Overture September 2013

Acadiana’s Publication for the Arts September 2013 1

September 2013

Opento

Interpretation

2 September 2013 Overture Magazine

Thomas H. FoardSenior Vice President

Financial [email protected]

Robert C. FoardFinancial Planning Specialist

Vice PresidentFinancial Advisor

[email protected]

400 East Kaliste Saloom RoadLafayette, LA 70508

337-267-2521www.morganstanleyfa.com/foard

© 2013 Morgan Stanley Smith Barney LLC. Member SIPC. CRC402707 7177525 SUP026 07/12

Talent means nothing without opportunity.It isn’t enough to simply have talent. You have to hone it

and put it to use; otherwise, it will go unnoticed. The same

can be said for your wealth. Having investments is one thing,

but for them to reach their potential, they must be handled

responsibly. As Financial Advisors, that’s our job. We would

welcome the opportunity to discuss with you how we

can help you make the most of your assets.

On behalf of Morgan Stanley, we wish Acadiana

Symphony continued success, and proudly support

their talents as we celebrate their achievements.



September 2013

features

12

14

46

12 CONCERT FEATUREInternationally Acclaimed Symphonic Photo Choreographer, James Westwater, Presents a Visual Odyssey of Ma Vlast: Vltava.

14 THE BULGARIAN LIONAn Introduction to the Amazing Viktor Valkov: Gold-Medalist of the 2012 New Orlean’s International Piano Competition.

28 TRIBUTECelebrating the Legacy of Bruce and Madelyn Trible: The First Couple of Acadiana Piano Pedagogy, and Their Role in Founding the New Orleans International Piano Competition.

34 BLACKPOT FESTIVALThe Sounds, Sights, and Tastes of Acadiana’s Most Authentic Cajun Festival.

42 WHAT’S NEXT, CAROLINE?Meet Lafayette’s Caroline Daigle: The Child Painter with Prodigious Talent and Great Promise.

46 NO FEARPhotojournalist, Paul Kieu, Shares His GPS For Success.

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M A K E T O N I G H T M E M O R A B L E .

P L AY T O H E R H E A RT.


September 2013

contents

24

8 OPENING NOTESJenny Krueger, Executive Director

10 FANFAREMariusz Smolij, Music Director & Conductor

22 GUEST COLUMNDr. Paul Baker, Headmaster, ESA

24 WORKING TOGETHERASO’s Conservatory of Music

40 PRIVATE SCHOOL ARTS EDUCATIONEpiscopal School of Acadiana

41 PUBLIC SCHOOL ARTS EDUCATIONPerforming Arts Academy at Lafayette High

52 STANDING OVATIONContributors to the Arts in Acadiana

54 SYMPHONY SEAUXCIAL HIGHLIGHTSRed, White and Boom 54

40 41


Overture Magazine is published nine times a year and distributed free of charge by Acadiana Symphony Orchestra & Conservatory of Music. No parts of this periodical may be reproduced in any form without the prior written consent of Overture Magazine. The owners, publishers, and editors shall not be responsible for loss or injury of any submitted manuscripts, promotional material and/or art. Unsolicited material may not be returned.

Advertising in Overture Magazine does not imply endorsement by Overture Magazine or Acadiana Symphony Orchestra & Conservatory of Music. Overture Magazine reserves the right, without giving specific reason, to refuse advertising if copy does not conform with the editorial policies. Overture Magazine does not necessarily agree with nor condone the opinions, beliefs or expressions of our writers and advertisers. Neither the publishers nor the advertisers will be held responsible for any errors found in the magazine. The publishers accept no liability for the accuracy of statements made by the advertisers.

© 2013 Overture Magazine. All Rights Reserved.

September 2013 Vol. 1, No. 1

PUBLISHED BY

EDITOR Jenny Krueger

[email protected]

PROJECT MANAGERRebecca Doucet

[email protected]

WRITER Marisa Olson

[email protected]

ACCOUNT EXECUTIVE Carolyn Brupbacher

[email protected] • 337.277.2823

GRAPHIC DESIGN/LAYOUTMike Bedgood • Innovative Digital, LLC

[email protected] • 337.322.2854

CONTRIBUTING WRITERSPaul Baker, Samantha Hoffpauir

Kat Mavassaghi, Mariusz Smolij

CONTRIBUTING PHOTOGRAPHERSLucius A. Fontenot

Danny Izzo, Nouveau Photeau

Paul Kieu, Daily Advertiser

Kevin Ste. Marie

Westwater Arts Photography

MAILING ADDRESS412 Travis Street

Lafayette, LA 70503

[email protected]

ON THE WEBacadianasymphony.org


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Opening Notes

Welcome to the first issue of Overture Magazine, Acadiana’s Publication for the Arts. My vision for Overture is that it will become a forum of open exchange about the arts in Acadiana, and will spark dialogue about topics we ordinarily do not discuss. As you read through its pages, we hope to reveal a world that is surrounded by art: our media, the buildings in which we work, even the advertising that catches our eye. Artists and their art are all around us. We will introduce you to local “practical” artists, such as photojournalist, Paul Kieu, who uses his artistic flair to capture a moment and the character of a story that the Daily Advertiser prints. We will introduce young, local talent like the award-winning painter, Caroline Daigle, as well as internationally celebrated superstars, such as the concert pianist, Victor Valkov. Though their visual and musical works may be beautiful, more fascinating is that their art is their interpretation of the world. When we experience their work, we see the world through their eyes.

Our interpretation shapes our perception of ourselves and the world in which we live. Our culture floods us with information, images, and sound, yet rarely do we pause to digest or understand them.

Art - a small word with broad meaning, endless interpretations, connotations, emotions, and much confusion. Some believe in its importance. Others (myself included) are still unsure “how to” enjoy it all. Why would I rather not participate than ask the questions that will help me understand? Why am I reluctant to ask? Fear of vulnerability, and fear of appearing stupid. I’m missing out. Maybe you are, too.

Why should I visit an art museum? What am I supposed to do when we get there? If I am unfamiliar with classical music, why would I attend a symphony concert? I’m not outdoorsy, and know a little about the local music scene, but have never heard of the Black Pot Festival. Why is it important? And why should I go? These topics and many, many more will fill the pages of Overture.

We will also cover arts education in Acadiana, showcasing programs in our public and private schools. Most agree that the arts are important for our children’s development, but what about our own? If we have no exposure to the arts as children, how does that affect our community? We look forward to your input on these issues.

I hope Overture will inspire you to join the conversation, and to participate in the arts in Acadiana!

“A painter should begin every canvas with a wash of black, because all things in nature are dark except where exposed by the light.”

– Leonardo da Vinci

Open to interpretation. What’s yours?Jenny Krueger, Executive Director


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Fanfare

Welcome to the 29th concert season of your Acadiana Symphony Orchestra.

We continue our cultural mission and artistic journey with another series of exciting concerts. As the only fully professional symphony orchestra in Acadiana, we feel a great sense of pride and responsibility in sharing the gift of live orchestral music with our entire community.

My three-year artistic vision explores the relationship between the basic elements and music.

We begin this season with the theme of Water, featuring diverse programming that ranges from Baroque dances to a newly-commissioned children’s oratorio. The repertoire will marry orchestral sound with images of rivers and lakes, tales and legends, nature poetry, even the spirituality of holy water.

Your Acadiana Symphony Orchestra and ASO Chorus will join forces with Baton Rouge Symphony Orchestra and Chorus, the University of Louisiana Chorus, and a stellar line of guest artists, including gold medalists of the world’s most prestigious international competitions. We will also pay musical

tribute to the Atchafalaya with an original composition born of our collaboration with Evangeline Area Boy Scouts, in support of their 100-year project to protect and restore what is perhaps Acadiana’s most cherished environmental treasure.

I believe that art and music are as essential to the human spirit as water is to our physical existence. Thank you for sharing with us the wonderful experience of live music. I hope that you will enjoy all of our performances.

Happy listening!

Welcome to the 2013/2014 SeasonMariusz Smolij, Music Director and Conductor


–Anne & Eddy KnightJune 1, 2002

Privilege entails responsibility and we feel

privileged to provide this wonderful opportunity

to enable our area students to hear great music.

It is an honor to give back to the community a

part of the blessing we have received.


IConcert Feature

In the Czech language, Má vlast translates into English as “my homeland.” Má vlast is a masterpiece of six symphonic poems by Czech composer Bedrich Smetana, each poem depicting an aspect of the countryside and the legends of Bohemia. The first poem, Vltava, pays tribute to the majestic Vltava River, which flows through the Czech Republic. In German and English, this river is known as the Moldau (Die Moldau). In Vltava, Smetana uses tone painting to evoke the sounds of the great river:

The composition describes the course of the Vltava, starting from the two small springs, the Cold Vltava and Warm Vltava, to the unification of both streams into a single current, the course of the Vltava through woods and meadows, through landscapes where a farmer’s wedding is celebrated, the round dance of the mermaids in the night’s moonshine: on the nearby rocks loom proud castles, palaces and ruins aloft. The Vltava swirls into the St John’s Rapids; then widens and flows toward Prague, past the Vyšehrad, and then majestically vanishes into the distance, ending at the Labe.

In order that we may more fully experience the awesome power and beauty of the Vltava, symphonic photo choreographer, James Westwater, together with multimedia artist, Nicholas

Image and Sound Synergy With Profound AffectsMarisa Olson

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Bardonnay, will fuse projected photographs of the river with the live orchestral performance of the Acadiana Symphony Orchestra. Westwater’s photo choreography is an original art form he created in the early 1970’s, which blends live symphonic music with projected, multi-images that reflect the qualities and character of classical compositions. Westwater uses hundreds of thematically-related images drawn from his original work, although for some projects he draws upon historical archives or submitted photography.

Westwater uses photo choreography not as an interpretive aid for a composer’s score, but as a way to weave visual and musical art forms into a single poetic “essay” that communicates his impressions of the music, while helping orchestras share the beauty of live classical music.

During a symphonic performance, Westwater’s evocative, multi-image photographic essays are projected onto a 440-square-foot, three-panel,

panoramic screen suspended above (and normally in front of) the orchestra. As the musicians perform the music under the orchestra’s conductor, Westwater cues elegant visual transitions, filling the screen with single, double and triple image combinations that often form impressive panoramas. This creative

synthesis of music and imagery provides a compelling new symphonic experience that has been performed with over 150 orchestras across North America and abroad.

This powerful synergy of image and sound has profoundly affected audiences, orchestras, and musicians. Christopher Wilkins, Music Director

of the Orlando Philharmonic has said: “[Westwater’s] work far surpasses anything else of its kind . . . partly because of his impeccable devotion to all aesthetic concerns . . . his innate sense of music and musicality, and mostly because his work communicates with the same awareness of spirituality and inner life . . . “ Pepe Romero has said: “I was deeply moved by the performance of [Westwater] . . . I felt surrounded by beauty on a level that surpassed the senses, becoming a truly spiritual experience. I felt loved by God and Nature and in complete communion with both.”

The Acadiana Symphony Orchestra is delighted to perform with the great Westwater in presenting the grandeur of Smetana’s masterpiece. Má vlast: Vltava can be experienced by Lafayette symphonic lovers on Saturday, September 21, 2013, 6:00 p.m., at the Heymann Performing Arts Center.

“I felt surrounded by beauty on a level that surpassed the

senses...”


The Bulgarian

Viktor Valkov is phenomenal. He shows true imagination, playing keyboard music from the 16th century through to the present. He can play anything, whether a very simple, lesser-known Baroque piece by Froberger, a massive Liszt piece, or a Bartók etude. He captivates you. You can’t wait to hear what he will do next, unlike so many others who play beautifully, but in a generic style, with no individual voice. Viktor has a distinctive voice.”

Dr. Raymond GitzCo-Founder, New Orleans International Piano Competition

President, Musical Arts Society of New Orleans

“


Viktor Valkov

By Marisa Olson

The BulgarianLion

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iktor Valkov’s virtuosity and program selections are imbued with a dynamic range that gratifies a spectrum of moods and esthetic palettes. While one critic styles him as the “Lion of the Keyboard,” emphasizing his fierce and impassioned playing, another extols his “very sensitive playing” and “propensity for the quieter, subtler, more lyrical moments.” Despite his considerable achievements, powerful stage presence, and the enthusiastic critical acclaim he elicits, Valkov is disarmingly unpretentious, manifesting vibrant wit, refreshing candor, and a slightly mischievous charm.

An easy conversationalist, Valkov is quick to share his shrewd and often humorous observations, and the next moment, to expound ardently upon matters close to his heart, which include his desire to broaden the piano repertoire and love for his native Bulgaria. Valkov’s range and sensitive ear serve him as well offstage as on. One does not expect an immense talent to adapt so readily beyond the borders of its artistic milieu - one of many surprises and overturned assumptions lobbed by Valkov during our interview.

Valkov’s appreciation for tradition emerges from his roots in the ancient Bulgarian city of Rousse, which has existed since Roman times and is famed for its Neo-Baroque and Neo-Rococo architecture. The “Little Vienna on the Danube” is a source of national pride as Bulgaria’s cultural capital and cradle for the Arts, and its music, literature, and visual arts bear a heavy Russian influence. The Valkov home was filled with symphonic and sacred music. Valkov’s father is still bassoonist for the Rousse Philharmonic Orchestra, and his mother was choir director at the local Eastern Orthodox Church. (His father also was a serious heavy metal fan. More on that later.) But while Valkov honors tradition, his restless intellect and relentless curiosity compel him to seek the novel and untried, and to recover hidden beauty in the unexpected.

Valkov’s close friend and duet partner, the Bulgarian cellist Lachezar Kostov, describes his initial impressions of Valkov when they met their first year at the conservatory in Sofia, Bulgaria in 1999, when both were about 18 years old. “Viktor

was this ‘heavy metal’ rocker with long hair, from the northern part of the country. I embraced the classical and was from another region . . . ” Despite differing outward appearances, the two students noticed almost immediately that they shared basic values and attitudes, particularly about music, and possessed a fierce work ethic and discipline that compels them to practice intensely for hours at a time. “We both believe that, whatever you do in life, give your absolute best, everything you have. If you’re a bricklayer, then be the best bricklayer.” Although many rave about Valkov’s “big” sound, Kostov finds Valkov’s artistry most reveals itself in his “quietest moments.”

I had the pleasure of speaking with Valkov recently about how he became a concert pianist, the events and influences that shaped his choice, as well as the challenges and rewards of his profession. Valkov’s lasting impressions as an artist are his dedication and daring, his courageous efforts to expand the universe of the standard piano repertoire, and his enthusiasm to share unknown and forgotten works for the enrichment and delight of his audience.

V


What are your earliest recollections of music, and when you were growing up, was it a given that you would become a musician?

I was interested in music, always, all sorts, so I think it was always a given I would become a musician. I was 4 years old when I expressed interest in church organ lessons - although my parents steered me toward piano where I would receive a better foundation in keyboard music. We had a piano at home, and, from what I remember, I liked to do something that drove my parents crazy as they relaxed with their afternoon coffee: I liked to press the right foot pedal that makes the sound sustain, and just bang on the keys to create sonic washes of sound. So I guess it came to the point they decided to get me a piano teacher, because they couldn’t stand it anymore.

Did you ever show interest in or aptitude for another instrument or art medium?

When I was 12 years old, I had a particularly strict teacher who drove his more diligent students to overpractice, so much so that I developed tendonitis and had to stop playing, because I couldn’t use my hands. I couldn’t even open doors. My injury so worried my parents that they feared I might have to abandon piano and take up another art form, so enrolled me in art classes at my school, where I seemed to show an aptitude for that medium. Despite my injury, I was able to paint and draw well. My art teacher strongly encouraged my parents to seriously consider my pursuing the visual arts. In the Bulgarian school system, during grades 8 through 12, a decision has to be made about a student’s career path. My parents gave me the option, Did I want to continue with piano or pursue art? I said, “Well, if I can’t play piano, can I play drums? “Either way, you’re using your hands!” “In that case, I’ll stick to piano.”

Did you ever doubt your choice?No. I continued drawing and painting for fun in my teens,

drew comic books, but never stayed with it. I eventually lost interest.

Although you began classical piano lessons at age 4, did you ever seriously consider pursuing another music genre?

When I was 10 years old, I discovered American rock music, and decided that I must be a rock musician, this was my calling, and seriously played rock until I was nineteen. My rock influences first came from my father, so it was Pink Floyd and Deep Purple in the beginning, and then I branched to Led Zeppelin, so I basically grew up with rock bands of the 1970’s. I played electric organ during my rock phase, and now only occasionally play organ in church.

Do you still like to mix it up even now – do you still play or listen to rock music? Or, does the classical

genre provide enough versatility to accommodate evolving states of mind and mood?

There came a point, I was 18, reading the first movement of Rachmaninov’s Second Piano Sonata, and realized nothing in rock music could ever achieve such a level of intense emotion, imagination, structure, and power. It wasn’t an auditory experience – it wasn’t that I heard the piece and said, “Wow, that’s terrific!” I was looking at the score, because I had to learn the piece, and was playing it slowly on the piano. This is when I realized, “[Classical music] is bigger than what I’m doing.” It was the contact with the score that completely changed my mind.

I had been immersed in classical music since early childhood, had my favorite pieces, even favorite pianists. I had seriously played classical music throughout my school-age years, performing solo and also with orchestras on occasion, but up until that point, I was convinced that rock offered limitless possibilities. I realized that this was not the case, that classical music afforded me those possibilities, a dynamic range of experience, nuance, and intensity.

The age of rock music was over for me. I finally became serious about piano after having taken it many years, and decided to devote myself exclusively to its study. I realized so much work could be done with that instrument, and I decided to focus on those possibilities.

What have been some of the “limitless possibilities” that you have explored since making that early commitment to classical piano?

Classical has everything, although “classical,” as a term, doesn’t tell you anything. We’re talking about Western musical traditions. I’ve been interested in all sorts of time periods, and last year played a recital where the first half was keyboard music antedating Bach’s birth by a hundred years. We hardly listen to this type of music, especially just keyboard. If we hear this music played at all, it’s either played on harpsichord or organ, because those are the instruments for which it was written. Yet we are told that keyboard music begins with Bach.

I decided to find out whether this was really the case, to explore, and found that only in keyboard music there is about 100 years of tradition before Bach’s birth. This early keyboard music is very particular, very different from anything that we are accustomed to hearing, and from what we are taught to believe is classical music, which basically is classical in the 19th century, Romantic tradition - that this is how we think of classical music. I realize that basic expressions, basic ways of conveying musical formulas or feelings, are more or less the same. People back then were dealing with the same day-to-day kind of problems we have, and it influenced their music. You have to learn their language, but once you learn the language, you see they are saying the same thing.

>>


Another example of the versatility of “classical” or Western musical tradition can be seen in modern composers. I recently played George Crumb’s Makrokosmos III, an amazing piece written in 1973, about 40 minutes long, for two amplified pianos and two percussionists. But it doesn’t sound anything like what we think of as classical, because it’s not in the tradition of what a symphony-going audience listens to, like a Beethoven or a Tchaikovsky symphony. It’s more like an early Pink Floyd album. Very psychedelic. To the point that, after our dress rehearsal, after we finished playing the piece straight through using blue light onstage, one of my fellow doctoral students here at Rice said, “What are the school policies about smoking ‘stuff,’ during the performance of this piece, because this music really requires some.” So, Crumb is a major composer of the 20th century, yet very much contrary to our conditioned expectations of what we expect from “classical” music, even for other musicians. And yet, Crumb still is very much in keeping with the tradition of Western music.

I must ask an unfair question, because it’s a false and impossible choice, but I’m hoping its answer may reveal more about you artistically and also personally: Among all the composers you revere, if you were restricted to only a few whose work you could perform or listen to, whom would you choose? Who are your top three?

I guess one can always expect this question! At least you give me the liberty to pick a few. People usually ask me, “Name one composer” which is impossible! For sure, I have to have Beethoven. He keeps me sane, in check, in touch with what’s important in the world. Bartok, too, and a French composer who was a tremendous piano prodigy, Charles Valentin Alkan, from the same generation of Lizst and Chopin. He wrote this incredible music, not always stratospheric “genius” level, but always very interesting, with a certain twist that nobody else has. Very French, very Romantic, and very often tortured. He is not played often, but should be. I’m not going to take Mozart by the way. There’s so much happening within three seconds of his music, I don’t understand it.

How would you say your peers perceive you, what would they say is the single distinguishing characteristic or trait that sets you apart from them? Imagine them completing the sentence: Unlike the rest of us, Viktor is the one most likely to . . .

They’d probably say I’m “the one most likely to play music we’ve never heard of.” It’s funny, when you play an unknown piece a couple of times, or a composer they’ve never heard of, or a piece by a famous composer that they never knew existed, immediately you’re pigeonholed: “That’s the guy who always plays stuff that we don’t know.” But it’s not true, I also like to play the standard repertoire, but sometimes people tend to narrowly focus on a few, isolated aspects of

something, rather than the whole. It’s easier.

About a month ago I brought a piece of music that I wanted to play, Beethoven’s Moonlight Sonata, to my piano instructor at Rice University, Jon Kimura Parker - whom I adore, he’s been one of the greatest influences in my life, personally and professionally – and he said, “I’m so happy that you brought me a piece that I know!”

Have there been times when you felt your choices in repertoire were misunderstood, whether by an audience or by your colleagues? And when are you most satisfied by a performance – what validation do you seek, or does it only matter if you felt you did your best?

If on repeated occasions I feel misunderstood, or that an audience didn’t get me at all, that probably means it’s my fault. When I was younger, I didn’t do very well in competitions, and I always thought that it’s someone else’s problem if they didn’t get it, I did everything right, everything I should have done. My programs were not as conventional, but still, What’s the big problem? In retrospect, I don’t think the problem was them, I just didn’t communicate. Now, If at any moment somebody feels that whatever piece of music I’m playing is not convincing, that’s usually my fault.

Last summer when I won with the New Orleans Piano Competition, I had the most bizarre program in the world, pieces nobody knows: Buxtehude, Froberger, some Bulgarian music. Still, I managed to come through, to organize the material in such a way that my audience understood my motivations. I’ve noticed this also with very difficult pieces that are sometimes incomprehensible, even for other musicians, for example, Busoni’s Fantasia Contrappuntistica, an early 20th century work, which is thirty-minutes of extremely contrapuntal, slightly dissonant music. But, after I finish a concert, and people have an overall positive reaction – they might be a little weirded out by the music, but overall their reaction is positive - then I feel good, that I’ve done a good job.

I recently spoke with your close friend and longtime chamber music partner, Bulgarian cellist Lachezar Kostov. He mentioned that it was only a matter of weeks after you two met that you began performing together. He “got” you, didn’t he? What do you think accounts for your hitting it off so quickly, and for the longevity of your collaboration and friendship?

That’s true. Since meeting in 1999, our first year at the conservatory in Sofia, Bulgaria, we have always performed together. At first we just hung out and met for drinks, and talked about music. Then we started listening to music together, and I noticed we would react the same way to a piece, so I knew we were on the same wavelength. Then, just


for fun, we played something together and it came easily, without much explanation of how to interpret this or that part. I saw we understood music the same way – and if you don’t have that from day one, you’re not going anywhere.

We also shared an eagerness to rehearse long hours in order to get to the very bottom of whatever piece we were playing, so we’d rehearse short passages of a piece for long periods of time, more like explorations. Our relationship feels very comfortable, but at the same time he still challenges and inspires me to improve. He’s a great musician and a great cellist. I’ve definitely learned a lot from him.

Which of your instructors and mentors influenced you most, and how so?

Michael Roll, one of Britain’s leading pianists, was my instructor at Folkwang Hochschule in Essen, Germany. I had taken a master class with him in Bulgaria a couple of years before, and thought I had found my teacher. He

taught me how to produce incredible, beautiful sound. Jerome Lowenthal and Matti Raekallio at the Juilliard School of Music, where I received my Master’s, they also greatly influenced me. I learned so much from them. But the mentor who has had the most profound influence, both personally and professionally, is Jon Kimura Parker, my teacher at Rice University where I’m currently studying for my Doctor of Musical Arts Degree. Jon is amazing, incredibly gifted, and so disciplined. He accomplishes so much in a given day, balancing an impossible schedule between career and family - and manages to get everything done! I’ve never met anyone like him.

Thank you so much for your time, Viktor. It’s been a true pleasure speaking with you.

You are welcome, Marisa.

Since 2002 Viktor Valkov has won numerous international piano competitions, including: First prize at the “Albert Roussel” in Bulgaria; First prize at “Koeller Osbahr” in Germany; and Second prize at “Tunbridge Wells” in England. In 2012, he took the Gold Medal at the New Orleans International Piano Competition, and returned to New Orleans last February to perform Bartók’s First Piano Concerto with the Louisiana Philharmonic Orchestra. Valkov and longtime music partner, cellist Lachezar Kostov, gave their Carnegie Hall debut at Zankel Hall in 2009. Valkov earned his Master’s Degree at the Juilliard School, where he studied with Jerome Lowenthal and Matti Raekallio, and presently pursues a Doctor of Musical Arts Degree at Rice University in Houston with Jon Kimura Parker. Valkov will perform Rachmaninov’s Rhapsody on a Theme From Paganini with the Acadiana Symphony Orchestra on Saturday, September 21, 2013, 6:00 p.m., at the Heymann Performing Arts Center.

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AAs a newly appointed headmaster, I was thrilled when the Acadiana Symphony Orchestra asked me to write an article about arts and education from the viewpoint of the private school world. The administration and faculty of the Episcopal School of Acadiana, like many other independent schools, have the freedom and the responsibility to design our own curriculum. If we don’t perform, we won’t have any students. As a school, we serve a diverse population (preK-12) and consistently produce high standardized test scores (ACT average is 27.3). However, the numbers tell only part of the story. Our graduates experience success not because of a number, but because they are confident, creative, and collaborative critical thinkers and innovators. The skills that our students acquire are enhanced by a creative school environment with a solid arts education. Years of research supports this conclusion: involvement in the arts is associated with gains in math, reading, cognitive ability, critical thinking, and verbal skills (edutopia, 2013).

Good arts education begins with exposure to a range of visual and performing arts. We are blessed to live in a culturally diverse area that offers everything from a world class symphony orchestra to Festival International to the Acadiana Center for the Arts, from Vermilionville to Artwalk to the Hilliard Art Museum. Schools that make these resources available to their students will see an increase in the outcomes that we all want for our children. However, students must have authentic venues to produce their own art as well.

ESA has had success with a range of arts initiatives. We begin with the traditional: producing musicals, plays and performances for students of all ages; mounting exhibitions of

student art work; inviting guest artists, bands and performers; taking advantage of educational concerts. The risks and rewards have come from the innovative ideas we have incorporated: offering one-on-one filmmaking, or music composition independent study for academic credit; leading by example with faculty performances and exhibits; providing studio space for artists-in-residence; and partnering with the Hilliard Art Museum to have our students design and install an international children’s art exhibit. The foregoing are but a few examples of our systematic efforts to involve our students with the arts throughout their ESA careers. Without a strong arts program, I believe our numbers would not be as strong, and I know that our students would not be as strong.

I think that one of the important roles of an independent school is to serve as a laboratory for educational innovation. Hopefully, successful partnerships can form between the private and the public schools of Acadiana that encourage the exchange of ideas and resources in arts education.

Paul Baker is a frequent performer in the Lafayette area--as tenor soloist, orchestra member, guest composer and conductor. Additionally, he holds a PhD from UL Lafayette in Evolutionary and Environmental Biology. He has been named Headmaster at Episcopal School of Acadiana.

Arts Involvement Associated with Classroom SuccessDr. Paul Baker, Headmaster, Episcopal School of Acadiana

Guest Appearance


Masterwork no.3

Fantasia 2000 – groundbreaking marriage of symphonic music and animation! Disney movie projected on large screen with the original soundtrack performed by the orchestra including selections by Tchaikovsky, Beethoven, Debussy and Respighi.

Pre-Concert VIP Party for Children Join us for musical games, dancing, face painting and cookies & milk with a real princess and other special guests! Come dressed as your favorite princess, prince or friendly character.

Sponsors

Saturday, November 9, 2013 /// 4:00 pmHeymann Performing Arts Center

Bo & GeriRamsay

Beginning with Babylonian mythology in the 18th century BC, through the cultures of ancient Greece and Egypt, and into modern times, the elements affect our perception of ourselves and the world around us. In our modern existence, they underpin the foundations of science, and still profoundly influence the works of artists, poets and musicians. Many prominent musical composers have been awe-stricken and inspired by the elements of nature.

During the next three seasons ASO will explore the connections between music and three of the natural elements: Water in 2013/14, Fire in 2014/15 and Earth in 2015/16. We will present musical masterpieces in a diverse range of styles that reflect the fascinating connection between nature and sound.

The people of South Louisiana are particularly aware of the element of water, which determines their way of life, work, and recreation. Water can represent tragedy and devastation, but also hope and renewal. Water therefore will be the first element we explore as the source for musical inspiration.

Human existence is based upon its relationship to the primordial elements of water, fire, air, earth. Throughout civilization man has worshipped, sought to harness, and universally been humbled by these forces. Through their creative and destructive power, the elements shape not only the natural world, but exert their force upon our collective psyche, which we express through myth, poetry, philosophy – and music.

20132016

ARTISTIC VISION3yr


LLafayette has a thriving arts and music ecosystem. Truth be told, many people think of the Acadiana Symphony Orchestra as the entity that fills the “classical music” niche in the community. Not everyone knows that the orchestra is also affiliated with a thriving school of music that teaches students of all ages and experience levels. The Acadiana Symphony Orchestra & Conservatory of Music is one of only two organizations in the United States that combines a professional orchestra with a school of music (the other is in Rhode Island). The two branches – the Orchestra and Conservatory – work together toward the goals of educating, entertaining, and engaging the community in high-quality musical performances and programming.

The Acadiana Conservatory of Music employs more than twenty teachers – all professional musicians – to work with more than 200 students at the main campus and an additional 100 students at satellite locations throughout Acadiana. The Conservatory operates year-round on a semester schedule, offering fifteen lessons in the fall and spring and eight lessons in the summer. Students can take private lessons for more than a dozen instruments (piano, violin and voice are the most popular) or participate in a group class. This fall the Conservatory is offering group guitar and group voice classes. Previous class offerings have included group violin, group piano, and music theory. The schedule and classes refresh each semester.

Younger musicians (ages 2-5) and their families can sign up for Little Music Makers, an early childhood class that uses music and movement to build a foundation for musical learning. Student musicians who are looking for ensemble experience can join the Acadiana Symphony Youth Orchestra and play for either the prep (elementary & middle school) or

youth (middle & high school) orchestra. Who knew?

The Acadiana Conservatory of Music, along with ASO’s administrative staff, occupies a two-story building in the heart of Lafayette’s Oil Center. On any given afternoon one can walk in and hear aspiring musicians playing instruments or singing in the numerous studios throughout the building. Parents, grandparents and younger siblings wait in several different lounge areas and listen to the bustle of instruments being tuned, scales being practiced and familiar songs being played over and over until they’re just right. Sometimes one will hear a teacher cheer “great job!” when a student plays a piece well or hits that difficult note.

“I enjoy listening to the lessons in the studios around my office,” says Samantha Hoffpauir, Conservatory Director. “Hearing a student practice one section over and over is completely worth it when I hear them play it

through perfectly. What a great soundtrack to the work we do in the office!”

ASO’s Conservatory of Music

Working TogetherRebecca Doucet

>>



Conservatory students leave each lesson with an assignment and are expected to practice several times a week for about 15-45 minutes, depending on their age, until next week’s lesson. The fall and spring semesters culminate in recitals where students perform their favorite selections in front of a proud audience of friends and family.

The Conservatory is not just for aspiring classical musicians. A recently developed class called “Petite Voices” offers children ages 3 – 8 the unique opportunity to learn French language and music in a fun and educational setting. Led by local treasure Christine Balfa, Cajun musician extraordinaire and daughter of legendary Cajun fiddler Dewey Balfa, Petite Voices teaches French using movement, storytelling, drama and art, reminiscent of the way traditional Cajun French passed through generations in

Fall 2013Conservatory Schedule

GROUP CLASSESLittle Music Makers Mondays @ 5:30pm

15 classes from Aug 19 - Dec 6*

Petite Voices Wednesdays @ 5:30pm


Group Guitar Thursdays @ 6pm


Group Voice Tuesdays @ 3:30pm


PRIVATE LESSONSPrivate lessons are available for the following instruments:

Violin, Cello, Piano, Voice, Guitar, Viola, Bass, Flute, Clarinet, Saxophone, French Horn, Trumpet, Trombone,

Cajun Fiddle, Cajun Accordion, and Percussion.

Weekly schedule to be determined by instructor and student based on availability.

15 classes from August 19 – December 6*

*Registration is available through the end of September. Tuition will be pro-rated for late registrants. Contact the

Conservatory Director at 337-232-4277 ext. 2 or [email protected] for more information.


homes throughout Acadiana.

Obviously, the Conservatory is not for Classical music lovers only. It also is not only for those who can afford private lessons and classes. The Conservatory staff diligently raises scholarship funds to provide quality music education and opportunities for disadvantaged students. The Conservatory awarded more than $2,500 in scholarships to 18 students for the fall ’13 semester. Encore!

To find out more about the fall lessons and classes, visit the Conservatory of Music’s website at www.acadianasymphony.org/conservatory. Registration remains open though the end of September.

Samantha Hoffpauir contributed to this article.


For over half a century, Bruce and Madelyn Trible have been a vitalizing force for the classical music scene in Acadiana. That you may not have

heard of this remarkable couple is not surprising, but to be expected. Throughout their service, the

Tribles have nimbly sidestepped the limelight, preferring to quietly and diligently support the

arts, as well as establish a first-class venue for classical piano performance and pedagogy.

Celebrating a LegacyMadelyn &

Bruce Trible

By Marisa Olson


Celebrating a Legacy

Some teachers like to destroy a student and then re-create them in their own image. Madelyn [Trible] takes them as they are, and boosts their confidence, but at the same time demands excellence.”

Dr. Raymond GitzUniversity of New Orleans

“


DDuring her decades-long career as a piano instructor and lecturer, Madelyn has taught literally thousands and amassed a loyal cadre of devotees, many of whom have become noteworthy performers, professors, and promoters of the arts. Whether through teaching, or through the establishment of an international piano competition, Madelyn’s influence reverberates throughout Acadiana into New Orleans and beyond. Twenty years post “retirement,” Madelyn remains one of Lafayette’s leading piano teachers, retaining about twenty full-time students, many of whom are also successful area piano instructors.

Once Madelyn accepts a student for lessons, the bond is permanent. Dr. Raymond Gitz of the University of New Orleans, a lifelong friend of the couple’s, and former student of Madelyn’s quips: “I haven’t been a student of Madelyn’s since 1972, but she’s still giving me work assignments! And I do them!” He pauses thoughtfully, then adds: “They’re an amazing couple. Madelyn is a remarkable and inspiring woman – but behind this great woman is a great man. Madelyn has great ideas, great projects. Bruce gets her through them.” Madelyn herself declaims: “Number One about Bruce is his unbelievable, endless patience! A close second is his fabulous storehouse of knowledge.

A highly trained researcher, Bruce has produced a number of scholarly compilations, which have been of immense help to Madelyn. These include A List of Piano Scores in Dupre Library, USL, 1985, a 238-page volume giving a detailed listing of over 2,200 scores, and A Thematic Index of the Keyboard Sonatas of Domenico Scarlatti, a 41-page volume listing by key the opening measures of Scarlatti’s 555 keyboard sonatas, identifying their Longo and Kirkpatrick catalog numbers.

THE YOUNG COUPLEThe couple’s enduring partnership began while they

were graduate students at the School of Music of Indiana University. Bruce then was working on his Master’s in Musicology, and Madelyn on her Masters of Music in Piano Performance. Madelyn received her undergraduate degree at Mary Manse College in Toledo, Ohio, where she learned a combined French and Russian playing

technique specifically designed to produce the fullest, most beautiful tone color. This approach has become a signature attribute of her pedagogical style and legacy.

After completing his Master’s in Musicology, Bruce then pursued a Master’s in Library Science. With her Master’s in Music completed, Madelyn continued in the IU School of Music as a member of the first class of Doctor of Music candidates. By the time Bruce completed his second master’s, Madelyn was only halfway through her DM requirements, so she “traded for an MRS” later that year. Neither could anticipate the outcomes that would emerge from the marriage of their combined talent.

Bruce’s first position was periodicals librarian at East Carolina University in Greenville, North Carolina, where Madelyn quickly established a large private piano studio. After three years the young couple relocated to Wayne State University in Detroit, where Bruce had been offered the position of music librarian. Madelyn started a private class there as well.

Bruce’s next opportunity came when he was offered the position as reserves librarian at SLI, and the young

couple moved to Lafayette in the fall of 1958. Shortly thereafter, their son Michael was born. During the next three years Madelyn raised Michael while giving private piano instruction in her home. She was then invited to join the USL School of Music faculty.

While teaching at USL, Madelyn developed a rather unusual and creative approach to study and pedagogy: inaugurating each semester with a project by theme. For example, at one time all her students presented a

program featuring only Scriabin works, the next, only Rachmaninov preludes. The novel approach acquainted each student with much more of a composer’s work than could be learned individually. She continues this inventive, thematic approach to this day with her private students.

Madelyn created and eventually became head of the Piano Pedagogy Department at USL, and was able to initiate two degrees: the Bachelor and the Master of Music Degrees in Piano Pedagogy. She designed specific courses to help students who were not pursuing careers in performance to become effective, successful teachers of piano. In connection with this, she developed a

Once Madelyn accepts a student

for lessons, the bond is permanent.


large Piano Preparatory Program where young children were taught by college students in a supervised setting, and eventually presented in recital as part of their teacher’s degree requirements.

NEW ORLEANS PIANO COMPETITIONSince 1980 New Orleans has hosted a summer Keyboard

Festival originated by the late Melvin Alford, consisting of a week-long series of master classes, lectures, and evening recitals. Bruce and Madelyn tried never to miss the event, each summer joining several of their closest friends there, including former students Raymond Gitz and Daniel Weilbaecher, and longtime friends from Lafayette, Al and Joan Landry. Ultimately it became clear to Madelyn that this was a festival of very high-quality but of too little recognition. Thus she embarked on her newest adventure.

Madelyn first met with Raymond Gitz and discussed what she felt the New Orleans Festival needed: a piano competition. Texas had the Van Cliburn and Ohio the Cleveland International -- Louisiana should have one, too. Raymond agreed, and together they presented the idea to Alford who initially was reluctant, realizing the magnitude of work such an event would entail. Alford eventually agreed on the condition that Madelyn and Raymond would lay the groundwork. And so it was that in 1989 Madelyn and Raymond became co-founders of what would become the New Orleans International Piano Competition, now in its 25th year, and among the top 10 piano competitions in the United States.

Raymond and Madelyn compiled mailing lists, sent nationwide announcements of the competition, and received, reviewed and judged entrants’ taped submissions, all the while becoming increasingly appreciative of Alford’s initial hesitation. But today, the competition is among the very few that sets no age limit for entry, and includes in its prizes (thanks to the invaluable help of businessman and music lover, Richard Goula) a recital at London’s Wigmore Hall, a leading international venue that specializes in piano and chamber music performance. In 1994 Madelyn’s former student, Daniel Weilbaecher, now a faculty member at Tulane University, assumed leadership of the organization. He states:

“From the beginning the competition talent level was always high, yet every year we would marvel at the increases. But perhaps the highlight was when Stanislav Ioudenitch, of Russia, won our competition in 2000, and went on the next year to win the gold medal at the Van Cliburn competition. A sign of our importance is when you look at a major competition like the Cliburn, and see that we are drawing the same contestants into our own competition. Ioudenitch’s appearance really helped put us on the map.”

>>

guest artists:Bridget Kibbey, harp

ASO chamber players

Sunday, October 6, 20133:00 pm /// Acadiana Center for the Arts

Hubbell cHamber series no.1

the oceanacross

Program:Harp and chamber music by C. Debussy, M. Ravel and J. Rodrigo. Argentinean and Cuban dances by P. D’Rivera, selections of Celtic harp music.


Since its creation the competition has energized the New Orleans Keyboard Festival and spurred the growth of the Musical Arts Society of New Orleans.

RETIREMENT“Madelyn is a pioneering spirit with amazing, enormous amounts of energy. She’s always thinking up new projects. She doesn’t stop. Her idea of relaxing is making lists of things to do.”

-Dr. Daniel Weilbaecher

When Bruce and Madelyn retired in 1990, Madelyn again established a private studio at home. The couple also looked forward to building their “dream” home, and met with designer Mark Pritchard, also the principal cellist with the Acadiana Symphony, to create plans. “What a happy and fortunate liaison that became!” Madelyn exclaims. “Mark achieved what was in keeping with our acoustical and architectural wishes, and we remain forever grateful to him!” Pritchard designed an in-home performance hall capable of seating 50, a spacious stage that holds two seven-foot grands, a Mason-Hamlin and a Steinway, and a nine-foot harpsichord, built in 1986 by Cecil Taylor in Houston. Madelyn had commissioned the concert

harpsichord to fulfill her passion for authentic Baroque music and authentic Baroque performance.

For quite some time Madelyn coached in Houston with the late Margery Halford and Willard Palmer, both Baroque specialists of high reputation. Madelyn herself has become well known around the state in the area of Baroque ornamentation and performance practice. One year at a lesson held in conjunction with the New Orleans Festival, it was suggested to one of Madelyn’s students that she (the student) realize an ornament in a somewhat different way. Said the student: “NO one messes with Mrs. Trible’s trills!”

The concert hall was created to host recitals for students, as well as colleagues and concert artists, and included recording equipment that allowed the performers to hear their playing immediately afterwards. Madelyn was meticulous about producing good tone, coloration, and phrasing, and analyzing recorded lessons was a critical pedagogical aid to those ends.

With the concert hall in her home, Madelyn provided an important recital service for her students. Because of her ties with renowned pianists and

instructors, they occasionally attended the students’ programs, providing them rare access to masters who generously offered

“NO one messes with Mrs. Trible’s

trills!”


valuable criticism and feedback. Recalls former student, Anne Pyle, now Board President of the Acadiana Symphony Association: “I remember being backstage before my recital, thinking I was to perform before my peers and instructor, only to learn that a world-famous Russian pianist who had recently won the New Orleans International Piano Competition -- and a few other of Madelyn’s celebrated colleagues -- were in the audience. The experience was both terrifying and exhilarating, a memory I treasure!”

Although such advantages and opportunities are highly-prized by Madelyn’s students, without question their most beloved and cherished reward, that which inspires their lifelong devotion, is Madelyn’s personal commitment to their growth. Dr. Raymond Gitz says admiringly: “There are only two people I have met in my life who could just teach all day and not be tired. Madelyn is one of those two. She loves sharing what she knows.” Gaylen Delcambre, a student of Madelyn’s for 19 years, warmly intones:

“Madelyn has given us opportunity to really believe in ourselves. I’ve never had that before in a student-teacher relationship. She gives me choice, and actually asked me what I wanted to study, whereas my previous instructor told me “this is what you need to learn.” I returned to studying piano, because this was something I had to do. It was personal.

Something was missing in my life. It’s a passion [all her students] share. We really want this, and we’ll achieve it one way or another, or die trying. Madelyn expects the utmost from us.”

From Dr. Daniel Weilbaecher:

“Madelyn lavished an amazing amount of attention and thoughtfulness on us, with Bruce’s help. She devotes ceaseless efforts toward her students’ progress. Obviously she cares dearly about them. She’s just a very special lady. They have always been kind and generous with their students. It continues to this day.”

When I asked Madelyn what her proudest and happiest moments have been, she replied that they included finding Bruce, having Mike, finding Lafayette, having USL find her, and finding the fine students and friends that she has been so privileged to work with through all of her career. Then, when I asked the couple to sum up their relationship over the years, they replied: “It’s pretty hard to sum up our 60-year relationship in a few words, but we think this will do it: It has been just great!” Finally, when I asked what advice they have for students, pianists, and couples such as themselves to help their careers and relationships endure, without hesitation they answered, “Love what you do, and do it with love!”

Cajun fiddles • Creole aCCordions • ZydeCo rubboards

louisiana artisans • boudin • étouffée • poboys

L a f a y e t t e , L o u i s i a n a

FestivalsAcadiensetCreoles.comoCtober 11-13


The South Louisiana Black Pot Festival & Cook-Off kicks

off its 5th annual celebration on Friday, October 25, and continues through Saturday night, October 26, at Acadian Village, 200 Greenleaf Drive, Lafayette.

The two-day Cajun festival is like no other in that it offers a mélange of authentic Cajun fare set in a re-created, historic Cajun village. Lovers of all kinds – music, art, cuisine, and culture – will gather for a boisterous, two-day marathon of song, dance and all around bon temps in the scenic, ten-acre site nestled in piney woodlands. The village is comprised of original 19th century homes of some of Acadiana’s early families: Castilles, Thibodeaux’s, LeBlanc’s, Billeaud’s, and Bernard’s.

Glenn Fields, drummer for the Cajun band, the Red Stick Ramblers, got the idea to start the South Louisiana Blackpot Festival and Cookoff when he was in the Catskill Mountains of New York. The Ramblers were then playing in the Ashokan music camp hosted by Jay and Molly Ungar, and they suggested to Fields that his band start their own festival and camp in Lafayette.

Fields thought the idea was brilliant, and had the perfect location in mind for the festival. He contacted Acadian Village about the idea, and they were enthusiastic about hosting. Fields then started calling all his friends with bands to see if they wanted to participate. “Everybody was into it.” Fields’ idea was to get people camping on the grounds surrounding the village so that at night they could jam with the musicians.

Local bands eagerly signed up with Fields for

the weekend of music and food, including the Ramblers, the Pine Leaf Boys, the Lost Bayou Ramblers and Ann Savoy. Fields’ bandmate, Linzay Young, came up with the idea of the black cast iron pot cookoff, and Pine Leaf accordionist Wilson Savoy proposed an accordion contest called the “the square dance.”

Leauxcal Festival

A Festival Like No OtherMarisa Olson

Allons!

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“I think the relationship between food and music is a primal thing . . . . We all thrive on company, and we all got to eat. It is a basic thing to enjoy each other’s company and food and music and dancing.

-Linzay Young

This year’s cookoff contest will be held Saturday, October 26, from 12 to 5, and will be based on 3 categories: Gravy (sauces and gumbos), Cracklin (gratons), and Jambalaya. (Pre-registration for the event is encouraged.)

Musical entertainment will include live performances of Creole, Zydeco, Country, Swamp-Pop, Cajun, Blues, and Tex-Mex bands.

Visitors who wish to set up camp will have ample space for their tents and RV’s, and opportunity to mingle and jam with the artists late in the evening on the campground site. Grab your fiddles, banjos and accordions, and get ready for an unforgettable weekend of family fun!

For additional information on the festival, and to register for the contests, visit www.blackpotfestival.com. A portion of the proceeds benefits LARC.

Masterwork no.2

guest artist: The Harlem Quartet (2013 GRAMMY® Winner)

PrograM: L. Bernstein – Suite from West Side Story

B. Strayhorn – Take the ‘A’ Train

G. McClure – The Legacy of the Atchafalaya (Environmental Oratorio)

L. van Beethoven – Symphony No. 5 in C minor, “Fate”

Saturday, October 19, 2013 /// 6:00 pm Heymann Performing Arts Center

of the atchafalaya

TribuTe To bob and JudY dunn

legacyIn collaboration with the Evangeline Area Council of the Boy Scouts of America.

Sponsor


TThe theatre program at the Episcopal School of Acadiana is based on the philosophy that every child has a place in theater. The program was developed around drama classes taught by Kat Movassaghi, who is the Drama teacher at the ESA Performing Arts Department, “One of the best aspects of ESA’s theatre program is that it is participatory.” Any student who expresses interest is welcome.

ESA’s Lower School presents a musical at the end of each school year, and last year presented “The Wizard of Oz.” Julia Cascio, now a third-grader at ESA, played the role of Toto. Julia loves music and theatre, and sings in the ESA choir. Through performance opportunities at ESA, she and many other young students gain tremendous self-confidence by being onstage. When asked what she loves most about being onstage, she says: “I like to stand out and express myself to people! I have so much fun!” No doubt, the talent and skills honed by little performers like Julia and her classmates will

be nurtured and developed by Movassaghi’s program.

The performance skills developed in Movassaghi’s program culminate into an annual

play and an annual Spring Musical. Last year’s performance of “Godspell” is a great example. For that production, thirty music students from the middle and upper schools formed a single cast that made its own costumes and staged its own choreography, worked backstage running lights, built sets, and served as back-stage managers.

“Each semester I have a different group of personalities and a mix of ability levels. Each child comes to the stage with a different goal-gaining confidence in front of others, honing a talent, discovering fantastic plays. As a school community, we all come together to celebrate their success.” For many of Movassaghi’s students, this introduction to theatre becomes a life-long commitment. A number of ESA graduates are pursuing theatre majors in college, and many current students are involved in the life of the art in their communities.

Kat Movassaghi contributed to this article.

Private School Arts

Self-Confidence Gained OnstageJenny Krueger

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II often tell people I have the best job in the world. I am a music teacher, and I love what I do. I currently teach piano in the Performing Arts Academy (PAA) at Lafayette High.

Lafayette Parish schools offer amazing musical opportunities for our children. Our students receive a high-quality education, because of the very qualified and dedicated music teachers employed throughout our parish. Many of the LPSS music teachers are products of Lafayette Parish music programs.

When students enroll in the Performing Arts Academy, they take daily courses in their discipline (music, theater, art). This is normal for anyone in high school taking an elective they enjoy. However, at the PAA, our students build on that foundation by taking music courses not offered in a traditional high school setting. Students can choose from a number of music theory, music media, and instrumental classes. Students attending the Performing Arts Academy receive free group piano lessons (guitar or strings) every day of the school year from elementary all the way through high school!

PAA teachers work together to map out a curriculum based on the student’s post high school plans and musical interests. It is rewarding to teach with others who share the same goals for their students. We have a lot of GOOD going on in our schools. I invite everyone to attend a recital or a concert given by a Performing Art Academy or School of Choice. You will leave with a renewed appreciation for what is offered right in our own backyard!

Public School Arts

A Lafayette Parish Music Teacher’s PerspectiveEllen McLemore

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At twelve years old, Lafayette’s own Caroline

Daigle has amassed an impressive list

of arts awards over the last three years, capturing first place

at the Celebrating Art competition last May,

which showcased young contestant art works

from all over the United States and Canada.

What’s Next,Caroline?

What’s Next,Caroline?

By Marisa Olson



FFrom 12,0000 entries, Caroline’s painting, “Lucy,” is among the Top 10 finalists. While selection of a winner is pending, “Lucy” has already been chosen for publication in Celebrating Art’s Spring 2013 art book. In July 2012, “Lucy” also won the Crowley Art Association’s competition, and received their Viewer’s Choice Award. Caroline’s most recent and challenging work is an outdoor scene of a 19th century brick church, which took eight months to complete. To date, six of Caroline’s paintings have gone to print. The little artist beams when asked about her work: “Painting is my passion. My love for painting grows with each piece I complete.”

Upon first impression, Caroline is an active, bright, soft-spoken child, but when the conversation shifts from childlike topics to art, a thoughtful persona emerges. She is matter-of-fact, and discusses her work with a detached, analytical eye, explaining the techniques she has applied for each piece, how her skill has developed from each successive work, and the styles and techniques she plans to master. She does not discuss far future plans, but instead fixes her intent on the very next step. Caroline’s quiet and gentle exterior belies a determined, gifted spirit.

Word of Caroline’s talent and achievement has spread beyond the purview of the local artist community and into the offices of local officials who are supporters of the arts. Last October, Caroline was invited by Lafayette City-Parish President, Mr. Joey Durel, as one of the artists to paint for the Horse Farm’s fundraising gala, “Moonlight on the Meadow.” Caroline was the only child artist chosen to participate. For the fundraiser, Caroline painted a realistic, frontal perspective of a pale gray horse, which has already gone to print. The original remains in Durel’s office until its auction.

An earlier painting by Caroline of a Fleur-de-lis was so masterfully done that Durel had to have it for himself. He now proudly displays the piece in his office. Says Durel: “I believe that Caroline will play a significant role in the future of Lafayette’s art scene. We embrace our arts and cultural scene, but don’t take our eye off the future. Caroline represents our future.”

In October 2011 Caroline’s painting, “Jesus on The Cross,” was exhibited in the Governor’s Mansion, and, in May 2012 Caroline won first place in her age category (10 at the time) with the Louisiana Department of Transportation’s Aviation Art contest. Her large canvas painting of a floatplane remains on permanent display in the office of the Director of Transportation in Baton Rouge. The foregoing are but a few highlights and kudos of Caroline’s remarkable success, which can be attributed to natural talent, strong parental support, and caring, professional instruction.

Connie Daigle is a petite, exuberant, and devoted mother of three: Caroline, who is 12, Braydon, 10, and David, 8. “I encourage and support whatever any of my children wish to pursue, as long as they wish to pursue it. I believe it is my role to provide them the tools and resources they need to develop, and to give them the freedom to discover their interests and accomplish their dreams.” Caroline’s parents, Marc and Connie, both work full-time. Neither has an arts background. They did not immerse Caroline in any specialized schooling during her early childhood, yet both are dedicated and enthusiastic supporters of their daughter’s gift. Connie confides: “I realized years ago that my daughter actually sees the world differently than I. Caroline sees her surroundings in sharp, vivid detail, the play of light and shadow, placement and structure.” While mom and dad encourage their daughter’s talent, they also make every effort to provide a “normal,” carefree childhood, with plenty of time for friends, fun, and school activities, which Caroline thoroughly enjoys.

Like any child, Caroline enjoyed marking paper with color. Before the age of two, she had her own children’s brush and paint set. By age two, she had graduated from paper and become enamored of painting small wooden bird cages with acrylic paints, a stage that lasted for a few months. Connie doesn’t remember how the bird cage painting phase began, only that little Caroline would reach for them at the local arts and crafts store, and responded gleefully when presented with one to paint at home. Perched in her high


chair, Caroline would paint the entire cage in one sitting. Connie still treasures one of the little painted gems, which she displays proudly in her office.

The change of medium from paper to wood marked a turning point for the toddler, who began painting any surface or object remotely resembling a canvas or notepad– even if mom didn’t always approve. At age four, Caroline was given a Fisher-Price easel on which she began painting her first scenes. By age eight, she was painting on canvas. While the activities themselves were not unusual for a child, Connie noticed it was the way her daughter engaged painting that seemed out of the ordinary: a relentless intensity and focus that stretched for long periods of time, and the patience to continually work and re-work a section until satisfied.

After turning eight, Caroline enrolled into a children’s group art class, and learned painting basics with Penny Cart. When Cart retired one year later, Caroline continued private

instruction with artist Sheila Faulk, who had never taught children previously. Three years later, Faulk continues to instruct and mentor Caroline, not only regarding technique, but in developing confidence in her artistic judgment and ability. Faulk is struck by Caroline’s rapid and deft assimilation of newly introduced techniques and styles, as much as she is by her self-discipline and perfectionism. Faulk also stresses the importance of playing music in the background while painting as a source of inspiration. She simply does not begin a lesson or session without it, and experiments with different styles and tempos, seeking the “right” sound that will inform the work. Caroline, too, has grown accustomed to playing music for inspiration while painting. The instructor has come to see her gifted student more as a young, fellow-artist, and the two have become close friends.

Caroline currently attends L. J. Alleman Arts Academy, and plans to donate a painting for auction with Lafayette General Medical Center’s annual fundraiser, for which they will award the young artist scholarship money. Lafayette eagerly awaits Caroline’s next step, and looks forward to celebrating her future accomplishments.


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Paul Kieu is known by many as the quick-witted, edgy photojournalist for the Daily Advertiser. Close friends may also know the avid football fan, music festival devotee, and Political–Science grad from UL-Lafayette. What may not be well-known about Kieu is his fierce self-discipline, unfaltering work ethic, and strong creative vision.

By Marisa Olson • Photos by Paul Kieu


How would you describe the type of photography that you do professionally? Do you approach it differently from your own personal work?

My work is strictly documentary, whether for the Advertiser or for my personal work. I have grown to love documenting events and throwing my own style onto the everyday happenings that I witness. I strive to be present and aware, to capture the authenticity of the moment and the way things are.

How would you distinguish the particular type of photographic work you do from other types of photography in terms of theme, tone, subject matter, and objective?

In my particular line of work in photojournalism, the emphasis is upon capturing real-time events, rather than constructing moments and styling images as I have done for commercial work. As a news photojournalist, I am limited in what I can do with post-processing, so must get things right on the spot. I am called to use what I have on location to create the best possible image to ensure readers receive the most honest and accurate depiction possible of a story.

When did you remember first becoming interested in photography?

My father has always been interested in photography, and would let me use his cameras on family trips and outings. As I grew older, he taught me the basics on his Nikon. Photography is an interest I developed and maintained through my childhood and teenage years. When I graduated high school, I asked my parents for a digital SLR camera

instead of a senior trip, and since then, have done my best to develop my talent, and have managed to parlay it into a career as a professional photographer.

Did you explore other artistic medium before deciding on photography?

I’ve always been interested in images. Several years ago was I more interested in video and film than still photography. I started my college career at the film school at the University of New Orleans. While I valued and still use the information that I learned during my one year there, I decided that filmmaking wasn’t a career. I moved back home to Acadiana for family reasons, and also returned to photography, pursuing it as an outlet more aggressively than I had before, which led to some great opportunities, especially my current position with the Daily Advertiser. I still help friends in the local filmmaking scene with their projects, and find that line of work absolutely fascinating in its own right.

Who are your among your favorite photographers, and how would you describe their influence upon your artistic style and development? What techniques and qualities might they share, and how might they differ?

Locally, I enjoy following the work of many photographers in different areas, including wedding and portrait photographers. I’ve been fortunate to become friends with veteran documentary photographers in Lafayette such as Denny Culbert and Phillip Gould whose work I look to for motivation and inspiration. I also follow photographers on

ATtwenty-three, the Abbeville native embraces joi de vivre, yet Kieu works as hard as he plays. In addition to his full-time position with the Advertiser, Kieu runs his own freelance photography business. Whether taking photographs for a work assignment, or for artistic expression, he finds challenge and meaning through the images he captures, and strives to convey the integrity of the moment, while honoring the humanity of those whose images he memorializes. Kieu informs his craft with very definite esthetic principles of authenticity and simplicity.

In speaking with him about his work, and for reasons that will become clear, Kieu reveals himself as a professional who is constantly assessing and recalibrating his artistic path, drawing inspiration from predecessors, colleagues and role models alike, while urging novices across all fields to be comfortable with taking calculated risks, and to cast aside fear of failure when in pursuit of their goals.

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Facebook and Instagram, drawing inspiration from their daily posts, and seeing how their personal experiences shape the images that they create.

The photographers that I follow share a very honest style with an eye for capturing the moments, and the emotions they evoke within the context of their respective environments. They tend to differ in their approach. Some are outside the scene, mere observers or witnesses. Others enter and become part of their environments, providing a vivid look at the events they document from the inside. It’s captivating to watch other photographers in action, to figure out how they achieve their results. I learn from their experiences and advice, and attempt to bring my own flavor to my photographs.

What do you enjoy most about photography, and what themes or subject matter do you prefer?

I greatly enjoy meeting different people and hearing their stories on a daily basis, and using that information to capture the essence of a moment. I also love having to think on my feet and adapt to different circumstances (most notably our sometimes-unpredictable weather) in order to deliver a photograph. As far as favorite subjects, I’m very fortunate to be a young photographer in Acadiana. As an avid follower of both the NFL and college football, I love shooting football. I’m also a dedicated live music follower. Locally, we have great music festivals to photograph year-round, especially Festival International de Louisiane, Festivals Acadiens et Creoles, and Blackpot. During my off time I also travel across the country to shoot various festivals and concerts.

What advice would you give a young person interested in photography generally, and for those who wish to pursue your line of work specifically?

I would advise a young photographer that I’m not too far removed from them in age, so may better understand their point of view. If you’re interested in pursuing photography, give everything you have to it. Work tirelessly to learn about the art. Become friends with as many people as possible and learn their stories. Meet and offer to help other photographers, and be open to their advice and suggestions. Be comfortable with taking calculated risks, and don’t be afraid to fail. This photography thing started as an experiment for me, but ultimately afforded me many valuable experiences. I hope never to stop learning and growing as a photographer, and at this early stage in my career, the possibilities for growth in the next few years - or even the next few weeks - is unpredictable. If I can achieve success in achieving my goals so far, anyone who works hard to develop themselves in any field can.

To learn more about Paul Kieu and his art, please visit his website at www.paulkieu.com.



Standing Ovation

Take a Chair Sponsors support your Acadiana Symphony Orchestra musicians in a tangible way by sponsoring their favorite instrument in honor or memory of a loved one. These sponsorships are a great opportunity to recognize years of concert attendance, to welcome a new family member, to honor the memory of a loved one, or to celebrate a birthday, anniversary, or special occasion! Thank you to the following 2013-2014 Take a Chair Sponsors:

StringsViolin in honor of Lauren Baker by Dr. Carolyn French & Mike HuberViolin in honor of Lorne Laing by Judy & Bob DunnViola in memory of James & Margie Hanna by Ben & Ann BlanchetViola in memory of Elaine Malin Griffin by Jenny ColeCello in honor of Jane Ettinger Booth by Dr. Ruth EttingerCello in memory of Ben Palmintier by Dr. Jon (Skip) PalmintierHarp in memory of Eddy Knight & Scott Myers by Anne Knight & Annette MyersBass in memory of Sam P. Bennett & Charlie Redman by Veronica Rodrigue RedmanBass in memory of Richard Chachere by Celia Foard

WoodwindsFlute in memory Bella Chappuis Abramson by John & Colleen Chappuis Flute in honor of Jenny Krueger by Dr. James Burke Bassoon in memory of Michael Landgrave by David & Connie Landgrave Clarinet in memory of B.H. & Lorelei DeHart by Brad DeHart

BrassFrench Horn in honor of Bella Elisabeth, Anne Marie & Audrey Elise Cortez by Ralph & Cherie KraftTrumpet in support of our Troops by Barbara & David ReidTrumpet in memory of Joel C. Trimble by Pat Olsen Ferguson

PercussionPiano in memory of Elaine M. Dupuis by Anne Dupuis Pyle Piano in memory of Winnie DuBose by Debra & Carl SonnierPiano in honor of Geraldine Hubbell by Elliot KabackPiano in memory of Debbie Moret by Vernon Moret, Jr.Keyboard in memory of Ben Palmintier by Dr. Jon (Skip) Palmintier


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Symphony Seauxcial

Red, White and Boom 2013Downtown Lafayette was packed with people celebrating our Nation’s independence on July 4th. Chubby Carrier and your Acadiana Symphony Orchestra delighted the crowd with a patriotic concert and some rockin’ Zydeco! Audience goers at the Freedom Fest staged danced the night away to the rhythm of Corey Ledet & his Zydeco Band, Lafayette’s Bayou Boys, and Mike & the Rockets. ASO Conservatory music teachers, Christine Balfa and Jennifer Tassin, entertained the little ones with children’s favorites and the fireworks finale concluded the night with a BOOM!


ARGENTINA AUSTRALIA AUSTRIA BELGIUM BRAZIL CANADA CHAD CHILE COLUMBIA EGYPT ENGLAND FRANCE GERMANY INDIA IRELAND ITALY JAPAN KOREA MALTA MEXICO NEW ZEALAND PERU POLAND PUERTO RICO SCOTLAND SPAIN TAIWAN CONGO UGANDA UNITED STATES ARGENTINA AUSTRALIA AUSTRIA BELGIUM BRAZIL CANADA CHAD CHILE COLUMBIA EGYPT ENGLAND FRANCE GERMANY INDIA IRELAND ITALY JAPAN KOREA MALTA MEXICO NEW ZEALAND PERU POLAND PUERTO RICO SCOTLAND SPAIN TAIWAN CONGO UGANDA UNITED STATES ARGENTINA AUSTRALIA AUSTRIA BELGIUM BRAZIL CANADA CHAD CHILE COLUMBIA EGYPT ENGLAND FRANCE GERMANY INDIA IRELAND ITALY JAPAN KOREA MALTA MEXICO NEW ZEALAND PERU POLAND PUERTO RICO SCOTLAND SPAIN TAIWAN CONGO UGANDA UNITED STATES ARGENTINA AUSTRALIA AUSTRIA BELGIUM BRAZIL CANADA CHAD CHILE COLUMBIA EGYPT ENGLAND FRANCE GERMANY INDIA IRELAND ITALY JAPAN KOREA MALTA MEXICO NEW ZEALAND PERU POLAND PUERTO RICO SCOTLANDSPAIN TAIWAN CONGO UGANDA UNITED STATES ARGENTINAAUSTRALIA AUSTRIA BELGIUM BRAZIL CANADA CHAD CHILE COLUMBIA EGYPT ENGLAND FRANCE GERMANY INDIA IRELAND ITALY JAPAN KOREA MALTA MEXICO NEW ZEALAND PERU POLAND PUERTO RICO SCOTLAND SPAIN TAIWAN CONGO UGANDA

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