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Natchitoches-Northwestern Symphony
Douglas Bakenhus, Music Director
Juan Pablo Paternina Paez,
Graduate Assistant Conductor
Featuring
Dr. Francis Yang, piano
Tuesday, September 21, 2021
7:30 p.m.
Magale Recital Hall
https://capa.nsula.edu/livestream/
Our 56th YearNatchitoches-Northwestern Symphony 2021-2022
Concert Season
Current COVID safety protocol will be followed for in-person attendance. Bring masks and arrive early to get a seat, or you
can make a reservation by calling 318-357-5792, or stay home and watch the livestream.
https://capa.nsula.edu/livestream/
Tuesday, September 21, 7:30 p.m., Magale Recital Hall
Featuring Dr. Francis Yang performing Schumann’s Piano Concerto in A minor. Also on the program, Haydn’s overture
to his opera, L’Isola Disabitata (Deserted Island), Eric Whitacre’s “October,” and Telemann’s Don Quixote Suite.
***
Sunday, November 14, 4:00 p.m., Magale Recital Hall
We welcome back NSU alumni Kevin Tison-piano, and Clarence Franks-conductor (music director of the Baytown
Symphony), in a performance of Tchaikovsky’s Piano Concerto No. 1. Also on the program, Haydn’s Symphony No. 92
“Oxford.”
NSU Christmas GALA:
Wednesday, December 1, 7:00 p.m., A.A., Fredericks Auditorium
Thursday, December 2, 7:00 p.m., A.A., Fredericks Auditorium
Friday December 3, 7:00 p.m. and 9:00 p.m., A.A. Fredericks Auditorium
The NSU School of Creative and Performing Arts’ annual Christmas GALA is back in A.A. Fredericks, live and in person!
Reserve your seat early because these shows often sell out. Reservations can be made by calling or coming by the
CAPA office 318-357-4522.
Tuesday, February 8, 7:30 p.m., Magale Recital Hall
Included on this program will be last year’s concerto competition winner, Edgardo David Paz Mancia, performing
George Gershwin’s Piano Concerto in F. Also on the program, “Ethiopia’s Shadow in America” by Florence Price
Thursday, March 17, 7:30 p.m., “Pops” Concert, Magale Recital Hall
This will be a St. Patrick’s Day Irish Pops Concert. So, dress in green, and enjoy some song and dance from the Emerald
Isle.
Tuesday, April 26, 7:30 p.m., Magale Recital Hall (Concerto/Aria Winners)
Our annual Concerto/Aria winner’s concert will feature NSU’s most talented music students. Also on the program,
Dvorak’s Symphony No. 8.
Like us on Facebook /Natchitoches-Northwestern Symphony SocietyNatchitoches-Northwestern Symphony
Chamber Orchestras, In Concert
Dr. Douglas Bakenhus, Music Director
Juan Pablo Paternina Paez, Graduate Assistant Conductor
Featuring Dr. Francis Yang, piano
Program
Overture to the opera L’Isola Disabitata (Deserted Island) Franz Joseph Haydn
(1732-1809)
October Eric Whitacre/scored by Lavender
(b. 1970)
Don Quixote Burlesque, TWV 55:G10 Georg Philipp Telemann
Overture (1681-1767)
Quixote’s Awakening
Attack on the Windmills
Amorous Sighs for Princess Dulcinea
The Deceived Sancho Panza
Rocinante’s Gallop and Sancho’s Donkey
Don Quixote’s Bedtime
INTERMISSION
Piano Concerto in A minor, op. 54 Robert Schumann
Allegro affettuoso (1810-1856)
Intermezzo: Andante grazioso
Allegro vivace
3Music Director
Dr. Douglas Bakenhus is the music
director and conductor of the Natchitoches-
Northwestern Symphony at Northwestern
State University of Louisiana, where he
also teaches bassoon, aural skills, and
conducting. His music degrees are from the
University of Texas at Austin (DMA 2006,
B.Music Ed.1983), Texas A&M University-
Commerce (M.M. conducting 1985), and he
has completed additional graduate courses
in conducting and bassoon-performance at
the University of Michigan. In addition, Dr.
Bakenhus has been the music director of
the Northeast Texas Symphony since 2002
and was the music director of the Austin
Philharmonic from 2001-2004. He held
positions as a college band director at Texas
Lutheran University, and the University of Mississippi. His conducting teachers include Larry
Rachleff, Gustav Meier, Carl St. Clair, and Gary W. Hill; and he studied bassoon with Hugh
Cooper, Kristin Wolf Jenson, Robert Williams, and Sue Schrier. Throughout his teaching career,
Dr. Bakenhus has remained active as a guest conductor and clinician with honor orchestras
in Texas, Louisiana, and Arkansas. He recently made international conducting appearances
with the Sinfonietta Bratislava in Slovakia, and the San Pedro Sula City Chamber Orchestra
in Honduras. He has also performed abroad as a bassoonist with the NSU Faculty Woodwind
Trio in Canada, Slovakia, England, and the Czech Republic. Furthermore, he regularly plays
bassoon in local orchestras including the Shreveport Symphony, Longview Symphony,
South Arkansas Symphony, and Texarkana Symphony. In addition, he has participated in
the Tafelmusik Baroque Summer Institute in Toronto and the Twin Cities (Minneapolis, MN)
baroque instrumental program on his baroque bassoon, and has made recent appearances
in ensembles such as the Baroque Artists of Shreveport, the Austin Baroque Orchestra, Ars
Lyrica of Houston, the Houston Bach Society, and the Mercury Baroque Ensemble of Houston.
4Guest Conductor
Juan Pablo Paternina Paez
Born in Colombia, Juan Pablo began playing violin at the
age of 12. He Studied in Comfenalco music school and took
lessons with Carlos Rocha, during his time in Comfenalco
he got the opportunity to perform with Placido Domingo
and Eugene Kohn in 2009. He also performed with the
Comfenalco Symphony Orchestra at Cartagena International
Music festival in 2011. In 2018 Juan Pablo was festival
manager for Renova music festival in New Castle, PA.
Paternina Paez received his Bachelor of Music in Violin
Performance & Music Business degree from Northwestern
State University where he studied under the guidance of
Dr. Andrej Kurti. Currently, Juan Pablo is working on his
Master in Music Education and studies conducting under
the guidance of Dr. Douglas Bakenhus at Northwestern State University.
Guest Pianist
Frances Yang
Pianist, Francis Yang, has performed in cities such as Paris,
Montreal, Vancouver, Quito, and Montevideo at events such
as the 37th International Festival Encuentros in Buenos
Aires, the Wandsworth Arts Festival in London, a lecture
recital at the Royal Academy of Music, and the VIII Bienal of
Contemporary Music in Cuenca, Ecuador. He has played with
the Orquesta Sinfónica de Cuenca, and the Natchitoches-
Northwestern Symphony.
Yang has given master classes in Ecuador, Argentina,
Singapore, China, Canada, and throughout the U.S. He has
been invited to serve as adjudicator for competitions both
nationally and internationally, including the Ars Nova International Piano Competition (Singapore),
the Seattle International Piano Competition, and as preliminary juror for the Louisiana International
Piano Competition.
Yang is Associate Professor of Piano at Northwestern State University. Prior to his appointment
at NSU, Yang served for four years as professor and director of piano studies at the Universidad
de Cuenca, in Cuenca, Ecuador. Yang also taught at the Université de Montréal, the University of
Ottawa, and the University of Alberta as adjunct professor and teaching assistant. Yang received
his doctorate from the Université de Montréal, his master’s from the University of Kansas and a
bachelor’s from the University of Michigan, and studied with pianists Stephane Lemelin, Richard
Angeletti, Sequeira Costa, Robert Rogers, and John Bloomfield.
5Program Notes
It can be easy to forget that Franz Joseph Haydn (1732-1809), known mostly today for his
string quartets, the development of the piano sonata, and as “the father of the symphony,” was
also a prolific opera composer since few of his works in the genre are performed today. During his
employment with the Esterházy family, opera was a dominant part of Haydn’s musical life; part of
Haydn’s contract required him to compose at least one opera per year. From 1764-1780, he composed
over twenty operas with the specific goal of entertaining his patron, the Prince of the Esterházy
family, Nicholas II. 1779 was an especially impressive year of musical output due to the premiere
of two symphonies and three operas, including one in German and two in Italian. L’Isola disabitata
is the only opera Haydn composed with a libretto by the famed poet Pietro Metastasio, and the
premiere happened on his Prince Nicholas’s name day, December 6. Two weeks earlier, a devastating
fire broke out at the palace, destroying the theater, and the music room, which included many of
the instruments and manuscripts. The music to the opera was saved because Haydn was working
on it in his private quarters. The prince made the decision to move ahead with the premiere despite
the hardship the fire produced. Although the opera is no longer a part of the performing repertoire
today, the Overture was published soon after the premiere and has enjoyed a life independent of
the opera.
L’Isola disabitata tells the story of two sisters stranded for thirteen years on a deserted island.
The older sister, Costanza, curses her husband Gernardo, who she believes abandoned her, when
in fact he had been captured by pirates. He escapes all these years later and now is in search of his
wife. They are reunited, and his friend Enrico falls in love with Costanza’s younger sister, and all
ends well. The Overture is a textbook example of the Sturm und Drung style, often found in Haydn’s
symphonies from this period, including the Symphony No. 45 in f-sharp minor “Farewell.” Sturm un
Drang—translated as “storm and stress”—was a movement in German literature and music which
emphasized emotional expression over the measured, rationalized responses of the Enlightenment.
The aesthetics of Sturm und Drang can be heard in the dramatic shifts in tempo, key, dynamics, and
mood throughout the Overture, which balances the uncertainty and fear of ending up on a deserted
island with the hopeful playfulness and the promise of adventure that comes in the opera.
Eric Whitacre (b.1970), (program notes by the composer)
“October is my favorite month. Something about the crisp autumn air and the subtle change
in light always make me a little sentimental, and as I started to sketch, I felt that same quiet beauty
in the writing. The simple, pastoral melodies and subsequent harmonies are inspired by the great
English Romantics (Vaughn Williams, Elgar) as I felt that this style was also perfectly suited to
capture the natural and pastoral soul of the season. My deepest thanks to Paul Lavender for this
gorgeous transcription.”
6Program Notes
George Phillipp Telemann (1681-1767) was a Baroque German composer who was almost
entirely self-taught in music. A contemporary of Bach and Handel, Telemann was considered by his
contemporaries to be one of the leading composers of his time, and he is widely regarded as one
of the most prolific composers in music history, having written over 3000 compositions. His music
incorporates French, German, and Italian national styles, and it serves as an important link between
the late Baroque and early Classical styles of music. Aside from being an active composer, Telemann
was also a significant publisher: he pursued exclusive rights for his works and set an important early
precedent for music as the intellectual property of the composer.
When Telemann was 80, he decided to create an opera based on the Miguel Cervantes novel Don
Quixote called La Burlesque de Quichotte. The story focuses on the connected realms of madness and
enchantment, which Baroque audiences loved due to their propensity for breaking social rules and
norms. Here the story reveals Don Quixote as the quintessential knight from a Medieval romance—at-
tacking fearsome giants, pining with love for a beautiful princess, and riding off into the sunset with
his trusty steed. The twist in the story is that all of it is imagined. The Don is actually an old man with
a broken-down horse. The giants are a windmill, and the princess is a peasant girl from the next farm
over.
The music does an excellent job of depicting the madness of the protagonist by using a ground
bass pattern call La Follia, a Portuguese dance that was so fast and noisy, contemporary audiences
thought the dancers seemed out of their minds. This dance was a popular form of expressing mad-
ness in this period as a result. Telemann’s opera was composed in 1761, and he extracted from the
music a suite for string orchestra presenting a “day in the life” of Don Quixote: a French-style overture
(stately Largo with dotted rhythms, then a fugal allegro) followed by six scenes from the story. Each
movement cleverly matches the points of the story, especially sighing strings to equate unrequited
love and clip-clop of the horse’s hooves.
“Don Quixote Awakens”: the Don’s dream of becoming a chivalrous knight on a quest for adventure
begins.
“Don Quixote Attacks the Windmills”: In a make-shift kit of armor and weapons, Don Quixote’s
delusions of grandeur have caused him to see windmills as attacking monsters and dragons. The
music’s repetition and rapid tempo represent his imagined foes.
“Pining for the Princess Dulcinea”: He imagines a peasant woman he saw earlier as a princess;
He names her Dulcinea and his heart yearns with unbridled passion. He longs to tell her how he feels.
“Sancho Panza” Don Quixote’s rotund servant is mocked and harassed by local villagers
“The Galloping of Rosinante and Sancho’s Galloping Donkey”: the Don’s horse, Rosinante, is heard
in triple meter, which is contrasted with Panza’s stubborn lurching donkey with pauses and dotted
rhythms.
“The Sleep of Don Quixote”: after a day of adventuring, the Don falls asleep and has happy
dreams in jaunty music that ends gently.
7Program Notes
Robert Schumann (1810-1856) was a German Romantic composer, pianist, and influential
music critic and writer. After leaving law school to pursue a career as a virtuoso pianist, his piano
teacher Friedrich Weick, assured him he could become the finest pianist in Europe, but a hand injury
supposedly from a mechanical device that was devised to strengthen his fingers ended this dream.
Schumann focused his energies on composing, instead. During the 1830s, Schumann composed
almost exclusively for the piano, and it was during this time that he met his teacher’s daughter,
Clara. She was only 15, and a renown pianist herself, but her father forbade the two from even
corresponding with one another. After continuing their relationship in secret for five years, the
pair were finally married in 1840, Schumann’s celebrated “year of song.” Once they were married,
Clara became Schumann’s chief intermediary in performance since his injury prevented him from
performing.
When he started composing the Concerto in AM in 1839, Schumann wrote Clara in a letter that
he viewed the genre at somewhat of a crossroads: “concerning concertos, I’ve already said to you
that I can’t write a concerto for virtuosi and have to think of something else.” At the time, concertos
were considered to be lightweight vehicles for showmanship, and he saw some challenges in the
future for the genre: “[The] separation of the piano from the orchestra is something we have seen
coming for some time. . . . we must await the genius who will show us in a newer and more brilliant
way how orchestra and piano may be combined, how the soloist, dominant at the keyboard, may
unfold the wealth of his instrument and his art, while the orchestra, no longer a mere spectator,
may interweave its manifold facets into the scene.” This long-awaited genius would be Schumann
himself, but the breakthrough did not come easily: four attempts at piano concertos between 1827
and 1839 were left as fragments. It wasn’t until 1841 that he composed the one-movement Piano
Phantasie for Piano and Orchestra first heard in two private run throughs; Schumann’s attempts to
gain a public performance or to have the work published came to naught, though. Clara commented
on the piece in her diary: “carefully studied, it must give the greatest pleasure to those who hear it.
The piano is most skillfully interwoven with the orchestra; it is impossible to think of one without
the other.”
In the summer of 1845, Schumann made the decision to transform the Piano Phantasie into
the first movement of a full concerto; he composed the other two movements with the intention
of being performed together without pause. Unlike the form of other concerti of this time, which
would take turns between the orchestra material and the soloist “putting fingers to work and the
audience to sleep” (in Schumann’s words), this symphonic concerto is truly democratic in the way
the performing forces pursue their unified intent. The compositional choices Schumann makes in
the concerto reflect these ideas: no traditional orchestral introduction, the main theme introduced
in the winds and not the soloist, and a written-out cadenza not as a display of technique, but to
explore the material with just an unaccompanied piano. The Intermezzo is an intimate salon piece
8Program Notes
in ternary form. It is reminiscent of the character pieces Schumann wrote in abundance. The final
movement is vivacious in tempo, triple in meter, and march-like in character. The is a bravura
flourish from the soloist that is saved for the very end, which satisfied the tastes and customs
for the concerto at the time. This concerto gained acclaim slowly; audiences came to appreciate
Schumann’s efforts in his only Piano Concerto, and it has become one of his most popular pieces.
Notes by Dr. John T. Dunn, Assistant Professor of Fine Arts
9Chamber Orchestras
Douglas Bakenhus, Music Director
Juan Pablo Paternina Paez, Graduate Assistant Conductor
Violin 1 Cello Flute/Piccolo
Dania Fabiola Briceno, Santiago Uribe Cardona, principal Ramon Sarruf Monroy
concertmaster Erick Joseph Vega Romero Madison Weathers
Aura Hernandez Canedo, Aill Harris
Graduate Assistant Kelton Spurgeon Oboe
Ruth Garcia Rodriguez Meya Nutt Jalima Diaz
Josias Daniel Ramos James Burrell Paris Finkbeiner
Norman Martinez
Meredith Corrales Bass Clarinet
Carlos Guillermo Diaz del Valle Karla Gonzalez, principal, Jorge Ojeda Munoz
Gabriela Forero Salcedo Graduate Assistant Rebekah Clark
Juan Pablo Paternina Paez, Jacob Stone, Kilgore
Graduate Assistant Roderick Jay Ramirez-Rios Bassoon
Anastasia Adams Isabella Lambis Cano Khairiq Frost
Andrew Wesley Victoria Gomez Borjas
Violin 2 Jonathan Chaparro
Ana Corrales, principal James Gillyard Trumpet
Juliana Miller Curtis Struggs Luis Cervantes
Hannah Gribble Dillon Humphries
Thomas Sumpter
Ja Nia Wallace Horn
Taylor Maust Lane Royer
Chase Brazil Carley Johnson
Jalivia Johnson Douglas Flores
Maelana Braxton William Duncan
Naysia Brunswick Jones Anselmo Bailon
Rina Alvarez Rodriguez,
Percussion
Viola Zach Duhon, principal
Valeria Nieto Rodriguez, principal
Chance Watley Technical Director
Jazzare Burrell Dr. Masahito Kuroda
Brigham “Eli” Durr
Carley Handy
Gabriel Angel Saavedra
Robert Chase Tabor
Arial Taylor
Ana Baston
Cristina Peterson
10Applied Music Faculty
Dr. Douglas Bakenhus, bassoon
Mr. Luke Brouillette, guitar
Dr. Robert Cardwell, voice
Mr. Paul Christopher, cello
Dr. Kristine Coreil, horn
Dr. Mary DeVille, organ
Ms. Leah Forsyth, oboe
Dr. Paul Forsyth, saxophone
Mr. Ken Green, percussion
Ms. Juliana Handy, voice
Dr. Chialing Hsieh, piano
Mr. Justin Kujawski, bass
Dr. Masahito Kuroda, euphonium/low brass
Dr. Andrej Kurti, violin/viola
Dr. Dennette McDermott, flute
Dr. Marcy McKee, voice
Dr. Malena McLaren, clarinet
Dr. Oliver Molina, percussion
Dr. John Price, piano
Mr. Galindo Rodriguez, trumpet
Mr. Michael Rorex, voice
Ms. Terrie Sanders, voice
Mr. David Steele, clarinet
Dr. J. Mark Thompson, trombone/low brass
Ms. Sofiko Tchetchelashvili, violin/viola
Dr. Francis Yang, piano
112021- 2022
Natchitoches- Northwestern
Symphony Society
Board of Directors 1974-75 Frank Roberson
Loren Ford, President 1975-76 Tom Paul Southerland
Gayle Howell, President-Elect 1976-77 Kerlin Sutton
Kathy Carter, Secretary 1977-79 Curt Kinard
Gayle Howell, Treasurer 1979-80 Robert Lucky, Jr.
Vicki Caldwell, Assistant Treasurer 1980-81 Cynthia Brown
Ellen Abington 1981-82 Albin Johnson and L. J. Melder, Jr.
Linnye Daily 1982-83 Maxine Southerland
1983-84 Bobbie Archibald
Desiree Dyess
1984-85 Mary Jean Thomas
Lynnel Gill
1985-86 Sharon Gahagan
Rick Hudson
1986-87 William H. Cross
Marion Johnston
1987-88 Margaret A. Adkins
Vicki Murchison
1988-90 Patricia W. Thomas
Carolyn Roy
1990-91 Raymond Gilbert
Jacob Ruppert
1991-92 Ryan Horton, Jr.
Marty Sanders
1992-93 Saidee Watson Newell
Cecilia Smith
1993-94 Michael Wolff
Diane Temple
1994-95 Gene Newman
Jeff Thomas
1995-96 Ada Jarred
Samantha Thomas
1996-97 Bill Mathis
David Young
1997-98 Joseph M. Henry III
1998-99 Margaret Sutton
1999-2001 Jane Hall
2001-03 David Graham
Honorary Board 2003-04 Ron McBride
Dr. Douglas Bakenhus, Conductor 2004-05 Loren Ford
Alma Alost 2005-06 Markay Cunningham
Jennifer Maggio 2006-07 Steve Horton
Brenda Webb 2007-08 Jeff Thomas
2008-09 Anne Stevens
2009-10 Desiree Dyess
2010-11 Linnye Daily
Past Presidents 2011-12 Marilyn McMurtry
1966-68 Martha Roberson 2012-13 Linnye Daily
1968-69 Jim Bob Key 2013-14 Robert Scott
1969-70 Frank S. Roberson 2014-15 Richard Rose
1970-71 Cecile Murphy 2015-17 Marty Sanders
1971-72 James A. Ford 2017-19 Rick Hudson
1972-73 Lovan Thomas 2019-20 Pat Thomas
1973-74 Rosie McCoy 2020-21 Tony Smith
12Friends of the Symphony
Platinum Underwriters John & Sarah Luster
$1,000 or more Mr. & Mrs. Warren Massia
Linnye & Shawn Daily Marilyn & Alan McMurtry
Sonny & Evelyn Evans, Jr. Larry & Pansy Morgan
Gayle Howell Mursimco
Dr. Kenneth & Mrs. Syll-Young Olson Dr. Doug & Angela Pesnell
Jeff & Samantha Thomas Graham Ragland
Edwina Ferrer - Westrop K. Jacob Ruppert
Diane & Austin Temple, Jr.
Burton & Sue Weaver
Gold Underwriters—$500-$999 Dr. & Mrs. Patrick Wheat
Pete & Ellen Abington Bruce & Laura Wiggs
BOM Peter & Donna Yacoe
Phil & Mary Lou Brown Young Estate-In Memory of Martha Glass
Tom & Vicki Caldwell Young
Nolton & Lanell Causey David Zolzer
City Bank & Trust Company
Dixie Plaza
Exchange Bank Patrons—$100-$249
Family Eye Care Lee W. Akin
Dr. & Mrs. Pete Wardell Tamela C. Aldredge
Dr. & Mrs. Randall Keator Dr. Dennette McDermott &
First Federal Bank of Louisiana Dr. Douglas Bakenhus
Loren Ford Mrs. Marion Bienvenu
Mr. & Mrs. Henry Cole Gahagan, Jr. Janice & Kevin Bolton
Richard & Lynnel Gill William Brent
Drs. Link & Elizabeth Hall Ethelene Bright
Hancock Whitney Bank Nettles & Glenelle Brown
Rick & Kathy Hudson Alice Bryant
Vicki D. Murchison Sonny & Kathy Carter
Natchitoches Regional Medical Center Amanda Cathey
Kelli & Mark Roberts David & Linda Clark
Martin Smith Sanders, III Cliff & Frances Conine
Lovan Thomas Drs. Jeff Mathews & Kristine Coreil
Brenda W. Webb Marne’ Deranger
BG (Ret.) & Mrs. Robert A. Doughty
Benefactors—$250-$499 Shirley Dunagan
Mr. & Mrs. Samuel A. Alleman Andy & Christine Ferrell
Mrs. Archie Breazeale & David Breazeale Mrs. Gayle Fitzhugh
Dr. & Mrs. Steve M. Brown Rev. Dr. Frank Fuller
Dr. Mary DeVille Mr. & Mrs. Russell E. Gahagan, Jr.
Lola & Edwin Dunahoe Dr. & Mrs. Nick G. Governale
Dan & Desiree Dyess In Memory of Phil Habig
Deborah Fehr Jane Hall
Ed & Sharon Huey Greg Handel & Jeff Gary
Andy & Barbara Jackson Steve & Emilyn Horton
Marion & Donnie Johnston Pat & Kim Johnson
Drs. Steven & Kathleen Kautz Jim Bob Key
Don & Pat Kelly Judy and Henry Kinberger
13Friends of the Symphony
Jill Korn
Mr. & Mrs. Randall Steven LaCaze Sponsors—$50-$99
Angela & Jim Lake Clay Abington
Barbara Leach Mr. & Mrs. Edward K. Ahrens
William Luster, MD Alma Rabb Alost
Linda Lytle Linda Bamburg
Dr. Chris & Jennifer Maggio Sandra Bradley
Steve & Melanie McCain Ed & Rita Kaye Breedlove
Wayne & Sandra McCullen Mr. & Mrs. Mickey Brewton, In memory of
Kelsey & Dan McDonald Kerlin & Margaret Sutton
Brenda & Tommy Melder Dr. Patricia Brown
Drs. Mark & Sarah McFarland Melder Ron & Leta Brown-In Memory of Alton
Sonny & Connie Melder Townsend Sr., Alton Townsend, Jr.,
Fay & Waddy Norman Karen Townsend Gordy, Past NNSS
Vicki Parrish Concertmaster
Lee & Evie Posey Paul & Kerri Christopher
Michael & Lisa Prudhomme Dr. Virginia Crossno
Gina Puls Joe Darby
Steve Rains Gary & Judy Dison
Linda Roberts Dr. Barb Duchardt
Donna & Richard Rose Bill & Rosie Finical
Carolyn Roy Margaret Fleming
Nancy & Bill Rutledge Janet Flynn
Joseph Scott Amanda Friedman
Robert D. & Dot Scott Dr. Peggy Gilbert
Mr. & Mrs. Samuel Scruggs Pete & Jeanette Gregory
Sonny & Sue Sklar Lincoln Hall
Cecilia Smith Wayne Halm
Tony & Kathleen Smith Frank & Gail Hines
Merlin & Mary Squyres Lewis & Sandra Hines
Dr. & Mrs. Dwight St. Andre Pat Horton
David & Brenda Stamey Bill & Linda Jenkins
Joe B. Stamey Leon & Elaine Johnson
Anne & David Stevens Charles H. Jones
Janine Storrs Sue Keller
Sofiko Tchetchelashvili & Dr. Andrej Kurti Patricia Kent
Joe Thibodeaux Libby Kirkland
Ralph & Barb Thiergart Christina Lake
Harry & Marabeth Thompson Colleen Lancaster
Patricia A. Todd Ann Manger
Mark & Melissa Ward Ben & Sissie Mayeaux
Lori & Steven Wheat Martha Maynard
Richard & Mary White Barbara & David McCoy
Art & Sharon Williams Dr. Ellis Melder
Peggy & Payten Williams LJ & Gay Melder
Polly Windham Maurice Morelock & Rose Matthews
Emily Fredericks Wofford Beatrice Owsley
Dr. Francis Yang Janice & Jerry Paul
14Friends of the Symphony
Anita Mixon Pierce Susanna Squyres
Virginia Pierson Carolyn Stothart
Scotti & Richard Rodgers Cathy & Mark Sutton
Elise Shell Mr. & Mrs. Steve Taylor
Tommy & Debbie Sibley Wilma Wingo
Dian & Fraser Snowden In Honor of Betty Zeagler
In Honor of
Virginia Pierson
Charter Board Member of
Natchitoches-Northwestem
Symphony Society
In honor and celebration
Best Wishes to
Mrs. Reva Campbell
of the life of
Conductor Bakenhus and the
Symphony members for another
(1929-2020), music teacher, pianist wonderful season.
and vocalist who generously shared
her musicality with all who sought to
Thank you NNSS Board.
‘make a joyful noise’. Brenda Webb
A Special Thanks MCCOY ROBERTS
to our Conductor,
& BEGNAUD, LTD.
Dr. Douglas Bakenhus, (A LAW CORPORATION)
who brings us
extraordinary music 300 ST. DENIS STREET
POST OFFICE BOX 1369
year after year.
NATCHITOCHES, LA 71458-1369
Martin Sanders III (318) 352-6495
15Best Wishes for a
SUCCESSFUL SEASON
from your friends at
Link & Elizabeth Hall
Supporting the
Natchitoches-Northwestern
Symphony Orchestra
Making Music,
Musicians and Music
Memories Through the Years
Through
Scholarships
Edwina & Richard Linnye & Shawn Daily
Westrop
16Talented string
students
of NCHS &
LSMSA Locally owned
and operated
support the 367 South Drive
Natchitoches, LA
NSU Symphony 318-352-8174
NCHS Symphony Orchestra Director,
Mrs. Syll-Young Olson
LSMSA Faculty, Dr. Kenneth Olson 30+ Years Service Department
www.natchitochespowersports.com
Congratulations to
Scholarship Recipients
Gayle Howell
Celebrating 56 Years of
Natchitoches-Northwestern
Symphony’s wonderful music.
Compliments of a
Symphony Member
17Supporters of the
Natchitoches-
Northwestern Natchitoches Office Coushatta Office
Symphony 946 Keyser Avenue
Natchitoches, LA 71457
6007 Hwy. 71
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Orchestra 318-357-8194 318-702-2100
Many Office
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Tom & Vicki Caldwell Many, LA 71419
318-256-0330
hancockwhitney.com
Thank you for
such outstanding
music.
Nolton and Lanell
Causey
18Celebrating 56 Years of
Natchitoches-Northwestern
Symphony’s wonderful music.
Richard & Lynnel Gill
Thank you for 56 years
of outstanding musical
performances and being a
part of what makes
Natchitoches great.
Evie & Lee Posey
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530 FRONT STREET, SUITE A
NATCHITOCHES LA 71457 530 Front Street Natchitoches LA 71457
(318) 352-1579 (318) 238-3040
20Congratulations Nick G. Governale, D.D.S.
on 56 Years
of Musical Excellence 125 East 5th Street
Natchitoches, LA 71457
318-352-3830
fax 318-352-5744
GovernaleFamilyDentistry@gmail.com
Pete & Ellen Abington
746 Front Street
Natchitoches, LA
71457
(318) 238-4373
piedaterrenatchitoches@gmail.com
Catherine Willett
Owner
21*according to GSToyota for 2011-2021
CLEAN SWEEP
8 LOCAL LOVE US 31 YEARS and running. More than any
AWARDS IN 2011-2021 other Toyota Dealership in the Ark-La-Tex*
22Groups & Buses Welcome
Private Party Facilities
Carry Out Available
“Home of the Cajun Potato”
Open Nights
for groups or private parties
Extended Hours in December
and for Special Occasions
127 Church Street
352-6634
SERVING SHREVEPORT, BOSSIER,
NATCHITOCHES AND THE ARK-LA-TEX Open Monday-Saturday,10:30 a.m. - 3:00 p.m.
318-626-5599 Sunday 10:30 a.m. - 2:00 p.m.
23Natchitoches-Northwestern Symphony Society appreciates
you supporting the Symphony and our Ad Patrons.
Many thanks to the Friends of the Symphony whose
monetary gifts provide live orchestral music for the
Natchitoches community and music education at
Northwestern State University.
24Friends of the Symphony Form
(Please print clearly)
Name ___________________________________________________________
(as you would like it to appear on the program with your donation)
Mailing Address ___________________________________________________
City/State/Zip ____________________________________________________
Phone __________________________________________________________
Email Address ____________________________________________________
CIRCLE ONE: Season
Tickets
Platinum Underwriters** $1000+ 6
Gold Underwriters* $500+ 4
Benefactor $250 4
Patron $100+ 3
Sponsor (over 65) $50 2
Sponsor $50 1
**Platinum: 2 tickets for any musicale or gala during the season; and a 1/4
page ad in the program.
*Gold: 2 tickets for any musicale or gala during the season; and a 1/8 page ad
in the program.
Consult your tax accountant to verify the tax deductible portion of your
donation. Your check is your receipt. Your membership provides the
resources that enable the Natchitoches-Northwestern Symphony Society to
provide scholarships for string instrumentalists.
Please return this response to:
Natchitoches-Northwestern Symphony Society
242 B Keyser Avenue
PMB No. 113
Natchitoches, LA 71457
Thank you! Your name will appear in the next program.
All donations go to Strings’ Scholarships.
2526
The Natchitoches-Northwestern Symphony Society
What began 56 years ago has evolved into a strong organization providing
scholarships for string instrument players attending Northwestern State
University. In 1966 the symphony society was formed as a college/community
collaboration to promote music and the arts in the Natchitoches community.
It has grown from just a few scholarships in the early years to 32 students
receiving symphony society scholarships for the 2020-2021 school year.
Creation of the non-profit organization was led by NSU music instructor/
conductor Joseph B. Carlucci and community leaders Mrs. Frank Roberson
(Martha) and Jim Bob Key, a business owner and musician. Local attorney
Arthur C. Watson drew up the articles of incorporation and bylaws for the 19
member board of directors.
Early concerts were performed in A.A. Fredericks Auditorium with the
orchestra composed of students, faculty members, and professional
musicians hired from other orchestras. There were fewer concerts with the
first concert performed in December, a formal affair with a Symphony Ball
afterward at the local country club (no longer in existence). Over the years the
orchestra became all student musicians and the symphony society became
focused on providing scholarships for these students. With the creation of
Magale Recital Hall concerts became more welcoming to all with a less formal
environment and better sound quality.
Today, under the direction of Dr. Douglas Bakenhus, the NSU world-class
orchestra performs five concerts throughout the year plus participating in the
NSU School of Creative and Performing Arts Christmas Gala show. Amended
and Restated Articles of Incorporation and By-Laws, written by attorney
and board member Jeff Thomas, were adopted May 2, 2019. The Mission
Statement’s primary goal is “providing scholarships for string players that
attend Northwestern State University in Natchitoches Louisiana.” The Board of
Directors 19 voting members serve on a volunteer basis.
The orchestra is an amazing educational and cultural asset to both the college
and the community. Community support is vital to helping the symphony
society continue to provide scholarships for these talented musicians. The
Natchitoches-Northwestern Symphony Society is grateful and thanks you, the
Friends of the Symphony, for your continued support.
Pat Thomas
Past NNSS President
27Northwestern State University is located in beautiful, historic Natchitoches, Louisiana, the oldest (1714) settlement in the
Louisiana Purchase. Northwestern State was founded in 1884 as Louisiana Normal School for the education of teachers. In 1921
the school’s name was changed to Louisiana State Normal College, then designated as Northwestern State College of Louisiana
in 1944. Its current title, an indication of Northwestern State’s diversity of programs and services, became official in 1970.
Northwestern’s School of Creative and Performing Arts, designated as an “Area of Excellence” by the University of Louisiana
Board of Trustees and generously endowed by the H.D. Dear family of Alexandria, Louisiana, is comprised of four areas: Music;
Art; Theatre/Dance; and New Media, Journalism, and Communication Arts. All four disciplines confer undergraduate degrees,
and Music and the Fine and Graphic Arts also offer graduate degrees. To learn more about the School of Creative and Performing
Arts, please contact:
Mr. Scott Burrell, Director of CAPA..................................................(318) 357-4522...... nfburrellc@nsula.edu
DEPARTMENT CHAIRS/INTERIM CHAIRS..............................CONTACT INFO.................................
Ms. Terrie Sanders, Music...............................................................(318) 357-4522........ sanderst@nsula.edu
Mr. Brett Garfinkel, Theatre & Dance..............................................(318) 357-4483..... garfinkelb@nsula.edu
Leslie Gruesbeck, Fine and Graphic Arts.........................................(318) 357-4522.....gruesbeckl@nsula.edu
Dr. Jessica Zhang, New Media, Journalism, & Communication Arts.....(318) 357-5368...........zhangj@nsula.edu
NSU music students rehearse, attend classes, take private instruction, and perform in one of the most outstanding Performing
Arts facilities in the South, the A.A. Fredericks Center for the Creative and Performing Arts, named to honor one of Northwestern
State’s most outstanding administrators.
The Magale Recital Hall, endowed by the Magale family of Waterproof, Louisiana, seats over 400, and is one of the finest concert
halls in the U.S. It is equipped with a 40-rank Reuter organ, two nine-foot grand pianos, and an Eric Hertz harpsichord. The
1400-seat Fine Arts Auditorium is used for larger concerts, musicals and opera, dance, and numerous theatre productions.
Many performing opportunities for students include several choirs, opera theatre, orchestra, marching band, wind ensemble,
jazz orchestra, percussion ensemble, and a variety of chamber music groups. Degree offerings include the Bachelor of Music
in Performance, the Bachelor of Music/Sacred Music Concentration, the Bachelor of Music Education, and the Master of Music.
PLAY WITH US! MUSIC SCHOLARSHIPS @ NORTHWESTERN STATE
Students are eligible to receive scholarships for participation in music ensembles, regardless of their academic major. Scholarship
awards vary, and are determined by factors including a talent audition, high school achievements, academic scores and financial
need. For further information, please contact CAPA Director, Scott Burrell.
NSU’s Dear School of Creative and Performing Arts (CAPA) is dedicated
to creating a diverse, inclusive and equitable experience for all students,
faculty and staff. CAPA will not tolerate racism or discrimination and is
committed to creating a fair, empathetic, and just environment.
Northwestern State University does not discriminate on the basis of race, color, gender, religion, sexual orientation, national origin, disability, genetic informa-
tion, age, pregnancy or parenting status, and veteran or retirement status in its programs and activities and provides equal access to the Boy Scouts and other
designated youth groups. The following individuals have been designated to handle inquiries regarding non-discrimination policies (i.e., Title IX): Employees/
Potential Employees – Veronica M. Biscoe, EEO Officer (318-357-6359) and Students – Reatha Cox, Dean of Students (318-357-5285). For Americans with Dis-
abilities Act (ADA) concerns, contact the Disability Support Director, Randi Washington, at 318-357-5460. Additionally, Northwestern complies with the Jeanne
Clery Disclosure of Campus Security Policy & Campus Crime Statistics Act. Information about NSU’s campus security and crime statistics can be found at https://
www.nsula.edu/universityaffairs/police/. Full disclosure statement: http://universityplanning.nsula.edu/notice-of-non-discrimination.
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