Red Romance on the West Side

The Buddy Holly Hall

A LETTER FROM THE MUSIC DIRECTOR

Dear Lubbock Symphony Family,

What a momentous occasion this week has been! In conjunction with Texas Tech University and its School of Music, we were ecstatic to host the residency of world-renowned composer John Corigliano.

Throughout the residency, panel discussions, world premiere compositions, mentoring sessions, and education concerts were presented to nurture the next generation of composers, performers, and audience members.

A thrilling rendition of John Corigliano’s Symphony No. 3 “Circus Maximus” will be performed by Texas Tech Symphonic Wind Ensemble.

“The Red Violin” Concerto, featuring our very own concertmaster, Annie Chalex Boyle, will tell the extraordinary journey of the rare violin.

Mr. Corigliano’s father was a long-time concertmaster of the New York Philharmonic. Naturally, the father and son were influenced by the American legend Leonard Bernstein. The Lubbock Symphony will perform his West Side Story Symphonic Dances. Please join us in shouting out “Mambo!”.

Thank you for your attendance at this historical event, and we are truly grateful for your most generous support of the Lubbock Symphony.

Sincerely,

David Cho Music Director

A LETTER FROM THE CEO

Dear Lubbock Symphony Patrons,

Thank you for joining us for “Red Romance on the West Side,” the conclusion of John Corigliano’s residency in Lubbock, as part of a collaboration between Lubbock Symphony and the Texas Tech University School of Music. It has been a fantastic experience for both groups. We are excited to wrap up this week by hosting Dr. McKoin and TTU’s Symphonic Wind Ensemble as they join our concert tonight.

We would like to extend our utmost gratitude to Hill & Ioppolo Oral & Dental Implant Surgery of Lubbock for sponsoring tonight’s concert. Their partnership has continued to grow for the past several years, and for that, we are very thankful. To all of our sponsors, past and present, we thank you!

Our next concert of the season, “Madame Butterfly,” on November 11th, will feature an incredible cast with the Lubbock Symphony to present a semistaged production of the opera. While the production is in Italian, an English translation will be available.

Galen Wixson President and CEO

Lubbock Symphony Orchestra

of

A. Harrod

Founding Conductor of the Lubbock Symphony Orchestra, 1946-1987

David In-Jae Cho, Conductor

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 has been actively involved in community engagements.

John Corigliano, Composer

The American John Corigliano continues to add to one of the richest, most unusual, and most widely celebrated bodies of work any composer has created over the last forty years. Corigliano’s numerous scores—including three symphonies and eight concerti among over one hundred chamber, vocal, choral, and orchestral works—have been performed and recorded by many of the most prominent orchestras, soloists, and chamber musicians in the world. Recent scores include Conjurer (2008), for percussion and string orchestra, commissioned for and introduced by Dame Evelyn Glennie; Concerto for Violin and Orchestra: The Red Violin (2005), developed from the themes of the score to the François Girard’s film of the same name, which won Corigliano the Oscar in 1999; Mr. Tambourine Man: Seven Poems of Bob Dylan (2000) for orchestra and amplified soprano, the recording which won the Grammy for Best Contemporary Composition in 2008; Symphony No. 3: Circus Maximus (2004), scored simultaneously for wind orchestra and a multitude of wind ensembles; and Symphony No. 2 (2001: Pulitzer Prize in Music.) Other important scores include String Quartet (1995: Grammy Award, Best Contemporary Composition); Symphony No. 1 (1991: Grawemeyer and Grammy Awards); the opera The Ghosts of Versailles (Metropolitan Opera commission, 1991, International Classical Music Award 1992); and the Clarinet Concerto (1977.)

One of the few living composers to have a string quartet named for him, Corigliano serves on the composition faculty at the Juilliard School of Music and holds the position of Distinguished Professor of Music at Lehman College, City University of New York, which has established a scholarship in his name; for the past fourteen years he and his partner, the composer-librettist Mark Adamo, have divided their time between Manhattan and Kent Cliffs, New York.

More information is available at www.johncorigliano.com.

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!

Annie Chalex Boyle, Violin

Internationally recognized violinist Annie Chalex Boyle has had a wide-ranging career as a chamber musician, soloist, orchestral player, and teacher. Her playing has been hailed by critics as “brilliant” (Kalamazoo Gazette), “eloquent and poignant” (The San Antonio Express Journal), and “has a commanding musical impersonation… in Ives’ Second String Quartet” (Los Angeles Times). Equally comfortable with classical and contemporary works, Ms. Chalex Boyle has performed numerous new works composed for her as well as commissioned for the Harrington String Quartet. Ms. Chalex Boyle has won prizes at the Seventeen Magazine/General Motors National Competition and the Irving M. Klein International String Competition and was a finalist in the Yehudi Menuhin International Violin Competition and the Stulberg International String Competition. She was also the Grand Prize Winner of the Junior Division of the Fischoff Chamber Music Competition.

As a soloist, Ms. Chalex Boyle has performed recitals and been concerto soloist throughout North and South America. As first violinist of the Harrington String Quartet, the group toured extensively nationally and internationally, including a performance at Carnegie’s Weill Hall and on the roster of Mid-America Arts Alliance. The Quartet performed with guest artists including David Shifrin, Robert Levin, James Dunham, and Pepe Romero. She has been featured in two PBS television documentaries, heard frequently on NPR’s “Performance Today”, and has recorded on the Albany, Hänssler Classics, and Summit labels. An advocate of new music, she has worked with many composers including Oliver Knussen, Elliot Carter, and Stephen Hartke. Before moving to Lubbock, she taught violin at the Interlochen Arts Academy in Michigan, played with the Los Angeles Chamber Orchestra, and coached chamber music the Chicago Symphony Youth Orchestra.

Born in Illinois, Ms. Chalex Boyle began violin in the Music for Youth Suzuki Program and continued her work with Almita and Roland Vamos. She also attended the University of Southern California studying with Robert Lipsett and worked with Robert Mann and Felix Galimir at The Juilliard School. She is currently an Associate Professor of Violin at Texas Tech University, and is Concertmaster of the Lubbock Symphony and Lubbock Chamber Orchestra. Ms. Chalex Boyle performs on a 1652 Andrea Guarneri.

LUBBOCK SYMPHONY ORCHESTRA

Conductor David Cho

The CH Foundation Endowed Conductor’s Podium

VIOLIN I

YuEun Kim

Concertmaster

Jones-Saathoff Family Endowed Chair

Linda Lin

Associate Concertmaster

Diekemper Family Foundation Endowed Chair

Maja Maklakiewicz

Abi Rhoades

Lazaro Gonzalez Grace Marín Aguilar Isaias Ferreira

Rodrigo Esteban Cabrera

Judy Woody Adan Flores

Kea Beasley

Lynn Ledbetter

VIOLIN II

Lauren Pokorzynski

Principal

Justice Phil and Carla Johnson Endowed Chair Saikat Karmakar

Assistant Principal Brennan Lowrey

Martha Perez

James Ellis

Shirley Wigley

Carroll Jane Goodyear

Texas Tech University School of Music Endowed Performer

Cassidy Forehand Nilschmid Jimenez

Daniel Xue

Shawn Earthman

VIOLA

Catherine Chen

Principal

Mary M. Epps and Ralph E. Wallingford Endowed Chair

Gwendolyn Matias-Ryan Sharon Mirll Bruno Silva

Ryellen Joaquim Marian Herrero Joshua Allen Brian Gum

CELLO

Michael Newton

Principal

Mary Francis Carter Endowed Chair Danny Mar Alejos Anaya Madeline Garcia Neemias Santos Daria Mi´skiewicz Yuhan Shi Kim Suyeon

DOUBLE BASS

Mark Morton

Principal

Eugene and Covar Dabezies Endowed Chair Hannah Macgillivray Boyce Wyrick

Griff Miller Stuart Anderson Nodier Garcia

Flute Kim Hudson

Principal

Crew of Columbia, STS-107 Endowed Chair Linda Jenkins

PICCOLO Spencer Hartman

OBOE

Amy Anderson

Principal Lubbock Symphony Guild Endowed Chair

Alex Hyde

ENGLISH Horn

Susetta Rockett

Janeen Drew Holmes Endowed Chair

Clarinet

David Shea

Principal

Sara Hoffman

E-FLAT CLARINET

Hsiao-Ju Chen

Bass Clarinet

Mia Zamora

Alto SAXOPHONE

David Dees

BASSOON

Vince Ocampo

Principal Nancy and Tom Neal Endowed Chair

Ian Resurreccion

CONTRABASSOON

David Hiester

Horn

John Stacy

Principal Anthony and Helen Brittin Endowed Chair

David Lewis

William Wallace

Jack Mellinger

Matthew Fenton

TRUMPET

Gary Hudson

Principal Stacey and Robert Kollman Family Endowed Chair

Joseph Vandiver Zachary Worley

Isaac Swanson

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 percussion Christopher Mehrafshan PrincipalLisa Rogers/Alan Shinn Endowed Chair

Michael Mixtacki

John Frederick Taylor Burks Mariah Taller Harp

Rachel Mazzucco

Principal Rachel Jean Armstrong Thomas Endowed Chair

PIANO

Richard Fountain

Principal Edward R. and Jo Anne M. Smith Endowed Chair

A LOOK INTO THE JOHN CORIGLIANO RESIDENCY

In the days preceding this evening’s performance, the

Tech

residency

School of

in collaboration with the Lubbock Symphony,

a residency with John Corigliano.

to

from the entire university and the residents of Lubbock.

was made possible

from the Maegene Nelson Visiting

Dr. Sarah McKoin, Conductor

Serving on the faculty of the Texas Tech University School of Music since 2006, Dr. Sarah McKoin is the Director of Bands, Professor of Music, and Chair of the Conducting Area. In addition to her responsibilities with the Symphonic Wind Ensemble, Dr. McKoin leads the graduate conducting program, teaches classes in pedagogy and wind literature while overseeing the university band program. Under Dr. McKoin’s direction, the Symphonic Wind Ensemble has been featured at the prestigious Midwest Clinic, multiple Texas Music Educators Association Conferences, the North American Saxophone Alliance, the College Music Society conference and several CBDNA conferences.

Her interest in contemporary art music has supported numerous residencies, repertoire consortia collaborations and world premiere performances. In Spring 2023, the world premiere of Viet Cuong’s composition written for TTU and the Aruna Saxophone Quartet will be held in March. Further consortia premieres of John Mackey’s Divine Mischief with Julian Bliss (clarinet) and Jennifer Jolley’s new work with Seraph Brass will take place in February and April. Dr. McKoin’s ensemble has received critical acclaim for their recordings featuring world premiere recordings of the wind music of Chen Yi and Narong Prangcharoen and a premiere recording of Israeli American composer Avner Dorman’s wind music is currently in production.

Highly active and widely sought as a guest conductor and clinician, Dr. McKoin has traveled extensively throughout the United States and abroad. She has worked in China, Taiwan, Thailand, Canada, and Israel where she served as producer for the world premiere recording of Roberto Sierra’s Fantasia Correliana with the Castellani-Andriaccio guitar duo and Israeli Chamber Orchestra. Additionally, McKoin has served on the conducting faculty at the Brevard Music Center in Brevard, North Carolina and most recently the Interlochen Arts Academy. She remains passionately committed to music education and has conducted numerous All-State ensembles throughout the country as well as being a regional and local music advocate.

Dr. McKoin has served on the faculties of the University of Missouri-Kansas City Conservatory of Music, the State University of New York at Buffalo and SUNY Fredonia. She has been President of the Southwest Division of the College Band Director’s National Association and President of the Big 12 Band Director’s Association. Dr. McKoin is a member of the American Bandmasters Association, Texas Music Educators Association, Texas Bandmasters Association, Phi Beta Mu, Pi Kappa Lambda, and serves as faculty sponsor of the service fraternities Kappa Psi and Tau Beta Sigma.

TEXAS TECH UNIVERSITY SYMPHONIC WIND ENSEMBLE

Flute

Kaylee Smith

Ava Monico

Maya McBrayer Samuel Orta Lillian Peterson

OBOE Jordan Hastings Wesley Barton Angeli Nicolas Ashley Thomas

BASSOON

Ian Resurrección Austin Perry Taylor Gambill Adolfo Mendoza Clarinet Hsiao-Ju Chen Sara Hoffman Kayla Abel Eric Boatman Natalie Odom Josue Molina Jordan Parks Vicente Pedroza Reilly Ledbetter* Megan Munoz* Alyssa Frescas* Amy Gilmore*

BASS Clarinet

Ryan Rodarte Mia Zamora* Saxophone Ryan Montemayor Blaine Majors

Logan Parker Natalie Wilson

trumpet

Matt Soares Tyler Castellanos Georgia Hageman Josh Robbins Ryan Drone Katy Baker Trey Pile Mikayla Sweet Jonathon Allgeyer* Zach Worley* Nico Bononcini* Josh Tolosa* Gavin Wallace* Jesse Chavez* Chloe Ellis* Jacob Garcia* Andrew Schofield*

HORN

John Stacy William Wallace James Ramirez Kaylee Webb Anna Kindschuh Jack Mellinger

TROMBONE Matthew Ramirez Julio Rivera Carlos Balandran Matthew Belcher Kaitin Werner Jackson Franco Euphonium Elijah Ramirez Kyle Boschen tuba Christian Bush Darion Jackson

percussion

Mariah Taller

Taylor Caspell

Zack Cavender

Peyton Forsythe

Jeff Harper

David Kath

Ryan Pound

Josh Watkins*

Javier Garza*

String bass

Nodier Garcia

piano

Nataliya Sukhina**

harp

Rachel Mazzucco**

Firearms technician

Sam Scheef*

*assisting personnel

**TTU faculty

Circus Maximus | John Corigliano

The Circus Maximus in ancient Rome was the largest arena in the world, seating 300,000 spectators entertained by chariot races, hunts, and battles.

Corigliano draws parallels between the high decadence of Rome and our present time and says, “entertainment dominates our reality.”

The Red Violin | John Corigliano

The Red Violin’s composition earned composer John Corigliano an Academy Award for Best Original Score.

“The Red Violin” concerto in the film features virtuoso Joshua Bell on violin.

Symphonic Dances from West Side Story | Leonard Bernstein

“West Side Story” is a modern rendition of “Romeo and Juliet,” swapping the Montague and Capulet families for the rival gangs of the Jets and Sharks.

“West Side Story” not only boosted Leonard Bernstein’s reputation but also launched Stephen Sondheim into his spectacular 60-year career.

We hope you were able to participate in ClefNotes with John Clare prior to the concert this evening!

The first Native American to lead an all-classical radio station, John Nasukaluk Clare is comfortable behind a microphone, streaming video or playing violin. He is currently the Classical Music Director at WGUC in Cincinnati, and is the weekday morning drive host on SiriusXM’s Symphony Hall. In 2005, he earned the Deems Taylor Award from ASCAP for radio broadcasting, citing his work on 20/20 Hearing. An avid chamber music lover, Clare founded the Las Vegas Chamber Music Society in 2004.

Join us before Madame Butterfly for another beginner-friendly discussion with opera expert and LSO Board member Dr. Neil Kurtzman.

Joshua Bell performed with Lubbock Symphony in 2016!

Symphony No. 3

Circus Maximus

I. Introitus II. Screen / Siren

Channel Surfing IV. Night Music I

Night Music II

Circus Maximus

Prayer VIII. Coda: Veritas

David Cho | Music Director

The CH Foundation Endowed Conductor's Podium

Corigliano (1938-)

ATTENTION:

Please be aware as part of the musical performance this evening, there will be a loud gunshot heard. Hearing protection is provided with our compliments. Enjoy the performance.

Texas Tech University Symphonic Wind Ensemble Dr. Sarah McKoin, conductor

The Red Violin Concerto

I. Chaconne II. Pianissimo Scherzo III. Andante Flautando

Accelerando Finale

Annie Chalex Boyle, violin

Symphonic Dances from West Side Story

INTERMISSION INTERMISSION

Bernstein (1918-1990)

Mr. Corigliano’s residency was made possible with generous support from the Maegene Nelson Visiting Scholar Endowment at Texas Tech University.

Corigliano (1938-)

PROGRAM NOTES

John Corigliano: Circus Maximus (Symphony No. 3 for Large Wind Ensemble)

John Corigliano’s distinguished career has earned him numerous awards, including the Grawemeyer Award for Music Composition, five Grammy Awards, the Pulitzer Prize for Music (for his Symphony No. 2), and an Oscar for Best Original Score (for The Red Violin). His works span the range of piano music, chamber music, orchestra and opera, and have been performed by major soloists, orchestras, and opera companies all over the world.

John Corigliano has written this about Circus Maximus:

For the past three decades I have started the compositional process by building a shape, or architecture, before coming up with any musical material. In this case, the shape was influenced by a desire to write a piece in which the entire work is conceived spatially. But I started simply wondering what dramatic premise would justify the encirclement of the audience by musicians, so that they were in the center of an arena. This started my imagination going, and quite suddenly a title appeared in my mind: Circus Maximus.

The Latin words, understandable in English, convey an energy and power by themselves.

But the Circus Maximus of ancient Rome was a real place -the largest arena in the world. 300,000 spectators were entertained by chariot races, hunts, and battles. The Roman need for grander and wilder amusement grew as its empire declined.

The parallels between the high decadence of Rome and our present time are obvious. Entertainment dominates our reality, and ever-more-extreme “reality” shows dominate our entertainment. Many of us have become as bemused by the violence and humiliation that flood the 500-plus channels of our television screens as the mobs of imperial Rome, who considered the devouring of human beings by starving lions just another Sunday show.

The shape of my Circus Maximus was built both to embody and to comment on this massive and glamorous barbarity. It utilizes a large concert band and lasts approximately 35 minutes. The work is in eight sections that are played without pause:

I. Introitus — Trumpets and percussion surrounding the audience play fanfares, signaling the opening of the work. The full band enters with a primitive call from the clarinets. A short central section features the lowest winds and brass followed by the joining of the offstage and onstage ensemble playing together this time, and reaching the first climax of the work.

II. Screen/Siren — A saxophone quartet and string bass call from the 2nd tier boxes in seductive inflections. Other instruments scattered around the hall (clarinet, piccolo, horns, trumpet) echo the calls, which are suddenly interrupted by…

III. Channel Surfing — Our need for constant change echoes the desires of the ancient mob, only now we can access it all by pressing a button. Music in this section is constantly interrupted by other music and comes from all sections of the hall.

IV. Night Music I — Tranquility in nature. Away from cities, forest sounds suspend time. Animals call to each other.

V. Night Music II — The hyper night-music of the cities pulse with hidden energy and sudden flashes. Sirens and distant battles onstage build the tension to…

VI. Circus Maximus — The peak of the work incorporates all the other movements and is a carnival of sonoric activity. A band marching down the aisles counterpoints the onstage performers and the surrounding fanfares. Exuberant voices merge into chaos and a frenzy of overstatement.

VII. Prayer — In answer to this, a long-lined serene melody is set against a set of plagal (IV-I) cadences that circle through all the keys. The rising line grows in intensity against the constantly changing harmonies as the chords overlap from stage to surround trumpets and back.

VIII. Coda: Veritas — Music from the Introitus enters almost inaudibly, but grows in intensity until it dominates the “prayer” music, and the surrounding trumpet calls reach an even higher peak. A gunshot ends the work.

- Material for these notes courtesy of johncorigliano.com

John Corigliano: The Red Violin

François Girard’s 1997 film The Red Violin, featuring Samuel L. Jackson, Greta Scacchi, and Sylvia Chang, follows the history of a violin created in 1681 by the fictional luthier Nicolò Bussotti, grieving in the aftermath of the death of his young wife in childbirth. The film is presented as a series of vignettes as it passes through the hands of various owners and performers in 18th-century Austria, 19th-century England, and 1960s Shanghai, before winding up on the auction block in present-day Montreal, where it is examined by the mercurial violin expert Charles Morritz. Each scene is the manifestation of a series of tarot cards forecast for Bussotti’s young wife while she is pregnant.

The film opened to critical and audience acclaim at the Venice Film Festival in September 1998, and received similar plaudits at film festivals in Toronto, London, and Tokyo. It received wider theatrical release in Canada, London, and the United States. The Red Violin earned composer John Corigliano an Academy Award for Best Original Score and garnered many nominations and awards at the Golden Globes, Genie Awards, Jutra Awards, and the Chicago Film Critics Association.

John Corigliano has written this about his score for The Red Violin:

My third film score (“The Red Violin”) gave me an opportunity to visit my own past, for my father, John Corigliano (I was a “jr.”) was a great solo violinist and the concertmaster of the New York Philharmonic for more than a quarter of a century. My childhood years were punctuated by snatches of the great concertos being practiced by my father, as well as scales and technical exercises he used to keep in shape. Every year, he played a concerto with the Philharmonic (as well as in other venues), and I vividly remember the solo preparation, violin and piano rehearsals, orchestral rehearsals and the final tension-filled concerts (where I would sit backstage in the Carnegie Hall green room, listening to my father over a small speaker breathlessly playing the work in my head and listening to make sure everything came out all right.)

It is no wonder that the concerto form, and the violin concerto in particular, has a deep place in my heart. I have written a half-dozen concerti, but this is my first one for my first love, the violin. It is an “in the great tradition” kind of concerto, because I wrote it in an attempt to write the piece my father would love to play. Because he inspired it, it is dedicated to his memory.

The event that galvanized my energies into composing this concerto was, of course, the scoring of the film “The Red Violin”, directed by François Girard, and featuring the sublime young virtuoso, Joshua Bell as the voice of the violin. Josh’s playing resembles that of my father, he is an artist in the grand tradition. No cold, clinical dissection of a work would flow from his bow.

The story of “The Red Violin” is perfect for a lover of the repertoire and the instrument. It spans three centuries in the life of a magnificent but haunted violin in its travels through time and space.

A story this episodic needed to be tied together with a single musical idea. For this purpose I used the Baroque device of a chaconne: a repeated pattern of chords upon which the music is built.

Against the chaconne chords I juxtaposed Anna’s theme, a lyrical yet intense melody representing the violin builder’s doomed wife. Then, from those elements, I wove a series of virtuosic etudes for the solo violin, which followed the instrument from country to county, century to century. I composed these elements before the actual filming, because the actors needed to mime to a recording of these works since their hand motions playing the violin would have to synchronize with the music.

Then, during the summer of 1997 while the film was being shot all over the world, I remained at home and composed the 17-minute “The Red Violin: Chaconne for Violin and Orchestra,” a concert work based on the existing elements, and given its world premiere in San Francisco with Josh and Robert Spano in the fall of that year. After that, I had only a few weeks to provide the underscoring (the music that is not seen on camera) for the recording dates around Christmas 1997 in London.

The violin and orchestra “Chaconne” then became a concert work, performed by Josh (and others) around the world. But, as a moderate length singlemovement work, it fell into a category of works that must be paired with other works to complete a soloist’s guest appearance with an orchestra. Great works like Ravel’s “Tzigane” or the Chausson “Poème”, or Beethoven’s Romances, have the same problems.

More importantly for me, the chaconne had given me the opportunity to strip away any inhibitions and write a passionate and romantic essay that I probably would not have written had it not been accompanying a film. It bypassed my “censor button” that made it necessary for me to not only write a piece, but “rediscover” the form in the piece (like my three woodwind concerti). I liked what I heard, and it came very naturally.

So, like Schumann, I decided to add some movements to the existing chaconne (he to his piano and orchestra fantasy) and make it a full-length concerto. In my case, that meant composing another three movements to balance the large first one.

The other movements are connected to the first (and the film) in different ways: the first is a fleet “Pianissimo Scherzo” in which the dynamics are soft, but the action wild and colorful. I wanted to break the romantic mood of the first movement with sonoric and timbral effects that create a sparkling, effervescent energy. A central trio is distantly related to Anna’s theme, but here heard in knuckle-breaking double harmonics by the soloist – high, ethereal, and dance like.

The third movement (Andante flautando) starts with an intense recitativo that is more closely related to the film’s main theme, but soon gives way to a gentle, rocking melody played by the soloist in an unusual manner that results in his sound changing to that of a flute (“flautando”). He and the alto flute pair up as a complementary duo in this theme.

The final movement (Accelerando Finale), as the title suggests, is a rollicking race in which the opposed forces of soloist and orchestra vie with each other. They each accelerate at different times and speeds, providing a virtuoso climate befitting a last movement. Some other unusual techniques are used here: the violin (and orchestral strings) are asked to press so hard on their strings that there is no pitch at all, just a crunch. This percussive and unusual sound provides energy, especially during the races. A major theme from the film that was not used in the concert chaconne was that given to Moritz, the contemporary violin expert who discovers the mystery of the Red Violin. It is a sadly romantic theme, and becomes the lyrical counterpoint to the high spirits of this final movement. Near the end of the work, the original chaconne from the first movement comes back to complete the journey of this violin concerto.

- Material for these notes courtesy of johncorigliano.com

Leonard Bernstein: Symphonic Dances from West Side Story

West Side Story was neither Leonard Bernstein’s first Broadway musical nor his first success (that was On the Town of 1944), but it was his first truly spectacular triumph on Broadway, and it proved to be his last. His subsequent contributions to the Great White Way, 1600 Pennsylvania Avenue from 1976, and The Madwoman of Central Park West from 1979 (for which Bernstein was one of several musical contributors), closed almost as soon as they opened, and both gathered reviews ranging in tone from apathetic to scathing. Though Bernstein distinguished himself in almost every aspect of American musical life, from conducting to teaching to composing, in his output for that most American of musical genres, he was for the longest time a “one-hit wonder.” Only with the revival and reevaluation of works like Candide, Peter Pan, and Wonderful Town have we been able to understand both the depth and originality of Bernstein’s music for Broadway.

In 1957, Bernstein was still smarting from the lukewarm audience and critical response to v, his musical based on Voltaire’s novel, written in collaboration with the songwriting/comedy duo of Betty Comden and Adolph Green. In searching for a new direction for their work, Bernstein and his collaborator, playwright Arthur Laurents, had begun work on a story that would transport Shakespeare’s Romeo and Juliet to modern New York, originally with the central conflict between Jews and Catholics. But when Bernstein came across an article in the Los Angeles Times describing the gang battles between Mexican and white teenagers, he immediately knew he had found the perfect scenario for his adaptation of Shakespeare, with the warring Montague and Capulet families transformed into the rival gangs of the white Jets and the Puerto Rican Sharks.

In transferring Shakespeare’s belligerent Verona to Manhattan’s Upper West Side, Bernstein and Laurents teamed up with two important collaborators: director, dancer, and choreographer Jerome Robbins, whose spectacular dance sequences bolstered the popularity of the show and its subsequent movie, and a very young Stephen Sondheim, whose lyrics for West Side Story launched his spectacular sixty-year career. The first production ran for 772 performances on Broadway and won two of the six Tony awards for which it was nominated. The musical soon became an international hit, spawning numerous productions around the world and two film versions in 1961 (directed by Robert Wise) and 2021 (directed by Steven Spielberg).

In 1960, Bernstein created the Symphonic Dances in tandem with the plans for the 1961 film. They were first performed by the New York Philharmonic under the direction of Lukas Foss at Carnegie Hall in February of 1961 and have remained a concert staple ever since. One of the most remarkable features of the work is that it is more than just a potpourri of the show’s “greatest hits,” but a truly symphonic reworking of the themes of the musical. While the events of the drama are easily identifiable in the music, they are not presented according to their appearance in the show, but as a musical structure with its

own structure and logic.

Jack Gottlieb, Bernstein’s longtime friend and assistant, provided this concise synopsis of the Symphonic Dances:

Prologue: The growing rivalry between two teenage gangs, the Jets and Sharks.

“Somewhere”: In a visionary dance sequence, the two gangs are united in friendship.

Scherzo: In the same dream, they break through the city walls, and suddenly find themselves in a world of space, air and sun.

Mambo: Reality again; competitive dance between the gangs.

Cha-Cha: The star-crossed lovers see each other for the first time and dance together.

Meeting Scene: Music accompanies their first spoken words.

“Cool” Fugue: An elaborate dance sequence in which the Jets practice controlling their hostility.

Rumble: Climactic gang battle during which the two gang leaders are killed.

Finale: Love music developing into a processional, which recalls, in tragic reality, the vision of “Somewhere.”

The Lubbock Symphony Orchestra would like to express gratitude to and

ACKNOWLEDGMENTS

ANNUAL FUND

The Lubbock Symphony Orchestra appreciates the generosity of the following individuals who have given to the Annual Fund between March 27, 2021 and September 27, 2022.

MAESTRO’S Gold CIRCLE

($15,000+)

Herb Armstrong and Evan Sabino

Neil and Sandra Kurtzman

Don and Jan Ledbetter

Lee and Beth Pennington

MAESTRO’S SILVER CIRCLE

($7,500 – $14,999)

Dolle Barker

Jill and Gilbert Berdine

RADM and Mrs. Stephen Chadwick

David Cho

Harold and Deena Evensky

Hill & Ioppolo Oral & Dental Implant

Surgery of Lubbock

Joe and Ann Horkey

Adrian and Leslie Huckabee

Craig and Ann McDonald

Jo Anne M. Smith

Toni E. Wallingford

MAESTRO’S CIRCLE

($5,000 – $7,499)

Joan Baker

Norton and Jane Baker

Curtis Griffith

Thivakorn and Betsy Kasemsri

Don and Susan Maddox Lola and Thomas Windisch

Virtuoso’s CIRCLE

($3,500 – $4,999)

Alan and Sandy Henry

CONCERTMASTER’S CIRCLE

($1,500 – $3,499)

Stephen and Maria Balch

Mark and Betsy Bass

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

Mark and Heather Hocker

Sidney Hopper

John and Cherie Hunter

Robert and Stacey Kollman

Larry and Lucy Landusky

Kurt and Paula Loveless

Rick and Sharon Martin

Drs. Barent and Audrey McCool

Mallory Miller

Mary Moran

Judy and Gary Poffenbarger

Tim and Mary Jane Sampson

Kevin and Carrie Sedberry

Nancy Sharp

Jill and Fred Stangl

James and Shanna St. Clair

Dr. and Mrs. Davor Vugrin

Dr. Charles and Patricia Wheeler

Harry and Cindy Zimmerman

MUSICIAN’S CIRCLE

($1,000 – $1,499)

Pieter Bergstein

Ray and Cathy Box

Anthony Brittin

Terri and Mike Byrne

Stephen and Kathy Faulk Amy Grisham

Dennis and Ellen Harp Ross and Kelli Hilburn

Alena Ilyushyna

Carol King

Ms. Mary McCrary

Curtis and Brenda Parrish

Melissa and Tim Pridmore Keli Ramsey

Mrs. Dona Richardson John and Katie Salter

Family Owned Since 1931

Walter S. and Kathy Smith

Steve and Robin Talbert

Noelle Zavala

YOUNG ARTIST’S CIRCLE

($500 - $999)

Aubrey and Ruth Ann Bridges

Matthew and Krista Bumstead

Richard and Reyhan Crider

Bob and Sandy Crosier

Sara and Tim Dodd

Joan and Joe Dominey

Michael and Linda Edwards

Giles and Lynn Forbess

Bess Haley

Karen and Mark Havins

Janeen Drew Holmes

Don and Lynnita Hufstedler

Morris and Janice Knox

Lucy Lanotte

Jim and Patti Lupton

Laura and Monte Monroe

Norman and Bettie Orr

Tom and Sarah Parsons

Judy Rowdon

Randy Kinnison and Jane Rowley

Sam and Jana Scheef

George and Judy Sell

Melanie Sorsby

Tom Tenner

Gay Word

Debby and Dennis Zuehlke

PATRON’S CIRCLE

($275 - $499)

Wayne and Jane Allison

Kathryn Button

Bobbe Crawford

P.D. and Gayle Cunningham

Gary and Melanie Davis

Jim and Patti Douglass

Don and Anne Garnett

Don Graf

Claudia and Mark Griffin

Marion Hagler

William and Janis Hartwell

Robb Chapman and Dr. Sarah Hosford

Honorable and Mrs. Phil Johnson

John Jones

Wendell Leatherwood

Wyatt and Claire Leavell

Barry Maurer

Ms. Sara McLarty Linda and George McMahan Trois Payne

Davis and Janet Price Mike and Melanie Ragain Kelly Robinson Karen Savage Lynn Schmidt Scott and Vickie Shurmur Drs. Robert Duncan and Annette Sobel Sandra Stratton

Dr. Jim and Mrs. Shannon Taliaferro Betty Wall

Paul Walter Jenny and Edson Way Jimmy and Susan Wedel Ann Williams Dr. and Mrs. Hugh Wilson

SUSTAINER’S CIRCLE

($125 - $274)

David and Ann Abbott Gene H. Adams

Rob and Pam Allison

Alexis Anderson John Anthony James Arnold Joe Arredondo

Dr. and Mrs. Michael Balch

Ian and Shelley Barba Nancy Barr Sherry Barsch

Aurora and J. Alton Bauerle Dr. and Mrs. Eric Blackwell Pam Blassingame Edward Broome

Larry and Charlotte Burt Manon and Neill Carter Mary Cato

Beverly Chilton

Barry Cohen

Robin P. Conkwright Lou Conner

Thomas Copple Ronald and Alice Cox

Stephen Crowell

Sally Cummings

Carol Daugherty

Glenn Davis

David and Claudia Dea

Steve Duran

Peggy Dyess

Dr. Hua Chen, Dr. Grace Sun and Family Muff Fregia

Jim and Kathy Gilbreath Yvonne Gilinsky

Keith A. Gray Elizabeth Grigsby

Mary Hastert

Mr. Larry Hess

Tom Hicks

Shyrle Hill

Ms. Bobbye Hrncirik Dr. Catherine Jai

Nelda Jett

Peggy Johnson

Robert Jokisch

Brian Kendall

Don Kidd

Pam King

Terry Hawkins and Doug Klepper

Fran Koch

Brad and Carol Ann Layton

Eric Lee

Gary and Judy Linker

Dale Little

Ben and Robin Lock Allan MacKenzie

Shannon McClendon

James McDonald

Joe and Linda McFerrin

Amanda Mead

Kishor Mehta Stephen and Cindi Moffett

Sally Murray

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

Melanie Slaton Jim and Donna Smith

Tony Smitherman Stephanie Starkovich Michelle and Jon Stephens

Steve Synck

Carl and Pam Tipton

Dick and Sue Tolley Kathleen Weed Barbara and Herman Wheatley Becca Williams

Gary Wood Tim and Amanda Wooten

Gay Word

Robert Worth Mary and John Zias John and Ann Zwiacher

MEMORIALS & HONORARIUMS

The Lubbock Symphony Orchestra respectfully acknowledges donations received during the 2021-2022 season in honor of the following:

Memorials:

Milton Bagwell

Blake Eddie Bingham

Dr. Eugene Dabezies

Lou Dunn Diekemper

Mary Epps

John Charles Fox III

Justin Andrew Fregia

H.E. Prince Bira Kasemsri

Shelley Furr Nelson

Ricky Rasco

Herb Tavenner

Honorariums:

Annie Chalex Boyle

David Cho

Reyhan and Richard Crider

CJ Goodyear

The Harrod Family

Larry Landusky Galen Wixson

Toni Wallingford

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

LSO ENDOWMENTS

The Lubbock Symphony Orchestra Endowment Trust

The CH Foundation Conductor’s Podium Endowment

Helen DeVitt Jones Endowment for Education

LSO Endowment for Musician Fees and Education

Shelley Hall Nelson Endowment for Musicians’ Salaries

Lubbock Symphony Opera Fund

Texas Tech University J.T. & Margaret Talkington College of Visual and Performing Arts, School of Music Performer Endowment

Jones-Saathoff Family Concertmaster Endowment

Diekemper Family Foundation Associate Concertmaster Endowment

Justice Phil and Carla Johnson Principal Second Violin Endowment Mary M. Epps and Ralph E. Wallingford Principal Viola Endowment

Mary Francis Carter Principal Cello Endowment

Eugene and Covar Dabezies Principal Bass Endowment

Drs. Audrey and Barry McCool Principal Flute Endowment, in memory of the Crew of Columbia, STS-107

Lubbock Symphony Guild Principal Oboe Endowment

Janeen Drew Holmes English Horn Endowment

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

MICHAEL POSTAR’S

Jack M. Lewis

W.P. Clement

Charles E. Maedgen, Jr.

Roy Bass

Rex Webster

Marion Key W.R. Sewell

J.C. Reynold

James L. Quicksall, Jr.

Asher Thompson

Richard G. Richards Jack Kastman

Joe J. Moise

J. Harmon Jenkins George C. Miller Lonnie Langston John Witcomb O.W. English

Asher Thompson

Troy Myers

Arthur E. Gamble Charley Pope C.B. Carter

Robert E. Norris

Dean James Allen

Robert L. Stripling Charley Pope

John R. Kreiger

1946 1947 1948 1949 1950 1951 1952 1953 1954 1955-56 1957 1958 1959 1960 1961 1962 1963 1964 1965-68 1969 1970 1975-77 1978 1979 1980-81 1982 1983-84 1985

Roger Key

Edwin E. Merriman

Owen McWhorter, Jr.

Frank Newton

Frank Anderson

Kay Sanford

Paul Meyer

Robert L. Stripling

Jim Ratliff

Coffee Conner

Alan Henry William D. Armstrong

Susan Boling Curtis Griffith

DeWayne Pierce

Mike Cunningham Margaret Lutherer Chris Barnette

Catherine S. Porter

Ray Fargason Emily Ratcliff Brad Green

Peter G. Daia Kirk McLaughlin Harry Zimmerman Shannon Taliaferro Heather Hocker

1986 1987 1988 1989 1990-91 1991 1991-92 1992-93 1993-94 1995-96 1996-97 1997-98 1998-99 1999-00 2000-01 2001-02 2002-03 2003-05 2005-06 2006-08 2008-09 2009-11 2011-13 2013-15 2015-17 2017-19 2019-21

Bruckner

City Bank

Cleaning

CRI

Diekemper Family

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

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

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

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

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 Vaughan Hennen Librarian

Callie Watson Graphic Design Intern Jordan Parks Marketing Intern Anterian Gee Marketing Intern

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.

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,

Mary Glasheen,

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

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

There are those of us who make the music.

...then there are those of us who help make the music possible.