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A LETTER FROM THE MUSIC DIRECTOR Dear Friends of the Lubbock Symphony, We are truly grateful to perform for you tonight; an exciting Strauss, Kodály, and Scriabin program. The large orchestra you will witness will put The Buddy Holly Hall acoustics to the test. The sound and color that your Symphony will elicit will be extraordinary.
of a unique folklore.
We are honored to have guest artist Dr. Laurence Kaptain perform cimbalom for Kodály’s “Háry János” Suite. As a musician of Hungarian descent, Dr. Kaptain will bring out the scintillating sounds
Richard Straus’s tone poem depicts the legend of a German prankster “Till Eulenspiegel.” The music will make you laugh, cry, and be in awe of this unpredictable and fun character. Alexander Scriabin saw colors as he heard harmonies. In his “Poem of Ecstasy,” you will experience the drama and fantasy of a Russian who embraced the large orchestral forces and the journey as a synesthetic artist. It is our pleasure to present to you tonight’s masterworks program titled “Ecstasy.”
David Cho Music Director
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A LETTER FROM THE CEO Dear Lubbock Symphony Patrons, How wonderful it is to see everyone again after a challenging January! We’re excited to hear this evening’s three incredible orchestral works. Scriabin’s “Poème de l’extase” (The Poem of Ecstasy) is a tone poem that will keep you on the edge of your seat with tonal and rhythmic devices meant to unsettle the listener. The “Háry Jénos Suite” of Kodály features the cimbalom, and we’re so honored this evening to have Dr. Laurence Kaptain performing on the dulcimerlike instrument this evening. We’ll close with the exciting, effervescent, and whimsical fantasy “Till Eulenspiegels lustige Streiche” (Till Eulenspiegel’s Merry Pranks). We extend our most sincere thank you to the Lubbock Symphony Guild and Happy State Bank for generously sponsoring this concert. The Guild supports the LSO through its Winter Ball each year, as well as proving the incredible assistance of their Debutantes and their parents. In April, the Guild will host the Texas Association of Symphony Orchestras conference in Lubbock in conjunction with the LSO’s presentation of Boyz II Men. Happy State Bank has been an unwavering supporter of the Lubbock Symphony, and their continued partnership makes Lubbock a more musical place. Thank you, Lubbock Symphony Guild and Happy State Bank! In March, we’ll come together for Masterworks 4 when we bring guest conductor Stuart Chafetz and Van Cliburn medalist Daniel Hsu. Thanks for letting us share our music with you!
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DAVID IN-JAE CHO Winner, 2007 Eduardo Mata International Conducting Competition Born in Seoul, Korea, David immigrated to the United States in 1985. David received a variety of music lessons during his childhood in Palos Verdes, California, before focusing his energy exclusively on the piano. He later attended Oberlin College and Conservatory, where he received his Bachelor of Music in piano performance. In 1996, David won the E. Nakamichi Concerto Competition at the Aspen Music Festival and was awarded the Arthur Dann Prize at the Oberlin Conservatory. In 1999, while acquiring his Master of Music in piano performance at the Peabody Institute at Johns Hopkins University, David was invited by Robert Spano and Seiji Ozawa to attend the prestigious Tanglewood Music Center as a Merrill Lynch Conducting Fellow. David was then invited by Larry Rachleff to study at Rice University, where he served as guest conductor for the Shepherd School Orchestras while acquiring his Master of Music in instrumental conducting. David was subsequently invited by the Vienna Philharmonic to serve as an assistant conductor. As the recipient of the Karajan Fellowship, David has enjoyed residencies at the annual Salzburg Festival in Austria. In 2003, David was invited by Leonard Slatkin to participate in the National Conducting Institute, during which time he made his début with the National Symphony Orchestra at the John F. Kennedy Center for the Performing Arts. During the 2003-2004 season, David was selected to spend a year as the conducting fellow of the new world symphony under the mentorship of Michael Tilson Thomas. While on tour with the New World Symphony in New York City, David made his Carnegie Hall début conducting works by Copland and Tchaikovsky. During the orchestra’s Rome tour, David made his début at the Academy of Santa Cecilia, conducting works by Luciano Berio and John Adams. David was then invited by his mentor, Larry Rachleff, to serve as the resident conductor of the San Antonio Symphony Orchestra from 2004-2006. During the 2006-2007 season, David held the Bruno Walter resident conductor, chair with the ensemble. During his tenure as the associate conductor of Utah Symphony | Utah Opera (2006-2011), David won first prize at the Eduardo Mata International Conducting Competition in Mexico City, which resulted in numerous conducting engagements in Europe, Asia, and South America. He has conducted the symphonies of Seattle, Houston, Austin, Memphis, Fort Wayne, Baton Rouge, and Shreveport. He has collaborated with such guests artist as Yo-Yo Ma, Renée Fleming, Joshua Bell, Frederica von Stade, Sarah Chang, Daniel Müller-Schott, Jennifer Koh, Leila Josefowicz, Jennifer Frautschi and Alexander Kobrin. During previous summers, David made appearances at the Aspen Music Festival and the Grand Teton Music Festival. After heralded guest appearances with the Lubbock Symphony Orchestra in 2007 and 2009, David was appointed as the orchestra’s seventh music director in 2011. He began his tenure with the LSO in the 2012-2013 season and is now actively involved in community engagements. 2021-2022 SEASON
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Dr. Laurence Kaptain, cimbalom As a percussionist and symphonic cimbalom artist, Laurence Kaptain appears regularly with major ensembles, award-winning composers and renowned performing artists, including the New York Philharmonic, the Chamber Music Society of Lincoln Center, the Philadelphia Orchestra and the Pittsburgh Symphony. His performances may also be heard on recordings with the Chicago Symphony, St. Louis Symphony, Orpheus Chamber Orchestra—and Winner of the 2001 Grammy Award for Small Classical Ensemble, St. Paul Chamber Orchestra, and the Czech National Symphony. Kaptain has been interviewed and featured on programs such as NPR’s “Morning Edition, All Things Considered” and a retrospective broadcast of historic recordings made by Georg Solti on the Chicago Symphony’s BP Network broadcasts. He has also performed with renowned artists including Yo-Yo Ma, Isaac Stern, Pierre Boulez, Karlheinz Stockhausen, Elliot Carter, Gil Shaham, Suzanne Farrell, Kurt Masur, Elvis Costello, Henry Mancini, Donna McKechnie, Carol Channing and Robert Altman. Laurence Kaptain grew up in suburban Chicago in a city (Elgin) with a Hungarian enclave. His grandparents immigrated from Hungary (now, Northernmost Croatia). There was a Hungarian community in Elgin that kept the language and many customs, and his late father was bi-lingual— but went to elementary school only speaking Hungarian. “My grandmother lived in the US for over 40 years and spoke no English—only Hungarian. As a young boy I accompanied my parents to various ethnic social functions, where I was first exposed to the cimbalom.” In his current position as Dean of the College of Arts & Media at the University of Colorado Denver, Kaptain is an energetic, well-respected academic leader with an exemplary record of effectiveness. He was previously Dean of the College of Music and Dramatic Arts at LSU and prior to that Dean of Shenandoah Conservatory in Virginia. He received the first doctorate in percussion instruments at the University of Michigan, where he was a Fulbright Scholar to Mexico and received the prestigious Rackham Graduate School Pre-Doctoral Fellowship.
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LUBBOCK SYMPHONY ORCHESTRA VIOLIN I
Annie Chalex Boyle, Concertmaster
Jones-Saathoff Family Endowed Chair
Linda Lin Associate Concertmaster Ariya Tai Judy Woody Isaias Ferreira Rodrigo Cardona Brian Roach Francisco Villarroel - Huerta Lynn Ledbetter Hannah Martin Anna Kim
VIOLIN II
Lauren Pokorzynski, Principal
Justice Phil and Carla Johnson Endowed Chair
Saikat Karmakar Assistant Principal Kea Beasley Martha Perez Brennan Lowrey Shirley Wigley Travis Ebner Cassidy Forehand Joseph Jung Carroll Jane Goodyear Nilschmid Jimenez Shawn Earthman
DOUBLE BASS Mark Morton, Principal
Eugene and Covar Dabezies Endowed Chair
Boyce Wyrick Hannah Macgillivray Stuart Anderson Christopher Arcy Nodier Garcia
Flute
Kim Hudson, Principal Eric Leise Spencer Hartman
PICCOLO
Kathryn Downs
OBOE
Susetta Rockett, Principal
Janeen Holmes Gilliam Endowed Chair Lubbock Symphony Guild Endowed Chair
Alex Hyde Jordan Hastings Angeli Mari Nicolas
Clarinet
VIOLA
Kimberly Sparr, Principal Sharon Mirll Gwendolyn Matias-Ryan Sera Jung Emma Wood
CELLO
Michael Newton, Principal
Mary Francis Carter Endowed Chair
Danny Mar Alejos Anaya Laura Jensen Madeline Garcia 24
Neemias Santos Daria Miskiewicz Yuhan Shi
David Shea, Principal Trisha Burrell Hsiao-Ju Chen Mia Zamora
BASSOON
Vince Ocampo, Principal Adolfo Mendoza Ian Resurreccion Sarah Boyd
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Horn
Scott Millichamp, Principal
Anthony and Helen Brittin Endowed Chair
David Lewis Esteban Garcia, Co-Principal James Berry Yu-hsuan Chang Neil Barrozo Nicholas Bawcom Kim Carr Lucian Hutchinson
TRUMPET
Will Strieder, Principal
Stacey and Robert Kollman Family Endowed Chair
Gary Hudson Joe Vandiver Benjamin Fairfield Isaac Swanson
Trombone
Jim Decker, Principal Bruce Keeling
Tuba
Kevin Wass, Principal
TIMPANI
Lisa Rogers, Principal
Lubbock Symphony Guild Endowed Chair
percussion
Erin Martysz Jon Ortiz John Frederick Ian Houston Taylor Burks
CELESTA ORGAN Richard Fountain, Principal
Edward R. and Jo Anne M. Smith Endowed Chair
Harp
Jennifer Miller, Principal
Rachel Jean Armstrong Thomas Endowed Chair
Cassandra Hussey
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Buddy Holly Hall is Finally Here...
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2021-2022 SEASON
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UPCOMING CONCERT
FRENCH NOSTALGIA Sat. Mar. 26, 2022
BUDDY HOLLY HALL
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PROGRAM
David Cho, Conductor Dr. Laurence Kaptain | Cimbalom
Richard Strauss
Till Eulenspiegels lustige Streiche (“Till Eulenspiegel’s Merry Pranks”), op. 28
(1864-1949)
Zoltán Kodály
Háry János: Suite Dr. Laurence Kaptain, cimbalom
(1882-1967)
INTERMISSION Alexander Scriabin (1872-1915)
2021-2022 SEASON
Le Poème de l’extase (“The Poem of Ecstasy”), op. 54
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PROGRAM NOTES Alexander Scriabin: Le Poème d’Extase (The Poem of Ecstasy), Op. 54
To say that composer Alexander Scriabin possessed a vivid imagination ranks as one of the world’s great understatements. Consider this description for what he planned as just the opening section to his final composition, entitled Mysterium: “The Prefatory Action would [...] be a stage work of immense proportion and conception. Bells suspended from the clouds in the sky would summon the spectators from all over the world. The performance was to take place in a halftemple to be built in India. A reflecting pool of water would complete the divinity of the half-circle stage. Spectators would sit in tiers across the water. Those in the balconies would be the least spiritually advanced. The seating was strictly graded, ranking radially from the center of the stage, where Scriabin would sit at the piano, surrounded by hosts of instruments, singers, dancers. The entire group was to be permeated continually with movement, and costumed speakers reciting the text in processions and parades would form parts of the action. The choreography would include glances, looks, eye motions, touches of the hands, odors of both pleasant perfumes and acrid smokes, frankincense and myrrh. Pillars of incense would form part of the scenery. Lights, fires, and constantly changing lighting effects would pervade the cast and audience, each to number in the thousands. This prefaces the final Mysterium and prepares people for their ultimate dissolution in ecstasy.” This “Prefatotry Action” was merely the opening section of this gargantuan weeklong ritual, at the end of which the human race would disappear and be replaced by, in Scriabin’s words, “higher beings,” all assembled to worship Scriabin’s genius. You could say that not only did Scriabin suffer from a Messiah complex, he felt the need to build one as well. Sadly, the composer succumbed to an infection of a carbuncle on his upper lip, and his transcendental dream of perfecting the human experience went unfulfilled. As you might guess, Scriabin’s career did not start out this way. His mother had been an accomplished pianist, having studied at the Saint Petersburg Conservatory with the great pianist and pedagogue Theodore Leschetizky. Her early death when Scriabin was a little over a year old not only denied the young Scriabin a potential musical guide, but also sent the young lad to live with relatives (mostly grandmothers and aunts) where he was largely coddled and doted upon. His father, a lawyer in the Russian diplomatic service, had little contact with his son, being assigned to various foreign posts where a young son underfoot would have been a liability. Scriabin entered the St. Petersburg Conservatory at the age of 16, studying both piano and composition. Having rarely been refused anything as a child, he was a headstrong student, often clashing with his professors, especially in composition. For graduation, he failed to complete the final assignment in composition, but he did receive a second-place diploma in piano. In this instance, finishing second was no disgrace – first prize went to his friend Sergei Rachmaninoff. Despite his lack of credentials, some of Scriabin’s piano music was published by Jurgensen and attracted attention both for its similarities to the music of Chopin – Scriabin wrote numerous preludes, waltzes, mazurkas, etc. – and also for the modernist complexity and ambiguity of his harmony. Over the following decade, Scriabin was drawn into philosophical mysticism and theosophy, influenced by the writings of Nietzsche, Helena Blavatsky (founder of The 32
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Theosophical Society), Schopenhauer, and Richard Wagner. Eventually Scriabin’s philosophy coalesced into the idea that just as Theosophy was a synthesis of all religions and philosophies, so the arts, led by music, pointed the way out of the world’s misguided spiritual wanderings and towards the ultimate enlightenment. Scriabin felt that he, as one of Europe’s most enlightened and groundbreaking composers, was the savior who would redeem humankind. Scriabin’s interest in different philosophies extended to the practical as well as the esoteric. While he probably did not suffer from synesthesia (seeing colors when hearing music), he subscribed to the philosophical ideas behind it, a philosophy shared by both Rimsky-Korsakov and Rachmaninoff. For his orchestra work Prometheus (The Poem of Fire), Scriabin called for the concert hall to be bathed in lighting that changed color according to the key of the music, using a machine he called a “color organ.” From that idea, it was a logical step (at least to him) to proceed to involve movement, taste, smell, and touch would eventually lead his thinking down the path towards his concept of the Mysterium. His music, too, followed a similar rapid path into modernism, incorporating elements of whole-tone scales, extreme chromaticism, and the subversion of tonal music, approaching very close to atonality. Some of this is reflected in the ominous titles of a few of his works, such as the “Black Mass” piano sonata, written in 1913. In 1906 Scriabin wrote a text for The Poem of Ecstasy that reads as part poetry, part philosophical tract, part hallucinatory spiritual revelation. It is not a literal play-byplay description of the work, but rather a reflection of the seething emotions of the music, with the composer simultaneously speaking in the first person and the third person, both experiencing and reflecting upon the work as it unfolds. While it is tempting to characterize the work as an homage to physical love, Scriabin saw it as encompassing the full spectrum of that emotion, with the soul ascending towards a final catharsis of the most exalted philosophical and spiritual ecstasy, unburdened by a physical state of existence. Scriabin worked on The Poem of Ecstasy between 1905 and 1908. The world premiere was given on December 10, 1908 in New York City, with Scriabin’s friend Modest Altschuler conducting the Russian Symphony Orchestra of New York. While the reviews for the premiere performance mocked both the work’s music and its philosophy, subsequent performances established it as an important modern work, and it became a showcase work for orchestras and conductors in Europe and the United States. For a Moscow performance in 1909, Scriabin provided this more concise guide, though it is still couched in the language of mystical experience rather than musical description: “Le Poème de l’extase” is the Joy of Liberated Action. “The Cosmos”, i.e. Spirit, is Eternal Creation without External Motivation, a Divine Play with Worlds. “The Creative Spirit”, i.e. the Universe at Play, is not conscious of the Absoluteness of its creativeness, having subordinated itself to a Finality and made creativity a means towards an end. The stronger the pulse-beat of life and the more the precipitation of rhythms, the more clearly the awareness comes to the Spirit that it is consubstantial with creativity, immanent within itself, and that its life is a play. When the Spirit has attained the supreme culmination of its activity and has been torn away from the embraces of teleology and relativity, when it has exhausted completely its substance and its liberated active energy, the Time of Ecstasy shall 2021-2022 SEASON
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then arrive. After his death, Scriabin’s popularity in the concert hall waxed and waned, with his piano music and The Poem of Ecstasy appearing with some frequency in the concert hall. His enigmatic mysticism made a resurgence in the developing counterculture of the late 1950s and early 1960s, as some members of society turned away from traditional religion and culture to seek their own spiritual paths. The novelist Henry Miller, author of the controversial “Tropic of Cancer”, found Scriabin’s Poem of Ecstasy a soul-changing experience. In his novel Nexus, Miller describes the effect the work had on him: “That Poème de l’extase?” Put it on loud. His music sounds like I think - sometimes. Has that far-off cosmic itch. Divinely fouled up. All fire and air. The first time I heard it I played it over and over. Couldn’t shut it off. It was like a bath of ice, cocaine, and rainbows. For weeks I went about in a trance. Something had happened to me… The Poem of Ecstasy is cast in a single movement lasting approximately twenty minutes. In terms of its form, it outlines a very loosely structured Classical sonata form, but it might be best heard as a fantasia on three sets of ideas, most notably the opening flute melody and the soaring trumpet theme that features prominently throughout. It is scored for a very large orchestra, including triple woodwinds and their adjuncts (piccolo, English horn, etc.), eight horns, five trumpets, three trombones, tuba, a large percussion section, two harps, celesta, organ, and strings. With such a large ensemble, it would be tempting for a composer to engage in wall-to-wall bombast. Scriabin skillfully avoids that pitfall by using his instrumental palette skillfully and sparingly, creating a fascinating kaleidoscope of subtle colors and textures, saving the largest climax only for the end. Maybe we should allow the composer the final word on his visionary creation. Writing to his friend Ivan Lepaev, Scriabin offered this piece of advice: “When you listen to Ecstasy, look straight into the eye of the sun!’
Richard Strauss: “Till Eulenspiegel’s Merry Pranks, Op. 28”
Like the ancient Greek poet Homer, the English outlaw Robin Hood, and the legendary Chinese general Sun Tzu, the medieval German rogue Till Eulenspiegel may or may not have been a historical figure. His supposed life is only documented in a single source, a series of ninety-five stories either written or compiled by a Renaissance writer who identifies himself only as “N.” The mysterious author reveals the final story that Till died of the plague in 1350, but N. lived nearly two centuries after that date, so Till’s corporeal existence is debatable at best. Unlike Robin Hood, whose ultimate goal was to achieve greater equality in an unjust society, Till Eulenspiegel seemed content to cause trouble for its own sake, pointing out the failings and foibles of all levels of society, from serfs to emperors, and chastising them accordingly through his slapstick practical jokes. Till’s surname translates as “owl glass,” which might be interpreted as “wise mirror,” with the idea that Till holds his mirror up to our peccadilloes and forces us to see ourselves for the flawed and often contradictory creatures we are. Richard Strauss had originally thought to turn Till’s tales into an opera, but decided that the character lacked the emotional depth to be sympathetic in the opera house. He may have also been soured on the idea of an operatic due because of the recent failure of his first opera, Guntram, first given in his hometown of Munich. So he returned to a genre in which he had achieved great success: the symphonic poem. Strauss’ early symphonic poems are in the tradition of Franz Liszt and others, with the programmatic subjects being largely of a ruminative, philosophical 2021-2022 SEASON
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nature. Strauss’ own early Don Juan and Death and Transfiguration are just such serious works, depicting profound emotions rather than actual events. With Till Eulenspiegel’s Merry Pranks, Strauss employs his large orchestra as a painter uses a palette, sketching out various episodes in the life of his rogue/hero, all within the musical form of a rondo, where ideas from the opening section return after interludes of contrasting music. It could be said that in Till, Strauss is his own Till Eulenspiegel, flipping the serious guise of the traditional symphonic poem upside down, providing smiles and entertainment within a traditionally profound genre. Strauss himself confirmed this when his librettist, Josef Gregor, asked him if he thought Till had plumbed the depths of humor as a philosophy. “Oh heavens no!” Strauss replied, “I just wanted to give the people in the concert hall a good laugh for once!” Before the premiere performance in Cologne in 1895, the conductor Franz Wüllner asked Strauss to supply a written guide to the action within the music. Strauss declined, not wishing to have any of his ideas set in stone. He felt it preferable to leave the members of the audience free to imagine their own scenario to the music. In his response to Wüllner, he wrote: “It is impossible for me to give a program to ‘Eulenspiegel’: what I had in mind when writing the various sections, if put into words, would often seem peculiar, and would possibly even give offense. So let us, this time, leave it to the audience to crack the nuts which the rogue has prepared for them. All that is necessary to the understanding of the work is to indicate the two Eulenspiegel themes which are run right through the work in all manner of disguises, moods and situations until the catastrophe, when Till is strung up after sentence has been passed on him. Apart from that let the gay Cologners guess what the rogue has done to them by way of musical tricks.” Till opens with a musical version of “Once upon a time…”, with a very sweet and comfortable phrase in the strings. The solo horn bursts on the scene with Till’s primary theme, a melody that swoops up and down the instrument’s range, the musical equivalent of thumbing one’s nose. A second idea related to Till appears later in the high-pitched D clarinet: a cheeky echo of the horn theme that ends with a question that never quite resolves. From this point onwards, Till is determined to look for trouble, and he succeeds in finding it. We hear him rampaging through the marketplace on horseback, scattering tables and milkmaids and generally wreaking havoc (punctuated with the grating sound of a rachet). Shortly thereafter, Till disguises himself as a priest, oozing pomposity but then delivering an obscene sermon to the gullible faithful. He tries to woo a young maiden, but she definitively rejects his advances, throwing him into a rage. He quells his anger by taunting a passing group of university professors, making outrageous philosophical statements that throw the academics into chaos and confusion. From here, Till’s exploits grow even more out of hand, with the orchestra raging in barely controlled pandemonium. The musical havoc is silenced by a roar of snare drums. Till has been caught, tried and convicted. Low brass pass sentence on the trickster, ignoring both his cries of innocence and pleas for mercy, which eventually die out into silence. He is hanged, the squawking D clarinet theme growing fainter and fainter as his life ebbs away. The calm of the “Once upon a time” theme returns. Propriety and decorum have restored. Till’s reign of anarchy is at an end. Or is it? Phoenix-like, Till’s music roars back triumphantly, letting us know that the merry prankster’s irreverent spirit will live forever, and that he, like all great humorists, will always 2021-2022 SEASON
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2021-2022 SEASON
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Parkhill, Smith & Cooper is now Parkhill. For over 75 years, our communities have relied on us to provide innovative, collaborative, and relevant solutions for design services. Our story began in 1945 when three friends took it upon themselves to help West Texas rebuild and recover following World War II. We have been creating inventive, relevant built environments together ever since. This is at the heart of what we do and who we are. We are Building Community and sustaining relationships.
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ACKNOWLEDGMENTS
ANNUAL FUND
The Lubbock Symphony Orchestra appreciates the generosity of the following individuals who have given to the Annual Fund between Auguest 1, 2020 and February 1, 2022.
MAESTRO’S Gold CIRCLE
($15,000+) Harold and Deena Evensky Hill & Ioppolo Oral & Dental Implant Surgeons of Lubbock Neil and Sandra Kurtzman Sam and Jana Scheef
MAESTRO’S SILVER CIRCLE
($7,500 – $14,999) Joan Baker Dolle Barker Jill and Gilbert Berdine Dr. and Mrs. Mounir and Leen Borno Thivakorn and Betsy Kasemsri
Larry and Lucy Landusky Kurt and Paula Loveless Jim and Patti Lupton Drs. Barent and Audrey McCool Keli Ramsey Tim and Mary Jane Sampson Jo Ann Schneider Walter S. and Kathy Smith Jill and Fred Stangl Steve and Robin Talbert Dr. Jim and Mrs. Shannon Taliaferro Dr. and Mrs. Davor Vugrin Harry and Cindy Zimmerman
MUSICIAN’S CIRCLE
($3,500 – $4,999) James and Shanna St. Clair
($1,000 – $1,499) Mr. Anthony and Dr. Helen Brittin Sara and Tim Dodd Drs. Robert Duncan and Annette Sobel Michael and Mary Epps Stephen and Kathy Faulk Barbara Gilley Janeen and John Gilliam Dennis Harp Ross and Kelli Hilburn Don and Lynnita Hufstedler Mallory Miller Mary Moran Judy Poffenbarger Judy Rowdon John and Katie Salter Kevin and Carrie Sedberry Melanie Sorsby Muhammed and Mubashir Subhani Mitchell Wachtel and June Wagner Dr. Charles and Pat Wheeler
CONCERTMASTER’S CIRCLE
YOUNG ARTIST’S CIRCLE
MAESTRO’S CIRCLE
($5,000 – $7,499) Herb Armstrong and Evan Sabino Norton and Jane Baker RADM Stephen and Maureen Chadwick David Cho Lou Diekemper Curtis Griffith Adrian and Leslie Huckabee Don and Jan Ledbetter Lee and Beth Pennington Jo Anne M. Smith Toni E. Wallingford Lola and Thomas Windisch
Virtuoso’s CIRCLE
($1,500 – $3,499) Stephen and Maria Balch Robb Chapman and Dr. Sarah Hosford Brad and Birgit Green Mark and Heather Hocker John and Cherie Hunter Carol King 2021-2022 SEASON
($500 - $999) Mr. and Mrs. Wayne and Jane Allison Dr. and Mrs. Michael Balch Mark and Betsy Bass Pieter Bergstein Ray and Cathy Box Matthew and Krista Bumstead Larry and Charlotte Burt
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Family Owned Since 1931
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DIGITAL PROGRAM SPONSORED BY
Tim and Ava Collins Deborah Conn Carol Daugherty Gary and Melanie Davis Joan and Joe Dominey James and Denise Doucette Michael and Linda Edwards Aurora Farthing Giles and Lynn Forbess Don and Anne Garnett Claudia and Mark Griffin Marion Hagler Mark and Karen Havins Tommy and Lavelle Hawkins Elena Ilyushyna Morris and Janice Knox Lucy Lanotte Wyatt and Claire Leavell Allan MacKenzie Rick and Sharon Martin Ms. Mary McCrary Norman and Bettie Orr Mrs. Dona Richardson Tommy and Tina Sansom Connie Scarborough and Charles Tepe Lynn Schmidt Scott and Vickie Shurmur Tony Smitherman Tom Tenner Jenny and Edson Way Ann Williams Gay Word
PATRON’S CIRCLE
($275 - $499) Rob and Pam Allison James Arnold Tobie and Jerry Bailey Jason and Anne Bradley Edward Broome Kathryn Button Terri and Mike Byrne Mary Cato Bobbe Crawford Richard and Reyhan Crider Bob and Sandy Crosier Sally Cummings P.D. and Gayle Cunningham Nikki Curry David and Claudia Dea Drs. Robert Duncan and Annette Sobel 2021-2022 SEASON
Steve Duran Elias and Eleonora Ghandour Jim and Kathy Gilbreath Don Graf Elizabeth Haley William and Janis Hartwell Stacy Keith Pam King Randy Kinnison and Jane Rowley Dale Little Barry Maurer Shannon McClendon Joe and Linda McFerrin Kishor Mehta Stephen and Cindi Moffett Laura and Monte Monroe Elena Pastusek Trois Payne Dr. Gregory and Betty Pepetone Gerald Pipkin Davis and Janet Price Jim and Jo Anne Rice Kelly Robinson Robert and Beth Schmid George and Judy Sell Winn Sikes Michelle and Jon Stephens Lois and Nathan Swindle Steve Synck Paul Walter Dr. and Mrs. Hugh Wilson Debby and Dennis Zuehlke
SUSTAINER’S CIRCLE
($125 - $274) David and Ann Abbott Gene H. Adams Alexis Anderson H. Allen Anderson John Anthony Joe Arredondo Katy Ashworth Steve and Kim Beck Mike and Sharon Bennett Dr. and Mrs .Eric Blackwell Dani and Zach Brady Aubrey Bridges Virgie Bryant Katie Burnes Manon and Neill Carter Ursula Caswell Dr. Hua Chen, Dr. Grace Sun and Family 43
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DIGITAL PROGRAM SPONSORED BY
Jim and Nancy Clopton Melissa Collier Lou Conner Ronald and Alice Cox Stephen Crowell Glenn Davis Jim Davis Shirley and Ben Edwards Amy Etchison Mr. John Gillaspy Keith A. Gray Elizabeth Grigsby Jim and Nancy Harman Terry Hawkins and Doug Klepper Tom Hicks Ruth Holmes Joe and Ann Horkey Jennifer and Miles Hornak Dr. Catherine Jai Peggy Johnson Honorable and Mrs. Phil Johnson Curt Jones Robert and Stacey Kollman Brad and Carol Ann Layton Wendell Leatherwood Ben and Robin Lock Marianna and Rod Markham James McDonald Anna and Robert McInvale Ms. Sara McLarty Linda and George McMahan Theresa Menzel Davis and Lisa Moore Sally Murray Ainsley Nelson Charles and Cora Newton Tom and Sarah Parsons Velda and Glen Phipps Susan Pollard Madeline and Lisa Powell Teresa Powers Carolanne and Jim Purtell Douglas and Kay Sanford Karen Savage Sarah Scheel Becki Schwarz James and Cyd Seideman Henry and Sellie Shine Alan Shinn Melanie Slaton Jim and Donna Smith Mike and Barbara Stephens Sandra Stratton 2021-2022 SEASON
Herbert Tavenner Jennifer Underwood Sally Walton Jimmy and Susan Wedel Dana Whitaker Alice White Valerie Williams Robert Worth
Thank you
(up to $125) Marcia Abbott Ann Adams Linda Adkins William Alexander Shelby Anderson Elizabeth Ashmore Richard and Emily Aycock Heather Bain The Barenberg/Swingen Family Sally Barfield Sherry Barsch Aurora and J. Alton Bauerle Blayne Beal and Monty Long Jose Beceiro Christy Bigham Nadine and David Birney Caroline Bishop and Karl Meyer Pam Blassingame Clint and Tracy Boal Sandra Boatright Mrs. Kristi Borthwick Bonnie Bourland Brian Brisendine Tracee Brown John Cain Bruce and Joan Callender Bryan Camp and Susan Gillette Jerry and Ann Casstevens Dr. and Mrs. Aurelio Cervera Beverly Chilton Petra Clary Merinda Condra Melinda Corwin Sue Couch Sophia Crawford Jim Cummings William Davis Mr. Charles Davis Jan Martin Davis Elen Deering Jaonne Dosher Jim and Patti Douglass 45
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DIGITAL PROGRAM SPONSORED BY
John Dunlap Peggy Dyess Steve and Kristi Edwards Mr. and Mrs. Shon Elliott Pat Fletcher Larry Fountain Muff Fregia Isaiah Garcia Yvonne Gilinsky Gurdev and Savita Gill Angie Graham Richard and Ingrid Greene Erin and Elgin Gregg Tim Gristy Aly Gwinn Shana Hamilton Heather Henthorn Trey and John Hill Denay Hounshell Doug Hutton Natalia Jackson Nelda Jett Dale Jones Dr. Cynthia Jumper and Dr. Reid Norman Ms. Vicki Key Don Kidd Kristen Kothmann Connor Langford Sam Lanham Bob Lawless Gary and Judy Linker Betty Lowder Donna Lyde Don and Susan Maddox Molly Manning Steve Massengale Susan Matchett Kathleen Mawe Myrtle McDonald James McNabb Marguerite McWilliams Mrs. Susannah Mercer Edith Merrick Mike and Susan Millsap Boyd and Becky Milner Patsy Moffett Charlcie Mosser Laurel Myers Jill Nelson Don and Robin Parks Ms. Patricia Perkins 2021-2022 SEASON
Jennifer Piel Frosty Poston Chris Powell Ron Presley Jane Quade Mike and Melanie Ragain David Ray - Brick Doctor of Lubbock John Rigg Dick Roof Shanna Rowden Carrie Schlehuber Helen Smith Janice Stachowiak Elizabeth Staggs Suzanne Stephens Tom Stone Mrs. Kathy Thomas Jack Thompson Carl and Pam Tipton Dick and Sue Tolley Thomas and Theresa Trost Al and Gail Tutino Holly Vinson Brad and Mary Lou Walden Cynthia Weaver Kathleen Weed David and Whitney Weindorf Richard Wetzel Barbara and Herman Wheatley Lonnie Wheeler Joyce White Wagner and Courtney Wicks Mandy and Tom Wiley Becca Williams Mr. and Mrs. Larry Willis Jane Ann Wilson Gary Wood Carolyn Wooten Boyce and Kathy Wyrick Mary and John Zias John and Ann Zwiacher
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DIGITAL PROGRAM SPONSORED BY
Youth Orchestras of Lubbock SPRING CONCERT
Ella Shank, oboist
2021 YOL Concerto Winner
March 6th, 2022 4:00 PM Lubbock Memorial Civic Center
YouthOrchestrasofLubbock.org
2021-2022 SEASON
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DONATE TODAY $75 for 75
As we prepare for another phenomenal year of performance, creativity, and education, we would like to personally invite you to consider helping enrich the Lubbock Symphony with a contribution to our Annual Fund. At the LSO, education is a key component of our mission, and our various educational programs are helping to create the next generation of music lovers. In honor of our 75th Anniversary, you can contribute $75 to be part of this important milestone and receive a complimentary copy of our 75th Anniversary publication. Will you contribute $75 to help us reach our $5,000 goal by April 1st to support our education programs for the year? Donate $75 today (or any amount of your choosing) by scanning the QR code below
From all of us here at the Lubbock Symphony, thank you for your support!
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DIGITAL PROGRAM SPONSORED BY
WITH THE
Lubbock Symphony saturday, april 30, 2022 the BUDDY HOLLY HALL TICKETS ON SALE NOW
Southwest Lubbock 5203 79th | Lubbock, TX 79424 806.799.6780
2021-2022 SEASON
stclairandmasseyortho.com
Northwest Lubbock 805 N. Frankford | Lubbock, TX 79416 806.799.6780
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UPCOMING CONCERTS
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DIGITAL PROGRAM SPONSORED BY
MEMOR I A LS & HONOR A R IUMS The Lubbock Symphony Orchestra respectfully acknowledges donations received during the 2021-2022 season in honor of the following: Milton Bagwell Blake Eddie Bingham Annie Chalex-Boyle David Cho Richard and Reyhan Crider Dr. Eugene Dabezies
Mary Epps John Charles Fox III Justin Andrew Fregia CJ Goodyear The Harrod Family Larry Landusky Shelley Furr Nelson
Dr. Marvin Platten Ricky Rasco Herb Tavenner Rachel Jean Armstrong Thomas Toni Wallingford Galen Wixson
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.
ENCORE SOCIETY The Lubbock Symphony Orchestra gratefully acknowledges the following members of the Encore Society: Dr. & Mrs. Eugene Dabezies
lso endowments The CH Foundation Endowment Helen DeVitt Jones Endowment for Education LSO Endowment for Musician Fees and Education Shelley Hall Nelson Endowment for Musicians’ Salaries Jones-Saathoff Family Concertmaster Chair Endowment Justice Phil and Carla Johnson Principal Second Violin Endowment Mary Francis Carter Principal Cello Endowment Eugene and Covar Dabezies Principal Bass Endowment Lubbock Symphony Guild Principal Oboe Endowment Janeen Holmes Gilliam English Horn Endowment Anthony and Helen Brittin Principal French Horn Endowment Stacey and Robert Kollman Family Principal Trumpet 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
2021-2022 SEASON
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MICHAEL POSTAR ’S
Proud supporter of Lubbock Symphony 54
DIGITAL PROGRAM SPONSORED BY
ADVISORY COUNCIL, PAST CHAIRS Jack M. Lewis
1946
Roger Key
1986
W.P. Clement
1947
Edwin E. Merriman
1987
Charles E. Maedgen, Jr.
1948
Owen McWhorter, Jr.
1988
Roy Bass
1949
Frank Newton
1989
Rex Webster
1950
Frank Anderson
1990-91
Marion Key
1951
Kay Sanford
1991
W.R. Sewell
1952
Paul Meyer
1991-92
J.C. Reynold
1953
Robert L. Stripling
1992-93
James L. Quicksall, Jr.
1954
Jim Ratliff
1993-94
Asher Thompson
1955-56
Coffee Conner
1995-96
Richard G. Richards
1957
Alan Henry
1996-97
Jack Kastman
1958
William D. Armstrong
1997-98
Joe J. Moise
1959
Susan Boling
1998-99
J. Harmon Jenkins
1960
Curtis Griffith
1999-00
George C. Miller
1961
DeWayne Pierce
2000-01
Lonnie Langston
1962
Mike Cunningham
2001-02
John Witcomb
1963
Margaret Lutherer
2002-03
O.W. English
1964
Chris Barnette
2003-05
Asher Thompson
1965-68
Catherine S. Porter
2005-06
Troy Myers
1969
Ray Fargason
2006-08
Arthur E. Gamble
1970
Emily Ratcliff
2008-09
Charley Pope
1975-77
Brad Green
2009-11
C.B. Carter
1978
Peter G. Daia
2011-13
Robert E. Norris
1979
Kirk McLaughlin
2013-15
Dean James Allen
1980-81
Harry Zimmerman
2015-17
Robert L. Stripling
1982
Shannon Taliaferro
2017-19
Charley Pope
1983-84
Heather Hocker
2019-21
John R. Kreiger
1985
community partners LSO is grateful for the generous support of the following foundation, community, and public partners.
Affordable Storage
Chicken Express
ALLIANCE Credit Union
City Bank
All Saints Episcopal School
Cleaning Services of Lubbock
Anderson Bros Jewelers
Community Foundation of West Texas
Atmos Energy Ballet Lubbock Benchmark
Covenant Health CRI
Betenbough Homes
D. Williams & Co.
Bolinger, Segars, Gilbert & Moss, LLP
Drest by Scott Malouf Evelyn M. Davies Foundation
Brandon Guitar Studio
Evensky & Katz Wealth Management
Carillon 2021-2022 SEASON
Farnsworth Family Orthodontics 55
KCBD IS A PROUD SUPPORTER OF THE LUBBOCK SYMPHONY ORCHESTRA
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DIGITAL PROGRAM SPONSORED BY
First United Methodist Church
Pediatric Associates of Lubbock
Ghandour, Elias M.D., P.A.
Pennington, Bass & Associates
Happy State Bank
Phi Beta Kappa Assn. of West Texas & Eastern New Mexico
HCHT Helen Jones Foundation Hill & Ioppolo JF Maddox Foundation KCBD Kingsgate Center (Graco Real Estate) KTTZ 89.1 FM Kuykendall Foundation Lee Lewis Llano Estacado Winery Lone Star State Bank Louise Hopkins Underwood Center for the Arts Lubbock Abstract & Title Co Lubbock Animal Care Clinic Lubbock Arts Alliance Lubbock Avalanche-Journal Lubbock Chorale Lubbock Community Theatre Lubbock Entertainment Performing Arts Association Lubbock Moonlight Musicals Lubbock Music Club Lubbock Music Teachers Association Lubbock National Bank McPherson Cellars Merrill Lynch MS Doss Foundation MWM Architects, Inc. Officewise Orlando’s Italian Restaurant Otto’s Granary Overhead Door Co. Overton Hotel Parkhill, Smith & Cooper PayPal 2021-2022 SEASON
Endowment to Benefit LSO Youth Outreach Pinkie’s Plains Capital Bank Prosperity Bank Rea Charitable Trust Robinson & Hamblen General Dentistry Sanders Funeral Home Service Title Sharon Mirll, Exit Realty Sherick Memorial Home Snow Services of New Mexico South Plains College Spec’s St. Clair & Massey Orthodontics Stewart Title Tarpley Music Texas Commission on the Arts Texas Tech Alumni Association Texas Tech Club Texas Tech School of Music Texas Tech University Presidential Lecture & Performance Series Texas Women for the Arts The CH Foundation Tif Holmes Photography T L C E Charitable Fund TTU eLearning TTU Talkington College of Visual and Performing Arts TTU Theatre and Dance United Supermarkets University Medical Center Yellow House Dental & Implant Center Youth Orchestras of Lubbock YWCA
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DIGITAL PROGRAM SPONSORED BY
Things happen. It’s inevitable. That’s why we never close. We’re always here for you! Call Us, Day or Night
(806) 778-3370 or email us at:
cleaningservicesoflubbock@gmail.com
2021-2022 SEASON
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DIGITAL PROGRAM SPONSORED BY
BEHIND THE MUSIC OFFICERS
Brian Willcutt Chair Toni E. Wallingford Chair Elect Katie Salter Treasurer Jill Stangl Secretary Heather Hocker Immediate Past Chair
DIRECTORS
Steve Balch Dolle Barker Gilbert Berdine Leen Borno David Cho Covar Dabezies Patty D’Alise Michael Epps Stephen L. Faulk Lisa Garner-Santa Elias Ghandour Gurdev Gill Barbara Gilley Brad Green Erin Gregg Sandy Henry Leslie Huckabee Amy Hunter Elena Ilyushyna Thivakorn Kasemsri Neil Kurtzman Larry Landusky Paula Loveless Barry McCool Mallory Miler Mary Moran Judy Poffenbarger Keli Ramsey Abi Rhodes Annette Sobel James St. Clair Jeremy Steen Robin Talbert Russell Thomasson Davor Vugrin Pat Wheeler 2021-2022 SEASON
ADMINISTRATION
Galen Wixson President & CEO David Cho Music Director Jake Quintanilla Marketing Director Amelia Jamieson Graphic Designer Corey Dolter Operations Manager Emily Gavaghan Manager of Patron Services Gary Hudson Personnel Manager Jess Jackson Director of Development and Communications Kea Beasley Education Director Suzanne Rasco Director of Accounting Hannah Macgillivray Librarian Alexa Frederick Librarian Intern Callie Watson Graphic Design Intern Mykel McDonald Marketing Intern Jordan Parks Marketing Intern Anterian Gee Marketing Intern
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DIGITAL PROGRAM SPONSORED BY
A WORD FROM THE LUBBOCK SYMPHONY GUILD PRESIDENT Welcome Patrons, Thank you for attending tonight’s performance! We appreciate your support of the Lubbock Symphony Orchestra. Our 2021-2022 season is going to be magnificent. We are so thrilled to experience the wonder of music with you this season. Tonight’s performance, and every performance since 1952, has been made possible in part by the Lubbock Symphony Guild. For years, the Guild members have donated their time and resources to keep symphonic music flourishing in West Texas. I hope you cherish the incredible talent of our spectacular Orchestra and value the educational and cultural contributions they provide to our community. We invite you to consider becoming a member of our Lubbock Symphony Guild. For more information, please visit our website at www. LubbockSymphonyGuild.com. Sincerely,
Amy Hunter, President Lubbock Symphony Guild
2021-2022 SEASON
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Legacy Alive KEEP THE
BE A PART OF HISTORY WITH A PERSONALIZED GUITAR PICK!
Join us as we commemorate this Texas icon’s impact on rock ’n’ roll across the world. Keep Buddy Holly’s legacy alive by purchasing a personalized guitar pick that will hang in an art installation inside The Buddy Holly Hall of Performing Arts & Sciences.
*Guitar picks vary in size
Select your pick to be included in an art installation featured at The Buddy Holly Hall of Performing Arts & Sciences in downtown Lubbock. To be a part of this state-of-the-art project, order your pick at lepaa.org/tx LEPAA is a 501 (c)(3) organization. Your donation is tax-deductible as a charitable contribution.
THE BUDDY HOLLY HALL OF PERFORMING
ARTS AND SCIENCES
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DIGITAL PROGRAM SPONSORED BY
Lubbock Symphony Guild Senior Debutantes
Front Row Left to Right - Ava Wilson, Sophie Thwaits, Reese Rogers, Elizabeth Smitherman, Taylor Glenn, Raegan Bain, Natalie Jenkins 2nd Row Left to Right - Reagan Hunter, Elizabeth Farthing, Chloe Kate Dannevik, Carlee Miller, Katherine Herrin, Caylee Props, Claire Snodgrass, Leah Vinson, Megan Donaway 3rd Row Left to Right - Eryn Triplett, Emma Condra, Brentley Williams, Evan Roberts, Kellen Kotara, Vanessa Latham, Alexia Elliott, Annabelle Etchison, GraceAnn Streit, Briana Erculiani Back Row Left to Right - Sarah Kate Rasty, Ashlyn Wolf, Meredith Lowe, Carlie Borthwick, Alexandra Mercer, Lauren Clingman, Ashby Whitaker, Jilayne Headrick, Samantha Manning, Alexis Wragg Not Pictured -Madelyn Bollens, Blair Boyd, Emma Brady, Brylee Burchett, Bonnee Busby, Lindsi Roye
Lubbock Symphony Guild Junior Debutantes
Front Row Left to Right - Anna McClendon, Madison Bigham, Blakely Biggs, Payton Harrison, Adisyn Elrod, Kaitlyn Caswell 2nd Row Left to Right - Madeline Matthews, Tatum Brown, Ava Hounshell, Katherine White, Portia Clary, Ashtyn Bartley 3rd Row Left to Right - Emily Keister, Sydney Lowe, Halle Henthorn, Sydney Cranfill, Regan Andrews, Ellis Fox Back Row Left to Right - Macy Hamel, Abigail St Slair, Emily Payne, Chloe Conover, Campbell Howe, Elizabeth Kinnison, Kathryn Kinnison Not Pictured - Natalie Caswell, Riley Solberg, Maggi Underwood, MaeAlice White
2021-2022 SEASON
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DIGITAL PROGRAM SPONSORED BY
Lubbock Symphony Guild sophomore Debutantes
Front Row Left to Right - Emme Hocker, Jessica Foley, Alayna Bayouth, Emme Feist, Preslie Tarver, Abi Mills, Avrey Schilling, Addie Burnett, Emeri Tran, Anna Everett 2nd Row Left to Right - Preslee Edwards, Kendall Cathey, Jewel Naegele, Ella Scolaro, Campbell Carper, Reghan Rose, Jillian Jones, Olivia Needham, Claudia Tepper 3rd Row Left to Right -Jeye Johnson, Lydia Carter, Alex Dannemiller, Kate Cooper, Berkley Bird, Annabelle Bennett, Ava Campbell, Christiana McCourt, Hannah Feist Back Row Left to Right -Mya Ballou, Madison White, Mia Capodagli, Ava Lansdell, Kennedy Venable, Skylar Tidwell, Olivia Phillips, Kate Cardelli, Mia Rodriquez
2021-2022 SEASON
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DIGITAL PROGRAM SPONSORED BY
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2021-2022 SEASON
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DIGITAL PROGRAM SPONSORED BY
2021-2022 SEASON
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The Lubbock Symphony Guild has contributed more than $500,000+
There are those of us who make the music. ...then there are
to the Lubbock
those of us
Symphony Orchestra
who help make
since 1999.
the music possible.
For information on how you can be a part of what makes it all possible, please visit LubbockSymphonyGuild.com LUBBOCK SYMPHONY GUILD
PANTONE 7624 (font - Novocento Wide/Adorn Pomander Custom-
We need you to help make it happen!
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DIGITAL PROGRAM SPONSORED BY
PANTONE 8383 METALLIC