MW5 program

CARMINA BURANA SATURDAY

APRIL 5 2025 | 7:30 PM 2025 | 7:30 PM

SCHULHOFF Symphony No. 2 ORFF Carmina Burana Amanda Key, soprano Martin Bakari, tenor Mark Billy, baritone The Lubbock Chorale The West Texas Children’s Chorus David Cho, conductor

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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2024-2025 SEASON

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A LETTER FROM THE BOARD CHAIR Dear Symphony Friends, Welcome to our final Masterworks performance of the 202425 season. We are delighted that The Lubbock Chorale and The West Texas Children’s Chorus will be joining your Lubbock Symphony on stage this evening.

Tonight’s production features Carl Orff’s 1936 opus Carmina Burana. Based on twenty-four poems from the medieval collection by the same name, it premiered at the Frankfurt Opera on June 8, 1937. After Beethoven’s Ninth Symphony, few choral works have entered the pop culture awareness more than the Carmina Burana.

It has been said that Erwin Schulhoff wrote music like birds sing. His fourmovement, eighteen-minute piece, Symphony No. 2, found inspiration in the rhythms of jazz music. Mr. Schulhoff was one of the European musicians whose successful careers were prematurely ended by the rise of the Nazi regime in Germany.

I want to express my appreciation to our sponsor United Supermarkets. The United Family has been a generous supporter for many years, and we are indebted to them for their continued funding. In addition to our sponsors, this year’s presentations were made possible by the musical virtuosity of Maestro David Cho and our extraordinary Lubbock Symphony Orchestra. We would also like to express our gratitude to our President and CEO Galen Wixson and our dedicated staff.

On June 7, please join us as the Lubbock Symphony celebrates the music of ABBA at “The Concert: A Tribute to ABBA”. The Concert continues to be the top ABBA tribute group in the world. They will entertain us with their impressive performance while playing the most iconic hits from ABBA. Finally, I thank you, our patrons, for your attendance and continuing interest in and support of the Lubbock Symphony Orchestra.

Best wishes,

Toni Wallingford Chair LSO Board of Directors

2024-2025 SEASON

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A LETTER FROM THE MUSIC DIRECTOR Dear Friends of the Lubbock Symphony, Welcome to Lubbock Symphony’s final Masterworks of the season!

We are thrilled to bookend our series with one of the most renowned choral works; Carmina Burana.

In addition to our incredible talents of The Lubbock Chorale and The West Texas Children’s Chorus, we welcome back soprano Amanda Key and the Lubbock Symphony debuts of tenor Martin Bakari and baritone Mark Billy.

Our immense thanks to Jerry Serrano and Alma Quartet for performing jazz in our Spotlight Sessions Pre-concert Performance. Jazz is a wonderful tie into Erwin Schulhoff’s Symphony No. 2. This work renders how the composer viewed the jazz idiom. Around the same time Schulhoff composed this symphony, Carl Orff penned what would become a one-hit wonder Classical rock sensation; Carmina Burana.

We are most grateful to all of you who committed to this evening’s performance.

The live concert experience is a two way street and your presence will inspire our musicians and singers to create a memorable performance. Special thank you to our friends at United Supermarkets, Classical 105.7, and Hamil Brothers who sponsored this evening. There are so many community partners who make these performances possible: we denote your special contribution through our ads in this program book.

In addition to our June performance of The Concert: A Tribute to ABBA, we have rolled out our 2025-26 season and its subscription is available for purchase. We hope you will continue on this musical journey with us.

Most sincerely,

David Cho Music Director Lubbock Symphony

2024-2025 SEASON

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2024-2025 SEASON

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IN HONOR OF

WILLIAM A. HARROD Founding Conductor of the Lubbock Symphony Orchestra 1946-1987

2021-2022 SEASON

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2024-2025 SEASON

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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-Macht Oder Liebe (Tullia) with Oper Oder Spree in Germany, Cosí 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 Cosi 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 and 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, Ein deutsches Requiem by Johannes Brahms, and the Requiem by Wolfgang Amadeus Mozart with the Arnhems Oratorium Koor, Dordrecht Opera Koor, Belgian Vox Amicorum, Volendams Opera Koor, Groot Omroepkoor, and as a guest artist of the Lubbock Symphony Orchestra.

2024-2025 SEASON

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Martin Bakari, tenor Praised by Opera News as a “vocally charismatic” performer with a “golden tenor,” Martin Bakari’s recent engagements include the title role in Charlie Parker’s Yardbird (Atlanta Opera, Arizona Opera, Pittsburgh Opera, Dayton Opera, New Orleans Opera, Indianapolis Opera), the tenor soloist in Carmina Burana (Cecilia Chorus of NY - Carnegie Hall, Symphony San Jose), Kodály’s Psalmus Hungaricus (Grant Park Music Festival), Messiah and the premiere of Paul Moravec’s A Nation of Others (Oratorio Society of NY - Carnegie Hall), Frederic in The Pirates of Penzance (Virginia Opera, Kentucky Opera), Goro in Madama Butterfly (Dallas Opera, Opera Philadelphia), Mime in Das Rheingold (Seattle Opera), Dr. Caius in Falstaff and Wilson (cover) in the premiere of Jake Heggie’s Intelligence (Houston Grand Opera), Pong in Turandot (Opera Colorado), Don Basilio in Le nozze di Figaro (Seattle Opera, Seiji Ozawa Matsumoto Festival), Tybalt in Roméo et Juliette (Vashon Opera), The Cartography Project (Washington National Opera, The Kennedy Center), and a United Kingdom recital tour (Mirror Visions Ensemble).

Internationally, he has also appeared at major venues in Munich, Hamburg, Dresden, Frankfurt, Cologne, Tel Aviv, and Bari. Mr. Bakari’s 2024-25 season includes Count Almaviva in Il barbiere di Siviglia (Indianapolis Opera), Greene Evans in the premiere of Jubilee (Seattle Opera), Goro in Madama Butterfly (Utah Opera), Gastone in La traviata (Seiji Ozawa Music Festival - Japan), Michael in the premiere of Steele Roots (Atlanta Opera), Bootleg Joe in a workshop of The Factotum (Portland Opera), Messiah (Boise Philharmonic, Calvin Oratorio Society), and Carmina Burana (Lubbock Symphony Orchestra).

Future seasons include his debut performances and recording with the Barcelona Symphony Orchestra, his debut with Nashville Opera, and his returns to Opera Colorado, Dayton Opera, and the Boise Philharmonic. A 2018 George London Competition award winner, Mr. Bakari’s recording of Grigory Smirnov’s Dowson Songs (Naxos) was featured by Opera News as a “Critic’s Choice” album. www.martinbakari.com

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Mark Billy, baritone Mark Webster Orin Billy is a Verdi baritone, clarinetist, and Native flutist of Indigenous (Choctaw tribe) ancestry from Finley, Oklahoma. Mark has been hailed as the leading Indigenous baritone of his generation. He enjoys a multi-faceted career in opera, recitals with piano, concerts with orchestra, and Indigenous classical music education. Mark has been named a recipient of the 2025 Native American Performing Arts Fellowship by the First People’s Fund. Mark is an artist on the artistic roster of the North American Indigenous Songbook, under the direction of Timothy Long. NAIS is an initiative to commission Indigenous composers to create new vocal works to be added to the standard art song repertoire. Mark recently created the lead baritone role of Inki’ in Chickasaw composer Jerod Impichchaachaaha’ Tate’s opera Loksi’ Shaali’ (Shell Shaker) the first opera in history to be completely sung in an Indigenous language- Chickasaw. Mark has recently been engaged by the Bach Society of Minnesota, Rochester Symphony, Oklahoma City Philharmonic, Mixed Precipitation, Duluth-Superior Symphony, Mesabi Symphony, Opera Montana, Madison Opera, Hawaii Opera Theater, Minnesota Orchestra. In 2026 Mark will make his debut with the St. Paul Chamber Orchestra premiering three new works in a concert he curated.

Please follow Mark on Instagram @markwobilly and his personal website for upcoming performances: markbillybaritone.com Mark is based in Uptown, Minneapolis.

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ALAN ZABRISKIE, ARTISTIC DIRECTOR THE LUBBOCK CHORALE Alan Zabriskie is Director of Choral Studies and Associate Professor of Music at Texas Tech University where he serves as conductor of the University Choir and mentors doctoral and masters students in choral conducting and teaches undergraduate choral conducting. He also serves as Artistic Director of the Lubbock Chorale. Prior to arriving at Texas Tech University, he served as Director of Choral Activities at the University of Central Missouri for seven years 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 In-service Workshop/Conference, 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 University Choir to the countries of Estonia, Latvia, and Lithuania.

THE LUBBOCK CHORALE Alan Zabriskie Conductor

Kerra Simmons

Associate Graduate Conductor

Charles Whitehead Collaborative Pianist

Anh Van Collins

Business Manager

SOPRANO

Betsy Bass Lillian Brecheisen Elizabeth Campbell Sarah Cantor Rose Carilli Addy Davis Oxana Davis Miranda Dawson Susan Draper Kristi Edwards Chloe Ellis Jennifer Furey 22

Soprano, continued Hannah Gossett Madison Hanson Janie Harms Emma Harvey Karen Hybner Jazzmin Kasper Chris Kimbler Jordan King Karina Lago Disdier Erin Miller Katie Nielsen Mimi Pappas Kensly Peck Rebecca Puckett Claire Randolph Julie Ray Glenda Reynolds Christina Rielo Kerra Simmons Lindsey Sumner Kamry Zander

ALTO

Keeli Ackerman Sofia Altamirano Ashton Aranda Gwendolyn Bain Nancy Beckerink Natalie Castro Jo Crum Robbi Crumpler Kylie Davis Carolyn Eaks Amberlynn Gonzales Haley Guenther Melinda Hatfield Aveline Hewetson Dana Hinds Patsy Jackson Judith Johnson Faith LaLande Marissa Loera Sarah Maher Bridget Mann Katie Mann Nicole Martens Peyton Matthews Rachael McCutcheon Natalie Odom Erin Pearce Samantha Pearce Kelsey Peck Celestina Perez Moe Shiraishi Susan Smith London Spencer Connie Spicer Lori Summers Olivia Tolosa Linda Tyler Juliana Upchurch Kate Vasquez Cynthia West-Ward Rashell Wilhoit Saundra Wimberley Karen Wood Lindsey Woodward Jana Zacharias

2024-2025 SEASON

TENOR

Michael Barlow Darrell Bateman Jacob Briggs Simon Carter Aidan Chapleau Charlie Correa Gershom Garcia Randall Hinds Mark Huffines Jeff Hunt Joey Kasper Weston Marshall Colton Murphy Samuel Orta Robert Posey Rolla Randel Dan Smith Ken Smith Paul Smith

BASS

Mark Bailey Dave Bender Andrew Bevly Trayce Boudreaux Brian Cole Jack Cozad Alex Davila Ryan J Donet Terry Forbes Austin Garcia James Gauna Jake Hemmle Naehyeog Kang Steve Lanham Mark Light Leonardo Lopez Christopher Markgraf Mike McCasland Collin Smith Skipper Wood Kerry Wright This list represents all currently active members. Some members may not participate in every concert.

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SUSAN BRUMFIELD, ARTISTIC DIRECTOR THE WEST TEXAS CHILDREN’S CHORUS Dr. Susan Brumfield is Professor of Music Education at Texas Tech University, and Artistic Director of The West Texas Children’s Chorus.

She holds a Ph.D. in Music Education from the University of Oklahoma. Dr. Brumfield is known for her work as a teacher, author, composer and conductor. An internationally recognized expert in the Kodály approach, Susan Brumfield is the author of First, We Sing! Kodály-Inspired Teaching in the Music Classroom, a series of textbooks and song anthologies published by Hal Leonard Music. Dr. Brumfield has been honored twice as the Texas Tech University College of Visual and Performing Arts Award for Outstanding Research, and as a two-time finalist for the President’s Book Award. She was the 2019 recipient of the university-wide Barnie E. Rushing Jr. Award for Research at Texas Tech University.

In frequent demand as a commissioned composer, clinician and guest conductor, Dr. Brumfield has conducted numerous national, regional and all-state choirs, including the OAKE National Children’s Chorus and the ACDA Eastern Division Children’s Honor Choir. She serves on the artistic staff of the Pacific International Choral Festival as conductor of Treble Choral Festival Choirs.

THE WEST TEXAS CHILDREN’S CHORUS Susan Brumfield, Artistic Director Kimberley Carter, Mandy Algate, Kendall Mencio, Elisa Wiseman, Conductors Beckham Bolin Linden Bolin Kaja Castillo Edith Christopher Eliza Cole-Smith Ryle Cole-Smith Samantha Cunningham Elena Crump Penelope Elizardo Paulina Estrada Ella Garcia Ian Lee Ralph Lemon 2024-2025 SEASON

Bryn Limon Aspen Mitchell Luke Moya Josselyn Palacios Olivia Rodrigues Cooper Seymour Milo Taylor Bo Wall Gabby Wallace Willow Wolf Aubrey Wilhold Madeline Worley Kimber Womack 25

See the storybook take centerstage!

April 11-12

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In

Loving Memory

Craig McDonald December 14, 1934 - February 2, 2025

Champion of the Arts

2024-2025 SEASON

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In

Loving Memory

Margaret Redcay April 21, 1935 – January 24, 2025 Section and Principal Flute Lubbock Symphony Orchestra (1968-2005) 2024-2025 SEASON

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LUBBOCK SYMPHONY ORCHESTRA CONDUCTOR David Cho

The CH Foundation Endowed Conductor’s Podium

CELLO

Michael Newton

Principal

Mary Francis Carter Endowed Chair

Concertmaster

Danny Mar Madeline Garcia Daria Miśkiewicz Justin Barnwell

Linda Lin

DOUBLE BASS

VIOLIN I

Annie Chalex Boyle

Jones-Saathoff Family Endowed Chair

Associate Concertmaster

Diekemper Family Foundation Endowed Chair

Maja Maklakiewicz

Mark Morton

Principal

Eugene and Covar Dabezies Endowed Chair

Assistant Concertmaster

Hannah Macgillivray Stuart Anderson Christopher Arcy Gregory Faught Nodier Garcia

TTU School of Music Endowed Performer Chair

FLUTE

Abi Rhoades Lazaro Gonzalez Grace Marín Aguilar Adan Flores Shawn Earthman Radman Rasti Kea Beasley

VIOLIN II

Evgeny Zvonnikov

Principal

Justice Phil and Carla Johnson Endowed Chair

Saikat Karmakar

Assistant Principal

Cassidy Forehand Carroll Jane Goodyear James Ellis Shirley Wigley Brennan Lowrey Martha Perez Anna Kim Sean Kyhm

VIOLA

Kim Hudson

Principal

Crew of Columbia, STS-107 Endowed Chair

Eric Leise Spencer Hartman

PICCOLO

Eric Leise Spencer Hartman

OBOE

Kathleen Bell

Principal

Lubbock Symphony Guild Endowed Chair

Jordan Hastings Susetta Rockett

ENGLISH HORN Susetta Rockett

Gwendolyn Matias-Ryan

Janeen Drew Holmes Endowed Chair

Mary M. Epps and Ralph E. Wallingford Endowed Chair

CLARINET

Principal

Marian Herrero Israel Mello Sharon Mirll Ryellen Joaquim Sera Jung Bruno Silva 30

David Shea

Principal

Christine Polvado and John Stockdale Endowed Chair

Ryan Rodarte Hamed Shadad

BASS CLARINET Ryan Rodarte

SOPRANO CLARINET Hamed Shadad

SAXOPHONE David Dees

BASSOON

Vince Ocampo

Principal

Nancy and Tom Neal Endowed Chair

Ian Resurreccion

CONTRABASSOON Jacob Prentice

HORN

Quentin Fisher

Principal

Anthony and Helen Brittin Endowed Chair

Esteban Chavez Clark Hutchinson Jack Mellinger Seth Wallace

TRUMPET Gary Hudson

Principal

Stacey and Robert Kollman Family Endowed Chair

Joe Vandiver William Takacs

CORNET

Joe Vandiver William Takacs

TROMBONE James T Decker

Principal

Larry and Lucy Landusky Endowed Chair

BASS TROMBONE Darin Cash

Tim and Mary Jane Sampson Endowed Chair

TUBA

Arturo Galvan

Principal

Diekemper Family Foundation Endowed Chair

TIMPANI Lisa Rogers

Principal

Lubbock Symphony Guild Endowed Chair

Christopher Mehrafshan

PERCUSSION

Christopher Mehrafshan

Principal

Lisa Rogers/Alan Shinn Principal Percussion Endowed Chair

Erin Martysz Javi Garza Jacob Cauley Anthony Flores Ryan Pound

PIANO

Richard Fountain

Principal

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

Helen Kim-Sills

CELESTA

Richard Fountain

BANJO

Brent Wheeler

PERSONNEL MANAGER Gary Hudson

LIBRARIAN Israel Mello

Bruce Keeling

2024-2025 SEASON

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A Symphony inspires,

educates & captivates us all.

PROUD SUPPORTER OF

Lubbock Symphony Orchestra

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CARMINA BURANA Amanda Key, soprano Martin Bakari, tenor Mark Billy, baritone The Lubbock Chorale The West Texas Children’s Chorus David Cho, conductor

Erwin Schulhoff (1894-1942)

Symphony No. 2 I. Allegro ma non troppo II. Andante con moto III. Allegro assai: “Scherzo alla jazz” IV. Allegro con spirito: “Finale”

INTERMISSION Carl Orff (1895-1982) Carmina Burana

FORTUNA IMPERATRIX MUNDI (Fortune, Empress of the World) O Fortuna Fortune plango vulnera I. PRIMO VERE (In Springtime) Veris leta facies Omnia Sol temperat Ecce gratum UF DEM ANGER (On the Green) Tanz Floret silva Chramer, gip die varwe mir Reie Were diu werlt alle min 2024-2025 SEASON

SCAN TO VIEW TEXT TRANSLATIONS

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Program page, continued

II. IN TABERNA (In the Tavern) Estuans interius Olim lacus colueram Ego sum abbas In taberna quando sumus III. COUR D’AMOURS (The Court of Love) Amor volat undique Dies, nox et omnia Stetit puella Circa mea pectora Si puer com puellula Veni, veni, venias In trutina Tempus est iocundum Dulcissime BLANZIFLOR ET HELENA (Blanziflor and Helena) Ave formosissima FORTUNA IMPERATRIX MUNDI (Fortune, Empress of the World) O Fortuna

Amanda Key, soprano Martin Bakari, tenor Mark Billy, baritone The Lubbock Chorale The West Texas Children’s Chorus

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.

2024-2025 SEASON

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PROGRAM NOTES Erwin Schulhoff: Symphony No. 2 The tragedy of Erwin Schulhoff’s life has often overshadowed an appreciation of his music. His death in the Wülzburg prison in Bavaria in August of 1942 was yet another fatality of the Nazi regime’s persecution and attempted extermination of the Jewish population of Europe. Schulhoff was one of many composers whose lives were brutally cut short by the Holocaust, along with Viktor Ullman, Hans Krása, Ilse Weber, Gideon Klein, Pavel Haas and countless others. It is only in the 21st century that their music has been rediscovered, performed and recorded, giving us only the most fleeting glimpse of the immense talent that was lost in the horrors of the Nazi occupation.

Born in Prague in 1894, Schulhoff began his musical studies at the Prague Conservatory at the age of 10, receiving encouragement from no less a composer than Antonín Dvořák. He studied piano and composition there, later moving on to further studies in Vienna, Leipzig, and Cologne; where Claude Debussy and Max Reger were among his teachers. His education was cut short by service, the Austro-Hungarian army on the Russian front in the First World War, where he was wounded and captured in 1917. His first-hand experiences with the appalling cost of the war would shape his political and musical future. In a diary entry in 1916, Schulhoff wrote: It is nothing less than a flood, a destructive force threatening to destroy the entire culture of European humanity. I can only place the years 1914, 1915, 1916 on humanity’s lowest rank; they make a mockery of the 20th century.

After the war, Schulhoff, having seen the futility and absurdity of battle, embraced the aesthetic of the Dadaist art movement, with its emphasis on incongruity, nonsequitur, and outrageous humor. One of his piano works from this period, the “In futurum” movement of his 5 Pittoresken, Op. 31 is a predecessor to John Cage’s famous/infamous 4’33” – Schulhoff’s score is composed entirely of rests. If anything, Schulhoff manages to “out-Cage” Cage; the piece is notated in frequently changing bizarre time signatures (3/5 in the right hand vs. 7/10 in the left), and the rests are needlessly written in absurdly complicated rhythmic patterns. The performer is given the tongue-in-cheek instruction to play “the whole piece with free expression and feeling, always, until the end.”

Schulhoff embraced music as a cleansing element to the horrors of the war he had just witnessed. The failure of traditional social and political systems to safeguard the lives of their citizens gradually pushed him to eventually embrace Communism, a change foreshadowed in this “manifesto” that he published to promote concerts of the avant-garde in 1919: Absolute art is revolution, it requires additional facets for development, leads to overthrow (coups) in order to open new paths... and is the most powerful in music.... The idea of revolution in art has evolved for decades, under whatever sun the creators live, in that for them art is the commonality of man. This is particularly true in music, because this art form is the liveliest, and as a result reflects the revolution most strongly and deeply–the complete escape from imperialistic tonality and rhythm, the climb to an ecstatic change for the better.

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Through the 1920s, Schulhoff absorbed other European musical trends into his style, including the Expressionist style of Schoenberg, Berg, Hindemith, and Bartók, along with the stylistic features of American jazz and ragtime. He expressed his fascination with jazz in a letter to his friend Alban Berg: I am boundlessly fond of nightclub dancing, so much so that I have periods during which I spend whole nights dancing with one hostess or another... out of pure enjoyment of the rhythm and with my subconscious filled with sensual delight.... thereby I acquire phenomenal inspiration for my work, as my conscious mind is incredibly earthly, even animal as it were.

The remainder of the decade was one of artistic fulfillment, both as composer and pianist. He toured Europe regularly, performing a mixture of his own compositions along with American jazz and ragtime. His compositions were greeted with acclaim in both Europe and the United States, and in 1929 he was appointed to the faculty at the Prague Conservatory.

With his increasing involvement with Communism, along with his Jewish heritage, Schulhoff’s fortunes began to take a turn for the worse. With the rise of the Nazis in Germany and Austria, Schulhoff was forbidden to perform in those countries, and his music was labeled as “Entartete Musik” (Degenerate Music) and denied publication and performance. With works like his oratorio setting words from the Communist Manifesto, Schulhoff’s Marxist sympathies did not endear himself to the Czech government and he was eventually reduced to working as a staff pianist for Czech Radio to make ends meet. With the Nazi invasion of Czechoslovakia in 1939, he was forced to go into hiding, performing only under a pseudonym. He successfully applied for Soviet citizenship, but he delayed leaving Prague and was arrested the day after Germany invaded Russia, charged with being a combatant of a “foreign power.” In prison, he succumbed to tuberculosis before he could be transferred to a concentration camp.

The Second Symphony, written in 1932, heralds a style that might best be described as neo-classical, the same aesthetic impulse that influenced Stravinsky and other composers of the time. Neo-classicism combined modern harmony with musical forms and sonorities from the Baroque and Classical era, with their emphasis on clarity and simplicity. Critics of the time referred to neo-classicism in music as the “Back to Bach” movement for its similarities to the music of the eighteenth century.

The symphony’s lean instrumentation and clarity may also have roots in Schulhoff’s work in radio, which he began shortly after his return to Prague in the early 1930s.

From his earliest experiences with the medium of radio, he was forced to deal with relatively low-level technology which failed to accurately reproduce the sounds of larger ensembles like symphony orchestras. Rather than using the large forces of Bruckner or Mahler, Schulhoff employs single woodwinds, two cornets, a single trumpet, and no low brass. These forces are sparingly used as a full ensemble, with chamber-music textures pervading most of the work.

As with all of Schulhoff’s music, the influences on the Second Symphony are many and varied, but the influence of Baroque and Classical music is by far the most pervasive, with the exception of the third movement, the intriguingly named Scherzo a la jazz. The first movement (Allegro ma non troppo) opens with a cheeky bassoon piping a jaunty melody over motoric rhythms in the strings. The musical material in this movement is very concise, with a small number of ideas forming the basis for the work, much in the manner of the symphonies of Joseph Haydn or the

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Program notes, continued

“Classical” Symphony of Prokofiev, though the atmosphere of Bach’s Brandenburg Concertos is also prevalent. The subsequent Andante con moto weaves its bittersweet counterpoint over a gently pulsing accompaniment. The spirit of Haydn is heard here as well, along with echoes of Stravinsky (the Petrushka-like trumpet solos) and Kurt Weill’s The Threepenny Opera. The jazz-tinged third movement (Allegro assai) begins as a spooky Expressionist march before the unusual colors of saxophone and banjo morph the music into a slinky foxtrot and a somewhat sinister Charleston. The finale returns us to the exuberance of the opening movement, with the second of the movement’s ideas introduced by a quartet of solo strings.

The ebullient good humor of the music recalls the finale of Beethoven’s Eighth in its exploration of small rhythmic motives that slowly build to climactic moments.

This boisterous finale concludes in a flurry of manic energy, closing with the same assertive statement with which it began.

Carl Orff: Carmina Burana The most visible artifacts from the European civilization of the Middle-Ages are sacred in nature. After the sack of Rome by the Germanic king Odoacer in 476, much of the knowledge of the ancient world was preserved either behind the stout walls of the monasteries that St. Columba and other Celtic monks founded throughout Europe, or in the libraries of the Eastern Roman Empire and its capital, Constantinople. As social and political order re-established itself in Europe, the great cathedrals of Chartres, York, Cologne and other great cities climbed skywards as the symbols of the Church’s power in medieval society. Monastic copyists produced beautifully illuminated manuscripts of the Scriptures and other sacred writings, which they surrounded with fanciful illuminations and elaborate (and expensive) textural filigree in lush color or in blazing gold. To describe it in a modern sense, the Church controlled most of the media content and dissemination during the Middle Ages.

Yet the reality of the medieval world was that the sacred and secular existed comfortably side-by-side. On Sundays, the faithful stood packed together to worship in cathedrals and churches; during the rest of the week, they flocked to the same cathedral for the town’s weekly market. A close examination of those exquisitely illuminated manuscripts reveals fanciful miniature menageries of fauna and flora that not only serve a decorative purpose but give us a brief glimpse into everyday medieval life, along with the occasional bit of naughty medieval pornography. Not only did secular writing flourish, but the Middle Ages saw the first flowering of the vernacular languages which produced the first great examples of European literature: Dante’s Divine Comedy, Chaucer’s Canterbury Tales, France’s La Chanson de Roland and Spain’s El Cantar de mio Cid. While those great epics paid some small homage to the power of the Church, poetry and literature of a less exalted nature managed to elude the cleansing authority of Catholicism. The epic Decameron of Giovanni Boccaccio relates the often bawdy tales told by a band of nobles who are trying to avoid succumbing to the plague. The farcical Roman de Fauvel turns the courtly love of the troubadours and trouvères topsy-turvy – the central “heroic” noble is a donkey, who is pandered to and fawned over by nobility and clergy alike.

In 1803, a manuscript was unearthed at the Bavarian monastery of Benedicktbeuren: a somewhat risqué collection of poems later known collectively as Carmina Burana (literally “Songs of Beuren,” after the region where the codex was found). Its discovery coincided with a newfound interest in the stories and songs of Europe’s past, such as the ancient folk tales collected by the Brothers

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Grimm and the publication of the German folk songs known as Des Knaben Wunderhorn.

The 254 poems that constitute the Carmina Burana manuscript were thought to have been written by defrocked monks, priests, clerks and theology students known as goliards. The goliards wandered the continent as vagabonds, flouting the conventions of civilized life and writing satirical verses praising the glories of nature, drinking, and sex. Their verses were overlaid with a cynicism that pleasure was only fleetingly attainable in this life, and that promises of paradise in the afterlife were no more binding than the clergy’s vows of absolute celibacy. The goliards were the predecessors of the hippies and other protestors of the 1960s – social commentators living outside conventional society.

The manuscript found at Benedicktbeuren may have been compiled as a collection by a clerk, since the poems are arranged by subject: songs of a satirical nature, love songs, gambling songs, drinking songs and other works. Texts are largely in Latin, though a few of the poems are in Middle High German or Old French. Very few of these poems appear in other manuscripts, suggesting that most of the authors lived in the Beuren region. Some of the poems include rudimentary musical notation along with the texts, but these remained indecipherable until later musical manuscripts that included entire melodies used in the collection came to light.

German composer Carl Orff stumbled across a copy of the first edition of Carmina Burana in a used bookstore in 1931. He was immediately captivated by the texts and felt that their impact would be magnified by setting them to music. The poetry is strophic (having a similar rhythmic structure and rhyme scheme within each poem), so Orff deftly intertwines colorful orchestral interludes and interjections within each song to combat the predictability of the verse structure.

While the orchestra for Carmina Burana is a large one (triple woodwinds with multiple auxiliary instruments like bass clarinet and English horn, two pianos, and a huge percussion section), Orff uses his huge orchestral palette to create distinctive timbres that often take on the delicacy of chamber music. Rather than employ the overwhelming washes of sound favored by Strauss and Mahler, Orff deftly uses the two pianos and the plethora of percussion provide a pointillist musical backdrop for both the voices and the rest of the ensemble. The melodic ideas are Orff’s imitations of medieval melody – most of the melodic and rhythmic motives are short and repetitious, with ostinato (a constantly repeated melodic/rhythmic idea) playing a major structural role throughout the composition. Ostinato figures also provide subtle bits of word-painting – the underlying repetitive string/percussion figures of the opening O Fortuna give a sense of the inevitability of fate described in the text. At its first performance in 1937 the work included costumes, sets, staging and choreography in addition to the music – a manifestation of Orff’s belief that a work should include elements of all the arts, a concept reminiscent of Wagner’s Gesamtkuntswerk.

The work is in three major sections, bookended by O Fortuna, manifesting the text’s reference to the turn of Fortune’s wheel – as with the turnings of Fate, we finish where we started. Taking his inspiration from the original Carmina Burana manuscript, Orff structures the work by subject. Primo vera (In Spring) celebrates the awakening of the earth and of love in the Spring. The orchestra’s lively Tanz introduces the subsection Uf dem anger (In the Meadow), the one section of the work where most of the text is in Middle High German instead of Latin.

The texts of the central In Taberna (In the Tavern) turn darker and more cynical, especially in “Olim lacus colueram,” where the tenor (who has been silent so far) enters on a high A-flat and gives voice to the swan who once swam in beautiful

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Program notes, continued lakes but is now roasted black on a spit. The solo baritone intones the philosophy of the Abbot of Cockaigne, who leads a congregation not of the penitent, but of the inebriated. The men of the chorus conclude the imbibing and revelry with the rousing drinking song “In taberna quando summus,” in which they check off a lengthy list of all those who come to the tavern to drink, defiantly roaring their debauched manifesto in the final lines: “May those who slander us be cursed and may their names not be written in the book of the righteous!”

After the boisterous revelry of the tavern, sweetly undulating flutes introduce Cour d’amours (The Court of Love). Each movement gradually grows in energy (as well in explicitness of text), reaching a climax at the rapturously ecstatic melismas of the solo soprano in “Dulcissime” where the young woman portrayed in the text surrenders to the entreaties of love. The full chorus and orchestra celebrate the triumph of love in “Blanziflor et Helena” before Fortune’s wheel takes its final turn, whisking us from the court of love and returning us to stark reality.

Grace Clinic Gastroenterology and Liver Disease Elias Ghandour

Matthew P. Soape

M.D., F.A.C.P., F.A.C.G., F.A.A.S.L.D.

M.D., P.A.

Ching (Angela) Wang, M.D.

10208 Quaker Avenue #200, Lubbock, TX 79424 806-795-4500

Proud supporters of the LSO 2024-2025 SEASON

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IF MUSIC SOOTHES YOUR SOUL, YOU’RE

ONE OF US.

BEAR YOUR BANNER! Join or renew now at texastechalumni.org

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ANNUAL FUND The Lubbock Symphony Orchestra appreciates the generosity of the following individuals who have given to the Annual Fund between March 2024 and March 2025.

MAESTRO’S DIAMOND CIRCLE

Maestro’s Circle, continued

MAESTRO’S PLATINUM CIRCLE

VIRTUOSO’S CIRCLE

($50,000+) Sandra and Neil Kurtzman

($25,000-$49,999) Herb and Evan Armstrong Dr. Doug Klepper and Terry Hawkins Ann and Craig* McDonald Jana and Sam Scheef

MAESTRO’S GOLD CIRCLE

($15,000-$24,999) Deena and Harold Evensky Nancy and Thomas Neal Susan and Don Maddox The Honorable and Mrs. Phil Johnson

MAESTRO’S SILVER CIRCLE ($7,500 – $14,999) Leen and Mounir Borno Maureen Chadwick Covar Dabezies Michael Epps Stephen L. and Melissa A. Faulk Birgit and Brad Green Patricia and Donnie Hicks Betsy and Thivakorn Kasemsri Dawn Kelley and Marcus Borhani Jo Anne M Smith Jill and Fred Stangl Toni E. Wallingford Ralph Tamper and Don Shrum Drs. Lola and Thomas Windisch

MAESTRO’S CIRCLE ($5,000 – $7,499) David Cho Terry Greenberg Leslie and Adrian Huckabee Rebecca and Kwang Kim Sharon and Rick Martin Tricia and Dr. Peter Reed Katie and John Salter

2024-2025 SEASON

Shanna and James St. Clair Lyn and Mark Stoll Jenny and Edson Way

($3,500 – $4,999) Evelyn Davies Brenda and Curtis Parrish Drs. Roger and Nadene Tipton Mary Jane and Tim Sampson

CONCERTMASTER’S CIRCLE ($1,500 – $3,499) Elizabeth and Will Ashmore Barb and Nathan Baie Cathy and Ray Box Terri and Michael Byrne Beth and Chris Carpenter Deborah Conn Linda and Bryan Dunn Martha Fregia Patricia Lynn Freier Erin and Elgin Gregg Sandy and Alan Henry John Hunter Virginia Kellogg Stacey and Robert Kollman Amanda Kuhn Jan Ledbetter Grace and Robert Lin Paula and Kurt Loveless Tina and Tommy Sansom Dr. Charles and Patricia Wheeler Darya White Cindy and Harry Zimmerman

MUSICIAN’S CIRCLE ($1,000 – $1,499) Pam and Rob Allison Joan Baker Maria and Stephen Balch Judith Baldwin Dustin Baucom Amanda Bourland Kasi and Chris Boutwell Mary Ann Bridges Ruth and Aubrey Bridges Mr. Anthony and Dr. Helen Brittin *in memoriam

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Family Owned Since 1931

46

Musician’s Circle, continued Bobbe Crawford Amy and Jason Grisham Elizabeth Haley Robbie Harbison LaVelle and Tommy Hawkins Bobbye Hrncirik Jennifer and Patrick Hughes Richard Jorgensen Roger Karr Larry and Lucy Landusky Patti and James Lupton Mallory Miller* Thomas J. Nichols Judith E. O’Brien Sharmon and Keith Owens Janeen Patterson Cathy and Dr. Scott Porter Melissa and Tim Pridmore Dr. Wael and Hana Qubti Kelly Robinson Judy and Paul Rostad Judith Rowdon Mary and Roger Saathoff Carrie and Kevin Sedberry Debbie Sims Sally Walton Joyce and Scott White Ruth Wilkerson Brian A. Willcutt

YOUNG ARTIST’S CIRCLE

($500 - $999) Gisele Bazan Beverly and Dana Butler Reyhan and Richard Crider Cari and Dennis Dillon Patrick Dunne Matthew and Lisa Garner Santa Nicole George Stephen Glenn Ellen and Dennis Harp Glenda and George Helfrich Jane Henry Courtney and Doug Jordan Janice and Morris Knox Fran Koch Lucy Lanotte Kit and Ben Linton Barry McCool Sally Murray Norman Orr Penelope and Gerald Pipkin Kathrin Lee Price Melanie and Mike Ragain

2024-2025 SEASON

Young Artist’s Circle, continued Dona Richardson Janice and Lowry Schaub Tracee and Scott Spore Janice Stachowiak Kristian Tsokanov Dianne White John and Mary Zias

PATRON’S CIRCLE ($275 - $499) Eric and Janis Blackwell Karl and Robin Dent Heather and Mark Hocker David Hodges Janeen Drew Holmes Wendell Leatherwood Jill Nelson Gwen and Thomas Nichols Janet and Davis Price Carol K Walker Kathleen Weed Gay Word

SUSTAINER’S CIRCLE ($125 - $274) Jill and Randy Ball H. Allen Anderson Shelley and Ian Barba David Box Jamila and Samuel Branch Kathleen and Eric Burrell Kim Burrows Neill Carter Chris Castleberry Mary Cato William Choe Chris and Kathy Claus Christopher Collins Amy and Josh Corbin Alex Driggars Dorothy Glenn Alena Ilyushyna Judy and Gary Linker Beverly and Don McBeath Cindy and Mark McBrayer Joe McFerrin James McNabb Kishor Mehta Leslie Mihal Sue Mooney Thinh Nguyen Dona Nussbaum Justin Price Suzanne Rasco *in memoriam

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Sustainer’s Circle, continued Carlos Ricaldi Carol Robertson Sylvia Sapsky Karen Savage Joe Sharp Sherril and Charles Skibell Steve Synck Jim Tapp Jack Thompson Paul Thornton Alice V White Susan Wilson

LUBBOCK CHAMBER ORCHESTRA SPONSORS Anonymous Donor Grey Hare Analytics, Inc. MTS Kimbell

SS Foundation

LUBBOCK YOUTH ORCHESTRAS SPONSORS The CH Foundation Civic Lubbock Double T Smiles Drs. Nadene and Roger Tipton ESO Fan Wear Helen Jones Foundation Western Bank

Scan to update your donor information

2024-2025 SEASON

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SEASON SPONSORS *Lubbock Youth Orchestras and Lubbock Symphony Education Sponsors

MAESTRO’S PLATINUM VIRTUOSO’S CIRCLE ($3,500 – $4,999) CIRCLE ($25,000+) City Bank The United Family

MAESTRO’S GOLD CIRCLE ($15,000-$24,999) Covenant Health Systems FirstBank & Trust

MAESTRO’S SILVER CIRCLE

($7,500 – $14,999) Armstrong Mechanical Beth and Chris Carpenter *Double T Smiles Drs. Nadene and Roger Tipton Hill & Ioppolo Oral & Dental Implant Surgery of Lubbock Lory and Dr. Robert Ioppolo MWM Architects Overton Hotel & Conference Center

Grey Hare Analytics, Inc. MTS Kimbell

CONCERTMASTER’S CIRCLE

($1,500 – $3,499) Alan Henry Insurance Ryan Henry and Alan Henry Blue Layer Chicken Express Stacey and Robert Kollman Evensky & Katz/Foldes Wealth Management - Katie and John Salter GRACO Real Estate Development, Inc. The Randy Andrews Family Office Wise Commercial Interiors Prosperity Bank Tricia and Dr. Peter Reed Tucker Floral

MUSICIAN’S CIRCLE ($1,000 – $1,499) Cathy and Dr. Scott Porter

MAESTRO’S CIRCLE

($5,000 – $7,499) Chappell, Lanehart & Stangl P.C. Friends of Trout Fishing in America Tiva Kasemsri Lowry Schaub Scott Spore Roger Tipton Thomas Windisch John Zias *Western Bank Visual Edge IT

2024-2025 SEASON

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Our Crescendo fund aims to AMPLIFY Lubbock’s performing arts culture by raising $500,000 to bring popular musical artists to perform alongside the Lubbock Symphony Orchestra.

Help us reach our goal of $500,000!

$107,000

$0

$500k

raised so far

Help us bring the next big artist to Lubbock!

THANK YOU TO OUR CRESCENDO DONORS! FORTISSIMO

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

FORTE

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

MEZZO FORTE

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

2024-2025 SEASON

Mezzo Forte, continued

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 Mary Jane and Tim Sampson

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$50 Off

Any Service1

$99

Panel Inspection SINCE • 1934 Scan to Schedule

BetterCallArmstrong.com | 806-763-COOL Promo 18437. 1 Valid on services $200 or more. See company representative for details.

Lic # TACL A80819E / TPL M – 17317 / TECL 32611

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CRESCENDO Mezzo Forte, continued 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 78 seasons, the Lubbock Symphony Orchestra has been a bridge between the world’s top performers and the heart of the Hub City. Whether it’s up-and-coming talent or seasoned professionals, we take pride in showcasing the rich musical culture of our region to the world. Now, it’s time to turn up the volume and make it clear that Lubbock is a destination not to be missed.

The meaning of CRESCENDO is a gradual increase. In 1963, the Lubbock Symphony introduced the legendary pianist Van Cliburn, who performed with our local orchestra. Similarly in 1993, the Lubbock Symphony garnered attention by hosting a series of concerts featuring pop singer Tony Bennett. Since then, the orchestra has had the privilege of hosting notable performers such as Yo-Yo Ma, Joshua Bell, Wynton Marsalis, Susan Graham, Renée Fleming, Boyz II Men, and Kristin Chenoweth. The Symphony has also paid tribute to renowned artists like Queen, The Beatles, Led Zeppelin, Wicked The Musical, and Aretha Franklin.

These performances hold a special place in the hearts of many members of our community, as they are cherished memories. This is why we strive to keep creating unforgettable experiences that can be treasured by future generations.

Did you know that only one-third of our annual budget comes from ticket sales?

The remaining funds mainly come from music supporters in the community, like yourself. Crescendo aims to AMPLIFY your support of our evolving mission to bring the most prominent names in music to the Hub City.

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

Please join us with your gift to Crescendo today!

2024-2025 SEASON

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HONORARIUMS The Lubbock Symphony Orchestra respectfully acknowledges donations received during the 2024-2025 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

2024-2025 SEASON

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“Love is the soul's music; all its songs are symphonies.”

— Matshona Dhliwayo

806.783.8837 | 4211 85th St, Lubbock, TX 79423 lubbockoralfacialsurgery.com

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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.

2024-2025 SEASON

SCAN QR CODE FOR MORE INFORMATION

59

EVENSKY.COM | 806.747.7995 3223 S LOOP 289 SUITE 220, LUBBOCK, TX 79423

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

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2024-2025 SEASON

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MICHAEL POSTAR ’S

Proud supporter of The Lubbock Symphony 62

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

.

2024-2025 SEASON

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

.

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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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2024-2025 SEASON

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Practicing the Art of Medicine Proud to sponsor the Lubbock Symphony Orchestra

CovenantHealth.org 66

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

2024-2025 SEASON

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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

Toni Wallingford

Chair

Jill Stangl

Chair Elect

Melissa A. Faulk

Treasurer

Terri Byrne

Secretary

Brian Willcutt

Immediate Past Chair

BOARD OF DIRECTORS

Beth Ashmore Steve Balch Dustin Baucom Gilbert Berdine Leen Borno Kasi Boutwell Maureen Chadwick David Cho Covar Dabezies Michael Epps Stephen L. Faulk Patricia Lynn Freier Brad Green Amy Grisham Spencer Hartman Sandy Henry Bobbye Hrncirik Leslie Huckabee Carla Johnson Tiva Kasemsri Amanda Kuhn Neil Kurtzman Grace Lin Paula Loveless Brenda Parrish Melissa Pridmore Peter Reed Carol Robertson Stephanie Rogers Katie Salter Tim Sampson Andrew Stetson Nadene Tipton Edson Way 2024-2025 SEASON

Board of Directors, cont.

Darya White Joyce White Lola Windisch Galen Wixson

ADMINISTRATION Galen Wixson

President & CEO David Cho

Music Director Eric Allen

Lubbock Chamber Orchestra Artistic Director Suzanne Rasco

Director of Accounting Courtney Jordan

Director of Development Kea Beasley

Director of Education Molly Ramirez

Director of Marketing and Communications Amelia Jamieson

Graphic Designer Nia’ Threatt

Patron Services Coordinator Gary Hudson

Personnel Manager Corey Dolter

Operations Manager Israel Mello

Librarian

Callie Watson

Marketing and Communications Assistant

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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 2024-2025 season promises to be an outstanding year of symphonic performances. We are excited to experience the joy of music with you.

Tonight’s performance, and every performance since 1952, has been made possible in part by the Lubbock Symphony Guild. For 72 years, the Guild members have donated their time, talent and resources to keep symphonic music thriving in West Texas.

I hope that you enjoy the incredible talent of our remarkable Orchestra and value the educational and cultural contributions they provide to our community.

I invite you to consider becoming a member of the Lubbock Symphony Guild, to join us in further supporting the efforts of the LSO. For more information, please visit our website at www.lubbocksymphonyguild.com.

Sincerely,

Carol Robertson, President Lubbock Symphony Guild

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Lubbock Symphony Guild Senior Debutantes

Front Row Left to Right - Anastyn Greaser, Mia Chacon, Bryleigh Norman, Hannah Pharies, Ella Mendez, Emily Roark, Rylan Bryant, London Carlisle, lndie Williams, Ella Bennett, Viviana Ziegner, Olivia Mudd 2nd Row Left to Right - Lauren Casey, Anne Edwards, Susannah Smith, Ella Murphree, Sadie Callison, Camden McDougal, Maya AI-Hmoud, Lydia Pesterfield, Reece Watson, Raegan Reed, Jayci Lentz, Olivia Elliott, Tierni Green ,Aubrey White, Teema Sharif 3rd Row Left to Right - Riley Newberry, Zimri Buckley, Kamryn Chandler, Jencee Thompson, Elizabeth Johnson, Blair Belew, Emory McCain, Gabrielle Scherpereel, Morgan Parker, Sydney Smothers, Remington King, Rylee Bea Rose, Cora Clifford Back Row Left to Right - Reece Riddle, Addison Kitten, Maya Malouf Vermillion, Raegan Lee, Bella Lampe, Hannah Harvey, Emily White, Madelyn Caswell, Ashlee Jones, Brentley Preston, Camryn Howe, Kristen Mitchell Not Pictured - Catherine Ancell, Grace Gerwig, Taylor Harrison, Ashlyn Simek

TAPPS 2A High School State Academic Champions Champions 2023-2024 2022-2023 2021-2022 2020-2021

All Saints Episcopal School allsaintsschool.org

2024-2025 SEASON 2024 TAPPS STATE ACADEMICS AD.indd 1

806-745-7701

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Lubbock Symphony Guild Junior Debutantes

Front Row Left to Right - Halley Reynolds, Elizabeth Nicholson, Ava Smith, Finnley Forero, Landry Allen, Joy Wischmeyer, Ellie Underwood, Katelyn Bollens, Madison Heider, Elly Norris, Campbell Beeler 2nd Row Left to Right - Chayce Johnson, EllaMaria Webb, Ashlyn Edwards, Kennedy Cowan, Emyrson Parrott, Blakeley Martin, Chayce Welborn, Payton Reed, Alice Everett, McKanna Garcia, Lauren King, Sadie Gillespie, Addison Neufeld 3rd Row Left to Right - Katelyn Glenn, London Bird, Meridith Bradley, Cassidy McKinnon, Natalie Sweat, Emery Fox, Campbell Franklin, Baylee Fillingim, Joleigh Reno, Danelle Mccourt Back Row Left to Right - Emma Lane, Erin Brodbeck, Kathleen St. Clair, Harper Burrell, Georgia Kitten, Talitha Dalton, Addison Stewart, Adelaide Underwood, Angelia Liu Not Pictured - Reya Felton, Heidi Helderlein, Sofia Martinez, Sarah Simpson, Brynlee Smith

Lubbock Symphony Guild Dates LSG Board Meeting, Lubbock Women’s Club Thursday, September 5, 2024 Senior Deb Meeting, Lubbock Women’s Club Sunday, September 29, 2024 LSG Board Meeting, Lubbock Women’s Club Thursday, October 3, 2024 LSG Board Meeting, Lubbock Women’s Club Thursday, November 7, 2024 LSG Membership Meeting and Holiday Social Thursday, December 5, 2024 LSG Board Meeting, Lubbock Women’s Club Thursday, January 2, 2025 Debutante Presentation Tea, Lubbock Country Club Sunday, January 26, 2025

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Lubbock Symphony Guild Senior Debutantes Lubbock Symphony Guild Sophomore Debutantes

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

Debutante Presentation and Winter Ball, Lubbock Memorial Civic Center Saturday, February 1, 2025 LSG Board Meeting, Lubbock Women’s Club Thursday, March 6, 2025 LSG Board Meeting, Lubbock Women’s Club Thursday, April 3, 2025 LSG Membership Meeting and Annual Brunch Thursday, May 1, 2025

2024-2025 SEASON

73

NATIONAL BROADWAY TOURS

“One Day More” from Les Misérables. Photo: Matthew Murphy & Evan Zimmerman for MurphyMade

Pictured (L-R): Kristen Amanda Smith (Gretchen Wieners), Maya Petropoulos (Regina George), Maryrose Brendel (Karen Smith), and Natalie Shaw (Cady Heron) Photo by Jenny Anderson, 2023

FEBRUARY 11-16, 2025

JANUARY 3-5, 2025

MARCH 28-30, 2025 pre

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JUNE 13-15, 2025

BroadwayAtTheBuddyHollyHall.com 800.776.7469 BWAYLUBBOCKBHH

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MAY 16-18, 2025

2024-2025 SEASON

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