smaller cities. These organizations generally operate in smaller venues, have smaller budgets, and are younger and less bloated than their larger counterparts. There is generally a much stronger sense of cultural pride in a smaller city’s group and therefore relatively stronger support for the symphony than might be seen in a larger city. Lafayette should be thankful to be counted among the cities in the United States for which these factors hold true. Her symphony should always be supported and never taken for granted, because she needs her symphony. Acadiana’s Publication for the Arts
IT’S A
MUSICAL SPRING PRIVATE LESSONS
All ages and experience levels Double Bass French Horn Percussion Piano Violin Viola Guitar Cello Flute
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Saxophone Cajun Fiddle Cajun Accordion Voice Bassoon Mandolin Trumpet Clarinet Trombone
acadianasymphony.org November 2014 49
Symphony Seauxcial
Firebird Maestro Circle Reception October 18, 2014
Photos by Carolyn Brupbacher
ASO Maestro Circle members were treated to a reception with Clare Cook, choreographer and owner of Clare Cook Dance Theater. Clare choreographed the dance interpretation of Igor Stravinsky’s Firebird for the ASO Concert on Saturday. Everyone enjoyed meeting Clare and mingling with Maestro Marisuz Smolij and ASO’s Executive Director, Jenny Krueger, before this spectacular concert.
eVents
Lafayette Louisiana
& C EOLE R A CA JU N
Christ mas November 13-16
November 15
November 28 -December 31
www.LafayetteTravel.com/events 50 November 2014
Overture Magazine
“Why do I subscribe? Times of Acadiana and Business sections keep me inspired and informed in an easy-to-read, accessible way. When my local paper reflects the community I live in, I’m reminded of how lucky I am to live here. It’s a great way to start your day—inspired and informed from your friend in the community, The Daily Advertiser.” — Jenny Krueger, Executive Director, Acadiana Symphony & Conservatory of Music No one covers local issues and entertainment better than The Daily Advertiser, the heartbeat of Acadiana since 1865.
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November 2014 51
Community Seauxcial
CD Release Party for Anya Burgess and Kristi Guillory Blue Moon Saloon October 6, 2014
Photos by Carolyn Brupbacher
Fans gathered to celebrate the release of Anya and Kristi’s new album, Eponymous, at the Blue Moon Saloon. Guests were treated to a free concert and jambalaya. Everyone danced and enjoyed hearing the fiddle/accordion/guitar duo perform songs from this unique repertoire of some of the oldest recorded Cajun songs of the 1920s and 1930s.
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WiFi that is pure artistry. 1 Gigabit Internet and Hub City WiFi Plus from LUS Fiber.
Acadiana’s Publication for the Arts
November 2014 53
Photo by Nouveau Photeau
Memorial
The ASO recently lost a member of the ASO family. Donia Garlington, above right, originally from Orange, Texas, passed away on July 8, 2014 in her home in Cuenca, Ecuador. Donia, a retired English teacher, was best known in Lafayette for her love of the Symphony and the many hours of support she gave to it and the Acadiana Symphony Women’s League. “Donia was a truly wonderful friend and supporter of the Acadiana Symphony Orchestra,” Maestro Mariusz Smolij told Overture Magazine. “She contributed her many talents to the ASO as a board member and as a very engaged volunteer. What I most admired about Donia was her ability and willingness to stand up for her principals and make the right choices even in the face of personal sacrifices. ASO was privileged to have her in our musical family, and she will be sorely missed.” Donia’s friends have established a memorial fund in her name at the Acadiana Symphony Orchestra. If you wish to contribute to this fund, please contact ASO at 337-232-4277 ext. 3.
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Schools of the Sacred Heart Presents
Christmas at Coteau Join Schools of the Sacred Heart for Christmas at Coteau 2014 as we celebrate the season with friends, family, alumnae, and students on the historic grounds of Sacred Heart. This year’s schedule of events includes all of the fun and dazzle of the Holiday Market, a gourmet luncheon featuring the cuisine of Ruffino’s on the River, Cookies at Coteau for the little ones and our fabulous Gala on the Grounds, with live music by the Andy Smith Band. Enjoy our newest event, the Eat, Drink and Be Merry Saturday luncheon featuring The Little BIG Cup.
Holiday Market
Friday, December 5, 2014 | 9am - 4pm Saturday, December 6, 2014 | 9am - 3pm Admission $8 per person
Gourmet Luncheon Featuring Ruffino’s on the River Friday, December 5, 2014 First Seating 11am | Second Seating 1pm Ticket includes entrance to Holiday Market Reservations required $50 per person, General Seating $375 per table of 8, Reserved Seating
Cookies at Coteau
Saturday, December 6, 2014 | 11am - 1pm Children ages 4 - 10 can enjoy a light lunch & fun Christmas crafts while parents enjoy the Holiday Market. Each child will get to give Santa their Christmas list and take a photo. Tickets are $15 per child & $5 per additional child per family
Acadiana’s Publication for the Arts
December 5-6, 2014 Eat, Drink & Be Merry Saturday Luncheon! Featuring the Little BIG Cup Saturday, December 6, 2014 | 11:30am Lunch and fashion show featuring clothing from market vendors Ticket includes entrance to Holiday Market Reservations required $35 per person, General Seating $250 per table of 8, Reserved Seating
Gala on the Grounds
Saturday, December 6, 2014 | 7pm - 11:30pm Live music by The Andy Smith Band Food, cocktails, and live auction with Fred Mills, auctioneer $100 per person
1821 Academy Road | P.O. Box 310 Grand Coteau, LA 70541 | 337.662.5275 For more details, tickets, or reservations visit us at: www.sshcoteau.org
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