MW3 The Firebird

NOVEMBER 04, 2023 The Buddy Holly Hall 2023-2024 SEASON

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The Texas Tech School of Music Presents

FUELED BY MUSIC

An unforgettable concert experience featuring the entirety of the School of Music

MONDAY, NOVEMBER 13, 2023 | 7:30 PM Buddy Holly Hall—Helen Devitt Jones Theater This concert is free and open to the public.

Pre-concert Benefit Gala tickets still available.

ttu.edu/music | schoolofmusic@ttu.edu | 806.742.2274

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A LETTER FROM THE CHAIR Dear Symphony Friends, Good Evening! On behalf of the Board of Directors, musicians, and staff, welcome to the Lubbock Symphony Orchestra’s third installment of the Masterworks series, The Firebird. We open with Tchaikovsky’s Francesca da Rimini, the symphonic interpretation of the tragic tale of Francesca Rimini, a beauty who was immortalized in Dante’s Divine Comedy.

Mozart’s Violin Concerto No. 5, follows. This piece, written for solo violin and orchestra, features guest violinist Chee-Yun. Her flawless technique, dazzling tone. and artistry have delighted audiences world-wide. Our production concludes with Stravinsky’s The Firebird Suite, which is based on a Russian fairy tale about a magical glowing bird that can be both a blessing and curse to its owner.

We recognize Hill & Ioppolo Oral & Dental Implant Surgery of Lubbock for their sponsorship of The Firebird. Thank you for your friendship and continuing support. The Lubbock Symphony exists in part due to the financial support of our sponsors. Please remember them as you make your purchases of goods or services.

Excerpts from this evening’s repertoire were incorporated into the Listen Live education performances on November 2nd at The Buddy Holly Hall. Maestro Cho conducted our symphony with approximately 3,000 5th-grade students in attendance. Prior to the event, students and teachers received guidebooks prepared by the LSO Education Department that explored the theme and musical selections in detail, enriching the students’ experience through preparation in the classroom. Funding for this important presentation was provided by United Supermarkets, Helen Jones Foundation, Inc., The CH Foundation, Civic Lubbock, Texas Commission on the Arts, and the Lubbock Symphony Guild. Their generosity is greatly appreciated.

Please mark your calendars for December 16th and join us for Handel’s Messiah, one of the best-known and most frequently performed choral works in Western music. The Lubbock Chamber Orchestra will be conducted by Dr. Eric Allen. The Messiah will be sung by the First United Methodist Church Chancel Choir with soloists Amy Owens, Quinn Patrick Ankrum, Eric Rieger, and Gerald Dolter.

Now, please sit back and enjoy this evening’s performance by your Lubbock Symphony Orchestra!

Toni Wallingford Chair, LSO Board of Directors 2023-2024 SEASON

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A LETTER FROM THE MUSIC DIRECTOR Dear Friends of the Lubbock Symphony, Thank you for attending the third concert of the Lubbock Symphony’s 2023-24 Masterworks series, “The Firebird”.

We are thrilled to welcome Chee-Yun, a worldrenowned violinist who makes a long awaited début with the Lubbock Symphony. She will perform Wolfgang Amadeus Mozart’s exuberant Violin Concerto No. 5.

A number of great artists of the 19th century were inspired by the concept of doomed love in Dante’s Divine Comedy portraying the story of Francesca da Rimini. We open our first half with the rendition by Pyotr Ilyich Tchaikovsky.

After the intermission, we’ll be showcasing Igor Stravinsky’s 1945 version of “The Firebird” Suite, which features an additional few minutes of music only heard in the original ballet.

Written for Ballet Russe in 1910, Stravinsky’s “The Firebird” depicts the Russian fairytale; the power and the curse it possesses.

Stravinsky compiled an orchestral suite in 1911, subsequently rewriting it a couple of times to capitalize on the royalties it supplied. The 1945 version of the suite, “The Firebird” will mesmerize you with its drama, orchestral color, and the exciting symphonic gestures Stravinsky is known for.

I would like to extend my deepest gratitude to Hill & Ioppolo Oral & Dental Implant Surgery of Lubbock for their support and for sponsoring tonight’s concert.

David Cho Music Director Lubbock Symphony Orchestra

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Chee-Yun, violin Chee-Yun has performed with many of the world’s foremost orchestras and conductors. Orchestral highlights include her tours of the United States with the San Francisco Symphony under Michael Tilson Thomas and Japan with the NHK Symphony, a concert with the Seoul Philharmonic conducted by Myung-Whun Chung that was broadcast on national television, and a benefit for UNESCO with the Orchestra of St. Luke’s at Avery Fisher Hall. Chee-Yun has performed with such distinguished conductors as Michael Tilson Thomas, Jaap van Zweden, Manfred Honeck, Hans Graf, James DePriest, Jesús Lóbos-Cobos, Krzysztof Penderecki, Neeme Järvi, Pinchas Zukerman, Giancarlo Guerrero, José Luis Gomez, Miguel Harth-Bedoya, and Carlos Kalmar. She has appeared with the Toronto, Pittsburgh, Dallas, Atlanta, and National symphony orchestras, as well as with the Saint Paul and Los Angeles Chamber Orchestras. Other orchestral engagements include performances with the Orquesta Sinfonia Nacional and the Mobile and Pasadena Symphonies, in addition to appearances with the National Philharmonic, Colorado and Pacific Symphonies, and the Tucson, Detroit, and Pensacola symphony orchestras. A champion of contemporary music, Chee-Yun has performed Christopher Theofanidis’ Violin Concerto conducted by David Alan Miller as part of the Albany Symphony’s American Festival, in addition to performing Kevin Puts’ Violin Concerto with the Fort Worth Symphony Orchestra.

As a recitalist, Chee-Yun has performed in many major U.S. cities, including New York, Chicago, Washington, Los Angeles, San Francisco, and Atlanta. Career highlights include appearances at the Kennedy Center’s “Salute to Slava” gala honoring Mstislav Rostropovich and with the Mostly Mozart Festival on tour in Japan, as well as a performance with Michael Tilson Thomas in the inaugural season of Carnegie Hall’s Zankel Hall and the U.S. premiere of Penderecki’s Sonata No. 2 with pianist Barry Douglas. In 2016, Chee-Yun performed as a guest artist for the Secretary General at the United Nations in celebration of Korea’s National Foundation Day and the 25th anniversary of South Korea joining the UN. Other career highlights include recitals in St. Paul, Buffalo, Omaha, Scottsdale, and Washington, D.C., duo recitals with cellist Alisa Weilerstein, a recital tour with pianist Alessio Bax, and a performance at American Ballet Theatre’s fall gala. Firmly committed to chamber music, Chee-Yun has toured with Music from Marlboro and appears frequently with Spoleto USA, a project she has been associated with since its inception. Additional chamber music appearances include performances at the Ravinia, Aspen, Bravo! Vail Valley, La Jolla, Caramoor, Green Music, Santa Fe, Orcas Island, Hawaii Performing Arts, and Bridgehampton festivals in the U.S.; the Great Mountains Music Festival in South Korea; the Clandeboye Festival with Camerata Ireland in Northern Ireland; the Opera Theatre and Music Festival in Lucca, Italy; the Colmar Festival in France; the Beethoven and Penderecki festivals in Poland; and the Kirishima Festival in Japan.

Chee-Yun has received exceptional acclaim as a recording artist since the release of her debut album of virtuoso encore pieces in 1993. Her recent recording of the Penderecki Violin Concerto No. 2 on Naxos was acclaimed as “an engrossing, masterly performance” (The Strad) and “a performance of staggering virtuosity and musicality” (American Record Guide).

Her releases on the Denon label include Mendelssohn’s E-minor Violin Concerto, Vieuxtemps’ Violin Concerto No. 5, Lalo’s Symphonie Espagnole and Saint-Saëns’ Violin Concerto No. 3 with the London Philharmonic under the direction of Maestro Lóbos-Cobos, and violin sonatas from Debussy, Fauré, Franck, Saint-Saëns, Szymanowski, Brahms and Strauss. Two compilation discs, Vocalise d’amour and The Very Best of Chee-Yun, feature highlights of Chee-Yun’s earlier recordings. In 2007, Chee-Yun recorded the Beethoven Triple Concerto with Camerata Ireland, pianist Barry Douglas, and cellist Andrés Diaz for Satirino Records. In 2008, Decca/Korea released Serenata Notturno, an album of light classics that went platinum within six months of its release.

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Chee-Yun has performed frequently on National Public Radio’s Performance Today and on WQXR and WNYC radio in New York City. She has been featured on KTV,a children’s program on the cable network CNBC, A Prairie Home Companion, Public Radio International, and numerous syndicated and local radio programs across the world. She has appeared on PBS as a special guest on Victor Borge’s Then and Now 3, in a live broadcast at Atlanta’s Spivey Hall concurrent with the Olympic Games, and on ESPN performing the theme for the X Games. In 2009, she also appeared in an episode of HBO’s hit series Curb Your Enthusiasm.

A short documentary film about Chee-Yun, “Chee-Yun: Seasons on the Road,” premiered in 2017 and is available on YouTube.

Chee-Yun’s first public performance at age eight took place in her native Seoul after she won the Grand Prize of the Korean Times Competition. At 13, she came to the United States and was invited to perform Vieuxtemps’ Concerto No. 5 in a Young People’s Concert with the New York Philharmonic. Two years later, she appeared as soloist with the New York String Orchestra under Alexander Schneider at Carnegie Hall and the Kennedy Center.

In 1989, she won the Young Concert Artists International Auditions, and a year later she became the recipient of the prestigious Avery Fisher Career Grant. In Korea, Chee-Yun studied with Nam Yun Kim. In the United States, she has worked with Dorothy DeLay, Hyo Kang, Daniel Phillips, and Felix Galimir (chamber music) at The Juilliard School.

In addition to her active performance and recording schedule, Chee-Yun is a dedicated and enthusiastic educator. She gives master classes around the world and has held several teaching posts at notable music schools and universities. Her past faculty positions have included serving as the resident Starling Soloist and Adjunct Professor of Violin at the University of Cincinnati College-Conservatory of Music and as Visiting Professor of Music (Violin) at the Indiana University School of Music. From 2007 to 2017, she served as Artist-inResidence and Professor of Violin at Southern Methodist University in Dallas, TX.

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LUBBOCK SYMPHONY ORCHESTRA CONDUCTOR David Cho

The CH Foundation Endowed Conductor’s Podium

CELLO

Michael Newton

Principal

Mary Francis Carter Endowed Chair

Linda Lin

Danny Mar Alejos Anaya Madeline Garcia Neemias Santos Daria MiŚkiewicz Yuhan Shi

Diekemper Family Foundation Endowed Chair

DOUBLE BASS

VIOLIN I

Annie Chalex Boyle

Concertmaster

Jones-Saathoff Family Endowed Chair

Associate Concertmaster

Maja Maklakiewicz Lazaro Gonzalez Rodrigo Cardona

Texas Tech University School of Music Endowed Performer

Mark Morton

Principal

Eugene and Covar Dabezies Endowed Chair

Judy Woody Adan Flores Kea Beasley

Gregory Faught Griff Miller Stuart Anderson Christopher Arcy Nodier Garcia

VIOLIN II

FLUTE

Saikat Karmakar

Principal

Justice Phil and Carla Johnson Endowed Chair

Brennan Lowrey Martha Perez James Ellis Shirley Wigley Cassidy Forehand Shawn Earthman Nilschmid Jimenez Savannah Sharp

VIOLA

Gwendolyn Matias-Ryan

Principal

Mary M. Epps and Ralph E. Wallingford Endowed Chair

Israel Mello Marian Herrero Sera Jung Ryellen Joaquim Sharon Mirll Bruno Silva Travis Springer

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Eric Leise

Principal

Crew of Columbia, STS-107 Endowed Chair

Linda Jenkins

PICCOLO

Spencer Hartman

OBOE

Kathleen Carter Bell

Principal

Lubbock Symphony Guild Principal Oboe Endowed chair

Jordan Hastings

ENGLISH HORN Susetta Rokett

Janeen Drew Holmes Endowed Chair

CLARINET David Shea

Principal

Christine Polvado and John Stockdale Endowed Chair

Trisha Burrell

BASSOON

Vince Ocampo

Principal

Nancy and Tom Neal Endowed Chair

Adam Drake

HORN

Vivian Yu-hsuan Chang

Principal

Anthony and Helen Brittin Endowed Chair

Lucian Hutchinson William Wallace John Stacy Matthew Fenton

TRUMPET Gary Hudson

Principal

Stacey and Robert Kollman Family Endowed Chair

Joe Vandiver Isaac Swanson

TIMPANI Lisa Rogers

Principal

Lubbock Symphony Guild Endowed Chair

PERCUSSION

Christopher Mehrafshan

Principal

Lisa Rogers/Alan Shinn Endowed Chair

Michael Mixtacki Taylor Burks

HARP

Jennifer Miller

Principal

Rachel Jean Armstrong Thomas Principal Harp Endowed Chair

PIANO

Richard Fountain

Principal

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

LIBRARIAN

Vaughan Hennen

TROMBONE James T Decker

Principal

Larry and Lucy Landusky Endowed Chair

Bruce Keeling

BASS TROMBONE Darin Cash

Tim and Mary Jane Sampson Endowed Chair

TUBA

Arturo Galvan

Principal

Diekemper Family Foundation Principal Tuba Endowed chair

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Peter Ilyich Tchaikovsky: Francesca da Rimini, Op. 32 Inspired by Canto V of the Inferno section of Dante’s Divine Comedy Tchaikovsky originally considered writing it as an opera.

Two adulterous lovers, Paolo and Francesca, are endlessly tortured by being trapped in a relentless hurricane.

Tchaikovsky portrays the second circle of Hell in a large three-part form (fast-slow-fast)

Wolfgang Amadeus Mozart: Violin Concerto No. 5 in A major, K. 219, “Turkish” The last of Mozart’s five violin concertos, all written within six months during 1775.

Turkish music and fashion had influenced Viennese culture since the Ottoman invasions of Europe beginning in the 16th century.

Mozart invokes the music of the Janissaries (Turkish infantry) in the middle of the last movement.

Igor Stravinsky: Firebird Suite (1945) Stravinsky’s first big success and his first major project for the Ballets Russes, a famous Parisian dance company Based on a Russian folk tale, Firebird synthesizes the sound of Russian folk music with modern rhythms and harmonies Because of the Russian Revolution and the loss of copyright, Stravinsky produced several versions of the suite.

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

The f irst 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 f rom 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.

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THE

FIREBIRD David Cho | Music Director

The CH Foundation Endowed Conductor’s Podium 25 minutes

Pyotr Ilyich Tchaikovsky

Francesca da Rimini , OP. 32

(1840 - 1893)

28 minutes

Violin Concerto No. 5 in A major, K. 219 “Turkish” Wolfgang Amadeus Mozart (1756-1791)

i. Allegro aperto – Adagio – Allegro aperto ii. Adagio (E major) iii. Rondeau – Tempo di minuetto Chee-Yun, violin 15 minutes

28 minutes

The Firebird (1945)

Igor Stravinsky

(1882-1971)

i. Introduction – Prelude and Dance of the Firebird – Variations (Firebird) ii. Pantomime I iii. Pas de deux: Firebird and Ivan Tsarevich iv. Pantomime II v. Scherzo: Dance of the Princesses vi. Pantomime III vii. Rondo (Khorovod) viii. Infernal Dance ix. Lullaby (Firebird) x. Final Hymn

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Peter Ilyich Tchaikovsky: Francesca da Rimini, Op. 32

In 1876, Tchaikovsky entertained the idea of writing an opera based on the story of Francesa da Rimini, an Italian noblewoman whose doomed love for her brother-in-law Paolo is described in Canto V of the Inferno section of Dante’s Divine Comedy. Tchaikovsky never wrote the opera (though both Rachmaninoff and the Italian composer Riccardo Zandonai both completed operas on the subject), but Tchakovsky’s brother Modest included it in a list of ideas for symphonic poems. The idea germinated quickly in the composer’s mind; he wrote to his brother on July 27, “This morning, when I was in the train, I read the Fourth [actually Fifth] Canto of the Inferno and was seized with a burning desire to write a symphonic poem on Francesca”.

Further stimulus came from a trip to Bayreuth to hear Wagner’s Ring Cycle later that same summer, and he composed Francesca while in Moscow during the autumn of 1876. In mid-October, he wrote to Modest, “I have only just finished my new work: a fantasia on Francesca da Rimini. I wrote it with love and love seems to have turned out decently. As to the whirlwind, I could have written something more in line with Doré’s picture, but this didn’t come out as I wanted. Anyway, a proper judgement is out of the question until it has been orchestrated and performed.” He also acknowledged the influence of Wagner upon the work, writing “The comment that I wrote that under the influence of the Nibelungs is very true. I felt it myself when I was working on it. Is it strange that I should be subject to the influence of a work of art which in general I find very antipathetic?” Tchaikovsky also heard Liszt’s Dante Symphony shortly before composing Francesca but did not think much of Liszt’s treatment of the subject.

The work was first perfomed in Moscow at a concert by the Russian Musical Society conducted by Nikolai Rubinstein in March of 1877. The work was awarded the Belyayev Prize, but only secured a lasting place in the standard orchestral repertoire in the late twentieth century. Tchaikovsky himself waffled in his opinion of the work, initially thinking it among his best works (he conducted it frequently), but later criticizing it as failing to properly characterize its subject.

The work is based upon a true story from medieval Italy. Francesca, a beautiful young woman from Rimini, is tricked into marrying the lame Giovanni Malatesta, who sends his handsome younger brother Paolo to press his suit.

Francesca, thinking she is to marry Paolo, readily consents to the marriage.

Living together in the same household, Paolo and Francesca soon become lovers, until Giovanni discovers their infidelity and murders them both. In Dante’s Inferno, Francesca and Paolo are consigned to the second circle of Hell, where they are blown about in a ceaseless whirlwind, able to see each other, but never able to touch.

In his manuscript, Tchaikovsky included a detailed description of the fantasia: Dante, accompanied by Virgil’s ghost, descends into the second circle of the Hellish abyss. Here the walls echo with cries of despair. In the midst of the Stygian gloom is a fantastic storm. Violent, Hellish whirlwinds carry away tormented souls. Out of the countless spinning earthly spirits, Dante notices two in particular: Francesca and Paolo, who are locked in an embrace. Dante calls out to these tortured souls, and asks them for what terrible crimes they were being punished. Francesca’s spirit, drenched with tears, recounts their pitiful tale. She was in love with 30

Paolo, but against her will she was forced to marry the hateful brother of her beloved, the hunchbacked, twisted tyrant of Rimini. Despite his violent jealousy, he was not able to wrest Francesca’s heart from her passion for Paolo. Together one day they read the story of Lancelot. “We were one”, recounts Francesca. “And after reading this we no longer felt the fear and confusion that had marked our previous meetings. But that one moment destroyed us. By the time we reached Lancelot’s first chance of love, nothing could now part us. In a moment of weakness we openly expressed our clandestine love for one another, throwing ourselves in each others arms”. At this moment Francesca’s husband returned unexpectedly, and stabbed her and Paolo to death. And after telling this, Francesca’s spirit, and that of Paolo, were snatched away in the raging whirlwind. Overwhelmed by the endless suffering, Dante, completely exhausted, falls dead.

The mournful brass chords that open Francesca are a musical manifestation of the banner that Dante reads above the entrance to Hell: “Abandon hope, all ye who enter here.” Anguished music accompanies Dante and the poet Vergil as they descend into the second circle, illustrated by the slow, descending tread of bassoons, low brass, and low strings. They are assailed from all sides by the cries of the damned (woodwinds and upper strings), which grow louder, more tormented, and more insistent as they descend. At the subsequent Allegro vivo they experience the first gusts of the second circle which gradually grow to hurricane force. The two poets see a vast maelstrom whirling around the pit of Hell, with tortured souls helplessly flailing against the tempest. Tchaikovsky portrays the tumult in an unrelenting cyclone of orchestral sound and color which only subsides as they encounter Francesca and she unfolds the fateful tale of her doom. The return of the opening chords leads to a brief soliloquy from the clarinet, followed by the achingly tender music depicting the love between Paolo and Francesca. This love theme begins tentatively, gradually rising to several passionate climaxes before subsiding into calm. Brass fanfares herald Giovanni’s discovery of the two lovers, and brutal wind outbursts portray their demise at Giovanni’s hands. Trombones and tuba briefly mourn the lovers before the whirlwind returns, sweeping Francesca back into eternal torment, and Francesca da Rimini concludes with the hurricane howling even louder, hurtling towards the mercilessly brutal chords that bring the tragedy to a close.

Wolfgang Amadeus Mozart: Violin Concerto No. 5 in A major, K. 219, “Turkish”

To say someone “wrote the book” on a skill or profession conveys the idea of ultimate expertise and authority. But how would you feel if you were learning a musical instrument and the person who literally “wrote the book” about it heard you play every day – and it’s your Dad? One might forgive young Wolfgang Mozart for feeling a certain amount of intimidation in playing the violin. His father Leopold was the author of Essay on the Fundamental Principles of Violin Playing, published in the year of his son’s birth, 1756. While Papa Mozart comes down to us as something of a fussy old curmudgeon through his letters to his son and his portrayal in the movie Amadeus, the Essay reveals him to be a violin pedagogue of the first order.

Not only does the Essay give us insights into the prevalent styles of violin playing of its time, but much of its technical and musical instruction still holds true for violinists today. It also lets us see that Leopold had a sense of humor – when discussing vibrato, he derides those violinists who “tremble upon every note as though stricken with the palsy.”

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While it would be easy to conclude that Wolfgang concentrated his efforts on the piano because of parental criticism of his violin playing, nothing could be further from the truth. By all accounts, Mozart had a fine technical and musical command of the violin, so much so that Leopold, never one to give compliments lightly, told him that “You yourself do not know how well you play the violin . . . when you play with energy and with your whole heart and soul, yes, indeed, just as though you were the first violinist in all of Europe.”

What makes the Violin Concerto No. 5 a “Turkish” concerto? The nickname can be traced to an event that took place nearly 250 years earlier: the 1529 siege of Vienna by the forces of the Ottoman sultan Suleiman the Magnificent.

This was the first in a series of conflicts between the Ottoman and Habsburg Empires over the next 270 years, concluding only with the Treaty of Sistova in 1791. While the Ottomans were finally driven from Austria and Hungary, their cultural impact remains present even today. The Viennese love of coffee and their famous coffeehouse culture is a result of the Ottoman invasions. Legend has it that the first coffeehouse in Vienna was founded by a Polish soldier who discovered several bags of fragrant beans (thought at first to be camel feed) left behind by the retreating Turks after the siege of Vienna in 1683.

The Ottoman sultan’s elite household infantry, the janissaries, provided musicians to staff the military bands, the mehterân who rode with the Ottoman forces into battle, essentially forming the world’s first marching bands. The sound of what became known as janissary music was dominated by percussion, including bells, cymbals, triangle, and horse-mounted kettledrums. These exotic sounds influenced composers from Haydn (his “Military” Symphony uses Turkish percussion), Mozart (his Rondo alla Turca for piano, the opera The Abduction from the Seraglio), Beethoven (his music from The Ruins of Athens, the Turkish march in the finale of the Ninth Symphony) and Rossini (his operas The Italian Girl in Algiers, The Turk in Italy, and Maometto II).

The Fifth Concerto was the last of Mozart’s authentic works for the instrument (two further concertos attributed to him are of dubious authenticity), all written in Salzburg in late 1775. We don’t know the precise circumstances of the premiere, though it is thought the concerto was first performed during the Christmas season in Salzburg in 1775, possibly with Mozart himself as the soloist. Strangely, the date on the score was changed at least twice, originally marked “1775” then “1780” and then changed back to “1775.”

The Fifth Concerto is in the traditional concerto format of fast-slow-fast, but with some imaginative touches. The work starts with a lively Allegro aperto, with violins skipping daintily above a vibrant accompaniment. A second theme follows in the form of a jovial march, but then suddenly evaporates. The soloist enters, but not in the Allegro tempo, but with a soulful Adagio, the solo violin singing sweetly above a gently undulating accompaniment, echoing Vivaldi’s “Spring” from The Four Seasons and perhaps foreshadowing some of the music from Mozart’s own Così fan tutte. The Adagio arrives gracefully at a resting point, but the Allegro aperto bursts in again, and here we discover a true stroke of Mozart’s genius: the orchestra’s original Allegro music is no longer the principal melody, but now serves as the accompaniment for a boldly assertive statement from the soloist that leaps brilliantly into the upper register of the violin and descends in a flurry of pyrotechnic fiddling.

The remainder of the movement is a sophisticated dialogue between the violin and orchestra, exploring each of the themes in detail and concluding with a cadenza, a solo passage where the soloist plays alone, expounding on the musical ideas already heard. In Mozart’s time, the soloist would have improvised the cadenza on the spot, though today it is more customary for the 34

soloist to prepare the cadenza before the performance.

Mozart’s innate gift for opera is on full display in the subsequent Adagio, a tenderly rhapsodic movement that expresses a wide range of emotions.

While the opening conveys a sublime beauty, playfulness, drama, and even pathos can be heard in the soloist’s meditations on the two musical ideas that comprise the movement. Here, too, the orchestra is far more than a simple accompaniment, interacting and intertwining with the soloist, functioning as a full supporting character in this violin “aria.”

The final Rondo, marked Tempo di Menuetto (“In minuet tempo”), begins with the soloist presenting an elegantly capricious melody, immediately repeated by the full orchestra. While the movement is constructed as a typical rondo, with the opening section returning frequently and contrasting sections intermingled for contrast, Mozart inserts brief cadenzas to blur the lines between sections, making this sound more like an operatic scene than a formal concerto. In the center of the movement, Mozart reveals his surprise: the tempo changes to Allegro, and the soloist breaks into some fiery fiddling, reminiscent of the folk music of the Romani of eastern Europe. The elegant minuet is superseded by a boisterous Turkish march, with a spiky, disjunct melodic line presented above a stomping accompaniment. A contrasting section features a slithering chromatic melody that passes back and forth between soloist and orchestra. While there are no Turkish bells, cymbals, or timpani to be heard, Mozart creates his janissary music by instructing the cellos and basses to play coll’arco al roverscio (literally, “with the bow reversed’), striking the strings with the wooden stick of the bow. After a brief pause, elegance is restored with the return of the Tempo di Menuetto, and the concerto concludes with a cadenza and a final nonchalant flourish from the soloist.

Igor Stravinsky: Firebird Suite (1945)

Musician’s careers are sometimes made or broken by unusual circumstances.

Leonard Bernstein’s career skyrocketed after filling in at the last minute for Bruno Walter at a New York Philharmonic concert in Carnegie Hall in 1943.

Igor Stravinsky’s career may have benefitted from an even more unusual circumstance – the slovenly work habits of another composer. At a 1909 concert in St. Petersburg where the young Stravinsky had two of his orchestral works performed, the impresario Serge Diaghilev, director of the famous Ballets Russes in Paris, was in the audience. Diaghilev was impressed by the young composer’s powers of invention and his distinctive orchestration and offered Stravinsky a few minor composing and arranging assignments for his company.

Legend has it that Diaghilev had commissioned composer Anatoly Lyadov for a new ballet for the 1910 season but was dismayed to find out that Lyadov had barely begun work on the project (Lyadov was a notorious procrastinator when it came to composing). Diaghilev turned the commission over to Stravinsky, who responded with the work that became his first professional success: The Firebird. The ballet’s combination of folk-like melodic material, rich and colorful orchestration and modernist musical techniques made it an instant hit and launched Stravinsky’s career in spectacular fashion.

The original scoring of The Firebird called for an orchestra of more than 100 players. Stravinsky adapted the score for the concert hall, creating a concert suite in 1911. The First World War brought about a reduction in the resources of most ballet companies in Europe, limiting large-scale productions. Stravinsky also lost his musical copyrights held in Russia once the Bolsheviks took over 2023-2024 SEASON

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in the wake of the 1917 Revolution. As a result, Stravinsky created a second Firebird Suite in 1919 employing a substantially reduced instrumentation.

In 1945, faced with the need to renew copyright, Stravinsky created a third suite, further pairing the orchestration but restoring some transitional music between the set pieces. It is this version we will hear this evening.

The plot of the ballet comes from a Russian folk tale. The hero, Prince Ivan, wanders into the enchanted garden of the evil magician Kashchei while hunting, and sees the exotic Firebird, whom he captures and prepares to kill.

She begs him for mercy, and he relents. In gratitude, she bestows a magic feather upon him and tells him that she will come to his aid whenever he needs her. Ivan then discovers thirteen princesses whom Kashchei has enchanted and with whom he falls rapturously in love. When Ivan and Kashchei meet face-to-face, the magician attacks the prince with his hordes of savage creatures. Ivan summons the Firebird, who puts Kashchei and his entire retinue into a deep sleep. While they are unconscious, the Firebird leads Ivan to the casket that contains the magic egg that holds the magician’s soul.

Ivan destroys the egg, breaking the enchantment and freeing the princesses and all the other bewitched beings imprisoned by Kashchei.

The Suite consists of twelfe sections from the ballet, played without pause.

The Introduction opens with the ominous sounds of tremolo double basses, muted trombones and bassoons, portraying the garden’s dark enchantment.

The Prelude and Dance of the Firebird and the subsequent Variation of the Firebird feature capricious writing for the solo clarinet, accompanied by muted brass, harp and strings. Pantomime I serves as a brief transition to the Pas de Deux, full of murmuring woodwinds and swirling strings. Pantomime II, where the Prince releases the Firebird and meets the enchanted princesses, serves as a brief interlude to the Scherzo, a gossamer-textured caprice depicting the princesses playing a game with golden apples. Pantomime 3 features a horn solo over tremolo strings. The Princess’s Round Dance begins in the solo oboe and passes to clarinet, bassoon, and then to muted violins.

The music rises to an ardent climax and then gradually fades. When the music reaches pianissimo, Kashchei’s Infernal Dance bursts in violently, a ferocious juggernaut of orchestral sound, full of brutal ostinatos and brusque brass, punctuated by shrieks from the full orchestra. The Berceuse (Lullaby) begins with a soulful melody given to the bassoon and answered by an ecstatic outburst from the muted strings before the bassoon returns over gentle string tremolos and harmonics. The mysterious texture of quiet tremolos leads into the Finale, led by the solo horn. The horn melody is repeated throughout the orchestra, gradually transforming into a hymn of triumph. This hymn changes into a joyous celebratory dance in 7/4 meter, led by the trumpets. The music broadens majestically and the final powerful chorale in the brass concludes the suite in a blaze of glory.

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The Lubbock Symphony Orchestra w o u l d l i ke t o e x p r e s s g r a t i t u d e t o

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ANNUAL FUND 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.

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

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

($1,500 – $3,499) Mark and Betsy Bass Terri and Mike Byrne David Cho

($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

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VIRTUOSO’S CIRCLE ($3,500 – $4,999) Sandy and Alan Henry

CONCERTMASTER’S CIRCLE

Family Owned Since 1931

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Musician’s Circle, continued 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

2023-2024 SEASON

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

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Sustainer’s Circle, continued Tom and Sarah Parsons Gerald Pipkin Peter Reed Lynn Schmidt Melanie Sorsby Mrs. Sue St. Clair Steve Synck Ralph Tamper Tom Tenner

.

2023-2024 SEASON

Sue Ann Thompson Kathleen Turner Jenny and Edson Way Tim and Amanda Wooten

.

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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

2023-2024 SEASON

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MICHAEL POSTAR ’S

Proud supporter of The Lubbock Symphony 50

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 Griff ith

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

Brian Willcutt

2021-23

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

Affordable Storage Alan Henry Insurance ALLIANCE Credit Union All Saints Episcopal School Anderson Bros Jewelers Atmos Energy Ballet Lubbock Benchmark Betenbough Homes Bolinger, Segars, Gilbert & Moss, LLP Brandon Guitar Studio Bruckner Society of America Carillon Chicken Express 2023-2024 SEASON

City Bank Cleaning Services of Lubbock Community Foundation of West Texas Covenant Health CRI Diekemper Family Foundation D. Williams & Co. Drest by Scott Malouf Evelyn M. Davies Foundation Evensky & Katz / Foldes Wealth Management Farnsworth Family Orthodontics First United Methodist Church Ghandour, Elias M.D., P.A. 51

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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 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 Lubbock Youth Orchestras McPherson Cellars Merrill Lynch MS Doss Foundation MWM Architects, Inc. Off icewise 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 Benef it LSO Youth Outreach Pinkie’s Plains Capital Bank Prosperity Bank Rea Charitable Trust Robinson & Malone 2023-2024 SEASON

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

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BEHIND THE MUSIC OFFICERS

Toni Wallingford

Chair

Jill Stangl

Chair Elect

Melissa Lewis

Treasurer

Terri Byrne

Secretary

Brian Willcutt

Immediate Past Chair

BOARD OF 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 2023-2024 SEASON

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 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 Off ice Coordinator Callie Watson

Graphic Design Assistant

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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

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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

2023-2024 SEASON

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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

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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

2023-2024 SEASON

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The Lubbock Chorale

2023 -24

Special Guests: West Texas Children’s Chorus

St. John’s United Methodist Church Dec. 9, 2023 at 7:30 p.m.

A N N U A L GA L A

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.

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