Romeo & Juliet: A Timeless Romance

2022-2023 SEASON

The Buddy Holly Hall

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SYMPHONIC SCENES 22-23 SEASON

S at. m ay 6 , 2023

RED ROMANCE ON THE WEST SIDE

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Fri. Nov. 11, 2022

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Sat. Apr. 22, 2023

A LETTER FROM THE MUSIC DIRECTOR Dear Lubbock Symphony Family, How thrilled we are to present our 2022-2023 season to you; words truly escape me.

The chestnuts of Brahms, Tchaikovsky, and Shostakovich will nourish our souls. The SOUND! Chamber Series, Opera, and the John Corigliano Residency will showcase what it means to be a 21st-century orchestra.

Tonight’s “Romeo & Juliet: A Timeless Romance” will rekindle the melodious virtuosity of Prokofiev and Tchaikovsky. Our fantastic guest violinist, Benjamin Beilman, will visit with one of the most beloved violin concertos of the Romantic Era. The Lubbock Symphony will round out the program with the powerhouse Prokofiev “Romeo and Juliet” and Tchaikovsky Symphony No. 4.

May this evening be the perfect way to launch the Lubbock Symphony’s 2022-2023 season, “Symphonic Scenes.”

Welcome to the Lubbock Symphony!

Most sincerely, David Cho

David Cho, Music Director

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A LETTER FROM THE CHAIR Dear Patrons, Good evening and welcome to the first Masterworks concert of the 76th season of the Lubbock Symphony Orchestra. Tonight, we are excited to welcome a rising star, the virtuosic Benjamin Beilman. Born in 1989, Beilman has already received praise from worldwide performances, and we are thrilled to hear him bring his deft touch to Tchaikovsky’s beloved “Violin Concerto.”

Your Lubbock Symphony starts the night off with Sergei Prokofiev’s classic ballet, “Romeo and Juliet” (1940). We hope you were able to join us on September 18th at Alamo Drafthouse for the screening of the Best Picture-nominated 1968 film version of “Romeo and Juliet” (Leonard Whiting and Olivia Hussey). Please plan to join us for other movie tie-ins to our Masterworks concerts this season in partnership with Alamo Drafthouse Cinema. Tonight’s concert concludes with two pieces by Pyotr Ilyich Tchaikovsky, the “Violin Concerto” (1878) and his wonderful “Symphony No 4, Fate” (1877-1878).

We want to recognize tonight’s concert sponsor, City Bank. City Bank has been a longtime partner and sponsor of the Lubbock Symphony Orchestra, and we are appreciative of their continued backing. We extend thanks to all of you, our patrons, for making this concert possible through your enthusiasm, your continuing support, and your attendance this weekend.

Please make plans to join us Tuesday, October 4th, at the LHUCA Icehouse for the Fall Sound! Chamber concert. We are entering the fourth year of this innovative chamber series, and we are delighted to continue this bold and vibrant offering.

Thank you for joining us this evening. Please join me in welcoming Maestro Beilman to Lubbock and enjoy your Lubbock Symphony Orchestra!

Brian Willcutt Chair, LSO Board of Directors

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Kelly S. Robinson, D.D.S.

Jake Malone, D.D.S.

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In honor of

William A. Harrod Founding Conductor of the Lubbock Symphony Orchestra, 1946-1987

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Special thanks to The City of Lubbock, as recommended by Civic Lubbock, Inc., the Helen Jones Foundation, Inc., and The CH Foundation for their support of The Lubbock Chorale.

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Proud supporters of the LSO 12

DAVID IN-JAE CHO Winner, 2007 Eduardo Mata International Conducting Competition Born in Seoul, Korea, David immigrated to the United States in 1985. David received a variety of music lessons during his childhood in Palos Verdes, California, before focusing his energy exclusively on the piano. He later attended Oberlin College and Conservatory, where he received his Bachelor of Music in piano performance. In 1996, David won the E. Nakamichi Concerto Competition at the Aspen Music Festival and was awarded the Arthur Dann Prize at the Oberlin Conservatory.

In 1999, while acquiring his Master of Music in piano performance at the Peabody Institute at Johns Hopkins University, David was invited by Robert Spano and Seiji Ozawa to attend the prestigious Tanglewood Music Center as a Merrill Lynch Conducting Fellow. David was then invited by Larry Rachleff to study at Rice University, where he served as guest conductor for the Shepherd School Orchestras while acquiring his Master of Music in instrumental conducting. David was subsequently invited by the Vienna Philharmonic to serve as an assistant conductor. As the recipient of the Karajan Fellowship, David has enjoyed residencies at the annual Salzburg Festival in Austria. In 2003, David was invited by Leonard Slatkin to participate in the National Conducting Institute, during which time he made his début with the National Symphony Orchestra at the John F. Kennedy Center for the Performing Arts.

During the 2003-2004 season, David was selected to spend a year as the conducting fellow of the New World Symphony under the mentorship of Michael Tilson Thomas. While on tour with the New World Symphony in New York City, David made his Carnegie Hall début conducting works by Copland and Tchaikovsky. During the orchestra’s Rome tour, David made his début at the Academy of Santa Cecilia, conducting works by Luciano Berio and John Adams. David was then invited by his mentor, Larry Rachleff, to serve as the resident conductor of the San Antonio Symphony Orchestra from 2004-2006. During the 20062007 season, David held the Bruno Walter resident conductor chair with the ensemble.

During his tenure as the associate conductor of Utah Symphony | Utah Opera (2006-2011), David won first prize at the Eduardo Mata International Conducting Competition in Mexico City, which resulted in numerous conducting engagements in Europe, Asia, and South America. He has conducted the symphonies of Seattle, Houston, Austin, Memphis, Fort Wayne, Baton Rouge, and Shreveport. He has collaborated with such guests artist as Yo-Yo Ma, Renée Fleming, Joshua Bell, Frederica von Stade, Sarah Chang, Daniel Müller-Schott, Jennifer Koh, Leila Josefowicz, Jennifer Frautschi and Alexander Kobrin. During previous summers, David made appearances at the Aspen Music Festival and the Grand Teton Music Festival.

After heralded guest appearances with the Lubbock Symphony Orchestra in 2007 and 2009, David was appointed as the orchestra’s seventh music director in 2011. He began his tenure with the LSO in the 2012-2013 season and is now actively involved in community engagements.

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LUBBOCK SYMPHONY ORCHESTRA Conductor David Cho

The CH Foundation Endowed Conductor’s Podium

CELLO

Michael Newton Principal

Mary Francis Carter Endowed Chair

Annie Chalex Boyle Concertmaster

Danny Mar Alejos Anaya Madeline Garcia Neemias Santos Daria Miśkiewicz

Linda Lin Associate Concertmaster

DOUBLE BASS

VIOLIN I

Jones-Saathoff Family Endowed Chair

Diekemper Family Foundation Endowed Chair

Abi Rhoades Grace Marín Aguilar Isaias Ferreira Judy Woody Rodrigo Cabrera Francisco Villarroel

VIOLIN II

Lauren Pokorzynski Principal

Justice Phil and Carla Johnson Endowed Chair

Saikat Karmakar Assistant Principal Kea Beasley Martha Perez James Ellis Shirley Wigley Brennan Lowrey Yifan Tang Cassidy Forehand Carroll Jane Goodyear

VIOLA

Philippe Chao Principal

Mary M. Epps and Ralph E. Wallingford Endowed Chair

Sharon Mirll Israel Mello Gwendolyn Matias-Ryan Sera Jung Bruno Silva Laurie Willams 16

Mark Morton Principal

Eugene and Covar Dabezies Endowed Chair

Boyce Wyrick Griff Miller Hannah Macgillivray Stuart Anderson Christopher Arcy

Flute

Kim Hudson Principal

Crew of Columbia, STS-107 Endowed Chair

Eric Leise

OBOE

Amy Anderson Principal

Lubbock Symphony Guild Endowed Chair

ENGLISH Horn

Jordan Hastings Principal

Janeen Holmes Gilliam Endowed Chair

Clarinet

David Shea Trisha Burrell

Bass Clarinet Hsiao-Ju Chen

BASSOON

percussion

Nancy and Tom Neal Endowed Chair

Lisa Rogers/Alan Shinn Endowed Chair

Vince Ocampo Principal Adam Drake

CONTRABASSOON Kevin Grainger

Horn

Christopher Smith Principal

Christopher Mehrafshan Principal Michael Mixtacki John Frederick

Harp

Jennifer Miller Principal

Rachel Jean Armstrong Thomas Endowed Chair

Anthony and Helen Brittin Endowed Chair

PIANO

TRUMPET

Edward R. and Jo Anne M. Smith Endowed Chair

David Lewis

Will Strieder Principal

Richard Fountain Principal

Stacey and Robert Kollman Family Endowed Chair

Gary Hudson Joseph Vandiver

Trombone

Jim Decker Principal Bruce Keeling

bass Trombone Darin Cash

Tuba

Kevin Wass Principal

Diekemper Family Foundation Endowed Chair

TIMPANI

Lisa Rogers Principal

Lubbock Symphony Guild Endowed Chair

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

— Matshona Dhliwayo

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ClefNotes Romeo and Juliet | Prokofiev The ballet is split into 3 acts with 3 orchestral suites accompanying it. Tonight, we are performing 3 scenes!

The premiere of Romeo and Juliet was in Brno, Czechoslovakia, in 1938.

Join us February 20th for the Brno Philharmonic!

Violin Concerto | Tchaikovsky Tchaikovsky selected violinist, Leopold Auer, to premiere the piece.

After a quick look at the work, Auer decided it was too challenging, and the premiere had to be canceled.

Symphony No. 4 | Tchaikovsky Movement 1- Introduces the concept of the role fate plays in human lives.

Movement 2- An expression of exhaustion and reminiscence.

Movement 3- Represents intoxication and the loss of inhibitions.

Movement 4- Concludes with the final understanding that happiness is a decision.

We hope you were able to participate in our ClefNotes discussion with John Clare prior to the concert this evening! Join us before Red Romance on the West Side for a beginner-friendly background on the pieces and composers.

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David Cho | music director The CH Foundation Endowed Conductor’s Podium Benjamin Beilman, violin

Suite from Romeo and Juliet, Op. 64..... Sergei Prokofiev (1891-1953) V. Masks VI. Balcony Scene VII. Death of Tybalt

Violin Concerto in D major, Op. 53........... Pyotr Ilyich Tchaikovsky (1840 - 1893) I. Allegro moderato II. Canzonetta: Andante III. Finale: Allegro vivacissimo Benjamin Beilman, violin

INTERMISSION Symphony No. 4 in F minor, Op. 36......... Pyotr Ilyich Tchaikovsky I. Andante sostenuto – Moderato con anima (1840 - 1893) II. Andantino in modo di canzona III. Scherzo: Pizzicato ostinato – Allegro IV. Finale: Allegro con fuoco

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PROGRAM NOTES Sergei Prokoviev: Suite from Romeo and Juliet, Op. 64 Unlike his fellow Russian expatriate, Igor Stravinsky, Sergei Prokofiev decided to return to his native land in the aftermath of the Russian Revolution, moving to the Soviet Union in the summer of 1936. Like Stravinsky, Prokofiev had enjoyed considerable success as a composer and pianist in Western Europe and in the United States. As the Great Depression spread worldwide, orchestras were unable to afford the musicians required for his large-scale works, and his opportunities as a pianist began to diminish. His fortunes were revived by several visits to the Soviet Union as composer, pianist, and conductor. His absurdist opera The Love for Three Oranges was produced to great acclaim at the Mariinsky Theater in Moscow. As a result of these successes, various artistic organizations within the Soviet Union approached Prokofiev with new commissions. One of the first of these was for a score for the satirical film Lt. Kijé, the story of a mythical soldier created by the Czar’s officers after the Czar had misread a name on a list of army promotions. The ironies of the plot were perfectly suited to the sarcastic and parodist style of Prokofiev’s music.

The other important Soviet commission from this period was for the ballet Romeo and Juliet. Initially intended for a world premiere in Moscow, a problem with the terms of the initial contract meant that the ballet received its first performances in Brno, Czechoslovakia in 1938, though Prokofiev fashioned three orchestral suites from the ballet which were heard in concert before the ballet was ever produced.

The suite heard this evening draws three scenes from the ballet. Masques evokes the high spirits of the three young Montague swains as they prepare to infiltrate the Capulet ball in disguise. Romeo and Juliet (Balcony Scene) evokes silvery summer moonlight as the two lovestruck teenagers declare their ardent love for one another. In the final Death of Tybalt, the enmity between the two families boils over into open warfare, as Tybalt kills Romeo’s devilmay-care kinsman Mercutio. Romeo accosts Tybalt and they cross swords in a spectacular duel. Romeo gains a sudden advantage and thrusts his blade through Tybalt’s chest; Tybalt’s death spasms are punctuated by timpani and woodwinds. Tybalt’s family bears his body away to a grim death march of acid staccato chords and wailing cellos and horns.

Pyotr Ilyich Tchaikovsky: Violin Concerto in D major, Op. 35 The violin is no longer played; it is rent asunder, beaten black and blue. Whether it is actually possible to give clear effect to these hair-raising difficulties I do not know; but I am sure Mr. Brodsky in trying to do so made us suffer martyrdom as well as himself. The Adagio, with its tender Slavonic sadness, calmed and charmed us once more, but it breaks off suddenly, only to be followed by a finale which plunges us into the brutal, deplorable merriment of a Russian holiday carousal. We see savages, vulgar faces, hear coarse oaths and smell booze. Friedrich Vischer, describing lascivious paintings, once said there were pictures which “stink to the eye”. Tchaikovsky’s Violin Concerto brings to mind the hideous idea that there may be music which stinks to the ear. – Eduard 26

Hanslick, Neue Frei Presse, Vienna, December 5, 1881 Like Rossini’s The Barber of Seville, Tchaikovsky’s Violin Concerto did not have an easy birth into the world. Its composition resulted from Tchaikovsky’s broken marriage to Antonina Miliukova, a student whom Tchaikovsky married for social convenience. After only six weeks of matrimony, Tchaikovsky fled to Switzerland and the couple never met again. While in Switzerland, Tchaikovsky was visited by one of his composition pupils, the violinist Josef Kotek. The two read through Lalo’s Symphonie Espagnole together; Tchaikovsky found much to admire in the work and began sketches for his own concerto. He completed it in one month, drawing upon his pupil for technical advice.

It was at this point that the concerto’s troubles began. Tchaikovsky wanted to dedicate the concerto to Kotek, but was afraid that rumors would fly that he had a closer relationship with the young violinist than just artistic collaboration. He inscribed the title page to the preeminent Russian violinist and pedagogue of the time, Leopold Auer, with the confident expectation that Auer would agree to play the initial performance. Events did not go as Tchaikovsky anticipated. After a cursory perusal of the score, Auer declared it unplayable, and the scheduled premiere had to be cancelled.

Tchaikovsky finally persuaded Adolph Brodsky to take up the challenge.

Brodsky was the soloist for the premiere in Vienna with conductor Hans Richter on December 4, 1881. The review from the influential Viennese critic Eduard Hanslick (see above) was devastating, heaping scorn upon the work, the composer, and the soloist. It was Tchaikovsky, however, who had the last laugh.

After this initial negative reaction, Tchaikovsky’s violin concerto went on to be championed by influential soloists the world over and remains a staple of every concert virtuoso’s repertoire.

The work is cast in the traditional three movements. Following an orchestral introduction that is both lyrical and passionate, the soloist enters with a brief rhapsodic cadenza followed by a warm, songful melody, heard first on the violin’s lowest string and then in a version featuring multiple stops (playing on more than one string at the same time). A skittering, capricious figure gradually transforms into astonishing violin pyrotechnics, with rapid scales and arpeggios contrasting with sparkling chords throughout the range of the instrument. The more lyrical second theme begins simply and sweetly but gradually blooms into a song of fervent yearning. The development leads to a virtuoso cadenza and a restatement of the principal themes of the movement, quietly ushered in by the flute over an extended trill in the solo violin. In the coda, the violinist’s increasingly dazzling figurations provoke a faster and faster tempo, with the jubilant final dash to the finish punctuated by fiery chords from the soloist.

After the initial reading of the concerto with Josef Kotek, Tchaikovsky was dissatisfied with the slow movement, later revising and repurposing it as the “Meditation” from his Souvenir d’un lieu cher. The new slow movement is a simple song without words, suffused with Slavic melancholy. A contrasting 2022-2023 SEASON

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middle section offers a brief glimpse of hope and nostalgia, but the wistful opening music returns, with the artless violin melody surrounded by decorative figurations in the flute and clarinet.

The resigned calm at the end of the slow movement is unexpectedly shattered by a ferocious orchestral outburst. The soloist responds with equal vigor, repeating a dancing melodic fragment that gains momentum before rushing headlong into the Allegro vivacissimo finale. This hopak/perpetuum mobile pauses from its frenzied dancing only for three brief contrasting episodes, one sweetly nostalgic, the other two proud and strutting. The robust dance proves irresistible, and in the concluding pages both soloist and orchestra raise the energy level to fever pitch, breathlessly racing one another to the exuberant final cadence.

Pyotr Ilyich Tchaikovsky: Symphony No. 4 in F minor, Op. 36 The story sounds like the plot of a mystery novel or the premise for a Hollywood movie: a young composer receives a letter from an admiring female patron. The letter is accompanied by a generous stipend for the composer to devote more time to writing music. This enthusiastic fan also promises to correspond with him as often as he likes. She attaches only one condition to this relationship: that the two of them never, ever meet.

The composer in question was Pyotr Ilyich Tchaikovsky; his patroness, Nadezhda Filaretovna von Meck. In December 1876, when our story begins, he is an established composer but devoting as much time to teaching as to composition. She is a widow, the mother of eighteen (!) children, whose late husband made a fortune as a structural engineer for the Russian national railway. Tchaikovsky readily agrees to her conditions, and as a result we gain an incredible insight into both Tchaikovsky’s life and his creative process. Over the course of the next thirteen years, Tchaikovsky and Madame von Meck would exchange hundreds of letters, covering topics both personal and musical.

Tchaikovsky’s earliest letters to his patron describe the genesis of his Fourth Symphony. From the beginning of 1877, the composer gives von Meck an almost daily account of his progress on the work, and he clearly considered her to be his inspiration. He mentions the composition to her as “our symphony,” and sometimes even as “your symphony.” By May of 1877 Tchaikovsky had completed a rough draft of the work, requiring only orchestration and further editing. He wrote to his patron, “I should like to dedicate it to you, because I believe you would find in it an echo of your most intimate thoughts and emotions.”

The completion of the symphony would be delayed for nearly half a year by one of the most bizarre incidents of Tchaikovsky’s life. A chance encounter with a former conservatory student, Antonina Ivanova Milyukova, led to her writing him several ardent letters expressing her love. A popular legend has it that Milyukova threatened to end her life if Tchaikovsky failed to return her affections, but Tchaikovsky’s brother Modest claimed that this was not true. Whether Tchaikovsky continued the relationship because he was conflicted about his 28

own sexual orientation or because he only wanted to dispel any rumors about it is uncertain. What we do know is that Tchaikovsky and Milyukova were married on July 6, 1877. The marriage stumbled from the start, and Tchaikovsky soon fled from his new bride, suffering a nervous breakdown in the process. Though they never divorced, the couple never saw each other again. In looking back upon his failed marriage, Tchaikovsky related to his diary that he had become a completely different person: There is no doubt that for some months I was insane, and only now, when I am completely recovered, have I learned to relate objectively to everything which I did during my brief insanity. That man, who in May took it into his head to marry Antonina Ivanovna, who during June wrote a whole opera as though nothing had happened, who in July married, who in September fled from his wife, who in November railed at Rome and so on—that man wasn’t I, but another Pyotr Ilyich.

Tchaikovsky returned to work on the Fourth Symphony only in December of 1877, completing the orchestration and revision by January of 1878. The symphony received its world premiere in St. Petersburg on February 22, 1878, by the orchestra of the Russian Musical Society conducted by Nikolai Rubinstein.

When asked by his friend and fellow composer Sergei Taneyev about the programmatic content of the Fourth Symphony, Tchaikovsky responded, Of course my symphony is programmatic, but this program is such that it cannot be formulated in words. That would excite ridicule and appear comic …

In essence, my symphony is an imitation of Beethoven’s Fifth; i.e., I imitated not the musical ideas, but the fundamental concept.

Yet in writing to Nadezhda von Meck, a different story emerges: for the Fourth Symphony, Tchaikovsky had a definite narrative in mind. It was very clear that Tchaikovsky had been thinking of the role Fate plays in human lives, and this is the overall theme of the symphony. He admitted as much when he described the opening of the first movement to her: The introduction is the seed of the whole symphony, undoubtedly the central theme. This is Fate, i.e., that fateful force which prevents the impulse to happiness from entirely achieving its goal, forever on jealous guard lest peace and well-being should ever be attained in complete and unclouded form, hanging above us like the Sword of Damocles, constantly and unremittingly poisoning the soul. Its force is invisible and can never be overcome. Our only choice is to surrender to it, and to languish fruitlessly… One’s whole life is just a perpetual traffic between the grimness of reality and one’s fleeting dreams of happiness...

Tchaikovsky’s musical manifestation of Fate can be heard at the symphony’s outset (Andante sostenuto): an imposing proclamation uttered by horns and bassoons, then joined by trumpets and woodwinds. This stern fanfare gradually loses strength with each repetition, dissolving down to only two notes in the clarinets and bassoons. This woodwind “sigh” segues into the uneasy Moderato 2022-2023 SEASON

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con anima which forms the body of the first movement. The opening violin idea of the Moderato grows from this sighing motive, supported by hesitant stuttering in the lower strings. After growing to a stormy climax, this idea gives way to a nostalgic waltz in the solo clarinet answered by decorative arabesques from the other woodwinds. Strings begin a new idea in waltz tempo, but this quickly grows to a triumphant hymn of joy, underpinned with jubilant brass flourishes. Fate intrudes on the celebration, with trumpets and timpani bringing back the opening fanfare. Drama remains high throughout the movement as Tchaikovsky develops and varies the previous material, combining and recombining ideas until Fate once again intrudes, heard in brass and timpani above a maelstrom of swirling strings and woodwinds. The storm expends its energy, and the clarinet returns with its waltz, but Fate makes a final terrifying statement before the movement marches to its furious final cadence.

Tchaikovsky described the second movement (Andantino in modo di canzona) as an expression of exhaustion and reminiscence: Life has you tired out…Many things flit through the memory…there were happy moments when young blood pulsed warm and life was gratifying. There were also moments of grief and of irreparable loss. It is all-remote in the past. It is both sad and somehow sweet to lose oneself in the past. And yet, we are weary of existence.

A solo oboe quietly sings a plaintive melody over gently plucked strings. Cellos take up the same melody and elaborate upon it, with the entire string section answering with a yearning idea that sounds as though it came from a Russian folk song. A brighter idea appears in clarinet and bassoon, rising to a climax in the full orchestra, but gradually dying away. The initial oboe idea returns, now heard in the violins, decorated by woodwind flourishes. The melody grows more wistful and fragmented before the bassoon and strings draw the movement to a quiet close.

Tchaikovsky described the third movement as …a series of capricious arabesques…music heard after one has begun to drink a little wine, and is beginning to experience the first phase of intoxication.. you are not thinking of anything. The imagination is completely free and for some reason has begun to paint curious pictures…disconcerted images pass through our heads as we begin to fall asleep.

Vibrant pizzicato strings begin a lively dance (Scherzo: Pizzicato ostinato: Allegro), creating an enchanting music-box atmosphere. An oboe tries to take a calmer approach, introducing a decorative melody that’s answered and embellished by the rest of the woodwinds, but the brass soon strike up a quick march, over which clarinet and piccolo try to steer the orchestra back to their embellished melody, but it is the strings who gradually maneuver the orchestra back to their initial dance, despite repeated attempts by the woodwinds to change the subject. The lively pizzicato energy concludes the movement, the plucked sounds evaporating in a quiet flourish.

For the buoyant finale, Tchaikovsky wrote: 30

If you cannot discover the reasons for happiness in yourself, look at others.

Picture the festive merriment of ordinary people...Hardly have you managed to forget yourself and to be carried away by the spectacle of the joys of others, than irrepressible fate appears again and reminds you of yourself. But others do not care about you, and they have not noticed that you are solitary and sad. O, how they are enjoying themselves! How happy they are that all their feelings are simple and straightforward. Reproach yourself, and do not say that everything in this world is sad. Joy is a simple but powerful force. Rejoice in the rejoicing of others. To live is still possible.

An irresistible avalanche of string energy (Allegro con fuoco) sweeps away all the drama, sorrows, and doubts of the previous movements. To provide a contrast to this outburst of vigorous musical athleticism, Tchaikovsky introduces a Russian folk song, In the Fields There Stands a Birch, first heard plaintively in the oboe and bassoon, but then swept into the overall energy of the movement. Fate makes one last attempt to bring us face-to-face with our ultimate destiny, but the music’s exuberant life force refuses to be denied, and the symphony races pell-mell to a thrilling conclusion.

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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

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WELCOME

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ACKNOWLEDGMENTS ANNUAL FUND

The Lubbock Symphony Orchestra appreciates the generosity of the following individuals who have given to the Annual Fund between February 30, 2021 and August 30, 2022.

MAESTRO’S Gold CIRCLE ($15,000+) Harold and Deena Evensky Neil and Sandra Kurtzman Don and Jan Ledbetter Lee and Beth Pennington

MAESTRO’S SILVER CIRCLE ($7,500 – $14,999) Joan Baker Dolle Barker Jill and Gilbert Berdine RADM and Mrs. Stephen Chadwick Joe and Ann Horkey Adrian and Leslie Huckabee Hill & Ioppolo Oral & Dental Implant Surgery of Lubbock Craig and Ann McDonald Jo Anne M. Smith Toni E. Wallingford

MAESTRO’S CIRCLE

($5,000 – $7,499) Herb Armstrong and Evan Sabino Curtis Griffith Thivakorn and Betsy Kasemsri Lola and Thomas Windisch

Virtuoso’s CIRCLE ($3,500 – $4,999)

CONCERTMASTER’S CIRCLE ($1,500 – $3,499) Norton and Jane Baker Mark and Betsy Bass David Cho Deborah Conn Patty D’Alise Michael and Mary Epps Elias and Eleonora Ghandour Brad and Birgit Green Elgin and Erin Gregg Tommy and Lavelle Hawkins 2022-2023 SEASON

Mark and Heather Hocker John and Cherie Hunter Robert and Stacey Kollman Larry and Lucy Landusky Kurt and Paula Loveless Drs. Barent and Audrey McCool Mallory Miller Mary Moran Judy and Gary Poffenbarger Tim and Mary Jane Sampson Kevin and Carrie Sedberry James and Shanna St. Clair Jill and Fred Stangl Dr. and Mrs. Davor Vugrin Harry and Cindy Zimmerman

MUSICIAN’S CIRCLE ($1,000 – $1,499) Stephen and Maria Balch Pieter Bergstein Ray and Cathy Box Terri and Mike Byrne Stephen and Kathy Faulk Noelle Zavala Amy Grisham Dennis and Ellen Harp Sandy and Alan Henry Ross and Kelli Hilburn Alena Ilyushyna Carol King Ms. Mary McCrary Melissa and Tim Pridmore Keli Ramsey Mrs. Dona Richardson John and Katie Salter Walter S. and Kathy Smith Steve and Robin Talbert

YOUNG ARTIST’S CIRCLE ($500 - $999) Aubrey and Ruth Ann Bridges Matthew and Krista Bumstead Richard and Reyhan Crider Bob and Sandy Crosier

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Family Owned Since 1931

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Sara and Tim Dodd Joan and Joe Dominey Michael and Linda Edwards Giles and Lynn Forbess Janeen Gilliam Bess Haley Karen and Mark Havins Don and Lynnita Hufstedler Morris and Janice Knox Jim and Patti Lupton Rick and Sharon Martin Laura and Monte Monroe Norman and Bettie Orr Tom and Sarah Parsons Judy Rowdon Sam and Jana Scheef George and Judy Sell Melanie Sorsby Tom Tenner Jenny and Edson Way Gay Word Debby and Dennis Zuehlke

PATRON’S CIRCLE

($275 - $499) Wayne and Jane Allison Larry and Charlotte Burt Kathryn Button Robb Chapman and Dr. Sarah Hosford Bobbe Crawford P.D. and Gayle Cunningham Gary and Melanie Davis Jim and Patti Douglass Drs. Robert Duncan and Annette Sobel Don and Anne Garnett Don Graf Claudia and Mark Griffin Marion Hagler William and Janis Hartwell Honorable and Mrs. Phil Johnson Randy Kinnison and Jane Rowley Lucy Lanotte Wendell Leatherwood Wyatt and Claire Leavell Don and Susan Maddox Barry Maurer Ms. Sara McLarty Trois Payne 2022-2023 SEASON

Davis and Janet Price Mike and Melanie Ragain Kelly Robinson Karen Savage Lynn Schmidt Scott and Vickie Shurmur Sandra Stratton Dr. Jim and Mrs. Shannon Taliaferro Betty Wall Paul Walter Jimmy and Susan Wedel Dr. Charles and Pat Wheeler Ann Williams Dr. and Mrs. Hugh Wilson

SUSTAINER’S CIRCLE

($125 - $274) Gene H. Adams Rob and Pam Allison Alexis Anderson John Anthony James Arnold Ian and Shelley Barba Pam Blassingame Manon and Neill Carter Mary Cato Beverly Chilton Barry Cohen Lou Conner Thomas Copple Ronald and Alice Cox Stephen Crowell Sally Cummings Carol Daugherty Glenn Davis David and Claudia Dea Steve Duran Peggy Dyess Jim and Kathy Gilbreath Elizabeth Grigsby Terry Hawkins and Doug Klepper Mr. Larry Hess Shyrle Hill Ms. Bobbye Hrncirik Dr. Catherine Jai Robert Jokisch John Jones Brian Kendall Brad and Carol Ann Layton Eric Lee 39

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

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

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Gary and Judy Linker Dale Little Allan MacKenzie Shannon McClendon Linda and George McMahan Kishor Mehta Stephen and Cindi Moffett Jill Nelson Ainsley Nelson Tom and Gwen Nichols Dr. Gregory and Betty Pepetone Ms. Patricia Perkins Velda and Glen Phipps Gerald Pipkin Susan Pollard Madeline and Lisa Powell Carolanne and Jim Purtell Jane Quade Peter Reed Douglas and Kay Sanford Winn Sikes Melanie Slaton Tony Smitherman Stephanie Starkovich Michelle and Jon Stephens Steve Synck Dana Whitaker Tim and Amanda Wooten Robert Worth John and Ann Zwiacher

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

Business Services Help Desk Cybersecurity Communications Disaster Recovery HIPAA Compliance

Lubbock’s Choice for business technology solutions 6119 79th St. • 806.687.4765 • bluelayer.com

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2022-2023 SEASON

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MEMORIALS & HONORARIUMS The Lubbock Symphony Orchestra respectfully acknowledges donations received during the 2021-2022 season in honor of the following: Milton Bagwell Blake Eddie Bingham Annie Chalex Boyle David Cho Reyhan and Richard Crider Dr. Eugene Dabezies Lou Dunn Diekemper Mary Epps

John Charles Fox III Justin Andrew Fregia CJ Goodyear The Harrod Family H.E. Prince Bira Kasemsri Larry Landusky Shelley Furr Nelson Ricky Rasco

Herb Tavenner Toni Wallingford Galen Wixson

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 Holmes Gilliam English Horn Endowment Nancy and Tom Neal Principal Bassoon Endowment Anthony and Helen Brittin Principal Horn Endowment Stacey and Robert Kollman Family Principal Trumpet 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

2022-2023 SEASON

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MICHAEL POSTAR ’S

Proud supporter of The Lubbock Symphony 46

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 Griffith

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

COMMUNITY PARTNERS LSO is grateful for the generous support of the following foundation, community, and public partners.

Affordable Storage ALLIANCE Credit Union All Saints Episcopal School Anderson Bros Jewelers Atmos Energy Ballet Lubbock Benchmark Betenbough Homes Bolinger, Segars, Gilbert & Moss, LLP Brandon Guitar Studio Bruckner Society of America Carillon Chicken Express City Bank 2022-2023 SEASON

Cleaning Services of Lubbock Community Foundation of West Texas Covenant Health CRI Diekemper Family Foundation D. Williams & Co. Drest by Scott Malouf Evelyn M. Davies Foundation Evensky & Katz Wealth Management Farnsworth Family Orthodontics First United Methodist Church Ghandour, Elias M.D., P.A. Happy State Bank 47

KCBD IS A PROUD SUPPORTER OF THE LUBBOCK SYMPHONY ORCHESTRA

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HCHT Helen Jones Foundation Hill & Ioppolo Oral & Dental Implant Surgery of Lubbock JF Maddox Foundation KCBD Kingsgate Center (Graco Real Estate) KTTZ 89.1 FM Kuykendall Foundation La Posta Botique Lee Lewis Llano Estacado Winery Lone Star State Bank Louise Hopkins Underwood Center for the Arts Lubbock Abstract & Title Co Lubbock Animal Care Clinic Lubbock Arts Alliance Lubbock Avalanche-Journal Lubbock Chorale Lubbock Community Theatre Lubbock Entertainment Performing Arts Association Lubbock Moonlight Musicals Lubbock Music Club Lubbock Music Teachers Association Lubbock National Bank McPherson Cellars Merrill Lynch MS Doss Foundation MWM Architects, Inc. Officewise Orlando’s Italian Restaurant Otto’s Granary Overhead Door Co. Overton Hotel Parkhill, Smith & Cooper PayPal Pediatric Associates of Lubbock Pennington, Bass & Associates Phi Beta Kappa Assn. of West Texas & Eastern New Mexico Endowment to Benefit LSO Youth Outreach Pinkie’s

2022-2023 SEASON

Plains Capital Bank Prosperity Bank Rea Charitable Trust Robinson & Hamblen General Dentistry Sanders Funeral Home Service Title Sharon Mirll, Exit Realty Sherick Memorial Home South Plains College Southwest Snow Services Spec’s St. Clair & Massey Orthodontics Stewart Title Tarpley Music Texas Commission on the Arts Texas Tech Alumni Association Texas Tech Club Texas Tech School of Music Texas Tech University Presidential Lecture & Performance Series Texas Women for the Arts The CH Foundation Tif Holmes Photography T L C E Charitable Fund TTU eLearning TTU Talkington College of Visual and Performing Arts TTU Theatre and Dance United Supermarkets University Medical Center Yellow House Dental & Implant Center Youth Orchestras of Lubbock YWCA

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BEHIND THE MUSIC OFFICERS

Brian Willcutt Chair Toni E. Wallingford Chair Elect Katie Salter Treasurer Terri Byrne Secretary Heather Hocker Immediate Past Chair

DIRECTORS

Steve Balch Dolle Barker Dustin Baucom Gilbert Berdine Leen Borno David Cho Patty D’Alise Michael Epps Stephen Faulk Elias Ghandour Gurdev Gill Matt Grannan Brad Green Erin Gregg Amy Grisham Sandy Henry Bobbye Hrncirik Leslie Huckabee Alena Ilyushyna Tiva Kasemsri Neil Kurtzman Melissa Lewis Paula Loveless Amanda Mead Barry McCool Mallory Miller Mary Moran Brenda Parrish Judy Poffenbarger Melissa Pridmore Peter Reed Abi Rhoades Tim Sampson Phil Sizer

2022-2023 SEASON

Andrew Stetson Robin Talbert Davor Vugrin Pat Wheeler Lola Windisch Galen Wixson

ADMINISTRATION

Galen Wixson President & CEO David Cho Music Director Mason Webb Box Office & Education Coordinator Emily Gavaghan Marketing Coordinator Amelia Jamieson Graphic Designer Corey Dolter Operations Manager Gary Hudson Personnel Manager Leslie Breslin Director of Development Kea Beasley Education Director Suzanne Rasco Director of Accounting Hannah Macgillivray Librarian Callie Watson Graphic Design Intern Jordan Parks Marketing Intern Kathryn Gehrett Marketing Intern Anterian Gee Marketing Intern

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2022-2023 SEASON

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Learn more about our 2022-2023 season!

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A WORD 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 2022-2023 “Symphonic Scenes” season promises to be outstanding. We are so excited to experience the wonder of music with you.

Tonight’s performance, and every performance since 1952, has been made possible in part by the Lubbock Symphony Guild. For 70 years, the Guild members have donated their time and resources to keep symphonic music thriving in West Texas.

I hope 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 our Lubbock Symphony Guild. For more information, please visit our website at www.

LubbockSymphonyGuild.com.

Sincerely,

Amanda Mead, President Lubbock Symphony Guild

2022-2023 SEASON

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Lubbock Symphony Guild Senior Debutantes

Front Row Left to Right - Madeline Matthews, Emily Keister, Tatum Brown, Payton Harrison, Katherine White 2nd Row Left to Right - Maggi Underwood, Portia Clary, Madison Bigham, Anna McClendon, Blakely Biggs, Abby Harris 3rd Row Left to Right - Sydney Cranfill, Ava Hounshell, Sydney Lowe, Halle Henthorn, Ashtyn Bartley, Kaitlyn Caswell Back Row Left to Right - Macy Hamel, Abigail St Clair, Emily Payne, Kathryn Kinnison, Chloe Conover, Elizabeth Kinnison, Natalie Caswell, Campbell Howe Not Pictured -Regan Andrews, Adisyn Elrod, Ellis Fox, MaeAlice White

Dallen Ricks, DDS & Mary Glasheen, DDS

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Proud support  

  

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Lubbock Symphony Guild Junior Debutantes

Front Row Left to Right - Alayna Bayouth, Hannah Feist, Kathryn Kothmann, Addison Burnett, Avery Schilling, Emme Hocker, Anna Everett, Jessica Foley 2nd Row Left to Right - Jillian Jones, Annabelle Bennett, AbiGayle Mills, Ava Campbell, Claudia Tepper, Campbell Carper, Reghan Rose 3rd Row Left to Right - Ava Lansdell, Skylar Tidwell, Emma Feist, Preslie Tarver, Berkley Bird, Olivia Needham, Christiana McCourt, Kathryn Cardelli, Jewel Naegele Back Row Left to Right - Ella Scolaro, Mya Ballou, Lydia Carter, Alexandra Dannemiller, Madison White, Jeye Johnson, Olivia Phillips, Mia Capodagli, Kennedy Venable Not Pictured - Kendall Cathey, Hannah Cooper, Preslee Edwards, Amelia Rodriquez, Emeri Tran

2022-2023 SEASON

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Lubbock Symphony Guild Sophomore Debutantes

Front Row Left to Right - ALondon Carlisle, Brentley Preston, Tierni Green, Ryann Grissom, Emory McCain, Ella Mendez, Emily Roark 2nd Row Left to Right - Ashlyn Simek, Kamryn Chandler, Claire Ancell, Maya Al-Hmoud, Sadie Callison, Camden McDougal, Jayci Lentz, Addison Kitten, Rylan Belle Raley, Olivia Elliott, Reece Watson, Taylor Harrison, Anne Edwards, Grace Gerwig, Aubrey White 3rd Row Left to Right - Bella Lampe, Brynlee Hogg, Madelyn Caswell, Teema Sharif, Reece Riddle, Haleigh McKee, Raegan Reed, Jencee Thompson, Maya Vermillion, Rylee Rose, Hope Hancock, Ella Murphree, Lauren Casey 4th Row Left to Right - Shiloh Roach, Elizabeth Johnson, Hannah Harvey, Sydney Smothers, Morgan Parker, Blair Belew, Remington King, Zimri Buckley, Olivia Mudd, Emily White, Bradie Smith, Lydia Pesterfield, Riley Newberry Back Row Left to Right - - Anastyn Greaser, Raegan Lee, Hannah Pharies, Cambelle Fannin, Viviana Ziegner, lndie Williams, Bryleigh Norman, Kristen Mitchell, Ella Grace Bennett, Cora Clifford, Camryn Howe, Mia Chacon, Gabrielle Scherpereel Not Pictured - Emma Claire Womble

TOP HIGH SCHOOL IN TEXAS TAPPS 2A Winner of the 2021-2022 Henderson Championship Cup

All Saints Episcopal School allsaintsschool.org

806-745-7701

58 revised 2022-2 023 all saints episcopal school ballet lubbock ad_converted.indd 1

8/31/2022 12:20:54 PM

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!

2022-2023 SEASON

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