FRENCH NOSTALGIA Sat. Mar. 26, 2022 Stuart Chafetz, Guest Conductor Daniel Hsu, Piano
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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
and
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ROMEO & JULIET: A TIMELESS ROMANCE
RED ROMANCE ON THE WEST SIDE
Merry Movies: Elf Sat. Dec. 3, 2022
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MADAME BUTTERFLY
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FALL SOUND! CHAMBER
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DEDICATION TO SHELLEY NELSON Tonight’s concert is dedicated to the incredibly talented and beautiful soul Shelley Furr Hall Nelson. Shelley was a great friend of the Lubbock Symphony. At the age of six, Shelley played the cello and the piano, and began her association with the Symphony as guest pianist at age 16, playing a Rachmaninov concerto while a senior in Lubbock High School in 1948. Over the years, Shelley would continue to grace the Lubbock community with her musical talents by playing piano with other music groups and events in the Lubbock area. She was a long-time supporter and director of the Symphony and believed very strongly in the Symphony’s great value to the culture of Lubbock and West Texas. Shelley’s contribution to the arts in Lubbock as well as many other causes near and dear to her made her a staple in our community and will be missed by many.
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A LETTER FROM THE CHAIR Dear Patrons, Bonne soirée et bienvenue to a night of French nostalgia! Please join me as we welcome two talented guests to Lubbock for this evening’s performance. Guest conductor Stuart Chafetz adds his touch to the ever-popular Saint-Saëns and fellow French Romantic composer CésarAuguste Jean-Guillaume Hubert Franck. Van Cliburn bronze medalist Daniel Hsu joins the stage for what will surely be an unforgettable rendition of Saint-Saëns’ “Piano Concerto No. 2.” Our special thanks go to concert sponsor and longtime LSO Partner, UMC. Performances and guest artists like tonight’s would not be possible without the generous financial support of all our sponsors and patrons. April will be a busy, but exciting month for the LSO, and we hope you can join us for two unforgettable performances. If you’ve never heard a Wagner Tuba, please make plans now to join us April 23 for Bruckner’s thunderous 8th Symphony. The LSO’s own Susetta Rockett will also enchant you with Sibelius’ “Swan of Tuonela.” Then, April 30th brings the immensely talented multi-Grammy Awardwinning R&B legends Boyz II Men to the stage with your Lubbock Symphony. Tickets are selling quickly and you won’t want to miss out on this one-night performance.
Brian A. Willcutt Chair, LSO Board of Directors
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Special thanks to The City of Lubbock, as recommended by Civic Lubbock, Inc., the Helen Jones Foundation, Inc., and The CH Foundation for their support of The Lubbock Chorale. 8
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Stuart Chafetz Stuart Chafetz is the Principal Pops Conductor of the Columbus Symphony and the newly appointed Principal Pops Conductor of the Chautauqua and Marin Symphonies. Chafetz, a conductor celebrated for his dynamic and engaging podium presence, is increasingly in demand with orchestras across the continent and this season Chafetz will be on the podium in Detroit, Houston, Milwaukee, Naples, Philly Pops, Cincinnati Pops, Pittsburgh, San Diego, and Winnipeg. He enjoys a special relationship with The Phoenix Symphony where he leads multiple programs annually. He’s had the privilege to work with renowned artists including Leslie Odom, Jr., En Vogue, Chris Botti, 2 Cellos, Hanson, Rick Springfield, Michael Bolton, Kool & The Gang, Jefferson Starship, America, Little River Band, Brian McKnight, Roberta Flack, George Benson, Richard Chamberlain, The Chieftains, Jennifer Holliday, John Denver, Marvin Hamlisch, Thomas Hampson, Wynonna Judd, Jim Nabors, Randy Newman, Jon Kimura Parker and Bernadette Peters. He previously held posts as resident conductor of the Milwaukee Symphony Orchestra and associate conductor of the Louisville Orchestra. As principal timpanist of the Honolulu Symphony for twenty years, Chafetz would also conduct the annual Nutcracker performances with Ballet Hawaii and principals from the American Ballet Theatre. It was during that time that Chafetz led numerous concerts with the Maui Symphony and Pops. He’s led numerous Spring Ballet productions at the world-renowned Jacobs School of Music at Indiana University. In the summers, Chafetz spends his time at the Chautauqua Institution, where he conducts the annual Fourth of July and Opera Pops concerts with the Chautauqua Symphony Orchestra in addition to his role as that orchestra’s timpanist. When not on the podium, Chafetz makes his home near San Francisco, CA, with his wife Ann Krinitsky. Chafetz holds a bachelor’s degree in music performance from the College-Conservatory of Music at the University of Cincinnati and a master’s from the Eastman School of Music.
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Daniel Hsu Characterized by the Philadelphia Inquirer as a “poet…[with] an expressive edge to his playing that charms, questions, and coaxes,” American pianist Daniel Hsu is increasingly recognized for his easy virtuosity and bold musicianship. He captured the bronze medal and prizes for best performance of both the commissioned work and chamber music at the 2017 Van Cliburn International Piano Competition, and is also a 2016 Gilmore Young Artist, first prize winner of the 2015 CAG Victor Elmaleh Competition, and bronze medalist of the 2015 Hamamatsu International Piano Competition. A native of the San Francisco Bay Area, Daniel Hsu began taking piano lessons at age 6 with Larisa Kagan. He made his concerto debut with the Fremont Symphony Orchestra at age 8, and his recital debut at the Steinway Society of the Bay Area at age 9, before being accepted into the Curtis Institute of Music at the age of 10, along with his two older siblings. Since then, he has made his debuts with the Philadelphia Orchestra (2016) and Carnegie Hall (2017) as part of the CAG Winners Series at Weill Recital Hall. He has appeared in recitals at the Dame Myra Hess Memorial Concerts, Krannert Center for the Performing Arts, and Gilmore International Keyboard Festival, as well as in Boston, Philadelphia, Chicago, Denver, Los Angeles, Portland, Pittsburgh, and New York. A sensitive and keen collaborator, Daniel has performed with the Tokyo, North Carolina, Grand Rapids, Anchorage, New Haven, and Fort Worth Symphony Orchestras, working alongside conductors Leonard Slatkin, Nicholas McGegan, Cristian Măcelaru, Ruth Reinhardt, Marcelo Lehninger, Eugene Tzigane, and Stilian Kirov. Recent and upcoming highlights include his debuts with the Taiwan Symphony Orchestra with Hannu Lintu, Eugene Symphony with Francesco Lecce-Chong, and Jacksonville Symphony with Courtney Lewis; chamber tours with Curtis-on-Tour (Europe) and the Verona Quartet (United States); and recitals across the United States and Japan. His Boston debut recital in spring 2019 was hailed as a “powerful, thoughtful, and sensitive program… this deeply inquisitive artist’s inner probing brought fresh meaning to great warhorses, reaching well beyond his stunning mastery of technical difficulties” (Boston Musical Intelligencer). Daniel’s chamber music performance with the Brentano String Quartet at the Cliburn Competition earned him the Steven de Groote Memorial Award for the Best Performance of Chamber Music. The Dallas Morning News praised “his impassioned, eloquently detailed Franck Quintet,” proclaiming it to be “a boldly molded account, with a natural feeling for 16
the rise and fall of intensity, the give and take of rubato. Both he and the Brentano seemed to be channeling the same life force.” He regularly tours the United States with the Verona Quartet and in duo piano with his brother, Andrew, and appears frequently in chamber music festivals. Decca Gold released Daniel’s first album featuring live recordings from the Cliburn Competition of Mussorgsky’s Pictures at an Exhibition and Beethoven’s Piano Sonata, op. 110, as well as his award-winning performance of Marc-André Hamelin’s Toccata on “L’homme armé.” He has also been featured in interviews and performances for WQXR, APM’s Performance Today, and Colorado Public Radio, and was profiled as one to watch by International Piano magazine. Now 22 years old, Daniel graduated from Curtis in spring 2019, where he studied with Gary Graffman, Robert McDonald, and Eleanor Sokoloff. He is a Marvel film buff and enjoys programming—he contributed to the creation of Workflow (now known as Siri Shortcuts), which won the 2015 Apple Design Award and was acquired by the tech giant in 2017.
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ON COMMAND Have you downloaded our new app created specifically
for our classical music connoisseurs? KTTZ’s classical music programming is now offered 24 hours a day!
You can also receive our stream through your browser at radio.kttz.org, on HD receivers, and on your smart
devices. This means that you can receive local classical programming by voice command! You can also, of course, still listen to classical programming through
our primary channel, 89.1, overnight and on weekends. Give it a try! Ask your smartphone to play KTTZ HD2 today! Visit kttz.org for more information.
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LUBBOCK SYMPHONY ORCHESTRA CONDUCTOR
Stuart Chafetz,
The CH Foundation Endowed Conductor Podium
VIOLIN I
Annie Chalex Boyle, Concertmaster
Jones-Saathoff Family Endowed Chair
Linda Lin Associate Concertmaster Abi Rhoades Grace Marín Aguilar Ariya Tai Bruno Lunkes Judy Woody Rodrigo Cardona Brian Roach Francisco Villarroel Lynn Ledbetter Anna Kim
VIOLIN II
Lauren Pokorzynski, Principal
Justice Phil and Carla Johnson Endowed Chair
Saikat Karmakar Assistant Principal Kea Beasley Martha Perez James Ellis Shirley Wigley Brennan Lowrey Yifan Tang Cassidy Forehand Carroll Jane Goodyear Nilschmid Jimenez Shawn Earthman
VIOLA
Kimberly Sparr, Principal Sharon Mirll Sera Jung Nasr Sheikh Bruno Silva
CELLO
Michael Newton, Principal
Mary Francis Carter Endowed Chair
Danny Mar Alejos Anaya Laura Jensen Madeline Garcia Neemias Santos Daria Miskiewicz Anna Bartley
DOUBLE BASS Mark Morton, Principal
Eugene and Covar Dabezies Endowed Chair
Boyce Wyrick Hannah Macgillivray Stuart Anderson Christopher Arcy Nodier Garcia
Flute
Kim Hudson, Principal Eric Leise
PICCOLO
Spencer Hartman
OBOE
Amy Anderson, Principal
Lubbock Symphony Guild Endowed Chair
Alex Hyde
ENGLISH HORN Susetta Rockett, Principal
Janeen Holmes Gilliam Endowed Chair
Clarinet
David Shea, Principal Trisha Burrell
BASS Clarinet Hsiao-Ju Chen 22
BASSOON
Vince Ocampo, Principal Adolfo Mendoza
CONTRABASSOON Ian Resurreccion
Horn
Christopher Smith, Principal
Anthony and Helen Brittin Endowed Chair
James Berry Vivian Yu-hsuan Chang Neil Barrozo Lucian Hutchinson
TRUMPET
Will Strieder, Principal
Stacey and Robert Kollman Family Endowed Chair
bass Trombone Darin Cash
Tuba
Kevin Wass, Principal
TIMPANI
Lisa Rogers, Principal
Lubbock Symphony Guild Endowed Chair
percussion
Michael Mixtacki Jon Ortiz John Frederick Ian Houston Taylor Burks
Harp
Joe Vandiver
Rachel Mazzucco, Principal
CORNET
Jennifer Miller
Gary Hudson, Principal Issac Swanson
Rachel Jean Armstrong Thomas Endowed Chair
Trombone
Jim Decker, Principal Bruce Keeling
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DONATE TODAY $75 for 75
As we prepare for another phenomenal year of performance, creativity, and education, we would like to personally invite you to consider helping enrich the Lubbock Symphony with a contribution to our Annual Fund. At the LSO, education is a key component of our mission, and our various educational programs are helping to create the next generation of music lovers. In honor of our 75th Anniversary, you can contribute $75 to be part of this important milestone and receive a complimentary copy of our 75th Anniversary publication. Will you contribute $75 to help us reach our $5,000 goal by April 1st to support our education programs for the year? Donate $75 today (or any amount of your choosing) by scanning the QR code below
From all of us here at the Lubbock Symphony, thank you for your support!
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FRENCH NOSTALGIA PROGRAM
Stuart Chafetz, The CH Foundation Endowed Conductor Podium
Daniel Hsu | piano
Camille Saint-Saëns
Danse Bacchanale from "Samson and Delilah", Op. 47
Camille Saint-Saëns
Piano Concerto No. 2 in G minor, Op. 22 I. Andante sostenuto II. Allegro scherzando III. Presto
INTERMISSION César Franck
Symphony in D Minor, FWV 48 I. Lento- Allegro non troppo II. Allegretto III. Allegro non troppo
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PROGRAM NOTES Camille Saint-Saëns: “Danse Bacchanale” from Samson and Delilah, Op. 47 Camille Saint-Saëns’ musical legacy rests largely on his instrumental music, written at a time when most French composers devoted their skills to produce opera. This isn’t surprising: in 19th-century France and Italy, opera was where the glory lay (not to mention the money). In most French conservatories of the period, the entire curriculum was geared towards opera, with the intent of supplying a steady stream of new works and new performers for the nation’s many opera houses. Some music history texts portray Saint-Saëns as a musical King Canute, attempting to sweep back the relentless tide of opera by writing symphonies, concertos, symphonic poems, and chamber music. Yet this paints a false picture of his career. While Saint-Saëns is best known for his instrumental compositions – he was one of the greatest pianists and perhaps the finest organist of his time – he did not neglect the operatic stage, even though he wasn’t particularly successful in that genre. As an example, Saint-Saëns near-contemporaries Charles Gounod and Georges Bizet produced fourteen and fifteen operas, respectively. Saint-Saëns’ thirteen stage works prove that he was no slouch when it came to writing opera. Success as an opera composer was a long time coming for Saint-Saëns. His first work to reach the stage was La princesse jaune, a one-act opera produced at the Opéra-Comique in Paris in 1872. While critics and audience were intrigued by the exotic aspects of the score and plot (about a Japanese princess but set in the Netherlands), the work was deemed a failure and closed after only five performances. His subsequent Le timbre argent (“The silver bell”) achieved eighteen performances at the Théâtre Lyrique in 1877, but quickly fell from the repertoire. With Samson et Dalila, Saint-Saëns achieved his greatest stage success, though once again it took years to achieve wide recognition. The opera’s genesis began when Saint-Saëns approached a relative about writing a libretto for a Biblical oratorio. Saint-Saëns described it this way: A young relative of mine had married a charming young man who wrote verse on the side. I realized that he was gifted and had in fact real talent. I asked him to work with me on an oratorio on a biblical subject. ‘An oratorio!’, he said, ‘no, let’s make it an opera!’, and he began to dig through the Bible while I outlined the plan of the work, even sketching scenes, and leaving him only the versification to do. For some reason I began the music with act 2, and I played it at home to a select audience who could make nothing of it at all. After a number of previews and false starts, Saint-Saëns played excerpts for pianist and composer Franz Liszt, who actively encouraged him to finish it. Samson and Delilah received its first performance under the direction of Eduard Lassen in December of 1877. The opera’s popularity grew throughout Europe over the following decade, and remained popular in the early twentieth century. It is the only one of Saint-Saëns’ operas to remain in the standard repertoire. The libretto follows the Biblical tale of the strongman whose power resides 32
in his unshorn hair, but concentrates on the relationship between the two principals rather than Samson’s heroic deeds. The Danse bacchanale appears in Act III, where the Philistines celebrate the emasculation of Samson and the triumph of their god Dagon. A sinuous oboe solo introduces a capricious dance theme that builds in power and intensity, followed by a seductive theme with Asian inflections over a timpani ostinato. A more lyrical, yearning theme (first sung by Delilah in Act I) intervenes briefly before the wild dancing resumes. The riotous frenzy gains strength and speed, with frenzied timpani driving the delirious saturnalia to the final cadence. Saint-Saëns: Piano Concerto No. 2 in G minor, Op. 22 Despite his many accomplishments as a composer, pianist, organist, conductor, writer, mathematician, poet, philosopher, and playwright, most music history texts give Camille Saint-Saëns little mention if any. His popularity with the general public tends to rest on The Carnival of the Animals (subtitled “Grand Fantasie Zoölogique”), an occasional piece that he never intended to be heard beyond its first performance. Amongst music critics, he tends to be damned with faint praise – “elegant,” “wellbalanced,” “a classical sense of proportion,” “based on Classical models.” Late in his life he was considered something of a reactionary, a reputation that still dogs him almost a century after his death. Yet Saint-Saëns’ music has remained a firm part of the concert repertoire. For all the dismissal of his work as less than profound, many of Saint-Saëns concertos and works for solo instrument and orchestra remain perennial concert staples, beloved of both performers and audiences alike. It is true that he based many of his works on Classical models and was one of the earliest proponents in France of the music of Johann Sebastian Bach, but he also wrote numerous symphonic poems employing the cyclical forms and transformational procedures pioneered and developed by Hector Berlioz and Franz Liszt. While his works display a Classical sense of balance and order, those qualities makes them no less expressive or Romantic. Saint-Saëns’ own words sum up his approach to musical composition: The artist who does not feel completely satisfied by elegant lines, by harmonious colors, and by a beautiful succession of chords does not understand the art of music. The Second Concerto came to life through a series of concerts that Saint-Saëns conducted in Paris in 1868. The great Russian pianist Anton Rubinstein gave eight concerts with Saint-Saëns conducting, but also harbored ambitions as a conductor. Saint-Saëns was happy to oblige him, and set a concert date three weeks away, but Rubinstein also wanted to have Saint-Saëns as his soloist, and he wanted a new work. Saint-Saëns completed the work in just 17 days, but fretted that the tight schedule had left him little time to practice the solo part. The premiere performance, on May 13, 1868, was only lukewarmly received. Critics and audience were puzzled by the unusual format and stylistic diversity of each movement. The Polish pianist Zygmunt Stojowski quipped “It begins with Bach and ends with Offenbach.” Saint-Saëns’ Piano Concerto No. 2 mirrors the complexities of SaintSaëns the man. It’s largely conventional – but it’s not. While the harmonic language inhabits the mainstream world of Schumann and Brahms (with 2021-2022 SEASON
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the occasional sprinkle of Wagner), Saint-Saëns takes the structure of a conventional concerto and scrambles it. Instead of a fast Allegro as a first movement, Saint-Saëns begins with a ruminating and brooding Andante sostenuto, and, instead of leaving the cadenza to the end, he begins with a ruminative passage for piano only, sounding very much like an elaborate Bach invention. After the dramatic entrance of the orchestra, the soloist introduces the principal themes of the movement, discreetly accompanied by the orchestra. The music gains in momentum and energy, breaking into a furious toccata from the soloist, underscored by ominous chords. At the climax, the orchestra sings the first theme passionately, decorated by swirls of scales and arpeggios from the soloist. As the musical energy dissipates, the soloist returns to the opening material, now eerily nostalgic, with the music from the opening cadenza making a final appearance just before the orchestra’s brusque chords slam the door on the movement. If the opening slow movement was a surprise, the ensuing Allegro scherzando is even more so. As in the opening movement, the soloist begins alone, this time with a quicksilver Mendelssohnian scherzo, both light-hearted and light-fingered. Gone is the sober reflection of the first movement, replaced with a witty good humor, sometimes sly, sometimes bluff, with the soloist’s glittering figurations front and center. The movement quietly dissolves into a final splash of notes from the soloist, punctuated by quiet, nonchalant chords from the orchestra. Ominous rumblings from both soloist and orchestra usher in the final movement, a breakneck tarantella whose energy never flags. A contrasting chorale passage in the orchestra provides only a momentary respite, a melody that the soloist decorates with roulades and trills. The pianist’s torrent of notes sprints headlong to the final bars, beating back one final orchestral challenge before soloist and orchestra unite triumphantly to bring the work to a dramatic conclusion. César Franck: Symphony in D minor, FWV 48 Very few composers in history have had to endure a life of almost unending opposition and criticism as did the Belgian composer César Franck. In his childhood, his father, an unemployed file clerk, attempted to exploit young César’s abilities as a pianist, alternating between enrolling him and withdrawing him from the Paris Conservatory so his son would have just enough instruction to make a living for the family, but not so much as to cost his father the tuition for a full degree. Franck’s marriage to actress Félicité Saillot Desmousseaux was largely loveless; she professed to hate almost every piece he ever wrote. She made her enmity public concerning her husband’s Piano Quintet in F minor, which Franck confessed he had written under the intoxicating influence of his young pupil Augusta Holmès, who was 25 years younger than Franck. Franck admitted that she “arouses me in the most unspiritual desires.” This confession also aroused the jealousy and anger of Camille Saint-Saëns, who had proposed to Holmés on multiple occasions. At the end of the first performance, SaintSaëns, the pianist for the premiere, refused to shake the composer’s hand and stormed off the stage, leaving the score dedicated to him sitting on the piano rack. Franck met all this upheaval and controversy serenely, calmly continuing his life as an organist, organ teacher, and professor of counterpoint and composition. As opposed to the flamboyant Saint-Saëns, Franck was almost unknown in the musical universe of Paris, quietly serving as the organist at the Basilique de Sainte-Clothide for over thirty years and teaching at the 2021-2022 SEASON
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Conservatoire for nearly twenty. He remained off the radar as a composer until he was nearly fifty years old, but the obvious Wagnerian influences on his music drew the ire of critics and audiences alike. But just as he had his critics, Franck had his champions, largely a group of his composition students, including Ernest Chausson, Henri Duparc, Vincent d’Indy, and Paul Dukas. These acolytes defended the modest Franck against the slings and arrows of the outrageous criticism hurled his way. Franck and his students also absorbed Franz Liszt’s techniques of cyclical transformation, where ideas presented at the beginning of a work were modified throughout to provide thematic unity to the composition, eschewing the Classical forms of sonata-allegro, rondo, etc.. These transformative innovations spurred Liszt’s development of the symphonic poem, a genre in which both Franck and his students excelled. These techniques also appear in Franck’s only symphony, where musical ideas are altered within each movement, and also appear in the other movements of the work. In the final decade of his life, Franck turned his attention towards large-scale works, especially symphonic and chamber music. In the aforementioned Piano Quintet of 1879, the Violin Sonata of 1886 and the epic and massive String Quartet (1890), Franck’s instrumental music grew in complexity and subtlety, with an ear for tone color derived from his complete mastery of organ registration. At the encouragement of his students, Franck began sketching the Symphony in D minor in the summer of 1887 and completed it a year later. The most famous Paris orchestra of the time, the Concerts Lamoreux, refused the premiere, since the conductor, Charles Lamoreux, had conducted a failed first performance of one of Franck’s earlier orchestral works and did not care to risk his reputation again. The premiere, given February 17, 1889, fell to the Orchestra of the Société des Concerts du Conservatoire, whose conductor, Jules Garcin, brought the symphony to life through his own unflagging enthusiasm for the work. Even with his best efforts, the Conservatory professors in the orchestra gave a lackluster performance, which evoked no enthusiasm from either the critics or the audience. Vincent d’Indy attended the first performance and wrote of his encounter with an audience member from the Conservatory faculty after the symphony’s premiere, documenting the typical “academic” attitude towards Franck and his music: The performance was quite against the wish of most members of the famous Société des Concerts du Conservatoire and was only pushed through thanks to the benevolent obstinacy of the conductor, Jules Garcin. The subscribers could make neither head nor tail of it, and the musical authorities were much in the same position. I inquired of one of them—a professor at the Conservatoire, and a kind of factotum on the committee—what he thought of the work. “That, a symphony?” he replied in a contemptuous tone. “But my dear sir, who ever heard of writing for the English horn in a symphony? Just mention a single symphony by Haydn or Beethoven Introducing the English horn. There, well, you see—your Franck’s music may be whatever you please, but it will certainly never be a symphony!” 2021-2022 SEASON
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The work is in three movements. The sonorous low strings (Lento) introduce the lugubrious three-note idea that will provide most of the melodic material for the movement. In its yearning, questioning repetition the music echoes the “Muss es sein?” (“Must it be?”) idea from the finale of Beethoven’s last string quartet. At the Allegro non troppo, the brooding motive roars ferociously for a few brief moments before returning to the introductory music, which again builds to a thunderous climax before the turbulent Allegro music returns and develops more completely. A rocking theme sings sweetly and then heroically, providing lyrical contrast to the angular and dramatic character of the opening of the Allegro. While the movement follows the rough outlines of Classical sonata form, it is infused with a romantic passion that gives the impression of a free fantasia, where emotions hold sway over logic. The enchanting Allegretto is two movements in one – a fast scherzo imbedded within a gracefully dancing slow movement. Franck’s critics were aghast at his use of an English horn in a symphony, despite that Haydn, Berlioz, and Saint-Saëns had successfully used the instrument in their symphonies. The English horn’s plaintive melancholy, first heard over harp and pizzicato strings, subtly changes to an elfin scherzo driven by the quiet rustling of muted strings, much in the manner of the Scherzo from Mendelssohn’s Midsummer Night’s Dream. Emotions surge in this middle section, but the music grows more placid and Franck reveals his master stroke: the English horn melody is combined with the scherzo music, providing both contrapuntal interest and compositional unity. A brief, nostalgic reminiscence of the movement’s themes draws the movement to a gentle close. Vigorous strings punctuated by bold brass chords dispel the gloom of the Allegretto in a blaze of light, led by a highly syncopated melody. The themes presented here are bold and robust, but ideas from both the first and second movements make their appearance as well, especially the English horn theme which eventually blares forth in awesome grandeur from the brass at the movement’s climax, surrounded by cascades of string counterpoint. The music falls back as though spent, but the finale’s principal theme grows in power and sings triumphantly over brass fanfares as the symphony races to its glorious conclusion.
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2021-2022 SEASON
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ACKNOWLEDGMENTS
ANNUAL FUND
The Lubbock Symphony Orchestra appreciates the generosity of the following individuals who have given to the Annual Fund between September 9, 2020 and March 9, 2022.
MAESTRO’S Gold CIRCLE
($15,000+) Harold and Deena Evensky Hill & Ioppolo Oral & Dental Implant Surgeons of Lubbock Neil and Sandra Kurtzman Lee and Beth Pennington Sam and Jana Scheef
Keli Ramsey Tim and Mary Jane Sampson Jo Ann Schneider Jill and Fred Stangl Steve and Robin Talbert Dr. Jim and Mrs. Shannon Taliaferro Dr. and Mrs. Davor Vugrin Harry and Cindy Zimmerman
MAESTRO’S SILVER CIRCLE
MUSICIAN’S CIRCLE
($7,500 – $14,999) Joan Baker Dolle Barker Jill and Gilbert Berdine Dr. Mounir and Mrs. Leen Borno Thivakorn and Betsy Kasemsri Don and Jan Ledbetter
MAESTRO’S CIRCLE
($5,000 – $7,499) Herb Armstrong and Evan Sabino Norton and Jane Baker RADM and Mrs. Stephen Chadwick David Cho Lou Diekemper Curtis Griffith Adrian and Leslie Huckabee Jo Anne M. Smith Toni E. Wallingford Lola and Thomas Windisch
Virtuoso’s CIRCLE
($3,500 – $4,999) James and Shanna St. Clair
CONCERTMASTER’S CIRCLE ($1,500 – $3,499) Stephen and Maria Balch Brad and Birgit Green Mark and Heather Hocker John and Cherie Hunter Carol King Kurt and Paula Loveless Jim and Patti Lupton Drs. Barent and Audrey McCool 2021-2022 SEASON
($1,000 – $1,499) Mr. Anthony and Dr. Helen Brittin Patty D’Alise Sara and Tim Dodd Michael and Mary Epps Stephen and Kathy Faulk Janeen and John Gilliam Sandy and Alan Henry Ross and Kelli Hilburn Don and Lynnita Hufstedler Elena Ilyushyna Larry and Lucy Landusky Mallory Miller Mary Moran Judy Poffenbarger Judy Rowdon John and Katie Salter Kevin and Carrie Sedberry Walter S. and Kathy Smith Melanie Sorsby Muhammed Mubashir Subhani Dr. Charles and Pat Wheeler
YOUNG ARTIST’S CIRCLE
($500 - $999) Mr. and Mrs. Wayne and Jane Allison Dr. and Mrs. Michael Balch Mark and Betsy Bass Pieter Bergstein Ray and Cathy Box Matthew and Krista Bumstead Larry and Charlotte Burt Robb Chapman and Dr. Sarah Hosford Tim and Ava Collins Deborah Conn Carol Daugherty Gary and Melanie Davis 45
Family Owned Since 1931
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Joan and Joe Dominey James and Denise Doucette Michael and Linda Edwards Aurora Farthing Giles and Lynn Forbess Don and Anne Garnett Claudia and Mark Griffin Marion Hagler Dennis Harp William and Janis Hartwell Mark and Karen Havins Tommy and Lavelle Hawkins Randy Kinnison and Jane Rowley Morris and Janice Knox Lucy Lanotte Wyatt and Claire Leavell Allan MacKenzie Rick and Sharon Martin Ms. Mary McCrary Norman and Bettie Orr Davis and Janet Price Mrs. Dona Richardson Kelly Robinson Tommy and Tina Sansom Connie Scarborough and Charles Tepe Lynn Schmidt George and Judy Sell Scott and Vickie Shurmur Tony Smitherman Tom Tenner Jenny and Edson Way Ann Williams Gay Word
PATRON’S CIRCLE
($275 - $499) Rob and Pam Allison James Arnold Jason and Anne Bradley Edward Broome Kathryn Button Mary Cato Bobbe Crawford Richard and Reyhan Crider Bob and Sandy Crosier Sally Cummings P.D. and Gayle Cunningham Nikki Curry David and Claudia Dea Jim and Patti Douglass Drs. Robert Duncan and Annette Sobel Steve Duran 2021-2022 SEASON
Elias and Eleonora Ghandour Jim and Kathy Gilbreath Don Graf Elizabeth Haley Honorable and Mrs. Phil Johnson Pam King Dale Little Barry Maurer Shannon McClendon Joe and Linda McFerrin Ms. Sara McLarty Kishor Mehta Stephen and Cindi Moffett Laura and Monte Monroe Elena Pastusek Trois Payne Dr. Gregory and Betty Pepetone Gerald Pipkin Jim and Jo Anne Rice Karen Savage Robert and Beth Schmid Winn Sikes Michelle and Jon Stephens Mike and Barbara Stephens Lois and Nathan Swindle Steve Synck Paul Walter Dr. and Mrs. Hugh Wilson Debby and Dennis Zuehlke
SUSTAINER’S CIRCLE
($125 - $274) David and Ann Abbott Alexis Anderson H. Allen Anderson John Anthony Joe Arredondo Katy Ashworth Tobie and Jerry Bailey Steve and Kim Beck Mike and Sharon Bennett Dr. and Mrs .Eric Blackwell Dani and Zach Brady Aubrey Bridges Virgie Bryant Katie Burnes Manon and Neill Carter Ursula Caswell Dr. Hua Chen, Dr. Grace Sun and Family Jim and Nancy Clopton Melissa Collier Lou Conner 47
to support
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Ronald and Alice Cox Stephen Crowell Glenn Davis Jim Davis Peggy Dyess Shirley and Ben Edwards Amy Etchison Mr. John Gillaspy Keith A. Gray Elizabeth Grigsby Jim and Nancy Harman Terry Hawkins and Doug Klepper Tom Hicks Ruth Holmes Joe and Ann Horkey Jennifer and Miles Hornak Dr. Catherine Jai Peggy Johnson Curt Jones Robert and Stacey Kollman Brad and Carol Ann Layton Wendell Leatherwood Eric Lee Ben and Robin Lock Don and Susan Maddox Marianna and Rod Markham James McDonald Anna and Robert McInvale Linda and George McMahan Theresa Menzel Davis and Lisa Moore Sally Murray Ainsley Nelson Charles and Cora Newton Tom and Sarah Parsons Velda and Glen Phipps Susan Pollard Madeline and Lisa Powell Teresa Powers Carolanne and Jim Purtell Douglas and Kay Sanford Sarah Scheel Becki Schwarz James and Cyd Seideman Henry and Sellie Shine Alan Shinn Melanie Slaton Jim and Donna Smith Stephanie Starkovich Sandra Stratton Herbert Tavenner Jennifer Underwood Sally Walton 2021-2022 SEASON
Jimmy and Susan Wedel Dana Whitaker Alice White Valerie Williams Robert Worth John and Ann Zwiacher
Thank you
(up to $125) Marcia Abbott Gene H. Adams Ann Adams Linda Adkins William Alexander Shelby Anderson Elizabeth Ashmore Richard and Emily Aycock Heather Bain The Barenberg/Swingen Family Sally Barfield Sherry Barsch Aurora and J. Alton Bauerle Blayne Beal and Monty Long Jose Beceiro Christy Bigham Nadine and David Birney Caroline Bishop and Karl Meyer Pam Blassingame Clint and Tracy Boal Sandra Boatright Mrs. Kristi Borthwick Bonnie Bourland Brian Brisendine Tracee Brown Terri and Mike Byrne John Cain Bruce and Joan Callender Bryan Camp and Susan Gillette Philip Camp Jerry and Ann Casstevens Dr. and Mrs. Aurelio Cervera Beverly Chilton Petra Clary Merinda Condra Melinda Corwin Sue Couch Sophia Crawford Jim Cummings William Davis Mr. Charles Davis Jan Martin Davis Elen Deering Jaonne Dosher 49
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John Dunlap Steve and Kristi Edwards Mr. and Mrs. Shon Elliott Pat Fletcher Larry Fountain Muff Fregia Isaiah Garcia Yvonne Gilinsky Gurdev and Savita Gill Angie Graham Richard and Ingrid Greene Erin and Elgin Gregg Tim Gristy Aly Gwinn Shana Hamilton Ryan and Melynn Henry Heather Henthorn Trey and John Hill Shyrle Hill Denay Hounshell Doug Hutton Natalia Jackson Nelda Jett Dale Jones John Jones Dr. Cynthia Jumper and Dr. Reid Norman Ms. Vicki Key Don Kidd Kristen Kothmann Connor Langford Sam Lanham Bob Lawless Gary and Judy Linker Betty Lowder Donna Lyde Molly Manning Steve Massengale Susan Matchett Myrtle McDonald James McNabb Marguerite McWilliams Mrs. Susannah Mercer Edith Merrick Boyd and Becky Milner Patsy Moffett Charlcie Mosser Laurel Myers Jill Nelson Sybille Neuber Don and Robin Parks Ms. Patricia Perkins 2021-2022 SEASON
Jennifer Piel Frosty Poston Chris Powell Ron Presley Jane Quade Mike and Melanie Ragain David Ray - Brick Doctor of Lubbock John Rigg Dick Roof Shanna Rowden Carrie Schlehuber Helen Smith Janice Stachowiak Elizabeth Staggs Suzanne Stephens Tom Stone Mrs. Kathy Thomas Jack Thompson Carl and Pam Tipton Dick and Sue Tolley Thomas and Theresa Trost Al and Gail Tutino Holly Vinson Brad and Mary Lou Walden Cynthia Weaver Kathleen Weed David and Whitney Weindorf Richard Wetzel Barbara and Herman Wheatley Lonnie Wheeler Joyce White Wagner and Courtney Wicks Mandy and Tom Wiley Becca Williams Mr. and Mrs. Larry Willis Jane Ann Wilson Gary Wood Carolyn Wooten Boyce and Kathy Wyrick Mary and John Zias
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Lubbock Arts Festival
Rehearsal
Rehearsal
YOL provides exceptional music education to the youth of the South Plains. 4th July
Rehearsal
Lubbock Arts Festival
Auditions Fall ‘22 & Spring ‘23 Seasons ALL INSTRUMENTS Saturday April 2nd 10am-2pm Sunday April 10th 12-4pm Coronado High School Band Hall Questions? Please contact info@youthorchestrasoflubbock.org
YouthOrchestrasofLubbock.org 2021-2022 SEASON
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WITH THE
Lubbock Symphony saturday, april 30, 2022 the BUDDY HOLLY HALL TICKETS ON SALE NOW
Southwest Lubbock 5203 79th | Lubbock, TX 79424 806.799.6780
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stclairandmasseyortho.com
Northwest Lubbock 805 N. Frankford | Lubbock, TX 79416 806.799.6780
MEMOR I A LS & HONOR A R IUMS The Lubbock Symphony Orchestra respectfully acknowledges donations received during the 2021-2022 season in honor of the following: Milton Bagwell Blake Eddie Bingham Annie Chalex-Boyle David Cho Reyhan and Richard Crider Dr. Eugene Dabezies
Mary Epps John Charles Fox III Justin Andrew Fregia CJ Goodyear The Harrod Family Larry Landusky Shelley Furr Nelson
Dr. Marvin Platten Ricky Rasco Herb Tavenner Rachel Jean Armstrong Thomas Toni Wallingford Galen Wixson
If you would like to honor an individual or organization important to you, please send your tax-deductible donation to the Lubbock Symphony Orchestra, 601 Avenue K; Lubbock, TX 79401.
ENCORE SOCIETY The Lubbock Symphony Orchestra gratefully acknowledges the following members of the Encore Society: Dr. & Mrs. Eugene Dabezies
lso endowments The Lubbock Symphony Orchestra Endowment Trust The CH Foundation Conductor Podium Endowment Helen DeVitt Jones Endowment for Education LSO Endowment for Musician Fees and Education Shelley Hall Nelson Endowment for Musicians’ Salaries Jones-Saathoff Family Concertmaster Chair Endowment Justice Phil and Carla Johnson Principal Second Violin Endowment Mary Francis Carter Principal Cello Endowment Eugene and Covar Dabezies Principal Bass Endowment Lubbock Symphony Guild Principal Oboe Endowment Janeen Holmes Gilliam English Horn Endowment Anthony and Helen Brittin Principal French Horn Endowment Stacey and Robert Kollman Family Principal Trumpet Endowment Lubbock Symphony Guild Timpani Endowment Lisa Rogers/ Alan Shinn Principal Percussion Endowment Rachel Jean Armstrong Thomas Principal Harp Endowment Edward R. and Jo Anne M. Smith Principal Piano Endowment
2021-2022 SEASON
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MICHAEL POSTAR ’S
Proud supporter of Lubbock Symphony 56
ADVISORY COUNCIL, PAST CHAIRS Jack M. Lewis
1946
Roger Key
1986
W.P. Clement
1947
Edwin E. Merriman
1987
Charles E. Maedgen, Jr.
1948
Owen McWhorter, Jr.
1988
Roy Bass
1949
Frank Newton
1989
Rex Webster
1950
Frank Anderson
1990-91
Marion Key
1951
Kay Sanford
1991
W.R. Sewell
1952
Paul Meyer
1991-92
J.C. Reynold
1953
Robert L. Stripling
1992-93
James L. Quicksall, Jr.
1954
Jim Ratliff
1993-94
Asher Thompson
1955-56
Coffee Conner
1995-96
Richard G. Richards
1957
Alan Henry
1996-97
Jack Kastman
1958
William D. Armstrong
1997-98
Joe J. Moise
1959
Susan Boling
1998-99
J. Harmon Jenkins
1960
Curtis Griffith
1999-00
George C. Miller
1961
DeWayne Pierce
2000-01
Lonnie Langston
1962
Mike Cunningham
2001-02
John Witcomb
1963
Margaret Lutherer
2002-03
O.W. English
1964
Chris Barnette
2003-05
Asher Thompson
1965-68
Catherine S. Porter
2005-06
Troy Myers
1969
Ray Fargason
2006-08
Arthur E. Gamble
1970
Emily Ratcliff
2008-09
Charley Pope
1975-77
Brad Green
2009-11
C.B. Carter
1978
Peter G. Daia
2011-13
Robert E. Norris
1979
Kirk McLaughlin
2013-15
Dean James Allen
1980-81
Harry Zimmerman
2015-17
Robert L. Stripling
1982
Shannon Taliaferro
2017-19
Charley Pope
1983-84
Heather Hocker
2019-21
John R. Kreiger
1985
community partners LSO is grateful for the generous support of the following foundation, community, and public partners.
Affordable Storage
Chicken Express
ALLIANCE Credit Union
City Bank
All Saints Episcopal School
Cleaning Services of Lubbock
Anderson Bros Jewelers
Community Foundation of West Texas
Atmos Energy Ballet Lubbock Benchmark
Covenant Health CRI
Betenbough Homes
D. Williams & Co.
Bolinger, Segars, Gilbert & Moss, LLP
Drest by Scott Malouf Evelyn M. Davies Foundation
Brandon Guitar Studio
Evensky & Katz Wealth Management
Carillon 2021-2022 SEASON
Farnsworth Family Orthodontics 57
KCBD IS A PROUD SUPPORTER OF THE LUBBOCK SYMPHONY ORCHESTRA
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First United Methodist Church
Pediatric Associates of Lubbock
Ghandour, Elias M.D., P.A.
Pennington, Bass & Associates
Happy State Bank
Phi Beta Kappa Assn. of West Texas & Eastern New Mexico
HCHT Helen Jones Foundation Hill & Ioppolo JF Maddox Foundation KCBD Kingsgate Center (Graco Real Estate) KTTZ 89.1 FM Kuykendall Foundation Lee Lewis Llano Estacado Winery Lone Star State Bank Louise Hopkins Underwood Center for the Arts Lubbock Abstract & Title Co Lubbock Animal Care Clinic Lubbock Arts Alliance Lubbock Avalanche-Journal Lubbock Chorale Lubbock Community Theatre Lubbock Entertainment Performing Arts Association Lubbock Moonlight Musicals Lubbock Music Club Lubbock Music Teachers Association Lubbock National Bank McPherson Cellars Merrill Lynch MS Doss Foundation MWM Architects, Inc. Officewise Orlando’s Italian Restaurant Otto’s Granary Overhead Door Co. Overton Hotel Parkhill, Smith & Cooper PayPal 2021-2022 SEASON
Endowment to Benefit LSO Youth Outreach Pinkie’s Plains Capital Bank Prosperity Bank Rea Charitable Trust Robinson & Hamblen General Dentistry Sanders Funeral Home Service Title Sharon Mirll, Exit Realty Sherick Memorial Home Snow Services of New Mexico South Plains College Spec’s St. Clair & Massey Orthodontics Stewart Title Tarpley Music Texas Commission on the Arts Texas Tech Alumni Association Texas Tech Club Texas Tech School of Music Texas Tech University Presidential Lecture & Performance Series Texas Women for the Arts The CH Foundation Tif Holmes Photography T L C E Charitable Fund TTU eLearning TTU Talkington College of Visual and Performing Arts TTU Theatre and Dance United Supermarkets University Medical Center Yellow House Dental & Implant Center Youth Orchestras of Lubbock YWCA
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Things happen. It’s inevitable. That’s why we never close. We’re always here for you! Call Us, Day or Night
(806) 778-3370 or email us at:
cleaningservicesoflubbock@gmail.com
2021-2022 SEASON
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BEHIND THE MUSIC OFFICERS
Brian Willcutt Chair Toni E. Wallingford Chair Elect Katie Salter Treasurer Jill Stangl Secretary Heather Hocker Immediate Past Chair
DIRECTORS
Steve Balch Dolle Barker Dustin Baucom Gilbert Berdine Leen Borno David Cho Covar Dabezies Patty D’Alise Michael Epps Stephen L. Faulk Lisa Garner-Santa Elias Ghandour Gurdev Gill Brad Green Erin Gregg Sandy Henry Leslie Huckabee Amy Hunter Elena Ilyushyna Thivakorn Kasemsri Neil Kurtzman Larry Landusky Paula Loveless Barry McCool Mallory Miler Mary Moran Judy Poffenbarger Melissa Pridmore Keli Ramsey Abi Rhodes Annette Sobel James St. Clair Jeremy Steen Robin Talbert Russell Thomasson Davor Vugrin Pat Wheeler 2021-2022 SEASON
ADMINISTRATION
Galen Wixson President & CEO David Cho Music Director Jake Quintanilla Marketing Director Amelia Jamieson Graphic Designer Corey Dolter Operations Manager Emily Gavaghan Manager of Patron Services Gary Hudson Personnel Manager Jess Jackson Director of Development and Communications Kea Beasley Education Director Suzanne Rasco Director of Accounting Hannah Macgillivray Librarian Alexa Frederick Librarian Intern Callie Watson Graphic Design Intern Jordan Parks Marketing Intern Anterian Gee Marketing Intern
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A WORD FROM THE LUBBOCK SYMPHONY GUILD PRESIDENT Welcome Patrons, Thank you for attending tonight’s performance! We appreciate your support of the Lubbock Symphony Orchestra. Our 2021-2022 season is going to be magnificent. We are so thrilled to experience the wonder of music with you this season. Tonight’s performance, and every performance since 1952, has been made possible in part by the Lubbock Symphony Guild. For years, the Guild members have donated their time and resources to keep symphonic music flourishing in West Texas. I hope you cherish the incredible talent of our spectacular Orchestra and value the educational and cultural contributions they provide to our community. We invite you to consider becoming a member of our Lubbock Symphony Guild. For more information, please visit our website at www. LubbockSymphonyGuild.com. Sincerely,
Amy Hunter, President Lubbock Symphony Guild
2021-2022 SEASON
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Legacy Alive KEEP THE
BE A PART OF HISTORY WITH A PERSONALIZED GUITAR PICK!
Join us as we commemorate this Texas icon’s impact on rock ’n’ roll across the world. Keep Buddy Holly’s legacy alive by purchasing a personalized guitar pick that will hang in an art installation inside The Buddy Holly Hall of Performing Arts & Sciences.
*Guitar picks vary in size
Select your pick to be included in an art installation featured at The Buddy Holly Hall of Performing Arts & Sciences in downtown Lubbock. To be a part of this state-of-the-art project, order your pick at lepaa.org/tx LEPAA is a 501 (c)(3) organization. Your donation is tax-deductible as a charitable contribution.
THE BUDDY HOLLY HALL OF PERFORMING
ARTS AND SCIENCES
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Lubbock Symphony Guild Senior Debutantes
Front Row Left to Right - Ava Wilson, Sophie Thwaits, Reese Rogers, Elizabeth Smitherman, Taylor Glenn, Raegan Bain, Natalie Jenkins 2nd Row Left to Right - Reagan Hunter, Elizabeth Farthing, Chloe Kate Dannevik, Carlee Miller, Katherine Herrin, Caylee Props, Claire Snodgrass, Leah Vinson, Megan Donaway 3rd Row Left to Right - Eryn Triplett, Emma Condra, Brentley Williams, Evan Roberts, Kellen Kotara, Vanessa Latham, Alexia Elliott, Annabelle Etchison, GraceAnn Streit, Briana Erculiani Back Row Left to Right - Sarah Kate Rasty, Ashlyn Wolf, Meredith Lowe, Carlie Borthwick, Alexandra Mercer, Lauren Clingman, Ashby Whitaker, Jilayne Headrick, Samantha Manning, Alexis Wragg Not Pictured -Madelyn Bollens, Blair Boyd, Emma Brady, Brylee Burchett, Bonnee Busby, Lindsi Roye
Lubbock Symphony Guild Junior Debutantes
Front Row Left to Right - Anna McClendon, Madison Bigham, Blakely Biggs, Payton Harrison, Adisyn Elrod, Kaitlyn Caswell 2nd Row Left to Right - Madeline Matthews, Tatum Brown, Ava Hounshell, Katherine White, Portia Clary, Ashtyn Bartley 3rd Row Left to Right - Emily Keister, Sydney Lowe, Halle Henthorn, Sydney Cranfill, Regan Andrews, Ellis Fox Back Row Left to Right - Macy Hamel, Abigail St Slair, Emily Payne, Chloe Conover, Campbell Howe, Elizabeth Kinnison, Kathryn Kinnison Not Pictured - Natalie Caswell, Riley Solberg, Maggi Underwood, MaeAlice White
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Lubbock Symphony Guild sophomore Debutantes
Front Row Left to Right - Emme Hocker, Jessica Foley, Alayna Bayouth, Emme Feist, Preslie Tarver, Abi Mills, Avrey Schilling, Addie Burnett, Emeri Tran, Anna Everett 2nd Row Left to Right - Preslee Edwards, Kendall Cathey, Jewel Naegele, Ella Scolaro, Campbell Carper, Reghan Rose, Jillian Jones, Olivia Needham, Claudia Tepper 3rd Row Left to Right -Jeye Johnson, Lydia Carter, Alex Dannemiller, Kate Cooper, Berkley Bird, Annabelle Bennett, Ava Campbell, Christiana McCourt, Hannah Feist Back Row Left to Right -Mya Ballou, Madison White, Mia Capodagli, Ava Lansdell, Kennedy Venable, Skylar Tidwell, Olivia Phillips, Kate Cardelli, Mia Rodriquez
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GASTROENTEROLOGY Talk to your primary care provider about referral, or we can help you establish care: 806.761.0747 72