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2025/2026 PROGRAM | TEXARKANASYMPHONY.ORG

TABLE OF

CONTENTS

6 A LETTER FROM R. ANDREW CLARK 8 WELCOME TO THE HISTORIC PEROT THEATRE 9 A BRIEF HISTORY 10 A LETTER FROM MARK VAN HERPEN 11 THE TSO BOARD OF DIRECTORS 12 A LETTER FROM TYLER RICHARDS 13 A LETTER FROM DAVID ORR 14 A LETTER FROM PHILIP MANN 16 THE GOLDEN RULES OF THEATRE 17 BRAVO AND APPLAUSE 18 SUPPORTING THE SYMPHONY 20 MASTERWORKS I: ODE TO JOY 28 POPS I: BACK TO THE FUTURE IN CONCERT 31 THE 2025-2026 TSO ORCHESTRA ROSTER 32 POPS II: CHRISTMAS AT THE PEROT 36 CELEBRITY CONDUCTOR COMPETITION 38 TEXARKANA YOUTH SYMPHONY ORCHESTRA 40 MASTERWORKS II: A WHIRLING DERVISH 46 THE ORCHESTRA SINGS 48 POPS III: BACK TO BACK: THE MUSIC OF ELTON JOHN & BILLY JOEL 49 FOUNDING PATRONS 50 POPS IV: COUNTRY JUKEBOX 52 MASTERWORKS III: SPRINGING FORWARD 59 A VERY SPECIAL THANK YOU 60 SUPPORTERS OF THE TSO PUBLISHED BY Texarkana Symphony Orchestra PROGRAM BOOK PRODUCTION Dr. Robin Rogers Four States Living Magazine 4104 Summerhill Square Texarkana, TX 75503 903-792-2262 www.fourstatesliving.com GRAPHIC DESIGN Shane Darby BUSINESS OFFICE Texarkana Symphony Orchestra 421 Hickory Street Texarkana, AR 71854 870-773-3401 www.texarkanasymphony.org

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A LETTER FROM THE

EXECUTIVE DIRECTOR

R. ANDREW CLARK

Welcome to the Texarkana Symphony Orchestra’s 20th Anniversary Season!

hat an extraordinary milestone we celebrate together! This beautiful program book, made possible through our wonderful partnership with Four States Living Magazine, captures the spirit of two decades of musical excellence in our community. Whether you’re discovering artist biographies, exploring program notes, or connecting with our generous sponsors, we invite you to savor every moment of this special season. Twenty years ago, Marc-André Bougie, Remica Gray, and Mary Scott Smith dared to dream of something remarkable for Texarkana. On April 4, 2006, that dream became reality when our A Classical Premiere concert filled the air with music that would resonate through our community for decades to come. What a triumphant beginning it was! From those first inspiring notes, we quickly attracted passionate supporters, received the treasured gift from the Junior League of Texarkana’s 80th Anniversary celebration, and pioneered the creation of our affiliate

Texarkana Youth Symphony Orchestra—ahead of our time in nurturing young musical talent. The seeds planted in those foundational years have flourished beyond our wildest dreams, revitalizing string education in the Texarkana Arkansas School District, inspiring renewed orchestral education in the Texarkana Independent School District, bringing world-class guest artists to the stage, commissioning new works, and employing some of the finest emerging musicians of the early 21st century. Since joining this incredible musical family in April 2008, I’ve witnessed our Orchestra earn respect far beyond our region—not just for our remarkable origin story (launched during one of the most challenging economic periods in recent history!), but for our unwavering commitment to showcasing emerging musical talent, cultivating deep appreciation for live symphonic music, and educating future generations about the vital role of performing arts in our community. Our journey from a $150,000 budget to nearly $1 million reflects not just growth, but the profound trust our community has placed in our mission. While we’ve navigated challenges along the way, each step has strengthened our resolve and deepened our impact. As we honor our founding patrons—many now no longer with us—we’re reminded that their leap of faith twenty years ago created a lasting cultural treasure that continues to enrich lives, expand educational opportunities, and contribute to our region’s economic vitality. Throughout these twenty remarkable years, TSO has embraced an expansive vision of symphonic music that speaks to every heart in our community. For us, symphonic music encompasses the timeless beauty of classical masterworks alongside the excitement of movie scores, television themes, video game soundtracks, Broadway favorites, sports anthems, and even rock concerts. This inclusive approach ensures that everyone can find their musical home with TSO. Your partnership—as devoted audience members, generous donors, and community ambassadors—makes everything we do possible. As we embark on this anniversary celebration, we invite you to join us in new ways: renewing or expanding your support, becoming a concert or chair sponsor, making an enduring donation to our endowment, or participating in this year’s Celebrity Conductor campaign. Here’s to twenty years of musical magic, and to the bright future we’ll create together! With heartfelt gratitude and excitement,

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

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WELCOME TO THE HISTORIC

PEROT THEATRE

CELEBRATING

100 YEARS!

he Perot Theatre opened in downtown Texarkana in 1924 and was hailed as the jewel of the Saenger Theatre chain. Called the most beautiful theatre in the South, it featured silent movies, movie premieres, the nationally broadcast Fifth Annual War Bond Drive with host Orson Welles, and live performances by Annie Oakley, Will Rogers, and John Barrymore. By the mid-20th Century the theatre was owned by the Paramount Corporation and served as the entertainment hub of downtown Texarkana. Due to the growth of the modern movie plex and the population shift to the Northwest, the theatre had been reduced to a B movie house by the 1970s. The theater officially closed in 1977 when the City of Texarkana, Texas, purchased it for $19,000 as part of the Model Cities Program. With the help of Texarkana natives H. Ross Perot and his sister, Bette, the theatre was restored to its current elegance at a cost of $2.4 million and reopened in 1981. The theatre was renamed the Perot Theatre in honor of Gabriel Ross and Lulu May Perot, lifelong residents of the city and the parents of Ross and Bette. Texarkana recently celebrated the 100th Anniversary of the Saenger/ Perot Theatre and 44 years of outstanding artistic performances! The Perot has become, over the last two-decades, a key to the revitalization of downtown for both sides of Texarkana. Now a regional and national destination for tourism and entertainment, the Theatre is currently in the first phase of a multi-million-dollar renovation effort led by the City of Texarkana, Texas, and the Texarkana Symphony Orchestra. Through a $3 million dollar bond, the City of Texarkana, Texas, has established the Perot Theatre as a significant aspect of the City’s future economic development and success. Managed by the Texarkana Symphony Orchestra, under a contract with the City of Texarkana, Texas, the Perot Theatre is not only the primary performance venue of Texarkana’s own professional symphony orchestra, but also hosts performances of the Texarkana Community Ballet, and the Texarkana Regional Arts and Humanities Council’s Theatre for Young Audiences Series. The Theatre is proud to have hosted some of the world’s most renowned performers, concerts, and shows including Jay Leno, Cary Grant, Anne Murray, Alvin Ailey Dance, the New York City Opera, Warsaw Philharmonic, Marvin Hamlisch, Carol Channing, Harry Belafonte, the Harlem Boys Choir, the Academy of St. Martin in the Fields, Savion Glover, Zuill Bailey, Tony DeSare, the Harlem Quartet, Roy Clark, Ray Charles, the Houston Ballet, Tammy Wynette, Broadway blockbusters, and many more! The Texarkana Symphony Orchestra is proud to partner with the City of Texarkana, Texas, to manage one of the most beautiful theatres in the United States. For more information about the Perot Theatre, rental inquires, or for a free tour contact the Box Office at 903-792-4992.

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A BRIEF

HISTORY T

he Texarkana Symphony Orchestra (TSO) presented its first concert on April 4, 2006. This performance was led by founding music director Marc-André Bougie. Within months, the Junior League of Texarkana chose to award a $100,000, 80th Anniversary gift, to the Orchestra for its potential to foster educational excellence for children through local access to a professional music ensemble. This generous gift enabled the Board of Directors to immediately launch community outreach efforts, in-school educational programs, and the annual student concerts. The Orchestra established the Texarkana Youth Symphony Orchestra (TYSO) in 2007. Following the phenomenal growth of the artistic endeavors of the Orchestra, the Board of Directors voted to employ an executive director, R. Andrew Clark, and the position was made full-time in January 2011. TSO named the internationally acclaimed conductor, Philip R. Mann, to the position of music director in April 2019. Performing primarily in the beautiful, historic Perot Theatre, TSO presents a series of classical masterworks, symphonic pops, and educational concerts during its September-May season. The TSO has brought nationally and internationally acclaimed artists to the area to perform as well as participate in educational activities and has commissioned 4 new orchestra works. Entering its 20th season, the TSO continues to be a point of inspiration to the entire community while endeavoring to be recognized on a regional and national level as a model for artistic excellence and sustainability, as well as a leader in cultural preservation. The TSO assumed the management responsibilities for the Perot Theatre on October 1, 2021, by a vote of the City of Texarkana, TX, City Council.

REFLECTIONS When the Texarkana Symphony Orchestra began, my husband Steve and I were raising four young children, all under seven—including a newborn. As members of the symphony, we brought our kids to concerts as soon as they were old enough to sit quietly and listen, not just to save on babysitting, but because we wanted them to grow up loving and understanding music. Before these concerts, I’d play pieces at home and talk about what to listen for, and it became a cherished family tradition. Through the years, our children even joined us on stage in side-by-side concerts with the Texarkana Youth Symphony Orchestra—all six of us performing together on the Perot stage. Though our youngest three are now in college, they still come home for concerts when they can. One of our sons even credits those early TSO experiences as the reason he is now studying conducting and composition, and our daughter, who plays violin and is also studying music, has as a goal of one day performing in a symphony. These many years with the TSO have been a meaningful part of our family’s story and continue to be a source of great joy for us all. Laura Bennett Flute

The first time I got the opportunity to play in an orchestra happened while I was in college and the experience was truly amazing. A little over 10 years later, I received the news that the city of Texarkana was going to start up a professional symphony orchestra. I remembered the feeling of playing in college so it was just a matter of getting various excerpts of music together and preparing for the audition. After being informed that I successfully passed the audition and was named a member the TSO, I knew that I was about to be part of something big here in Texarkana. I like being able to perform in many of the different genres that the orchestra has to offer. Not only does the TSO play the works of the great masters of classical music such as Beethoven, Brahms, and Tchaikovsky, the symphony reaches out to other styles such as Jazz, Pop, Country, Motown, and Musicals. The Texarkana Symphony has also given me a unique opportunity to perform during the viewing of great movies such as, The Wizard of Oz, Home Alone, Jurassic Park, and Star Wars. Steve Bennett Trombone and Conductor of Texarkana Youth Symphony Orchestra 2025/2026 PROGRAM | TEXARKANASYMPHONY.ORG

A LETTER FROM THE

PRESIDENT

TSO BOARD OF DIRECTORS

MARK VAN HERPEN

elcome to the Texarkana Symphony Orchestra’s 20th Season! What a milestone—and what a joy it is to celebrate two decades of music, culture, and community with you. We’ve planned something truly special to honor the journey we’ve taken together. Whether you’ve been with us from the beginning or are just joining us, we’re thrilled to have you here for what promises to be an unforgettable year. I’m proud to be serving my seventh year as President of the TSO Board. My connection to the Symphony began in 2017 with the Celebrity Conductor Competition. I didn’t know much about the TSO at the time, but one experience was all it took. Thanks to the passion and vision of Remica Gray and Executive Director and manager of the Perot Theatre, Andrew Clark, I quickly came to understand just how meaningful

TEXARKANASYMPHONY.ORG | 2025/2026 PROGRAM

this organization is—not just musically, but as a pillar of our community. Since then, I’ve had the privilege of watching the TSO grow in both reach and impact. With Maestro Philip Mann at the helm as Music Director and Principal Conductor, our performances continue to push creative boundaries and inspire audiences across the region. His leadership, along with the extraordinary talent of our musicians and guest artists, makes every concert something to look forward to. This season also marks four years since the TSO assumed management of the historic Perot Theatre. We’ve worked hard to preserve the charm of this beloved venue while introducing new programming and enhancements that serve our growing audience. It’s a space where music comes to life—and where our community comes together. Thank you for being part of our 20th season. Your support makes it all possible. We hope the music moves you, the performances inspire you, and the experience stays with you long after the final note. Here’s to 20 incredible years—and the many more to come.

Mark Van Herpen President, Texarkana Symphony Orchestra Board of Directors

BOARD OF DIRECTORS MARK VAN HERPEN President

DR. ROBERT S. MCGINNIS, III Vice President

STAFF R. ANDREW CLARK Executive Director STEVE BENNETT Youth Symphony Conductor

PHILIP R. MANN Music Director

DIANA NORWOOD Personnel Manager

MICAH DORSEY Graphic Design

CATHERINE RICKETT Librarian

REMICA C. GRAY Volunteer Director of Operations

ROBIN THOMAS Secretary

LISA SITTERLEY Treasurer

DR. JO KAHLER LESA ASBILLE DR. SUSAN KEENEY KEITH BEASON LEE ANN MCCULLOCH JEFF BROWN LINDSEY MCMILLAN DR. MATTHEW BURKS RONALD MILLS BUDDY DEESE JUDY MORGAN JENNIFER DOAN DAVID J. POTTER REMICA C. GRAY JEFF PRIESKORN TONJA LUKER HAYS SUSAN ROBBINS DOLLY HENLEY ROBBY ROBERTSON DR. ROBIN HICKERSON MEGAN SCHROEDER DON HOWREN DENIS WASHINGTON

2025/2026 PROGRAM | TEXARKANASYMPHONY.ORG

A LETTER FROM THE

CITY MANAGER TEXARKANA, ARKANSAS TYLER RICHARDS

n behalf of the City of Texarkana, Arkansas, we extend our heartiest congratulations to TSO for completing 20 wonderful years of success. It has been said that a symphony orchestra “plays a crucial role in society by serving as a catalyst for inspiring and creative energy within the community.” Many times, people looking to relocate to Texarkana want to know what cultural opportunities the Twin Cities have available. TSO plays a crucial role by providing community engagement in that area. With your commitment and the talent of your performers, you have time and time again proven your importance to the Twin Cities and have gained much deserved recognition. Not only does TSO provide live performances that touch the heart and soul, it also provides a learning platform for our youth through programs designed to open the door to symphonic music to them. The community has truly benefitted through your organization. We wish TSO success for many more years to come! Yours truly,

Tyler Richards City Manager

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A LETTER FROM THE

CITYTEXARKANA, MANAGER TEXAS DAVID ORR

n behalf of the City of Texarkana, Texas, I want to extend our heartfelt congratulations to the Texarkana Symphony Orchestra on the celebration of your 20th anniversary season. This remarkable milestone is a testament to the vision, dedication, and artistry that have defined the Orchestra since its founding. For two decades, the Symphony has brought more than just beautiful music to our city. You’ve brought people together. You’ve inspired young minds to dream bigger through music education. You’ve proven that the arts are not a luxury, but a vital part of a thriving, connected, and vibrant community. Your legacy is one of passion, perseverance, and purpose, and we are all better for it. Texarkana is proud to be the home of such an accomplished and visionary organization. Your performances have elevated our cultural life, and your presence has helped put our city on the map as a place where the arts are not only welcomed but truly celebrated. We are deeply grateful for the TSO’s enduring contributions and for the role you play in making our city a more vibrant, creative, and dynamic place to live. Here’s to twenty years of excellence and many more to come.

David Orr City Manager

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A LETTER FROM THE

MUSIC DIRECTOR PHILIP MANN

PHOTO BY NANCY NOLAN

ear Listeners and Friends, Welcome to the historic 20th Anniversary Season of your Texarkana Symphony Orchestra. In this emerald year, we are thrilled that you have joined us to fête an ensemble that has become a Texarkana gem. This occasion presents the perfect opportunity to reflect on what has been accomplished and to revel in the incredible family and team whose efforts and talents created what you see before you. I have endeavored to craft a season of entertaining and exciting programming that both adds to the TSO’s continuing story with a major sense of event and gives us meaningful chances to look back on the most important architects of our success. In fitting fashion, an Ode to Joy opens our season connecting our region with a large chorus and four internationally celebrated vocal soloists. Beethoven’s 9th Symphony is always a special occasion, is universally loved, and is traditionally programmed to celebrate with its unforgettable expression of brotherhood and triumph. Later in the season we’ll also celebrate together in a festive masterworks program of Dvořák dances, visiting renowned composer Steven Bryant, and a special solo concerto performed by our very own principal trumpet, Jeremy McBain. Now a Texarkana custom, our Film with Live Orchestra also celebrates a birthday with a 40th anniversary screening of Back to the Future. Alan Silvestri’s dazzling score brings this iconic film to life in even greater relief with the forces of a full symphony orchestra accompanying the thrilling story. Our entertaining pops line-up continues with two blockbuster programs to suit every taste: Jeans n’ Classics returns by popular demand with the showstopping “The Music of Elton

John and Billy Joel,” and we add a new sound to the symphony with the acclaimed “Country Jukebox,” featuring country chart-toppers from the 1950s to today. Both shows are hit parades, full of favorites, sure to entertain and delight. Our beloved Christmas at the Perot is an annual holiday tradition that features a grand return of TSO Founding Music Director, Marc-André Bougie. Bougie will command a personally curated and varied program of holiday favorites, choreographed Nutcracker selections, vocal solos, the always entertaining Celebrity Conductor Competition, and glorious choral selections. Always looking toward the future, we happily renew our Carnegie Hall collaboration with the Link-Up Series in a children’s program, The Orchestra Sings. Now in our 4th year of this initiative, the TSO is reaching more students from our region than ever before with substantive music education experiences and the opportunity to make music an ongoing part of their lives. Prepared through school visits, attendees truly interact and perform with the TSO, and the sights and sounds of 1,500 elementary schoolers playing their prepared works in the Perot is profoundly inspiring. We close the season with a bang – well, perhaps 3 bangs. The first is the incomparable Norman Krieger, an internationally celebrated pianist, and an artist of profound depth. He is among my most treasured collaborators who will share the stage in one of the grandest piano concertos, Grieg’s A minor. We’ll then celebrate Texarkana’s own young talent with a side-by-side performance featuring the Texarkana Youth Symphony, in a work of Texarkana native, Clint Needham, originally premiered on our 5th anniversary season. The performance concludes with something that once would have been outrageous to even contemplate, Stravinsky’s monumental and earthshattering orchestral ritual, The Rite of Spring. The final sounds of our 20th year will be infused with pyrotechnic splendor. With the Rite, an eruption of symphonic virtuosity, simultaneously ancient and modern, we’ll once again confound the expectations of what is possible in our community. Don’t miss a rare opportunity to experience a performance of your TSO in a work that always signifies an event in any major city of the world, right here, with your fantastic orchestra. I’m overwhelmed with gratitude at the commitment and contributions of the whole TSO family, including the Perot Theater team. Leading with conviction Andrew Clark, and our tireless Board of Directors under the enthusiastic leadership of Mark Van Herpen, we advance both Texarkana and the arts. Also deserving thanks and recognition are TSO champion Remica Gray, Youth Orchestra Director Steve Bennet, and our entire production team and musician leadership. Of course, the musicians of our symphony, who continually amaze, are a treasure that I count myself blessed to lead. I sincerely thank everyone who continues to contribute to our ongoing story, and please join me in making our 20th anniversary the best season yet.

Yours in music, Philip Mann

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THE GOLDEN RULES OF

THEATRE

ATTENDING A LIVE PERFORMANCE IS NOT THE SAME AS GOING TO A MOVIE. PLEASE SHOW COURTESY TO THOSE SEATED NEAR YOU AND ENSURE MAGIC MOMENTS IN OUR THEATRE BY RESPECTING THE FOLLOWING GOLDEN RULES…

1. Please turn off all electronic devices. 2. Please unwrap all cough drops and candies before the concert begins. 3. If bringing children, instruct them in proper audience behavior and familiarize them with the performance beforehand so they know what to expect. 4. Please refrain from talking, humming, singing, or beating time to the music during the performance. 5. Please use moderation in applying perfume, cologne, or scented lotion, as many people are highly allergic to perfumes. 6. Avoid kicking the back of the seat in front of you, even if it is done in time to the music. Please also prevent your children from doing the same. 7. Playing games, recording performances, and any other uses of mobile devices are forbidden and inappropriate, and may be illegal. 8. For the enjoyment of everyone in the audience and for your safety, please do not leave your seat once the concert begins, and remain seated until the theatre lights are brought up for intermission or the conclusion of the concert. Thank you for your consideration of others, and enjoy the evening!

REFLECTIONS

April 2006 A few weeks earlier, a colleague had called to ask if I was available to play with a newly formed group—the Texarkana Symphony. I checked my calendar. I was free, so I said yes. To be completely honest, I didn’t really think much of it. Been there, done that. I was expecting just another gig organized by a group with noble albeit somewhat unrealistic ambitions. The concert itself? It was fine. Could have been better, could have been worse. But there was something about that evening that made me pause and take a second look. First, the sheer dedication and hard work of everyone involved in putting this project together. Having spent decades in performing arts, I couldn’t help but admire their drive and enthusiasm. Then there was the audience—their reaction was something special. You could feel how deeply they craved live music, how much it meant to them to finally have something like this in their community. That night, a thought quietly crossed my mind: Maybe… this could actually work. Fast forward 20 years—I am still here. I think we got it right. Borys Smolaga

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BRAVO!

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

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

In memory of Florence and George Crank

Vicki and Dr. Roy Deskin Fulton Grass Company, Henry and Kathy Struckman

Remica and Danny Gray Dolly and Paul Henley Dr. Susan Keeney Mike and Pete Mankins Drs. Kathleen and Michael Martin

Barbara and Dr. Paul McCash Lee Ann and Buddy McCulloch The Morriss Family

In memory of Martha and Josh Morriss, Jr.

Susan Robbins Drs. Jennie and Brian So Barrie Thomson

STUDENT CONCERTS IN THE PEROT THEATRE Vicki and Maurice Orr

TEXARKANA AREA

TEXARKANA YOUTH SYMPHONY ORCHESTRA Vicki and Maurice Orr Texarkana Music Teachers Association AR/TX Music Connection | Barbara and Ludwig Stoeckl

SYMPHONY CHAIR SPONSORS

Underwriting a TSO musician for the Season are: Bobbie A. Atkinson Diana and Dr. Kirby Bunel Drs. Valeria and Matthew Burks C. Louis & Mary C. Cabe Foundation Dr. George W. English, III Katherine and George Lease

Deborah and Michael Malek Tatiana and Philip Mann Drs. Kathleen and Michael Martin Barbara and Dr. Paul McCash Lee Ann and Buddy McCulloch Katrina and Dr. Robert McGinnis Deborah and Ron Mills

Kathy and Donnie Powers

In memory of Dr. Jauquita Hargus

Martha and Jeff Prieskorn Megan and Trey Schroeder Mary Scott and Dr. C. Jack Smith Barbara and Ray Whitney

APPLAUSE!

SPECIAL EVENTS UNDERWRITERS

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SUPPORTING THE

SYMPHONY

Texarkana is a community that has always been passionate about the arts, and the Symphony is honored to help further that legacy by bringing the world of symphonic music to our area. Yet, our capacity to pursue excellence in live performance and educational programs is directly related to the financial support the community provides. It is only through generous gifts from people like you who are passionate about music, education, and their community that we can create this legacy of symphonic music for Texarkana. Please help us set the stage for the present and the future by making an annual fund contribution.

EVERY GIFT, NO MATTER THE SIZE… •

•

SUPPORTS THE SYMPHONY’S VISION FOR TEXARKANA TO BE A CENTER OF MUSICAL EXCELLENCE. FOSTERS EDUCATIONAL EXCELLENCE THROUGH MUSIC FOR AREA CHILDREN AND YOUTH. ENRICHES OUR COMMUNITY THROUGH ACCESS TO LIVE SYMPHONIC PERFORMANCES. PROVIDES ECONOMIC GROWTH THROUGH EXPANDED CULTURAL RESOURCES. DEVELOPS A LEGACY FOR TEXARKANA’S FUTURE.

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• • •

ENHANCE YOUR EXPERIENCE

TSO’s donor benefits are designed to provide you with up-close access to the music and musicians. As your donor level increases, so does your opportunity to meet TSO musicians and guest artists and receive invitations to special events and post-concert receptions. revenue only covers a quarter DID YOU Ticket of the symphony’s operating costs. KNOW?

YOUR SUPPORT IS VITAL AND THERE ARE MANY WAYS TO GIVE:

TSO accepts gifts of any size, and there are multiple ways to make an impact. Donate securities, name the TSO as an insurance policy or IRA beneficiary, request a matching gift from your company, or include the Symphony in your will. Donations are accepted yearround, and payment options can be set up yearly, quarterly, or monthly. PLATINUM: $10,000 OR MORE GOLD: $5,000-$9,999 SILVER: $2,500-$4,999 BRONZE: $1,000-$2,499 SUSTAINER: $500-$999 ASSOCIATE: $100-$499 FRIEND: UP TO $99

WANT TO MEET THE MAESTRO AND MUSICIANS UP CLOSE?

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

CONSIDER WHAT IT WOULD TAKE TO SPONSOR A CONCERT?

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

YOUR GENEROSITY IS RECOGNIZED BY: • • • • •

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

HOW TO GIVE MAIL your donations to Texarkana Symphony Orchestra 421 Hickory Street Texarkana, Arkansas 71854 CALL the TSO Office at

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

GO ONLINE and visit the TSO website at: www.texarkanasymphony.org Click the “Support Us” tab.

Thank You FOR YOUR SUPPORT

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MASTERWORKS I

ODE TO JOY 25 OCTOBER 2025 7:00 P.M. | PEROT THEATRE Concert Preview: 6:10PM PHILIP R. MANN Conductor

featuring NANCY CURTIS, soprano DAVIA BOULEY, mezzo-soprano TIM CULVER, tenor RICHARD FINK, baritone with LOUISIANA TECH SINGERS, Nathan Trahan, director OUACHITA BAPTIST UNIVERSITY CONCERT CHOIR AND THE OUACHITA SINGERS, Alex Favazza, director MEMBERS OF THE HARDING UNIVERSITY CHORUS

CONCERT REPERTOIRE

BEETHOVEN, Ludwig van (1770-1827) Symphony No. 9, in D Minor, Opus 125, “Choral” ~70’ I. Allegro ma non troppo, un poco maestoso II. Molto vivace III. Adagio molto e cantabile IV. Finale

ENCORE

HEIDRICH, Peter (b. 1935) Variations on “Happy Birthday” 13’ 20

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ARTIST BIO

NANCY CURTIS SOPRANO

exarkana native Nancy Curtis enjoys a multifaceted career as a singer of opera, symphonic repertoire, and recitals. She has thrilled audiences with her “rich, powerful tone,” and her artistry has drawn praise from colleagues, audiences, and critics alike. Hailed as a “stand-out,” Ms. Curtis has been featured with opera companies throughout the United States, including the Virginia Opera (Orfeo ed Euridice), Tulsa Opera (Die Zauberflöte, Hänsel und Gretel, The Crucible), New York City Opera (Hänsel und Gretel), Michigan Opera Theater (Die Zauberflöte), Skylight Opera Theater (Lucia di Lammermoor), Houston Grand Opera (The

Achilles Heel, Street Scene), Birmingham Opera Theater (Albert Herring), Tacoma Opera (Rigoletto), Monteux Opera Festival (The Tender Land), and the Lyric Opera of San Antonio (La Bohème). Other notable roles include Zerbinetta in Ariadne auf Naxos, Olympia in Les Contes d’Hoffmann, and Sister Angelica in Suor Angelica. With a voice of “surpassing beauty,” Nancy has been presented as the soprano soloist for the Austin Symphony (Mahler’s Symphony No. 4), San Antonio Symphony (La Traviata in concert), Santa Fe Symphony (Messiah), Orchestra X (Beethoven’s Symphony No. 9), Maryland Symphony (Exsultate, jubilate), Arkansas Symphony (Messiah), Tulsa Philharmonic (Carmina Burana), Virginia Symphony (Messiah), and concert performances with the Texarkana Symphony, Midland-Odessa Symphony, Conroe Symphony, and the Abilene Philharmonic. Additional solo credits include Brahms’s Ein deutsches Requiem, Mozart’s Requiem, and Vaughan Williams’s Serenade to Music and A Sea Symphony. As a winner of the prestigious Enrico Caruso International Voice Competition, Ms. Curtis was invited to sing concerts throughout Italy, including an appearance at the famed opera house, Teatro alla Scala. She is a member of the acclaimed choral group Conspirare and was featured on a television special for NPR as well as the 2015 Grammy Award-winning recording, The Sacred Spirit of Russia. Nancy has sung for many of our nation’s leaders, including former Presidents George H. W. Bush, Bill Clinton, and Texas Governor Greg Abbott. She has also had the privilege of singing “The Star-Spangled Banner” for the Houston Texans, including a nationally televised playoff game with an audience of over 26 million viewers. Ms. Curtis resides in The Woodlands, Texas, with her husband and is the proud mother of two sons.

REFLECTIONS “It is hard to believe it has been 20 years since the first TSO concert. I remember being pleased at the opportunity to play in the beautiful Perot Theater but not having any idea that from those humble beginnings the TSO would grow into the organization it is today. I appreciate the variety and diversity of the programs we present, from Star Wars to Rite of Spring. I have enjoyed performing music in Texarkana that I have not played anywhere else!” Theresa Zale Bridges 2025/2026 PROGRAM | TEXARKANASYMPHONY.ORG

ARTIST BIO

DAVIA BOULEY MEZZO-SOPRANO

merican contralto Davia Bouley has attracted attention from US and European Audiences alike for her alluring stage presence and voice of “true beauty” (Operawire). She has performed with opera companies, music festivals and concert halls all over the United States and Europe, including the Cincinnati Opera, Theater Dortmund, the Berliner Philharmonie, the Aspen Music Festival, Festspielhaus Baden-Baden, and the Deutsche Oper Berlin. Current and recent career highlights include her debut as Serena Joy in The Handmaid’s Tale at Detroit Opera, Zweite Dame at the Grand Teton Music Festival in Die Zauberflöte under the musical direction of Sir Donald Runnicles, Siegrune in Die Walküre with Theater Dortmund, directed by Peter Konwitschny, and a tour of concert debuts as Flosshilde in Der Ring an Einem Abend with the Weimar Staatskapelle, performing at the Festspielhaus Baden-Baden, Isarphilharmonie München, Weimarhalle, Meistersingerhalle Nürnberg, Alte Oper Frankfurt and the Berliner Philharmonie. Davia made her European debut at the Deutsche Oper Berlin as the 2nd Paysanne in their new production of Meyerbeer’s Le Prophète under the baton of Enrique Mazzola. She then continued to be a regular guest for seven seasons at the company, including Lola in Cavalleria Rusticana, Dritte

TEXARKANASYMPHONY.ORG | 2025/2026 PROGRAM

Dame in Die Zauberflöte, the Beggar Woman in Graham Vick’s Death in Venice alongside Ian Bostridge, Maestra delle Novizie in Suor Angelica, Hippolyta in A Midsummer Night’s Dream, and the Third Secretary the Berlin premiere of Nixon in China. US engagements have included Silver Dollar in The Ballad of Baby Doe with Amarillo Opera, the alto soloist in Beethoven’s Ninth Symphony with the Round Top Music Festival, Kate Pinkerton in Madama Butterfly and Little Buttercup in HMS Pinafore with Indianapolis Opera, and Giovanna in Rigoletto and Dritte Dame in Die Zauberflöte with Cincinnati Opera, conducted by Bernard Labadie. As a concert soloist, Davia has performed many notable works in the alto repertoire, including Bach’s Magnificat, Mozart’s Requiem, Handel’s Messiah, Duruflé’s Requiem, and Debussy’s Trois Chansons. She has also performed contemporary works such as George Crumb’s Unto the Hills and Jean Berger’s Five Songs on Poems of Mary Stuart, Queen of Scots at the Grandin Festival. A native of Southern California, she holds her master’s degree from the University of Cincinnati CollegeConservatory of Music and a bachelor’s degree from Pepperdine University.

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TIM CULVER TENOR

enor Timothy Culver has been described as having “a rich but penetrating tenor” and that he “faces florid tenor writing with a fearless vivacity.” Since his professional debut in 2003, he has performed over fifty different stage roles. Equally at home in both operatic and musical theatre works, Mr. Culver has performed with Atlanta Opera, Ann Arbor Symphony, Orlando Philharmonic Orchestra, The Boston Landmarks Orchestra, Cleveland Opera Theater, Canton Symphony Orchestra, Porthouse

Theatre, Akron Symphony, Nightingale Opera Theatre, Bar Harbor Music Festival and the Cleveland Orchestra. Some recent roles include Calaf in Turandot, Cavaradossi in Tosca, Werther in the title role, Pinkerton in Madama Butterfly, Luigi in Il Tabarro, Arturo in Lucia di Lammermoor, Canio in I Pagliacci, Il duca di Mantua in Rigoletto, Alfredo in La Traviata and Nemorino in L’elisir d’amore. During the inaugural season of the Opera Theatre of Lucca in Lucca, Italy, Mr. Culver performed and studied under the direction of internationally renowned baritone, Lorenzo Malfatti. A frequent recitalist, oratorio and concert soloist, Mr. Culver sang in the U.S. premiere of Erwin Schulhoff’s H.M.S. Royal Oak with the Cleveland Chamber Symphony. In 2012, Mr. Culver was selected to participate in the Cleveland Art Song Festival where he worked with international artists Christine Brewer, Roger Vignoles and Warren Jones. Currently, Mr. Culver is Professor of Voice in the Hugh A. Glauser School of Music at Kent State University, where he earned both his Bachelor and Master of Vocal Performance degrees. He resides in Stow, Ohio with his wife and three children.

2025/2026 PROGRAM | TEXARKANASYMPHONY.ORG

ARTIST BIO

RICHARD FINK BARITONE

rammy-award winning baritone, Richard Paul Fink, has earned international acclaim as a leading dramatic baritone in a career that has spanned the globe and with an operatic career that featured the best-known and most challenging title roles of the baritone canon. While Richard enjoys singing in a wide variety of musical styles, from Broadway musicals and cabaret to oratorio

ARTIST BIO

NATHAN TRAHAN DIRECTOR, LOUISIANA TECH SINGERS

ocal Music Education at Louisiana Tech University. At LA Tech, Trahan conducts the Chamber Singers and the University Concert Choir. He also teaches courses in conducting, secondary choral methods, secondary applied organ, and introduction to music education. Currently,

REFLECTIONS

and grand opera, his North American opera career has taken him from the Metropolitan Opera in NYC to San Francisco, Chicago, Santa Fe and to most major opera houses in the USA in addition to every major city across Canada from Vancouver to Toronto. Internationally, among other cities, he’s performed in Tokyo, Sydney, Paris, London, Dublin, Glasgow, Berlin, Hamburg, Salzburg, Vienna, Cape Town, Mexico City, Tel Aviv and in multiple cities across Italy. In the choral and symphonic realm, career highlights include Britten’s War Requiem (Houston Symphony), Beethoven’s Ninth Symphony in Houston, Toronto and Mexico City, Mahler Songs (Houston Ballet) Carmina Burana (Houston Symphony and Cincinnati May Festival along with multiple performances of the Requiem Masses of Verdi, Faure and Mozart. His oratorio work includes numerous performances of Handel’s Messiah, Mendelssohn’s Elijah, Dvorak’s Stabat Mater (Symphony of Hawaii) and the Berlioz L’Enfance du Christ (Spoletto Festival, Italy).

he serves as Director of Music & Organist at St. John’s Episcopal Church in Minden, Louisiana. Professor Trahan received a bachelor’s degree in music education at the University of Louisiana at Monroe and his master’s degree in music education at Florida State University. Trahan completed coursework towards a Ph.D. in music education from Ole Miss and is currently ABD in that endeavor. Choral music is his life’s work, and he has served as a director at the university, high school, and middle school levels. Trahan holds professional memberships in ACDA, LMEA, NAfME, AGO, and Pi Kappa Lambda. In addition to his career as an educator, he has also enjoyed leading choral programs in many churches and civic capacities throughout the past twenty-five years. The Louisiana Tech Singers look forward to collaborating with the Texarkana Symphony Orchestra in this performance of Beethoven’s 9th Symphony!

Have you ever thought about creating something but really had no idea what you were getting into? I guess, in a weak moment, I became one of those fearless (or crazy) souls. Thankfully, God put the right people in the right places at the right times to form and grow a symphony orchestra for our community. No human could have “orchestrated” it better! What a blessing, and sometimes a challenge, this organization has been in my life! My heart and soul have been filled with the most interesting and talented people, the most capable leaders, the most generous donors, and the most inspiring music. With gratitude, Remica Gray, Founding Board Member

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ARTIST BIO

ALEX FAVAZZA DIRECTOR, THE OUACHITA SINGERS

r. Alex T. Favazza, Jr. is Assistant Professor of Music and Director of Choral Activities at Ouachita Baptist University (Arkadelphia, AR) where he conducts the Ouachita Singers, Concert Choir, and teaches courses in conducting and choral music. Prior to his appointment at OBU, Dr. Favazza served on the faculties of Southwest Baptist University and the University of New Hampshire. He holds a Ph.D. in Music Education specializing in Choral Conducting from Florida State University, M.M. in Choral Conducting from the University of Southern Mississippi, and B.M. in Vocal Music Education from Middle Tennessee State University. A native of Tennessee, Alex began his career as a public high school choir director in his hometown of Memphis. As a composer, Dr. Favazza’s choral works are published by Hinshaw Music, Colla Voce Music, and Oxford University Press. His compositions have been performed by numerous all-state and regional honor choirs as well as collegiate, high school, community and religious choirs. Dr. Favazza serves as Director of Worship Ministries at First Baptist Church, Arkadelphia, AR.

REFLECTIONS I can’t believe it’s been 20 years since Marc-André called and asked me to audition for the newly formed Texarkana Symphony Orchestra. The idea that Texarkana could found, support, and sustain a Symphony Orchestra was something that I was not sure would last. Boy was I wrong! 20 years later this organization has become a staple of the community, and I couldn’t be more proud to be a member. Thank you, Texarkana, for your continued support of TSO. From inception through 20 years has been quite a journey. I am excited to see what the Symphony will do in the next 20 years. Buddy Deese 2025/2026 PROGRAM | TEXARKANASYMPHONY.ORG

PROGRAM NOTES: MASTERWORKS I

ODE TO JOY 25 OCTOBER 2025 | PEROT THEATRE

Ludwig van Beethoven

(1770-1827, Bonn - Vienna) Symphony No. 9 in D minor, Op. 125 “Choral” Composed 1822-1824 I. Allegro ma non troppo, un poco maestoso II. Molto vivace III. Adagio molto e cantabile IV. Presto - Allegro assai

eethoven’s Ninth Symphony stands as one of the towering achievements in Western music, transforming the symphony from entertainment into a vehicle for humanity’s highest aspirations. Completed in 1824, just three years before his death, this monumental work represents the culmination of Beethoven’s artistic journey and his most profound statement about music’s power to unite mankind. The symphony’s genesis stretched over decades. Beethoven had long dreamed of setting Friedrich Schiller’s poem “An die Freude” (Ode to Joy) to music, carrying sketches for a “Freude” melody as early as 1793. The revolutionary ideals embedded in Schiller’s text—universal brotherhood, the triumph of joy over suffering, and the divine spark within humanity—resonated deeply with Beethoven’s philosophical outlook. The First Movement opens with one of music’s most mysterious beginnings: trembling strings create anticipation before the main theme emerges with explosive force. The Second Movement serves as the scherzo, featuring driving rhythm and playful interplay between sections. The Third Movement provides emotional respite through sublime slow music, featuring one of Beethoven’s most beautiful melodic inspirations.

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The Fourth Movement revolutionized the symphony by introducing vocal soloists and chorus. After a dramatic opening recalling themes from previous movements, the cellos and basses introduce the famous “Ode to Joy” melody. When the chorus enters with Schiller’s text, they proclaim: “Alle Menschen werden Brüder” (All men shall become brothers). The movement builds to an overwhelming climax celebrating human unity. The Ninth Symphony premiered on May 7, 1824, at Vienna’s Kärntnertortheater. Despite Beethoven’s complete deafness, he insisted on conducting alongside the official conductor. The audience’s enthusiastic response moved the composer to tears. This work’s influence extends far beyond the concert hall. The “Ode to Joy” has become an anthem for freedom and unity worldwide, adopted by the European Union and performed at moments of historical significance. In choosing to end his symphonic output with a celebration of human brotherhood, Beethoven created not just a musical masterpiece, but a testament to art’s power to inspire our highest aspirations. Duration: approximately 70 minutes

Peter Heidrich

(b. 1935, Dresden, Germany) Happy Birthday Variations Composed originally for string quartet, arranged for orchestra

eter Heidrich’s “Happy Birthday Variations” stands as one of the most charming and accessible works in the light classical repertoire, a piece that transforms the world’s most recognizable melody into a delightful journey through the history of musical style. Born in 1935, this German violinist and composer created what has become his most famous work “on a whim” and has continually improved it in special ways ever since. The work takes as its foundation the familiar melody composed by American educators Mildred and Patty Smith Hill at the end of the 19th century. Originally titled “Good Morning to All,” the song was initially used as a classroom greeting before evolving into the birthday song we know today—surely the most recognized melody worldwide, across all continents and cultures. Heidrich varied the famous melody in the styles of composers of all epochs, creating what amounts to an authentic history of music, since we recognize the same melody performed in different perfectly recognizable styles. The work exists in multiple versions: originally composed as a theme and 14 variations for string quartet, it now exists in orchestrated versions which are often performed on many occasions, as well as arrangements for piano four-hands and other ensembles. The variations follow the styles of major composers throughout history: Johann Sebastian Bach, Joseph Haydn, Wolfgang Amadeus Mozart, Ludwig van Beethoven, Robert Schumann, Johannes Brahms, Richard Wagner, Antonín Dvořák, Max Reger, Viennese style, film music style, jazz style, and others. There are even witty mottos for each variation such as “A Decent Piece of Cake for Brahms,” “This Is How Reger Likes It,” and “...Not Only Rules, Dear Schumann...” along with a jazz variation and an homage to the music-dramatist Richard Wagner. Each variation showcases the distinctive characteristics of its chosen style while maintaining the essential melodic and harmonic structure of the original tune. Bach’s variation might feature intricate counterpoint, Mozart’s could display classical elegance

and wit, Beethoven’s might emphasize dramatic development, and Wagner’s could employ rich harmonic chromaticism. The progression through different historical periods creates both an entertaining musical experience and an educational journey through the evolution of Western classical music. The work’s appeal lies in its perfect balance of sophistication and accessibility. While demonstrating considerable compositional skill in authentically capturing each composer’s style, the familiar underlying melody ensures that audiences of all backgrounds can follow and enjoy the musical transformations. This makes it an ideal piece for educational concerts, family performances, and special occasions. The work has become a classic in the Sikorski catalog and continues to be performed worldwide. Its enduring popularity stems from Heidrich’s genuine wit and musical understanding— each variation is not merely a superficial imitation but a thoughtful exploration of how different composers might have approached this simple yet perfect melody. The orchestral version expands the work’s expressive possibilities, allowing for the full range of orchestral colors and textures that characterize each composer’s style. From the transparent textures of classical Mozart to the massive sonorities of Romantic Wagner, the orchestra provides the perfect medium for realizing these stylistic transformations with maximum impact and authenticity. Duration: approximately 15 minutes

REFLECTIONS When forming the Texarkana Symphony Orchestra, Remica asked if I would agree to serve on the Board of Directors. I told her that I loved beautiful music but had no musical talent. She said, “Great, that is just what we need! We have plenty of musicians on the board, but we need people with a different skill set.” So, I agreed to join the founding board. Thereafter, my constituency has been the unsophisticated and unwashed who love to hear beautiful music. I once served as a monitor at the Perot Theater during the rehearsal of the TSO. Everyone knows of the teamwork necessary for sports, but it is impressive to see the degree of coordination, timing, and teamwork required to prepare a performance. During the rehearsal, the conductor would stop the orchestra and tell the members of certain sections the changes he wanted to hear, and then would begin again in the middle of the piece. It was amazing how the entire orchestra began exactly at the right instant, and the timing of various instruments of the orchestra is perfect. If you have never seen an orchestra rehearse, it is impressive and would be worth a ticket. David J. Potter 2025/2026 PROGRAM | TEXARKANASYMPHONY.ORG

THE TEXARKANA SYMPHONY ORCHESTRA PRESENTS

IN CONCERT

FILM with LIVE ORCHESTRA

SATURDAY, NOVEMBER 22, 2025 7:00 P.M. | PEROT THEATRE | PHILIP R. MANN, CONDUCTOR

STEVEN SPIELBERG Presents

PRODUCTION CREDITS

A ROBERT ZEMECKIS Film

Back to the Future in Concert produced by Film Concerts Live!, a joint venture of IMG Artists, LLC and The Gorfaine/Schwartz Agency, Inc.

BACK TO THE FUTURE MICHAEL J. FOX

Producers: Steven A. Linder and Jamie Richardson Director of Operations: Rob Stogsdill Production Manager: Sophie Greaves Production Assistant: Katherine Miron Worldwide Representation: IMG Artists, LLC Technical Director: Mike Runice

CHRISTOPHER LLOYD LEA THOMPSON CRISPIN GLOVER Written by ROBERT ZEMECKIS & BOB GALE Music by ALAN SILVESTRI Produced by BOB GALE and NEIL CANTON Executive Producers STEVEN SPIELBERG KATHLEEN KENNEDY and FRANK MARSHALL Directed by ROBERT ZEMECKIS

Music Composed by Alan Silvestri Music Preparation: Jo Ann Kane Music Service Film Preparation for Concert Performance: Kristopher Carter and Mako Sujishi Technical Consultant: Laura Gibson Sound Remixing for Concert Performance: Chace Audio by Deluxe The score for Back to the Future has been adapted for live concert performance. With special thanks to: Universal Pictures, Amblin Entertainment, Steven Spielberg, Robert Zemeckis, Bob Gale, Alan Silvestri, David Newman, Michael Silver, Patrick Koors, Tammy Olsen, Lawrence Liu, Chuck Nilsen, Mike Pastrano, Thomas Schroder, Tanya Perra, Chris Herzberger, Noah Bergman, Jason Jackowski, Shayne Mifsud, Darice Murphy, Mark Graham and the musicians and staff of the Texarkana Symphony Orchestra. www.

FilmC oncertsL ive.com

Tonight’s program is a presentation of the complete film Back to the Future with a live performance of the film’s entire score, including music played by the orchestra during the end credits. Out of respect for the musicians and your fellow audience members, please remain seated until the conclusion of the credits. © Universal City Studios LLC and Amblin Entertainment, Inc. All Rights Reserved.

TEXARKANASYMPHONY.ORG | 2025/2026 PROGRAM

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Jacquelyn Adams Ben Carroll Vivian Chang Kristine Coreil Robin Dauer Jeremiah Frederick Currence James Derek Matthesen Katie McBain Evan Mino Kate Prichett

Thao Pham Emily Townsend Juan Vega

ORCHESTRA ROSTER PHILIP MANN

MUSIC DIRECTOR AND PRINCIPAL CONDUCTOR

CONCERTMASTER Kiril Laskarov * Dr. George W. English, III ASSOCIATE CONCERTMASTER Algimantas Staskevicius * Katherine and George Lease ASSISTANT CONCERTMASTERS Daniel Santelices *Deborah and Ron Mills Diana N.H. Norwood *Barbara and Ray Whitney VIOLIN Principal Second (TBD) * Tatiana and Philip Mann Elizabeth Beck Linnaea Brophy Emilio Castro Ana Corrales Isabella Cowart Albert Delgadillo Elijah Evans Andrea Finley Jose Garza Jackson Hardman Yida Hu Ronnamarie Jensen Javier Laya Norman Martinez Marijn Meijer Nicole Paglilonga Oksana Pavillionis Hubert Pralitz Ciana Rosenbland Meigh-Wing Shien Marta Szlubowska Crissanti Tamez Lehlani Tamez Bethany Wildes VIOLA Borys B. Smolaga, Principal * Martha and Jeff Prieskorn Theresa Anderson Ethan Cole J Michele Gunn Amanda Hamilton Danny Jordan Tatiana Kotcherguina Jorge Zapata Marin Jared Miller

CELLO Brett Andrews, Principal *Deborah and Mike Malek Dwight Anderson Micah Donar Noemie Golubovic Dana Hurt Emmanuel Kwok Jason Mooney Kourtney Newton Milovan Paz Jorge Rodriguez Alisha Rufty Megan Savage BASS Jarrett Bastow *Drs. Kathleen and Michael Martin Joshua Gebhard Jose La Marca Jeff Madlock Kirby Nunez Sean O’Hara Lois Robinson Jose Saavedra FLUTE Gabriel Vega, Acting Principal *Megan and Trey Schroeder Laura Bennett, Flute II Kara Compton, Flute III/Piccolo Rochelle Mann, Alto Flute Chris Cox OBOE Theresa Zale Bridges, Principal *Barbara and Dr. Paul McCash Leah Forsyth, Oboe II, English Horn Eric Giles Cassandra Goodwin Katie Haun CLARINET Jasper Hensley, Principal *Kathy and Donnie Powers in memory of Jauquita Hargus Jake Hale, Acting Second Clarinet Chastine Hofmeister, Bass Clarinet Orlanda Scalia, Bass Clarinet Mason Sagster BASSOON Jorge Cruz, Principal *Drs. Valeria and Matthew Burks Janelle Ott, Bassoon II Sara Boyd, Contra Bassoon Michael Jones Jonna Griffith HORN Brent Shires, Acting Principal *Diana and Dr. Kirby Bunel

TRUMPET Jeremy McBain, Principal *Katrina and Dr. Robert McGinnis Buddy Deese, Trumpet II Jack Evans Michael Scarlato Mark Schubert James Sims TROMBONE Mark Windham, Principal *Lee Ann and Buddy McCulloch Steve Bennett Carlito Chavez BASS TROMBONE J Mark Thompson, Principal Jordan Davenport Jeremy Dowden Nick Losos TUBA Ed Owen, Principal Crozet Duplantier Gretchen Renshaw HARP Alisa Coffey, Acting Principal Juliette Buchanan Victoria Gonzalez PIANO-MARY SCOTT SMITH ENDOWED CHAIR Principal (TBD) *Mary Scott and Dr. C. Jack Smith Mary Scott Smith Jonathon Story TIMPANI Derron Bell, Principal *C. Louis and Mary C. Cabe Foundation PERCUSSION Jacob Garcia, Principal *Bobbie A. Atkinson David Cavasos Daniel Crisp Jamie Esposito Aaron Guillory Ryan Lewis Erick Saoud Blake Taylor

2025/2026 PROGRAM | TEXARKANASYMPHONY.ORG

CONCERT REPERTOIRE

BOUGIE, Marc-André (b.1976) Magnificat – Opening Movement TEXARKANA REGIONAL CHORALE GOELLER, Dan (b.1973) A Christmas Fantasy

POPS II

CHRISTMAS

AT THE PEROT 14 DECEMBER 2025 4:00 P.M. PEROT THEATRE MARC-ANDRE BOUGIE, guest conductor

featuring CANDACE TAYLOR, soprano with THE TEXARKANA REGIONAL CHORALE, Marc-André Bougie, director THE COMMUNITY BALLET OF TEXARKANA Reed Flutes: Kaylie Hughes, soloist Daines Dickeson Michelle Lopez Kenzee Pendley Lily Trombley Clara: Anna Johnson Sugar Plum Fairy: Chloe Vess Nutcracker Prince: William Porterfield PLEASANT GROVE HIGH SCHOOL CURTAIN CALL PRODUCTIONS, Lisa Newton and Tiffany Beck, directors

TEXARKANASYMPHONY.ORG | 2025/2026 PROGRAM

BACH, Johann Sebastian, (1685-1750) GOUNOD, Charles (1818-1893) Ave Maria CANDACE TAYLOR TEXARKANA REGIONAL CHORALE ADAM, Adolphe (1803-1856) O Holy Night CANDACE TAYLOR TEXARKANA REGIONAL CHORALE AMUNDSON, Steve (b.1955) Rejoice! WILLIAMS, John (b.1932) Somewhere in My Memory TEXARKANA REGIONAL CHORALE WALDTEUFEL, Émile (1837-1915) Skaters’ Waltz STRAUSS Sr., Johann (1804-1849) Radetzky March

INTERVAL

POLA, Edward and WYLE, George arr. HAYES, Mark (b. 1953) It’s the Most Wonderful Time of the Year TEXARKANA REGIONAL CHORALE TCHAIKOVSKY, Pyotr Ilyich (1840-1893) Nutcracker, I. Dance of the Mirlitons “Reed-Flutes” II. March III. Grand Pas de Deux THE COMMUNITY BALLET OF TEXARKANA ANDERSON, Leroy (1908-1975) Sleigh Ride 2025 CELEBRITY CONDUCTOR CASE, Delvyn (b.1974) Rocket Sleigh PGHS-CURTAIN CALL PRODUCTIONS COOTS, J. Fred and GILLESPIE, Haven arr. HOLCOMBE, Bill (1924-2010) Santa Claus Is Coming to Town CANDACE TAYLOR TEXARKANA REGIONAL CHORALE SANTA CLAUS RICHMAN, Lucas (b.1964) A Merry Christmas Sing-Along TUTTI

TEXARKANA REGIONAL CHORALE – FALL 2025 Marc-André Bougie, Music Director & Conductor Mary Scott Smith, Pianist Soprano 1 Miriam Bougie Carol Collins-Miles Wanda Northam Marie Robinson Candace Taylor Sara T. Walker Soprano 2 Jenni deBie Wilma Gibbons Amy Freedman Hanna Quettia Jean-Louis Renee Lawson Susan Morehead Karin Morrow Callista Moses Courtney O’Brien Haley Patillo Kathy Peer Brooklyn Puzz Susie Stanley Rita Sullivan Pat Willis Elizabeth Woll Alto 1 Iuliia Bronnikova Laura Bradley LaJuana L. Dibrell Sue Ellen Hall Cheyann Layton Patty Mitchell Samantha Pritchett Pat Rountree Lupe Singleton

Janette Urenda Sylmari Washington Lynnel Westerman Alto 2 Shakebria Cridell Gloria Elmore Emily McMillan Kuturah Patterson Jimmie Stephens Tenor 1 Dylan Bradley Malachi Korach Tony Lyle Andrew Patillo Danny Stinson Tenor 2 Neil Abeles Tom Burns Chuck Richardson John Stanley Ryan Sims Bass 1 George W. English, III William Graham Kolton Kimball Mark Northam Bass 2 Jonathan Griffin Deric Kennedy Marchaz Pruitt C. Jack Smith

PGHS CURTAIN CALL PRODUCTIONS Lisa Newton, Director Tiffany Beck, Asst. Director/Choreographer Gabe Lohse, Technical Director Jaeda Archer Caurie Beck Morgan Breaux Charlotte Clark Addison Fry Courtlyn Gaines Alexia Gipson Victoria Griffin Raleigh Hardy

Sawyer Julien Anna Claire Novosad Annaston Pate Rylie Romero Hailee Thompson Julie Walker Natalie Walker Tailiah Washington Sophee Wyatt

ARTIST BIO

MARC-ANDRE BOUGIE DIRECTOR, TEXARKANA REGIONAL CHORALE

raised for his visionary musical leadership, captivating performances, and engaging personality, Marc-André Bougie has established himself as a highly sought-after conductor, composer, & educator in North America and abroad. Among several leadership accomplishments, he has been Music Director and Conductor of the Texarkana Regional Chorale since 2004 and Associate Professor of Music at Texarkana College since 2007. He was also the Founding Music Director & Conductor of the Texarkana Symphony Orchestra, which he directed for twelve seasons. He has conducted the New England Symphonic Ensemble (New York, NY), Arkansas Chamber Singers (Little Rock, AR), Orquesta Sinfónica de Falcón (Venezuela), Pleven Philharmonic (Bulgaria), Orchestra Cantelli (Italy), Orchestre des Sources (Canada), Shreveport Symphony, Shreveport Opera, Shreveport Chorale, and Shreveport Metropolitan Ballet – a sum of experiences which speaks to the versatility and adaptability of his conducting style. He made his Carnegie Hall conducting debut in 2010. Marc-André is married to soprano Candace Taylor with whom he collaborates as composer, pianist, & conductor. In 2015 they worked on an album featuring one of their new compositions, Ave Maria. He has won the 2001 MTNA National Composition Competition and holds a master’s degree in Orchestra Conducting from the University of Missouri-Columbia. Marc-André was awarded the Texarkana College 2016 Endowed Chair of Teaching Excellence and received a NISOD Excellence Awards in May 2017 on behalf of Texarkana College. He conducted the New York premiere of his Requiem in 2022, after which he was given the title of Honorary Composer/Conductor for Mid-America Productions. He was also National Finalist for the 2021 & 2023 American Prize – Choral Composition Division. Recent original work premieres have included his Mass of St. John Vianney, Music with poetry by Anne Porter with the TTCCDA Choir at TMEA in San Antonio, Mass of Sts. Peter & Paul, and Te Deum. In March 2024, he conducted the New York premiere of his new Magnificat at Carnegie Hall to critical acclaim. His involvement in the advancement of music in the areas of the conducting profession and education is reflected through his work with organizations dedicated 2025/2026 PROGRAM | TEXARKANASYMPHONY.ORG

ARTIST BIO CONTINUED

to these disciplines. Among others, Marc has been a board member of the International Conductors’ Guild, an international organization dedicated to the advancement of the conducting profession, and he was the co-chair of the 2018 Guild Conference in Ft. Worth, TX. He is currently president of the Texas Two-Year College Choral Directors Association. In the realm of church music, Marc has been Director of Sacred Music at Sacred Heart Catholic Church in Texarkana, TX since 2009, as well as Choir Director at St. Pius X Catholic Church in Shreveport, LA since 2003. He has been involved with Diocesan musical activities in both the Dioceses of Tyler & Shreveport for many years. He has also been guest clinician for the workshop “30 Anthems Everyone Should Know” with Dr. Tim Sharp in Dallas in 2023. Marc-André’s music has been published and distributed by J & B Music Sales, an Arkansas-based company specializing in choral music since 1978. Publications can be explored and purchased at www.jandbmusicsales.com. For more information about Marc-André, please visit www.marcandrebougie.com.

ARTIST BIO

CANDACE TAYLOR SOPRANO

oprano Candace Taylor embodies an eclectic style and vocal range throughout various music genres with concentration in both classical and jazz literature, performing as a soloist throughout the U.S. and abroad including Canada, Italy, and Venezuela. She is active as a concert soloist of the many great masterworks of oratorio/sacred music, a recitalist, a jazz performer, and a recording artist. Concert soloist credits include premiere performances of M. Bougie’s Requiem, Mass of St. John Vianney, Mass of Saints Peter and Paul, Magnificat and Te Deum; Bruckner’s Te Deum; Mozart’s Exsultate Jubilate, Great Mass in C Minor, Coronation Mass, Requiem, and Litaniae Lauretanae; Handel’s

TEXARKANASYMPHONY.ORG | 2025/2026 PROGRAM

REFLECTIONS

Of all the musical adventures that I have embarked on, being the founding music director and conductor of the TSO was probably the most exciting one. Back in 2005 when the symphony was born, there was electricity in the air, and every step we took was a milestone towards laying ground for a dream that would at some point get a life of its own. With its teenage years now in the rear-view mirror (!), TSO is poised for further growth and positive impact on the community. I am proud to have played my part in bringing this vision to life, and I pray for the success of the organization for years to come.

Marc-André Bougie Associate Professor of Music - Texarkana College Music Director & Conductor - Texarkana Regional Chorale & Orchestra Music Director & Organist - Sacred Heart Catholic Church & St. Pius X Catholic Church Honorary Composer/Conductor - MidAmerica Productions National Finalist - The American Prize in Composition - Major Choral Works President - TTCCDA

Messiah; Poulenc’s Gloria; Beethoven’s Mass in C, Ninth Symphony, and Choral Fantasy; Bach’s Mass in B Minor and Magnificat ; Mendelssohn’s Elijah; Orff’s Carmina Burana; Haydn’s Creation, Lord Nelson Mass, and Mariazeller Mass; and J. M. Haydn’s Requiem in C Minor. Recording credits include being a featured performer for Sweethearts (Gilbert and Sullivan) and Ave Maria: The Wedding Album (La Musique des Sources). Candace has been a soloist with the Orchestra Cantelli (Italy), Orquesta Sinfonica de Falcon (Venezuela), Sherman Symphony, Texarkana Symphony, Texarkana Regional Chorale, Shreveport Opera Chorus and the Gilbert & Sullivan Society. She is currently the featured vocalist of the Majestic jazz ensemble. Candace is a native of Shreveport, LA, and a graduate of Northeast Louisiana University where she studied Occupational Therapy/Cello/Voice. She holds a Master’s degree in Education and practices as an Occupational Therapist/Certified Hand Therapist. She enjoys serving in the music ministry, traveling, performing/collaborating with various music ensembles, and spending time with her daughter Miriam and husband, conductor/composer MarcAndré Bougie. Highlight of upcoming engagements include soloist for the premiere performance of M. Bougie’s Stabat Mater February 2026.

2025/2026 PROGRAM | TEXARKANASYMPHONY.ORG

THE TEXARKANA SYMPHONY ORCHESTRA PRESENTS THE FIFTEENTH ANNUAL

CELEBRITY CONDUCTOR COMPETITION

SOME QUICK FACTS ABOUT THE COMPETITION:

he primary purpose of the Competition is to bring awareness of the TSO and its mission to a broad crosssection of the Texarkana area and to raise important financial support. Four community leaders compete for the honor of conducting the orchestra for one selection at the TSO Christmas at the Perot concert on Sunday afternoon, December 14, 2025, at 4:00 p.m. Anyone may vote to support their favorite candidate and support the TSO in the process. Each vote is $20, and you can vote for as many candidates as you wish, and as many times as your pocketbook allows!

TEXARKANASYMPHONY.ORG | 2025/2026 PROGRAM

Each competitor has been given the freedom to solicit votes in any manner they choose, so long as it is not illegal, immoral, or unethical! Conducting Competitors will each receive their own baton, a conducting class from Maestro Philip Mann, and an opportunity to conduct the orchestra at the dress rehearsal. Beyond that, none of the competitors will know who has won until Santa brings them all on stage at the Christmas Concert. Votes can be cast through PayPal on the Symphony Facebook page, at texarkanasymphony.org or by visiting the Celebrity Conductor table at TSO’s fall 2025 Concerts.

2025 CELEBRITY CONDUCTOR COMPETITORS TAYLOR CALLAWAY

DR. ANDREW CURRY

Taylor Callaway, originally from Nashville, Arkansas, has proudly called Texarkana home for the past 14 years. She is the owner of The Beauty BAR txk, a fullservice salon she established in downtown Texarkana 10 years ago. Located across from the historic Perot Theatre, her business has been part of the ongoing revitalization of the downtown district. Taylor is passionate about supporting the arts, culture, and history of Texarkana, and she is committed to helping ensure that downtown continues to flourish as a vibrant destination for generations to come. She is honored to participate in this fundraiser for the Texarkana Symphony Orchestra and looks forward to the opportunity to step onto the conductor’s podium in support of the arts.

Dr. Andrew Singleton Curry is a 25-year resident of Texarkana. He has been married to Caroline for 25 years and has one son, Thomas, who attends the University of Arkansas. Dr. Curry has practiced dentistry in Texarkana for 25 years. He serves on the Texarkana College Foundation Board. He is a past member of the Texarkana College Board of Trustees and is a past president of the Texarkana Museum System. Dr. Curry believes that the Texarkana Symphony Orchestra is an important non-profit and looks forward to raising awareness and financial support for this organization.

SUKI O’NEAL Suki O’Neal is a proud New Boston, Texas native now living in Texarkana, Arkansas, with her husband Warren— her partner in crime and all things adventurous—plus their spoiled fur baby, Lollie. By day, she’s a Public Relations Specialist for CHRISTUS Health, supporting hospitals like St. Michael. By night, she’s the newly crowned CEO of The Friends for a Cause Foundation, a nonprofit she co-founded with her besties 10 years ago to

champion seven incredible causes in the community. She signed up for this conductor gig not because she knows music (she was a cheerleader, not a band kid), but because she’s all about making a difference—and maybe causing a little harmless chaos with a baton. Suki loves traveling with Warren and her girlfriends, though she swears girls’ trips are 50% cheaper without him. If she wins, expect a full-blown spectacle: sequins, sass, and maybe even a cartwheel. She’s honored to be part of this project and hopes her fundraising efforts light up downtown Texarkana just like her personality lights up every room she walks into.

JUSTIN WHITE Justin White serves as the Market President for Guaranty Bank & Trust in Texarkana, where he has been a valued member of the team for the past 12 years. With over 25 years of experience in the banking industry, Justin has built a career dedicated to serving the financial needs of the Texarkana community. A lifelong resident of Texarkana, Justin graduated from Texas High School in 1996 and went on to earn his bachelor’s degree from Texas A&M University–Texarkana. He remains a proud Eagle and an active supporter of the university, currently serving

on the Texas A&M University–Texarkana Foundation Board. Justin is deeply committed to civic engagement and community leadership. He serves on the Board of Directors and Finance Committee for the Texarkana Chamber of Commerce, chairs the Finance Committee at St. Edward’s Catholic Church, and contributes his time as Assistant Scoutmaster for Boy Scouts of America Troop 86. He is also a member of the Texarkana Noon Lions Club and serves as Vice President of the Texarkana Country Club Board. Outside of his professional and community roles, Justin is a devoted husband to Kelli White, a Speech Therapist with the Texarkana Independent School District. Together, they are the proud parents of Jeb, Chapman, and Harrison. 2025/2026 PROGRAM | TEXARKANASYMPHONY.ORG

COME OUT

&PLAY!

MISSION OF THE TYSO:

THE MISSION OF THE TEXARKANA YOUTH SYMPHONY ORCHESTRA IS TO FOSTER A LOVE OF MUSIC AND BUILD FRIENDSHIPS THROUGH EXCELLENCE IN ORCHESTRAL EDUCATION AND PERFORMANCE EXPERIENCES.

TYSO CONCERTS THIS SEASON CHRISTMAS CONCERT SUNDAY, DECEMBER 7, 2025, 4:00PM SULLIVAN PERFORMING ARTS CENTER JOHN THOMAS THEATRE 3941 SUMMERHILL RD, TEXARKANA, TX

SPRINGING FORWARD, SIDE BY SIDE SATURDAY, APRIL 25, 2026, 7:00PM PEROT THEATRE 221 MAIN STREET, TEXARKANA, TX

SPRING CONCERT SUNDAY, MAY 3, 2026, 4:00PM SULLIVAN PERFORMING ARTS CENTER JOHN THOMAS THEATRE 3941 SUMMERHILL RD, TEXARKANA, TX

ABOUT THE YOUTH ORCHESTRA The Texarkana Youth Symphony Orchestra (TYSO) auditions are open to all qualified middle and high school students (ages 10-19) who are prepared to make a commitment to the Youth Orchestra’s rigorous rehearsal and concert schedule. Exceptions for younger ages will occur only with the approval of the student’s private lesson instructor and at the discretion of the TYSO conductor. Auditions are held each fall and spring. For participation in TYSO, students must successfully pass an audition each year. Students must also be a member of his/her school instrumental program, if provided. Tuition for participation in TYSO is $125 per year and shall be paid in full by the first rehearsal. Financial aid is available in the form of scholarships for those who demonstrate need as verified by the Federal Free and Reduced Lunch Standards. The orchestra rehearses every Monday evening from 6:00-7:30PM. 38

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TEXARKANA YOUTH SYMPHONY ORCHESTRA

CONDUCTOR STEVE M. BENNETT

r. Bennett received his Music Education degree from Harding University and continued his education at the University of Central Arkansas where he received his master’s degree in instrumental conducting. While completing his undergraduate and graduate degrees, he was a member of the Harding and UCA concert bands and orchestras, the Conway Civic Orchestra, and was the music director of the University of Central Arkansas

summer musical. After his first year at UCA, Mr. Bennett was awarded the Outstanding Graduate Student Award from his professors. He began his teaching career in the fall of 1995 in Montgomery, Alabama, where he helped start a band program at Alabama Christian Academy. During his five years there, the band competed in many events throughout the school year and received numerous awards at local and state levels. He and his family moved to Texarkana during the summer of 2000 to take on his current position with the Texarkana Independent School District. His teaching duties since moving to Texarkana include assistant band director at Pine Street Middle School, Texas Middle School, Texas High School, Red Lick Middle School, and the orchestra director at both Texas Middle and High Schools. Mr. Bennett’s teaching duties outside of TISD include both Texarkana College and the University of Arkansas Hope/Texarkana. As a performer and conductor, Mr. Bennett has been a member of the Texarkana Symphony Orchestra as a trombonist when it premiered in 2006 and the director of the Texarkana Youth Symphony Orchestra since its second season in 2008.

2025/2026 PROGRAM | TEXARKANASYMPHONY.ORG

MASTERWORKS II

A WHIRLING DERVISH

15 JANUARY 2026 7:00 P.M. | PEROT THEATRE Concert Preview: 6:10PM

PHILIP R. MANN Conductor with JEREMY McBAIN, trumpet This concert is in partnership with the Four States Bandmasters Convention, held this weekend on the campus of Texas High School and the Sullivan Performing Arts Center.

CONCERT REPERTOIRE

BRYANT, Steven (b. 1972) Whirlwind

4’

ARUTIUNIAN, Alexander (1920-2012) Trumpet Concerto in A-flat Major JEREMY MCBAIN, trumpet

17’

INTERVAL DVOŘÁK, Antonín Leopold (1881-1904) Slavonic Dances, op. 72, B. 147 No. 1 in B major: Molto vivace No. 2 in E minor: Allegretto grazioso No. 5 in B-flat minor: Poco adagio – Vivace No. 6 in B-flat major: Moderato; quasi menuetto No. 7 in C major: Allegro vivace Scherzo capriccioso, in D-flat major, op. 66, B. 131 TSO is pleased to have composer Steven Bryant and his wife, Verena Mösenbichler-Bryant, with us this evening. 40

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~20’

12’

ARTIST BIO

TRUMPET

COMPOSER

JEREMY McBAIN

r. Jeremy McBain is a trumpet professor at the University of Texas at Tyler, where he teaches applied trumpet, brass chamber music, brass methods, and arranging. He previously taught at Eastern Illinois University, Millikin University, and Saint Mary’s College. An active performer, McBain is principal trumpet of the Texarkana Symphony and a member of the Rose City Brass Quintet and Jazz Orchestra. He has also played with numerous ensembles including the East Texas Symphony and the Bach Society of Houston, and has performed with artists like Doc Severinsen and Michael Brecker. He holds a DMA from the University of Illinois, with earlier degrees from the University of Michigan and University of Houston.

STEVEN BRYANT

teven Bryant’s music is chiseled in its structure and intent, fusing lyricism, dissonance, silence, technology, and humor into lean, skillfully-crafted works that enthrall listeners and performers alike. His seminal work Ecstatic Waters, for wind ensemble and electronics, has become one of the most performed works of its kind in the world, receiving over 250 performances in its first five seasons. The orchestral version was premiered by the Minnesota Orchestra to unanimous, rapturous acclaim. The son of a professional trumpeter and music educator, he strongly values music education, and his creative output includes a number of works for young and developing musicians.

2025/2026 PROGRAM | TEXARKANASYMPHONY.ORG

PROGRAM NOTES: MASTERWORKS II

A WHILRING DERVISH 15 JANUARY 2026 | PEROT THEATRE

Steven Bryant

(b. 1972, Little Rock, Arkansas) Whirlwind (arranged for orchestra) Composed 2011, orchestrated 2013

teven Bryant’s “Whirlwind” is a brief, caffeinated work for symphony orchestra. Developed entirely from the opening scalar gesture, the music perpetually swirls around and through the ensemble, unfurling into a bombastic climax, then abruptly dissipating into thin air. Originally composed for wind ensemble in 2011, this orchestral arrangement was transcribed by Verena MoesenbichlerBryant and premiered by the Duke Medicine Orchestra under her direction on November 24, 2013. Steven Bryant represents a new generation of American composers who seamlessly blend traditional orchestral writing with contemporary sensibilities. Born in 1972 in Little Rock, Arkansas, Bryant studied composition with John Corigliano at The Juilliard School and Cindy McTee at the University of North Texas. His compositional philosophy is direct: “I strive to write music that leaps off the stage to grab you by the collar and pull you in.” Originally commissioned by The Kappa Kappa Psi North Central District Commissioning Consortium, “Whirlwind” exemplifies Bryant’s mastery of “economy of materials.” The entire work springs from a single opening gesture—a scalar passage that becomes the DNA for everything that follows. This compositional approach reflects Bryant’s background in electronic music and understanding of how simple elements can generate complex, evolving musical structures. The orchestral version maintains all the kinetic energy

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and structural integrity of the original wind ensemble score while exploiting the unique colors available in the symphony orchestra. The arrangement demonstrates how Bryant’s music translates effectively across different instrumental mediums, testament to strong foundational compositional techniques rather than reliance on specific timbral effects. True to its title, “Whirlwind” creates perpetual motion and swirling energy that seems to defy gravitational musical laws. The work’s brief duration allows it to function as an electrifying concert opener or dynamic palate cleanser between larger works. Bryant’s rhythmic vitality and harmonic language speak to contemporary audiences while remaining accessible to traditional orchestral performers. The piece reflects Bryant’s broader aesthetic concerns: creating music that is both intellectually rigorous and immediately communicative. Like much of his work, “Whirlwind” avoids academic complexity for its own sake, instead focusing on direct emotional impact and visceral musical experience. The sudden dissipation at the work’s end provides a dramatically satisfying conclusion that leaves audiences both energized and slightly breathless. Duration: approximately 4-5 minutes

Alexander Arutiunian

(1920-2012, Yerevan, Armenia - Yerevan, Armenia) Concerto for Trumpet and Orchestra in A-flat major Composed 1950 I. Andante maestoso - Allegro energico II. Meno mosso III. Allegro

lexander Arutiunian’s Trumpet Concerto stands as one of the most beloved works in the trumpet repertoire, brilliantly showcasing the instrument’s lyrical capabilities alongside its heroic character. Composed in 1950 by the Armenian composer, this concerto emerged from the rich cultural tradition of Soviet Armenia while speaking in a musical language that transcends geographical boundaries. Born in Yerevan in 1920, Arutiunian studied at the Yerevan Conservatory and later at the Moscow Conservatory, absorbing both Armenian musical traditions and broader currents of 20th-century Russian composition. His trumpet concerto reflects this dual heritage, combining the melodic richness and modal inflections characteristic of Armenian folk music with the structural sophistication of the Russian symphonic tradition. The concerto’s enduring popularity stems from Arutiunian’s genius in writing music that is simultaneously virtuosic and deeply expressive. Unlike many trumpet concertos that focus primarily on technical display, this work treats the trumpet as both a heroic voice and an intimate storyteller. The First Movement opens with a majestic orchestral introduction before the trumpet enters with one of the most memorable themes in the concerto literature. The opening melody, marked by wide intervals and rhythmic vitality, immediately establishes the trumpet as protagonist in a musical drama. The movement alternates between lyrical passages showcasing the instrument’s singing qualities and energetic sections displaying brilliant technical capabilities.

The Second Movement reveals the concerto’s emotional heart through music of remarkable tenderness. Here, the trumpet abandons its typically martial associations to become an instrument of profound lyricism. The beautiful melodies, with their modal inflections reminiscent of Armenian folk song, demonstrate why this concerto has become a favorite among musicians and audiences alike. The Third Movement returns to energetic character with even greater rhythmic drive and technical demands. This finale combines elements of Armenian dance rhythms with classical concerto form requirements, creating music that is both culturally specific and universally appealing. The concerto’s harmonic language remains essentially tonal while incorporating enough modern elements to give the music a distinctly 20th-century character. Since its premiere, the concerto has become a cornerstone of trumpet literature, equally valued by students and professional soloists seeking music that combines technical challenge with genuine musical substance. Duration: approximately 20 minutes

2025/2026 PROGRAM | TEXARKANASYMPHONY.ORG

PROGRAM NOTES: MASTERWORKS II

A WHILRING DERVISH CONTINUED

Antonín Dvořák

(1841-1904, Nelahozeves, Bohemia - Prague) Slavonic Dances, Op. 72, B. 147, Nos. 1, 2, 5, 6, 7 Composed 1886 No. 1 (9) in B major - Odzemek (Moderato) No. 2 (10) in E minor - Mazurka (Allegretto grazioso) No. 5 (13) in B-flat major - Spacírka (Poco adagio) No. 6 (14) in B-flat major - Polonaise (Moderato, quasi minuetto) No. 7 (15) in C major - Srbkinja (Allegro vivace)

vořák’s second set of Slavonic Dances represents the composer at his creative peak, combining nationalist fervor with masterful orchestral color. Composed in 1886, eight years after his hugely successful first set (Op. 46), these five selected dances showcase Dvořák’s deepening exploration of Slavic folk traditions and his remarkable ability to transform regional folk material into sophisticated concert works. When publisher Fritz Simrock commissioned this second set, Dvořák approached the project with greater artistic maturity, creating works that balance popular accessibility with sophisticated musical development. These dances reflect his unique position in 19th-century music—while contemporaries often treated folk material as exotic curiosities, Dvořák approached these traditions as a native son, understanding their emotional and cultural significance from within. The selection opens with two Bohemian and Polish traditions. No. 1 (Odzemek) presents a rustic round dance from Dvořák’s native Bohemia, transformed into a symphonic miniature of gentle charm with elegant melodic lines and subtle harmonic colorations. No. 2 (Mazurka) draws from Polish tradition, emphasizing the characteristic triple meter

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and accented second beat while infusing the music with bittersweet melancholy that recalls Chopin’s piano mazurkas. The program then shifts to showcase Dvořák’s broader Pan-Slavic sympathies with three contrasting dances. No. 5 (Spacírka) offers a leisurely walking dance whose name literally means “little walk.” The music’s gentle, pastoral character creates an atmosphere of rustic contentment, with Dvořák’s orchestration evoking village musicians through clever use of solo instruments and folk-like accompaniment patterns. No. 6 (Polonaise) filters Polish court dance tradition through Dvořák’s distinctly personal harmonic language. Unlike the formal, aristocratic polonaises of Chopin or Bach, this version maintains a more intimate, folk-influenced character. The moderate tempo marking “quasi minuetto” suggests the composer’s intention to blend different dance traditions, creating something both familiar and refreshingly original. No. 7 (Srbkinja) represents Dvořák’s venture into Serbian folk tradition, with “Srbkinja” meaning “Serbian girl.” This vivacious dance features some of the most complex rhythmic patterns in the entire Op. 72 set, with irregular meters and syncopated accents that challenge performers while creating irresistible forward momentum. The music’s wild energy and exotic harmonic touches transport listeners to the Balkan Peninsula’s mountain villages. The orchestral versions, arranged by Dvořák himself from piano duets, reveal his extraordinary gifts as a colorist. Each dance receives orchestration perfectly suited to its character, using folk instruments’ colors within the standard orchestra—imitating bagpipes, village bands, and rustic fiddles— while maintaining sophisticated artistic standards. These works appeared during a pivotal moment when rising nationalism was reshaping European artistic expression. This carefully curated selection from Op. 72 demonstrates Dvořák’s success in balancing nationalist expression with universal appeal, offering audiences a musical tour across Slavic Europe while demonstrating that folk culture could provide the foundation for art music of the highest quality. Duration: approximately 25 minutes

Antonín Dvořák

(1841-1904, Nelahozeves, Bohemia - Prague) Scherzo Capriccioso, Op. 66, B. 131 Composed 1883

vořák’s Scherzo Capriccioso stands as one of his most exuberant and technically brilliant orchestral works, a piece that perfectly captures the composer’s irrepressible joy in music-making and his mastery of orchestral color. Composed in 1883 during one of the most productive periods of his career, this single-movement work demonstrates Dvořák’s ability to create substantial musical architecture while maintaining the spontaneous spirit suggested by its “capriccioso” designation. The work emerged during Dvořák’s artistic maturity, written between his Sixth and Seventh Symphonies when he was establishing his international reputation. The Scherzo Capriccioso reflects the composer’s growing confidence in handling large orchestral forces and his increasing sophistication in developing motivic material across extended spans. Unlike his earlier works that sometimes struggled with formal proportions, this piece achieves perfect balance between structural logic and expressive freedom. The “scherzo” designation refers not to the traditional symphonic movement type but rather to the work’s playful, dance-like character. Dvořák constructs the piece in a complex rondo form that allows for both thematic development and the kind of episodic contrast that keeps listeners engaged throughout its substantial length. The “capriccioso” element manifests in the music’s unpredictable shifts of mood, sudden dynamic changes, and the composer’s delight in orchestral effects that seem to emerge from pure creative whim. The work opens with a mysterious, almost tentative gesture from the strings before erupting into the main theme—a melody of infectious energy that immediately establishes the piece’s spirited character. This opening theme contains within it the rhythmic and melodic seeds that will generate much of the work’s subsequent material, demonstrating Dvořák’s mastery of organic thematic development. Throughout the piece, Dvořák displays his extraordinary gift for orchestration, treating the orchestra not merely as a

large ensemble but as a collection of individual voices capable of intimate chamber music textures as well as overwhelming tutti passages. His use of folk-influenced melodies and dance rhythms creates music that is unmistakably Czech in character while remaining accessible to international audiences. The work’s central sections explore more lyrical territory, with Dvořák’s gift for melody coming to the fore in passages of remarkable beauty and sophistication. These quieter episodes provide necessary contrast to the work’s more energetic sections while maintaining the underlying sense of forward momentum that drives the piece toward its brilliant conclusion. The technical demands placed on the orchestra are considerable, requiring virtuosic playing from all sections. Dvořák’s writing exploits the full range and capabilities of each orchestral family, creating textures that shimmer with color and passages that demand the highest level of ensemble precision. The work has become a favorite among orchestral musicians for its combination of technical challenge and musical reward. The Scherzo Capriccioso premiered in Prague in 1883 under the composer’s direction and quickly established itself in the international repertoire. Its success helped solidify Dvořák’s reputation as one of Europe’s leading orchestral composers and demonstrated his ability to create works that were both nationally characteristic and universally appealing. The piece represents Dvořák at his most uninhibited, creating music of pure joy that seems to burst with the composer’s love of musical craft and his delight in the orchestra’s expressive possibilities. Duration: approximately 14 minutes

REFLECTIONS

I was sitting with Remica in the Perot at the very first rehearsal. What would it be like? When the music started, we both looked at each other and were like “oh my God it’s so good!”. Then we were both crying. The beautiful sounds filled the hall perfectly, and we knew the vision of a symphony for Texarkana in our wonderful theater was fulfilling itself right before our eyes. To be a part of creating this organization is one of the greatest experiences of my life. Mary Scott Smith Founding Patron & Principal Pianist 2006-2025 2025/2026 PROGRAM | TEXARKANASYMPHONY.ORG

JANUARY 29, 2026

9:30 AM** | PEROT THEATRE In collaboration with Carnegie Hall, the Texarkana Symphony Orchestra is participating in Link Up “The Orchestra Sings,” a music education program provided by Carnegie Hall’s Weill Music Institute. The students participating in Link Up attend a culminating concert on January 29, 2026, at the Perot Theatre where they sing, move, and play recorder or the violin with the orchestra from their seats! The Texarkana Symphony Orchestra is one of 120 national and international orchestras chosen for this program. Carnegie Hall supports TSO’s existing education programs and strengthens their partnerships with local schools. Link Up orchestras pair with students in grades 3-5 to explore orchestral repertoire and fundamental musical skills, including creative work and composition, through a hands-on music curriculum. This partnership also provides a high quality, year-long curriculum that teachers can implement, along with classroom materials, online video and audio resources, and the professional development and support necessary to make the program an engaging experience for students. Schools participating in the Link Up program will have priority seating in January. However, additional schools may attend in the traditional concert setting as well, observing those in the Link Up program, enjoying a live orchestra performance, and considering participation in Link Up in the years to come . **TSO’s annual student concerts are for local school systems and homeschool groups. Any unused seats will be available to the public after January 14, 2026. For more information on these concerts please contact: Remica Gray, director of operations/education committee chair, at 870-773-3401.

TEXARKANASYMPHONY.ORG | 2025/2026 PROGRAM

2025/2026 PROGRAM | TEXARKANASYMPHONY.ORG

POPS III BACK TO BACK:

THE MUSIC OF ELTON JOHN & BILLY JOEL 7 FEBRUARY 2026 7:00 P.M. | PEROT THEATRE PHILIP R. MANN, Conductor Experience the timeless energy of classic pop-rock reimagined for symphony orchestra, dynamic rock band, and powerhouse vocals. This electrifying performance brings to life the legendary sounds of two masterful singer-songwriters whose music has inspired generations.

TEXARKANASYMPHONY.ORG | 2025/2026 PROGRAM

Jean Meilleur, lead vocals

John Regan, piano

TEXARKANA SYMPHONY ORCHESTRA

FOUNDING PATRONS FOUNDING SPONSOR

DR. AND MRS. GEORGE BOHMFALK CANDACE TAYLOR AND MARC-ANDRÉ BOUGIE SCOTTIE AND BOB* BURNETT JAMES W. BURNETT, III KELLY ELIZABETH BURNETT CLEVELAND BURTON* BETTY AND PERRY* BUTCHER LOIS TOWLES CAESAR* (IN MEMORIAM) (FROM DOROTHEA TOWLES) LUCILLE T. COOK* FLORENCE* AND GEORGE* CRANK MR.* AND MRS. CARL CULPEPPER DR. AND MRS. ROY DESKIN JENNIFER AND DARBY DOAN DR. NORMA AND FAY J. DURRANT DR. GEORGE W. ENGLISH, III MARY SCOTT AND HOWARD* GOODE REMICA AND DANNY GRAY

PATRICIA* AND BARRY* GREEN SAMMYE* AND JIM HALTOM MARGARET HARRELL* LOUANNE AND BILLY* HARRELL PEGGY* AND JASPER* HOWARD H. LOUISE JOHNSON* JOHN JAY JONES FUNERAL HOME KATHY AND GEORGE LEASE MRS. FLEET F. MAGEE* MICHAEL AND PETE MANKINS BARBARA AND DR. PAUL MCCASH PAMELA MCCOY DOTTIE AND ED* MILLER JULIA PECK MOBLEY JUDY MORGAN JIM MORGAN MARTHA* AND JOSH* MORRISS, JR. KAY* AND JIMMY* MURPHY

DRS. WANDA AND JON NORTHAM MARTHA AND FRED NORTON, JR. CHARLOTTE AND DAVID POTTER LAWANDA* AND JOHN RICH PHYLLIS RUSSELL MARY ANNE AND CHARLES T. SETTLE DR. AND MRS. VERNON C. SHAFFER DRS. ROSANNE STRIPLING AND LARRY SULLIVAN WEDNESDAY MUSIC CLUB LYNNEL WESTERMAN RUTH ELLEN AND DR. DAVE WHITT DR. AND MRS. DAVID L. WILLIAMS WILLIAMS MEMORIAL UMC FINE ARTS DEPARTMENT BRENDA AND JIM WORKS JEAN* AND DR. HERB* WREN WILLIAM WRIGHT *DECEASED

SUPPORT FOR TEXARKANA SYMPHONY ORCHESTRA IS PROVIDED, IN PART, BY THE ARKANSAS ARTS COUNCIL, AN AGENCY OF THE DEPARTMENT OF ARKANSAS HERITAGE, AND NATIONAL ENDOWMENT FOR THE ARTS; AND BY THE TEXAS COMMISSION ON THE ARTS. 2025/2026 PROGRAM | TEXARKANASYMPHONY.ORG

POPS IV

THE TEXARKANA SYMPHONY ORCHESTRA AND ON SPOT ENTERTAINMENT PRESENT

COUNTRY JUKEBOX 7 MARCH 2026 7:00 P.M. | PEROT THEATRE

PHILIP R. MANN, Conductor Get ready for a toe-tapping evening celebrating the rich legacy and vibrant spirit of country music! From the golden age of the 1950s to today’s hottest hits, this unforgettable event takes you on a musical journey through decades of heartfelt storytelling, soulful ballads, and highenergy anthems. Whether you’re drawn to the twang of classic tunes or the polished sound of modern country, there’s something here for everyone. So dust off your boots and join us for a night where the heart of country music comes alive.

TEXARKANASYMPHONY.ORG | 2025/2026 PROGRAM

2025/2026 PROGRAM | TEXARKANASYMPHONY.ORG

MASTERWORKS III

SPRINGING FORWARD 25 APRIL 2026 7:00 P.M. PEROT THEATRE Concert Preview: 6:10PM

PHILIP R. MANN Conductor and TEXARKANA YOUTH SYMPHONY ORCHESTRA, in a side-by-side appearance and NORMAN KRIEGER, piano

TEXARKANASYMPHONY.ORG | 2025/2026 PROGRAM

CONCERT REPERTOIRE NEEDHAM, Clint (b. 1981) Southern Air* 9’ TEXARKANA YOUTH SYMPHONY ORCHESTRA, in a side-by-side appearance GRIEG, Edvard Hagerup (1843-1907) Piano Concerto, in A minor, op. 16 30’ I. Allegro molto moderato II. Adagio III. Allegro moderato molto e marcato NORMAN KRIEGER, piano

INTERVAL STRAVINSKY, Igor Fyodorovich (1882-1971) Le Sacre du printemps (The Rite of Spring) PART I: Adoration of the Earth Introduction The Augurs of Spring— Dances of the Young Girls Ritual of Abduction Spring Rounds Ritual of the Rival Tribes Procession of the Sage The Sage Dance of the Earth PART II: The Sacrifice Introduction Mystic Circle of the Young Girls Glorification of the Chosen One Evocation of the Ancestors Ritual Action of the Ancestors Sacrificial Dance (The Chosen One)

ARTIST BIO

NORMAN KRIEGER PIANO

native of Los Angeles, Norman Krieger is one of the most acclaimed pianists of his generation and is highly regarded as an artist of depth, sensitivity and virtuosic flair. As the Los Angeles Times put it, “Krieger owns a world of technique-take that for granted. He always knows exactly where he is going and what he is doing. He never for instant miscalculates. He communicates urgently but with strict control. He is alert to every manner of nuance and at every dynamic level his tone flatters the ear.” Myung -Whun Chung, Donald Runnicles, Leonard Slatkin, Michael Tilson Thomas, Jaap van Zweden and Zubin Mehta are just a few of the conductors with whom Krieger has collaborated. Krieger regularly appears with the major orchestras

of North America, among them the New York Philharmonic, Los Angeles Philharmonic, the Chicago Symphony, Minnesota Orchestra and the National Symphony. He has performed throughout Europe, Asia and South America including tours of Germany, France, Poland, Holland Scandinavia, Korea, China, New Zealand and Israel. He recently performed at the PyeongChang Music festival in Korea. In September 2014, he recorded the Brahms Sonata Op. 1 and the Piano Concerto No. 2 with the London Symphony Orchestra under the baton of Philip Ryan Mann, which will be released on Decca. In recital, Krieger has appeared throughout the United States, Europe, Mexico and Asia, while chamber music collaborations have included appearances with soprano Sheri Greenawald, violinists Paul Huang, Sarah Chang, Pamela Frank and Mihaela Martin, violist Nobuko Imai, cellists Myung Wha Chung, Jian Wang, Edward Aaron and Frans Helmersen as well as the Tokyo string quartet. His debut at New York City’s prestigious Carnegie Hall and Mostly Mozart Festival earned him an immediate invitation to Lincoln Center’s Great Performers Series. Krieger made headlines by being named the Gold Medal Winner of the first Palm Beach Invitational Piano Competition. He began his studies in Los Angeles under the tutelage of Esther Lipton. At age 15, he became a full-scholarship student of Adele Marcus at The Juilliard School where he earned both his Bachelor and Master degrees. Subsequently, he studied with Alfred Brendel and Maria Curcio in London and earned an Artist Diploma from the New England Conservatory, where he worked with Russell Sherman. A champion of contemporary music, he features the music of John Adams, Leonard Bernstein, John Corigliano, Daniel Brewbaker, Donald Crockett, Judith St. Croix, Lukas Foss, Henri Lazarof and Lowell Liebermann among his active repertoire. Krieger is the founding artistic director of The Prince Albert Music Festival in Hawaii. Since 2008, he has served on the summer faculty at the Brevard Music Festival in North Carolina. From 1997 to 2016 he was a professor at the Thornton School of Music at the University of Southern California. In August 2016 he was appointed Professor of Piano at the Jacobs School of Music at Indiana University.

REFLECTIONS

What an amazing group of people who care so deeply for the musical arts! Marc-André was a refreshingly kind conductor with a contagious passion for music. I enjoy(ed) performing with TSO and look forward to the next 25! Diana Hector Norwood

2025/2026 PROGRAM | TEXARKANASYMPHONY.ORG

PROGRAM NOTES: MASTERWORKS III

SPRINGING FORWARD 25 APRIL 2026 | PEROT THEATRE

Clint Needham

(b. 1981, Texarkana, Texas) Southern Air Composed in 2011, as a commission for the Texarkana Symphony Orchestra’s 5th Anniversary

lint Needham’s “Southern Air” emerges from deeply personal memories of growing up in the American South, creating a nostalgic work for orchestra that captures the essence of a specific place and time. The composer describes the piece as being about his “memories of growing up in the south,” with the main idea being “to create a core ‘folk music’ that would assert itself throughout the work.” Born in Texarkana, Texas, in 1981, Needham brings an authentic voice to this musical portrait of Southern life. His extensive musical experience includes commissions and performances by leading orchestras across the country, and

his works have been described as “wildly entertaining” and “stunning, brilliantly orchestrated” by the New York Times. As Professor of Composition at Baldwin Wallace Conservatory, Needham has established himself as one of America’s most promising composers of his generation. The work unfolds as a musical memoir, with Needham seeking to create “the notion of a musical ‘air’ which historically is a typical instrumental work.” This approach connects the piece to the rich tradition of pastoral and folk-influenced classical music while maintaining a distinctly American character. The “folk music” core that Needham mentions serves as the work’s emotional and structural foundation, appearing in various guises throughout the composition. The orchestral writing showcases Needham’s sophisticated understanding of instrumental color and texture. The first section presents the melodic material in a thick texture, with the melody heard clearly in the beginning and end but dividing the work into two larger orchestral sections. This structural approach allows the composer to explore different emotional territories while maintaining the work’s essential folk character. A significant feature of the piece is its use of contrasting sections that reflect different aspects of Southern musical culture. The second large-scale section begins with a traditional spiritual at the melody played softly in the woodwinds, creating an intimate, contemplative atmosphere. The music’s gradual transformation demonstrates Needham’s skill at organic development, as the spiritual material evolves and interacts with the work’s other melodic elements. The climactic portions of the work reveal Needham’s mastery of orchestral dynamics and dramatic pacing. The music builds toward powerful moments that evoke the expansive landscapes and emotional depth of the American South, while quieter passages capture more intimate memories of place and time. Needham’s harmonic language combines traditional tonal elements with contemporary techniques, creating music that is both accessible and sophisticated. His orchestration draws on the full range of orchestral colors, using instrumental combinations that evoke specific aspects of Southern musical traditions while maintaining the elevated artistic standards expected in concert music. “Southern Air” was commissioned by the Texarkana Symphony Orchestra in celebration of their 5th anniversary season, making its premiere particularly meaningful as a homecoming for the composer. The work represents both a personal statement from Needham about his roots and a broader meditation on how place and memory shape artistic expression. The piece serves as an excellent example of contemporary American orchestral music that draws inspiration from regional folk traditions while speaking to universal themes of memory, place, and belonging. Needham’s success in creating a work that is both personally meaningful and artistically substantial demonstrates his maturity as a composer and his deep understanding of the American musical heritage. Duration: approximately 8 minutes

TEXARKANASYMPHONY.ORG | 2025/2026 PROGRAM

Edvard Grieg

(1843-1907, Bergen, Norway) Concerto for Piano and Orchestra in A minor, Op. 16 Composed 1868, revised 1907 I. Allegro molto moderato II. Adagio III. Allegro moderato molto e marcato

dvard Grieg’s Piano Concerto in A minor stands as one of the most beloved works in the entire concerto repertoire, a piece that has captivated audiences for over 150 years with its perfect blend of Romantic virtuosity and distinctly Norwegian character. Composed in 1868 when Grieg was just 25 years old, this concerto represents not only the composer’s masterpiece but also one of the finest expressions of musical nationalism in the 19th century. The concerto emerged during a pivotal period in Grieg’s artistic development. Having studied at the Leipzig Conservatory, where he absorbed the German Romantic tradition, Grieg returned to Norway with a burning desire to create a uniquely Scandinavian musical voice. The Piano Concerto became the perfect vehicle for this ambition, combining the structural sophistication of European concert tradition with the melodic and rhythmic characteristics of Norwegian folk music. The work’s inspiration came partly from Grieg’s admiration for Schumann’s Piano Concerto, which shares the same key and similar structural elements. However, where Schumann’s concerto is introspective and poetic, Grieg’s is extroverted and dramatic, filled with the fresh air and rugged landscapes of his Norwegian homeland. The composer later revised the work extensively in 1907, refining the orchestration and tightening the structure while preserving its essential character. The First Movement opens with one of the most famous beginnings in all of classical music: a thunderous orchestral chord followed by the piano’s dramatic cascading passage in octaves. This opening gesture, both commanding and immediately memorable, perfectly encapsulates the concerto’s bold character. The movement follows traditional sonata form but infuses it with folk-inspired melodies that bear the distinctive intervals and modal inflections of Norwegian music. The lyrical second theme, first presented by the cellos, 2025/2026 PROGRAM | TEXARKANASYMPHONY.ORG

PROGRAM NOTES: MASTERWORKS III

SPRINGING FORWARD CONTINUED

demonstrates Grieg’s gift for melody that is both sophisticated and accessible. The Second Movement provides intimate contrast through music of extraordinary beauty and simplicity. Cast in the form of a song without words, this adagio features a haunting melody that seems to emerge from the depths of Norwegian fjords. The movement’s middle section introduces a more agitated character before returning to the opening’s serene contemplation. Grieg’s orchestration here is particularly sensitive, creating chamber music textures that allow every pianistic detail to register with maximum emotional impact. The Third Movement returns to the concerto’s energetic character through a finale that brilliantly combines sonata and rondo forms. The movement opens with a playful theme that gradually builds in intensity and complexity. Grieg incorporates elements that suggest Norwegian folk dances, particularly the halling, a vigorous peasant dance characterized by strong rhythmic patterns and athletic leaps. The movement’s development showcases both the pianist’s technical abilities and the composer’s skill at creating excitement through purely musical means rather than empty virtuoso display. Throughout the concerto, Grieg demonstrates his mastery of the relationship between soloist and orchestra. Rather than treating the piano as a mere vehicle for display, he creates genuine musical conversations between piano and orchestra, with each contributing essential material to the work’s emotional and structural development. The orchestration,

REFLECTIONS

Nothing demonstrates better the Can Do spirit of Texarkana than the formation of the symphony orchestra. Despite humble beginnings around a kitchen table, strong leadership and significant financial support from the community have paved the way for the vibrant concerts we have today. Barbara and I are pleased that we have helped in a small way through our service on the symphony board and as a member of the orchestra. Dr. Paul McCash Founding patron & violinist (retired)

TEXARKANASYMPHONY.ORG | 2025/2026 PROGRAM

particularly in the 1907 revision, shows remarkable sophistication in its use of color and texture. The concerto’s harmonic language, while fundamentally tonal, incorporates modal elements derived from folk music that give the work its distinctly Norwegian flavor. Grieg’s use of open fifths, flattened sevenths, and irregular phrase structures creates a sound world that is both familiar and exotic, accessible yet authentically regional. Since its premiere in Copenhagen in 1869, the concerto has maintained its position as one of the most frequently performed works in the piano repertoire. Its combination of melodic beauty, pianistic brilliance, and orchestral color has made it a favorite among performers and audiences alike. The work has served as a calling card for countless pianists, from its early champion Edmund Neupert to modern virtuosos who continue to find new expressive possibilities within its pages. The concerto’s enduring appeal lies in its perfect balance of populist accessibility and artistic sophistication. Grieg created a work that speaks directly to the heart while satisfying the mind, combining the epic scope of Romantic concerto tradition with the intimate voice of Norwegian nationalism. In doing so, he produced not just Norway’s greatest contribution to the concerto literature, but one of the supreme achievements of 19th-century music.

Duration: approximately 30 minutes

Igor Stravinsky

(1882-1971, St. Petersburg, Russia - New York, New York) The Rite of Spring (Le Sacre du printemps) Composed 1911-1913 Part I: The Adoration of the Earth Part II: The Sacrifice

ew works in music history have wielded such revolutionary force as Stravinsky’s “The Rite of Spring.” Premiering on May 29, 1913, at Paris’s Théâtre des Champs-Élysées, this ballet sparked one of the most famous riots in cultural history, forever changing the trajectory of 20th-century music. What audiences experienced that evening was nothing less than the violent birth of modernism. The work emerged from Stravinsky’s collaboration with impresario Sergei Diaghilev’s Ballets Russes and choreographer Vaslav Nijinsky. Stravinsky conceived the piece as a vision of pagan Russia, depicting ancient rituals culminating in a young maiden dancing herself to death to ensure the earth’s fertility. This primitive, elemental subject matter demanded an entirely new musical language—one that would abandon traditional harmony, melody, and rhythm in favor of something far more primal and visceral. Part I: The Adoration of the Earth opens with one of music’s most haunting solos: a bassoon singing in its extreme high register, evoking the awakening of nature. What follows is a series of ritualistic dances that build in intensity through Stravinsky’s revolutionary use of rhythm and orchestration. The composer layers irregular meters, creates polyrhythmic textures, and employs the orchestra as a massive percussion instrument. The famous “Augurs of Spring” section pounds out its brutal chords with metric unpredictability that still challenges performers today. Part II: The Sacrifice grows increasingly violent and ecstatic as the community selects and consecrates the chosen maiden. The music builds to the climactic “Sacrificial Dance,” where irregular rhythms and savage orchestration mirror the victim’s final, frenzied movements. Stravinsky’s use of extreme dynamics, unprecedented dissonance, and rhythmic complexity creates music of almost unbearable intensity.

The 1913 premiere became legendary for the chaos it unleashed. Conservative audience members, expecting traditional ballet, found themselves confronted with Nijinsky’s angular, earthbound choreography and Stravinsky’s assault on musical convention. Shouts, whistles, and physical altercations erupted throughout the theater. Yet this scandal marked the moment when classical music definitively entered the modern age. Stravinsky’s innovations were manifold. He abandoned traditional tonality in favor of bitonality and atonality, created new approaches to rhythm that influenced generations of composers, and demonstrated the orchestra’s capacity for entirely new colors and textures. His use of folk melodies—transformed beyond recognition— pointed toward new relationships between nationalism and modernism. The work’s influence extends far beyond classical music. Jazz musicians, rock artists, and film composers have all drawn inspiration from its rhythmic vitality and harmonic innovations. Walt Disney’s “Fantasia” introduced the work to popular audiences, while countless concert performances have established it as a cornerstone of the orchestral repertoire. What seemed like musical anarchy in 1913 now reveals itself as a masterpiece of structural logic and emotional power. “The Rite of Spring” captures something fundamental about the human condition—our connection to elemental forces, the cycle of death and renewal, and the savage beauty underlying civilized existence. In creating this work, Stravinsky didn’t just compose a ballet; he unleashed music’s primitive power and forever expanded our understanding of what the art form could achieve. Duration: approximately 35 minutes

2025/2026 PROGRAM | TEXARKANASYMPHONY.ORG

REFLECTIONS

It has always been clear to me from the beginning that the TSO has been a gift to the community and the musicians from God. Born and raised in Texarkana, I never imagined Texarkana would have an orchestra of this quality for the community to enjoy. I was completing my master’s degree at the University of North Texas in May 2026 and had planned to continue my education with a DMA in performance when my wife and I, due to family circumstances, needed to move back to Texarkana to be with our family. A friend contacted me and asked if I was auditioning for the newly founded TSO. I did not know anything about it but quickly sent in my resume and traveled to Texarkana for the audition date and the rest is history. The first concert was a highlight of my musical career. I was sitting on stage of the Perot Theatre performing for my hometown

TEXARKANASYMPHONY.ORG | 2025/2026 PROGRAM

some of the most exciting orchestral repertoire music lovers have now come to expect from the TSO. The Ride from Die Walkure, Finlandia, Night on Bald Mountain, and many other famous pieces as well. However, it was Nessun Dorma from Puccini’s Turandot that solidified in my heart what God had done for me and my hometown of Texarkana. Nessun Dorma is my all-time favorite aria, and when the tenor opened up with the recitative, my heart was overwhelmed, and tears filled my eyes. I remember praying on stage and thanking God for the gift of music, this divinely inspired composition, and the opportunity to sit on stage with my fellow musicians, performing in a moment I never would have thought possible in Texarkana. Twenty years later and I almost always have the same sense of reverence performing with the TSO as I did that day. Thank you God for all of these wonderful years serving and making music as the principal trombonist with the Texarkana Symphony Orchestra. Mark Windham

A VERY SPECIAL

THANK YOU

The Texarkana Symphony Orchestra wishes to thank the following companies and individuals whose contributions of time and services help make possible the Texarkana Symphony Orchestra’s 2025-2026 season. NEIL ABELES SHELLY BROWN BRENDA BURNS ANGELA CLARK TAYLOR COLEMAN THE GEORGE CRANK FAMILY DEANNA CRAYTOR JACOB CUTHBERTSON JAY DAVIS MICAH DORSEY

BUNN FAWCETT ELIZABETH FAWCETT FIRST BAPTIST CHURCH - TEXARKANA FIRST PRESBYTERIAN CHURCH DANNY GRAY SUE ELLEN HALL J. BROWN FOR THE HOME NANCY JACKSON RONALD MAKARAMBA KATRINA MCGINNIS ST. JAMES CHURCH

STEVE MITCHELL, KTXK RADIO WILLIAM MORRISS LAURA AND DAVID ORR PHI THETA KAPPA MARY ELLEN YOUNG TC HONOR SOCIETY RUSSELL ROBERTS BECKY ROBERTSON REV. SHERRI WATERS-CLEM LYNN WHITT

2025/2026 PROGRAM | TEXARKANASYMPHONY.ORG

SUPPORTING THE SYMPHONY WE GRATEFULLY ACKNOWLEDGE THE GENEROSITY OF THE FOLLOWING DONORS WHO HAVE CONTRIBUTED TO THE TSO IN THE LAST YEAR, AS OF SEPTEMBER 1, 2025.

PLATINUM $10,000+ Arkansas Arts Council Bobbie Atkinson Foundation Dr. and Mrs. Kirby Bunel* Cabe Cook Foundation Martha and Jeff Prieskorn City of Texarkana, TX Judy Kelley Morgan/ Jack B Kelley Enterprises Inc Kelley & Morgan Families Foundation MGD Barbara and Dr. Paul McCash* Vasco McCoy, Jr. Foundation Ms. Pamela McCoy Lois and Cary Patterson Patterson-Troike Foundation Emily and Gabe Tarr Texas Commission on the Arts GOLD $5,000-9,999 LaCrecia and Dean Barry Vee and Ron Collins Dr. George W. English, III* Drs. Kathleen and Michael Martin* Lee Ann and Buddy McCulloch* Vicki and Maurice Orr Janis Robbins Texas A&M University -Texarkana Texas Pioneer Foundation Fred Markham Barrie Thomson Adam Garrett Wickliff SILVER $2,500-4,999 Lilia and Dr. Ross Alexander Commercial National Bank Melissa and John Delk Vicki and Dr. Roy Deskin Lesley and Adam Dukelow Farmers Bank & Trust Fulton Grass Company, Kathy and Henry Struckman Remica and Danny Gray Gray & McGinnis Families in memory of Florence and George Crank Dolly and Paul Henley Sonja and Bob Hubbard Dr. Susan Keeney Deborah and Michael Malek*

Mike and Pete Mankins Katrina and Dr. Robert McGinnis* The Morriss Family in memory of Martha and Josh Morriss, Jr. Susan Robbins Robbins Toyota Drs. Jennie and Brian So Yates Group Jim Yates Foundation BRONZE $1,000-2,499 Debbie and Dr. Chris Alkire Arkansas Community Foundation Texarkana Area Bobbie A. Atkinson* Drs. Valeria and Matthew Burks* C. Louis and Mary C. Cabe Foundation* Christus St. Michael Health System Dr. Jacqueline Santos Day Farmers Bank & Trust Lisa and Jay Farris Four States Living Magazine James I. Freeman Charitable Trust James and Barbara Freeman Wayne H. Garrison Charitable Trust Carolyn Ann Green Guaranty Bank & Trust Haltom & Doan Trial and Appellate Counsel, Jennifer and Darby Doan Sandra Holmes and Adam Holmes Suzy and Robert Irwin JCM Industries Inc. Foundation, John Collins Dr. Josephine Kahler and Mr. Eddie Lamb Elaine and Dr. Rodney LaGrone Katherine and George Lease* Ledwell Office Solutions Lisa and Steve Ledwell LPL Financial Tatiana and Philip Mann* Brenda Martinez

TEXARKANASYMPHONY.ORG | 2025/2026 PROGRAM

Deborah and Ron Mills* Julia Peck Mobley Blake Montgomery Morel Group Patsy and Don Morriss Drs. Wanda and Jon Northam Martha and Fred Norton, Jr. Oral & Maxillofacial Surgeons of Northeast Texas, PLLC Dr. Kirby Bunel Dr. Jacob Duke Dr. Zach Legan Dr. Mary Laura Hastings Dr. Matthew Burks Debby and Larry Oxford Kathy and Donnie Powers* in memory of Dr. Jauquita Hargus Martha and Jeff Prieksorn*

Red River Credit Union Brad Bailey Richard Reynolds John Rich Nancy and Dr. Joe Robbins Megan and The Honorable Trey Schroeder* Lisa and Rob Sitterley Mary Scott and Dr. C. Jack Smith* Cathy and Mark Van Herpen Barbara Vershaw Malinda and Randal Walker W.W. Metal Products, Inc. Judy Wright Walter Mary and Denis Washington Barbara and Ray Whitney* Cindy and Dr. Matthew Young * CHAIR SPONSORS

SUSTAINER $500-999 Alexander’s Jewelers Alzheimer’s Alliance Texarkana Area Lesa and Tony Asbille Gabrielle Bachers Benchmark American Brasserie & Café Lucille Jeff Brown Jane and Scott Bruner Samantha and Joe Burzhnski Cadence Bank and Trust Department Joan and Judge Jack Carter CASA for Children Angela and Andrew Clark Collom & Carney Radiology Associates Tina and John Collins DeAnna and Dr. Bret Craytor Crocker’s Fine Jewelry Nona Eagle Culpepper Phyllis and Buddy Deese Digital Press Jane and Pat Davitt Jennifer and Darby Doan Winford Dunn Gail and Dr. Ed Eichler Amy and Fr. David Halt Haltom & Doan June Hatchett Buddy and Judge Sherry Hawkins Betty Jo Hays Donald A. and Mary Herron Dr. Robin and David Hickerson Hilton Garden Inn

Dr. Carol and Garry Hodgson Holliday, Lemons & Cox, P.C. Sue and Don Howren ITNS Julie’s Deli, Inc. Dr. Cordell Klein KTXK 91.5 Literacy Council of Bowie and Miller Counties Lydia and Bryce Lawrence Renee and Arnie Lawson Mary Jayne P. Locke Main Street Texarkana Ann and Mike Mayo Lindsey and Dr. Chris McMillan Angela Melde Gloria and Judge John F. Miller, Jr. Julia Peck Mobley Diana and Judge Josh Morriss Rita and William Morriss Suzanne and Glen Moses Drs. Rebecca and Dub Narramore Carol and Bob Nelsen Paul Norton Mary Jane Orr Pecan Point Brewing Company Pete Mankins Nissan Rebecca and Stuart Phillips Charlotte and David Potter Primary Commons Cliff and Becky Robertson Haley and Randy Roeser Round Table Networks Simmons Bank

REFLECTIONS

Whoa! As my young violin students like to say—20 years is a long time! I’m so proud to be a charter member of this amazing orchestra. Before the Texarkana Symphony Orchestra became the vibrant, professional arts organization it is today—and before we made our home at the beautiful and historic Perot Theatre—I was lucky to be part of the early days (when we were all still finding our footing!), playing under Kermit Poling. Back then, we hit the road from Shreveport on what we fondly called the “highway philharmonic,” traveling the winding two-lane State Highway 71 to perform in churches and other local venues. It was especially gorgeous in the fall with all the changing leaves—and this was long before I-49 made things easier! By 2005, with Maestro MarcAndré Bougie leading the way, the

Lisa and Rob Sitterley St. James Church St. James Day School Susan and John Stanley Barbara and Ludwig Stoeckl Texarkana/Chapelwood Funeral Homes Texarkana College Texarkana ER, LLC Texarkana Magazine Robin and Joe Thomas The Historical Society/ Texarkana Museums System Twisted Fork University of Arkansas Hope-Texarkana Foundation Lynn and Dr. Paul Whitt Wisdom Animal Clinic, Inc. ASSOCIATE $100-499 Gail Abrahamson Rev. Jaimie Alexander Rhonda Cross Allen Dr. Tom Alston Amigo Juan Restaurant Melinda and Jeffery Arnold AR/TEX Music Connection Angela and Brad Bailey Michala and John Robert Beck Pamela Beck Ruth Penney Bell Kathy and Dan Boyles Ruth Ann Branin Yulin and Jerry Brewer Rebecca and Dr. Randy Brown Cindy and Jim Bunch

Glenda and Richard Burkhart Brenda and Dr. Tom Burns Valerie Buster Erica and Eric Cain Bruce Cannedy Chelsea and Jeff Claybrook Michelle and Trevor Clayton Gail and Gene Cogbill Alice Coleman William Conyngham Michelle and Dr. Kenneth Crane Judge Caroline and Mike Craven Lori and Jason Cree Teresa and Tom Crow Dr. Emily and Dr. Tom Cutrer Greg Davis Margaret Fischer Davis Peggy and Dr. Larry Davis Lisa and Jason Day Peggy and Marshall Dear Jamye DeHaan Anne and Steve Douglas Christy and Dr. Jacob Duke Gail and Dr. Ed Eichler Marsha and James Elliott The ENT Group Elizabeth and Bunn Fawcett Benjamin Floyd Paula and Michael Foster Nan and Dr. Bob Fry Four States Furniture Whitney and Vickers Fuqua Gale Gill Barbara and Howard Glick Jackie and Bill Gooding Lindola and William Griffin

TSO was growing into a serious regional orchestra, and it was such an exciting time. I became Principal Second Violin in 2006, and in 2010, I auditioned earned the spot of Assistant Concertmaster—a personal milestone I cherish. Another standout moment for me was in 2019, when I got to perform Vivaldi’s Autumn with my fellow TSO concertmasters and colleagues. What a blast! These days, I’m especially thankful for Maestro Philip Mann. His leadership and creative vision have brought new energy and unforgettable performances to the stage. He continues to push us to be our best—and it shows in the music we make together. To our forward-thinking TSO Board and Staff, to our loyal audiences, and especially to the young people who represent the next generation of supporters for this orchestra: THANK YOU!! Here’s to 20 amazing years, and to an even brighter future ahead. Happy Anniversary, Texarkana Symphony Orchestra! DanSantelices, TSO Assistant Concertmaster 2025/2026 PROGRAM | TEXARKANASYMPHONY.ORG

SUPPORTING THE

SYMPHONY Habitat for Humanity ReStore of Texarkana, Inc. Karen Hammonds Kelly Hanna Amanda Harp Dr. Teretha F. Harper Melanie and Jeff Harris Stacey Louise Hart Tonja and John Hays Suzy and John Heath Highland Park Baptist Church Janis Fischer Holliday Kim and John Hollis Hospice of Texarkana Foundation Ironwood Grill Morgan Jayaprabhu Edward Jones Rosanna and Karlton Kemp Sandra Kennedy Susan LaGrone Susan and Dennis Landreaux Amber and Zach Lawrence M Kaa March Stephen Mayo Jon and Harry McCarty Liza McCubbin

Lacey and Chris McCulloch Derrick McGary, State Farm Insurance Agency Camille and Rob McGinnis Dr. and Mrs. Gene McMillan Holland and Cole Meador Vicki Melde George Merrill Cordia Metcalf Jessica and Bill Miller Dee Miller and John Greer Drew Mims Insurance Joseph Morriss Lynn and Mike Murrah Mitch Newton Ann Nicholas Carla and Joe Nichols Melody and Scott Norton Jeanie and Gary Nutter Kirk Owens Bennie and JD Phillips Jacob Proveaux William Cheney Pruett Harvey Purdy The Purtle Agency Betty Rateliff Richardson Fence & Patio, Inc. Ralph Robertson Scott Robertson Jane Rochelle

TEXARKANASYMPHONY.ORG | 2025/2026 PROGRAM

Jeanna and Mike Rogers Greg Rose Lauren and Jason Ross Ross & Shoalmire Rosemary and James Henry Russell Lucy and Dr. Randy Sarrett Debbie and Alan Schimming Angela Sikorski Sitters, LLC Deirdre and Dr. Malcolm Smith Gladys Stanley Paula and Michael Stevenson Barbara and Ludwig Stoeckl Linda and Joe Strickland Studio 57 Texarkana Area Community Foundation Texarkana Music Teachers Association Brandi Vickers Lila and Chesley Walker Kristi and Ryan Wall Mel and Ray Walsh Michelle Warren Sara and Bob Weber Kathy and Michael White Missy and Mike White Ruth Ellen and Dr. David Whitt Carolyn N. Whittle

Wiggins Eye Center, PLLC Darla Wilf Wilf & Henderson, P.C., CPA’s Pat and Keith Williams Sarah and Gary Williams Aven Williamson Martha Wisdom Brenda and Dr. Jim Works Denise and Harrison Wright Gayle Wright Timothy Wright FaEllen Yates Stacy Yates Kris and David Yells Christy Young Junie and Dennis Young Mary Ellen Young FRIEND UP TO $99 Annie Avery Barbara Cole Kimberly and Jay Davis Sue Ellen Hall Rashinda and Ryan Hampton Imogene McAlister Christina and Bruce Ramsey Dean Ransdell Robin Rogers Peggy Rosiek John Thomas Betty and Doug Williams