Celebrate America

1812

URE OVERT

E & MOR

S ou sa - S ta r s a n d S t r i pe s F o r e v e r Gershwin, Copland, Joplin Gould, Ives, & lowden

DAVID CHO, CONDUCTOR

SAT. MAY 23, 2026 Gould - American Salute Ives - Variations on “America” Joplin - The Entertainer Gershwin - An American in Paris Copland - Variations on a Shaker Melody

7:30 PM

Copland - Hoe-Down: from Rodeo Tchaikovsky - 1812 Overture Lowden - Armed Forces Salute Sousa - Stars and Stripes Forever

THE BUDDY HOLLY HALL This performance is also made possible in part through The CH Foundation; Helen Jones Foundation, Inc.; The Lubbock Symphony Guild; the Texas Commission on the Arts and National Endowment for the Arts; and a grant from the City of Lubbock, as recommended by Civic Lubbock, Inc.

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Celebrating America.

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Crew of Columbia, STS-107 Endowed Chair Chair Kim Hudson, Principal Flute

Kim Hudson has served as the Principal Flute of the Lubbock Symphony since 2009. Kim is an active soloist and teacher who maintains a flute studio of AllState and All-Region participants. She will be featured as a guest soloist next season with the Lubbock Symphony Chamber Orchestra. Kim is a graduate of University of Houston (B.M.) and Texas Tech University (M.M.).

At Texas Tech School of Music, she studied with Dr. Lisa Garner Santa.

Get to know Barent McCool, LSO Principal Flute Endowment Donor Question 1: What role has music played in your life over the years?

The interest in music occurred rather late in my life compared to most people. It first occurred in 1969 when my oldest son Willie, then 8 years old, came home from school (maybe 3 or 4th grade) asking to be allowed to join the developing school music program. He chose to learn the violin. I took him to a local gentleman who specialized in children’s instruments. There he took down a child size violin and played the violin solo to Scheherazade!! That was my first introduction to “Real music”! I have been captured by Classical Music ever since. Willie’s little brother Shawn (my youngest son) learned to play the bassoon in high school.

Question 2: What drew you to endow and support the Lubbock Symphony’s Principal Flute endowed chair?

It is in memory of my son William (Willie) Cameron McCool who served our country as a Naval Officer and then as a NASA Astronaut. My late wife, Audrey, was very musically inclined and was involved in music programs through high school. When I came home from one of our Lubbock Symphony board meetings, where endowing a chair was discussed, Audrey and I talked about what a tribute it would be to Willie and the Crew of Columbia Space Shuttle if we could endow a chair in their memory. Because of Willie’s music lessons through violin, we had initially considered endowing a violin chair. We were a little late in making the commitment and the Concertmaster Endowment was already taken by the Jones-Saathoff Family. We then chose the first chair of the winds, the Principal Flute, as our choice. The rest is history!

Question 3: What does it mean to you to have a musician’s chair carry your name and dedication to the Crew of Columbia, STS-107?

What it means to the whole McCool family (surviving daughter and son plus 7 grandchildren and 9 great grandchildren) is that Willie and the Crew of Columbia will be remembered every time someone sits in the Buddy Holly Hall and reads the program while waiting for the Lubbock Symphony to begin. They will see the small footnote and remember what the Crew of Columbia gave to our country.

Lest we forget these American Heros.

My wife Audrey would have been truly proud of the Lubbock Symphony’s deep mission in our community. Thank you Lubbock Symphony!

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A LETTER FROM THE PRESIDENT & CEO Dear Lubbock Symphony Orchestra Patrons, Welcome to our fifth and final Masterworks concert of the season. Thank you for joining us as we Celebrate America and 250 years this evening.

Many have asked why the 1812 Overture by Tchaikovsky? The tradition of tying Russian composer Tchaikovsky’s towering overture to America’s Independence Day celebration dates to 1974, when the Boston Pops, under Conductor Arthur Fiedler had the orchestra play the piece at the end of its annual Fourth of July concert. It is not linked to anything historical – it’s just because it’s spectacular and it has the cannons at the end. As we prepare for the 80th season, many might remember that Arthur Fiedler was the Guest Conductor of the Lubbock Symphony not once but twice in December 1960 and on April 15, 1975.

We also extend our sincere appreciation to Armstrong Plumbing, Air and Electric, Double T Smiles, and United Supermarkets for this evening’s concert. Their support helps us create special opportunities to engage our patrons in unique ways throughout the concert experience.

Additionally, a sincere thank you for the continued investment of our partners: The CH Foundation, the Helen Jones Foundation, Texas Commission on the Arts, Civic Lubbock, Inc., and the Lubbock Symphony Guild. Their generous support sustains our Masterworks series and helps ensure that world-class symphonic music continues to thrive in West Texas.

I would like to thank our musicians, Maestro David Cho, our dedicated Lubbock Symphony and Lubbock Youth Orchestras staff, and our Board of Directors for their commitment they continue to bring to every performance.

Finally, we look forward to seeing you on Thursday, September 3rd for our 80th Season and our guest artist, Cliburn Laureate pianist, Clayton Stephenson. Have a great summer!

Sincerely,

Heather Hocker President & CEO hhocker@LubbockSymphony.org 2025-2026 SEASON

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A LETTER FROM THE BOARD CHAIR Dear Symphony Friends: Good evening and welcome to tonight’s concert Celebrate America! As the United States approaches its 250th anniversary, orchestras and communities across the country are considering how best to acknowledge the milestone through music. These commemorations offer an opportunity not only to celebrate the nation’s history, but also to reflect on its evolving ideals and shared experiences. I believe this evening’s selection of music does just that.

I want to take this opportunity to express my sincere appreciation to our sponsors, Armstrong Plumbing, Air and Electric, Double T Smiles, and United Supermarkets, for their support of this evening’s concert. The Lubbock Symphony Orchestra is a vital part of the community and could not exist without the generous support we receive from you, our many patrons and corporate sponsors. As we conclude this season, a special thank you to the Lubbock Symphony Guild, this year’s Debutantes and Beaux, and their parents. We are grateful for the continued support of the LSG. This evening would not be possible without the musical expertise of Maestro David Cho and the exceptional virtuosity of the LSO musicians. Thank you for sharing your talents with all of us on the South Plains. We are fortunate to live in a community which has set a high standard of excellence with our musicians.

Finally, we are excited to celebrate our 80th season beginning on Thursday, September 3rd here at The Buddy Holly Hall of Performing Arts & Sciences.

Be sure and secure your tickets, today and join us as we celebrate this special season.

Fondly,

Jill Stangl Chair LSO Board of Directors

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A LETTER FROM THE MUSIC DIRECTOR Dear Friends of the Lubbock Symphony, Celebrating the 250th birthday of our United States of America, we have lined up an exciting, reminiscent and meaningful pool of great symphonic classics for you tonight!

Commencing with a tribute to all things American, verve and splendor, we feature folk melodies such as “Johnny Comes Marching Home”. We visit briefly with Charles Ives and his American Original sound.

Scott Joplin’s “The Entertainer” and George Gershwin’s “An American in Paris” will round up the first half. Those Parisian taxi horns traveled far to be featured in Lubbock tonight!

The second half of the program begins with the music of Aaron Copland depicting the vast landscapes of America and fun hoe-down that resonates with West Texas. Copland will be followed by the beloved works by Tchaikovsky, Lowden and Sousa. With the victorious chimes, thunderous cannon shots and piccolo soli, followed by recognitions of our veterans and a singalong of “Stars and Stripes Forever”, this evening will be a memorable occasion to celebrate a milestone.

We are truly grateful to every single audience members and the most generous concert sponsors; Armstrong Plumbing, Air and Electric, Double T Smiles, and United Supermarkets.

Sincerely, David Cho

David Cho Music Director Lubbock Symphony Orchestra

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LUBBOCK SYMPHONY ORCHESTRA CONDUCTOR David Cho Conductor

The CH Foundation Endowed Conductor’s Podium

VIOLIN I

Annie Chalex Boyle Concertmaster

Jones-Saathoff Family Endowed Chair

Linda Lin Associate Concertmaster

Diekemper Family Foundation Endowed Chair

Josenir Alves Cerqueira Jr. Assistant Concertmaster Adan Flores Shawn Earthman Radman Rasti TTU School of Music Endowed Performer

Guillermo Uribe Laudino Sean Kyhm Malik Winston

VIOLIN II

Evgeny Zvonnikov Principal

Justice Phil and Carla Johnson Endowed Chair

Saikat Karmakar Assistant Principal Cassidy Forehand Kea Beasley James Ellis Shirley Wigley Christine Tao Martha Perez Darcy Radcliffe Savannah Sharp

VIOLA

Bruno Silva Principal

Mary M. Epps and Ralph E. Wallingford Endowed Chair

Jordan Stubblefield Sharon Mirll Libby Herring 18

Viola, cont.

Camellia Asadi Vivian McDermott Jasmin Caldera

CELLO

Michael Newton Principal

Mary Francis Carter Endowed Chair

Danny Mar Alejos Anaya Madeline Garcia Justin Barnwell Kelly Kuhn Jeremy Couture Caroline Silva

DOUBLE BASS Hannah MacGillivray Principal

Eugene and Covar Dabezies Endowed Chair

Stuart Anderson Christopher Arcy Gregory Faught Lucas Rocha Fernando Almeida

FLUTE/PICCOLO Kim Hudson Principal

Crew of Columbia, STS-107 Endowed Chair

Eric Leise Associate Principal Spencer Hartman

OBOE

Kathleen Bell Principal

Lubbock Symphony Guild Endowed Chair

Angeli Marie Nicolas Jordan Hastings

ENGLISH HORN Jordan Hastings

CLARINET David Shea Principal

Christine Polvado and John Stockdale Endowed Chair

McKenna Swearingen Aaron Maczak

BASS CLARINET

BASS TROMBONE Darin Cash

Tim and Mary Jane Sampson Endowed Chair

TUBA

Arturo Galvan Principal

Aaron Maczak

Diekemper Family Foundation Endowed Chair

BASSOON

TIMPANI

Nancy and Tom Neal Endowed Chair

Lubbock Symphony Guild Endowed Chair

Adam Drake Principal

Ian Resurreccion

SAXOPHONE David Dees Principal Christine Ewald Jay Pettit

HORN

Quentin Fisher Principal

Anthony and Helen Brittin Endowed Chair

Esteban Chavez Clark Hutchinson Caleb Dent Joshua Graves

TRUMPET Gary Hudson Principal

Stacey and Robert Kollman Family Endowed Chair

Joe Vandiver William Takacs Scott Strovas

TROMBONE Benjamin Hahn Principal

Kyle Buentello Principal

PERCUSSION

Christopher Mehrafshan Principal

Lisa Rogers/Alan Shinn Percussion Endowed Chair

Erin Martysz Anthony Flores Jared Boothe Martha Reyes Carrasco

HARP

Jennifer Miller Principal

Rachel Jean Armstrong Thomas Principal Harp Endowed Chair

KEYBOARD

Richard Fountain Principal

Edward R. and Jo Anne M. Smith Endowed Chair

PERSONNEL MANAGER Gary Hudson

LIBRARIAN Israel Mello

Larry and Lucy Landusky Endowed Chair

Bruce Keeling

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The Symphony has the ability to bring us joy and comfort, to motivate us and to help us relax.

PRO UD SUPPO RT E R O F

Lubbock Symphony Orchestra

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“Love is the soul's music; all its songs are symphonies.”

— Matshona Dhliwayo

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DAVID CHO, CONDUCTOR

Gould, Morton (1913-1996) American Salute

Ives, Charles (1874-1954)

Variations on America

Joplin, Scott (1867-1917) The Entertainer

Gershwin, George (1898-1937) An American in Paris

INTERMISSION Copland, Aaron (1900-1990)

Variations on a Shaker Melody “Hoe-Down”: from Rodeo

Tchaikovsky, Piotr Ilyich (1840-1893)

1812 Overture, op. 49, TH 49 (Ouverture solennelle)

Lowden, Robert (1920-1998) Armed Forces Salute

Sousa, John Phillip (1854-1932) Stars and Stripes Forever

This program is approximately 1 hour and 22 minutes

Helen Jones Foundation, Inc.

SS Foundation THIS PROGRAM IS MADE POSSIBLE IN PART THROUGH A GRANT FROM THE CITY OF LUBBOCK, AS RECOMMENDED BY CIVIC LUBBOCK, INC.

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PROGRAM NOTES Neil Kurtzman American Salute Composed in 1942 at the height of World War II, American Salute by Morton Gould stands as one of the most exuberant and enduring expressions of American musical patriotism. The work is based on the well-known Civil War tune ‘When Johnny Comes Marching Home’. Gould transforms this familiar song into a brilliant orchestral showpiece, combining symphonic craft with popular appeal.

Originally written for orchestra and later adapted for band, American Salute reflects Gould’s unique ability to bridge classical and vernacular traditions. The piece opens with a bold, attention-grabbing statement, quickly establishing a festive and energetic atmosphere. As the music unfolds, Gould subjects the tune to a series of imaginative variations.

Rhythmic vitality is a hallmark of the work. Syncopations, shifting accents, and crisp percussion writing infuse the music with a distinctly American character, evoking jazz and popular idioms of the early 20th century. Gould’s orchestration is deft and sophisticated, allowing different instrumental sections to shine in turn. Brass fanfares, woodwind flourishes, and sweeping string passages all contribute to the work’s vibrant character.

Despite its celebratory surface, American Salute also carries a deeper resonance. Written during a time of global conflict, it can be heard as both a morale-boosting tribute and a reaffirmation of national spirit. The familiar tune, reimagined through Gould’s inventive lens, becomes a symbol of continuity and resilience.

Today, American Salute remains a concert favorite, admired for its brilliance, accessibility, and unmistakable sense of occasion. It captures, in just a few minutes, a vivid portrait of American musical optimism and ingenuity.

Variations on America Charles Ives’s Variations on America is a quintessential slice of Americana - irreverent, virtuosic, and deeply prophetic. Composed in 1891 when Ives was just 17 years old, the work was originally written for a 4th of July celebration in Brewster, New York. It serves as a vivid window into the mind of a young composer who was already stretching the boundaries of traditional harmony while remaining firmly rooted in the core of American life.

The piece is based on the tune of My Country, ‘Tis of Thee (set to the melody of God Save the King). At its surface, it is a traditional set of variations, showcasing the technical brilliance of the organ - Ives’s primary instrument. Each variation explores a different stylistic texture; some are charmingly Victorian, others display a Mendelssohnian lightness, and some lean into the bombastic show-stopper style typical of late 19th-century organ recitals.

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Program notes, cont.

However, it is the two Interludes that reveal the true Ives. In these brief moments, Ives introduced bitonality - playing in two different keys simultaneously - decades before it became a staple of European modernism.

Legend has it that his father, George Ives, encouraged these experiments but suggested the young Charles not play them at the official concert, as they might prove too dissonant for the local congregation.

In 1962, William Schuman’s orchestration brought the work to a wider symphonic audience, translating the organ’s registrations into vivid brass fanfares and swirling woodwind lines. Whether heard in its original organ form or Schuman’s brassy arrangement, the Variations remain a brilliant paradox: a respectful tribute to a national anthem and a mischievous subversion of musical expectations. It is a work of youthful exuberance that captures the spirit of an emerging American voice - one that is at once traditional, experimental, and unswervingly bold.

The other parts of Ives’ life are as unique as his music. At Yale, he studied composition with the noted pedagogue Horatio Parker. He was also an outstanding athlete. He and his friend Julian Myrick formed their own insurance agency, Ives & Co (which later became Ives & Myrick) where he remained until he retired. During his career as an insurance executive and actuary, Ives devised creative ways to structure life-insurance packages for people of means, which laid the foundation of modern estate planning.

At the same time he was working as an insurance agent, he composed four numbered symphonies, several works with the word ‘Symphony’ in their titles, as well as The Unanswered Question (1908), written for the unusual combination of trumpet, four flutes, and string quartet. The Unanswered Question was influenced by the New England writers Ralph Waldo Emerson and Henry David Thoreau. His Symphony No. 3 won the Pulitzer Prize for music in 1946. He gave the money away saying, “Prizes are for boys, and I’m all grown up.”

Leonard Bernstein championed Ives’ music. He conducted the New York Philharmonic in the world premiere of Ives’s Symphony No. 2 in a broadcast concert in 1951. Ives is one of the most creative and innovative composers in American musical history.

The Entertainer When Scott Joplin published The Entertainer in 1902, he subtitled it ‘A Rag Time Two Step’, envisioning it as the height of American classical elegance.

However, by the mid-20th century, the nuanced classic ragtime Joplin championed had largely faded into the kitsch of “honky-tonk” saloons. The sophisticated architecture of the piece - its syncopated stop-time patterns and melodic grace - was often buried under out-of-tune upright pianos played at frantic tempos.

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Program notes, cont.

The revival of Joplin’s true intent began in earnest with Gunther Schuller, a polymath composer, conductor, and jazz historian. In the early 1970s, Schuller discovered a collection of period arrangements known as the Red Back Book. These were the original orchestrations used by itinerant ragtime orchestras at the turn of the century. Schuller’s realization of The Entertainer for his New England Ragtime Ensemble stripped away decades of stylistic exaggeration, returning the work to its intended chamber-music proportions.

In Schuller’s arrangement, the piano no longer carries the burden alone.

Instead, the melody is passed with conversational wit between the flute, clarinet, and cornet, underpinned by the steady oom-pah of the tuba and the crisp rhythmic punctuation of the snare drum. Schuller insisted on Joplin’s own directive: “It is never right to play Ragtime fast.” By adhering to a relaxed, strutting tempo, Schuller allowed the listener to appreciate the harmonic sophistication and the wistful, almost melancholic undercurrents of the “C” section. In ragtime music, the “C” section (often called the Trio) is a formal structural element that provides a distinct shift in mood, key, and texture. While the first two sections of The Entertainer are bright and percussive, the “C” section acts as a melodic heart to the piece.

This specific arrangement became a cultural phenomenon when it was featured in the 1973 film The Sting. Beyond its cinematic fame, however, Schuller’s work serves as a vital bridge between the conservatory and the jazz club. It reminds us that Joplin was not merely a songwriter, but a meticulous architect of sound, who remains a cornerstone of the American musical identity.

An American in Paris George Gershwin was born in 1898 in Brooklyn to Jewish immigrant parents from the Russian Empire. He grew up in Manhattan, where he spent most of his life. His birth certificate identified him as Jacob Gershwine. His family name had transitioned from Gershovitz to Gershwine after his older brother Ira was born. Yiddish was his first language. He soon became known as George. He changed the spelling of his name to “Gershwin” around the time he became a professional musician. Ira followed his example and became one of the best lyricists of the 20th century.

George’s first interest in music occurred when he was 10 years old. His family bought a piano. and he started to play it. He studied with various piano teachers for about two years (circa 1911) before finally being introduced to Charles Hambitzer, the pianist in the Beethoven Symphony Orchestra. Until he died in 1918, Hambitzer remained Gershwin’s musical mentor, taught him conventional piano technique, introduced him to music of the European classical tradition, and encouraged him to attend orchestral concerts.

In 1913, Gershwin left school at the age of 15 to work as a song plugger on New York City’s Tin Pan Alley. He soon began writing songs, some of which appeared on Broadway. His first big success was Swanee, with words by 2025-2026 SEASON

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Program notes, cont.

Irving Caesar. Al Jolson heard it and added it to one of his shows.

In 1924, Gershwin composed his first major work, Rhapsody in Blue, for orchestra and piano. It was orchestrated by Ferde Grofé and premiered by Paul Whiteman’s Concert Band in New York. It subsequently became his most popular work and established Gershwin’s signature style of blending vastly different musical styles, including jazz and classical music, in unique ways. In the same year, he began to collaborate with his brother Ira on a musical comedy, Lady Be Good. The show included such future standards as ‘Fascinating Rhythm’ and ‘Oh, Lady Be Good!’ From this year forward Gershwin was a world famous composer.

Eager to expand the scope of his work, he went to Paris in 1926, where he asked to study composition with Nadia Boulanger, who, along with several other prospective tutors such as Maurice Ravel, turned him down, afraid that rigorous classical study would ruin his jazz-influenced style. When Ravel heard how much money Gershwin earned in a year, he said he should study with Gershwin rather than the other way around.

During this visit, he began to sketch his An American in Paris. He returned to Paris in early 1928 to continue composing the piece. The work was largely inspired by his experiences in the city and was premiered in December 1928, at Carnegie Hall, conducted by Walter Damrosch.

“My purpose here is to portray the impressions of an American visitor in Paris as he strolls about the city, listens to the various street noises, and absorbs the French atmosphere.” - George Gershwin This was the first piece that Gershwin orchestrated himself. Perhaps the most famous technical aspect of the score is Gershwin’s use of real taxi horns. During his second stay in Paris, Gershwin scoured automotive shops to find horns with just the right pitches - specifically tuned to A, B, C, and D. He brought them back to New York for the premiere, ensuring that the din of the city was not merely a musical approximation, but a literal slice of Parisian life. These horns punctuate the opening section, creating a playful, chaotic energy that mirrors the bustling traffic of the 1920s.

The second section represents a sudden wave of le mal du pays homesickness. The solo trumpet wails a quintessential American blues, reminding the listener that no matter how beautiful the Seine may be, the protagonist is still a stranger. It is a moment of profound vulnerability, bridged by a violin solo that suggests a romantic encounter or perhaps a fleeting conversation with a fellow traveler.

The finale of the work is a brilliant technical feat. Gershwin doesn’t leave his traveler in a state of melancholy; instead, the blues theme is transformed. It is sped up, infused with the syncopation of the Charleston, and married to the bustling energy of the opening walking themes.

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Program notes, cont.

The structure of the work is a large-scale A-B-A form, but it functions more like a cinematic montage. Gershwin utilizes the full palette of the orchestra, from the lush strings to the exuberant woodwinds, to illustrate a final, vibrant celebration of the city. The American has found his footing. He has embraced the Gallic spirit without losing his American identity.

Gershwin’s premature death at 38 from a malignant brain tumor was a blow to American music from which it has yet to recover. Irving Berlin, another American musical great who, like Gershwin’s parents, emigrated from Russia to America, summed up Gershwin’s career: “George is a composer, the rest of us are songwriters.” Gershwin should have been the American Verdi had not fate decided otherwise.

Copland’s Variations and Hoe-Down Aaron Copland’s music has long been synonymous with an idealized American sound. Two of his most performed works, Variations on a Shaker Melody and the exuberant Hoe-Down from Rodeo, reveal opposite sides of his style: one contemplative and lyrical, the other rhythmic and electrifying.

The Variations on a Shaker Melody is drawn from Copland’s ballet Appalachian Spring (1944), composed for choreographer Martha Graham. Copland uses the Shaker hymn ‘Simple Gifts’ in Section 7 of the Appalachian Spring Suite, which he made from the ballet. The section follows a theme-and-variation structure that builds from a single solo to a powerful, full-orchestral climax. Even as the orchestration broadens and the music swells, there remains a sense of openness, as though the vast American landscape were being translated into sound.

If Appalachian Spring represents Copland at his most serene, Rodeo (1942) captures his flair for energy, humor, and rhythmic vitality. Commissioned for the choreographer Agnes de Mille, the ballet depicts scenes of ranch life in the American West. Its final section, the ‘Hoe-Down’, has become one of Copland’s most recognizable pieces, often performed independently in the concert hall.

The ‘Hoe-Down’ is built on traditional American fiddle tunes, most notably ‘Bonaparte’s Retreat’. Copland transforms these folk materials into a dazzling orchestral showpiece, marked by driving rhythms, sharp accents, and brilliant instrumental color. Syncopations snap with percussive force, while the orchestra alternates between lean, transparent textures and fullbodied climaxes. The music’s infectious momentum evokes the energy of a frontier dance, complete with stomping feet and exuberant celebration.

Together, these works demonstrate Copland’s unique ability to elevate vernacular materials into art of great sophistication. Whether in the quiet unfolding of a Shaker hymn or the raucous excitement of a Western dance, his music speaks with a distinctly American voice, direct, expressive, and unmistakably his own.

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Program notes, cont.

Tchaikovsky 1812 Overture The 1812 Overture (full title: The Year 1812, Solemn Overture, Op. 49) was composed in 1880 by Pyotr Tchaikovsky. He was commissioned to write a grand piece for the All-Russian Arts and Industry Exhibition. The work was intended to serve three purposes: The completion of the Cathedral of Christ the Saviour (built to commemorate Russia’s victory over Napoleon), the silver jubilee of Tsar Alexander II, and the opening of the exhibition itself.

Tchaikovsky’s friend and mentor, Nikolai Rubinstein, suggested he write something “on a grand scale.” Tchaikovsky obliged, though he complained in letters that he was “not a conductor of festivals” and felt the task lacked “warmth and love.”

Tchaikovsky conceived the piece as a programmatic spectacle, not a symphonic poem. He wove into it the Russian hymn God Save the Tsar, French references like La Marseillaise, Orthodox liturgical chants, and cannon fire and bells for the climactic effect.

The overture is programmatic; it tells a specific story through sound specifically, the 1812 French invasion of Russia and the subsequent retreat of Napoleon’s Grande Armée. Tchaikovsky uses specific musical motifs to represent the opposing forces.

The Russian People are represented as the piece opens with the somber Eastern Orthodox chant God Preserve Thy People, played by four cellos and two violas. This represents the Russian prayer for divine intervention.

As the battle begins, Tchaikovsky introduces the French national anthem, La Marseillaise. It sounds aggressive and dominant at its first appearance. Folk melodies represent the Russian spirit, which begins to clash with the French anthem. As the piece nears its end, the music depicts the Battle of Borodino.

The La Marseillaise begins to fragment and falter.

Then come the effects that made the piece famous. Tchaikovsky wrote 16 literal cannon shots into the score. A chaotic peal of church bells symbolizes the liberation of Moscow. The piece concludes with a thunderous rendition of God Save the Tsar!, completely drowning out the French theme.

Tchaikovsky held a remarkably low opinion of the 1812 Overture. In a letter to his patroness, Nadezhda von Meck, he wrote: “The overture will be very loud and noisy, but I wrote it without any feeling of love, and so it will probably be of no artistic merit.” He viewed it as a “hack job” written for a paycheck and a public spectacle rather than a piece of high art like his symphonies or his ballets. He was genuinely surprised (and perhaps a bit annoyed) when it became one of his most successful works.

Giuseppe Verdi (opera’s greatest composer ) decisively declared that the only critic whose opinion counts is the audience. The audience has decided.

They love the “hack job”.

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Program notes, cont.

Why has music depicting the victory of one European emperor over another become a staple of the 4th of July? American orchestras (notably the Boston Pops Orchestra under Arthur Fiedler) began pairing it with fireworks and cannon blasts. Spectacle and its patriotic tone (even if Russian) cemented the tradition of performing the piece on America’s Independence Day. The 1812 Overture endures not because of structural brilliance, but because it is immediately intelligible, emotionally direct, and perfectly suited to largescale public celebration. It is a triumph of spectacle over self-criticism - a piece its composer doubted, but the public never stopped loving.

Armed Forces Salute Bob Lowden’s Armed Forces Salute is one of the most familiar patriotic medleys in the American band repertoire. Written in 1980 and lasting about 4 minutes, it was conceived as a compact tribute to the nation’s military services. The medley incorporates the official or long-associated songs of the armed services in succession: “The Caisson Song” for the Army, “Semper Paratus” for the Coast Guard, “The Marines’ Hymn” for the Marine Corps, “The U.S. Air Force”(“Wild Blue Yonder”), and “Anchors Aweigh” for the Navy. There are also a few bars of “America”, “When “Johnny Comes Marching Home”, and the “Battle Hymn of the Republic”. They are used to frame the brief piece and as connective tissue.

The Stars and Stripes Forever Few works in the American orchestral repertoire are as instantly recognizable - or as enduringly beloved - as The Stars and Stripes Forever

by John Philip Sousa. Composed in 1896, shortly after Sousa learned of the death of his longtime manager David Blakely, the march is often said to have come to him fully formed during a transatlantic voyage back to the United States.

The Stars and Stripes Forever exemplifies Sousa’s mastery of the march form. It follows the traditional structure: an opening fanfare-like introduction, followed by contrasting strains that balance lyrical grace with rhythmic precision. Yet it is the final section - the famous trio - that elevates the piece to iconic status. Here, the piccolo obbligato soars brilliantly above the ensemble, while the brass introduces a bold countermelody, creating a thrilling interplay of textures that builds to a rousing conclusion.

Sousa once remarked that this march was about the “onward march of destiny.” Since its first performance in Philadelphia in 1897, it has transcended its origins as a patriotic rally cry to become a masterpiece of orchestration. In 1987, it was officially designated by Congress as the National March of the United States. Some have even suggested that it become the National Anthem. More than a century after its creation, The Stars and Stripes Forever continues to stir audiences and characterize the American spirit.

2025-2026 SEASON

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7443 19th St. Lubbock, TX 79407 BravoXteriors.com (806) 686-1191 We create beautiful places that bring people together.

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ANNUAL FUND The Lubbock Symphony Orchestra appreciates the generosity of the following individuals who have given to the Annual Fund between May 2025 and May 2026.

MAESTRO’S LEGACY CIRCLE

Maestro’s Circle, cont.

MAESTRO’S PLATINUM CIRCLE

VIRTUOSO’S CIRCLE

MAESTRO’S GOLD CIRCLE

CONCERTMASTER’S CIRCLE

($100,000+) Herb and Evan Armstrong Ann and Craig* McDonald Family

($25,000-$49,999) Deena and Harold Evensky Sandra and Neil Kurtzman Nadene and Roger Tipton

($15,000-$24,999) Leen and Mounir Borno Patricia and Donnie Hicks Shari and Randy Holloway Laura and Monte Monroe Tricia and Peter Reed Ralph Tamper and Don Shrum Jenny and Edson Way Lola and Thomas Windisch

MAESTRO’S SILVER CIRCLE ($7,500 – $14,999) Dr. Rebeccah and Mr. Dustin Baucom Jill and Gilbert Berdine Maureen Chadwick Suzanne Q. Evon Melissa and Stephen L. Faulk Birgit and Brad Green Lory and Rob Ioppolo Betsy and Thivakorn Kasemsri Shanna and James St. Clair Lyn and Mark Stoll

MAESTRO’S CIRCLE ($5,000 – $7,499) Dolle Barker Covar Dabezies Sue and Curtis Griffith Leslie and Adrian Huckabee Susan and Don Maddox Mary McCrary

2025-2026 SEASON

Mary Jane and Tim Sampson Jo Anne M Smith Toni E. Wallingford Patricia and Charles Wheeler

($3,500 – $4,999) Elizabeth and Will Ashmore Patricia Lynn Freier Terry Hawkins and Doug Klepper Lucy and Larry Landusky Jan Ledbetter

($1,500 – $3,499) Betsy and Mark Bass Kasi and Chris Boutwell Nanette and Mike Deso Eleonora and Elias Ghandour John Hunter The Hon. and Mrs.Phil Johnson Virginia Kellogg Julie and Joshua Kendrick Stacey and Robert Kollman Nancy and Thomas Neal Cindy Kirk and Robert Nebb Gwen and Thomas Nichols Brenda and Curtis Parrish Janeen Patterson Melissa and Tim Pridmore Melanie and Mike Ragain Katie and John Salter Janice and Lowry Schaub Jill and Fred Stangl Cindy and Harry Zimmerman

MUSICIAN’S CIRCLE ($1,000 – $1,499) Patti and Jim Douglass Clay Elliott Michael Epps Martha Fregia Jolene and Al Gary Amy and Jason Grisham LaVelle and Tommy* Hawkins Sandy and Alan Henry Rhea and Sam Hill *in memoriam

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Musician’s Circle, cont.

Bobbye Hrncirik Jimmy Johnson James Johnson Grace and Robert Lin Patti and James Lupton Sharon and Rick Martin Sally Murray Susan Nall Tam Nguyen Kevin Noble Tim Oliver Cathy and Scott Porter Stephanie Rogers Janice Stachiowak and Cloyce Stetson Susan Tarrant Teresa and Alejandro Verdugo Darya White Joyce and Scott White Brian A. Willcutt

YOUNG ARTIST’S CIRCLE

($500 - $999) Gisele Bazan Dawn Kelley and Marcus Borhani Mary Ann Bridges Beverly and Dana Butler Mary and W.R. Collier Reyhan and Richard Crider Sandra and Robert Crosier Ellen and Dennis Harp Callum Hetherington Richard Jorgensen Janice and Morris* Knox Kyle Laughlin Wyatt Leavell Debbie and Conrad Lyford Carolyn Moore and Allan MacKenzie Cindy and Mark McBrayer Betty and Norman Orr Sharmon and Keith Owens Sarah and Thomas Parsons Maria and Carlos A. Ricaldi Dona Richardson Tracee and Scott Spore Chris St. Clair Tracy Tobin Sally Walton

PATRON’S CIRCLE ($275 - $499) Kristina Butts Barry Cohen David Cummings

2025-2026 SEASON

Helen Duncum James Fox Constance Goodwin David Hodges Janeen Drew Holmes Alycyn Keeling Stacy Keith Chee-Yun Kim Kishor Mehta Michael Mitchell Sheri Mudd Jill Nelson Mary Ellen Perez Vanessa Pope Patrick Poradek Janet and Davis Price Sherril and Charles Skibell Steve Synck Carol K. Walker Ben Williams Gay Word Wei Zhang

SUSTAINER’S CIRCLE ($125 - $274) Ann and Lynn Akin Marie and H. Allen Anderson Xochitl Anderton Jill and Randy Ball Pam Blassingame Bradley Blount Jessica Brashear Kathy Britton Joana Brown Carla Burrus Neill and Manon Carter Mary Cato Amy and Josh Corbin Bobbe Crawford Cari and Dennis Dillon Gregory Fields Deborah and Craig Finlayson Kim and Mark Flenniken Mark Funderburk David Gibson Lisa Gilliland Tyler Graham Aveline Hewetson Aaron Huff Margaret Kemp Wendell Leatherwood Judy and Gary Linker Diane Lowell Keri Lynn Penelope and Gerald Pipkin George Porter

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Sustainer’s Circle, cont.

Christy Reeves Darin Richards Christy and Joel Robinett Carmen Stein Jim Tapp Linda and Tom Tenner Dave Treat Alina Warraich Callie Watson Wayne Weslander Dianne White Rodney White Gary Wood

Kelly S. Robinson, D.D.S.

Jake Malone, D.D.S.

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2025-2026 SEASON

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Perfect Harmony.

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LUBBOCK SYMPHONY CHAMBER ORCHESTRA SPONSORS Grey Hare Analytics, Inc. SS Foundation Patricia and Donnie Hicks

Prosperity Bank Shari and Randy Holloway

LUBBOCK YOUTH ORCHESTRAS SPONSORS The CH Foundation Comissioners Court / Lubbock County, Texas Civic Lubbock ESO Fan Wear Helen Jones Foundation Mighty Wash Lubbock Live Festival for the Arts UMC Connect

Scan to update your donor information

2025-2026 SEASON

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SEASON SPONSORS *Lubbock Youth Orchestras and Lubbock Symphony Education Sponsors

MAESTRO’S PLATINUM MAESTRO’S CIRCLE ($5,000 – $7,499) CIRCLE ($25,000+) The United Family

MAESTRO’S GOLD CIRCLE ($15,000-$24,999) City Bank University Medical Center UMB Bank LSO Partners in Harmony

MAESTRO’S SILVER CIRCLE

($7,500 – $14,999) Armstrong Plumbing, Air and Electric Beth and Chris Carpenter Chappell, Lanehart & Stangl P.C. *Double T Smiles Drs. Colleen and Michael Segall Hill & Ioppolo Oral & Dental Implant Surgery of Lubbock (The Ioppolo Family Foundation) Lory and Dr. Rob Ioppolo Merrill Lynch MWM Architects Officewise Commercial Interiors Overton Hotel & Conference Center Texas Tech Office of the President / J.T. and Margaret Talkington College of Visual and Performing Arts

2025-2026 SEASON

Casserole Premium Quality Beans Friends of Trout Fishing in America Tiva Kasemsri Lowry Schaub Scott Spore Roger Tipton Thomas Windisch John Zias GRACO Real Estate Development The Andrews Family Happy State Bank Julian Gold HG Thrash Texas Tech University School of Music Victory Bank Visual Edge IT

VIRTUOSO’S CIRCLE ($3,500 – $4,999) Grey Hare Analytics, Inc.

CONCERTMASTER’S CIRCLE ($1,000 – $3,499) Abuelo’s Mexican Restaurant Grace and Robert Lin Blue Layer Community National Bank Evensky & Katz / Foldes Wealth Management Katie and John Salter Lydick Hooks Roofing Company Prosperity Bank Science Spectrum Tucker Floral

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HONORARIUMS The Lubbock Symphony Orchestra respectfully acknowledges donations received during the 2025-2026 Season in honor of the following: Bess Haley In Honor Of Toni Wallingford Evelyn Davies In Honor Of Toni Wallingford The Randy Andrews Family In Honor Of David Cho William Choe In Honor Of David Cho Sue Sexton In Honor Of David Cho Virginia Kellogg In Honor Of David Cho Dean Kilmer In Honor Of David Cho Rock Thoms In Honor Of David Cho David J. Tobin In Honor Of David Cho G3 In Honor of Stephen L . and Melissa A. Faulk Michael Epps In Honor Of Stephen L . and Melissa A. Faulk Robin and Don Walker In Honor Of Stephen L . and Melissa A. Faulk Toni E. Wallingford In Honor Of Stephen L . and Melissa A. Faulk Patricia and Charles Wheeler In Honor Of Stephen L . and Melissa A. Faulk Twentieth Century Club In Honor Of Dr. Elissa Stroman Jim Smith In Honor Of Donna Smith Cathy and Scott Porter In Honor Of David Cho and Heather Hocker Don and Susan Maddox In Honor Of Cover Dabezies and Courtney Jordan In honor of Dawn Kelley & Marcus Borhani Musicians Support Endowment James and Luann Beardemphl Scott and Jessica Beardemphl Crystal Borhani Rahim and Martha Borhani Tutti Burkett David Cho Bryan and Linda Dunn Richard and Rebecca Gale Larry and Susan Hess Sheryl House George R. Keeling Insurance Doug Klepper and Terry Hawkins Leslie Mihal Allan Mackenzie and Carolyn Moore Steve and Peggy Reinhart Susan and Chris Seiter Tom and Judy Spoonts Priscilla Stennis Cloyce Stetson and Janice Stachowiak Lloyd and Betti Whetzel Patricia and Charles Wheeler

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MEMORIALS Jo Anne M. Smith In Memory Of Norton Baker Michael Epps In Memory Of Eva and Walter Beets Thivakorn Kasemsri In Memory Of RADM Stephen K. Chadwick Toni E. Wallingford In Memory Of Dickie and Fritz Epps Martha Fregia In Memory Of Justin Fregia Connie Goodwin In Memory Of Grace and Frank Goodwin Allan MacKenzie In Memory Of Ruth Lauer Peggy Dyess In Memory Of Audrey McCool Carolyn Wooten In Memory Of Ricky Rasco Suzanne Rasco In Memory Of Ricky Rasco Jim Smith In Memory Of Donna Smith Eric and Janis Blackwell In Memory of Dr. Roy Wilson Janice Knox In Memory Of Dr. Morris Knox

If you would like to honor an individual or organization important to you, please send your tax-deductible donation to the Lubbock Symphony Orchestra, 601 Avenue K; Lubbock, TX 79401.

LSO ENDOWMENTS The Lubbock Symphony Orchestra Endowment Trust The CH Foundation Conductor’s Podium Endowment Helen DeVitt Jones Endowment for Education LSO Endowment for Musician Fees and Education Shelley Hall Nelson Endowment for Musicians’ Salaries Lubbock Symphony Opera Fund Texas Tech University J.T. & Margaret Talkington College of Visual and Performing Arts, School of Music Performer Endowment Jones-Saathoff Family Concertmaster Endowment Diekemper Family Foundation Associate Concertmaster Endowment Justice Phil and Carla Johnson Principal Second Violin Endowment Mary M. Epps and Ralph E. Wallingford Principal Viola Endowment Mary Francis Carter Principal Cello Endowment Eugene and Covar Dabezies Principal Bass Endowment Drs. Audrey and Barry McCool Principal Flute Endowment, in memory of the Crew of Columbia, STS-107 Lubbock Symphony Guild Principal Oboe Endowment Janeen Drew Holmes English Horn Endowment Christine Polvado and John Stockdale Principal Clarinet Endowment Nancy and Tom Neal Principal Bassoon Endowment Anthony and Helen Brittin Principal Horn Endowment Stacey and Robert Kollman Family Principal Trumpet Endowment Larry and Lucy Landusky Principal Trombone Endowment Tim and Mary Jane Sampson Bass Trombone Endowment Diekemper Family Foundation Principal Tuba Endowment Lubbock Symphony Guild Timpani Endowment Lisa Rogers/Alan Shinn Principal Percussion Endowment Rachel Jean Armstrong Thomas Principal Harp Endowment Edward R. and Jo Anne M. Smith Principal Piano Endowment Dawn Kelley and Marcus Borhani Musicians Support Endowment

2025-2026 SEASON

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Thank You To our Partners In Harmony founding members

Beth and Will Ashmore Kasi and Chris Boutwell Mary Ann Bridges Maureen Chadwick Bobbe Crawford Deena and Harold Evensky Stephen L. and Melissa A. Faulk Patricia Freier Terry Hawkins and Dr. Doug Klepper Honorable Phil and Carla Johnson Dawn Kelley and Marcus Borhani

Diane Lowell Ann McDonald Laura and Monte Monroe Nancy Neal Melissa Pridmore Janice Stachowiak Jill Stangl Toni E. Wallingford Carol Walker Dr. Charles and Patricia Wheeler Birgit Green Dr. Lola B. Windisch Susan Tarrant

Our mission is to support the Lubbock Symphony Orchestra’s education initiatives by underwriting a Masterworks concert each season that builds on the LSO’s 80-year tradition of education and outreach,

providing

students

from

education

related organizations the opportunity to experience the power of a live symphonic performance.

If you are interested in joining the LSO’s Partners In Harmony, please contact Courtney Jordan at courtney@lubbocksymphony.org or call 806-762-1688

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2025-2026 SEASON

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Buddy Holly Hall is “IN THE GROOVE”

It has been said that "Architecture is Frozen Music" So from the Musicians at MWM to the Designers in the LSO:

Maestro, Music if You Please...

MWM Architects, Inc. 2022 Broadway Avenue Lubbock, Texas 79401 Phone (806)745-7707

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FINANCIALLY SAVVY WAYS TO GIVE TO THE LUBBOCK SYMPHONY ORCHESTRA Your support enables the LSO to offer grand musical experiences, whether in concert with world-renowned guest artists or in classrooms sharing the wonder of music with students.

Below is a list of ways you can support your LSO: Traditional Donation Mail a check, payable to the Lubbock Symphony Orchestra, or make an online gift. See the QR Code below to make a gift.

Matching Gifts Many businesses will match employees’ charitable gifts. A donation may be matched dollar-for-dollar or at a percentage. Check with your company to see if they participate in a matching program.

Qualified Charitable Distribution (QCD)* Beginning at age 70½, you may contribute up to $100,000 annually directly from your IRA to the LSO through a QCD and avoid the distribution as income.

Donor-Advised Fund (DAF)* You may contribute to the LSO through a donor-advised fund. The LSO can also be the beneficiary or successor advisor to your DAF. Stock and Securities* You can donate appreciated stocks and securities to the LSO, saving capital gains taxes while providing a deduction of the entire donation.

Bequests/Legacy Gifts* Remembering the LSO in wills and trusts helps ensure we continue creating quality symphonic performances and educational experiences. *To ensure your gift meets proper tax requirements and to determine the best method of gifting for your unique situation, we recommend reviewing guidelines and discussing with your tax and/or financial advisor and legal professional for bequests and legacy gifts.

For additional information or questions, contact Courtney Jordan, Director of Development, at 806.642.5228 or courtney@lubbocksymphony.org Lubbock Symphony Orchestra 601 Avenue K | Lubbock, TX 79401 EIN #75-6001993 The LSO is a 501c(3) nonprofit organization.

2025-2026 SEASON

SCAN QR CODE FOR MORE INFORMATION

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John Salter, CFP®, Ph.D. - Wealth Manager & Principal Katie Salter, CPA - Senior Vice President & Principal

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2025-2026 SEASON

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MICHAEL POSTAR ’S

Proud supporter of The Lubbock Symphony 56

ADVISORY COUNCIL, PAST CHAIRS Jack M. Lewis

1946

W.P. Clement

1947

Charles E. Maedgen, Jr.

1948

Roy Bass

1949

Rex Webster

1950

Marion Key

1951

W.R. Sewell

1952

J.C. Reynold

1953

James L. Quicksall, Jr.

1954

Asher Thompson

1955-56

Richard G. Richards

1957

Jack Kastman

1958

Joe J. Moise

1959

J. Harmon Jenkins

1960

George C. Miller

1961

Lonnie Langston

1962

John Witcomb

1963

O.W. English

1964

Asher Thompson

1965-68

Troy Myers

1969

Arthur E. Gamble

1970

Charley Pope

1975-77

C.B. Carter

1978

Robert E. Norris

1979

Dean James Allen

1980-81

Robert L. Stripling

1982

Charley Pope

1983-84

John R. Kreiger

1985

Roger Key

1986

Edwin E. Merriman

1987

Owen McWhorter, Jr.

1988

Frank Newton

1989

Frank Anderson

1990-91

Kay Sanford

1991

Paul Meyer

1991-92

Robert L. Stripling

1992-93

Jim Ratliff

1993-94

Coffee Conner

1995-96

Alan Henry

1996-97

William D. Armstrong

1997-98

Susan Boling

1998-99

Curtis Griffith

1999-00

DeWayne Pierce

2000-01

Mike Cunningham

2001-02

Margaret Lutherer

2002-03

Chris Barnette

2003-05

Catherine S. Porter

2005-06

Ray Fargason

2006-08

Emily Ratcliff

2008-09

Brad Green

2009-11

Peter G. Daia

2011-13

Kirk McLaughlin

2013-15

Harry Zimmerman

2015-17

Shannon Taliaferro

2017-19

Heather Hocker

2019-21

Brian Willcutt

2021-23

Toni Wallingford

2023-25

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2025-2026 SEASON

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The Lubbock Symphony Guild has contributed more than $500,000+

There are those of us who make the music.

to the Lubbock

...then there are those of us

Symphony Orchestra since 1999.

who help make the music possible.

For information on how you can be a part of what makes it all possible, please visit LubbockSymphonyGuild.com LUBBOCK SYMPHONY GUILD We need you to help make it happen!

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PANTONE 7624 (font - Novocento Wide/Adorn Pomander Custom-

PANTONE 8383 METALLIC

BEHIND THE MUSIC OFFICERS

Jill Stangl Chair Dustin Baucom Chair Elect Brad Green Treasurer Stephanie Rogers Secretary Toni Wallingford Immediate Past Chair

BOARD OF DIRECTORS

Beth Ashmore Steve Balch Dustin Baucom Gilbert Berdine Leen Borno Kasi Boutwell Terri Byrne Maureen Chadwick David Cho Cassie Christopher Allison Clayton Covar Dabezies Clay Elliott Deena Evensky Stephen L. Faulk Melissa A. Faulk Cassidy Forehand Patricia Lynn Freier Elias Ghandour Brad Green Amy Grisham Spencer Hartman Sandy Henry Rhea Hill Bobbye Hrncirik Rob Ioppolo Carla Johnson Tiva Kasemsri Amanda Kuhn Neil Kurtzman Larry Landusky Grace Lin Laura Monroe Brenda Parrish 2025-2026 SEASON

Board of Directors, cont.

Melissa Pridmore Peter Reed Carol Robertson Stephanie Rogers Tim Sampson Jill Stangl Andrew Stetson Nadene Tipton Alejandro Verdugo Toni Wallingford Edson Way Darya White Joyce White Lola Windisch

ADMINISTRATION

Heather Hocker President & CEO David Cho Music Director Eric Allen Lubbock Symphony Chamber Orchestra Artistic Director Courtney Jordan Director of Development Katy Christy Director of Accounting Callie Watson Box Office Coordinator Amelia Jamieson Graphic Designer Julia Griffith Education Outreach Manager Lee Schrader LYO Manager Gary Hudson Personnel Manager Corey Dolter Operations Manager Israel Mello Librarian Karyn Roy Development Intern

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A LETTER FROM THE LUBBOCK SYMPHONY GUILD PRESIDENT Welcome Patrons, Thank you for attending tonight’s performance! We appreciate your support of the Lubbock Symphony Orchestra. The 20252026 season promises to be an outstanding year of symphonic performances. We are excited to experience the joy of music with you.

Tonight’s performance, and every performance since 1952, has been made possible in part by the Lubbock Symphony Guild. For 73 years, the Guild members have donated their time, talent and resources to keep symphonic music thriving in West Texas.

I hope that you enjoy the incredible talent of our remarkable Orchestra and value the educational and cultural contributions they provide to our community. I invite you to consider becoming a member of the Lubbock Symphony Guild, to join us in further supporting the efforts of the LSO. For more information, please visit our website at www. lubbocksymphonyguild.com.

Sincerely,

Kathleen Burrell, President Lubbock Symphony Guild

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Lubbock Symphony Guild Senior Debutantes

Front Row Left to Right - Kathleen Jane St. Clair, Angelia Liu, Sarah Simpson, Sadie Gillespie, Meridith Bradley, Lauren King, Payton Reed, Emyrson Parrott, Blakely Martin, Katelyn Bollens, Chayce Johnson 2nd Row Left to Right - Georgia Kitten, Alice Everett, Ellie Underwood Reya Felton, Mckanna Garcia, Kennedy Cowan, Joleigh Reno, Ashlyn Edwards, Brynlee Smith, Emma Lane, Erin Brodbeck 3rd Row Left to Right - Elizabeth Nicholson, Cassidy McKinnon, Campbell Beeler, Katelyn Glenn, London Bird, Baylee Fillingim, Addison Stewart, Natalie Sweat, EllaMaria Webb, Chayce Welborn, Campbell Franklin, Harper Burrell 4th Row Left to Right - Halley Reynolds, Addison Neufeld, Landry Allen, Joy Wischmeyer Adelaide Underwood, Madison Heider, Ava Smith, Finnley Forero, Dannelle McCourt Not Pictured - Talitha Dalton

2025-2026 SEASON

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Lubbock Symphony Guild Junior Debutantes

Front Row Left to Right - Lola Latham, Kayci Cave, Shelby Rivas, Ella Condra, Carter Piland Sophie Scolaro, Sarah Poe, Rynn Riddle 2nd Row Left to Right - Alexis Gregory, Aubry Elrod, Sophie Carter, Emily Aldinger, Sage Boyle, Kristine Wischmeyer, Riverson Sawyer, Kayleigh Lewis, Hope Stonestreet 3rd Row Left to Right - Alyssa Joiner, Ashtyn Neufeld, Isabella Hernandez, Kaylee Jordan Emersyn Cross, Marlee Thompson, Presley Taylor, Pamela Buckley, Addison Evans, Kaylee McKee, Kaelie Fincher Back Row Left to Right - Finley Cross, Ellison Roberts, Elizabeth Thane, Campbell Wilson Abbott Spitzer, Hadley Payne, Lula Biondi, Elizabeth Williams, Kate Harlien Not Pictured - Lauren Brashear, Hannah Owen

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Lubbock Symphony Guild Senior Debutantes Lubbock Symphony Guild Sophomore Debutantes

Front Row Left to Right - Cannon Miller, Tatum Maines, Kaylee Cottrell, Audrey Oaks Hope Acrey, Elizabeth Cruce-Roberst, Jack Callahan, Frederick Strangl, Emerson Mooty Ella Hurst, Tess Stockdale, Avery Garza, Grace Cone 2nd Row Left to Right - Alexis Edwards, Halle McPherson, Caroline Cathey, Wade Massengale, Beau Bennett, William Marcinkowski, McKenna Tidwell, Clara Pesterfield, Channing Boyd 3rd Row Left to Right - Avery Smith, Avery Underwood, Ella Polk, Ainsley Wisniewski Grace Tippy, Elly Craft, Saylor Sexton Back Row Left to Right - Channing King, Hurley Neufeld, Taylor Haymes.

Caroline Crawford, Anna Belle Needham, Elizabeth Burrell, Allison Clifford, Ava Grace Wright, Josephine Butts

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Completing your IT Proud supporter and trusted technology partner of the Lubbock Symphony.

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2025-2026 SEASON

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c ti o i r t a P Spirit PROUD TO FEED

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