Lubbock Symphony Orchestra Masterworks Program - Haydn's The Creation

october 27, 2023

The Buddy Holly Hall

A LETTER FROM THE CEO

Dear Friends,

Thank you for joining us for this very special performance of Haydn’s “The Creation”. Our Lubbock Symphony musicians and soloists have so enjoyed the exceptional musicianship of guest conductor Michael Palmer this week, and it is my hope that you have a meaningful experience this evening through this important work.

We would also like to take a moment to thank our sponsors this evening, Lone Star State Bank. Thanks to everyone at Lone Star State Bank for their support of the LSO and all the arts generally in the Lubbock community. We are so very grateful for your partnership.

We invite you to join us for our upcoming Masterworks concerts “The Firebird” (Nov. 4), “Brahms & Tchaikovsky” (Jan. 20), and “Opera’s Greatest Arias” (Mar. 23). We’re sure you won’t want to miss these spectacular concerts.

We are so grateful for letting us share unforgettable music with you!

Galen Wixson President and CEO Lubbock Symphony Orchestra

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IN HONOR OF WILLIAM A. HARROD

1946-1987

Founding Conductor of the Lubbock Symphony Orchestra

Michael Palmer, Guest Conductor

Michael Palmer has long been considered one of this country’s finest conductors. Mr. Palmer began his career at age 21, when he came to the Atlanta Symphony Orchestra as assistant conductor at the invitation of Robert Shaw. He was soon made associate conductor, and also founded and was music director of the Atlanta Symphony Youth Orchestra. While in Atlanta, Michael Palmer was honored as one of five of the first conductors in the United States chosen by the National Endowment for the Arts to be an Exxon Arts Endowment Conductor, and he was soon in demand with orchestras throughout the country. While continuing in his post in Atlanta, he was appointed guest conductor of the Houston Symphony Orchestra for a three-year period. He also worked extensively with the National Symphony Orchestra during this period, and he was, subsequently, named co-principal guest conductor of the Denver Symphony Orchestra.

After 10 years in Atlanta as associate conductor, Mr. Palmer accepted appointments as music director of the Wichita Symphony Orchestra followed by the New Haven Symphony Orchestra. In New Haven, he was recognized widely for his artistic accomplishments and for building the Orchestra to one of the finest of its kind in the nation. Carnegie Hall invited Michael Palmer and the New Haven Symphony Orchestra to make their New York debut on its distinguished Visiting Orchestra Series in 1994. During his tenure as music director in New Haven, Mr. Palmer founded the American Sinfonietta, which toured Europe for 10 seasons under his leadership, playing to critical acclaim in the major concert halls of Germany, Austria and Switzerland. This led to the creation of the Bellingham Festival of Music in 1993. Under his artistic leadership, the Festival has become internationally recognized for its artistry. Festival concerts are heard across the nation on public radio and feature some of the finest orchestral musicians and major guest artists from the United States and abroad. As Artistic Director since its formation, he curently maintains the title of Conductor Laureate. Michael Palmer has also guest conducted major orchestras including: Detroit Symphony Orchestra, San Diego Symphony Orchestra, Miami Philharmonic, Nashville Symphony Orchestra, Rochester Philharmonic, Indianapolis Symphony Orchestra, Louisville Symphony Orchestra, Grand Rapids Symphony Orchestra, Kansas City Philharmonic, Charlotte Symphony Orchestra. He also served as cover conductor for Herbert Blomstedt at the San Francisco Symphony.

In addition to his regular concerts, in the US and Internationally, he remains focused on building a legacy for future arts supporters and lovers of classical music, through his non-profit organization, Anacrusis Productions Ltd. (Website: anacrusisproductionslimited.org). The Hamptons Festival of Music and the formation of The New American Sinfonietta are his latest achievements as a life-long artistic entrepreneur.

PLEASE VISIT - MAESTROPALMER.COM - FOR MORE DETAILS.

Cassi Irene Gardner is an American soprano hailing originally from Amarillo, Texas. In 2023, she earned her Masters of Music degree in Vocal Studies from the San Francisco Conservatory of Music under the tutelage of César Ulloa. Prior to her education in San Francisco, she studied both Musical Theatre and Opera at Oklahoma City University under the tutelage of Dr. William Christensen. In 2023, she won the San Francisco District Encouragement Award from the Metropolitan Opera Laffont Competition, as well as being awarded as a semi-finalist in the 2023 MIOpera International Vocal Competition. Previous roles include Zerbinetta in “Ariadne auf Naxos”, Laurette in “Le Docteur Miracle”, Gretel in “Hansel and Gretel”, Queen of the Night in “The Magic Flute”, and La Fee in “Cendrillon”. This coming fall, she will be making her debut with Houston Grand Opera as an “Opera to Go!” Artist and portraying Marina in “Katy, The Strongest of the Strong”. Other engagements include: reprising the role of Zerbinetta in “Ariadne Auf Naxos” in Berlin, Germany with the Berlin Opera Academy, and inaugurating her first Lauretta with the Amarillo Opera in “Gianni Schicchi” this coming April. Cassi’s life goals are to educate, uplift, and inspire through music and make the state of Texas proud. She is honored to be making her debut with the Lubbock Symphony in The Haydn Creation.

Abigale Hobbs is a mezzo-soprano from Washington DC. Ms. Hobbs is currently pursuing degrees in both Vocal Performance and Music Education from Texas Tech University, where she studies under Dr. Rebecca Wascoe Hays. Ms. Hobbs has performed many roles during her time at Texas Tech, including the Third Spirit in Mozart’s “Die Zauberflote”, Jenny Hildebrand in Kurt Weill’s “Street Scene”, Sesto in Mozart’s “La Clemenza di Tito”, and La Zia Principessa in Puccini’s “Suor Angelica”. Most recently, Ms. Hobbs made her musical theater debut, performing the roles of Petra in “A Little Night Music” as well as Hodel in “Fiddler on the Roof” at the prestigious Seagle Festival in New York.

Abigale Hobbs

Cassi Irene Gardner

Terrence Chin-Loy

American tenor Terrence Chin-Loy, whom Opera News described as having a “beautiful lyric tenor voice” pairs passionate performance with a full, sweet sound. In the 20232024 season, Mr. Chin-Loy will return to Arizona Opera to sing Roméo in Roméo et Juliette and Victor Frankenstein the world premiere of Frankenstein. With LA Opera, Terrence will sing Pang in Turandot and the tenor solos in Paul Moravec’s Sanctuary Road with Virginia Opera.

Highlights of recent seasons include Mr. Chin-Loy’s solo debut at the Metropolitan Opera in Terence Blanchard’s Fire Shut Up In My Bones, Henrik Egerman in A Little Night Music and Ferrando in Così fan tutte with Arizona Opera, Tamino in Die Zauberflöte with the National Taichung Theater in Taiwan, and Acis in Acis and Galatea with Eugene Opera. In concert, Terrence performed and recorded Taneyev’s At the Reading of a Psalm with the American Symphony Orchestra and Leon Botstein at Carnegie Hall as well as joined the North Carolina Symphony for performances of Mozart’s Requiem. He was happy to make his Carnegie Hall debut in Handel’s Messiah in the 2018-2019 season. Terrence is a 2018 Metropolitan Opera National Council Auditions National Semifinalist.

Acclaimed by Opera News as a “standout...with a breathtakingly lush voice,” American bass, Brent Michael Smith has been building an exciting international career. He joined the Ensemble at Opernhaus Zürich in 2021, and has since made multiple role debuts, with more coming.

This season, Brent begins by singing his fully-staged debut of Masetto in Don Giovanni at Opernhaus Zürich and later this season makes his mainstage debut as Il Commendatore at San Diego Opera. He debuts with the Lubbock Symphony Orchestra as Raphael/Adam in The Creation by Haydn as well as debuts with the Phoenix Symphony singing the Bass Soloist in The Messiah. Rounding out his concert season, Brent sings his first Requiem in D Minor by Mozart. A major highlight this season is his professional debut as Fafner in Das Rheingold as part of Andreas Homoki’s first full Ring Cycle at Opernhaus Zürich, with Gianandrea Noseda conducting. Closing 2023-2024, Brent sings Il Comte Vaudemont in a new production of I vespri siciliani alongside Quinn Kelsey and Anja Harteros, in addition to Pietro Fléville in a semi-staged version of Andrea Chénier.

Brent Michael Smith

LUBBOCK SYMPHONY ORCHESTRA

VIOLIN I

Annie Chalex Boyle

Concertmaster

Jones-Saathoff Family Endowed Chair

Linda Lin

Associate Concertmaster

Diekemper Family Foundation Endowed Chair

Maja Maklakiewicz

Aistant Concertmaster

Abi Rhoades

Lazaro Gonzalez

Rodrigo Cardona

Texas Tech University School of Music Endowed Performer

Judy Woody

Adan Flores

VIOLIN II

Evgeny Zvonnikov Principal

Justice Phil and Carla Johnson

Endowed Chair

Brennan Lowrey

Martha Perez

Cassidy Forehand

James Ellis

Shirley Wigley

Shawn Earthman

VIOLA

Israel Mello Principal

Mary M. Epps and Ralph E.

Wallingford Endowed Chair

Bruno Silva

Ryellen Joaquim

Sera Jung

Sharon Mirll

Travis Springer

CELLO

Michael Newton Principal

Mary Francis Carter Endowed Chair

Danny Mar

Alejos Anaya

Madeline Garcia

Neemias Santos

DOUBLE BASS

Hannah Macgillivray Principal

Eugene and Covar Dabezies

Endowed Chair

Stuart Anderson

Christopher Arcy

Gregory Faught

FLUTE

Kim Hudson Principal Crew of Columbia, STS-107 Endowed Chair

Eric Leise

Spencer Hartman

OBOE

Mezraq Ramli Principal Lubbock Symphony Guild Principal Oboe Endowment

Jordan Hastings

CLARINET

Hamed Shadad Principal

Christine Polvado and John Stockdale Endowed Chair

Aron Maczak

BASSOON

Vince Ocampo Principal

Nancy and Tom Neal

Endowed Chair

Adam Drake

CONTRABASSOON

Adolfo Mendoza

HORN

Vivian Yu-hsuan Chang

Principal

Anthony and Helen Brittin

Endowed Chair

Lucian Hutchinson

TRUMPET

Gary Hudson

Principal

Stacey and Robert Kollman

Family Endowed Chair

Joe Vandiver

TROMBONE

James T Decker

Principal

Larry and Lucy Landusky

Endowed Chair

Bruce Keeling

BASS TROMBONE

Darin Cash

Tim and Mary Jane Sampson

Endowed Chair

TIMPANI

Lisa Rogers

Principal

Lubbock Symphony Guild

Endowed Chair

CONTINUO

Issac Vargas

LIBRARIAN

Vaughan Hennen

THE LUBBOCK CHORALE

Alan Zabriskie, Artistic Director/Conductor

Michael J. Mills, Associate Graduate Conductor

Clint Barrick, Accompanist

Anh Van Collins, Business Manager

SOPRANO

Ann Akin

Jeannie Barrick

Betsy Bass

Rachel Bennett

Rachel Bice

Elizabeth Campbell

Yiru Chen*

Miranda Dawson

Susan Draper

Kristi Edwards

Chloe Ellis

Jennifer Furey

Hannah Gossett

Madison Hanson

Janie Harms

Karen Hybner

Jazzmin Kasper

Karina Lago

Erin Miller*

Katie Nielsen

Mimi Pappas

Kensly Peck

Claire Randolph

Julie Ray

Chistina Rielo

Glenda Reyolds

Jessica Sanchez

Kristian Villalovos

ALTO

Emily Alongi*

Sofia Altamirano

Isabella Anderson

Gwendolyn Bain

Alicia Caicedo-Cavazos

Robbi Crumpler

Kylie Davis

Alisha Donet

Carolyn Eaks

Desirae Elwell

Aften Flake

Lauren Gomez

Amberlynn Gonzales

Alyson Hamilton

Aveline Heweston

Dana Hinds

Abigale Hobbs*

Patsy Jackson

Gabriella Lacombe

Faith Lalande

Kim Lytton

Nicole Martens

Amelia McCoun

Erin Pearce

Samantha Pearce

Kelsey Peck

Kami Perez

Liesl Rodriguez

Nancy Russell

Susan S. Smith

Kathryn E. Stokes

Lori Summers

Linda Tyler

Juliana Upchurch

Kate Vasquez

Carol Ward

Cynthia West-Ward

Olivia White*

Rashell Wilhoit

Sarah Williams

Saundra Wimberley

Karen Wood

TENOR

Bryce Barnes

Charlie Correa

Jack Cozad*

Stephen Elwell

Randall Hinds

Joey Kasper

Jacob King

Weston Marshall

Michael J. Mills**

Nathaniel Orta*

Samuel Orta

Rolla Randel

Rob Scoggins

Ken Smith

Cesar Augusto Vélez Gámez*

Patrick Vu*

BASS

Cristian Aquino-Sterling

Rami Bakr

Dave Bender

Trayce Boudreaux*

Alex Cartwright

Chris Dobson*

Alex Driggars

Ethan Fasnacht*

Terry Forbes

Sterling French

James Gauna

Jake Hemmle*

Stever Lanham

Melvin E. Laski

Mark Light

Don Lytton

Christopher Markgraf*

Clyde Neff

Scott Sanford

Kasen Scott

Bryce Taylor*

Simon Welch

Skipper Wood

Kerry Wright

*Denotes TTU Scholarship Singers

**2023-2024 Recipient of the Lottie Hilton and Judge Pat Moore Altrusa Club Music Scholarship

Alan Zabriskie, Artistic Director/Conductor

Alan Zabriskie is Director of Choral Studies and Associate Professor of Music at Texas Tech University where he serves as conductor of the University Choir and mentors doctoral and masters students in choral conducting and teaches undergraduate choral conducting. He also serves as Artistic Director of the Lubbock Chorale and Director of Music Ministries at St. John’s United Methodist Church in Lubbock. Prior to arriving at Texas Tech University, he served as Director of Choral Activities at the University of Central Missouri for seven years and taught middle school and high school choral music in the Clark County School District in Las Vegas, Nevada. Alan holds degrees from Florida State University, Brigham Young University, and the University of Utah.

Under Alan’s direction, notable choral performances include a National Convention of the American Choral Directors Association, the Texas Music Educators Association Convention, the Missouri Music Educators Association In-service Workshop/Conference, and various concerts at Carnegie Hall in New York City. He has conducted performance tours and honor choirs and served as clinician in choral festivals and conferences throughout the United States, Europe, Africa, and Asia, including his most recent tour with the University Choir to the countries of Estonia, Latvia, and Lithuania.

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The Creation | Joseph Haydn

One of Haydn’s final works, written after all his symphonies, concertos, and string quartets.

Haydn began his musical career as a badly-behaved choir boy in Vienna. After a 30-year career working for one noble family, Haydn spent three years in London.

In London, Haydn heard Handel’s Messiah and Israel in Egypt, both of which inspired him to want to write a similar biblical choral work.

Just before leaving London in 1795, Haydn was given an English text about the creation, based on the book of Genesis and John Milton’s Paradise Lost.

One of Haydn’s patrons translated the text into German and then back into English.

Haydn uses the orchestra to describe the events of the creation: chaos, sunrise, oceans, fish, birds, and animals.

The work is in three parts, scored for three singers (soprano, tenor, bass), chorus, and orchestra.

Parts 1 and 2 depict the six days of creation, Part 3 describes Adam and Eve in the Garden of Eden.

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 “The Firebird” for another beginner-friendly discussion with John Clare!

HAYDN’S THE CREATION

Featuring The Lubbock Chorale | Alan Zabriskie, Artistic Director

Gabriel and Eve: Cassi Irene Gardner, Soprano

Uriel: Terrence Chin-Loy, Tenor Raphael and Adam: Brent Michael Smith, Bass/Baritone Abigale Hobbs, Mezzo Soprano

The Creation | Franz Joseph

PART THE FIRST

1. Introduction (Representation of Chaos)

2. Bass Recitative (In the beginning)

2b. Tenor Aria with Chorus (Now vanished)

3. Bass Recitative (And God made the firmament)

4. Soprano Solo and Chorus (What wonder)

5. Bass Recitative (Let the waters)

6. Bass Aria (Rolling in foaming billows)

7. Soprano Recitative (Let all the earth)

8. Soprano Aria (Now cooling green)

9. Tenor Recitative (And the heavenly host)

10. Chorus (Awake the harp)

11. Tenor Recitative (Let there be lights)

12. Tenor Recitative (In shining splendor)

13. Chorus and Soli (The heavens are telling)

15 minutes

(1732-1809)

Michael Palmer | Guest Conductor The CH Foundation Endowed Conductor’s Podium

Haydn

PART THE SECOND

14. Soprano Recitative (Let the waters bring forth)

15. Soprano Aria (On mighty wings)

16. Bass Recitative (And God created great whales)

17. Bass Recitative (And the angels)

18. Trio (In fairest raiment now)

19. Trio and Chorus (The Lord is great)

20. Bass Recitative (Let the earth bring forth)

21. Bass Recitative (Straight opening her fertile womb)

22. Bass Aria (Now shines the brightest glory)

23. Tenor Recitative (And God created man)

24. Tenor Aria (In native worth)

25. Bass Recitative (And God saw everything)

26. Chorus (Fulfilled at last the glorious work)

27. Trio (From thee, O Lord, doth all proceed)

28. Chorus (Fulfilled at last the glorious work)

5 minutes

PAUSE

PART THE THIRD

29. Tenor Recitative (In rosy mantle)

30. Duet and Chorus (By Thee with grace)

31. Duet Recitative (Now is our duty)

32. Duet (Sweet Companion)

33. Tenor Recitative (O happy pair)

34. Final Chorus and Soli (Sing to God)

Helen Jones Foundation, Inc.

The Creation

Hoboken XXI:2 Franz Joseph Haydn (1732-1809)

Translation by Robert Shaw and Alice Parker

PART THE FIRST

1. Introduction

The Representation of Chaos

DAY ONE

2. Bass Recitative

Raphael

In the beginning, God created Heaven and Earth; and the Earth was without form and void; and darkness was upon the face of the deep.

Chorus

In the spirit, God moved upon the face of the waters; and God said: Let there be light. And there was light. Recitative: Uriel And God saw the light, that it was good; and God divided the light from the darkness. Recitative: Uriel

And God saw the light, that it was good; and God divided the light from the darkness.

2b. Tenor Aria with Chorus

Uriel

Now vanished by the holy beams the ancient, ghostly, shuddering blackness; the First of Days appears. Confusion yields, and order shines most fair. Aghast, the fiends of hell confounded fly; down they sink in the deep abyss to endless night.

Chorus

Convulsion, rage and terror engulf their monstrous fall. A new created world springs forth at God’s command.

DAY TWO

3. Bass Recitative

Raphael

And God made the firmament, and divided the waters which were under the firmament from the waters which were above the firmament; and it was so. Then howling raged the blast of the tempest. The clouds then were driven like chaff in the wind, the lightnings slashed the heaven asunder, and crashing thunder resounded on high. From waters rose at His command the allrefreshing rain, the devastating hail, the light and flaky snow.

4. Soprano Solo and Chorus

Gabriel

What wonder doth His work reveal to heaven’s host in joyful throng, and loud resounds throughout the skies the praise of God and of the Second Day.

Chorus

And loud resounds throughout the skies the praise of God and of the Second Day.

DAY THREE

5. Bass Recitative

Raphael

And God said: Let the waters under the heaven be gathered together to one place, and let the dry land appear; and it was so. And God called the dry land Earth, and the gathering of the waters called He seas; and God saw that it was good.

6. The Seas

Raphael

Rolling in foaming billows,tumultuous swells the raging sea. Highland and headland uplifted through clouds their towering summits rise. Through broad and ample plainsfull flows the gathering stream and winding wanders. Lightly murmuring, gently glides through silent glades the crystal brook.

7. Soprano Recitative

Gabriel

And God said: Let all the earth bring forth grass, the herb yielding seed, and the fruit tree yielding fruit after His kind, whose seed is in itself, upon the earth: And it was so.

8. Soprano Aria

Gabriel

Now robed in cool refreshing green, the fields their new enchantment wear; and more to charm the sight arise the flowers in bright array. Here herbs of every leaf abound; here dwells a healing grace. The burdened boughs their golden fruit afford; here arbors spread their vaulted, restful shade. and lofty hills are crowned with kingly groves.

9. Tenor Recitative

Uriel

And the heavenly host proclaimed the Third Day, praising God and saying:

10. Chorus

Awake the harp, ye choirs awaken, Loud let the praise of God be sounded. Rejoice in the Lord, the mighty God; Surely the heavens and earth has He girded with splendor and light.

DAY FOUR

11. Tenor Recitative

Uriel

And God said: Let there be lights in the firmament of heaven to divide the day from the night, to give their light upon the earth; and let them be for signs and for seasons, and for days and for years. He made the stars also.

12. Tenor Recitative

Uriel

In shining splendor, radiant now the sun bestrides the sky; a wondrous, joyful bridegroom, a giant proud and glad, He runs his ordered course.

With softer steps and wistful shimmer, steals the moon through still enshadow’d night.

The boundless vaults of heaven’s domain shine with unnumbered

magnitude of stars. And the sons of God rejoiced in the Fourth Day in chorus divine, praising God’s great might, and saying:

13. Chorus and Soli

The heavens are telling the glory of God; with wonders of his work resounds the firmament.

Gabriel, Uriel, Raphael

Revealed are His ways by day unto day, by night that is gone to following night.

Chorus

The heavens are telling the glory of God; with wonders of His work resounds the firmament.

Gabriel, Uriel, Raphael

In every land is known the Word, Every ear will hearken; never tongue be dumb.

Chorus

The heavens are telling the glory of God; with wonders of His work resounds the firmament.

* Intermission *

PART THE SECOND DAY FIVE

14. Soprano Recitative

Gabriel

And God said: Let the waters bring forth abundantly every moving creature that hath life, and fowl that fly above the earth in the open firmament of heaven.

15. Soprano Aria

Gabriel

On mighty wings now circling soars the eagle proud and cleaves the air with swift exulting flight to greet the sun. At morn the lark his cheerful welcome sings; adoring, coos the tender turtle dove. From every bush and grove pours now the nightingale her sweetest carol; no grief has ruffled yet her breast, nor yet to sorrow has been tuned her charming roundelay.

16. Bass Recitative

Raphael

And God created great whales, and every living creature that moveth; and God blessed them, saying: Be fruitful all and multiply, ye creatures of the sky; be multiplied and fill the air with song! Multiply, ye creatures of the waters, and fill each watery deep! Be fruitful, grow, and multiply! Rejoice in the Lord your God!

17. Bass Recitative

Raphael

And the angels struck their immortal harps and sang the wonders of the fifth day.

18. Trio

Gabriel

In fairest raiment now, with virgin green adorned, the rolling hills appear. From deep and secret springs, in fleeting crystal flow, the

cooling brook doth pour.

Uriel

In joyful garlands borne on wheeling tides of air, upwings the feathered host. The myriad feathers’ gleam reflects in shimmering flight the golden sun’s pure light.

Raphael

From sparkling waters leap the fish and twisting flash in ceaseless motion round. From deepest ocean home waltzes up leviathan, in foaming waves to play.

Gabriel, Uriel, Raphael

How many are Thy works, O God! Who may their number tell? Who? O God? Who may their number tell?

19. Trio and Chorus

The Lord is great, and great His might, and ever stands His name.

DAY SIX

20. Bass Recitative

Raphael

And God said: Let earth bring forth every living creature after his kind, cattle and creeping things, and beast of the earth after his kind.

21. Bass Recitative

Raphael

Straight opening her fertile womb, the earth brings forth at God’s command unnumbered living creatures, in perfect forms, and fully grown. Triumphant, roaring stands the lion there. With a lightning leap, the tiger appears. Bounding with branching head, the nimble stag. With snorting and stamping, flying mane, uprears in might the noble steed. In pleasant pastures, quietly the cattle graze on meadows green. And o’er the ground, as growing there, abide the fleecy, gentle sheep. As clouds of dust arise, in swarms assembled the host of insects. In long dimension creeps, with sinuous trace, the worm.

22. Bass Aria

Raphael

Now shines the brightest glory of heaven; now spreads the lavish attire of earth. The air is filled with soaring processions, the water swelled by swarming legions; the ground is trod by ponderous beasts, But all the work was not complete; there wanted yet that wondrous being, that God’s design might thankful see and grant His goodness joyful praise.

23. Tenor Recitative

Uriel

And God created Man in His own image; in the image of God created He Him; male and female, created He them. And God breathed into their nostrils the breath of life, and they became a living soul.

24. Tenor Aria

Uriel

In native worth and honor clad, with beauty, strength and courage formed, toward heaven raised uprightly, stands a man, the lord and king of nature all. His proud and arching, noble brow proclaims of wisdom’s deep abode, and in his eyes with brightness shines the soul, the breath and image of his God. And to his breast he softly holds

one of and for him formed. his other self, his pure delight. With virgin grace so sweetly giv’n as springtime’s charms bestowed, she loves him, he loves her, yields their joy and bliss.

25. Bass Recitative

Raphael

And God saw everything that He had made, and behold, it was very good; and the heavenly choir loud rejoicing raised their song of praise and hailed the Sixth Day.

26. Chorus

Fulfilled at last the glorious work; the Maker sees with sure delight. Let all our joy resound aloud; eternal praise to him accord.

27. Trio

Gabriel, Uriel

From thee, O Lord, doth all proceed; all nature must thy bounty wait. If open be thy hand, its fullness feedeth all.

Raphael

But if thy face be turned away, A ghostly terror fills the night, the living breath is gone, and dust returns to dust.

Gabriel, Uriel, Raphael

Thy breath, O Lord, is felt again, and life awakes with sweet surprise. Renewed is all the earth, refreshed its charm and might.

28. Chorus

Fulfilled at last the glorious work, Eternal praise to Him accord. For He alone doth reign exalted. Alleluia. Glorious be His name forever. Alleluia.

* Five Minute Pause *

PART THE THIRD

Adam and Eve

29. Tenor Recitative

Uriel

In rosy mantle, bright awaked by sweetest tones, the morning young and fair. From heaven’s vaulted realm streams purest harmony to earth below. Behold the happy pair as hand in hand they go: as from their eyes radiant shines the thanks they owe. Full soon their tongues shall tell the louder praise of God. Then let our voices ring united with their song!

30. Duet and Chorus

Eve, Adam

By Thee with grace, O bounteous Lord, are earth and heaven stored. This world, so great, so wonderful, Thy mighty hand has framed.

Chorus

O blessed be His holy might; His praise we sing eternally.

Adam

Thou star of morning, O how fair thy tidings of the day; What radiance rare, O sun, is thine, thou eye and soul of all!

Chorus Proclaim, in your extended course, your maker’s power and glory bright!

Eve

And thou, the tender queen of night, and all ye starry host, proclaim in

every land His praise in heaven’s harmonies!

Adam

Ye mighty elements, by His power your endless changes make; ye misty vapors, which the wind doth spin and roll through air.

Eve, Adam, Chorus

O sing the praise of God the Lord. Great is His name, and great His might.

Eve

Soft flowing fountains, tune his praise, and trees adoring bow. Ye fragrant plants, ye flowers fair, with sweetness fill the air!

Adam

Ye that on a highest mountain climb, and ye that lowly creep, ye whose flight doth cleave the skies, and ye that swim the deep, Eve, Adam and Chorus

Ye, creatures of our God and King, praise, praise Him, all ye breathing life!

Eve, Adam

Ye shadowed woods, ye hills and vales, your thanks with ours unite and echo loud from morn to eve our joyful hymn of praise.

Chorus

Hail, mighty God, Creator, hail!

The world springs forth at Thy command. Adoring earth and heaven stand. We praise Thy name forevermore.

31. Duet Recitative

Adam

Now is our duty well fulfilled; our Maker have we duly thanked. Now follow me, companion of my life! Thy guide I’ll be, and every step wakes new delight within my breast, shows wonders everywhere. Then surely thou shalt know what boundless realms of joy the Lord hath given us. Him praise we evermore, Him serve with heart and mind. Come, follow me! Thy guide I’ll be.

Eve

O thou for whom I live! My arm, my shield, my all! Thy will to me is law. So doth our Lord ordain; That I obey thee is my joy and glory.

32. Duet

Adam

Sweet companion, here beside thee softly fly the golden hours. Every moment is rapture; naught of sadness lingers near.

Eve

Dearest husband! here beside thee floods of joy o’erflow my heart. That thou love me is my blessing; thine forever is my life.

Adam

The dew-freshened morning, O bright awakening!

Eve

The coolness of evening, sweetly restoring!

Adam

How rich the taste of round and ripened fruit!

Eve

How charming the scent of gay and fragrant flower!

Eve, Adam

But without thee, what is to me: the morning dew? the evening cool? the ripened fruit? the fragrant flower? With thee is every joy exalted; with thee, delight is ever new; with thee is rapture everlasting. Thine be my love and life.

33. Tenor Recitative Uriel

O happy pair! and happy evermore if false conceit betray ye not, the more to covet than ye have and more to know than ye should.

34. Final Chorus and Soli Sing to God, ye hosts unnumbered! Thanks, all thanks for wonders new created! Praise His name in song unending, loud in festival rejoicing!

The Lord is great, He reigns forevermore. Amen.

Haydn: The Creation

While Haydn’s instrumental music, especially his numerous symphonies and string quartets, is the most familiar to modern audiences, his compositions for voices play an important role in his output. Haydn in fact began his professional musical life as a singer, moving at the age of eight from his native village of Rohrau to the metropolis of Vienna, where he was engaged as a choirboy at St. Stephen’s Cathedral. In addition to his regular duties as part of the cathedral choir, Haydn received training in singing, piano, and violin.

He remained at St. Stephen’s until the age of seventeen, when several incidents led to his dismissal. The principal reason is that his voice began to break, so that he was no longer capable of singing the highest choral parts. His strained efforts to sing at the correct pitch caught the attention of Empress Maria Theresa, who told the choir’s director, Georg Reutter, that Haydn’s voice stuck out so badly that he sounded like he was crowing. The last straw came when Haydn mischievously concealed a pair of scissors in his choir gown and snipped off the pigtail of the boy in front of him. Reutter dismissed Haydn from the choir and turned him out onto the streets of Vienna, where he was forced to make a living as a street musician. Haydn later recalled his years between jobs:

When my voice finally broke, for eight whole years I was forced to eke out a wretched existence by teaching young people. Many geniuses are ruined by this miserable need to earn their daily bread, because they lack time to study. This could well have happened to me; I would never have achieved what little I have done, had I not carried on with my zeal for composition during the night. I composed diligently, but not quite correctly, until I finally had the good fortune to learn the true fundamentals of composition from the famous Porpora (Nicola Porpora, 1686 – 1768, a famous Italian composer and singing teacher).

Haydn was not only Porpora’s pupil, he was also his valet, and played keyboard for the many singing lessons Porpora taught. Through his connections with Porpora, Haydn landed increasingly more prestigious positions, eventually gaining employment with the family with whom he would be associated for the rest of his life, the Esterházy’s, a noble family of Hungarian ancestry whose family estate was based at Eisenstadt, forty miles south of Vienna and seven miles from the Hungarian border.

While today Eisenstadt is an hour’s drive from the Austrian capital, in the eighteenth century it was far from Vienna’s urban center. While Haydn and his musicians were considered servants, Haydn was one of the highest ranks in the household. He was in charge of the palace’s musical entourage, including maintaining discipline among the musical staff, and to ensure that the musicians would always “appear in white stockings and white shirt, with either pigtail or tiewig, and thoroughly powered,” as his contract stated. He was responsible for rehearsing and performing with the Prince’s musicians, supplying whatever music and musicians were required for palace concerts and household ceremonies. Interestingly, if he required trumpets and drums, Haydn was authorized to enlist those musicians from the Prince’s military detachment. He was in charge of maintaining and repairing the Prince’s large collection of musical instruments, and for supplying new music for the Prince’s entertainment. In his thirty years at Esterházy, Haydn composed symphonies, concertos, chamber music, sacred choral music, and opera. Rather than finding the constant demand for new works overwhelming, Haydn used the opportunity to hone his compositional skills and to create works which would serve as models for the Classical style for the rest of the eighteenth century. As he said later of his years at Eisenstadt, “I was cut off from the world. There was no one to confuse and torment me, and I was forced to become original.”

When Prince Nikolaus died in September 1790, Haydn’s sheltered creative life

came to an end. Nikolaus’s successor, Prince Anton, severely cut the musical staff at his court, largely at the insistence of Anton’s wife, who was allegedly more enamored of furniture and jewelry than music. Most of the palace musicians were given six weeks’ severance pay, and Haydn was given a pension, with almost no demands on him for new compositions. With over 90 symphonies to his credit along with numerous other works in all genres, no one could blame Haydn for contemplating a quiet (if austere) retirement at the age of 58.

Fortunately for Haydn and the history of music, fate had other plans. Haydn’s dull domesticity was shattered by the appearance of one Johann Peter Salomon, a violinist, composer and conductor who had made a very successful career as a concert impresario in London. Salomon made the journey from London to Vienna to entice Haydn to return with him to write music, give concerts – and make obscene piles of money. According to Haydn’s first biographer, Albert Christoph Dies, Salomon’s first words to Haydn were ”I am Salomon of London and I have come to fetch you; tomorrow we will establish an agreement.” While Haydn was initially skeptical and slightly apprehensive of undertaking such a long journey at his age, the lure both of a new audience and much-needed financial security proved irresistible. With the contractual promise of 5000 Austrian gulden (roughly $65,000 in today’s currency) in hand, Haydn landed in Britain on New Year’s Day, 1791 after a two-week journey across Europe. Haydn’s two seasons in London (1791 – 92) proved so artistically and financially successful that Salomon arranged a second London trip for 1794 – 95. His music was greeted with such acclaim that he complained that if he accepted every social invitation, he should never get any composition done. Over the three years encompassed by Haydn’s London journeys, he earned roughly the same amount as he had made at Esterházy over the previous twenty years.

During his first London visit, Haydn attended performances of Handel’s oratorios Messiah and Israel in Egypt, performed in Westminster Abbey by a gargantuan choir and orchestra of over 1000 musicians. Haydn was greatly moved by the experience, confiding that hearing Handel’s works made him feel like he was beginning his musical studies all over again. He expressed the wish to write a biblical oratorio, but this idea only came to fruition at the end of his second London visit in 1795, when Salomon brought him a libretto in English by an anonymous author based on the book of Genesis. It was thought that the text had originally been written for Handel half a century before but it had never been set to music. With ideas taken from both the book of Genesis, the book of Psalms, and John Milton’s Paradise Lost, the text struck Haydn as being excellently suited for a musical setting.

Haydn returned to Vienna in 1795 a rich and famous man, but he did not immediately undertake to set the Genesis story to music. A new Esterházy prince, Nikolaus II, revived the palace’s musical entourage and Haydn resumed his role as leader of the musical household on a part-time basis. Most of his compositions for Nikolaus II were settings of the Roman Catholic Mass, which may have revived his desire to compose a creation oratorio.

Haydn showed his English libretto to one of his most enthusiastic patrons, the Baron Gottfried van Swieten, a Dutch diplomat who was director of the Imperial Library, an amateur composer, and a patron to Mozart and Beethoven as well as Haydn. Van Swieten edited the libretto, translated it into German, and then retranslated it back into English so that the oratorio might gain popularity with English audiences. In his text, Van Swieten drew biblical passages from the King James Version of the Bible rather than from any contemporary German edition. While his retranslation into English is sometimes awkward, Van Swieten’s German and English texts were both included in the original publication of the work in 1800 and are still heard today.

The first performance of The Creation was given for a select audience in Vienna on April 29, 1798. Admission was by invitation only, but crowds thronged around the Schwarzenburg Palace in order to hear even a snippet of the work, requiring

PROUD TO FEED

Artistic Spirit

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

a special squad of police to be mobilized to keep order. The first performance was greeted rapturously, and the first public presentation in March of 1799 sold out well in advance. The London premiere followed in 1800, and Napoléon Bonaparte attended the first Paris performance in 1801.

The Creation was heard more than forty times in Vienna during the composer’s lifetime. One of the most touching accounts comes from the Haydn’s last public appearance in 1808, where the frail composer had to be carried into the hall in an armchair. When the audience broke into spontaneous applause at the musical depiction of the creation of light, Haydn gestured heavenwards and supposedly said, “Not from me – everything comes from up there!”

The Creation and its companion oratorio The Seasons (1801) represent the culmination of Haydn’s career as a composer. Written after all his symphonies and all but one of his string quartets, the oratorios display Haydn’s hard-won mastery of instrumental technique and orchestral color. His decades-long experience in writing opera, art song, and choral music is heard in abundance throughout both works, the first large-scale oratorios since Handel.

The work is in three parts. The first depicts the creation of light, followed by the creation and separation of heaven and earth, sun and moon, dry land and water, and concluding with the emergence of plant life. In Part II animals appear, followed by man and woman. Part III is a depiction of Adam and Eve in Paradise before the Fall, as they rejoice in the beauties of creation.

In Parts I and II, three vocal soloists assume the roles of the angels Gabriel (soprano), Uriel (tenor) and Raphael (bass), who provide descriptions and commentary of the events of the six days of creation. In Part III, Haydn’s usual practice was to have the soprano portraying Gabriel sing the role of Eve and the bass singing Raphael assume the part of Adam, but separate soloists can be assigned to those roles.

Haydn titled The Creation’s instrumental introduction “Representation of Chaos,” treating us to a musical structure that seems to wander all over the harmonic map. Over a hymnlike texture in the strings, tendrils of woodwind melody wander in and out, punctuated by occasional blasts from brass and timpani. The harmonies are surprisingly dissonant, looking forward to Beethoven’s innovations in the century to come. The music never seems to settle, perfectly representing an unformed musical void. At the prelude’s final cadence, the bass intones the initial words of the book of Genesis. The chorus enters quietly, dropping to the faintest whisper at “God said…let there be light… and there was” before the final “LIGHT!” explodes in a rapturous blaze of C major, reinforced by exultant trumpets and timpani. There follows depictions of the first six days of creation, with Part I devoted to days 1 through 4, and Part II covering days five and six. In general, the recitative sections (solo voices and keyboard) declaim biblical texts, while the arias and choruses that follow are reflections or meditations on each aspect of creation. Each day of creation is constructed like an operatic scene, with a series of recitatives and arias culminating in a large-scale chorus. Musical depiction of the text is not limited to the opening of the work; the battle of the angels depicted on day 1 is full of contrapuntal strife, resolved only by the peaceful harmonies of the “new-created world.” Day 2 brings us wonderfully colorful orchestral sonorities describing the changing weather as God separates the waters from the firmament, from thunder, to rain, to snow. Day 3 gives us a graphic musical description of storms at sea in the bass aria “Rolling in foaming billows,” and Day 4 treats us to a gloriously majestic sunrise in “In splendor bright is rising now the sun.” In the fashion of a great operatic scene, Part I concludes with the multi-section chorus “The heavens are telling the glory of God,” where Haydn skillfully contrasts soloists, chorus and orchestra for maximum theatrical impact.

Part II takes us through Days 5 and 6, depicting life flourishing in all its prolific

energy, from the fish of the sea (“Let the waters bring forth in plenty”) to the birds in the air (“On mighty wings the eagle proudly soars aloft”) to the leviathans of the ocean (“And God created great whales”), so memorably depicted by the bass soloist and the darkest instruments of the orchestra. Day 5 concludes with another chorus that contrasts the solo trio with the full choral forces (“The Lord is great in his might”). Day 6 introduces the creatures of the land, with numerous fauna given musical depiction, including lion, tiger, stag, horse, cattle, sheep, insects and worms, the last named depicted in their subterranean realm by the final low note from the bass. Man and woman appear, with their virtues enumerated by the tenor. The remainder of Part II celebrates the completion of creation, culminating with the spectacular contrapuntal chorus “Achieved is the glorious work.”

Part III is the most operatic of The Creation’s three sections, opening in the “heavenly” key of E major, depicting a finished creation without sin. Adam and Eve walk through the Garden of Eden, praying in thanks to their Creator (“By thy goodness, O bounteous Lord”), followed by a love duet (“Sweet companion, at thy side”), a brief benediction by Uriel (“O happy pair, and ever happy henceforth”), and a final chorus of praise in a spectacular double fugue (“Sing the Lord, ye voices all”), concluding Haydn’s monumental oratorio in glorious exultation.

The Lubbock Symphony Orchestra

would like to express gratitude to

texastechalumni.org

ANNUAL FUND

MAESTRO’S GOLD CIRCLE

($15,000+)

Herb and Evan Armstrong

Neil and Sandra Kurtzman

Craig and Ann McDonald

Sam and Jana Scheef

Lola and Thomas Windisch

MAESTRO’S SILVER CIRCLE

($7,500 – $14,999)

GRACO Real Estate Development, Inc.

Dolle Barker

RADM and Mrs. Stephen Chadwick

Harold and Deena Evensky

Mr. and Mrs. Joe Horkey

Adrian and Leslie Huckabee

Hill & Ioppolo Oral & Dental Implant

Surgery of Lubbock

Thivakorn and Betsy Kasemsri

Jan Ledbetter

JF Maddox Foundation

Toni E. Wallingford

MAESTRO’S CIRCLE

($5,000 – $7,499)

Jane Baker

Joan Baker

Jill and Gilbert Berdine

Dr. Mounir and Mrs. Leen Borno

Eugene and Covar Dabezies

Michael Epps

VIRTUOSO’S CIRCLE

($3,500 – $4,999)

Sandy and Alan Henry

CONCERTMASTER’S CIRCLE

($1,500 – $3,499)

Mark and Betsy Bass

Terri and Mike Byrne

David Cho

Deborah Conn

Elias and Eleonora Ghandour

Elgin and Erin Gregg

Amy Grisham

Tommy and Lavelle Hawkins

Dr. and Mrs. Jack and Jane Henry

Mark and Heather Hocker

John and Cherie Hunter

Virginia Kellogg

Robert and Stacey Kollman

Melissa Lewis

Mr. and Mrs. Robert Lin

Jim and Patti Lupton

Rick and Sharon Martin

Ms. Mary McCrary

Ms. Amanda Mead

Mallory Miller

Judy and Gary Poffenbarger

Melissa and Tim Pridmore

John and Katie Salter

Kevin and Carrie Sedberry

Dr. and Mrs. Davor Vugrin

Mr. Jon Walter

Dr. Charles and Patricia Wheeler

Darya White

Brian A. Willcutt

Noelle Zavala

MUSICIAN’S CIRCLE

($1,000 – $1,499)

Joshua Allen

Dwight Andrews

Beth Ashmore

Stephen and Maria Balch

Dustin Baucom

Blayne Beal and Monty Long

Marcus Borhani and Dawn Kelley

Chris and Kasi Boutwell

Ray and Cathy Box

Mr. Anthony and Dr. Helen Brittin

Patty D’Alise

Stephen and Kathy Faulk

Patricia Freier

Brad and Birgit Green

Dr. Bess Haley

Mr. David Harmon

The Lubbock Symphony Orchestra appreciates the generosity of the following individuals who have given to the Annual Fund between March 29, 2022 and September 29, 2023.

Family Owned Since 1931

Musician’s Circle, cont.

Dennis and Ellen Harp

Karen and Mark Havins

Honorable and Mrs. Phil Johnson

Larry and Lucy Landusky

Kurt and Paula Loveless

Tim and Mary Jane Sampson

Drs. Barent and Audrey McCool

Peggy and Terry McInturff

Mary Moran

Curtis and Brenda Parrish

Mrs. Dona Richardson

Judy Rowdon

Dr. Phil Sizer

Jill and Fred Stangl

Steve and Robin Talbert

Drs. Roger and Nadene Tipton

YOUNG ARTIST’S CIRCLE

($500 - $999)

Pieter Bergstein

Aubrey and Ruth Ann Bridges

Mr. David Buckberry

Bryan Camp and Susan Gillette

Richard and Reyhan Crider

Bob and Sandy Crosier

Joan and Joe Dominey

Jim and Patti Douglass

Mr. Stephen G. Fannin

Giles and Lynn Forbess

Barbara Hataway

Janeen Drew Holmes

Don and Lynnita Hufstedler

Dr. Cynthia Jumper and Dr. Reid Norman

Morris and Janice Knox

Lucy Lanotte

Tom and Gwen Nichols

Gerry & Jamie Nystrom

Norman and Bettie Orr

Mike and Melanie Ragain

Tommy and Tina Sansom

Michelle and Jon Stephens

Sandra Stratton

Marbella Tran

Ms. Martha York

PATRON’S CIRCLE

($275 - $499)

Ian and Shelley Barba

Claudia and Mark Griffin

David Hodges

Mr. Robert Jokisch

Wendell Leatherwood

Mark McBrayer

Sally Murray

Jill Nelson

Davis and Janet Price

Stephanie Starkovich

Betty Wall

Dr. and Mrs. Hugh Wilson

Mrs. Gay Word

Debby and Dennis Zuehlke

SUSTAINER’S CIRCLE

($125 - $274)

Alexis Anderson

Mrs. Nancy Barr

Mr. Keith Bearden

Edward Broome

Matthew and Krista Bumstead

Dana Butler

Jeff Butterfield, MD

Manon and Neill Carter

Mary Cato

Mr. Barry Cohen

Mrs. Bobbe Crawford

Charles Croessmann

David and Claudia Dea

Sara and Tim Dodd

Sherri Field

Sharon & Rick Graves

Marion Hagler

Terry Hawkins and Doug Klepper

Mr. Larry Hess

Mary Iyer

John Jones

Brian Kendall

Randy Kinnison and Jane Rowley

Wyatt and Claire Leavell

Gary and Judy Linker

Ben and Robin Lock

Ms. Sara McLarty

Linda and George McMahan

Laura and Monte Monroe

Betsy Morton

Kathy Owens

Sustainer’s Circle, cont.

Tom and Sarah Parsons

Gerald Pipkin

Peter Reed

Lynn Schmidt

Melanie Sorsby

Mrs. Sue St. Clair

Steve Synck

Ralph Tamper

Tom Tenner

Sue Ann Thompson

Kathleen Turner

Jenny and Edson Way

Tim and Amanda Wooten

MEMORIALS & HONORARIUMS

The Lubbock Symphony Orchestra respectfully acknowledges donations received during the 2023-2024 Season in honor of the following:

Memorials:

Norton Baker

Dr. Eugene Dabezies

Lou Dunn Diekemper

Mary Epps

David and Beebe Fields

Lynnita Hufstedler

H.E. Prince Bira Kasemsri

Don Wade Ledbetter

Shelley Furr Nelson

Ricky Rasco

Honorariums:

Kea Beasley

RADM Stephen K. Chadwick

David Cho

Joan and Frank DeCelie

Terry & Peggy McInturff

Toni Wallingford

Kalitsa and George Zias

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

Christine Polvado and John Stockdale Principal Clarinet Endowment

Nancy and Tom Neal Principal Bassoon Endowment

Anthony and Helen Brittin Principal Horn Endowment

Stacey and Robert Kollman Family Principal Trumpet Endowment

Larry and Lucy Landusky Principal Trombone Endowment

Tim and Mary Jane Sampson Bass Trombone Endowment

Diekemper Family Foundation Principal Tuba Endowment

Lubbock Symphony Guild Timpani Endowment

Lisa Rogers/Alan Shinn Principal Percussion Endowment

Rachel Jean Armstrong Thomas Principal Harp Endowment

Edward R. and Jo Anne M. Smith Principal Piano Endowment

ADVISORY COUNCIL, PAST CHAIRS

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

COMMUNITY 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

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

Brian Willcutt

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 / Foldes Wealth Management

Farnsworth Family Orthodontics

First United Methodist Church

Ghandour, Elias M.D., P.A.

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

Community Partners, cont.

GRACO Real Estate Development, Inc.

Happy State Bank

HCHT

Helen Jones Foundation

Hill & Ioppolo Oral & Dental Implant Surgery of Lubbock

KCBD

KTTZ 89.1 FM

Kuykendall Foundation

La Posta Botique

Lee Lewis Construction, Inc.

Llano Estacado Winery

Lone Star State Bank

Louise Hopkins Underwood Center for the Arts

Lubbock Abstract & Title Company

Lubbock Animal Care Clinic

Lubbock Arts Alliance

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Lubbock Community Theatre

Lubbock Entertainment Performing Arts Association

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Lubbock National Bank

Lubbock Youth Orchestras

McPherson Cellars

Merrill Lynch

MS Doss Foundation

MWM Architects, Inc.

Officewise Commercial Interiors

Orlando’s Italian Restaurant

Otto’s Granary

Overhead Door Co.

Overton Hotel & Conference Center

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 & Malone

General Dentistry

Sanders Funeral Home

Service Title

Sharon Mirll, Exit Realty

Sherick Memorial Home

South Plains College

Southwest Snow Services, LLC

Spec’s

St. Clair & Massey Orthodontics

Stewart Title

Tarpley Music

Texas Commission on the Arts

Texas Tech Alumni Association

Texas Tech Club

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 School of Music

TTU Talkington College of Visual and Performing Arts

TTU Theatre and Dance

United Supermarkets

University Medical Center

Yellow House Dental & Implant Center

YWCA

BEHIND THE MUSIC OFFICERS

Toni Wallingford Chair

Jill Stangl Chair Elect

Melissa Lewis Treasurer

Terri Byrne Secretary

Brian Willcutt

Immediate Past Chair

DIRECTORS

Beth Ashmore

Dolle Barker

Dustin Baucom

Gilbert Berdine

Leen Borno

Kasi Boutwell

Maureen Chadwick

David Cho

Covar Dabezies

Patty D’Alise

Michael Epps

Stephen L. Faulk

Patty Freier

Karen Gibson

Gurdev Gill

Brad Green

Erin Gregg

Amy Grisham

Bobbye Hrncirik

Leslie Huckabee

Alena Ilyushyna

Carla Johnson

Tiva Kasemsri

Amanda Kuhn

Neil Kurtzman

Grace Lin

Paula Loveless

Mallory Miller

Mark Morton

Brenda Parrish

Judy Poffenbarger

Melissa Pridmore

Peter Reed

Stephanie Rogers

Katie Salter

Tim Sampson

Phil Sizer

Andrew Stetson

Robin Talbert

Davor Vugrin

Darya White

Joyce White

Lola Windisch

Galen Wixson ADMINISTRATION

Galen Wixson

President & CEO

David Cho

Music Director

Eric Allen

Lubbock Chamber Orchestra

Conductor

Morgan Baker

Marketing Coordinator

Kea Beasley

Director of Education

Corey Dolter

Operations Manager

Emily Gavaghan

Director of Marketing

Vaughan Hennen Librarian

Gary Hudson Personnel Manager

Amelia Jamieson

Graphic Designer

Ryellen Joaquim Assistant Librarian

Courtney Jordan Director of Development

Suzanne Rasco Director of Accounting

Jamie Shipp Education Assistant

Nia’ Threatt

Box Office Coordinator

Callie Watson

Graphic Design Assistant

A WORD FROM THE LUBBOCK SYMPHONY GUILD PRESIDENT

Dear Patrons,

Thank you for attending tonight’s performance. We appreciate your support of the Lubbock Symphony Orchestra. The 2023-2024 “Best Of” season promises to be an outstanding year of symphonic music presented by Maestro David Cho and your Lubbock Symphony Orchestra.

Tonight’s performance, and every performance since 1952, has been made possible in part because of the support provided by the Lubbock Symphony Guild. For 71 years, Guild members have donated their time, talent, and resources to keep symphonic music thriving in our community.

If you appreciate the talent of our Orchestra and value the educational and cultural contributions provided to Lubbock and West Texas, I invite you to consider becoming a member of our Guild. For more information, please visit our website at www.LubbockSymphonyGuild.com.

Sincerely,

Stephanie Rogers, President Lubbock Symphony Guild

Lubbock Symphony Guild Senior Debutantes

Front Row Left to Right - Christiana McCourt, Jewel Naegele, Avery Schilling, Olivia Needham, Annabelle Bennett, Anna Everett, Emme Hocker, Kathryn Kothmann

2nd Row Left to Right - Jessica Foley, Campbell Carper, Alayna Bayouth, Preslee Edwards, Hannah Feist, Emma Feist, Claudia Tepper

3rd Row Left to Right - Alexandra Dannemiller, Kendall Cathey, Kate Cardelli, Jillian Jones, Emeri Tran, Reghan Rose, Ava Campbell, Jeye Johnson

Back Row Left to Right - Lydia Carter, Berkley Bird, Ella Scolaro, Madison White, Skylar Tidwell, Kennedy Venable, Ava Lansdell, Mia Capodagli, Olivia Phillips

Not Pictured - Mya Ballou, Addison Burnett, Hannah Cooper

Lubbock Symphony Guild Junior Debutantes

Seated Left to Right - Anne Edwards, Olivia Elliott, Rylee BeVa Rose, Tierni Green, Sadie Callison, Maya AI-Hmoud, Jayci Lentz, Camden McDougal, Raegan Reed, Reece Watson

Front Row Left to Right - Hope Hancock, Hannah Harvey, Bella Lampe, Maya Vermillion, Remington King, Addison Kitten, Ashlyn Simek, Riley Newberry, Raegan Lee

2nd Row Left to Right - Gabrielle Scherpereel, Emily Roark, Emory McCain, Teema Sharif, Ella Murphree, Reece Riddle, Jencee Thompson, Grace Gerwig, Aubrey White, Susannah Smith, Lydia Pesterfield

3rd Row Left to Right - Brentley Preston, London Carlisle, Elizabeth Johnson, Lauren Casey, Kristen Mitchell, Kamryn Chandler, Madelyn Caswell, Blair Belew, Ashlee Jones, Zimri Buckley, Claire Ancell

Back Row Left to Right - Ella Grace Bennett, lndie Williams, Viviana Ziegner, Ella Mendez, Camryn Howe, Rylan Belle Raley, Mia Chacon, Bryleigh Norman, Hannah Pharies, Anastyn Greaser, Sydney Smothers, Cora Clifford

Not Pictured - Emily White, Haleigh McKee, Cambelle Fannin, Ryann Grissom, Morgan Parker, Taylor Harrison, Brynlee Hogg, Olivia Mudd

Lubbock Symphony Guild Sophomore Debutantes

Front Row Left to Right - Ashlyn Edwards, Emyrson Parrott, Blakeley Martin, Payton Reed, Reya Felton, McKanna Garcia, Lauren King, Brynlee Smith, Heidi Helderlein, Joleigh Reno, Chayce Johnson

2nd Row Left to Right - Chayce Welborn, Sarah Simpson, London Bird, Natalie Sweat, Erin Brodbeck, Angelia Liu, Kathleen St. Clair, Alice Everett, Talitha Dalton, Georgia Kitten, Baylee Fillingim, Cassidy McKinnon, Sadie Gillespie

3rd Row Left to Right - Meridith Bradley, Addison Stewart, Campbell Franklin, Elizabeth Nicholson, Kennedy Cowan, Ava Smith, Adelaide Underwood, Katelyn Glenn, Campbell

Beeler, Katelyn Bollens, EllaMaria Webb, Ellie Underwood

Back Row Left to Right - Sofia Martinez, Halley Reynolds, Finnley Forero, Landry Allen, Addison Neufeld, Danelle Mccourt, Joy Wischmeyer, Harper Burrell, Emma Lane, Madison

Heider, Elly Norris, Emery Fox

The Lubbock Chorale

2023 -2 4

Special Guests: West Texas Children’s Chorus

St. John’s United Methodist Church

Dec. 9, 2023 at 7:30 p.m.

ANNUAL GALA

Frazier Pavilion

March 2, 2024 at 6:30 p.m.

St. John’s United Methodist Church

April 20, 2024 at 7:30 p.m.

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