MW1 Beethoven

Kimi Kawashima, piano The Lubbock Chorale David Cho, conductor

N E V O H T E BE n i a g A s e k i Str THUR

SEPTSDAY 2024 19

THE B

UDDY 7:30HPOLLY HAL M L

BEETHOVEN BEETHOVEN BEETHOVEN BEETHOVEN

Overture to Coriolan Prisoners' Chorus from Fidelio Choral Fantasy Symphony No. 4

2

EVENSKY.COM | 806.747.7995 3223 S LOOP 289 SUITE 220, LUBBOCK, TX 79423

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

2023-2024 SEASON

3

A Symphony inspires,

educates & captivates us all.

PROUD SUPPORTER OF

Lubbock Symphony Orchestra

4

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

2024-2025 SEASON

5

WE SCOUT THE BEST BUSINESSES IN LUBBOCK SO YOU DON’T HAVE TO! Pick up your complimentary guide at The Overton Hotel & Conference Center, The Cotton Court Hotel, or any other of our local member businesses.

thescoutguide.com/lubbock tsglubbock thescoutguidelubbock 6

the scout guide lubbock

I n n o va ti v e Te c h n o l o g y S o l u ti o n s

THE ACTIONABLE SIDE OF YOUR IT NEEDS

PROUD SUPPORTER AND SERVICE PROVIDER OF THE LUBBOCK SYMPHONY

2024-2025 SEASON 806.687.4765 • 6119 79TH ST. • BLUELAYER.COM

7

8

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

2024-2025 SEASON

9

10

BOLINGER, SEGARS, GILBERT & MOSS, L.L.P. certified public accountants

PHONE: (806) 747-3806 8215 Nashville Avenue L UBBOCK , T EXAS WWW.BSGM.COM

2024-2025 SEASON

11

•••••••••••••••••••••••••

Hands-Free KTTZ You love Bach in black tie, but have you tried Sibelus in slippers? Beethoven à la bubble bath?

Dvořák with your favorite doggo?

Locally-curated classical content is now available via voice command— wherever you are. Just tell your smart device to play KTTZ-HD2, and start that soaker!

12

IN HONOR OF

WILLIAM A. HARROD Founding Conductor of the Lubbock Symphony Orchestra 1946-1987

2021-2022 SEASON

13

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

— Matshona Dhliwayo

806.783.8837 | 4211 85th St, Lubbock, TX 79423 lubbockoralfacialsurgery.com

14

2024-2025 SEASON

15

5217 82nd St Suite 400 Lubbock, TX 79424

16

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

2024-2025 SEASON

17

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.

18

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.

2024-2025 SEASON

19

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.

20

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.

2024-2025 SEASON

21

22

2024-2025 SEASON

23

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

24

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

PERSONNEL MANAGER Gary Hudson

LIBRARIAN Israel Mello

TRUMPET Gary Hudson

Principal

Stacey and Robert Kollman Family Endowed Chair

William Takacs

TIMPANI Lisa Rogers

Principal

Lubbock Symphony Guild Endowed Chair

2024-2025 SEASON

25

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

26

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

* 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.

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

2024-2025 SEASON

27

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

28

SINGLE ICKET ON SALT E NOW! S

Special Ev

orks Masterw series

ents

SOUND! CHAMBER

A NIGHT OF BRAHMS

Tuesday, Feb. 25, 2025 John Clare, curator

Saturday, Nov. 16, 2024

HIGHLIGHTS FROM RIGOLETTO Saturday, Jan. 18, 2025

TCHAIKOVSKY FIRST PIANO CONCERTO Saturday, Mar. 08, 2025

CARMINA BURANA

Saturday, Apr. 05, 2025 The Lubbock Chorale

GRAND MIRACLES

Saturday, Oct. 12, 2024 Lubbock Chamber Orchestra

UNFINISHED BUSINESS Friday, Mar. 28, 2025

Lubbock Chamber Orchestra

Holiday

A FESTIVAL OF CAROLS Friday, Dec. 06, 2024 Lubbock Chamber Orchestra Eric Allen, conductor

SCAN OR VISIT LUBBOCKSYMPHONY.ORG

Dates, locations, and guest artists are all subject to change.

2024-2025 SEASON

29

SECURE SEASON MEMBERSHIP TODAY!

NATIONAL BROADWAY TOURS

“One Day More” from Les Misérables. Photo: Matthew Murphy & Evan Zimmerman for MurphyMade

Pictured (L-R): Kristen Amanda Smith (Gretchen Wieners), Maya Petropoulos (Regina George), Maryrose Brendel (Karen Smith), and Natalie Shaw (Cady Heron) Photo by Jenny Anderson, 2023

AUGUST 5-10, 2025

MAY 16-18, 2025

FEB 21-23, 2025 pre

s

e

nt

e d

b

y

MARCH 14-16, 2025

BroadwayAtTheBuddyHollyHall.com 800.776.7469 BWAYLUBBOCKBHH

30

APRIL 4-6, 2025

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

INTERMISSION 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

Helen Jones Foundation, Inc.

2023-2024 SEASON

SS Foundation

31

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.

32

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.

PRISONERS’ CHORUS Oh what joy, in the open air Freely to breathe again!

Up here alone is life!

The dungeon is a grave.

ERSTER GEFANGENER Wir wollen mit Vertrauen Auf Gottes Hilfe bauen!

Die Hoffnung flüstert sanft mir zu: Wir werden frei, wir finden Ruh

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.

ALLE ANDEREN O Himmel! Rettung! Welch ein Glück!

O Freiheit! Kehrst du zurück?

ALL THE OTHERS Oh Heaven! Salvation! Happiness!

Oh Freedom! Will you be given us?

ZWEITER GEFANGENER Sprecht leise! Haltet euch zurück!

Wir sind belauscht mit Ohr und Blick. -

SECOND PRISONER Speak softly! Be on your guard!

We are watched with eye and ear.

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:

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.

2024-2025 SEASON

33

34

Perfect Harmony.

Visual Edge IT is proud to support the Lubbock Symphony Orchestra, a pinnacle of culture and excellence in the community.

Enjoy the show, knowing Visual Edge IT is always fine-tuning your office equipment and IT solutions to work together in perfect harmony.

1607 Broadway | 806.744.8744 | 800.378.9179 BenchmarkYourOffice.VisualEdgeIT.com

2024-2025 SEASON

35

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.

36

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.

h

Ludwig van Beethoven: Fidelio, op. 72: Prisoners’ Chorus

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.

2024-2025 SEASON

37

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.

38

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.

2024-2025 SEASON

39

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?

40

Eric Allen, conductor

Grand Miracles MOZART DEBUSSY HAYDN

Serenade No. 10, K361 “Gran Partita” Petite Suite Symphony No. 96 “The Miracle”

SCAN FOR TICKETS or visit LUBBOCKSYMPHONY.ORG 2024-2025 SEASON

41

Kelly S. Robinson, D.D.S.

Jake Malone, D.D.S.

806.794.1131 • 4215 85th Street • Lubbock, TX 79423 325.515.5064 • 5305 Trinity Blvd #F • Snyder, TX 79549

http://www.robinsondds.com

42

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

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

PANTONE 8383 METALLIC

We need you to help make it happen!

2024-2025 SEASON

43

IF MUSIC SOOTHES YOUR SOUL, YOU’RE

ONE OF US.

BEAR YOUR BANNER! Join or renew now at texastechalumni.org

44

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

VIRTUOSO’S CIRCLE

($25,000+) Ann and Craig McDonald Jana and Sam Scheef

($3,500 – $4,999) Gilley Griffith Mary McCrary Tina and Tommy Sansom

MAESTRO’S GOLD CIRCLE

CONCERTMASTER’S 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

2024-2025 SEASON

($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

45

Family Owned Since 1931

46

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

2024-2025 SEASON

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

47

48

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

2024-2025 SEASON

49

50

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

Chappell, Lanehart & Stangl P.C. Office Wise Commercial Interiors Western Bank

MAESTRO’S GOLD CIRCLE

CONCERTMASTER’S 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

2024-2025 SEASON

($1,500 – $3,499) Chicken Express Evensky & Katz/Foldes Wealth Management GRACO Real Estate Development, Inc. Prosperity Bank

51

52

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

2024-2025 SEASON

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

53

We’ve been honored to make a noteworthy impact on our community since 1934. Don’t wait to take advantage of our deals below, time is key. If you would like to schedule an appointment with one of our certified technicians, scan the QR code below.

$50 Off

Any Service1

Share $50

With A Friend $25 to you, $25 off to your friend

BetterCallArmstrong.com | 806-763-COOL Promo 17819. 1 Valid on services $200 or more. See company representative for details.

Lic # TACL A80819E / TPL M – 17317 / TECL 32611

54

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!

2024-2025 SEASON

55

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.

56

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

2024-2025 SEASON

57

www.officewiseco.com www.officewiseco.furniture 1301-13th Street Lubbock, TX 79401 Locations in

Lubbock, Amarillo, Midland/Odessa & DFW 806.763.2500 | 800.825.8222

A Symphony of products and services to keep your business in tune 58

2024-2025 SEASON

59

MICHAEL POSTAR ’S

Proud supporter of The Lubbock Symphony 60

ADVISORY COUNCIL, PAST CHAIRS Jack M. Lewis

1946

Roger Key

1986

W.P. Clement

1947

Edwin E. Merriman

1987

Charles E. Maedgen, Jr.

1948

Owen McWhorter, Jr.

1988

Roy Bass

1949

Frank Newton

1989

Rex Webster

1950

Frank Anderson

1990-91

Marion Key

1951

Kay Sanford

1991

W.R. Sewell

1952

Paul Meyer

1991-92

J.C. Reynold

1953

Robert L. Stripling

1992-93

James L. Quicksall, Jr.

1954

Jim Ratliff

1993-94

Asher Thompson

1955-56

Coffee Conner

1995-96

Richard G. Richards

1957

Alan Henry

1996-97

Jack Kastman

1958

William D. Armstrong

1997-98

Joe J. Moise

1959

Susan Boling

1998-99

J. Harmon Jenkins

1960

Curtis Griff ith

1999-00

George C. Miller

1961

DeWayne Pierce

2000-01

Lonnie Langston

1962

Mike Cunningham

2001-02

John Witcomb

1963

Margaret Lutherer

2002-03

O.W. English

1964

Chris Barnette

2003-05

Asher Thompson

1965-68

Catherine S. Porter

2005-06

Troy Myers

1969

Ray Fargason

2006-08

Arthur E. Gamble

1970

Emily Ratcliff

2008-09

Charley Pope

1975-77

Brad Green

2009-11

C.B. Carter

1978

Peter G. Daia

2011-13

Robert E. Norris

1979

Kirk McLaughlin

2013-15

Dean James Allen

1980-81

Harry Zimmerman

2015-17

Robert L. Stripling

1982

Shannon Taliaferro

2017-19

Charley Pope

1983-84

Heather Hocker

2019-21

John R. Kreiger

1985

Brian Willcutt

2021-23

.

2024-2025 SEASON

.

61

The Lubbock Symphony Orchestra w o u l d l i ke t o e x p r e s s g r a t i t u d e t o

and

62

2024-2025 SEASON

63

Practicing the Art of Medicine Proud to sponsor the Lubbock Symphony Orchestra

CovenantHealth.org 64

2024-2025 SEASON

65

Artistic Spirit PROUD TO FEED

Market Street knows the art of creating lives in all of us and loves to support local arts and entertainment.

66

BEHIND THE MUSIC OFFICERS

Board of Directors, cont.

Chair

Darya White Joyce White Lola Windisch Galen Wixson

Toni Wallingford 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 2024-2025 SEASON

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

67

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.

Sincerely,

Carol Robertson, President Lubbock Symphony Guild

68

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

2024-2025 SEASON

69

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

70

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

2024-2025 SEASON

71

72

2024-2025 SEASON

73