Red Romance on the West Side

02 2 R2 1, 2 OC TO BE SY MP H ONI C SCENES 22-23 SEASON

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Fri. Nov. 11, 2022

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A LETTER FROM THE MUSIC DIRECTOR Dear Lubbock Symphony Family, What a momentous occasion been! In conjunction with Texas and its School of Music, we were the residency of world-renowned Corigliano.

this week has Tech University ecstatic to host composer John

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

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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

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

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Hemmle Recital Hall Texas Tech University School of Music May 7, 2023 at 6:00 p.m.

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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.

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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.

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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.

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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 Miśkiewicz 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

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OBOE

Amy Anderson Principal

Lubbock Symphony Guild Endowed Chair

Alex Hyde

TRUMPET

Gary Hudson Principal

Stacey and Robert Kollman Family Endowed Chair

ENGLISH Horn

Joseph Vandiver Zachary Worley Isaac Swanson

Janeen Drew Holmes Endowed Chair

Trombone

Susetta Rockett

Clarinet

David Shea Principal Sara Hoffman

E-FLAT CLARINET Hsiao-Ju Chen

Bass Clarinet

Jim Decker Principal Bruce Keeling

bass Trombone Darin Cash

Tuba

Kevin Wass Principal

Mia Zamora

Diekemper Family Foundation Endowed Chair

Alto SAXOPHONE

TIMPANI

BASSOON

Lubbock Symphony Guild Endowed Chair

Nancy and Tom Neal Endowed Chair

percussion

David Dees

Vince Ocampo Principal

Ian Resurreccion

CONTRABASSOON David Hiester

Horn

John Stacy Principal

Anthony and Helen Brittin Endowed Chair

David Lewis William Wallace Jack Mellinger Matthew Fenton

Lisa Rogers Principal

Christopher Mehrafshan Principal Lisa 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

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A LO O K I N TO T H E

JOHN CORIGLIANO RESIDENCY In the days preceding this evening’s performance, the Texas Tech University School of Music, in collaboration with the Lubbock Symphony, hosted a residency with John Corigliano.

The residency featured several interdisciplinary events to benefit students from the entire university and the residents of Lubbock.

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

RESIDENCY EVENT SCHEDULE Sunday, October 16, 2022

Collaborations | Faculty Chamber Series Presenting chamber works

by John Corigliano

Monday, October 17, 2022

A presentation with John Corigliano Hosted by David Cho and Sarah McKoin

Tuesday, October 18, 2022

Double Feature: Screening of The Red Violin hosted by Lubbock Symphony and Post Screening Panel with John Corigliano and Annie Chalex Boyle

Wednesday, October 19, 2022 Student Composer Readings with John Corigliano

Composers Forum | John Corigliano’s Career in Film

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Friday, October 21, 2022

ClefNotes: Pre-Concert Talk with John Clare and John Corigliano Concert TTU Symphonic Wind Ensemble Presents Corigliano: Symphony No. 3 Circus Maximus Lubbock Symphony Presents Corigliano: The Red Violin Concerto Annie Chalex Boyle, violin Bernstein: Symphonic Dances from West Side Story

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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.

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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

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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

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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.

Joshua Bell performed with Lubbock Symphony in 2016!

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.

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PROGRAM David Cho | Music Director The CH Foundation Endowed Conductor's Podium

Symphony No. 3 Circus Maximus….......................................……John Corigliano (1938-) I. Introitus II. Screen / Siren III. Channel Surfing IV. Night Music I V. Night Music II VI. Circus Maximus VII. Prayer VIII. Coda: Veritas

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

INTERMISSION The Red Violin Concerto…….............………….John Corigliano (1938-) I. Chaconne II. Pianissimo Scherzo III. Andante Flautando IV. Accelerando Finale Annie Chalex Boyle, violin

INTERMISSION Symphonic Dances from West Side Story…….....................…..…Leonard Bernstein (1918-1990) Mr. Corigliano’s residency was made possible with generous support from the Maegene Nelson Visiting Scholar Endowment at Texas Tech University.

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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…

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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.

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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.

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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

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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 40

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.”

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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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2022-2023 SEASON

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2022-2023 SEASON

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WELCOME

TO THE LSO FAMILY! 46

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.

($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

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

MAESTRO’S CIRCLE

MUSICIAN’S CIRCLE

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

($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 2022-2023 SEASON

($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

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Family Owned Since 1931

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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 2022-2023 SEASON

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

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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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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

.

2022-2023 SEASON

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

.

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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: Memorials:

Honorariums:

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

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 2022-2023 SEASON

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MICHAEL POSTAR ’S

Proud supporter of The Lubbock Symphony 56

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 Alan Henry Insurance 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 2022-2023 SEASON

City Bank 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. 57

KCBD IS A PROUD SUPPORTER OF THE LUBBOCK SYMPHONY ORCHESTRA

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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

2022-2023 SEASON

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

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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 Vaughan Hennen Librarian Callie Watson Graphic Design Intern Jordan Parks Marketing Intern Anterian Gee Marketing Intern

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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

er

Proud support  

  

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y Orchestra

ck Symphon s of the Lubbo

 

﹐  806 ¾ 7 97 ¾ 0341

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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

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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

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The Lubbock Symphony Guild has contributed more than $500,000+

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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

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

— Matshona Dhliwayo

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