12022-2023 SEASON The Buddy Holly Hall
2 FROMTOThe #1 producer of music events in Lubbock, TX Visit our website for a full list of events. ttu.edu/Music | schoolofmusic@ttu.edu@ttuschoolofmusic|806.742.2270
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4 RED ROMANCE ON THE WEST SIDE Fri. Oct. 21, 2022 A DANCE IN VIENNA Sat. Jan. 21, 2023 CATCHWITHSat.Fri.BUTTERFLYMADAMENov.11,2022Feb.25,2023DVORAKMECARMENINGOLDSat.Apr.22,2023SPRING ElfMerrySat.Tues.CHAMBERFALLFri.CHAMBERHOLIDAYTues.CHAMBERSOUND!Mar.21,2023Dec.16,2022SOUND!Oct.4,2022Dec.3,2022Movies: Sat. may 6, 2023 SYMPHONIC SCENES 22-23 SEASON
How thrilled we are to present our 2022-2023 season to you; words truly escape me.
Welcome to the Lubbock Symphony!
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Most MusicDavidDavidsincerely,ChoCho,Director
Dear Lubbock Symphony Family,
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. May4.this
A LETTER FROM THE MUSIC DIRECTOR
evening be the perfect way to launch the Lubbock Symphony’s 2022-2023 season, “Symphonic Scenes.”
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.
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Thank you for joining us this evening. Please join me in welcoming Maestro Beilman to Lubbock and enjoy your Lubbock Symphony Orchestra!
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).
A LETTER FROM THE CHAIR
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.
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Dear GoodPatrons,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.”
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.
Brian Willcutt Chair, LSO Board of Directors
8 806.794.1131 • 4215 85th Street • Lubbock, TX 79423 325.515.5064 • 5305 Trinity Blvd #F • Snyder, TX 79549 http://www.robinsondds.com Jake Malone, D.D.S. Kelly S. Robinson, D.D.S.
92022-2023 SEASON Founding Conductor of the Lubbock Symphony Orchestra, 1946-1987 In honor of William A. Harrod
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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.
112022-2023 SEASON
12 Grace GastroenterologyClinic&Liver Disease Proud supporters of the LSO 3814 - 22nd Place Lubbock, Texas 79410 806-795-4500 Elias Ghandour M.D., F.A.C.P., F.A.A.S.L.D.,F.A.C.G.,P.A. Matthew P. Soape M.D., P.A.
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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.
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.
DAVID IN-JAE CHO
Winner, 2007 Eduardo Mata International Conducting Competition
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.
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.
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.
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CH Foundation Endowed Conductor’s Podium
The
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David
Jordan Hastings Principal Janeen Holmes Gilliam Endowed Chair Clarinet David Shea Trisha Burrell Bass Clarinet Hsiao-Ju Chen LUBBOCK SYMPHONY ORCHESTRA
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192022-2023 SEASON 806.783.8837 | 4211 85th St, Lubbock, TX 79423 lubbockoralfacialsurgery.com
music;
“Love is the soul's all its songs are symphonies.”
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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.
Movement 1- Introduces the concept of the role fate plays in human Movementlives.2-
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.
Join Februaryus20thfortheBrnoPhilharmonic!
Movement 3- Represents intoxication and the loss of inhibitions.
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.
Movement 4- Concludes with the final understanding that happiness is a decision.
Symphony No. 4 | Tchaikovsky
An expression of exhaustion and reminiscence.
ClefNotes
Violin Concerto | Tchaikovsky
II. Andantino in modo di canzona
David Cho | music director The CH Foundation Endowed Conductor’s Podium Benjamin Beilman, violin
V. Masks
VI. Balcony Scene
III. Scherzo: Pizzicato ostinato – Allegro
IV. Finale: Allegro con fuoco
Pyotr Ilyich Tchaikovsky (1840 - 1893)
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I. Andante sostenuto – Moderato con anima
INTERMISSION
Benjamin Beilman, violin
VII. Death of Tybalt
II. Canzonetta: Andante
Pyotr Ilyich Tchaikovsky (1840 - 1893)
III. Finale: Allegro vivacissimo
Violin Concerto in D major, Op. 53...........
I. Allegro moderato
Symphony No. 4 in F minor, Op. 36.........
Sergei (1891-1953)Prokofiev
Suite from Romeo and Juliet, Op. 64.....
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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
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
PROGRAM NOTES
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Hanslick, Neue Frei Presse, Vienna, December 5, 1881
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.
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.
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
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.
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.
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.
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
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Theemotions.”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
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.
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.
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:
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...
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.
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
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When asked by his friend and fellow composer Sergei Taneyev about the programmatic content of the Fourth Symphony, Tchaikovsky responded,
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the third movement as
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.
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.
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
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:
…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.
For the buoyant finale, Tchaikovsky wrote:
Tchaikovskyclose.described
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.
The Lubbock Symphony Orchestra would like to express gratitude to and
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($500 - $999)
ANNUAL FUND
Ray and Cathy Box Terri and Mike Byrne Stephen and Kathy Faulk Noelle Zavala Amy DennisGrishamandEllen Harp Sandy and Alan Henry Ross and Kelli Hilburn Alena Ilyushyna Carol King
Judy and Gary Poffenbarger Tim and Mary Jane Sampson Kevin and Carrie Sedberry
YOUNG ARTIST’S CIRCLE
Hill & Ioppolo Oral & Dental Implant Surgery of Lubbock Craig and Ann McDonald
Mary Moran
James and Shanna St. Clair
Lola and Thomas Windisch
Herb Armstrong and Evan Sabino Curtis ThivakornGriffithand Betsy Kasemsri
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.
38
Family Owned Since 1931
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 ClaudiaGrafand Mark Griffin Marion WilliamHaglerandJanis Hartwell
($125 - $274)
Mr. Larry Hess Shyrle Hill Ms. Bobbye Hrncirik Dr. Catherine Jai Robert Jokisch
KarenHaleyandMark 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
Gene H. Adams Rob and Pam Allison Alexis Anderson John IanJamesAnthonyArnoldandShelley Barba Pam
John Jones Brian Kendall Brad and Carol Ann Layton Eric Lee
Shurmur
Sara and Tim Dodd Joan and Joe Dominey Michael and Linda Edwards Giles and Lynn Forbess Janeen Gilliam Bess
($275 - $499)
TerryElizabethJimPeggySteveDavidGlennCarolSallyStephenRonaldThomasLouBarryBeverlyMaryManonBlassingameandNeillCarterCatoChiltonCohenConnerCoppleandAliceCoxCrowellCummingsDaughertyDavisandClaudiaDeaDuranDyessandKathyGilbreathGrigsbyHawkinsandDoug
PATRON’S CIRCLE
Honorable and Mrs. Phil Johnson Randy Kinnison and Jane Rowley Lucy TroisMs.BarryDonWyattWendellLanotteLeatherwoodandClaireLeavellandSusanMaddoxMaurerSaraMcLartyPayne
Davis and Janet Price Mike and Melanie Ragain Kelly
ScottLynnKarenRobinsonSavageSchmidtandVickie
Klepper
392022-2023 SEASON
Dr. Jim and Mrs. Shannon Taliaferro Betty Wall Paul JimmyWalterand Susan Wedel Dr. Charles and Pat Wheeler Ann Williams Dr. and Mrs. Hugh Wilson
SUSTAINER’S CIRCLE
Judy Rowdon Sam and Jana Scheef George and Judy Sell Melanie Sorsby Tom JennyTennerandEdson Way Gay DebbyWordand Dennis Zuehlke
Sandra Stratton
40 BOLINGER, SEGARS, GILBERT & MOSS, L.L.P. c e r t i f i e d p u b l i c a c c o u n t a n t s P H O N E : ( 8 0 6 ) 7 4 7 - 3 8 0 6 8 2 1 5 N a s h v i l l e A v e n u e L UBBOCK , T WWW.BSGM.COMEXAS
JohnRobertTimDanaSteveMichelleStephanieTonyMelanieWinnDouglasPeterJaneCarolanneMadelineSusanGeraldVeldaMs.Dr.TomAinsleyJillStephenKishorLindaShannonMacKenzieMcClendonandGeorgeMcMahanMehtaandCindiMoffettNelsonNelsonandGwenNicholsGregoryandBettyPepetonePatriciaPerkinsandGlenPhippsPipkinPollardandLisaPowellandJimPurtellQuadeReedandKaySanfordSikesSlatonSmithermanStarkovichandJonStephensSynckWhitakerandAmandaWootenWorthandAnnZwiacher
412022-2023 SEASON
Gary and Judy Linker Dale Little Allan
42 I nno va ve Te c hnology Solu ons for solutionstechnologybusiness Help HIPAABusinessDisasterCybersecurityDeskRecoveryServicesCommunicationsCompliance Lubbock’s Choice 6119 79th St. • 806.687.4765 • bluelayer.com
432022-2023 SEASON
44
Dr. Eugene Dabezies
Janeen Holmes Gilliam English Horn Endowment Nancy and Tom Neal Principal Bassoon Endowment
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.
Richard Crider
LSO Endowment for Musician Fees and Education
Texas Tech University J.T. & Margaret Talkington College of Visual and Performing Arts, School of Music Performer Endowment
MEMORIALS & HONORARIUMS
The Lubbock Symphony Orchestra respectfully acknowledges donations received during the 2021-2022 season in honor of the following:
The Lubbock Symphony Orchestra Endowment Trust
The CH Foundation Conductor’s Podium Endowment
Diekemper Family Foundation Associate Concertmaster Endowment
LSO ENDOWMENTS
Justin Andrew Fregia CJ RickyShelleyLarryH.E.TheGoodyearHarrodFamilyPrinceBiraKasemsriLanduskyFurrNelsonRasco
Herb Tavenner
Blake Eddie Bingham
Rachel Jean Armstrong Thomas Principal Harp Endowment Edward R. and Jo Anne M. Smith Principal Piano 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
Lou Dunn Diekemper Mary Epps
John Charles Fox III
Helen DeVitt Jones Endowment for Education
Jones-Saathoff Family Concertmaster Endowment
Annie Chalex Boyle
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
Shelley Hall Nelson Endowment for Musicians’ Salaries Lubbock Symphony Opera Fund
David ReyhanChoand
Toni GalenWallingfordWixson
Anthony and Helen Brittin Principal Horn Endowment Stacey and Robert Kollman Family Principal Trumpet Endowment
Lisa Rogers/Alan Shinn Principal Percussion Endowment
Diekemper Family Foundation Principal Tuba Endowment Lubbock Symphony Guild Timpani Endowment
Milton Bagwell
452022-2023 SEASON
Proud supporter of The Lubbock Symphony
MICHAEL POSTAR’S
46
Frank Anderson Kay
Owen McWhorter, Jr.
HeatherShannonHarryKirkPeterBradEmilyRayCatherineChrisMargaretMikeDeWayneCurtisSusanWilliamAlanCoffeeJimRobertPaulSanfordMeyerL.StriplingRatliffConnerHenryD.ArmstrongBolingGriffithPierceCunninghamLuthererBarnetteS.PorterFargasonRatcliffGreenG.DaiaMcLaughlinZimmermanTaliaferroHocker LSO is grateful for the generous support of the following foundation, community, and public partners. COMMUNITY PARTNERS Affordable Storage ALLIANCE Credit Union All Saints Episcopal School Anderson Bros Jewelers Atmos Energy Ballet CityChickenCarillonBrucknerBrandonBolinger,BetenboughBenchmarkLubbockHomesSegars,Gilbert&Moss,LLPGuitarStudioSocietyofAmericaExpressBank Cleaning Services of Lubbock Community Foundation of West Texas Covenant Health DiekemperCRI Family Foundation D. Williams & Co. Drest by Scott Malouf Evelyn M. Davies Foundation Evensky & Katz Wealth FarnsworthManagementFamily Orthodontics First United Methodist Church Ghandour, Elias M.D., P.A. Happy State Bank ADVISORY COUNCIL, PAST CHAIRS
472022-2023 SEASON Jack M. Lewis W.P. CharlesClementE.Maedgen, Jr. Roy Bass Rex JamesJ.C.W.R.MarionWebsterKeySewellReynoldL.Quicksall, Jr. Asher JohnCharleyRobertDeanRobertC.B.CharleyArthurTroyAsherO.W.JohnLonnieGeorgeJ.JoeJackRichardThompsonG.RichardsKastmanJ.MoiseHarmonJenkinsC.MillerLangstonWitcombEnglishThompsonMyersE.GamblePopeCarterE.NorrisJamesAllenL.StriplingPopeR.Kreiger 19851983-8419821980-81197919781975-77197019691965-68196419631962196119601959195819571955-56195419531952195119501949194819471946 2019-212017-192015-172013-152011-132009-112008-092006-082005-062003-052002-032001-022000-011999-001998-991997-981996-971995-961993-941992-931991-9219911990-911989198819871986
Edwin E. Merriman
Roger Key
Frank Newton
48
KingsgateKCBD Center (Graco Real Estate)
Sanders Funeral Home Service Title
Texas Commission on the Arts
Prosperity Bank Rea Charitable Trust
Robinson & Hamblen General Dentistry
KTTZ 89.1
Texas Tech Alumni Association
Texas Tech School of Music
Texas Women for the Arts
TTU eLearning
Plains Capital Bank
Tarpley Music
The CH Foundation
T L C E Charitable Fund
Pinkie’sEndowmentPhiPennington,PediatricPayPalParkhill,OvertonOverheadOtto’sOrlando’sOfficewiseMWMMSMerrillMcPhersonLubbockLubbockLubbockLubbockPerformingLubbockLubbockLubbockLubbockLubbockLubbockLubbockLouiseLoneLlanoLeeLaKuykendallFMFoundationPostaBotiqueLewisEstacadoWineryStarStateBankHopkinsUnderwoodCenterfortheArtsAbstract&TitleCoAnimalCareClinicArtsAllianceAvalanche-JournalChoraleCommunityTheatreEntertainmentArtsAssociationMoonlightMusicalsMusicClubMusicTeachersAssociationNationalBankCellarsLynchDossFoundationArchitects,Inc.ItalianRestaurantGranaryDoorCo.HotelSmith&CooperAssociatesofLubbockBass&AssociatesBetaKappaAssn.ofWestTexas&EasternNewMexicotoBenefitLSOYouthOutreach
TTU Theatre and Dance United YWCAYouthYellowUniversitySupermarketsMedicalCenterHouseDental&ImplantCenterOrchestrasofLubbock
492022-2023 SEASON
St.Spec’sClair & Massey Orthodontics Stewart Title
Tif Holmes Photography
TTU Talkington College of Visual and Performing Arts
HelenHCHT
Jones Foundation
Texas Tech Club
Hill & Ioppolo Oral & Dental Implant Surgery of Lubbock JF Maddox Foundation
Texas Tech University Presidential Lecture & Performance Series
Sharon Mirll, Exit Realty Sherick Memorial Home South Plains College Southwest Snow Services
50
BEHIND
Galen
Brian HeatherTerriKatieToniChairWillcuttE.WallingfordChairElectSalterTreasurerByrneSecretaryHockerImmediatePastChair
Pat
Emily
Davor Vugrin GalenLolaWheelerWindischWixson
512022-2023 SEASON
Andrew Stetson
Coordinator
Steve Balch
ADMINISTRATION
Robin Talbert
HannahGaryCoreyAmeliaMarketingGavaghanCoordinatorJamiesonGraphicDesignerDolterOperationsManagerHudsonPersonnelManagerLeslieBreslinDirectorofDevelopmentKeaBeasleyEducationDirectorSuzanneRascoDirectorofAccountingMacgillivrayLibrarianCallieWatsonGraphicDesignInternJordanParksMarketingInternKathrynGehrettMarketingInternAnterianGeeMarketingIntern
THE MUSIC
OFFICERS
DIRECTORS
Dolle PhilTimAbiPeterMelissaJudyBrendaMaryMalloryBarryAmandaPaulaMelissaNeilTivaAlenaLeslieBobbyeSandyAmyErinBradMattGurdevEliasStephenMichaelPattyDavidLeenGilbertDustinBarkerBaucomBerdineBornoChoD’AliseEppsFaulkGhandourGillGrannanGreenGreggGrishamHenryHrncirikHuckabeeIlyushynaKasemsriKurtzmanLewisLovelessMeadMcCoolMillerMoranParrishPoffenbargerPridmoreReedRhoadesSampsonSizer
MasonDavidPresidentWixson&CEOChoMusicDirectorWebbBoxOffice&Education
52
532022-2023 SEASON
54 Learn more about our 2022-2023 season!
A WORD FROM THE LUBBOCK SYMPHONY GUILD PRESIDENT
552022-2023 SEASON
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.
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.
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
﹐ 806 ¾ 797 ¾ 0341 www.yellowhousedds.com Dallen Ricks, DDS & Mary Glasheen, DDS Proud supporters of the Lubbock Symphony Orchestra
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
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Lubbock Symphony Guild Senior Debutantes
3rd Row Left to Right - Sydney Cranfill, Ava Hounshell, Sydney Lowe, Halle Henthorn, Ashtyn Bartley, Kaitlyn Caswell
Front Row Left to Right - Alayna Bayouth, Hannah Feist, Kathryn Kothmann, Addison Burnett, Avery Schilling, Emme Hocker, Anna Everett, Jessica Foley
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
572022-2023 SEASON
2nd Row Left to Right - Jillian Jones, Annabelle Bennett, AbiGayle Mills, Ava Campbell, Claudia Tepper, Campbell Carper, Reghan Rose
Lubbock Symphony Guild Junior Debutantes
Not Pictured - Emma Claire Womble
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
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
Lubbock Symphony Guild Sophomore Debutantes Winner of the 2021-2022 Henderson Championship Cup All Saints Episcopal School allsaintsschool.org 806-745-7701 TOP HIGH SCHOOL IN TEXAS TAPPS 2A revised 2022-2 023 all saints episcopal school ballet lubbock ad_converted.indd 1 8/31/2022 12:20:54 PM
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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
592022-2023 SEASON There are those of us who make the music. ...then there are those ofwhous help make the music possible. LUBBOCK SYMPHONY GUILD (font - Novocento Wide/Adorn Pomander Custom PANTONE 8383 METALLIC PANTONE 7624 The Lubbock Symphony Guild has contributed more than $500,000+ to the Lubbock SymphonysinceOrchestra1999. For information on how you can be a part of what makes it all possible, please visit LubbockSymphonyGuild.com We need you to help make it happen!
is to help you OUR achieveGOALyours 800.OUR.BANK city.bank Member FDIC©2022 City Bank.
