7:30 PM
BRAHMS Symphony No. 1
BRAHMS Violin Concerto
William Hagen, violin
David Cho, conductor
A LETTER FROM THE BOARD CHAIR
Dear Symphony Friends,
Good evening! On behalf of the Board of Directors, musicians, and staff, welcome to the Lubbock Symphony’s second MasterWorks performance, A Night of Brahms. Johannes Brahms (1833 – 1897) was a German composer, virtuoso pianist, and conductor of the mid-Romantic period. He was the great master of symphonic sound and sonata form in the second half of the 19th century.
Tonight’s program includes his Symphony No. 1. Brahms spent at least fourteen years completing this work whose sketches date from 1854. However, Brahms himself declared that the symphony, from sketches to finishing touches, took twenty-one years. It premiered on November 4, 1876, in Karlsruhe, then in the Grand Duchy of Baden.
Brahms’ only Violin Concerto was written in 1878 and dedicated to his friend, the great violinist Joseph Joachim. Tonight, it will be performed by our wonderful guest artist William Hagen. A native of Salt Lake City, Utah, Mr. Hagen began playing the violin at the age of four. He has performed as a soloist, recitalist, and chamber musician across the United States, Europe, Asia, and Latin America.
We greatly appreciate tonight’s sponsors Chappell, Lanehart & Stangl P.C., Officewise, and Prosperity Bank. The Lubbock Symphony exists in part due to the generous financial support of our sponsors and patrons. We hope you will remember them and their support as you purchase their goods and services.
Please plan to join us on December 6th at 7:30pm for A Festival of Carols presented by the Lubbock Chamber Orchestra. The program will feature vocalists Hannah Jackson and Corbin DeSpain, the FUMC Chancel Choir and the West Texas Children’s Chorus. It will be held at the Civic Center and promises to get you into the holiday spirit!
Now, it is time to sit back and enjoy this performance by your Lubbock Symphony Orchestra!
Best regards,
Toni Wallingford Chair LSO Board of Directors
A LETTER FROM THE MUSIC DIRECTOR
Dear Friends of the Lubbock Symphony,
Happy Fall! With the colorful seasonal foliage, we bring to you the masterpieces of the autumnal Johannes Brahms.
His Symphony No. 1 took almost twenty-five years to complete. Brahms had been slowly but surely rising to the expectations of the public; as the next heir to the German Symphonic Tradition. Such transformation of emotions felt in his C minor Symphony is a journey comparable to only a few.
Another mature work of Brahms we feature to conclude the evening’s presentation; is the Violin Concerto. A work of melodic and structural depth, tonight’s performance will be rendered by Mr. William Hagen, laureate of the Queen Elizabeth International Competition. Mr. Hagen has made triumphant debuts with the Chicago, Lubbock, and Detroit Symphonies. He returns to Lubbock to perform a substantial work with the Symphony.
Those of you who attended the preconcert activity performed by the great Hannah Jackson and Friends, I hope you appreciated the musical connection, “Boots and Brahms!” We hope you will follow Hannah and the Lubbock Symphony on social media.
We would like to thank all the sponsors and all of you for attending tonight’s performance! We are thrilled to have you experience your incredible Symphony.
Sincerely,
David Cho Music Director Lubbock Symphony
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1946-1987 IN HONOR OF
Founding Conductor of the Lubbock Symphony Orchestra
WILLIAM A. HARROD
— Matshona Dhliwayo
(Angela) Wang, M.D.
HANNAH JACKSON, SINGER & SONGWRITER
Hannah Jackson is a talented singer/songwriter based in Lubbock, Texas. Known for her soulful performances, Hannah regularly graces stages across the South Plains with her music.
Hannah’s rendition of “Jingle Bells” was featured in the Hallmark movie Christmas Cookies, adding to her growing list of accomplishments. She has also lent her vocal talents to several notable collaborations, including singing with Cleto Cordero on Flatland Cavalry’s records Come May and Humble Folks, where she is featured on tracks like ‘Summertime Love’, ‘Stompin’ Grounds’, and ‘Traveler’s Song’. Additionally, she contributed vocals to Randall King’s song ‘Another Bullet’.
In 2011, Hannah gained national recognition as a top 40 contestant on The X Factor USA, where Simon Cowell praised her as “an example of greatness,” and remarked that she was what female vocalists aspire to be.
Hannah’s discography showcases her versatility and passion for music. She has released several projects, including her Naive EP, Hot Chocolate for Two with Amy Faris, One with Rebecca Espinoza, and Texas Gold with Kenny Maines. Her music, along with various singles, is available on streaming platforms like Apple Music and Spotify.
UPCOMING PERFORMANCE
WILLIAM HAGEN, VIOLIN
William Hagen has performed as soloist, recitalist, and chamber musician across the United States, Europe, Asia, and Latin America. Highlights of the 2023/24 season include a return to the Detroit Symphony and a tour of the Netherlands with the Amsterdam Sinfonietta.
As soloist, William has appeared with the Chicago Symphony, Chamber Orchestra of Europe, Detroit Symphony, Frankfurt Radio Symphony (HR Sinfonieorchester), San Francisco Symphony, Seattle Symphony, Utah Symphony, and many others around the globe.
As recitalist and chamber musician, William has performed at venues such as Wigmore Hall and the Louvre, and collaborated with artists such as Steven Isserlis, Gidon Kremer, Edgar Meyer, and Tabea Zimmerman, among others. He maintains an active schedule on both sides of the Atlantic, making frequent trips to Europe and cities around the US to play a wide range of repertoire.
In 2020, William released his debut album, “Danse Russe,” with his good friend and frequent collaborator, pianist Albert Cano Smit. The album is available on all streaming platforms.
A native of Salt Lake City, Utah, William began playing the violin at the age of 4, studying the Suzuki method with Natalie Reed and then Deborah Moench. He studied with Itzhak Perlman and Catherine Cho at the Juilliard School, Christian Tetzlaff at the Kronberg Academy, and was a longtime student of Robert Lipsett, studying with Mr. Lipsett for 11 years both at the Colburn Community School of Performing Arts and at the Colburn Conservatory of Music. In 2015, William won 3rd prize at the Queen Elisabeth Competition in Brussels.
William performs on the 1732 “Arkwright Lady Rebecca Sylvan” Antonio Stradivari, and on a violin bow by Francois Xavier Tourte, both on generous loan from the Rachel Barton Pine Foundation.
CONGRATULATIONS WILL STRIEDER!
After more than 30 years as Principal Trumpet, Will Strieder retired from the LSO after the 2023-2024 season.
Will Strieder is Retired Professor of Music at Texas Tech University. He studied at Northwestern University, where he received the Masters of Music degree in Trumpet Performance and was winner of the Northwestern Concerto Competition. He also studied at the University of Houston, where he received the Bachelor of Music in Music Education.
He is active as a soloist and chamber musician throughout the United States, Mexico, Europe and Asia. Appearances have included those with such groups as the Dallas Symphony Orchestra, Houston Symphony, Houston Grand Opera, Houston Ballet and Santa Fe Opera. He has recorded Incantations for Trumpet and Piano, Rhapsody for solo trumpet and harp, and Trio Italiano by Mary Jeanne van Appledorn with the Opus One recording label. Also, Mr. Strieder recorded Fisher Tull’s Concerto for Trumpet with the Nurnberg Symphony Orchestra in Nurnberg, Germany on Albany Records.
Many of his former students are successful in their fields as public school teachers, college level teachers, and performers at the following institutions: University of Southern California, College of Saint Benedict/Saint John’s University, Vanderbilt University, South Plains College, San Jacinto College, The President’s Own Marine Corp Band, Utah Symphony, Houston Symphony Orchestra, Lubbock Symphony Orchestra, and the Army Field Band.
Mr. Strieder is an active pilot and flight instructor and enjoys sharing the wonder of flying with others. Mr. Strieder enjoys the generous love and support of his wife, Robbi, and family of four children.
THANK YOU AND BEST WISHES FROM THE LUBBOCK SYMPHONY!
LUBBOCK SYMPHONY ORCHESTRA CELLO
CONDUCTOR
David Cho
The CH Foundation Endowed Conductor’s Podium
VIOLIN I
Annie Chalex Boyle Concertmaster
Jones-Saathoff Family Endowed Chair
Linda Lin
Associate Concertmaster Diekemper Family Foundation Endowed Chair
Maja Maklakiewicz
Assistant Concertmaster
Lazaro Gonzalez
Grace MarÍn Aguilar
Radman Rasti
Adan Flores
Kea Beasley
VIOLIN II
Evgeny Zvonnikov Principal
Justice Phil and Carla Johnson Endowed Chair
Saikat Karmakar
Assistant Principal
Cassidy Forehand
Brennan Lowrey
James Ellis
Shirley Wigley
Martha Perez
Anna Kim
Savannah Sharp
VIOLA
Gwendolyn Matias-Ryan Principal
Mary M. Epps and Ralph E. Wallingford Endowed Chair
Israel Mello
Sharon Mirll
Ryellen Joaquim
Bruno Silva
Travis Springer
Vivian McDermott
Michael Newton Principal
Mary Francis Carter Endowed Chair
Danny Mar
Alejos Anaya
Madeline Garcia
Daria Miśkiewicz
Justin Barnwell
Jeremy Couture
DOUBLE BASS
Mark Morton Principal
Eugene and Covar Dabezies Endowed Chair
Stuart Anderson
Christopher Arcy
Gregory Faught
Nodier Garcia
Aubrey Johnson
FLUTE
Kim Hudson Principal
Crew of Columbia, STS-107
Endowed Chair
Spencer Hartman
OBOE
Kathleen Bell Principal
Lubbock Symphony Guild Endowed Chair
Susetta Rockett
CLARINET
David Shea Principal
Christine Polvado and John Stockdale Endowed Chair
Trisha Burrell
BASSOON
Vince Ocampo Principal
Nancy and Tom Neal Principal
Endowed Chair
Adam Drake
CONTRABASSOON
Ian Resurreccion
HORN
Quentin Fisher Principal
Anthony and Helen Brittin Endowed Chair
Esteban Chavez
Clark Hutchinson
David Lewis
Jack Mellinger
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
Christopher Mehrafshan Principal
Lubbock Symphony Guild
Endowed Chair
PERSONNEL MANAGER
Gary Hudson
LIBRARIAN
Israel Mello
I. Un poco sostenuto — Allegro
II. Andante sostenuto
III. Un poco allegretto e grazioso
IV. Adagio — Più andante — Allegro non troppo, ma con brio – Più allegro
INTERMISSION
Brahms
I. Allegro non troppo
II. Adagio
III. Allegro giocoso, ma non troppo vivace — Poco più presto
William Hagen, violin
Helen
Jones Foundation, Inc.
PROGRAM NOTES
Johannes Brahms: Symphony No. 1 in C minor, Op. 68
Imagine yourself as Edward Everett, the orator who gave a two-hour speech at the Gettysburg battlefield on November 19, 1863, as you listened to Abraham Lincoln’s immortal 272-word address, given immediately after yours. Or put yourself in the place of utility infielder Babe Dahlgren, summoned by Yankee manager Joe McCarthy on May 2, 1939 to start in place of Lou Gehrig at first base, ending the Iron Horse’s streak of 2,130 consecutive games. “Intimidating” wouldn’t even begin to describe the experience.
Many of the composers who followed in the symphonic footsteps of Ludwig van Beethoven must have felt much like Everett and Dahlgren. In the course of composing his nine symphonies between 1800 and 1825, Beethoven stretched, twisted and broke the parameters of the Classical symphony, with repercussions that would resonate through the rest of the nineteenth century. The question all nineteenth-century composers had to confront was: After Beethoven, what exactly IS a symphony?
Johannes Brahms was one of those composers who took time to come to grips with his own response to Beethoven’s legacy, remaining true to the more Classical ideals of Schubert and Mendelssohn. “I shall never write a symphony!” Brahms wrote to his friend, conductor Hermann Levi, in 1873. “You have no idea what it’s like to hear the footsteps of a giant like that behind you,” the giant in question being Beethoven. Even his publisher Simrock chided him about his continued procrastination in producing a symphony, pleading, “Aren’t you doing anything more? Am I not to have a symphony from you in ‘73 either?” As a composer considered to have inherited Beethoven’s mantle, pressures to create a symphony worthy to stand with Beethoven’s Ninth came both from within and from without.
From all available evidence, Brahms was not about to clothe himself in Beethoven’s mantle until he felt completely prepared for it. While Brahms had originally sketched out ideas for a symphony in the 1850s, it took him twenty years of working out the details to finish his First Symphony in 1876. While he was perfectly comfortable writing for orchestra (as witnessed by his delightful Serenade No. 1 from 1858), Brahms proceeded with great deliberation before daring to label any of his early attempts as a symphony. An initial prototype of a D minor symphony was recast as the First Piano Concerto. A second attempt at a symphony turned into a work for two pianos and then into the Piano Quintet. A third symphonic work became the Haydn Variations. After this extraordinary period of gestation, Brahms’ First Symphony was given in Baden in 1876.
If Brahms’ paranoia about living up to Beethoven’s legacy weren’t enough, the conductor of the premiere, Hans von Bülow, dubbed the work “Beethoven’s Tenth,” to Brahms’ great dismay. Some critics and listeners found similarities between Brahms’ First and Beethoven’s Fifth, both of which begin in “tragic” C minor and end in “triumphant” C major. Others noted that the noble tune that begins the Allegro non troppo, ma con brio section of Brahms’ finale resembled the “Ode to Joy” theme from Beethoven’s Ninth (to which Brahms groused “Any ass can see that!). Rather than exorcising the specter of Beethoven, Brahms’ First Symphony gave it new life, much to the composer’s chagrin.
While the comparisons to Beethoven’s Ninth are certainly appropriate, it is the
resonance with Beethoven’s Fifth that is revealed upon closer examination. Beyond the obvious influences listed above, the pervasive presence of the material from the first movement’s introduction appearing in the finale points up the organic level of organization common to both symphonies, showing Brahms not only to have learned from Beethoven on an emotional level, but a technical one as well.
Portentous timpani strokes open the first movement, pounding out a relentless tread beneath yearning chromatic melodic lines in the strings. The main body of the subsequent Allegro incorporates the elements of the introduction in a dramatic sonata-allegro form. The far-reaching development section grows in conflict and turbulence until it reaches a roaring climax with a devastating confrontation between the chromatic lines and pounding timpani from the introduction that collapses into the recapitulation. In the eerie coda, both of these elements return to bring the movement to a quiet but uneasy close.
Brahms’ friend, the conductor Hermann Levi, felt that the two middle movements were not really symphonic in nature, being more in the character of a lighter work like a serenade or a suite. Thankfully, history has contradicted his judgment, and the two central movements provide welcome breathing space between the titanic outer movements. The second movement sings with a wistful nostalgia, and features a sublimely beautiful melody first heard in the oboe and given to the solo violin in the movement’s final pages. The third movement, rather than being a Classical minuet or scherzo, is more in the character of a gentle intermezzo, its undulating opening clarinet melody creating an air of sweet calm which pervades the entire movement.
The finale’s lengthy introduction does bear resemblance to Beethoven’s Ninth in its reworking of the ideas from the first movement introduction, but the soaring horn solo that follows clears away the gloomy solemnity of the opening. The horn’s melody is heard in canon with the flute, leading to a solemn chorale intoned by the trombones and contrabassoon. A subsequent horn-led climax subsides and leads into the noble string tune of the subsequent Allegro non troppo, ma con brio, with the key now brightening to C major. The finale’s triumph is not free from struggle; the ferocious contrapuntal dialogue of the bulk of the Allegro leaves the issue in doubt until the very end, where the tempo surges headlong into the triumphant coda, driven by an energetic ostinato figure in strings and timpani. The solemn trombone chorale returns in a triumphant blaze in the full orchestra before the final joyful push to the final cadence.
Johannes Brahms: Violin Concerto in D major, Op. 77
Like Edward Elgar’s Enigma Variations, Brahms’ Violin Concerto speaks to the power and influence of friendship. Where Elgar’s symphonic portraits of his friends might be likened to small cameos or quick, deft caricatures, Brahms’ Violin Concerto towers over the musical landscape like a vast Albert Bierstadt-sized portrait, full of depth and nuance, a fitting tribute to Brahms’ lifelong friend and collaborator, Joseph Joachim, regarded as one of the greatest violinists of the nineteenth century. And while Elgar’s variations display consummate skill in graphically portraying the virtues and foibles of his dearest companions (including himself), Brahms’ epic depiction of his friend tells of a lifetime of friendship expressed in purely musical terms.
While Brahms’ earliest music training was as a pianist, he was no stranger to the
violin and its capabilities. One of the young composer’s first professional associations was with Hungarian violinist Ede Reményi, with whom he made several concert tours. During a stop in Hannover, Reményi introduced Brahms to Joachim, and the violinist was greatly impressed with the younger musician’s compositions. Joachim later told Brahms, “Never in the course of my artist’s life have I been more completely overwhelmed”. From that point onwards, the two musicians embarked upon a friendship that would last over forty years, a bond only briefly severed when Brahms took the side of Joachim’s wife in the couple’s divorce proceedings in 1883. The rift was short-lived, with Brahms wooing Joachim with the composition of the Double Concerto for violin, cello and orchestra in 1887.
With the success of his First Symphony in 1876, Brahms continued to create works for orchestra, with the lyrical Second Symphony following shortly thereafter in 1877. While he slyly joked with his publisher Simrock that the Second Symphony was “so melancholy that you will not be able to bear it. I have never written anything so sad, and the score must come out in mourning,” nothing could be further from the truth. The work abounds in warm, lyrical melody, calm tranquility, and, in the finale, boisterous good humor.
This atmosphere of tranquility may have been influenced by the setting where Brahms wrote the work, the village of Pörtschach am Wörthersee in the province of Carpathia in Austria. Brahms found the alpine lakeside atmosphere conducive to his creativity, allowing him to create a string of memorable works. Brahms wrote to the Viennese music critic Eduard Hanslick, “The melodies fly so thick here that you have to be careful not to step on one.”
Returning to Pörtschach in the summer of 1878, Brahms developed the ideas that would coalesce into the Violin Concerto. He consulted extensively with Joachim on all aspects of the concerto, from the minutiae of violin technique to the larger parameters of overall form. Brahms originally had planned that the concerto would be in an unconventional four movements, with a scherzo movement between the slow movement and the finale. Joachim persuaded the composer otherwise, which Brahms eventually realized was the correct decision. With typical self-deprecating humor, Brahms wrote, “The middle movements have gone, and of course they were the best! I have written a meager Adagio instead.” That “meager Adagio” turned out to be the emotional heart of the concerto, a perfect foil to the epic symphonic argument of the first movement. Joachim also wrote the cadenzas for the concerto, which are still played by violinists to this day.
Joachim gave the premiere performance of the concerto in Leipzig with the Gewandhaus Orchestra on New Year’s Day of 1879, with Brahms conducting. It was paired on the program with the Violin Concerto of Ludwig van Beethoven, a work that Joachim had done much to popularize, and one of Brahms’ models for his own concerto. Noting that the two works even shared the same home key (D major), Brahms dryly remarked that the concert consisted of “a lot of D major, and not much else on the program.” One cause of audience titillation was that Brahms had forgotten to bring his black dress trousers to Leipzig and was forced to conduct in a pair of regular gray pants. There were also reports of a slight wardrobe malfunction with Brahms’ suspenders, which was the source of some murmuring in the audience.
Brahms’ new concerto met with a mixed reception at its premiere. While Joachim was universally praised for surmounting the formidable technical challenges of the work, including the stamina to perform a concerto of nearly fifty minutes’ duration, audiences and critics were not impressed by its symphonic nature. They were expecting a flashier, more overtly virtuoso work in the manner of the concertos of
Paganini, with the violin performing endless feats of technical wizardry while the orchestra maintained a discreet presence. One conductor (the remark is attributed to both Joseph Helmsberger and Hans von Bülow) gave the opinion that Brahms had written a concerto for the violin against the orchestra. The great Polish violinist Henryk Wieniawski declared the work “unplayable.” Even a consummate virtuoso like the Spanish violinist Pablo de Sarasate was not convinced that the work would find a permanent place in the concert hall. He said, “I don’t deny that it’s fairly good music, but does anyone imagine…that I’m going to stand on the rostrum, violin in hand, and listen to the oboe playing the only tune in the adagio?” Yet through Joachim’s tireless and patient advocacy of the work, it has gained a place as one of the most revered of all concertos for the instrument, a litmus test for any violinist’s technique, taste, and musicianship.
While the comparisons with Beethoven’s Violin Concerto are certainly apt, the opening movement of Brahms’ concerto also exhibits strong ties with the D major work he composed the previous summer at Pörtschach: his Second Symphony. Both begin with a rocking, lyrical figure in ¾ time, though in the concerto it is presented in a warm unison between strings, bassoons, and horns. Like the Beethoven concerto, the orchestral introduction is extensive, exploring several themes before an uneasy tension is broken by swirls of cascading strings. This sudden tumult is preparation for the fiery entrance of the soloist, who leaps into the concerto with a dazzling improvisatory passage full of death-defying octaves and ferocious double-stopping. Calm soon returns, and this extraordinary movement proceeds as a rich dialogue between soloist and orchestra, with the mood varying from quiet meditation to ecstatic rapture. While there are many moments of excitement and drama, the overall atmosphere is one of sunny lyricism. After Joachim’s extensive cadenza, the orchestra softly enters underneath the soloist, who gently intones the music from the very beginning of the concerto – a striking moment of magically expressive beauty. In the final bars, the music grows in passion and concludes with majestic, triumphant chords from both soloist and orchestra.
The slow movement opens in the utmost serenity, with the oboe singing a melody of incomparable sweetness, accompanied by flutes, clarinets, bassoons, and horns. The soloist enters with the oboe melody but continues to elaborate upon it with both lyricism and ardor. The movement is a long cantilena for the soloist, exploring emotions ranging from the contemplative to the openly passionate. The opening ideas return, this time with the violin weaving expressive arabesques around the oboe’s melody.
Brahms’ finale pays tribute to both Joachim’s Hungarian roots and to some of his own Hungarian music, such as the Hungarian Dances and the finale of his G minor Piano Quartet. The movement is cast in the Classical form of a rondo, with an opening section that returns repeatedly. This is the most virtuoso of the three movements, full of formidable technical challenges. Following the example of Mozart’s concertos, Brahms shifts gears in the coda, changing the music into 6/8 time and pushing the tempo (Poco piú presto), allowing the soloist to race the orchestra to the jubilant chords of the final bars.
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The Lubbock Symphony Orchestra appreciates the generosity of the following individuals who have given to the Annual Fund between October 2023 and October 2024.
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MAESTRO’S CIRCLE
($5,000 – $7,499)
Chappell, Lanehart & Stangl P.C.
Office Wise Commercial Interiors
*Western Bank
Visual Edge IT
VIRTUOSO’S CIRCLE
($3,500 – $4,999)
Grey Hare Analytics, Inc.
MTS Kimbell
MWM Architects
CONCERTMASTER’S CIRCLE
($1,500 – $3,499)
Alan Henry InsuranceRyan Henry and Alan Henry
Blue Layer
Chicken ExpressStacey and Robert Kollman
Evensky & Katz/Foldes Wealth
Management - Katie and John Salter
GRACO Real Estate Development, Inc.The Andrews Family
Prosperity Bank
Tucker Floral
Our Crescendo fund aims to AMPLIFY Lubbock’s performing arts culture by raising $500,000 to bring popular musical artists to perform alongside the Lubbock Symphony Orchestra.
$0
$500k Help us reach our goal of $500,000!
$105,000 raised so far Help us bring the next big artist to Lubbock!
THANK YOU TO OUR CRESCENDO DONORS!
FORTISSIMO
($10,000+)
Evan and Herb Armstrong
Nancy and Thomas Neal
Ralph Tamper and Don Shrum
FORTE
($5,000 - $9,999)
Michael Epps
Don and Susan Maddox
Sharon and Rick Martin
Shanna and James St. Clair
Toni Wallingford
MEZZO FORTE
($1,000 - $4,999)
Pam and Rob Allison
Beth and Will Ashmore
Ruth Ann and Aubrey Bridges
Bobbe Crawford
Covar Dabezies
Stephen L. and Melissa A. Faulk
Patricia Lynn Freier
Birgit and Brad Green
Robbie Harbison
Sandy and Alan Henry
The Honorable and Mrs. Phil Johnson
Richard Jorgensen
Betsy and Thivakorn Kasemrsi
Stacey and Robert Kollman
Grace and Robert Lin
Gwen and Tom Nichols
Sharmon and Keith Owens
Brenda and Curtis Parrish
Prosperity Bank
Dr. Wael and Hana Qubti
Tricia and Peter Reed
Judy and Paul Rostad
Mary and Roger Saathoff
Mary Jane and Tim Sampson
Tina and Tommy Sansom
CRESCENDO
Mezzo Forte, continued
Debbie Sims
Jill and Fred Stangl
Pat and Charles Wheeler
Darya White
MEZZO PIANO
($20 - $999)
Trudy Gamble
Carol Giblin
Alena Ilyushyna
Amanda Kuhn
Kit and Ben Linton
James McNabb
Jill Nelson
Mary Parra
Kathrin Price
Cloyce Stetson and Janice Stachowiak
Ross Waggoner
Susan Wilson
For over 78 seasons, the Lubbock Symphony Orchestra has been a bridge between the world’s top performers and the heart of the Hub City. Whether it’s up-and-coming talent or seasoned professionals, we take pride in showcasing the rich musical culture of our region to the world. Now, it’s time to turn up the volume and make it clear that Lubbock is a destination not to be missed.
The meaning of CRESCENDO is a gradual increase. In 1963, the Lubbock Symphony introduced the legendary pianist Van Cliburn, who performed with our local orchestra. Similarly in 1993, the Lubbock Symphony garnered attention by hosting a series of concerts featuring pop singer Tony Bennett. Since then, the orchestra has had the privilege of hosting notable performers such as Yo-Yo Ma, Joshua Bell, Wynton Marsalis, Susan Graham, Renée Fleming, Boyz II Men, and Kristin Chenoweth. The Symphony has also paid tribute to renowned artists like Queen, The Beatles, Led Zeppelin, Wicked The Musical, and Aretha Franklin. These performances hold a special place in the hearts of many members of our community, as they are cherished memories. This is why we strive to keep creating unforgettable experiences that can be treasured by future generations.
Did you know that only one-third of our annual budget comes from ticket sales? The remaining funds mainly come from music supporters in the community, like yourself. Crescendo aims to AMPLIFY your support of our evolving mission to bring the most prominent names in music to the Hub City.
You can add your name today to the expanding list of benefactors, who are leaving their mark on the Hub City and building a legacy of performances for generations to come.
Please join us with your gift to Crescendo today!
HONORARIUMS
The Lubbock Symphony Orchestra respectfully acknowledges donations received during the 2024-2025 Season in honor of the following:
Thivakorn Kasemsri In Honor Of RADM Stephen K. Chadwick
Bess Haley In Honor Of Toni Wallingford
Evelyn Davies In Honor Of Toni Wallingford
The Andrews Family In Honor Of David Cho
William Choe In Honor Of David Cho
G3 In Honor of Stephen L. and Melissa A. Faulk
Michael Epps In Honor of Stephen L. and Melissa A. Faulk
Robin and Don Walker In Honor of Stephen L. and Melissa A. Faulk
Toni E. Wallingford In Honor of Stephen L. and Melissa A. Faulk
Patricia and Charles Wheeler In Honor of Stephen L. and Melissa A. Faulk
Twentieth Century Club In Honor of Dr. Elissa Stroman
In honor of Dawn Kelley & Marcus Borhani Musicians Support Endowment
James and Luann Beardemphl
Scott and Jessica Beardemphl
Crystal Borhani
Rahim and Martha Borhani
Tutti Burkett
David Cho
Bryan and Linda Dunn
Richard and Rebecca Gale
Larry and Susan Hess
Sheryl House
George R. Keeling Insurance
Doug Klepper and Terry Hawkins
Leslie Mihal
Allan Mackenzie and Carolyn Moore
Steve and Peggy Reinhart
Susan and Chris Seiter
Tom and Judy Spoonts
Priscilla Stennis
Cloyce Stetson and Janice Stachowiak
Lloyd and Betti Whetzel
Patricia and Charles Wheeler
MEMORIALS
Jo Anne M. Smith In Memory Of Norton Baker
Michael Epps In Memory Of Eva and Walter Beets
Toni E. Wallingford In Memory Of Dickie and Fritz Epps
Carolyn Wooten In Memory Of Ricky Rasco
Suzanne Rasco In Memory Of Ricky Rasco
Allan MacKenzie In Memory Of Ruth Lauer
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
Dawn Kelley and Marcus Borhani Musicians Support Endowment
FINANCIALLY SAVVY WAYS TO GIVE TO THE LUBBOCK SYMPHONY ORCHESTRA
Your support enables the LSO to offer grand musical experiences, whether in concert with world-renowned guest artists or in classrooms sharing the wonder of music with students.
Below is a list of ways you can support your LSO:
Traditional Donation
Mail a check, payable to the Lubbock Symphony Orchestra, or make an online gift. See the QR Code below to make a gift.
Matching Gifts
Many businesses will match employees’ charitable gifts. A donation may be matched dollar-for-dollar or at a percentage. Check with your company to see if they participate in a matching program.
Qualified Charitable Distribution (QCD)*
Beginning at age 70½, you may contribute up to $100,000 annually directly from your IRA to the LSO through a QCD and avoid the distribution as income.
Donor-Advised Fund (DAF)*
You may contribute to the LSO through a donor-advised fund. The LSO can also be the beneficiary or successor advisor to your DAF.
Stock and Securities*
You can donate appreciated stocks and securities to the LSO, saving capital gains taxes while providing a deduction of the entire donation.
Bequests/Legacy Gifts*
Remembering the LSO in wills and trusts helps ensure we continue creating quality symphonic performances and educational experiences.
*To ensure your gift meets proper tax requirements and to determine the best method of gifting for your unique situation, we recommend reviewing guidelines and discussing with your tax and/or financial advisor and legal professional for bequests and legacy gifts.
For additional information or questions, contact Courtney Jordan, Director of Development, at 806.642.5228 or courtney@lubbocksymphony.org
Lubbock Symphony Orchestra
601 Avenue K | Lubbock, TX 79401
EIN #75-6001993
MICHAEL POSTAR’S
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
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
The Lubbock Symphony Orchestra would like to express gratitude to and
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.
BEHIND THE MUSIC
OFFICERS
Toni Wallingford Chair
Jill Stangl Chair Elect
Melissa A. Faulk Treasurer
Terri Byrne Secretary
Brian Willcutt
Immediate Past Chair
BOARD OF DIRECTORS
Beth Ashmore
Steve Balch
Dustin Baucom
Gilbert Berdine
Leen Borno
Kasi Boutwell
Maureen Chadwick
David Cho
Covar Dabezies
Michael Epps
Stephen L. Faulk
Patricia Lynn Freier
Brad Green
Amy Grisham
Spencer Hartman
Sandy Henry
Bobbye Hrncirik
Leslie Huckabee
Carla Johnson
Tiva Kasemsri
Amanda Kuhn
Neil Kurtzman
Grace Lin
Paula Loveless
Brenda Parrish
Melissa Pridmore
Peter Reed
Carol Robertson
Stephanie Rogers
Katie Salter
Tim Sampson
Andrew Stetson
Nadene Tipton
Edson Way
Board of Directors, cont.
Darya White
Joyce White
Lola Windisch
Galen Wixson
ADMINISTRATION
Galen Wixson
President & CEO
David Cho
Music Director
Eric Allen
Lubbock Chamber Orchestra
Artistic Director
Suzanne Rasco Director of Accounting
Courtney Jordan
Director of Development
Kea Beasley Director of Education
Molly Ramirez
Director of Marketing and Communications
Amelia Jamieson
Graphic Designer
Nia’ Threatt
Patron Services Coordinator
Gary Hudson
Personnel Manager
Corey Dolter
Operations Manager
Israel Mello
Librarian
Callie Watson
Marketing and Communications Assistant
Jamie Shipp Education Assistant
A LETTER 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 2024-2025 season promises to be an outstanding year of symphonic performances. We are excited to experience the joy of music with you.
Tonight’s performance, and every performance since 1952, has been made possible in part by the Lubbock Symphony Guild. For 72 years, the Guild members have donated their time, talent and resources to keep symphonic music thriving in West Texas.
I hope that 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 the Lubbock Symphony Guild, to join us in further supporting the efforts of the LSO. For more information, please visit our website at www.lubbocksymphonyguild.com.
Lubbock Symphony Guild Senior Debutantes
Front Row Left to Right - Anastyn Greaser, Mia Chacon, Bryleigh Norman, Hannah Pharies, Ella Mendez, Emily Roark, Rylan Bryant, London Carlisle, lndie Williams, Ella Bennett, Viviana Ziegner, Olivia Mudd
2nd Row Left to Right - Lauren Casey, Anne Edwards, Susannah Smith, Ella Murphree, Sadie Callison, Camden McDougal, Maya AI-Hmoud, Lydia Pesterfield, Reece Watson, Raegan Reed, Jayci Lentz, Olivia Elliott, Tierni Green ,Aubrey White, Teema Sharif
3rd Row Left to Right - Riley Newberry, Zimri Buckley, Kamryn Chandler, Jencee Thompson, Elizabeth Johnson, Blair Belew, Emory McCain, Gabrielle Scherpereel, Morgan Parker, Sydney Smothers, Remington King, Rylee Bea Rose, Cora Clifford
Back Row Left to Right - Reece Riddle, Addison Kitten, Maya Malouf Vermillion, Raegan Lee, Bella Lampe, Hannah Harvey, Emily White, Madelyn Caswell, Ashlee Jones, Brentley Preston, Camryn Howe, Kristen Mitchell
Not Pictured - Catherine Ancell, Grace Gerwig, Taylor Harrison, Ashlyn Simek
Lubbock Symphony Guild Junior Debutantes
Front Row Left to Right - Halley Reynolds, Elizabeth Nicholson, Ava Smith, Finnley Forero, Landry Allen, Joy Wischmeyer, Ellie Underwood, Katelyn Bollens, Madison Heider, Elly Norris, Campbell Beeler
2nd Row Left to Right - Chayce Johnson, EllaMaria Webb, Ashlyn Edwards, Kennedy Cowan, Emyrson Parrott, Blakeley Martin, Chayce Welborn, Payton Reed, Alice Everett, McKanna Garcia, Lauren King, Sadie Gillespie, Addison Neufeld
3rd Row Left to Right - Katelyn Glenn, London Bird, Meridith Bradley, Cassidy McKinnon, Natalie Sweat, Emery Fox, Campbell Franklin, Baylee Fillingim, Joleigh Reno, Danelle Mccourt
Back Row Left to Right - Emma Lane, Erin Brodbeck, Kathleen St. Clair, Harper Burrell, Georgia Kitten, Talitha Dalton, Addison Stewart, Adelaide Underwood, Angelia Liu
Not Pictured - Reya Felton, Heidi Helderlein, Sofia Martinez, Sarah Simpson, Brynlee Smith
Lubbock Symphony Guild Dates
LSG Board Meeting, Lubbock Women’s Club
Thursday, September 5, 2024
Senior Deb Meeting, Lubbock Women’s Club
Sunday, September 29, 2024
LSG Board Meeting, Lubbock Women’s Club
Thursday, October 3, 2024
LSG Board Meeting, Lubbock Women’s Club
Thursday, November 7, 2024
LSG Membership Meeting and Holiday Social
Thursday, December 5, 2024
LSG Board Meeting, Lubbock Women’s Club
Thursday, January 2, 2025
Debutante Presentation Tea, Lubbock Country Club
Sunday, January 26, 2025
Lubbock Symphony Guild Senior Debutantes
Lubbock Symphony Guild Sophomore Debutantes
Front Row Left to Right - Elizabeth Williams, Sage Boyle, Marlee Thompson, Kate Harlien, Abbott Spitzer, Lula Biondi, Ellison Roberts, Campbell Wilson, Elizabeth Thane, Hannah Owen, Sophie Scolaro
2nd Row Left to Right - Presley Taylor, Kaylee Jordan, Riverson Sawyer, Kristine Wischmeyer, Carter Piland, Emersyn Cross, Kayci Cave, Kayleigh Lewis, Shelby Rivas
3rd Row Left to Right - Finley Cross, Sophie Carter, Rynn Riddle, Sarah Poe, Aubry Elrod, Alexis Gregory, Kaylee McKee, Lauren Brashear, Isabella Hernandez
Back Row Left to Right - Lola Latham, Hadley Payne, Ashlyn Neufeld, Addison Evans, Pamela Buckley, Hope Stonestreet, Kaelie Fincher
Not Pictured - Emily Aldinger, Elle Condra, Anzley Proffitt
Debutante Presentation and Winter Ball, Lubbock Memorial Civic Center
Saturday, February 1, 2025
LSG Board Meeting, Lubbock Women’s Club
Thursday, March 6, 2025
LSG Board Meeting, Lubbock Women’s Club
Thursday, April 3, 2025
LSG Membership Meeting and Annual Brunch
Thursday, May 1, 2025
“One Day More” from Les Misérables. Photo: Matthew Murphy & Evan Zimmerman for MurphyMade
A Symphony inspires, educates & captivates us all.
PROUD SUPPORTER OF
Lubbock Symphony Orchestra