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Amanda Key, soprano Eleomar Cuello, baritone The Lubbock Chorale David Cho, conductor

SAT. FEBRUARY 28, 2026 THE BUDDY HOLLY HALL

7:30 PM

Schumann - Overture, Scherzo and Finale Brahms - A German Requiem

This performance is also made possible in part through The CH Foundation; Helen Jones Foundation, Inc.; The Lubbock Symphony Guild; the Texas Commission on the Arts and National Endowment for the Arts; and a grant from the City of Lubbock, as recommended by Civic Lubbock, Inc.

Thank You To our Partners In Harmony founding members

Beth and Will Ashmore Kasi and Chris Boutwell Mary Ann Bridges Maureen Chadwick Bobbe Crawford Deena and Harold Evensky Patricia Freier Terry Hawkins and Dr. Doug Klepper Honorable Phil and Carla Johnson Dawn Kelley and Marcus Borhani Diane Lowell Ann McDonald

Laura and Monte Monroe Nancy Neal Melissa Pridmore Janice Stachowiak Toni E. Wallingford Carol Walker Dr. Charles and Patricia Wheeler Birgit Green Dr. Lola B. Windisch Susan Tarrant

Our mission is to support the Lubbock Symphony Orchestra’s education initiatives by underwriting a Masterworks concert each season that builds on the LSO’s 80-year tradition of education and outreach,

providing

students

from

education

related organizations the opportunity to experience the power of a live symphonic performance.

If you are interested in joining the LSO’s Partners In Harmony, please contact Courtney Jordan at courtney@lubbocksymphony.org or call 806-762-1688

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A LETTER FROM THE PRESIDENT & CEO Dear Friends of the Lubbock Symphony Orchestra, It is a pleasure to welcome you to our third Masterworks concert of the season. Thank you for joining us this evening and for your continued support of your Lubbock Symphony.

This performance is made possible through the generous support of City Bank. We are grateful for their commitment to the arts and to the Lubbock community.

Partnerships like this allow the Lubbock Symphony to continue presenting inspiring performances in The Buddy Holly Hall of Performing Arts and Sciences.

Tonight, we are especially pleased to welcome a very special group of guests, students and staff, from Springlake-Earth Independent School District. Their visit is made possible through Partners in Harmony and the generous support of Curtis Griffith and Dolle Barker. We are proud to share this experience of live orchestral music with these students and are thankful to those who help make access to the arts a priority for young people in our region. If you are interested in supporting this ongoing initiative, please reach out to me.

I would also like to extend my sincere appreciation to our musicians, The Lubbock Chorale, Maestro David Cho, our dedicated Symphony staff, and Board of Directors. Their collective passion and hard work continue to shape memorable performances throughout the season.

We hope tonight’s concert is both comforting and unforgettable.

Thank you,

Heather Hocker President & CEO hhocker@LubbockSymphony.org

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A LETTER FROM THE BOARD CHAIR On behalf of the Board of Directors, welcome to this evening’s Masterworks performance of Brahms: A German Requiem. We are grateful to have you with us for the third performance in the Masterworks series.

This concert is made possible through the generous support of our community partners. We extend our sincere thanks to the CH Foundation, Helen Jones Foundation, Texas Commission on the Arts, and Civic Lubbock, Inc. Their continued investment allows the Lubbock Symphony to present works of grandeur.

We are pleased to welcome two outstanding guest artists this evening.

Baritone Eleomar Cuello has appeared as a soloist in a wide range of operas, including Don Giovanni, La bohème, and Madama Butterfly. His versatility will bring the great depth and resonance needed to tonight’s performance.

Joining him is soprano Amanda Key, whom many of you know and love from our own community. Amanda’s experience singing professionally in 11 countries while living in Europe for 12 years brings an international perspective and remarkable artistry to the stage. We are proud to welcome her back as a featured soloist.

Brahms’ A German Requiem stands as one of the most moving works in the choral-symphonic repertoire offering comfort and hope. We are honored to share this powerful experience with you and thankful for your continued support of the Lubbock Symphony Orchestra.

Thank you for joining us this evening.

Gratefully,

Jill Stangl Chair LSO Board of Directors

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A LETTER FROM THE MUSIC DIRECTOR Dear Lubbock Symphony Family, Welcome to our third Masterworks program of the 2025-2026 season; Brahms’ A German Requiem.

Often referred to as a “Human Requiem”, Johannes Brahms composed this remarkable piece for chorus, two vocal soloists and orchestra; in memory of his mother Johanna Henrika Christiane and his musical mentor Robert Schumann. In this masterpiece, Brahms utilizes scriptures from the Lutheran Bible; instead of a Latin requiem mass text.

Consisting of seven movements, the Lubbock Chorale will be featured throughout. I would like to thank the leadership of Alan Zabriskie, the Board and the singers of the Lubbock Chorale; for their continued efforts to engage Lubbock arts organizations to collaborate in meaningful performances.

Under the limelight is our local soprano extraordinaire Amanda Key who recently received YWCA Women of Excellence Award. Baritone Eleomar Cuello recently sung with the Metropolitan Opera and Utah Opera to critical acclaim.

Opening the concert is Robert Schumann’s capricious Overture, Scherzo and Finale which captures Schumann’s Florestan and Eusebius, the two contrasting alter-ego characters that make Schumann’s music brilliant, imaginative, impulsive and passionate.

We are truly grateful to all of you who purchased tickets for this production. We are also immensely thankful to our concert sponsor City Bank for believing in our mission to share the excitement and beauty of great symphonic fine arts with our community.

Sincerely,

David Cho Music Director Lubbock Symphony Orchestra

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Amanda Key, soprano Amanda Key is known for her “wonderful light lyric voice with a smashing top.” The American Soprano graduated from Texas Tech University with a bachelor’s degree in Vocal Performance and after she finished her master’s degree at the Conservatory in Amsterdam, she co-founded and was named artistic director of a Dutch opera company called B.O.O.M! Bold Opera on the Move.

She was blessed to sing in 11 different countries while living and working in Europe for 12 years. Amanda has performed various opera roles in productions such as Le Nozze di Figaro (Susanna) in Greece and the Netherlands, Vivaldi’s Ottone in villa (Tullia) with Oper Oder Spree in Germany, Così fan tutte (Despina) in Italy, Rigoletto (Gilda) in the Netherlands, Un Ballo in Maschera (Oscar) in Spain, Die Zauberflöte (Königin der Nacht and Erste Dame) in the Netherlands, Die Verkaufte Braut (Esmerelda and Kathinka) in the Netherlands, Dialogues of the Carmelites with Austin Lyric Opera, and L’Elisir D’Amore with the Dutch National Opera Academy.

She also participated in many international masterclasses such as the International Opera Academy in Schwerte, Germany under the direction of Yamina Maamar and Norbert Schmittberg, performing Zerbinetta’s aria in Strauss’s Ariadne auf Naxos, the International Masterclass Circolo della Lirica di Padova, performing scenes from Rossini’s Il turco in Italia (Fiorilla) in Italy with director Stefano Vizioli, and performing Die Fledermaus (Ida) at the International Vocal Arts Institute in Tel Aviv, Israel directed under Joan Dornemann of the New York Metropolitan Opera’s young artist program. She also attended the European Music Academy in Prague, Czech Republic under the direction of Maestro Wolfgang Scheidt and was a finalist in the 2016 Beethoven Award performing highlights from Mozart’s Le Nozze di Figaro (Susanna, and Barbarina) and Così fan tutte (Despina) with the North Czech Philharmonic at the world-famous Smetana Hall, Prague Municipal House.

Amanda also performed oratorio and church music as a soloist in more than 200 cathedrals throughout the Netherlands and Belgium, including repertoire from The Messiah by George Frideric Handel, Matthäus Passion by Johann Sebastian Bach, Ein deutsches Requiem by Johannes Brahms, Johannes Passion by Johann Sebastian Bach, Sacred songs by Karl Jenkins, Die sieben Worte unseres Erlösers am Kreuz by Joseph Haydn, Requiem by John Rutter, Symphony No. 3 in D minor by Anton Bruckner, Choral Fantasy by Beethoven, Te Deum by Anton Bruckner, and the Requiem by Wolfgang Amadeus Mozart with the Arnhems Oratorium Koor, Dordrecht Opera Koor, Belgian Vox Amicorum, Volendams Opera Koor, Groot Omroepkoor. More recently she has performed with the Brazos Valley Symphony Orchestra, and the Lubbock Symphony Orchestra.

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Eleomar Cuello, baritone Cuban baritone Eleomar Cuello, whom the San Francisco Chronicle lauded, “Appearing as Iago…[he] gave a performance of such musical eloquence and theatrical bravura that the audience couldn’t quite believe what we were witnessing” recently finished his second and final year as a member of the Lindemann Young Artist Development Program at the Metropolitan Opera. In the 2025-2026 season, Mr. Cuello will return to the Metropolitan Opera as Dancaïre in Carmen, and make several debuts, including the title role in Il barbiere di Siviglia with Knoxville Opera, Mercutio in Romeo and Juliet with Opera Theatre of St. Louis, and in concert, Brahms’ Requiem with the Lubbock Symphony. In the 2024-2025 season at the Metropolitan Opera, Mr. Cuello performed Fiorello in Il barbiere di Siviglia, and the Bullfighter in Ainadamar. Outside of New York, he sang Sharpless in Madama Butterfly with the Teatro Municipal de Santiago, a role debut, Silvio in I Pagliacci with Utah Opera and Schaunard in La bohéme with Opera Maine.

Notable debuts of recent seasons include the title role in Don Giovanni with Staatstheater Stuttgart and Vero Beach Opera, Silvio with Florida Grand Opera, and covers of Périchaud in La rondine and Dancaïre in Carmen at the Metropolitan Opera.

A resident of Chile from 2015 to 2020, Mr. Cuello performed at the prestigious Teatro Municipal de Santiago as Guglielmo in Così fan tutte, Masetto in Don Giovanni, Valentin in Faust, Haly in L’italiana in Algeri, Schaunard in La bohème, and Marques D’Obigny and Baron Douphol in La Traviata. Elsewhere in Chile, he sang the title role of Don Giovanni, Mamma Agatha in Donizetti’s Le convenenze e inconvenenze teatrali, Escamillo in Carmen, Schaunard, Silvio, and Apollo. After immigrating to Florida in 2021, Eleomar made his US debut as Belcore in L’elisir d’amore with the Gulf Coast Symphony, Dulcamara in L’elisir d’amore with Vero Beach Opera, Angelotti in Tosca, Gregorio in Romeo et Juliette, and Morales in Carmen with Opera Naples, and Marco in both Puccini’s Gianni Schicchi and Michael Ching’s sequel Buoso’s Ghost in a double-bill with Florida Grand Opera. Finally, in 2020, Mr. Cuello appeared in the new production of Roig’s Cecilia Valdés at Teatro de la Zarzuela and later returned as Don Diego in Moreno’s Don Gil de Alcalá in 2022.

Based in New York City and a native of Havana, Cuba, Eleomar Cuello was a participant in the grand finals of the 2023 Metropolitan Opera Laffont as well as a member of the 2023 Merola Opera program with San Francisco Opera. A graduate of the Academy of the National Lyric Theatre of Cuba, Eleomar began his career while still a teenager with that company, performing at the Grand Theater of Havana and the National Theater of Cuba, singing as a soloist in operas and zarzuelas such as Die Zauberflöte and Don Giovanni, La Traviata, La bohème, and Madama Butterfly, La serva padrona, Cecilia Valdés, La verbena de la Paloma, La corte de Faraón, and Las leandras.

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ALAN ZABRISKIE, ARTISTIC DIRECTOR THE LUBBOCK CHORALE Alan Zabriskie is Director of Choral Studies and Professor of Music at Texas Tech University where he serves as conductor of the University Choir, mentors doctoral and masters students in choral conducting, and teaches undergraduate choral conducting. He also serves as Artistic Director of the Lubbock Chorale (a community choir of approximately 125 singers). Prior to arriving at Texas Tech University, he served as Director of Choral Activities at the University of Central Missouri and taught middle school and high school choral music in the Clark County School District in Las Vegas, Nevada. Alan holds degrees from Florida State University, Brigham Young University, and the University of Utah.

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

THE LUBBOCK CHORALE Alan Zabriskie

Artistic Director/Conductor

Mark Bailey

Associate Graduate Conductor

Charles Whitehead Collaborative Pianist

Anh Van Collins

Business Manager

SOPRANO

Melanie Anthony Katie Ball Betsy Bass Sarah Cantor Addy Davis Oxana Davis Miranda Dawson Jennifer Furey Hannah Gossett Madison Hanson Lisa Harvey Sophia Hernandez* 18

Soprano, continued Karen Hybner Makenzie Hyde Chris Kimbler Karina Lago Disdier* Hannah Lammert Barbara Lauriat Kiana Love Heather McInroe Katie Nielsen Mimi Pappas Kensly Peck Rebecca Puckett Claire Randolph Julie Ray Christina Rielo Glenda Reynolds Jess Walls Carol Ward Heidi Winkler

ALTO

Mandi Almager Sofia Altamirano Gwendolyn Bain Elizabeth Carroll Jo Crum Robbi Crumpler Kylie Davis Carolyn Eaks Patricia Freier Amberlynn Gonzales Adithi Govindan Haley Guenther Beth Haney Aveline Hewetson Dana Hinds Patsy Jackson Gabriella Lacombe Faith La Lande Maggie Langsford Lizzie Lambert* Kennedy Leonard Erin Lich Christie Lujan-Cox Bridget Mann Katie Mann Nicole Martens Celestina Martinez Rachael McCutcheon Samantha Pearce Kelsey Peck Kate Poudrier Mari Quiles Kate Smith* Connie Spicier Lori Summers Juliana Upchurch Linda Tyler Cynthia West-Ward Kayla Wimberley Karen Wood Lauren Ziegenhorn* Emily Zoorob

2025-2026 SEASON

TENOR

Darrell Bateman Jacob Briggs* Aiden Chapleau* Charlie Correa Jeb Harris Jaden Hicks Randall Hinds Preston Hitt* Mark Huffines* Weston Marshall Rolla Randel Ken Smith Ryken Tucker*

BASS

Mark Bailey** Kayden Bawa Trayce Boudreaux* Carlos Camarena Don Collier Terry Forbes Ken Haney Jake Hemmle* Melvin E Laski Mark Light Christopher Markgraf* Ethan Nguyen Collin Smith Sam Vasquez* Orlando Williams* Skipper Wood Kerry Wright *Denotes TTU Scholarship Singers **2025-2026 Recipient of the Lottie Hilton and Judge Pat Moore Altrusa Club Music Scholarship This list represents all currently active members. Some members may not participate in every concert.

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The Symphony has the ability to bring us joy and comfort, to motivate us and to help us relax.

PRO UD SUPPO RT E R O F

Lubbock Symphony Orchestra

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LUBBOCK SYMPHONY ORCHESTRA CONDUCTOR

VIOLA

The CH Foundation Endowed Conductor’s Podium

Mary M. Epps and Ralph E. Wallingford Endowed Chair

David Cho Conductor

VIOLIN I

Annie Chalex Boyle Concertmaster

Jones-Saathoff Family Endowed Chair

Abi Rhoades Associate Concertmaster

Diekemper Family Foundation Endowed Chair

Abreal Whitman Assistant Concertmaster Josenir Alves Cerqueira Jr. Adan Flores Radman Rasti TTU School of Music Endowed Performer

Guillermo Uribe Laudino Sean Kyhm Malik Winston Erick Valle

VIOLIN II

Saikat Karmakar Principal

Justice Phil and Carla Johnson Endowed Chair

Cassidy Forehand Assistant Principal Kea Beasley James Ellis Shirley Wigley Christine Tao Brennan Lowrey Martha Perez Savannah Sharp William Olufsen Orion Mckenzie

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Israel Mello Principal

Jordan Stubblefield Sharon Mirll Libby Herring Camellia Asadi Vivian McDermott Jasmin Caldera

CELLO

Michael Newton Principal

Mary Francis Carter Endowed Chair

Alejos Anaya Madeline Garcia Kelly Kuhn Caroline Silva

DOUBLE BASS Mark Morton Principal

Eugene and Covar Dabezies Endowed Chair

Greg Faught Stuart Anderson Chris Arcy Fernando Almeida

FLUTE

TRUMPET

Crew of Columbia, STS-107 Endowed Chair

Stacey and Robert Kollman Family Endowed Chair

Kim Hudson Principal

Eric Leise Associate Principal Antonio Herbert

Gary Hudson Principal

Nathalie Mejia-Zec

TROMBONE

PICCOLO

James T Decker Principal

OBOE

Bruce Keeling

Antonio Herbert

Larry and Lucy Landusky Endowed Chair

Jordan Hastings Principal

BASS TROMBONE

Angeli Mari Nicolas

Tim and Mary Jane Sampson Endowed Chair

CLARINET

TUBA

Christine Polvado and John Stockdale Endowed Chair

Diekemper Family Foundation Endowed Chair

Lubbock Symphony Guild Endowed Chair

David Shea Principal

Aron Maczak

BASSOON

Vince Ocampo Principal

Nancy and Tom Neal Endowed Chair

Adam Drake

CONTRABASSOON Ian Resurreccion

HORN

Quentin Fisher Principal

Anthony and Helen Brittin Endowed Chair

Esteban Chavez Clark Hutchinson Caleb Dent Ashley Beyer

2025-2026 SEASON

Darin Cash

Miles Bintz Principal

TIMPANI Lisa Rogers Principal

Lubbock Symphony Guild Endowed Chair

HARP

Elizabeth Howard Principal

Rachel Jean Armstrong Thomas Principal Harp Endowed Chair

PERSONNEL MANAGER Gary Hudson

LIBRARIAN Israel Mello

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Amanda Key, soprano Eleomar Cuello, baritone

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The Lubbock Chorale David Cho, conductor

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Schumann, Robert (1810 - 1856) Overture, Scherzo and Finale, op. 52 I. Overture II. Scherzo III. Finale

INTERMISSION Brahms, Johannes (1833 -1897) Ein deutsches Requiem, op. 45 (A German Requiem) I. Selig sind, die da Leid tragen – Blessed are they that mourn II. Denn alles Fleisch, es ist wie Gras – For all flesh is as grass III. Herr, lehre doch mich – Lord, make me to know the measure of my days IV. Wie lieblich sind deine Wohnungen – How lovely is thy dwelling place V. Ihr habt nun Traurigkeit – Ye now are sorrowful VI. Denn wir haben hie keine bleibende Statt – For here we have no abiding city VII. Selig sind die Toten – Blessed are the dead Amanda Key, soprano Eleomar Cuello, baritone Alan Zabriskie, The Lubbock Chorale David Cho, conductor This program is approximately 1 hour and 46 minutes

Helen Jones Foundation, Inc. SS Foundation THIS PROGRAM IS MADE POSSIBLE IN PART THROUGH A GRANT FROM THE CITY OF LUBBOCK, AS RECOMMENDED BY CIVIC LUBBOCK, INC.

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German - English Translations Brahms, Johannes Ein deutsches Requiem, op. 45 (A German Requiem) German

English

Matthew 5:4

Selig sind, die da Leid tragen, denn sie sollen getröstet werden.

Blessed are they that mourn; for they shall be comforted.

Psalm 126:5,6

Die mit Tränen säen, werden mit Freuden ernten.

Sie gehen hin und weinen und tragen edlen Samen, und kommen mit Freuden und bringen ihre Garben.

They that sow in tears shall reap in joy.

He that goeth forth and weepeth, bearing precious seed, shall doubtless come again with rejoicing, bringing his sheaves with him.

1 Peter 1:24

Denn alles Fleisch ist wie Gras und alle Herrlichkeit des Menschen wie des Grases Blumen. Das Gras ist verdorret und die Blume abgefallen.

For all flesh is as grass, and all the glory of man as the flower of grass. The grass withereth, and the flower thereof falleth away.

James 5:7

So seid nun geduldig, lieben Brüder, bis auf die Zukunft des Herrn.

Siehe, ein Ackermann wartet auf die köstliche Frucht der Erde und is geduldig darüber, bis er empfahe den Morgenregen und Abendregen.

Be patient therefore, brethren, unto the coming of the Lord.

Behold, the husbandmen waiteth for the precious fruit of the earth, and hath long patience for it, until he receive the early and latter rain.

1 Peter 1:25

Aber des Herrn Wort bleibet in Ewigkeit.

But the word of the Lord endureth for ever.

James 5:7

So seid nun geduldig, lieben Brüder, bis auf die Zukunft des Herrn.

Siehe, ein Ackermann wartet auf die köstliche Frucht der Erde und is geduldig darüber, bis er empfahe den Morgenregen und Abendregen.

Be patient therefore, brethren, unto the coming of the Lord.

Behold, the husbandmen waiteth for the precious fruit of the earth, and hath long patience for it, until he receive the early and latter rain.

1 Peter 1:25

Aber des Herrn Wort bleibet in Ewigkeit.

But the word of the Lord endureth for ever.

Isaiah 35:10

Die Erlöseten des Herrn werden wieder kommen, und gen Zion kommen mit Jauchzen; ewige Freude wird über ihrem Haupte sein; Freude und Wonne werden sie ergreifen und Schmerz und Seufzen wird weg müssen.

And the ransomed of the Lord shall return, and come to Zion with songs and everlasting joy upon their heads: they shall obtain joy and gladness, and sorrow and sighing shall flee away.

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III Psalm 39:4-7

Herr, lehre doch mich, daß ein Ende mit mir haben muß, und mein Leben ein Ziel hat, und ich davon muß. Siehe, meine Tage sind einer Hand breit vor dir, und mein Leben ist wie nichts vor dir. Ach, wie gar nichts sind alle Menschen, die doch so sicher leben. Sie gehen daher wie ein Schemen, und machen ihnen viel vergebliche Unruhe; sie sammeln und wissen nicht wer es kriegen vird. Nun Herr, wess soll ich mich trösten? Ich hoffe auf dich.

Lord, make me to know mine end, and the measure of my days, what it is: that I may know how frail I am. Behold, thou hast made my days as an handbreadth; and mine age is as nothing before thee. Surely every man walketh in a vain shew: surely they are disquieted in vain: he heapeth up riches, and knoweth not who shall gather them. And now, Lord, what wait I for? my hope is in thee.

Wisdom of Solomon 3:1

Der Gerechten Seelen sind in Gottes Hand und keine Qual rühret sie an.

But the souls of the righteous are in the hand of God, and there shall no torment touch them.

Wie lieblich sind deine Wohnungen, Herr Zebaoth! Meine seele verlanget und sehnet sich nach den Vorhöfen des Herrn; mein Leib und Seele freuen sich in dem lebendigen Gott.

Wohl denen, die in deinem Hause wohnen, die loben dich immerdar.

How amiable are thy tabernacles, O Lord of hosts! My soul longeth, yea, even fainteth for the courts of the Lord: my heart and my flesh crieth out for the living God. Blessed are they that dwell in thy house: they will be still praising thee.

John 16:22

Ihr habt nun Traurigkeit; aber ich will euch wieder sehen und euer Herz soll sich freuen und eure Freude soll neimand von euch nehmen.

And ye now therefore have sorrow; but I will see you again, and your heart shall rejoice, and your joy no man taketh from you.

Ecclesiasticus 51:27

Sehet mich an: Ich habe eine kleine Zeit Mühe und Arbeit gehabt und habe großen Trost funden.

Ye see how for a little while I labor and toil, yet have I found much rest.

Isaiah 66:13

Die Erlöseten des Herrn werden wieder kommen, und gen Zion kommen mit Jauchzen; ewige Freude wird über ihrem Haupte sein; Freude und Wonne werden sie ergreifen und Schmerz und Seufzen wird weg müssen.

And the ransomed of the Lord shall return, and come to Zion with songs and everlasting joy upon their heads: they shall obtain joy and gladness, and sorrow and sighing shall flee away.

Denn wir haben hie keine bleibende Statt, sondern die zukünftige suchen wir.

For here have we no continuing city, but we seek one to come.

IV Psalm 84:1,2,4

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VI Hebrews 13:14

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German - English Translations of Brahms, cont.

1 Corinthians 15:51,52,54,55

Siehe, ich sage euch ein Geheimnis: Wir werden nicht alle entschlafen, wir werden aber alle verwandelt werden; und dasselbige plötzlich, in einem Augenblick, zu der Zeit der letzten Posaune. Denn es wird die Posaune schallen, und die Toten vervandelt werden. Dann wird erfüllet werden das Wort, das geschrieben steht: Der Tod is verschlungen in den Sieg. Tod, wo ist dein Stachel? Hölle, wo ist dein Sieg?

Behold, I shew you a mystery; We shall not all sleep, but we shall all be changed. In a moment, in the twinkling of an eye, at the last trump: for the trumpet shall sound, and the dead shall be raised incorruptible, and we shall be changed. …then shall be brought to pass the saying that is written, Death is swallowed up in victory. O death, where is thy sting? O grave, where is thy victory?

Revelation 4:11

Herr, du bist Würdig zu nehmen Preis und Ehre und Kraft, denn du hast alle Dinge geschaffen, und durch deinen Willen haben sie das Wesen und sind geschaffen.

Thou art worthy, O Lord, to receive glory and honour and power: for thou hast created all things, and for thy pleasure they are and were created.

Selig sind die Toten, die in dem Herrn sterben, von nun an. Ja, der Geist spricht, daß sie ruhen von ihrer Arbeit; denn ihre Werke folgen ihnen nach.

Blessed are the dead which die in the Lord from henceforth: Yea, saith the Spirit, that they may rest from their labours; and their works do follow them.

VII Revelation 14:13

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PROGRAM NOTES Schumann: Overture, Scherzo and Finale Robert Schumann’s Overture, Scherzo, and Finale was composed in 1841 and heavily revised in 1845 after a lukewarm reception at its premiere. 1841 was one of the few happy years in Schumann’s troubled life. His First Symphony (The Spring Symphony) had been greeted with great acclaim at its premiere in March. He had recently married Clara Wieck after a protracted battle with her father, Friedrich, who vigorously opposed the marriage. As a result, Clara had to wait until she was legally of age, and thus no longer under her father’s guardianship, to marry Robert.

Friedrich is usually portrayed as the bad guy in this dispute. Still, it’s easy to understand why he would oppose the liaison between his brilliant daughter (a world-class pianist) and the mentally unstable genius. Most fathers in a similar position would likely do the same and be just as successful.

Schumann noted he composed his Overture, Scherzo, and Finale in a “truly merry mood.”

Often called a symphony without a slow movement, this charming piece (even if a slow movement had been added) lacks the gravitas associated with the composer’s four numbered symphonies. He initially referred to the work as a ‘Suite’ or ‘Sinfonietta’, implying a looser collection of movements rather than the four-movement structure of a traditional symphony. He finally decided on the purely descriptive title, which rather prosaically names the celebratory and jovial composition.

The overture has a somber start which rapidly morphs into a lively allegro that shows the influence of Felix Mendelssohn, Schumman’s close friend. His influence is also found in the other movements, which have repeated rhythms. The vigorous finale ends the genial and lightly orchestrated piece. Schuman’s Overture, Scherzo, and Finale deserves more than an occasional inclusion on concert programs.

Brahms: A German Requiem Eating the fruit from the Tree of Knowledge of Good and Evil made mankind the only creatures in God’s universe aware of their mortality. This burden has weighed down humanity to the farthest reaches of our existence. The certainty of our end expresses itself in religion, philosophy, literature, art, and music. It animates every human interaction from war to restraint.

Death pervades classical music like a mournful messenger of fate. Examples are too numerous to mention in any depth; a few, such as Wagner’s Tristan und Isolde, Strauss’s Death and Transfiguration, and Mahler’s 9th Symphony are prime examples.

But there is one musical form that is exclusively about death – the Requiem. There are thousands of musical settings of the Catholic Mass for the Dead. They often add or subtract from the liturgical text of the Mass. The best known of these are by Mozart, Berlioz, Verdi, and Fauré. *(More about Fauré below.)

Brahms’s Ein deutsches Requiem (A German Requiem) occupies a unique position in the composer’s output and in the history of the nineteenth-century choral tradition. The German in the title refers to the German language, not the nation. The text is taken from Luther’s translation of the Bible and the Apocrypha into German. A minor point, the d in Ein deutsches Requiem is not capitalized because adjectives are generally not capitalized in German, even when they are part of a title or refer to a nationality. Brahms did not mean a requiem for Germany, nor did he intend the work to serve a liturgical function.

The composer said he would gladly omit German and call the piece A Human Requiem.

Brahms was very close to Robert Schumann, who was like a father to the younger composer. He was greatly affected by Schumann’s suicide attempt in 1854 and his death two years later in a mental institution. Brahms had been contemplating a large-scale choral work dealing with death and consolation as early as 1854. His mother’s death in 1865 provided the impetus for the work’s completion, rather than its conception, which owed much to Schumann’s desperate condition.

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Brahms was explicit that the work was not confessional in the traditional sense. The text avoids explicit reference to Christ’s redemption or resurrection; instead, it focuses on human suffering, transience, and consolation. This choice places the work at a remove from orthodox Christian doctrine and aligns it more closely with a broadly humanistic, even postEnlightenment worldview. It is entirely different from the traditional musical settings of the Latin Mass for the Dead. It is about peace and acceptance rather than sin and salvation.

There is no librettist for the work. Brahms himself selected and ordered biblical passages, primarily from Psalms, Isaiah, Ecclesiastes, the Gospels, and the Pauline Epistles. This allowed him to construct a carefully balanced theological and emotional arc.

Brahms composed the requiem between 1865 and 1868. The requiem was performed in an incomplete version in 1867 in Vienna. It was poorly received due to inadequate rehearsal and audience expectation of a liturgical Mass. A Good Friday performance in Bremen Cathedral on April 10, 1868, where six movements were performed, and the premiere of the complete seven-movement version in Leipzig on February 18, 1869, established Brahms as the leading German composer of sacred choral music of his generation and marked his full artistic maturity.

The added movement, ‘Ihr habt nun Traurigkeit’ (Now ye have sorrow) for solo soprano, is thought to be a remembrance of Brahms’ deceased mother, Christiane. It is number V in the order specified by Brahms.

The longest of all Brahms’ compositions, the work is symmetrically arranged in seven movements: I. Selig sind, die da Leid tragen (Blessed are they that mourn): Begins with the Beatitudes (“Blessed are they that mourn”). Scored without violins to create a dark, somber texture.

II. Denn alles Fleisch, es ist wie Gras (For all flesh is as grass): A powerful funeral march contrasting the transience of life with the endurance of God’s word.

III. Herr, lehre doch mich (Lord, make me to know mine end): Features a baritone soloist reflecting on human mortality, concluding with a massive fugue.

IV. Wie lieblich sind deine Wohnungen (How lovely is Thy dwelling place): The work’s central and most famous movement, expressing a lyrical longing for peace.

V. Ihr habt nun Traurigkeit (Ye now are sorrowful): The soprano solo added later, specifically to provide motherly comfort.

VI. Denn wir haben hie keine bleibende Statt (For here have we no continuing city): A dramatic baritone solo depicting the “last trumpet” and the victory over death.

VII. Selig sind die Toten (Blessed are the dead which die in the Lord): Echoes the first movement’s theme of “blessedness,” bringing the work to a serene, cyclical conclusion.

Movements I and VII form a frame focused on beatitude and consolation. Both begin with the word ‘Selig’ (Blessed) and share similar melodic material. Movement VII ends with the same musical motifs and harp-enriched orchestration as Movement I. Movements II and VI confront mortality and transience. Movement II is the most dramatically contrasted and is often described as a funeral march with a progression from mortal transience to eschatological hope. The closing section culminates in a radiant fugue, one of Brahms’s first major demonstrations of choral contrapuntal mastery. Movement VI is the largest and most complex movement, combining elements of aria, chorus, recitative, and fugue. It begins with the baritone articulating humanity’s homelessness in the world.

The movement ends in a monumental double fugue, combining learned counterpoint with overwhelming sonic power. This is the closest Brahms comes to traditional judgment imagery, yet even here the emphasis is on divine worthiness rather than human fear.

Movements III and V both feature soloists (baritone and soprano, respectively) integrated into the choral texture. Movement III is tripartite, with a reflective solo section, a choral

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Program notes, cont. meditation, and a consoling conclusion. Movement V is intimate and lyrical, functioning almost as a song within the larger structure. The soprano solo unfolds in long, arching phrases, supported by gentle orchestral textures. This is the most personal movement in the Requiem and is often understood as Brahms’s response to his mother’s death.

Movement IV stands at the center of the Requiem as a vision of peace and dwelling. It is the lyrical keystone of the piece, offering a gentle meditation on heaven.

Ein deutsches Requiem is characterized by its deep humanism and its pivotal role in establishing Brahms as a major figure in 19th-century music. It is a consolation for the living rather than a prayer for the dead. Unlike traditional Latin Requiems that center on divine judgment and the Dies Irae (Day of Wrath), Brahms’ work focuses on the human experience of grief and spiritual healing. It omits specific Christian dogmas, such as the name of Jesus or references to the redeeming sacrifice of Christ, to give the work a broader ecumenical and humanistic appeal.

Though Brahms’ career coincided with the height of musical romanticism, he was at heart a classical composer who used modern forms within that context. The use of contrapuntal techniques in the requiem comes from his attachment to the classical tradition. His name and music were at the heart of the great debate over the worth of Wagner’s revolutionary approach to music and art. Like Berlioz, he was concerned with the future of music rather than the music of the future.

By using the German language and non-liturgical texts, Brahms redefined the “Requiem” as a concert-hall genre rather than strictly a church service, influencing later composers like Mahler and Fauré to seek more personal, less dogmatic expressions of mortality. The work continues to be programmed worldwide as a standard for reflection and remembrance, valued for its ability to provide solace during times of collective or personal loss. *Fauré’s Requiem uses the traditional Catholic text, omitting the Dies Irae. It too is in seven movements and is scored for soprano, baritone, mixed choir, orchestra, and organ. Fauré wrote of the work, “Everything I managed to entertain by way of religious illusion I put into my Requiem, which moreover is dominated from beginning to end by a very human feeling of faith in eternal rest.” The influence of Brahms’ earlier Mass on Fauré is palpable.

Due to its contemplative and introspective nature, Brahms’ Requiem, though often played, will never be as popular as Verdi’s intensely dramatic and melodically inspired Mass, which the LSO will perform next year. The LSO’s audience will thus have the unique opportunity to hear these two masterpieces performed in successive seasons. They will be able to realize how two of music’s giants approached the same subject in diametrically opposite ways.

Neil Kurtzman

2025-2026 SEASON

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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 February 2025 and February 2026.

MAESTRO’S LEGACY CIRCLE ($100,000+) Ann and Craig* McDonald Family

MAESTRO’S DIAMOND CIRCLE ($50,000-$99,000) Herb and Evan Armstrong

MAESTRO’S PLATINUM CIRCLE ($25,000-$49,999) Dr. Doug Klepper and Terry Hawkins Sandra and Neil A. Kurtzman

MAESTRO’S GOLD CIRCLE ($15,000-$24,999) Deena and Harold Evensky Patricia and Donnie Hicks Shari and Randy Holloway Shanna and James St. Clair Nadene and Roger Tipton

MAESTRO’S SILVER CIRCLE ($7,500 – $14,999) The Advisors Group Sherryle Cantu Shelby Russel Dr. Rebeccah & Mr. Dustin Baucom Dolle Barker Jill and Gilbert Berdine Leen and Mounir Borno Terri and Michael Byrne Maureen Chadwick Betsy and Thivakorn Kasemsri Marcus Borhani and Dawn Kelley Susan and Don Maddox Katie and John Salter Tommy Sansom Jill and Fred Stangl Lyn and Mark Stoll Ralph Tamper and Don Shrum Jenny and Edson Way Drs. Lola and Thomas Windisch

2025-2026 SEASON

MAESTRO’S CIRCLE ($5,000 – $7,499) Randy Andrews Covar Dabezies Stephen L. and Melissa A. Faulk Birgit and Brad Green Sue and Curtis Griffith Sandy and Alan Henry Leslie and Adrian Huckabee The Honorable and Mrs. Phil Johnson Jan Ledbetter Laura and Monte Monroe Tricia and Dr. Peter Reed Mary Jane and Tim Sampson Jo Anne M. Smith Toni E. Wallingford

VIRTUOSO’S CIRCLE ($3,500 – $4,999) Patricia Lynn Freier Lucy and Larry J. Landusky Mary McCrary

CONCERTMASTER’S CIRCLE ($1,500 – $3,499) Elizabeth and Will Ashmore Betsy and Mark Bass Kasi and Chris Boutwell Deborah Conn Linda and Bryan Dunn Elenora and Elias Ghandour Reed Hooks John Hunter Virginia Kellogg Stacey and Robert Kollman Nancy and Tom Neal Brenda and Curtis Parrish Janeen Patterson Melissa and Tim Pridmore Trevor Rogers Kuykendall Foundation Cindy and Harry Zimmerman

*in memoriam

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MUSICIAN’S CIRCLE ($1,000 – $1,499) Nathan Baie Stephen and Maria Balch Nancy Barr Anthony Brittin Kathleen and Eric Burrell Terri and Mike Byrne Cassie Christopher Allison Clayton Katherine Cody Joehassin Cordero Evelyn Davies Patti and Jim Douglass Clay Elliott Michael Epps Martha Fregia Alvin Gary Amy Grisham LaVelle Hawkins Rhea Hill Hill & Ioppolo Oral and Dental Implant Surgery of Lubbock Bobbye Hrncirik Grace Lin Patti and Jim Lupton Sharon and Rick Martin Sally Murray Dr. Tam Nguyen Gwen Nichols Stephanie Rogers Janice Stachowiak Darya White Joyce and Scott White Brian A. Willcutt Michael Zimmerman

YOUNG ARTIST’S CIRCLE

($500 - $999) Gisele Bazan Amanda Bourland Krista and Matthew Bumstead Kristina Butts Beverly and Dana Butler Mary and W.R. Collier Sandra and Robert Crosier Joe Dominey Dennis Harp Nancy and Richard Jorgensen Joshua Kendrick Kyle Laughlin Claire and Wyatt Leavell Carolyn Moore and Allan MacKenzie Cindy and Mark McBrayer Rebecca Moffett

2025-2026 SEASON

Young Artist’s Circle, cont.

Robert Nebb Gwen and Thomas J. Nichols Sharmon and Keith Owens Thomas Parsons Melanie and Dr. Mike Ragain Dr. Carlos Ricaldi Dona Richardson Tracee and Dr. Scott Spore Chris St. Clair Tracy Wills Tobin Sally Walton

PATRON’S CIRCLE ($275 - $499) Barry Cohen Reyhan and Richard Crider David Cummings James Fox Constance Goodwin David Hodges Janeen Drew Holmes Alycyn Keeling Janice and Morris Knox Kishor Mehta Michael Mitchell Jill Nelson Mary Ellen Perez Vanessa Pope Patrick Poradek Janet and Davis Price Sherill and Charles Skibell Carol Walker Gay Word

SUSTAINER’S CIRCLE ($125 - $274) Lynn Akin H. Allen Anderson Xochitl Anderton Jill and Randy Ball Pam Blassingame Bradley Blount Jessica Brashear Kathy Britton Joana Brown Carla Burrus Neill Carter Mary Cato Josh Corbin Bobbe Crawford Cari and Dennis Dillon Sherri Field Gregory Fields Mark Flenniken Mark Funderburk

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Sustainer’s Circle, cont.

David Gibson Lisa Gilliland Tyler Graham Jane Henry Callum Hetherington Aveline Hewetson Aaron Huff Margaret Kemp Wendell Leatherwood Judy and Gary Linker Diane Lowell Debbie Lyford Penelope and Gerald Pipkin George Porter Christy Reeves Darin Richards Joel Robinett Carmen Stein Steve Synck Jim Tapp Dave Treat Alina Warraich Wayne Weslander Dianne White Rodney White Gary Wood

2025-2026 SEASON

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Perfect Harmony.

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LUBBOCK SYMPHONY CHAMBER ORCHESTRA SPONSORS Grey Hare Analytics, Inc. SS Foundation Patricia and Donnie Hicks

Prosperity Bank Shari and Randy Holloway

LUBBOCK YOUTH ORCHESTRAS SPONSORS The CH Foundation Comissioners Court / Lubbock County, Texas Civic Lubbock ESO Fan Wear Helen Jones Foundation Mighty Wash Lubbock Live Festival for the Arts UMC Connect

Scan to update your donor information

2025-2026 SEASON

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SEASON SPONSORS *Lubbock Youth Orchestras and Lubbock Symphony Education Sponsors

MAESTRO’S PLATINUM MAESTRO’S CIRCLE ($5,000 – $7,499) CIRCLE ($25,000+) The United Family

MAESTRO’S GOLD CIRCLE ($15,000-$24,999) City Bank University Medical Center UMB Bank LSO Partners in Harmony

MAESTRO’S SILVER CIRCLE

($7,500 – $14,999) Armstrong Mechanical Beth and Chris Carpenter Chappell, Lanehart & Stangl P.C. *Double T Smiles Drs. Colleen and Michael Segall Hill & Ioppolo Oral & Dental Implant Surgery of Lubbock (The Ioppolo Family Foundation) Lory and Dr. Rob Ioppolo Merrill Lynch MWM Architects Officewise Commercial Interiors Overton Hotel & Conference Center Texas Tech Office of the President / J.T. and Margaret Talkington College of Visual and Performing Arts

2025-2026 SEASON

Casserole Premium Quality Beans Friends of Trout Fishing in America Tiva Kasemsri Lowry Schaub Scott Spore Roger Tipton Thomas Windisch John Zias GRACO Real Estate Development The Andrews Family Happy State Bank Julian Gold HG Thrash Texas Tech University School of Music Victory Bank Visual Edge IT

VIRTUOSO’S CIRCLE ($3,500 – $4,999) Grey Hare Analytics, Inc.

CONCERTMASTER’S CIRCLE ($1,000 – $3,499) Abuelo’s Mexican Restaurant Grace and Robert Lin Blue Layer Community National Bank Evensky & Katz / Foldes Wealth Management Katie and John Salter Prosperity Bank Science Spectrum Tucker Floral

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Our Crescendo fund aims to AMPLIFY Lubbock’s performing arts culture by raising $200,000 to bring popular musical artists to perform alongside the Lubbock Symphony Orchestra.

Help us bring the next big artist to Lubbock!

THANK YOU TO OUR CRESCENDO DONORS! FORTISSIMO

($10,000+) Evan and Herb Armstrong Lubbock Symphony Guild Nancy and Thomas Neal Ralph Tamper and Don Shrum

FORTE

($5,000 - $9,999) Michael Epps Don and Susan Maddox Sharon and Rick Martin Shanna and James St. Clair Toni Wallingford

MEZZO FORTE

($1,000 - $4,999) Pam and Rob Allison Beth and Will Ashmore Ruth Ann and Aubrey Bridges

2025-2026 SEASON

Mezzo Forte, continued Bobbe Crawford Covar Dabezies Stephen L. and Melissa A. Faulk Patricia Lynn Freier Birgit and Brad Green Robbie Harbison Sandy and Alan Henry The Honorable and Mrs. Phil Johnson Richard Jorgensen Betsy and Thivakorn Kasemsri Stacey and Robert Kollman Grace and Robert Lin Gwen and Tom Nichols Sharmon and Keith Owens Brenda and Curtis Parrish Prosperity Bank Dr. Wael and Hana Qubti Tricia and Peter Reed Judy and Paul Rostad Mary and Roger Saathoff

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Artistic Spirit PROUD TO FEED

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

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CRESCENDO Mezzo Forte, continued Mary Jane and Tim Sampson Tina and Tommy Sansom Debbie Sims Jill and Fred Stangl Pat and Charles Wheeler Darya White

MEZZO PIANO

($20 - $999) Trudy Gamble Carol Giblin Alena Ilyushyna Amanda Kuhn Kit and Ben Linton James McNabb Jill Nelson Mary Parra Kathrin Price Cloyce Stetson and Janice Stachowiak Ross Waggoner Susan Wilson For over 79 seasons, the Lubbock Symphony Orchestra has been a bridge between the world’s top performers and the heart of the Hub City. Whether it’s up-and-coming talent or seasoned professionals, we take pride in showcasing the rich musical culture of our region to the world. Now, it’s time to turn up the volume and make it clear that Lubbock is a destination not to be missed.

The meaning of CRESCENDO is a gradual increase. In 1963, the Lubbock Symphony introduced the legendary pianist Van Cliburn, who performed with our local orchestra.

Similarly in 1993, the Lubbock Symphony garnered attention by hosting a series of concerts featuring pop singer Tony Bennett. Since then, the orchestra has had the privilege of hosting notable performers such as Yo-Yo Ma, Joshua Bell, Wynton Marsalis, Susan Graham, Renée Fleming, Boyz II Men, and Kristin Chenoweth. The Symphony has also paid tribute to renowned artists like Queen, The Beatles, Led Zeppelin, Wicked The Musical, and Aretha Franklin. These performances hold a special place in the hearts of many members of our community, as they are cherished memories. This is why we strive to keep creating unforgettable experiences that can be treasured by future generations.

Did you know that only one-third of our annual budget comes from ticket sales? The remaining funds mainly come from music supporters in the community, like yourself.

Crescendo aims to AMPLIFY your support of our evolving mission to bring the most prominent names in music to the Hub City.

You can add your name today to the expanding list of benefactors, who are leaving their mark on the Hub City and building a legacy of performances for generations to come.

Please join us with your gift to Crescendo today!

2025-2026 SEASON

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HONORARIUMS The Lubbock Symphony Orchestra respectfully acknowledges donations received during the 2025-2026 Season in honor of the following: Bess Haley In Honor Of Toni Wallingford Evelyn Davies In Honor Of Toni Wallingford The Randy Andrews Family In Honor Of David Cho William Choe In Honor Of David Cho Sue Sexton In Honor Of David Cho Virginia Kellogg In Honor Of David Cho Dean Kilmer In Honor Of David Cho Rock Thoms In Honor Of David Cho David J. Tobin In Honor Of David Cho G3 In Honor of Stephen L . and Melissa A. Faulk Michael Epps In Honor Of Stephen L . and Melissa A. Faulk Robin and Don Walker In Honor Of Stephen L . and Melissa A. Faulk Toni E. Wallingford In Honor Of Stephen L . and Melissa A. Faulk Patricia and Charles Wheeler In Honor Of Stephen L . and Melissa A. Faulk Twentieth Century Club In Honor Of Dr. Elissa Stroman Jim Smith In Honor Of Donna Smith

In honor of Dawn Kelley & Marcus Borhani Musicians Support Endowment James and Luann Beardemphl Scott and Jessica Beardemphl Crystal Borhani Rahim and Martha Borhani Tutti Burkett David Cho Bryan and Linda Dunn Richard and Rebecca Gale Larry and Susan Hess Sheryl House George R. Keeling Insurance Doug Klepper and Terry Hawkins Leslie Mihal Allan Mackenzie and Carolyn Moore Steve and Peggy Reinhart Susan and Chris Seiter Tom and Judy Spoonts Priscilla Stennis Cloyce Stetson and Janice Stachowiak Lloyd and Betti Whetzel Patricia and Charles Wheeler

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MEMORIALS Jo Anne M. Smith In Memory Of Norton Baker Michael Epps In Memory Of Eva and Walter Beets Thivakorn Kasemsri In Memory Of RADM Stephen K. Chadwick Toni E. Wallingford In Memory Of Dickie and Fritz Epps Martha Fregia In Memory Of Justin Fregia Connie Goodwin In Memory Of Grace and Frank Goodwin Allan MacKenzie In Memory Of Ruth Lauer Peggy Dyess In Memory Of Audrey McCool Carolyn Wooten In Memory Of Ricky Rasco Suzanne Rasco In Memory Of Ricky Rasco Jim Smith In Memory Of Donna Smith Eric and Janis Blackwell In Memory of Dr. Roy Wilson

If you would like to honor an individual or organization important to you, please send your tax-deductible donation to the Lubbock Symphony Orchestra, 601 Avenue K; Lubbock, TX 79401.

LSO ENDOWMENTS The Lubbock Symphony Orchestra Endowment Trust The CH Foundation Conductor’s Podium Endowment Helen DeVitt Jones Endowment for Education LSO Endowment for Musician Fees and Education Shelley Hall Nelson Endowment for Musicians’ Salaries Lubbock Symphony Opera Fund Texas Tech University J.T. & Margaret Talkington College of Visual and Performing Arts, School of Music Performer Endowment Jones-Saathoff Family Concertmaster Endowment Diekemper Family Foundation Associate Concertmaster Endowment Justice Phil and Carla Johnson Principal Second Violin Endowment Mary M. Epps and Ralph E. Wallingford Principal Viola Endowment Mary Francis Carter Principal Cello Endowment Eugene and Covar Dabezies Principal Bass Endowment Drs. Audrey and Barry McCool Principal Flute Endowment, in memory of the Crew of Columbia, STS-107 Lubbock Symphony Guild Principal Oboe Endowment Janeen Drew Holmes English Horn Endowment Christine Polvado and John Stockdale Principal Clarinet Endowment Nancy and Tom Neal Principal Bassoon Endowment Anthony and Helen Brittin Principal Horn Endowment Stacey and Robert Kollman Family Principal Trumpet Endowment Larry and Lucy Landusky Principal Trombone Endowment Tim and Mary Jane Sampson Bass Trombone Endowment Diekemper Family Foundation Principal Tuba Endowment Lubbock Symphony Guild Timpani Endowment Lisa Rogers/Alan Shinn Principal Percussion Endowment Rachel Jean Armstrong Thomas Principal Harp Endowment Edward R. and Jo Anne M. Smith Principal Piano Endowment Dawn Kelley and Marcus Borhani Musicians Support Endowment

2025-2026 SEASON

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B U I LT O N

Tradition

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2025-2026 SEASON

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Buddy Holly Hall is “IN THE GROOVE”

It has been said that "Architecture is Frozen Music" So from the Musicians at MWM to the Designers in the LSO:

Maestro, Music if You Please...

MWM Architects, Inc. 2022 Broadway Avenue Lubbock, Texas 79401 Phone (806)745-7707

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FINANCIALLY SAVVY WAYS TO GIVE TO THE LUBBOCK SYMPHONY ORCHESTRA Your support enables the LSO to offer grand musical experiences, whether in concert with world-renowned guest artists or in classrooms sharing the wonder of music with students.

Below is a list of ways you can support your LSO: Traditional Donation Mail a check, payable to the Lubbock Symphony Orchestra, or make an online gift. See the QR Code below to make a gift.

Matching Gifts Many businesses will match employees’ charitable gifts. A donation may be matched dollar-for-dollar or at a percentage. Check with your company to see if they participate in a matching program.

Qualified Charitable Distribution (QCD)* Beginning at age 70½, you may contribute up to $100,000 annually directly from your IRA to the LSO through a QCD and avoid the distribution as income.

Donor-Advised Fund (DAF)* You may contribute to the LSO through a donor-advised fund. The LSO can also be the beneficiary or successor advisor to your DAF. Stock and Securities* You can donate appreciated stocks and securities to the LSO, saving capital gains taxes while providing a deduction of the entire donation.

Bequests/Legacy Gifts* Remembering the LSO in wills and trusts helps ensure we continue creating quality symphonic performances and educational experiences. *To ensure your gift meets proper tax requirements and to determine the best method of gifting for your unique situation, we recommend reviewing guidelines and discussing with your tax and/or financial advisor and legal professional for bequests and legacy gifts.

For additional information or questions, contact Courtney Jordan, Director of Development, at 806.642.5228 or courtney@lubbocksymphony.org Lubbock Symphony Orchestra 601 Avenue K | Lubbock, TX 79401 EIN #75-6001993 The LSO is a 501c(3) nonprofit organization.

2025-2026 SEASON

SCAN QR CODE FOR MORE INFORMATION

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John Salter, CFP®, Ph.D. - Wealth Manager & Principal Katie Salter, CPA - Senior Vice President & Principal

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2025-2026 SEASON

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MICHAEL POSTAR ’S

Proud supporter of The Lubbock Symphony 58

ADVISORY COUNCIL, PAST CHAIRS Jack M. Lewis

1946

W.P. Clement

1947

Charles E. Maedgen, Jr.

1948

Roy Bass

1949

Rex Webster

1950

Marion Key

1951

W.R. Sewell

1952

J.C. Reynold

1953

James L. Quicksall, Jr.

1954

Asher Thompson

1955-56

Richard G. Richards

1957

Jack Kastman

1958

Joe J. Moise

1959

J. Harmon Jenkins

1960

George C. Miller

1961

Lonnie Langston

1962

John Witcomb

1963

O.W. English

1964

Asher Thompson

1965-68

Troy Myers

1969

Arthur E. Gamble

1970

Charley Pope

1975-77

C.B. Carter

1978

Robert E. Norris

1979

Dean James Allen

1980-81

Robert L. Stripling

1982

Charley Pope

1983-84

John R. Kreiger

1985

Roger Key

1986

Edwin E. Merriman

1987

Owen McWhorter, Jr.

1988

Frank Newton

1989

Frank Anderson

1990-91

Kay Sanford

1991

Paul Meyer

1991-92

Robert L. Stripling

1992-93

Jim Ratliff

1993-94

Coffee Conner

1995-96

Alan Henry

1996-97

William D. Armstrong

1997-98

Susan Boling

1998-99

Curtis Griffith

1999-00

DeWayne Pierce

2000-01

Mike Cunningham

2001-02

Margaret Lutherer

2002-03

Chris Barnette

2003-05

Catherine S. Porter

2005-06

Ray Fargason

2006-08

Emily Ratcliff

2008-09

Brad Green

2009-11

Peter G. Daia

2011-13

Kirk McLaughlin

2013-15

Harry Zimmerman

2015-17

Shannon Taliaferro

2017-19

Heather Hocker

2019-21

Brian Willcutt

2021-23

Toni Wallingford

2023-25

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

There are those of us who make the music.

to the Lubbock

...then there are those of us

Symphony Orchestra since 1999.

who help make the music possible.

For information on how you can be a part of what makes it all possible, please visit LubbockSymphonyGuild.com LUBBOCK SYMPHONY GUILD We need you to help make it happen!

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PANTONE 7624 (font - Novocento Wide/Adorn Pomander Custom-

PANTONE 8383 METALLIC

BEHIND THE MUSIC OFFICERS

Jill Stangl Chair Dustin Baucom Chair Elect Brad Green Treasurer Stephanie Rogers Secretary Toni Wallingford Immediate Past Chair

BOARD OF DIRECTORS

Beth Ashmore Steve Balch Dustin Baucom Gilbert Berdine Leen Borno Kasi Boutwell Terri Byrne Maureen Chadwick David Cho Cassie Christopher Allison Clayton Covar Dabezies Clay Elliott Deena Evensky Stephen L. Faulk Melissa A. Faulk Cassidy Forehand Patricia Lynn Freier Elias Ghandour Brad Green Amy Grisham Spencer Hartman Sandy Henry Rhea Hill Bobbye Hrncirik Rob Ioppolo Carla Johnson Tiva Kasemsri Amanda Kuhn Neil Kurtzman Larry Landusky Grace Lin Laura Monroe Brenda Parrish 2025-2026 SEASON

Board of Directors, cont.

Melissa Pridmore Peter Reed Carol Robertson Stephanie Rogers Tim Sampson Jill Stangl Andrew Stetson Nadene Tipton Alejandro Verdugo Toni Wallingford Edson Way Darya White Joyce White Lola Windisch

ADMINISTRATION

Heather Hocker President & CEO David Cho Music Director Eric Allen Lubbock Symphony Chamber Orchestra Artistic Director Courtney Jordan Director of Development Molly Ramirez Director of Marketing and Communications Callie Watson Box Office Coordinator Amelia Jamieson Graphic Designer Julia Griffith Education Outreach Manager Lee Schrader LYO Manager Gary Hudson Personnel Manager Corey Dolter Operations Manager Israel Mello Librarian Karyn Roy Development Intern

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A LETTER FROM THE LUBBOCK SYMPHONY GUILD PRESIDENT Welcome Patrons, Thank you for attending tonight’s performance! We appreciate your support of the Lubbock Symphony Orchestra. The 20252026 season promises to be an outstanding year of symphonic performances. We are excited to experience the joy of music with you.

Tonight’s performance, and every performance since 1952, has been made possible in part by the Lubbock Symphony Guild. For 73 years, the Guild members have donated their time, talent and resources to keep symphonic music thriving in West Texas.

I hope that you enjoy the incredible talent of our remarkable Orchestra and value the educational and cultural contributions they provide to our community. I invite you to consider becoming a member of the Lubbock Symphony Guild, to join us in further supporting the efforts of the LSO. For more information, please visit our website at www. lubbocksymphonyguild.com.

Sincerely,

Kathleen Burrell, President Lubbock Symphony Guild

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Lubbock Symphony Guild Senior Debutantes

Front Row Left to Right - Kathleen Jane St. Clair, Angelia Liu, Sarah Simpson, Sadie Gillespie, Meridith Bradley, Lauren King, Payton Reed, Emyrson Parrott, Blakely Martin, Katelyn Bollens, Chayce Johnson, Ella Bennett, Viviana Ziegner, Olivia Mudd 2nd Row Left to Right - Georgia Kitten, Alice Everett, Ellie Underwood Reya Felton, Mckanna Garcia, Kennedy Cowan, Joleigh Reno, Ashlyn Edwards, Brynlee Smith, Emma Lane, Erin Brodbeck 3rd Row Left to Right - Elizabeth Nicholson, Cassidy McKinnon, Campbell Beeler, Katelyn Glenn, London Bird, Baylee Fillingim, Addison Stewart, Natalie Sweat, EllaMaria Webb, Chayce Welborn, Campbell Franklin, Harper Burrell 4th Row Left to Right - Halley Reynolds, Addison Neufeld, Landry Allen, Joy Wischmeyer Adelaide Underwood, Madison Heider, Ava Smith, Finnley Forero, Dannelle McCourt Not Pictured - Talitha Dalton

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Lubbock Symphony Guild Junior Debutantes

Front Row Left to Right - Lola Latham, Kayci Cave, Shelby Rivas, Ella Condra, Carter Piland Sophie Scolaro, Sarah Poe, Rynn Riddle 2nd Row Left to Right - Alexis Gregory, Aubry Elrod, Sophie Carter, Emily Aldinger, Sage Boyle, Kristine Wischmeyer, Riverson Sawyer, Kayleigh Lewis, Hope Stonestreet 3rd Row Left to Right - Alyssa Joiner, Ashtyn Neufeld, Isabella Hernandez, Kaylee Jordan Emersyn Cross, Marlee Thompson, Presley Taylor, Pamela Buckley, Addison Evans, Kaylee McKee, Kaelie Fincher Back Row Left to Right - Finley Cross, Ellison Roberts, Elizabeth Thane, Campbell Wilson Abbott Spitzer, Hadley Payne, Lula Biondi, Elizabeth Williams, Kate Harlien Not Pictured - Lauren Brashear, Hannah Owen

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Lubbock Symphony Guild Senior Debutantes Lubbock Symphony Guild Sophomore Debutantes

Front Row Left to Right - Cannon Miller, Tatum Maines, Kaylee Cottrell, Audrey Oaks Hope Acrey, Elizabeth Cruce-Roberst, Jack Callahan, Frederick Strangl, Emerson Mooty Ella Hurst, Tess Stockdale, Avery Garza, Grace Cone 2nd Row Left to Right - Alexis Edwards, Halle McPherson, Caroline Cathey, Wade Massengale, Beau Bennett, William Marcinkowski, McKenna Tidwell, Clara Pesterfield, Channing Boyd 3rd Row Left to Right - Avery Smith, Avery Underwood, Ella Polk, Ainsley Wisniewski Grace Tippy, Elly Craft, Saylor Sexton Back Row Left to Right - Channing King, Hurley Neufeld, Taylor Haymes.

Caroline Crawford, Anna Belle Needham, Elizabeth Burrell, Allison Clifford, Ava Grace Wright, Josephine Butts

Kelly S. Robinson, D.D.S.

Jake Malone, D.D.S.

806.794.1131 • 4215 85th Street • Lubbock, TX 79423 325.515.5064 • 5305 Trinity Blvd #F • Snyder, TX 79549

http://www.robinsondds.com

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Thank You To our Partners In Harmony founding members

Beth and Will Ashmore Kasi and Laura and Chris Boutwell Monte Monroe Mary Ann Bridges Nancy Neal Maureen Chadwick Melissa Pridmore Bobbe Crawford Janice Stachowiak Deena and Toni E. Wallingford Harold Evensky Carol Walker Patricia Freier Dr. Charles and Terry Hawkins and Patricia Wheeler Dr. Doug Klepper Proud supporter and trusted Birgit Green Honorable Phil and Dr. Lola B. Windisch technology partner of the Carla Johnson Susan Tarrant Dawn Kelley and Lubbock Symphony.

Marcus Borhani Diane Lowell Ann McDonald

Completing your IT

Our mission is to support the Lubbock Symphony Orchestra’s education initiatives by underwriting a Masterworks concert each season that builds on the LSO’s 80-year tradition of education and outreach,

providing

students

from

education

related organizations the opportunity to experience the power of a live symphonic performance.

If you are interested in joining the LSO’s Partners In Harmony, please contact Courtney Jordan at courtney@lubbocksymphony.org or call 806-762-1688 806.687.4765 • 6119 79TH ST. • BLUELAYER.COM

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