Music and Faith

FAITH&

JENNIFER WELCH-BABIDGE, soprano

St. John’s Cathedral

TRIBUTE TO ERNIE AND SHIRLEY ALEXANDER

featuring

Friday, March 1, 2013 7:30 pmSunday, March 3, 2013 3:00 pm

MUSIC

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MARIUSZ SMOLIJ is considered one of the most exciting conductors of his generation. Frequent recording artist for NAXOS International, he has consistently gained international critical acclaim including praise by the New York Times for “compelling performances.” Maestro Smolij has led over 100 orchestras in 27 countries on five continents, appearing in some of the most prestigious concert halls of the world. In North America, he collaborated with Houston Symphony, New Jersey Symphony, Orchestra of the Chicago Lyric Opera, St. Louis Philharmonic, Rochester Philharmonic, Indianapolis Symphony, Indianapolis Chamber Orchestra, Hartford Symphony and Symphony Nova Scotia, among others. Internationally, he enjoys a notable reputation appearing with important symphonic ensembles of Austria, Germany, Italy, France, Switzerland, Holland, Israel, South Africa, Columbia, Bolivia, Bulgaria, Hungary, Serbia, Czech Republic, Slovak Republic, as well as his native country of Poland. Maestro Smolij has held the position of permanent conductor with acclaimed orchestras and musical institutions in the United States and Europe. At the invitation of Maestro Christoph Eschenbach, he served as the Resident Conductor of the Houston Symphony and was Staff Conductor of the New Jersey Symphony Orchestra. In Europe, he was Music Director of one of the oldest European orchestras, The Wroclaw (Breslau) Philharmonic as well as the International Festival Wratislavia Cantans in Poland.

The conductor has appeared at major international music festivals: Janacek May in the Czech Republic; Rheingau Music Festival in Germany; La Folle Journée in France, Lutoslawski and Wratislavia Cantans Festivals in Poland as well as prominent cultural centers such as New York’s Carnegie Hall, Lincoln Center, Philadelphia’s Kimmel Center, Salle Gaveau in Paris, Concertgebouw in Amsterdam, National Cultural Center of China in Beijing, ABC Hall in Johannesburg, Bunka Hall in Japan, National Halls of Bulgaria, Serbia and Cyprus, among many others. Maestro Smolij has introduced American audiences to many unknown works by Eastern European composers, and he regularly performs American orchestral music in Europe. His interests in championing a wide spectrum of repertoire is exemplified by a long list of recordings he has made for prominent labels including Universal, Hungaroton and Naxos. The Naxos series, featuring Eastern European masters, has been repeatedly met with high accolades from international critics and will enjoy its newest release this season. Maestro Smolij’s reputation as a conducting pedagogue reaches both sides of the Atlantic. He served on the faculty of Northwestern University School of Music, has taught at the International Workshops for Conductors in the Czech Republic, teaches at professional conducting seminars in the USA and Poland and was invited to present conducting master classes at the Zürich Conservatory in Switzerland. Born near Katowice, Poland, Maestro Smolij is an accomplished violinist and was the founder and violinist of the internationally recognized Penderecki String Quartet, performing and recording with this ensemble in Poland, Germany, France, Italy and the United States. After studies in Europe he studied conducting in the United States, earning a doctorate degree from the Eastman School of Music.

Music Director & Conductor7

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“Music and Faith”Friday, March 1, 2013 7:30 pm

Sunday, March 3, 2013 3:00 pmSt. John’s Cathedral

Lafayette, LA

Program page

Concerto for Four Violins in B minor A. Vivaldi (1678-1741)

Lauren Baker, Emil Ivanov, Stefka Madere & Hannah Marcus, violin

Great Mass in C minor, K427: W.A. Mozart Et incarnates est (1756-1791)

Jennifer Welch-Babidge, soprano

Cantata No. 209 J.S. Bach Non sa che sia dolore (He does not know what it is to suffer) (1685-1750) Sinfonia

St. Matthew’s Passion J.S. Bach Blute nur du liebes Herz

Jennifer Welch-Babidge, soprano

Ave Maria F. Schubert (1797-1828)

Jennifer Welch-Babidge, soprano

Symphony No. 26 “Lamentatione” J. Haydn Allegro assai (1732-1809)

Symphony No. 3 H.M. Górecki Lento e largo - Tranquillissimo (1933-2010)

Jennifer Welch-Babidge, soprano

Symphony No. 49 “La Passione” J. Haydn II. Allegro di molto III. Menuet IV. Finale. Presto

8

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10In the spotlight

A Partnership Legacy of Civic InvolvementErnie Alexander (1933-2012) and Shirley Champagne Alexander

Loving, comical, energetic and supportive are terms offered by friends to describe Shirley Alexander. Compassionate, civic-minded, spirited and scholarly are sentiments shared about her late husband, Ernie. Put it all together and the result is a gracious partnership that has benefitted the ASO community through a legacy of generous involvement.

Seeing their support in action is a fulfillment that long time family friend, Danielle Britt, has observed in the Alexanders. Their commitment to civic activity traces back to Ernie’s term as Student Body President at South Louisiana Institute (now UL-Lafayette) before becoming a school teacher in the 1950s. His community leadership roles later included a term as President of the ASO Board of Directors. It was among the life experiences that prepared him for serving as an elected Representative in the Louisiana legislature.

The Alexanders provided a generous contribution to the ASO following the sale of Ernie’s radio station enterprises. As true believers that arts and music benefit people of all generations, their exemplary generosity provided the means to purchase the ASO building on Travis Street. It also kept the wheels in motion for orchestral and Conservatory growth into the 21st century.

But their connections to the ASO began years earlier as season ticket holders. Long before earning her Master’s degree +30 at USL (now UL-Lafayette), Shirley’s undergraduate studies earned her a Major in Elementary Education with a Minor in Music from the former South Louisiana Institute. Complimenting her career in education administration and service as a St. Pius church organist, attending the ASO concerts was a logical extension of her broad musical interests.

Ernie reading a patriotic poem while ASO performs “America the Beautiful” on Independence Day, 2010.

Picture by Nouveau Photo

In the spotlight11

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Yet Shirley points to Ernie as the real music lover, a quality that clearly harmonized with his broadcast media background. His deep, distinctive “radio” voice made him a favored guest announcer for civic events.

Among those events was the ASO’s July 4th concert in downtown Lafayette. For the 2010 concert, Ernie read a patriotic poem about the American flag while the orchestra provided the background music playing “America the Beautiful.”

“Ernie enjoyed his time on the stage, and provided a spirited, terrific rendition of the poem,” recalls Maestro Smolij. He was a pleasure to work with, and a very pleasant, humble gentleman, Smolij adds.

Both Shirley and Ernie enjoyed the annual ASO Independence Day concerts and broad community fellowship at Parc International. Christmas concerts at the Heymann Center were also annual favorites for them at the other end of the seasonal spectrum, Shirley explains. Their genuine love of others and their community were evident on such occasions.

Shirley remains proud of being an ASO supporter. The legacy of involvement that she and Ernie created is a model honored by others. That model is truly the means by which the small, thriving community of Lafayette can have such a reputable, high-quality symphony, adds Britt of the Alexanders’ legacy. And for that, we are truly grateful!

Story by Jeanne SolisErnie’s favorite photo of he and

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The tuning of musical instruments and of sweet, singing voices are resounding throughout Acadiana public and private elementary schools this week as students rehearse for their March 8, 2013, ASO Link Up concert. In preparation for the big event, more than 2,000 students from grades 3-5 are polishing their presentation of classical performance pieces.

Across town in the Oil Center, Acadiana’s own symphony musicians are also rehearsing their parts for the Link Up concert. Judging from the enthusiasm of all involved, it’s going to be a fantastic show! Now in its 27th year, Link Up, a musical education program of Carnegie Hall’s Weill Music Institute, pairs orchestras across the country with students in grades 3–5 at schools in their local communities to explore orchestral repertoire through a hands-on music curriculum.

Using a vibrant curriculum based on Link Up’s 2013 theme, “The Orchestra Moves,” students have learned how melody, rhythm and harmony can shape, shift, and elevate emotion and experience, and have explored how conductors create musical color and movement through motif, melodic direction, steps and leaps, dynamics and orchestration. With teacher support, several students have composed their own creative pieces inspired by the orchestral music they studied this year.

A training workshop prepared teachers to guide their students’ participation in active, classroom music-making, and focused on recorder, violin, voice, and body percussion for the selected pieces. Participating teachers were also provided with access to The Orchestra Moves curriculum guide, soprano recorder, CD, DVD and other Link Up resources.

Classroom activity for the Link Up performance began in August 2012, with the final repertoire provided by Carnegie Hall. Training and distribution of the musical selections commenced in the Fall 2012 semester, and include: The Blue Danube by Johann Strauss II; Nocturne from “A Midsummer Night’s Dream” by Felix Mendelssohn; and Cicade Maravilhosa by André Filho.

ASO Link Up students will perform the pieces with the ASO musicians at the Heymann Center, alternating singing and playing of recorders from their theatre seats while the symphony musicians accompany them onstage. In tandem, the conductor and a narrator will control the pace of program, allowing both the symphony and the student musicians time to tune their instruments for a superbly synchronized sound.

A participating orchestra musician for the 2012 Link Up concert, Susannah Montandon, has witnessed the power of the musical performance: “Music creates confidence, joy, knowledge and success among the participants.”

“What stands out in my mind from 2012 is how much ownership the children take in their Link Up performance,” recalls Jenny Krueger, ASO Executive Director. “It’s a rock concert, and they are the rock stars!” Classical rock stars, of course. “This is collaboration at its finest,” adds Krueger, “a great example of national, regional and local organizations coming together to provide quality educational experiences for the children of our community.”

“Music opens windows of imagination and possibility,” rejoins Montandon. “It’s a philosophy instilled through Link Up.” With that spirit in mind, the ASO will (advance benevolently?) not sure what idea is being conveyed – maybe we could talk it out? as these aspiring young musicians become the next generation of Acadiana’s cultural enthusiasts!

Tuning Up for Link UpStory by Jeanne Solis

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THE ACADIANA SYMPHONYWOMEN’S LEAGUE

PRESENTS

“VEGAS 2013”

Tickets: $50/person or $400/table

Purchase Tickets atacadianasymphony.org

Lafayette Hilton1521 West Pinhook Monday, March 4, 2013Doors Open 10:30amLunch & Fashion Show 11:45am

MAD HATTER’S LUNCHEON & STYLE SHOW

Death Takes a Holiday

Music  and  Lyrics  by  Maury  YestonBook  by  Peter  Stone  and  Thomas  Meehan

March 21, 22, 23 at 7:30pm

March 24 at 3:00pm

Burke-Hawthorne Hall

General Admission $15 Under 18 years $5

UL Lafayette Student, Faculty & Staff Free

Call 337-482-6012 for more information

Tickets available at the door or online at pfar.louisiana.edu

THE UNIVERSITY OF LOUISIANA - LAFAYETTE &THE SCHOOL OF MUSIC AND PERFORMING ARTS PRESENTS

A  Breathtaking  New  Musical

Cathedrals of the World

Many sacred structures are works of architectural beauty. Some of the oldest are now secular, yet many, like St. John’s in Lafayette, operate for worship and rank among their city’s architectural treasures.

Known as “the greatest of all churches of Christendom,” the Basilica of St. Peter in Rome holds up to 60,000 visitors. Notre Dame de Paris, considered one of the finest examples of French Gothic architecture, was among the first buildings to use flying buttresses.

Wawel Cathedral in Poland was the traditional coronation site of Polish monarchs. In contrast, Canterbury Cathedral in England has been the murder site of four archbishops throughout history.

Built inside the canyon of the Guaitara River in southern Colombia, Las Lajas Cathedral rests at the site of an apparition of the Virgin Mary. Istanbul’s amazing Hagia Sophia Monument served as an Orthodox patriarchal basilica and later as a mosque; it is now a museum since being secularized in 1934.

Cathedrals typically have an area between the sanctuary and nave dedicated to choral performance, with seating for the choir and dignitaries. Because music often plays an important part in the liturgy, cathedrals generally have a pipe organ to accompany the choir.

The St. Stephen’s Cathedral in Passau, Germany, has acquired the largest organ outside of the United States. It is also the largest cathedral organ in the world. It currently has 17,774 pipes and 233 registers, all of which can be played with the five-manual general console in the gallery. Portions of the organ have their own mechanical or electric-action consoles, for a total of six consoles.

Most cathedrals also have a bell or bells. They are typically rung to announce a service, celebration or disaster. Passau’s Cathedral has eight large, named bells. The heaviest, cast in 1952, weighs 16,645 pounds.

Story by Jeanne Solis

18Jennifer Welch-Babidge

HANDCRAFTED IN AMERICA

Lauded by Opera News for a voice that is “agile and beautifully projected, with a lavish bloom and a silvery edge,” Jennifer Welch-Babidge will sing her first performances of Poulenc’s Gloria, along with Mozart’s Requiem, with the Sydney Symphony in the 2011-12 season in addition to performances of Mahler’s Symphony No. 8 with at the Virginia Arts Festival. Her recent concert appearances include a triumph singing Mahler’s Symphony No. 4 and Berg’s Lulu Suite with the Philadelphia Orchestra conducted by David Zinman last season. She has also sung Mahler’s Symphony No. 8 and Cunegonde in concert performances of Candide with the San Francisco Symphony, Mahler’s Symphony No. 2 with the Nashville Symphony, Handel’s Messiah with Boston Baroque, Verdi’s Requiem in concert at Utah Festival Opera, and Mozart’s Mass in c minor with the Mansfield Symphony. She has also appeared at Carnegie Hall with the Metropolitan Opera Chamber Ensemble and James Levine singing previous performances of Berg’s Lulu Suite and song cycles of Anton Webern.

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Guest Artist19

The soprano has frequently appeared at the Metropolitan Opera, where her roles included Marzelline in Fidelio, Chloe in Queen of Spades, Blondchen in Die Entführung aus dem Serail, and Freia in Das Rheingold. In recent seasons, her acclaimed performances encompass the title role in Lucia di Lammermoor at New York City Opera, Opera Colorado, Opera Theatre of Saint Louis, and Greensboro Opera Company. She made her San Francisco Opera debut as Blondchen in Die Entführung aus dem Serail and returned to the company for Adele in Die Fledermaus, which was also the vehicle for her debut in Japan Seiji Ozawa at the Seiji Ozawa Ongaku-juku Festival. She has also joined Houston Grand Opera for Norina in Don Pasquale, Opera Theatre of Saint Louis for Konstanze in Die Entführung aus dem Serail, Opera Colorado for Gilda in Rigoletto, Opera Pacific for Violetta in La Traviata, and both Opera Carolina and Washington Concert Opera for Leila in Pearl Fishers. She has also joined Utah Festival Opera for Gilda in Rigoletto, Violetta in La Traviata, and Liu in Turandot. Her performances include collaborations with other renowned conductors including James Conlon, Valery Gergiev, and Sir Charles Mackerras. Ms. Welch-Babidge is a recipient of many awards, including the prestigious ARIA Award and Richard Tucker Career Grant, both in 2001. She was also a winner of the Metropolitan Opera National Council Auditions in the spring of 1997 subsequently joined the company’s the Lindemann Young Artist Development Program. The soprano’s other honors include a Sara Tucker Study Grant from the Richard Tucker Music Foundation and an award from the William Mattheus Sullivan Foundation. She is a native of Aulander, North Carolina, is a graduate of the North Carolina School of the Arts with a masters degree in vocal performance and currently serves as a professor at Brigham Young University.

Musicians Music and Faith

VIOLIN ILauren Baker, Concertmaster, Dr. Gerald and Mrs. Geraldine Hubbell ChairEmil IvanovMichael BlaneyKatarina VaughnAja Majkrzak

FLUTEAndrea Loewy, Principal

OBOEPerry Trosclair, PrincipalDeborah (Hung Ying) Fei

BASSOONSusan Lauderdale, Principal

HORNCatherine Roche-WallaceArisia Gilmore

Mariusz Smolij, Music Director and Conductor

CELLOMark Pritchard, PrincipalSusan MortonMolly Goforth

KEYBOARDPaul Baker, Principal

VIOLIN IIStefka Madere, Principal Second ViolinHannah MarcusLaurentiu NorocelPeiwei Xu

VIOLA Jennifer Cassin, Principal Cassandra MageeRafal Zyskowski

BASSYongHao Pan, PrincipalCharles Federle

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Music and Faith 22

The origin and evolution of Classical music as we know it today is inextricable from the history and development of the Christian church. As the dominant social institution of the Middle Ages (1400-1550), the Catholic Church is responsible for the very first advancements in music, including notation and the evolvement from homophony (music with single primary line or melody) to polyphony (music with many simultaneous lines).Most medieval schools were associated with the Church, where most composers and writers were trained. The services of the early Church were either sung or intoned, and as the liturgy became standardized, the Mass and mass parts accordingly became canonized, requiring the Church to employ full-time musicians to write and perform these religious performances. Until the 17th Century, the Church not only was the organizing principal of medieval society and its cultural expression, but accordingly, the primary employer of musicians; however, with its emergence by the 17th Century, the Protestant church made its own contribution to the evolution of western music, initially through composers such as Dieterich Buxtehude, who was famous for compositions marked by strong themes and virtuosic playing for both hands. Buxtehude performed five annual public concerts called “Abendmusiken,” which showcased his remarkable and innovative compositions. His performances enthralled musicians and composers from all over the German Empire, including a twenty-year-old Johann Sebastian Bach, who is said to have walked 200 miles just to hear Buxtehude perform. Bach himself was employed by the Lutheran Church when only 18, and which he served for the majority of his career, writing the St. Matthew Passion, St. John Passion, Mass in B minor, approximately 200 church cantatas, 200 organ chorales, numerous pieces for keyboard, ensembles, choruses, and sacred compositions. Today, music students still use Bach’s compositions as the basis of their theory education, and he is celebrated the world over as one of the greatest composers of all time. Following Bach in the 18th century, Wolfgang Amadeus Mozart spent 8 years serving the Archbishop of Austria, writing 17 masses during that period, and also composing one of the most famous Requiems of all time. Although the Requiem was commissioned by a wealthy nobleman, the sacred piece was performed for the Church nonetheless. While the Church’s influence on musical development was most apparent during the Middle Ages through the Baroque and into the Classical time period, its supremacy diminished as musical schools separated from churches and became secularlized, and as royal courts hired its own musicians. The development of opera and symphonic performances divorced from religious themes, culminated in music’s permanent detachment from its religious foundations. In the process of fulfilling its own liturgical and spiritual needs, the Church bestowed the world with some of its greatest composers, and most profound, sacred music, and eventually conceived the emergence of a separate, secular genre. The religious inspirations and themes are still, however, quite popular among the world’s leading composers. The works of H.M. Górecki, whose composition is included in today’s program are among those as are the creations of K. Penderecki, A. Part or G. Ligeti.

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Upcoming Events

Masterworks Concerts

Opera’s Greatest Moments 4/20/13 7:30 PM

Heymann Center

To Mothers with Love 5/12/13 3:00 PM at AcA

Paris 1922: All That Jazz 5/31/13 7:30 PM at AcA

Chamber Concerts

Fundraiser

Mad Hatter’s Luncheon and Style Show3/4/13 10:30 AM

Lafayette Hilton

To purchase tickets go to

acadianasymphony.org

Let Us Serenade You

February, 23, 2013 AcAPatrons sipped wine and enjoyed the serenades of the Tchaikovsky and Mozart, as well as sultry tangos by Piazzola at the second concert of the Hubbell Chamber Music Series.

is the universal language of mankind.

–Henry Wadsworth Longfellow

Here’s to another year of beautiful music.

Quarter Notes

Concerto for Four Violins in B Minor Antonio Vivaldi (1678-1741) Like his great Baroque contemporaries, Bach and Handel, Vivaldi’s output was extensive: forty operas, at least one hundred choral works, twenty-five cantatas, more than seventy sonatas, hundreds of concertos (most of which were written for violin, either solo or as many as four) and numerous miscellaneous pieces. As an accomplished violinist, Vivaldi was able to fully utilize the potential of the instrument, expanding it’s range, technical detail, and expressiveness far beyond the earlier concertos of Arcangelo Corelli (1533-1585) and Giuseppe Torelli (1658-1719). The Concerto for Four Violins in B Minor was composed for talented girls of a Venetian orphanage, c1728, where Vivaldi taught, conducted and composed for 15 years.

Great Mass in C Minor K427 Wolfgang Amedeus MozartAria Et incarnatus est (1756-1791) When his wife-to-be, Constanza Weber, became seriously ill, Mozart made a vow to compose a grand Mass in gratitude for her recovery. Following his promise, Mozart began work on the Mass early in 1783. By August of the same year, he had completed the Kyrie, Gloria, Sanctus and Benedictus. Only the “Et incarnatus est” portion of the Credo was imcomplete. For unknown reasons, the remainder of the Credo and teh Agnus Dei were never composed. Nevertheless, the C Minor Mass remains one of the great sacred works comparable to Mozart’s Requiem Mass, K636 (1791), also not completed.

Cantata No. 209 Johann Sebastian BachNon sache sia dolore (He does not know what it is to suffer) (1685-1750)Sinfonia

St. Matthew PassionAria Boute nure du liebes Herz

Cantata ca be roughly defined as a vocal chamber work alternating aria and recitative with instrumental interludes and ending with a chorale (hymn). In the Baroque period (1600-1750), the cantata was the principal musical form of the Lutheran service. Bach as Kantor of the St. Thomas Church in Leipzig for 27 years (1723-1750), composed over 200 cantatas. A few are secular (Coffee Cantata), but the great majority are based on a passage from the Gospel that is suitable for a particular Sunday in the Church calendar. On a much larger scale, Bach composed two oratorio settings of the suffering and death of Christ: the St. John Passion (1723) and the St. Matthew Passion (1729). Both are full-length, monumental works. They differ, according to musicologist David Ewen, in that the St. Matthew Passion is more devout and spiritual, whereas the St. John Passion in more dramatic. Ewen goes on to state that in St. Matthew, Bach scales the peaks of sublimity in the beautiful aria “Blut nur du liebes Herz” for contralto with violin obligato.

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Symphony No. 3 Henryk GoreckiLento e largo-Tranquilissimo (1933-2010)

Henryk Gorecki was born in Czernika, Poland. He studied composition at the Katowicz Conservatory (1955-1960) and with Oliver Messiaen in Paris. Gorecki composed for a cappella choir in Latin sacred text settings and for chamber ensembles and for full orchestra for which he composed three symphonies. His music embraces both the avant-garde techniques of his time (Shoenberg, Stravinsky) and, in sharp contrast, tonal melodies built on modal harmonies derived from the folk music of Poland.

Symphony No. 26 “Lamentatione” Franz Joesph Haydn (1732-1809)Symphony No. 49 in F minor “La Passione”II Allegro di moltoIII MenuetIV Finale, presto

They Symphony No. 49 is a finely constructed work--not of the grand scope of the symphonies of Beethoven, Brahms, Tchaikovsky--but within its scale a unified mature example of the symphonic form that Haydn, more than anyone, did so much to create. The work was composed in 1768. Its nickname, “La Passione,” was added (not by Haydn) at a later date, probably because of the gloomy persistence of its F minor key in all four movements.

Quarter NotesWritten by Dr. James Burke

Your Acadiana Symphony in partnership with Lee Michaels Fine Jewelry and Cochon provides you with a magical opportunity that will please all of your senses through music, fine jewels and local cuisine.

Participating patrons have the opportunity to collect official stamps in their personal passports the following events:

ASO concerts Preconcert meals at Cochon Select Lee Michaels promotions

The more stamps you have in your passport, the bigger the prize you can qualify to win. Winners will be announced at the ASO’s season closing concert on April 20, 2013!

To participate:

Fill out personal contact information in passport Have your passport officially stamped at designated events (see passport for event listings) Return your passport at ASO concerts, Cochon or Lee Michaels no later than April 20, 2013.

The Lee Michaels Passport to YOUR Acadiana Symphony Orchestra’s 2012-2013 concert season is not just about experiencing a journey of your own; it is also about giving back. Lee Michaels has pledged to provide a scholarship to a Conservatory student with the return of 400 passports, so that our students have the chance to begin their musical journey through life. Help us provide Conservatory students the oppor-tunity to begin their life’s journey through a world of music and culture.

Get your passport stamped today in the front lobby before the show, at intermission or when leaving, and let the journey begin!

Let your journey begin!

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Saturday, March 23, 2013 10am - 2pmOil Center 412 Travis Street

Easter Egg Hunt - 12:00pm

Other ActivitiesEaster Bunny Photos

Balloon AnimalsFace Painting

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and so much more!

Take a Chair

STRINGSViolin in honor of Aline K. Byrd by Pat Olson FergusonViolin in honor of Lauren Baker by Dr. Carolyn French and Mike HuberViolin in memory of Dr. Gilbert and Alma Stuller by Virginia StullerViola in memory of Elaine Malin Griffin by Jenny ColeViola in memory of James and Margie Hanna by Ben and Ann BlanchetViola in memory of Bob Burdette by Kathy CoxCello in memory of Linda Robison Harris by Dr. Joan Robison Palmintier and Dr. Jon S. PalmintierHarp in memory of Eddy Knight and Scott Myers by Ann Knight and Annette Myers

WOODWINDSFlute in memory of Bella Chappuis Abramson by John and Colleen ChappuisClarinet in honor of Arthur Riedel by Dr. James BurkeClarinet in memory of B.H. and Lorelie DeHart by Brad and Gail DeHartBassoon in memory of Michael Landgrave by David and Connie Landgrave

BRASSTrumpet in memory of Pete de Gravelles by Jane de GravellesFrench Horn in honor of Bella Elisabeth, Anne Marie and Audrey Elise Cortez by Ralph and Cherie Kraft

KEYBOARDSPiano in memory of Elaine M. Dupuis by Anne Dupuis PylePiano in memory of Winnie DuBose by Debra and Carl Sonnier

The Acadiana Symphony Orchestra would like to thank those who have participated in this year’s “Take a Chair” fundraiser. Those who are participating are supporting the musicians of the orchestra while remembering someone

special. We would like to invite you to participate as well. Here is an opportunity to help support your favorite instrument for the season. Your chair may be named for you - or for anyone else you choose. For a donation of $500,

this is a unique way to give the gift of music to your Acadiana community. For more information, contact our Women’s League through the Acadiana Symphony website at

acadianasymphony.org/get-involved/

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A Journey where students...

find their Passion

develop a love of Learning

become effective and compassionate Leaders

Discovering who You are is part of everY Life’s JourneY

A unique combination of two schools on one campus

Begin your Journey in Grand Coteau.

SSH accepts qualified students of all races, religions, and ethnic origins.

337.662.5275 www.sshcoteau.org

Acadiana’s choice for single-gender education.

MOSS MOTORSMOSS MOTORS

mossisboss.commossisboss.com

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