Kimi Kawashima, piano
The Lubbock Chorale
David Cho, conductor
BEETHOVEN Strikes Again
THURSDAY SEPT19 2024
THEBUDDYHOLLYHALL 7:30PM
BEETHOVEN Overture to Coriolan
BEETHOVEN Choral Fantasy
BEETHOVEN Symphony No. 4
BEETHOVEN Prisoners' Chorus from Fidelio
A Symphony inspires, educates & captivates us all.
PROUD SUPPORTER OF
Lubbock Symphony Orchestra
A LETTER FROM THE BOARD CHAIR
Dear Symphony Friends,
Good evening and welcome to the 78th season of the Lubbock Symphony Orchestra! Our 2024-25 Masterworks Series begins tonight with Beethoven Strikes Again. German composer Ludwig van Beethoven (1770-1827) is one of the most revered figures in the history of Western music. His works rank among the most performed of the classical repertoire and span the transition from the Classical period to the Romantic era.
Our guest artist, Kimi Kawashima, is a pianist with a rich and varied career. She was born and raised in Ohio and made her concerto debut with the Toledo Symphony at age 14. She has appeared on stages extensively across the country. Currently, Ms. Kawashima is the Director of Music and Piano Faculty at Westminster University in Salt Lake City.
We are delighted that The Lubbock Chorale, conducted by Dr. Alan Zabriskie, will join us tonight. With a history dating back to 1976, The Lubbock Chorale is celebrating four decades of choral excellence.
Our gratitude to Chicken Express and Evensky & Katz / Foldes Wealth Management for generously sponsoring tonight’s program. Without our sponsors, the Lubbock Symphony could not present the wonderful performances we will hear throughout the coming months.
This evening would not have been possible without the expertise of Maestro David Cho and the exceptional talent of the members of the Lubbock Symphony Orchestra. Their musical gifts are greatly appreciated!
Finally, we thank you, our patrons, for making this concert possible through your continuing support and attendance this evening.
Warm wishes,
Toni Wallingford Chair LSO Board of Directors
A LETTER FROM THE MUSIC DIRECTOR
Dear Friends of the Lubbock Symphony,
Welcome to the opening night of the Lubbock Symphony’s 2024-25 Masterworks season!
The spectacle and beauty of tonight’s program will go beyond your imagination.
Music of Beethoven’s middle to late period in his compositional output is often described as joyous, mystic, and powerful.
Before Beethoven shocked the world with the Ninth Symphony “Ode to Joy”, he had fancied a joyful song with similar orchestral and choral force. This time with 6 vocal soloists (instead of 4) and a piano soloist.
Kimi Kawashima, a notable pianist specializing in the music of the Romantic Era, brings her experience and sound for this masterpiece. She recently performed the Choral Fantasy with the Tacoma Symphony in Washington.
Through the next two seasons, the Lubbock Symphony will have attained a cycle of the Beethoven Symphonies. Tonight, you will hear the Fourth Symphony featuring our principal bassoon, Vince Ocampo. This is a symphony of wit, joy and a love song to his immortal beloved that is equally matched in the Choral Fantasy. Coincidentally, the premiere of the Fourth Symphony in 1807 included the Coriolan Overture which you will hear tonight.
We are thrilled to welcome the forces of Texas Tech School of Music as we collaborate with the Lubbock Chorale and Alan Zabriskie. We have the incredible vocal faculty and guest artists to join in on this momentous season opener.
Our immense gratitude to Chicken Express and Evensky & Katz / Foldes Wealth Management for their most generous sponsorship of tonight’s concert.
Thank you for your attendance tonight.
Sincerely,
David Cho Music Director Lubbock Symphony
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IN HONOR OF WILLIAM A. HARROD
Founding Conductor of the Lubbock Symphony Orchestra
1946-1987
— Matshona Dhliwayo
KIMI KAWASHIMA, PIANO
Pianist Kimi Kawashima enjoys a committed career as a teacher, performer, and arts administrator. She was born and raised in Bowling Green, Ohio and made her concerto debut with the Toledo Symphony at the age of 14, performing Mozart Concerto in C Major, K. 467 with conductor Ole Schmidt. Ms. Kawashima recently performed Ravel’s Concerto in G Major with The Longview Symphony and Jerry Steichen and has appeared in such notable chamber music series such as the Grand Teton Music Festival, Music in Context, Musiqa, Aperio, Intermezzo and NOVA, and has performed orchestral keyboard with the Utah Symphony, River Oaks Chamber Orchestra and Grand Teton Music Festival Orchestra. She has recorded for MSR Classics and performed on the Hyperion recording of Saint-Saëns’ beloved Carnival of the Animals, with pianist Jason Hardink and Maestro Thierry Fischer and the Utah Symphony, from live performance recordings in December 2017.
An avid chamber musician, Kimi has curated and performed in critically acclaimed programs featured on KUHF’s Front Row radio program, Houston’s Zilkha Hall, Rothko Chapel and served as performer and curator for the Aperio Chamber Music Series where she organized the concert “Intersections: A Musical Perspective of Cy Twombly” at the Menil Collection, performing John Cage’s seminal Sonatas and Interludes for Prepared Piano. In 2019 and 2020, Ms. Kawashima was featured in the Grand Teton Music Festival’s Winter Festival performing Winterreise with Michael Chipman and Ned Rorem’s War Songs with bass-baritone Timothy Jones. She has performed for composers Tristan Murail, Frederic Rzewski and Chen Yi, among others and performed with conductor Keith Lockhart in performances of Peter Maxwell Davies’ Eight Songs for a Mad King, and has premiered works with the Utah Arts Festival chamber ensemble.
A recipient of the Dean’s Talent Award Scholarship at Oberlin Conservatory, Ms. Kawashima received a Presser Foundation Grant and was selected to perform at the Terrace Theater at the Kennedy Center in Washington D.C. as part of the Conservatory Project. Kimi completed her Doctor of Musical Arts degree in piano performance at Rice University, as a student of Brian Connelly, where she was the winner of the Shepherd School Concerto Competition, performing the Concerto for Piano and Strings by Alfred Schnittke with the Shepherd School Symphony Orchestra and conductor James Gaffigan.
Kimi is currently Director of Music and Piano Faculty at Westminster University, where she teaches piano, seminars in the Honors College and directs piano activities, including Westminster’s summer high school piano camp, SummerSong. She is in her third year serving as a Board Member of the Utah Division of Arts and Museums.
B.M. Oberlin Conservatory of Music
M.M. Rice University, Shepherd School of Music
D.M.A. Rice University, Shepherd School of Music
ALAN ZABRISKIE, ARTISTIC DIRECTOR THE LUBBOCK CHORALE
Alan Zabriskie is Director of Choral Studies and Associate Professor of Music at Texas Tech University where he serves as conductor of the University Choir and mentors doctoral and masters students in choral conducting and teaches undergraduate choral conducting. He also serves as Artistic Director of the Lubbock Chorale. Prior to arriving at Texas Tech University, he served as Director of Choral Activities at the University of Central Missouri for seven years and taught middle school and high school choral music in the Clark County School District in Las Vegas, Nevada. Alan holds degrees from Florida State University, Brigham Young University, and the University of Utah.
Under Alan’s direction, notable choral performances include a National Convention of the American Choral Directors Association, the Texas Music Educators Association Convention, the Missouri Music Educators Association In-service Workshop/Conference, and various concerts at Carnegie Hall in New York City. He has conducted performance tours and honor choirs and served as clinician in choral festivals and conferences throughout the United States, Europe, Africa, and Asia, including his most recent tour with the University Choir to the countries of Estonia, Latvia, and Lithuania.
AMANDA KEY-BRASTER, SOPRANO
Amanda Key-Braster is known for her “wonderful light lyric voice with a smashing top.” The American Soprano graduated from Texas Tech University with a Bachelor’s degree in Vocal Performance. After she finished her Master’s degree at the Conservatory in Amsterdam, she co-founded and was named artistic director of a Dutch opera company called B.O.O.M! Bold Opera on the Move. Amanda was blessed to sing in 11 different countries while living and working in Europe for 12 years. She has performed various opera roles in productions such as Le Nozze di Figaro (Susanna), Cosi fan tutte (Despina), Rigoletto (Gilda), Die Zauberflöte (Königin der Nacht), Ottone in Villa-Macht Oder Liebe (Tullia), and has performed as a soloist in more than 200 cathedrals throughout the Netherlands and Belgium, including repertoire from The Messiah by Handel, Ein deutsches Requiem by Brahms, Requiem by John Rutter, Matthäus Passion by Bach, and the Requiem by Mozart.
JEANNIE LOVETT BARRICK, SOPRANO
Jeannie Lovett Barrick can be heard on Grammynominated Conspirare recordings Requiem (Harmonia Mundi, 2006), Threshold of Night (Harmonia Mundi, 2008), and Conspirare in Concert (Harmonia Mundi, 2009), which was recorded as a CD and DVD as part of the national fundraising effort for PBS television in the spring of 2009. Barrick was hired to teach Kodaly musicianship courses at Westminster Choir College as part of a professional development offering during the summer of 2010. In 2012 she was invited to Louisiana State University as a guest soloist with the LSU Schola Cantorum where she performed Colin Britt’s The House of Clouds and Bach’s cantata Jauchzet Gott in allen Landen, BWV 51. Recent solo performances include Georgy Sviridov’s Zorju bjut at Carnegie Hall, Bach’s St. Matthew Passion, Mozart’s C Minor Mass, Haydn’s Lord Nelson Mass, and Allegri’s Miserere Mei.
ALICE ANNE LIGHT, MEZZO-SOPRANO
Praised by Opera Today for her “sumptuous mezzo . . . beautifully even tone, a very wide range, and a sound technique,” mezzo-soprano Alice Anne Light possesses a versatile and colorful voice that has led her to success in opera, musical theatre, art song, oratorio, and concert repertoire. Recent engagements include Rosina in Il barbiere di Siviglia with Opera in the Rock and the Arkansas Symphony Orchestra, Augusta Tabor in The Ballad of Baby Doe with Central City Opera, Thisbe in La Cenerentola with the Bar Harbor Music Festival, Erika in Vanessa at Utah Festival Opera and Musical Theater, as well as Dorabella in Cosi fan tutte and Jo in Little Women at the UMKC Conservatory. Other appearances include roles in Dido and Aeneas, Madame White Snake, Cendrillon, A Midsummer Night’s Dream, Street Scene , Carmen, The Sound of Music, and Camelot. Favorite concert performances include Mozart’s Requiem, Duruflé’s Requiem, Vivaldi’s Gloria, and Beethoven’s Choral Fantasy and Mass in C. Dr. Light holds degrees from Harding University, the University of Mississippi, and the University of Missouri-Kansas City Conservatory of Music and Dance. She has served on the faculties of Northwestern Mississippi Community College, William Jewell College, and joined the faculty of Texas Tech University in the fall of 2018.
ERIC STOKLOSSA, TENOR
Eric Stoklossa, the acclaimed tenor from Dresden, Germany, has made a significant impact on the international opera and concert scene. With performances at prestigious venues such as the Metropolitan Opera, La Scala, Opera Bastille, and the Wiener Festwochen, Stoklossa has collaborated with renowned conductors and captivated audiences worldwide.
Beyond his operatic achievements, Stoklossa is highly regarded for his oratorio performances, including Bach’s St. Matthew Passion, B-Minor Mass, and St. John Passion, as well as works by Haydn and Dvořák. His rendition of Bach’s St. John Passion has taken him to esteemed concert halls across Europe and even to Shanghai for its first official performance in China.
Recent highlights of Stoklossa’s career include notable projects such as Korngold’s Tote Stadt, tours featuring Bach’s St. Matthew Passion, upcoming concerts with Bach’s Christmas Oratorio in Milwaukee, Prague, and Dresden, and the world premieres of Richard Flury’s song cycle Rosen and a new English version of Schumann’s Dichterliebe named The Poet’s Love(r).
Since 2019, Stoklossa has held a professorship at Texas Tech University, where he teaches voice lessons, Oratorio Literature, and masterclasses. Alongside his teaching, he performs regularly in Texas, promoting German Lied and Bach’s music in the region, demonstrating his commitment to nurturing the next generation of musical talents.
FRANCISCO RHENDON, TENOR
Francisco Rendon is a performer, educator, and director from Lubbock, TX and enjoys a life performing both classical, and musical theatre repertoire. Francisco received his Bachelor’s degree in Voice Performance at Texas Tech University where he studied with Karl Dent and is currently pursuing a Master’s degree in Voice Performance at TTU studying with Eric Stoklossa. In the world of opera Francisco has performed the roles of Rodolfo in La Bohème, B.F. Pinkerton in Madama Butterfly, Canio in Pagliacci, Nemorino in L’Elisir d’Amore, and Rinuccio in Gianni Schicchi. Francisco has also had extensive experience performing in American musical theater singing the roles of Curly McClain in Oklahoma!, Sebastian in The Little Mermaid, Donkey in Shrek! The Musical, Gomez Addams in The Addams Family, Seymour Krelborn in Little Shop of Horrors, Thomas Andrews in Titanic the Musical, Horton the Elephant in Seussical the Musical, and the Cowardly Lion in The Wizard of Oz. In concert work, Francisco has performed as the tenor soloist for Orff’s Carmina Burana and Mozart’s Requiem. Francisco is excited to be singing the Beethoven Choral Fantasy, making his debut performance with the Lubbock Symphony Orchestra.
GERALD DOLTER, BASS
Gerald Dolter joined the voice faculty at the Texas Tech School of Music in the fall of 1995. He became the Director of TTU Opera Theatre in 1998. Dolter began his professional singing career in the opera houses and concert halls of the United States and Europe. Opern Welt magazine has described his performances as “radiant,” by the Frankfurter Rundschau as “powerful baritonal presence,” and by England’s Opera magazine as “electrifying.” His operatic credits include appearances with the Pittsburgh, New Jersey State, Tulsa, St. Louis, Cincinnati, and Arizona opera companies, as well as the opera companies of Frankfurt, Mannheim, Hamburg, Karlsruhe, Düsseldorf, Gelsenkirchen, Krefeld, and Montpellier. From 1985 –1991, Dolter was the leading baritone with Germany’s Bremen Opera. His repertoire there included such diverse characterizations as Germont in “La Traviata,” Escamillo in “Carmen,” and Nick Shadow in “The Rake’s Progress.” His operatic repertoire includes more than 87 characterizations and 40 leading roles in musical theatre. He was a National Winner in the Metropolitan Opera Auditions in 1984 and is now a frequent adjudicator for that competition.
Gerald Dolter’s created the musical theatre production company, Lubbock Moonlight Musicals, in 2006. The company has produced many, grand-scale musicals in the outdoor setting of Lubbock’s Moonlight Musicals Amphitheatre.
LUBBOCK SYMPHONY ORCHESTRA
CONDUCTOR
David Cho
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
Maja Maklakiewicz
Lazaro Gonzalez
Adan Flores
Shawn Earthman
Radman Rasti
Kea Beasley
Anna Kim
Lynn Ledbetter
VIOLIN II
Evgeny Zvonnikov Principal
Justice Phil and Carla Johnson
Endowed Chair
Cassidy Forehand
Carroll Jane Goodyear
Brennan Lowrey
James Ellis
Shirley Wigley
Martha Perez
Sean Kyhm
Travis Ebner
VIOLA
Gwendolyn Matias-Ryan Principal
Mary M. Epps and Ralph E.
Wallingford Endowed Chair
Marian Herrero
Israel Mello
Sharon Mirll
Ryellen Joaquim
Bruno Silva
Travis Springer
Vivian McDermott
CELLO
Michael Newton Principal
Mary Francis Carter Endowed Chair
Danny Mar
Alejos Anaya
Madeline Garcia
Daria Miśkiewicz
Justin Barnwell
DOUBLE BASS
Mark Morton Principal
Eugene and Covar Dabezies
Endowed Chair
Stuart Anderson
Christopher Arcy
Gregory Faught
Nodier Garcia
Aubrey Johnson
FLUTE
Eric Leise Principal Crew of Columbia, STS-107
Endowed Chair
Spencer Hartman
OBOE
Kathleen Bell Principal
Lubbock Symphony Guild
Endowed Chair
Susetta Rockett
CLARINET
David Shea Principal
Christine Polvado and John
Stockdale Endowed Chair
Trisha Burrell
BASSOON
Vince Ocampo
Principal
Nancy and Tom Neal Principal
Endowed Chair
Conor Bell
HORN
Lucian Hutchinson Principal
Anthony and Helen Brittin
Endowed Chair
David Lewis
Palmer Biggers
TRUMPET
Gary Hudson
Principal
Stacey and Robert Kollman
Family Endowed Chair
William Takacs
TIMPANI
Lisa Rogers Principal
Lubbock Symphony Guild
Endowed Chair
PERSONNEL MANAGER
Gary Hudson
LIBRARIAN
Israel Mello
THE LUBBOCK CHORALE
Alan Zabriskie
Conductor
Kerra Simmons
Associate Graduate Conductor
Charles Whitehead
Collaborative Pianist
Anh Van Collins
Business Manager
SOPRANO
Oxana Davis
Miranda Dawson
Alisha Donet
Susan Draper
Kristi Edwards
Chloe Ellis
Jennifer Furey
Hannah Gossett
Madison Hanson
Janie Harms
McKenna Harris
Karen Hybner
Ava Johnson
Chris Kimbler
Jordan King
Karina Lago Disdier*
Leah Lujan
Sarah Maher
Erin Miller*
Katie Nielsen
Mimi Pappas
Kensly Peck
Claire Randolph
Glenda Reynolds
Christina Rielo
Kerra Simmons**
Elizabeth Stone
Lindsey Sumner
ALTO
Jennifer Allen
Sofia Altamirano
Ashton Aranda
Gwendolyn Bain
Nancy Beckerink
Natalie Castro
Avery Corder
Jo Crum
Robbi Crumpler
Julia Cui
Kylie Davis
Carolyn Eaks
Cecilia Ginn
Amberlynn Gonzales
Melinda Hatfield
Aveline Hewetson
Dana Hinds
Patsy Jackson
Gabriella Lacombe
Faith LaLande
Bridget Mann
Katie Mann
Peyton Matthews
Rachael McCutcheon
Ariel Noriega
Erin Pearce
Samantha Pearce
Kelsey Peck
Celestina Perez
Alison Pruitt
Andrea Sendejo
Moe Shiraish
Susan Smith
London Spencer
Lori Summers
Juliana Upchurch
Kate Vasquez
Carol Ward
Cynthia West-Ward
Olivia White*
Rashell Wilhoit
Saundra Wimberley
Karen Wood
Lindsey Woodward*
Jana Zacharias
TENOR
Darrell Bateman
Jacob Briggs
Simon Carter*
Aidan Chapleau*
Charlie Correa
Gershom Garcia
Randall Hinds
Mark Huffines*
Jeff Hunt*
Weston Marshall
Samuel Orta
Robert Posey
Rolla Randel
Ken Smith
Paul Smith
Josh Tolosa
BASS
Mark Bailey*
Dave Bender
Andrew Bevly
Trayce Boudreaux*
Jack Cozad*
Ryan J Donet
Alex Driggars
Ethan Fasnacht*
Terry Forbes
Austin Garcia
Jake Hemmle*
Naehyeog Kang
Patrick Karis
Steve Lanham
Melvin Laski
Mark Light
Leonardo Lopez
Christopher Markgraf*
Jaime Noriega
Collin Smith
Skipper Wood
Kerry Wright
* Denotes TTU Scholarship Singers
** 2024-2025 Recipient of the Lottie Hilton and Judge Pat Moore Altrusa Club Music Scholarship
This list represents all currently active members. Some members may not participate in every concert.
Ludwig van Beethoven Coriolan Overture in C minor, op. 62
Beethoven Fidelio, op. 72: Prisoners’ Chorus
The Lubbock Chorale
Beethoven Choral Fantasy, op. 80
Kimi Kawashima, piano
Amanda Key-Braster, soprano
Jeannie Lovett Barrick, soprano
Alice Anne Light, mezzo-soprano
Eric Stoklossa, tenor
Frank Rhendon, tenor
Gerald Dolter, bass
The Lubbock Chorale
Beethoven Symphony No. 4 in B-flat major, op. 60
I. Adagio – Allegro vivace
II. Adagio
III. Scherzo-Trio: Allegro vivace
IV. Allegro ma non troppo
Beethoven: Choral Fantasy, op. 80
German text and English translation
Schmeichelnd hold und lieblich klingen
unseres Lebens Harmonien, und dem Schönheitssinn entschwingen
Blumen sich, die ewig blühn. Fried und Freude gleiten freundlich wie der Wellen Wechselspiel. Was sich drängte rauh und feindlich, ordnet sich zu Hochgefühl.
Wenn der Töne Zauber walten und des Wortes Weihe spricht, muss sich Herrliches gestalten, Nacht und Stürme werden Licht.
Äuß’re Ruhe, inn’re Wonne herrschen für den Glücklichen.
Doch der Künste Frühlingssonne lässt aus Leiden Licht entstehn.
Großes, das ins Herz gedrungen, blüht dann neu und schön empor. Hat ein Geist sich aufgeschwungen, hallt ihm stets ein Geisterchor.
Nehmt denn hin, ihr schönen Seelen, froh die Gaben schöner Kunst Wenn sich Lieb und Kraft vermählen, lohnt den Menschen Göttergunst.
With grace, charm and sweet sounds
The harmonies of our life, And the sense of beauty engenders The flowers which eternally bloom. Peace and joy advancing in perfect accord,
Like the alternating play of the waves; All harsh and hostile elements fall into place in bliss.
When the magic of sound will reign And the awe of language is spoken, Something wonderful will engender, night and tempest transform into light.
Calm without and joy within will reign for the lucky man.
After all the spring sun of the arts forms light out of suffering.
Something great, when it’s touched the heart, Blooms anew in all its beauty. Which spirit taken flight, And all a choir of spirits resounds in response.
Accept then, oh you gracious souls, Joyously the gifts of art. When love and strength are united, The favour of the Gods rewards Man.
Beethoven: Fidelio, op. 72: Prisoners’ Chorus
German text and English translation
CHOR DER GEFANGENEN
O welche Lust, in freier Luft
Den Atem leicht zu heben!
Nur hier, nur hier ist Leben!
Der Kerker eine Gruft.
ERSTER GEFANGENER
Wir wollen mit Vertrauen
Auf Gottes Hilfe bauen!
Die Hoffnung flüstert sanft mir zu: Wir werden frei, wir finden Ruh
ALLE ANDEREN
O Himmel! Rettung! Welch ein Glück!
O Freiheit! Kehrst du zurück?
ZWEITER GEFANGENER
Sprecht leise! Haltet euch zurück!
Wir sind belauscht mit Ohr und Blick. -
ALLE
Sprecht leise! Haltet euch zurück!
Wir sind belauscht mit Ohr und Blick. -
O welche Lust, in freier Luft
Den Atem leicht zu heben!
Nur hier, nur hier ist Leben.
Sprecht leise! Haltet euch zurück!
Wir sind belauscht mit Ohr und Blick.English Libretto or Translation:
PRISONERS’ CHORUS
Oh what joy, in the open air Freely to breathe again!
Up here alone is life! The dungeon is a grave.
FIRST PRISONER
We shall with all our faith
Trust in the help of God! Hope whispers softly in my ears! We shall be free, we shall find peace.
ALL THE OTHERS
Oh Heaven! Salvation! Happiness! Oh Freedom! Will you be given us?
SECOND PRISONER
Speak softly! Be on your guard! We are watched with eye and ear.
ALL
Speak softly! Be on your guard!
We are watched with eye and ear. Oh what joy, in the open air Freely to breathe again!
Up here alone is life. Speak softly! Be on your guard! We are watched with eye and ear.
PROGRAM NOTES
He was short, probably standing no more than five feet, four inches tall. His face bore the pockmarks of an attack of smallpox that he endured in his youth, and women found him both fascinating and physically repulsive. That he was sometimes badtempered, there is absolutely no doubt; when served a plate of meatballs that he found improperly cooked, he dumped the entire bowl of food over the waiter’s head. His advancing deafness increased his irritability and his isolation from everyone except his closest friends. By early middle age, he was using ear trumpets to amplify the sounds of other people’s voices, and he could eventually only communicate through a correspondence book, in which friends and acquaintances would write their side of the conversation and he would reply by speaking. He was by all accounts socially inept, often bordering on rude and boorish – and that was the opinion of his dearest friends!
Yet this diminutive, awkward, angry man created some of the most soul-stirring music ever written on our planet, music that is as dynamic, inspiring and moving today as it was two centuries ago when it was first composed. His music has been recorded by the greatest musicians of every generation, numerous movies and countless books have been devoted to his life, and the power of his music can be found in advertising and video games as well as the concert hall. His immortal music fuels both our compassion and our aspirations, reflects both our humanity and our divinity, and, even in those works’ darkest moments, gives us hope for a better future for all humankind.
His name was Ludwig van Beethoven.
Ludwig van Beethoven: Coriolan Overture in C minor, op. 62
In an era where most musicians were little more than servants to the noble families and royal courts of Europe, Beethoven conversed with his noble Viennese patrons as their social equal. He strongly advocated the Enlightenment concepts of “Liberté, Egalité, Fraternité (Liberty, Equality, Brotherhood)” espoused by the leaders of the French Revolution. In a letter to one of his aristocratic friends, Beethoven wrote:
“Prince, you are what you are through the accident of birth; I am what I am by what I have made of myself. There are and always will be hundreds of kings and princes; there is only one Beethoven!”
He had originally dedicated his Third Symphony (1803 – 1804) to Napoléon Bonaparte, who at the time held the egalitarian title of First Consul of France. Beethoven had pinned his hopes on Bonaparte to eliminate the oppression of the aristocracy throughout Europe and usher in a new era of freedom and democracy. When Napoléon declared himself Emperor, Beethoven’s student and friend Franz Ries brought the news to the composer. Ries later wrote about Beethoven’s reaction:
I was the first to tell him the news that Buonaparte had declared himself Emperor, whereupon he broke into a rage and exclaimed, “So he is no more than a common mortal! Now, too, he will tread under foot all the rights of Man, indulge only his ambition; now he will think himself superior to all men, become a tyrant!” Beethoven went to the table, seized the top of the titlepage, tore it in half and threw it on the floor. The page had to be recopied, and it was only now that the symphony received the title Sinfonia eroica.
Given his beliefs in the rights of all mankind, it is not surprising that Beethoven would be drawn to the story of the legendary Roman general Gaius Marcius Coriolanus. He was believed to have been a Roman soldier whose swift and decisive action defeated the Volsci (bitter enemies of Rome at the time) at a battle near the Volscian town of Corioli (earning him his title Coriolanus and a promotion to general). Ignominiously exiled from Rome, he became a general for the Volsci, and successfully defeated the Roman armies in battle. His forces surrounded and laid siege to Rome, but Coriolanus’s mother and wife came to the Volsci camp under a flag of truce in order to plead with Coriolanus to be merciful and spare Rome. Coriolanus, moved to pity, threw down his sword, abandoned his armor, and left the army, never to be heard from again.
While it is tempting to assume that Beethoven’s overture was inspired by Shakespeare’s play Coriolanus (especially given Beethoven’s plans to create operas based on both Macbeth and King Lear), the overture was written in 1807 for a production of the play Coriolan by Heinrich Joseph von Collin. While having much in common with Shakespeare’s drama, von Collin’s play ends slightly differently –Shakespeare has Coriolanus murdered, while in von Collin’s drama, Coriolanus takes his own life.
The overture opens with a thunderbolt: a sustained fortissimo C in the strings, slapped away by a brutal C minor chord. A sinister scurrying figure begins in the strings, which will form most of the melodic material of the overture, contrasted with a more lyrical pleading melody in the violins over undulating cellos and violas. The overture follows the basic designs of sonata form, but the listener is drawn into the conflict between these two musical ideas, and the masterful way in which Beethoven creates tension even in the simple interplay of a two-note figure. At the end of the overture the defiant opening returns, but this time two thrusting chords (perhaps Coriolanus’s suicide?) bring the forward momentum to a screeching halt. The overture ends in quiet mourning over a repetition of the undulating cello motive. Three barely audible pizzicato notes bring a grim end to the overture, much like three taps on a funeral drum.
Ludwig van Beethoven: Fidelio, op. 72: Prisoners’ Chorush
Other than the odious decade-long lawsuit between Beethoven and his sister-in-law Joanna for the custody of his nephew Karl, few things vexed the composer as much as trying to launch his only opera Fidelio on the stage. Like the lawsuit, Fidelio took nearly ten years to realize, and Beethoven revised the work no less than four times, employed three different librettists, changed the title, and wrote no fewer than four overtures for the work.
The original impetus for writing Fidelio can be traced to a surprising source: Emmanuel Schikaneder, the singer and impresario who commissioned Mozart to write The Magic Flute for the Freihaus-Theater auf der Wieden in Vienna, and who also sang Papageno in the first production. In early 1803, Beethoven and Schikaneder agreed to collaborate on an opera called Vestas Feuer (Vestal Flame). Beethoven received very favorable terms on the contract, since it came with free housing in Schikaneder’s theater, a considerable boon for a composer who moved at least 26 times during his nearly thirty years in Vienna.
Program notes, continued
Unfortunately the libretto of Vestas Feuer failed to inspire Beethoven, and he withdrew from the agreement after a month of trying to compose music for it. The impresario was kind enough to let Beethoven stay in the theater after the dissolution of his contract, but when Schikaneder was fired from his post in 1804, Beethoven was forced to hunt for new lodgings. The time spent on Vestas Feuer was not entirely wasted; Beethoven repurposed some of the music into the subsequent versions of Fidelio.
The libretto for Fidelio came to Beethoven’s attention in 1804, even before the collapse of his collaboration with Schikaneder. Originally titled Leonore, the 1805 premiere was given the title Fidelio to avoid confusion with two other operas that had been popular in Vienna, Pierre Gaveaux’s Léonore and Fernando Paer’s Leonora. Yet when it came time to publish the libretto (1806) and a vocal score (1810), both bore the title Leonore. Modern scholars and publishers use the title Leonore for the 1805 version and its subsequent 1806 revision, and Fidelio for the final 1814 score.
Both the early versions of Leonore/Fidelio were failures. The 1805 production encountered a “perfect storm” of bad luck, being staged shortly after Napoleon’s troops invaded Vienna. Most of Beethoven’s noble friends had fled the city, so many in attendance were French soldiers, and many of them were drunk. The production closed after three performances.
Beethoven’s patrons, while impressed with the work as a whole, staged an “opera intervention” and persuaded him to call in a new librettist to shorten the work from three acts to two. The new version (with a new overture), presented in 1806, fared no better, receiving a mere five performances. Plans were made for a production in Prague in 1807 (for which Beethoven composed a third overture), but the project never came to fruition. Beethoven shelved the work, with no plans to ever return to the theater, at least as an opera composer.
In 1814, three singers from the Vienna Court Opera approached him for a revival of his opera. He was now one of the most famous musicians in Europe, and Beethoven, pleased that his prodigal opera was finally receiving a worthy production, threw himself fervently into the project. He engaged a final librettist, Georg Friedrich Treitschke, to further focus the text, and he made substantial musical revisions. The 1814 production secured Fidelio a place in the standard operatic repertoire which it retains to this day.
In Act I, a chorus of prisoners emerges from their captivity to enjoy a brief moment of freedom in the central courtyard of the prison. They express awe and joy (“O welche lust” – Oh, what joy!) at their momentary release from their dank, dimly lit cells, gazing at the open sky and pouring forth their gratitude for their respite from captivity, but still cautious of being spied upon by the prison authorities. While Beethoven set the text with two soloists in antiphony with the entire chorus, the work is sometimes performed with the solo parts sung by a full choral section.
Ludwig van Beethoven: Choral Fantasy, op. 80
We have all had the experience of doing something and not getting it right the first time, whether it be riding a bicycle, a driving exam, or our yearly tax filing. It is said that Thomas Edison went through over three thousand different ideas for an electric light bulb before creating the earliest version of the incandescent bulb. Some works will defy all attempts at correct revision; a century after its publication, James Joyce’s Ulysses has yet to achieve an edition free from error.
Many composers had this same experience, such as Austrian composer Anton Bruckner, whose nine symphonies exist in many different revised and edited versions. Beethoven experienced similar changes of heart with his opera Fidelio, which went through four separate versions leading to its final version of 1814. Yet sometimes works of art will pass through preliminary stages that are masterworks in their own right, such as Rembrandt’s many self-portraits, or the multiple versions of the same landscape as painted by Claude Monet.
Beethoven’s Ninth Symphony is an extraordinary example of a work that required decades to achieve its final form. While the Ninth seems so natural and inevitable to us today, its genesis did not come easily to Beethoven. For a composer known for his many sketches and revisions, Beethoven ruminated over the work for nearly thirty years. Initially, it was the text which first captured Beethoven’s imagination. Friedrich Schiller’s poem, first published in 1785, appealed to Beethoven for its idealism and for its support of freedom and democracy for all humankind. In 1790, some of Schiller’s lines appear in Beethoven’s Cantata on the Death of Emperor Joseph II, and there are further sketches of the material dating from 1792 and 1798.
We are not really sure what prompted Beethoven to write the Choral Fantasy, other than his feeling that a concert for his benefit scheduled for the Theater an der Wien needed a grand finale, something that would truly showcase his talents as both pianist and composer. For that piece he drew upon sketches and ideas from other works, including the song Gegenliebe, which Beethoven had composed ten years before.
On a bitterly cold December evening in 1808, Beethoven premiered his “prequel” to the finale of the Ninth in his Fantasy for Piano, Chorus, and Orchestra. Included on the same program were the premieres of his Fifth and Sixth Symphonies, the concert aria Ah, perfido!, his Fourth Piano Concerto, two movements from his Mass in C major, and a solo piano improvisation by the composer. Rehearsals had not gone well. Beethoven was kicked out of rehearsals for his rude behavior, evidently lashing out verbally at a clarinetist who took liberties with part of the Choral Fantasy. Beethoven took it upon himself to conduct and play at the same time, which resulted in the Choral Fantasy grinding to a halt and needing to be restarted. It didn’t help that Vienna was experiencing a severe shortage of fuel that December, and that the concert organizers had neglected to make arrangements to turn on the concert hall’s furnace. As a result of all these challenges and disasters, both attendance and critical acclaim for the concert were disappointing.
The similarities between the finale of the Fantasy and the final movement of the Ninth are unmistakable, from the contour of the melody itself, to the interactions between chorus and orchestra, the interweaving of the soloists with the orchestra, the use of theme and variation form, and even the sudden and surprising shifts of harmony. Yet the Fantasy is also quite different from the Ninth’s finale, from its improvisatory opening with the solo piano and the stealthy entrance of the orchestra which follows. It is part symphony, part piano concerto, and part choral hymn. It is a unique blend of virtuosity and compositional rhetoric which provides a fascinating glimpse into Beethoven’s creative process. Its unique place in Beethoven’s output proves that it is more than just a preliminary sketch, and rather the flowering of a smaller branch from the tree that would produce the Ninth Symphony. In short, the Choral Fantasy is far more than just a chip off the old masterpiece.
Program
notes, continued
Ludwig van Beethoven: Symphony No. 4 in B-flat major, op. 60
Beethoven’s Fourth Symphony might qualify as a “middle child,” situated as it is between two of the most groundbreaking works in all of symphonic literature, the noble “Eroica” (Symphony No. 3) and the titanic Fifth Symphony. Like many middle children, the Fourth Symphony has a difficult time drawing attention away from its brawnier and more flamboyant siblings. It is as though the Third and Fifth Symphonies are starting linebackers on the football team, while the Fourth Symphony is President of the Chess Club.
The Fourth as a more modest companion to the Third and Fifth seems to be the opinion of many writers and critics. Robert Schumann described the Fourth as “a slender Grecian maiden between two Nordic giants.” The symphony also brought Classicism rather than Romanticism to the mind of Hector Berlioz, who wrote:
Here, Beethoven entirely abandons ode and elegy, in order to return to the less elevated and less somber, but not less difficult, style of the Second Symphony. The general character of this score is either lively, alert, and gay, or of a celestial sweetness.
Some of the more Classical sound of Beethoven’s Fourth may owe to the circumstances of its creation. Beethoven had experienced a great deal of frustration through the first part of 1806, including the failure of his opera Leonore (later revamped as Fidelio) along with a number of personal and financial difficulties. When he was offered the opportunity to leave stressful Vienna for rural Silesia in the company of his patron, Prince Lichnowsky, Beethoven jumped at the chance.
One of their visits was to the castle of Count von Oppersdorf, who was such an avid patron of music that he insisted each of his staff be proficient on a musical instrument. For Beethoven’s visit, he had his private orchestra perform the composer’s Second Symphony, and Beethoven was delighted to be able to accept a fee from the Count for his Fourth Symphony, even though the available evidence shows that Beethoven had written most of the work before he ever reached Silesia.
As with the proverbial middle child, it’s best to appreciate the Fourth Symphony for its own merits. Instrumentally, it is the only Beethoven symphony with a single flute instead of the usual pair. The opening movement begins with a mysterious and slightly ominous introduction which gains in strength until its pent-up energy is released in a boisterous Allegro vivace. The slow movement sways gently to the rocking rhythm heard in the violins at the very start. The Minuet (really a scherzo) revels in its quirky cross-rhythms in its outer sections (is it in three beats to the bar? is it in two?) and dances elegantly in its lilting Trio. The finale overflows with unbridled orchestral energy, including some spectacular acrobatics from the bassoon section. Who says a “slender Grecian maiden” can’t let her hair down and dance the night away?
ANNUAL FUND
The Lubbock Symphony Orchestra appreciates the generosity of the following individuals who have given to the Annual Fund between August 2023 and August 2024.
MAESTRO’S PLATINUM CIRCLE
($25,000+)
Ann and Craig McDonald
Jana and Sam Scheef
MAESTRO’S GOLD CIRCLE
($15,000-$24,999)
Evan and Herb Armstrong
Maureen Chadwick
Sandra and Neil Kurtzman
Nancy and Thomas Neal
Ralph Tamper and Don Shrum
Drs. Nadene and Roger Tipton
MAESTRO’S SILVER CIRCLE
($7,500 – $14,999)
Anonymous Donor
Armstrong Mechanical
Leen and Mournir Borno
Covar Dabezies
Michael Epps
Deena and Harold Evensky
Birgit and Brad Green
Leslie and Adrian Huckabee
Betsy and Thivakorn Kasemsri
Hill & Ioppolo Oral & Dental Implant
Surgery of Lubbock
Susan and Don Maddox
Jo Anne Smith
Jill and Fred Stangl
Toni Wallingford
Darya White
Lola and Thomas Windisch
MAESTRO’S CIRCLE
($5,000 – $7,499)
Gilbert Berdine
David Cho
Terry Greenberg
Rebecca and Kwang Kim
Sharon and Rick Martin
Mary Jane and Tim Sampson
Shanna and James St. Clair
Katie and John Salter
Jean and Edson Way
VIRTUOSO’S CIRCLE
($3,500 – $4,999)
Gilley Griffith
Mary McCrary
Tina and Tommy Sansom
CONCERTMASTER’S CIRCLE
($1,500 – $3,499)
Beth and Will Ashmore
Betsy and Mark Bass
Dustin Baucom
Kasi and Chris Boutwell
Cathy and Ray Box
Terri and Michael Byrne
Deborah Conn
Stephen Faulk
Patricia Lynn Freier
Erin Gregg
Sandy and Alan Henry
Alan Henry Insurance
Bobbye Hrncirik
John Hunter
The Honorable and Mrs. Phil Johnson
Virginia K. Kellogg
Stacey and Robert Kollman
Amanda Kuhn
Melissa Lewis
Grace and Robert Lin
Paula and Kurt Loveless
Audrey and Barry McCool
Peggy and Terry McInturff
Amanda Mead
Brenda and Curtis Parrish
Tricia and Peter Reed
Stephanie Rogers
Sue and Jim Sexton
Linda and Mark Stoll
Carol and Max Tarbox
Patricia and Charles Wheeler
Joyce White
Brian Willcutt
Cindy and Harry Zimmerman
Dr. Doug Klepper and Terry Hawkins
Family Owned Since 1931
MUSICIAN’S CIRCLE
($1,000 – $1,499)
Joshua Allen
Pam and Rob Allison
Joan J. Baker
Maria and Stephen Balch
Judith Baldwin
Cindy Best
Dawn Kelley and Marcus Borhani
Ruth Ann and Aubrey Bridges
Dr. Helen and Anthony Brittin
Bobbe Crawford
Evelyn Davies
Amy and Jason Grisham
Bess Haley
Robbie Harbison
Ellen and Dennis Harp
LaVelle and Tommy Hawkins
Heather and Mark Hocker
Jennifer Hughes
Alena Ilyushyna
Richard Jorgensen
Cynthia Jumper
Patti and James Lupton
Mallory Miller*
Gwen and Thomas Nichols
Sharmon and Keith Owens
Janeen Patterson
Judy and Gary Poffenbarger
Melissa and Tim Pridmore
Dr. Wael and Hana Qubti
Mike Ragain
Judy and Paul Rostad
Mary and Roger Saathoff
Carrie and Kevin Sedberry
Debbie Sims
Michelle and Jon Stephens
Robin Talbert
Kristian Tsokanov
Sally Walton
YOUNG ARTIST’S CIRCLE
($500 - $999)
Nathan Baie
Jane Baker
Dolle Barker
Gisele Bazan
David Buckberry*
Beverly and Dana Butler
Julie Cordero
Patty and Mark D’Alise
Cari and Dennis Dillon
Joe Dominey
Patti and Jim Douglass
Sue and Curtis Griffith
Karen Havins
Don Hufstedler
Courtney and Doug Jordan
Morris Knox
Lucy Lanotte
Wyatt Leavell
Helen and Ted Liggett
Kit and Ben Linton
Norman Orr
Kathrin Price
Dona Richardson
Marbella and Hoa Tran
Fred Wagner
PATRON’S CIRCLE
($275 - $499)
Mary E. Cato
Reyhan and Richard Crider
Sandra and Robert Crosier
Robin and Karl Dent
David Hodges
Janeen Holmes
Wendell Leatherwood
Sally Murray
Jill Nelson
Penelope and Gerald Pipkin
Janet and Davis Price
Janice Stachowiak
Carol Walker
Donna and Hugh Wilson
Gay Word
SUSTAINER’S CIRCLE
($125 - $274)
Jill and Randy Ball
Shelley Barba
Nancy and Alwyn Barr
David Box
Jamila Branch
Krista and Matthew Bumstead
Jeff Butterfield MD
Neill Carter
William Choe
Christopher Collins
Amy Corbin
Sharon and Rick Graves
Mary Iyer
Judy and Gary Linker
*in memoriam
Sustainer’s Circle,
continued
Carolyn Moore and Allan Mackenzie
Cindy and Mark McBrayer
Joe McFerrin
James McNabb
Dr. Kishor Mehta
Sue Mooney
Dona Nussbaum
Tom Parsons
Justin Price
Suzanne Rasco
Neva Rousselat
Karen Savage
Joe Sharp
Steven Synck
Jim Tapp
Paul Thornton
Kathleen and Ray Weed
Dianne White
Susan Wilson
LUBBOCK CHAMBER ORCHESTRA
Anonymous Donor SS Foundation
LUBBOCK YOUTH ORCHESTRAS
The CH Foundation
Civic Lubbock
Double T Smiles
ESO Fan Wear
Helen Jones Foundation Western Bank
SEASON SPONSORS
MAESTRO’S PLATINUM CIRCLE
($25,000+)
City Bank
The United Family
MAESTRO’S GOLD CIRCLE
($15,000-$24,999)
Covenant Health Systems
MAESTRO’S SILVER CIRCLE
($7,500 – $14,999)
Armstrong Mechanical
Double T Smiles
Hill & Ioppolo Oral & Dental Implant
Surgery of Lubbock
MAESTRO’S CIRCLE
($5,000 – $7,499)
Chappell, Lanehart & Stangl P.C.
Office Wise Commercial Interiors
Western Bank
CONCERTMASTER’S CIRCLE
($1,500 – $3,499)
Chicken Express
Evensky & Katz/Foldes Wealth
Management
GRACO Real Estate Development, Inc.
Prosperity Bank
Our Crescendo fund aims to AMPLIFY Lubbock’s performing arts culture by raising $500,000 to bring popular musical artists to perform alongside the Lubbock Symphony Orchestra.
Help us bring the next big artist to Lubbock!
THANK YOU TO OUR CRESCENDO DONORS!
FORTISSIMO
($10,000+)
Evan and Herb Armstrong
Nancy and Thomas Neal
Ralph Tamper and Don Shrum
FORTE
($5,000 - $9,999)
Michael Epps
Don and Susan Maddox
Sharon and Rick Martin
Shanna and James St. Clair
Toni Wallingford
MEZZO FORTE
($1,000 - $4,999)
Pam and Rob Allison
Beth and Will Ashmore
Ruth Ann and Aubrey Bridges
Bobbe Crawford
Covar Dabezies
Stephen Faulk
Patricia Lynn Freier
Birgit and Brad Green
Robbie Harbison
Sandy and Alan Henry
Richard Jorgensen
Betsy and Thivakorn Kasemrsi
Stacey and Robert Kollman
Melissa Lewis
Grace and Robert Lin
Gwen and Tom Nichols
Sharmon and Keith Owens
Brenda and Curtis Parrish
Prosperity Bank
Dr. Wael and Hana Qubti
Tricia and Peter Reed
Judy and Paul Rostad
Mary and Roger Saathoff
Mary Jane and Tim Sampson
Tina and Tommy Sansom
CRESCENDO
Mezzo Forte, continued
Debbie Sims
Jill and Fred Stangl
Pat and Charles Wheeler
Darya White
MEZZO PIANO
($20 - $999)
Trudy Gamble
Carol Giblin
Alena Ilyushyna
The Honorable and Mrs. Phil Johnson
Amanda Kuhn
Kit and Ben Linton
James McNabb
Jill Nelson
Mary Parra
Kathrin Price
Cloyce Stetson and Janice
Stachowiak
Ross Waggoner
Susan Wilson
For over 78 seasons, the Lubbock Symphony Orchestra has been a bridge between the world’s top performers and the heart of the Hub City. Whether it’s up-and-coming talent or seasoned professionals, we take pride in showcasing the rich musical culture of our region to the world. Now, it’s time to turn up the volume and make it clear that Lubbock is a destination not to be missed.
The meaning of CRESCENDO is a gradual increase. In 1963, the Lubbock Symphony introduced the legendary pianist Van Cliburn, who performed with our local orchestra. Similarly in 1993, the Lubbock Symphony garnered attention by hosting a series of concerts featuring pop singer Tony Bennett. Since then, the orchestra has had the privilege of hosting notable performers such as Yo-Yo Ma, Joshua Bell, Wynton Marsalis, Susan Graham, Renée Fleming, Boyz II Men, and Kristin Chenoweth. The Symphony has also paid tribute to renowned artists like Queen, The Beatles, Led Zeppelin, Wicked The Musical, and Aretha Franklin. These performances hold a special place in the hearts of many members of our community, as they are cherished memories. This is why we strive to keep creating unforgettable experiences that can be treasured by future generations.
Did you know that only one-third of our annual budget comes from ticket sales? The remaining funds mainly come from music supporters in the community, like yourself. Crescendo aims to AMPLIFY your support of our evolving mission to bring the most prominent names in music to the Hub City.
You can add your name today to the expanding list of benefactors, who are leaving their mark on the Hub City and building a legacy of performances for generations to come.
Please join us with your gift to Crescendo today!
MEMORIALS & HONORARIUMS
The Lubbock Symphony Orchestra respectfully acknowledges donations received during the 2024-2025 Season in honor of the following:
Honorariums:
Thivakorn Kasemsri In Honor Of RADM Stephen K. Chadwick
Bess Haley In Honor Of Toni Wallingford
Evelyn Davies In Honor Of Toni Wallingford
The Andrews Family In Honor Of David Cho
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
Allan Mackenzie and Carolyn Moore
Steve and Peggy Reinhart
Tom and Judy Spoonts
Priscilla Stennis
Cloyce Stetson and Janice Stachowiak
Lloyd and Betti Whetzel
Memorials:
Jo Anne M. Smith In Memory Of Norton Baker
Michael Epps In Memory Of Eva and Walter Beets
Toni E. Wallingford In Memory Of Dickie and Fritz Epps
Gerry & Jamie Nystrom In Memory Of Don Wade Ledbetter
Treasure Greene In Memory Of Don Wade Ledbetter
Ray Dent In Memory Of Don Wade Ledbetter
Black, Mann & Graham LLP In Memory Of Don Wade Ledbetter
Mac Tatum In Memory Of Don Wade Ledbetter
Judith Johnston In Memory Of Don Wade Ledbetter
Kathy Owens In Memory Of Don Wade Ledbetter
Kim Johnson In Memory Of Don Wade Ledbetter
Betsy Morton In Memory Of Don Wade Ledbetter
Jeff Butterfield, M.D. In Memory Of Don Wade Ledbetter
Debor Cassen In Memory Of Don Wade Ledbetter
Sharon & Rick Graves In Memory Of Don Wade Ledbetter
Carolyn Wooten In Memory Of Ricky Rasco
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
MICHAEL POSTAR’S
ADVISORY COUNCIL, PAST CHAIRS
Jack M. Lewis
W.P. Clement
Charles E. Maedgen, Jr.
Roy Bass
Rex Webster
Marion Key
W.R. Sewell
J.C. Reynold
James L. Quicksall, Jr.
Asher Thompson
Richard G. Richards
Jack Kastman
Joe J. Moise
J. Harmon Jenkins
George C. Miller
Lonnie Langston
John Witcomb
O.W. English
Asher Thompson
Troy Myers
Arthur E. Gamble
Charley Pope
C.B. Carter
Robert E. Norris
Dean James Allen
Robert L. Stripling
Charley Pope
John R. Kreiger
Roger Key
Edwin E. Merriman
Owen McWhorter, Jr.
Frank Newton
Frank Anderson
Kay Sanford
Paul Meyer
Robert L. Stripling
Jim Ratliff
Coffee Conner
Alan Henry
William D. Armstrong
Susan Boling
Curtis Griffith
DeWayne Pierce
Mike Cunningham
Margaret Lutherer
Chris Barnette
Catherine S. Porter
Ray Fargason
Emily Ratcliff
Brad Green
Peter G. Daia
Kirk McLaughlin
Harry Zimmerman
Shannon Taliaferro
Heather Hocker
Brian Willcutt
The Lubbock Symphony Orchestra would like to express gratitude to and
PROUD TO FEED
Artistic Spirit
Market Street knows the art of creating lives in all of us and loves to support local arts and entertainment.
BEHIND THE MUSIC
OFFICERS
Toni Wallingford Chair
Jill Stangl
Chair Elect
Melissa Lewis
Treasurer
Terri Byrne
Secretary
Brian Willcutt
Immediate Past Chair
BOARD OF DIRECTORS
Beth Ashmore
Steve Balch
Dustin Baucom
Gilbert Berdine
Leen Borno
Kasi Boutwell
Maureen Chadwick
David Cho
Covar Dabezies
Michael Epps
Stephen L. Faulk
Patricia Lynn Freier
Brad Green
Amy Grisham
Spencer Hartman
Sandy Henry
Bobbye Hrncirik
Leslie Huckabee
Carla Johnson
Tiva Kasemsri
Amanda Kuhn
Neil Kurtzman
Grace Lin
Paula Loveless
Brenda Parrish
Melissa Pridmore
Peter Reed
Carol Robertson
Stephanie Rogers
Katie Salter
Tim Sampson
Andrew Stetson
Nadene Tipton
Edson Way
Board of Directors, cont.
Darya White
Joyce White
Lola Windisch
Galen Wixson
ADMINISTRATION
Galen Wixson
President & CEO
David Cho
Music Director
Eric Allen
Lubbock Chamber Orchestra
Artistic Director
Suzanne Rasco Director of Accounting
Courtney Jordan
Director of Development
Kea Beasley
Director of Education
Molly Ramirez
Director of Marketing and Communications
Amelia Jamieson
Graphic Designer
Nia’ Threatt
Patron Services Coordinator
Gary Hudson
Personnel Manager
Corey Dolter
Operations Manager
Israel Mello Librarian
Callie Watson
Marketing and Communications Assistant
Jamie Shipp Education Assistant
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 2024-2025 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 72 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.
Lubbock Symphony Guild Senior Debutantes
Front Row Left to Right - Anastyn Greaser, Mia Chacon, Bryleigh Norman, Hannah Pharies, Ella Mendez, Emily Roark, Rylan Bryant, London Carlisle, lndie Williams, Ella Bennett, Viviana Ziegner, Olivia Mudd
2nd Row Left to Right - Lauren Casey, Anne Edwards, Susannah Smith, Ella Murphree, Sadie Callison, Camden McDougal, Maya AI-Hmoud, Lydia Pesterfield, Reece Watson, Raegan Reed, Jayci Lentz, Olivia Elliott, Tierni Green ,Aubrey White, Teema Sharif
3rd Row Left to Right - Riley Newberry, Zimri Buckley, Kamryn Chandler, Jencee Thompson, Elizabeth Johnson, Blair Belew, Emory McCain, Gabrielle Scherpereel, Morgan Parker, Sydney Smothers, Remington King, Rylee Bea Rose, Cora Clifford
Back Row Left to Right - Reece Riddle, Addison Kitten, Maya Malouf Vermillion, Raegan Lee, Bella Lampe, Hannah Harvey, Emily White, Madelyn Caswell, Ashlee Jones, Brentley Preston, Camryn Howe, Kristen Mitchell
Not Pictured - Catherine Ancell, Grace Gerwig, Taylor Harrison, Ashlyn Simek
Lubbock Symphony Guild Junior Debutantes
Front Row Left to Right - Halley Reynolds, Elizabeth Nicholson, Ava Smith, Finnley Forero, Landry Allen, Joy Wischmeyer, Ellie Underwood, Katelyn Bollens, Madison Heider, Elly Norris, Campbell Beeler
2nd Row Left to Right - Chayce Johnson, EllaMaria Webb, Ashlyn Edwards, Kennedy Cowan, Emyrson Parrott, Blakeley Martin, Chayce Welborn, Payton Reed, Alice Everett, McKanna Garcia, Lauren King, Sadie Gillespie, Addison Neufeld
3rd Row Left to Right - Katelyn Glenn, London Bird, Meridith Bradley, Cassidy McKinnon, Natalie Sweat, Emery Fox, Campbell Franklin, Baylee Fillingim, Joleigh Reno, Danelle Mccourt
Back Row Left to Right - Emma Lane, Erin Brodbeck, Kathleen St. Clair, Harper Burrell, Georgia Kitten, Talitha Dalton, Addison Stewart, Adelaide Underwood, Angelia Liu
Not Pictured - Reya Felton, Heidi Helderlein, Sofia Martinez, Sarah Simpson, Brynlee Smith
Lubbock
Symphony Guild Dates
LSG Board Meeting, Lubbock Women’s Club
Thursday, September 5, 2024
Senior Deb Meeting, Lubbock Women’s Club
Sunday, September 29, 2024
LSG Board Meeting, Lubbock Women’s Club
Thursday, October 3, 2024
LSG Board Meeting, Lubbock Women’s Club
Thursday, November 7, 2024
LSG Membership Meeting and Holiday Social
Thursday, December 5, 2024
LSG Board Meeting, Lubbock Women’s Club
Thursday, January 2, 2025
Debutante Presentation Tea, Lubbock Country Club
Sunday, January 26, 2025
Lubbock Symphony Guild Senior Debutantes
Lubbock Symphony Guild Sophomore Debutantes
Front Row Left to Right - Elizabeth Williams, Sage Boyle, Marlee Thompson, Kate Harlien, Abbott Spitzer, Lula Biondi, Ellison Roberts, Campbell Wilson, Elizabeth Thane, Hannah Owen, Sophie Scolaro
2nd Row Left to Right - Presley Taylor, Kaylee Jordan, Riverson Sawyer, Kristine Wischmeyer, Carter Piland, Emersyn Cross, Kayci Cave, Kayleigh Lewis, Shelby Rivas
3rd Row Left to Right - Finley Cross, Sophie Carter, Rynn Riddle, Sarah Poe, Aubry Elrod, Alexis Gregory, Kaylee McKee, Lauren Brashear, Isabella Hernandez
Back Row Left to Right - Lola Latham, Hadley Payne, Ashlyn Neufeld, Addison Evans, Pamela Buckley, Hope Stonestreet, Kaelie Fincher
Not Pictured - Emily Aldinger, Elle Condra, Anzley Proffitt
Debutante Presentation and Winter Ball, Lubbock Memorial Civic Center
Saturday, February 1, 2025
LSG Board Meeting, Lubbock Women’s Club
Thursday, March 6, 2025
LSG Board Meeting, Lubbock Women’s Club
Thursday, April 3, 2025
LSG Membership Meeting and Annual Brunch
Thursday, May 1, 2025
