2022-2023
Good evening and welcome to the final Masterworks of the 2022-2023 season, “Carmen in Gold.” Please join me in welcoming Van Cliburn Silver Medalist (2017) Kenny Broberg to Lubbock. Broberg and the LSO’s own Will Strieder will enthrall you with Dmitri Shostakovich’s “Piano Concerto No. 1” (1933). After the intermission we will conclude the Masterworks season with Rodion Shchedrin’s “Carmen Suite” (1967), a oneact ballet based on the beloved “Carmen” (1875) by French composer Georges Bizet.
The 2022-2023 season, the 76th world class season of the Lubbock Symphony Orchestra, is due, in part, to the talented and passionate LSO musicians, our conductor and Music Director, Maestro David Cho, our CEO Mr. Galen Wixson, his dedicated staff, the Lubbock Symphony Guild, the Debutantes and their parents, and our sponsors and corporate partners. We are honored to perform in the now globally recognized Buddy Holly Hall of Performing Arts and Sciences, and extend our gratitude to LEPAA, their staff and board. Finally, on behalf of the Board of Directors, we want to thank all of you, our patrons, for making seasons like this possible through your continued support and attendance. Thank you!
I hope you will join us in the fall for the start of the 2023-2024 season, “Best Of,” which will feature an all-star lineup of classics from Mozart, Beethoven, Tchaikovsky, Haydn, and more. Our 23-24 season will also include expanded chamber concert offerings, and a continuation of the LSO performing the live soundtrack to a screening of a blockbuster film.
It has been my honor and privilege to serve as Board Chair, and I again thank and applaud all of you for your love and patronage of Lubbock’s oldest and premiere arts organization.
Brian Willcutt Chair, LSO Board of Directors
This evening, it is with great joy that we present the 6th Masterworks program of the Lubbock Symphony’s 76th season.
Throughout the year, we have had the opportunity to feature our Symphony musicians. Those who performed under the limelight this season were Annie Chalex Boyle, Lisa Rogers, and Kevin Wass. Tonight, Will Strieder, Lubbock Symphony’s Stacey and Robert Kollman Family Endowed Principal Trumpet Chair, will collaborate with 2017 Van Cliburn International Piano Competition winner Kenny Broberg on Shostakovich’s dark-hued and sardonic “Piano Concerto No. 1.”
The evening will round out with Georges Bizet’s “Carmen Suite”. We are eager to present to you; a new set of percussion instruments that the Symphony was able to procure through generous grant funding from the Rea Charitable Trust. Bizet’s romantic and feisty character, Carmen, is captured by an orchestration of the Soviet composer Rodion Shchedrin. You will hear the original rendition with exciting colors from the strings and percussion. With Shchedrin’s intent as a ballet score, the music will depict the lilting and yet heroic gypsy character, Carmen.
Thank you for your attendance tonight. Our 77th season, “Best Of,” awaits with yet another round of brilliant programs.
Most sincerely,
David Cho Music Director
In honor of William A. Harrod
Founding Conductor of the Lubbock Symphony Orchestra, 1946-1987
The Lubbock Symphony Orchestra would like to express gratitude to
Will Strieder is Retired Professor of Music at Texas Tech University. He studied at Northwestern University, where he received the Masters of Music degree in Trumpet Performance and was winner of the Northwestern Concerto Competition. He also studied at the University of Houston, where he received the Bachelor of Music in Music Education.
He is active as a soloist and chamber musician throughout the United States, Mexico, Europe and Asia. Appearances have included those with such groups as the Dallas Symphony Orchestra, Houston Symphony, Houston Grand Opera, Houston Ballet and Santa Fe Opera. He has recorded Incantations for Trumpet and Piano, Rhapsody for solo trumpet and harp, and Trio Italiano by Mary Jeanne van Appledorn with the Opus One recording label. Also, Mr. Strieder recorded Fisher Tull’s Concerto for Trumpet with the Nurnberg Symphony Orchestra in Nurnberg, Germany on Albany Records.
Many of his former students are successful in their fields as public school teachers, college level teachers, and performers at the following institutions: University of Southern California, College of Saint Benedict/Saint John’s University, Vanderbilt University, South Plains College, San Jacinto College, The President’s Own Marine Corp Band, Utah Symphony, Houston Symphony Orchestra, Lubbock Symphony Orchestra, and the Army Field Band.
Mr. Strieder is an active pilot and flight instructor and enjoys sharing the wonder of flying with others. Mr. Strieder enjoys the generous love and support of his wife, Robbi, and family of four children.
During his auspicious career before winning the 2021 American Pianist Awards and Christel DeHaan Classical Fellowship, Kenny Broberg captured the silver medal at the 2017 Van Cliburn International Piano Competition and a bronze medal at the 2019 International Tchaikovsky Competition as well as prizes at the Hastings, Sydney, Seattle and New Orleans International Piano Competitions, becoming one of the most decorated and internationally renowned pianists of his generation. Broberg is lauded for his inventive, intelligent and intense performances.
“Broberg mastered everything he performed over the weekend, pulling a palette of moods from every register,” The Indianapolis Star writes of Broberg’s performance during the Finals for American Pianists Awards. “In the ‘Dante Sonata’ from Liszt’s Years of Pilgrimage, the pianist easily captured the drama in the journey, marrying all of the energy of those emotions in the epic ending.”
Crediting his first exposure to classical music to his Italian grandfather’s love of the Three Tenors, Broberg began piano lessons on his family’s upright piano at age 6. During his childhood in Minneapolis, he began studying piano with Dr. Joseph Zins at Crocus Hill Studios in Saint Paul.
Throughout high school, he balanced his musical lessons with playing baseball and hockey. He remains an avid fan for both the Minnesota Twins and Wild and checks their scores while on breaks during his practice.
Broberg earned a Bachelor of Music degree in 2016 at the University of Houston’s Moores School of Music, studying under Nancy Weems. He continued his studies at Park University in Parkville, Missouri, under the direction of Stanislav Ioudenitch, the gold medalist at the 2001 Van Cliburn International Piano Competition. Starting in the 20222023 academic year, Broberg will join the Reina Sofía School of Music in Madrid as Deputy Professor of the Fundación Banco Santander Piano Chair led by Ioudenitch.
Performing on stages and in concert halls across Europe, Asia, Australia, and North America, Broberg has worked with some of the world’s most respected conductors, including Ludovic Morlot, Kent Nagano, Leonard Slatkin, Vasily Petrenko, Nicholas Milton, John Storgårds, Carlos Miguel Prieto, Gerard Schwarz and Stilian Kirov. He has collaborated with the Royal Philharmonic and the Minnesota,
Indianapolis, Kansas City, Sydney, Seattle and Fort Worth Symphonies, among others. He has been featured on WQXR, Performance Today, Minnesota Public Radio and ABC (Australia) radio, and presented his original composition “Barcarolle” on NPR in March 2021.
As part of the American Pianist Awards, he will release his first studio album with the Steinway & Sons label in late 2022.
The Christel DeHaan Classical Fellowship also provides Broberg with a prize valued at $200,000 designed to assist him as he builds his musical career. It includes $50,000 in cash, two years of professional development and assistance and performance opportunities worldwide. Broberg will also work with students and host performances during his time on campus as the Artist-inResidence at the University of Indianapolis. Before embarking on his international concerts, Broberg performed in his adopted home of Kansas City, Missouri, for the concert “KC Celebrates Kenny Broberg” in September 2021.
You love Bach in black tie, but have you tried Sibelus in slippers? Beethoven à la bubble bath?
Dvořák with your favorite doggo?
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David Cho
The CH Foundation Endowed
Conductor’s Podium
Linda Lin
Concertmaster
Jones-Saathoff Family
Endowed Chair
Maja Maklakiewicz
Associate Concertmaster
Diekemper Family Foundation
Endowed Chair
Abi Rhoades
Lazaro Gonzalez
Grace Marín Aguilar
Isaías Lopes Ferreira
Rodrigo Cardona Cabrera
Francisco Villarroel
Judy Woody
Adan Flores
Kea Beasley
Lauren Pokorzynski
Principal
Justice Phil and Carla Johnson
Endowed Chair
Saikat Karmakar
Assistant Principal
Yifan Tang
Martha Perez
James Ellis
Shirley Wigley
Carroll Jane Goodyear
Texas Tech University School of Music
Endowed Performer
Cassidy Forehand
Shawn Earthman
Savannah Sharp
Leonel Garza
Catherine Chen
Principal
Mary M. Epps and Ralph E.
Wallingford Endowed Chair
Israel Mello
Ryellen Joaquim
Marian Herrero
Brian Gum
CELLO
Michael Newton Principal
Mary Francis Carter Endowed Chair
Alejos Anaya
Madeline Garcia
Neemias Santos
Daria Miśkiewicz
Yuhan Shi
Anthony Newton
Mark Morton
Principal
Eugene and Covar Dabezies
Endowed Chair
Hannah Macgillivray
Griff Miller
Stuart Anderson
Nodier Garcia
Zongyuan Wei
TRUMPET
Will Strieder
Principal
Stacey and Robert Kollman Family
Endowed Chair
TIMPANI
Lisa Rogers
Principal
Lubbock Symphony Guild
Endowed Chair
percussion
Christopher Mehrafshan
Principal
Lisa Rogers/Alan Shinn
Endowed Chair
Erin Martysz
Michael Mixtacki
John Frederick
LIBRARIAN
Vaughan Hennen
Originally conceived as a trumpet concerto, Shostakovich later added the piano part to make it a double concerto.
Breaking the norm for piano concertos, Shostakovich seated the trumpet next to the piano rather than in the trumpet section.
Shostakovich paid his way through Petrograd Conservatory by working as a pianist in movie theaters, providing live soundtracks for silent films.
In the concerto, Shostakovich references other works, including Haydn and Beethoven, and even bits of the composer’s own score to “Hamlet,” along with brief allusions to Russian and Austrian folk songs.
“Carmen” is one of the most popular operas, and the “Carmen Suite” is a one-act ballet version arranged by Shchedrin.
Carmen is known for her rebellious and independent nature, as well as her confidence and sensuality that defies the societal norms of 19thcentury Spain.
Carmen meets Don José when he is tasked with arresting her for getting into a fight at the cigarette factory where she works. She uses her charm and seduction to convince him to let her go, sparking their tumultuous relationship.
Escamillo, a famous bullfighter, becomes the object of Carmen’s affection as she becomes disillusioned with her possessive and jealous lover, Don José.
Don José, driven mad by jealousy and obsession, stabs Carmen to death in a fit of rage after she refuses to give up Escamillo.
At the premiere of the Carmen in Moscow, Shchedrin faced criticism for its overt sexuality. Shostakovich defended him, helping to salvage the ballet’s future and making it Shchedrin’s most famous work.
We hope you were able to participate in ClefNotes with Dr. Neil Kurtzman prior to the concert this evening!
Neil Kurtzman, MD, is a Grover E Murray Professor Emeritus and University Distinguished Professor Emeritus at Texas Tech University HSC, where he served as Chairman of the Department of Internal Medicine and Chief of the Division of Nephrology. He is the past president of the National Kidney Foundation and editor emeritus of the American Journal of Kidney Disease. In addition to his medical work, he is the author of more than about 800 articles on music and opera. He has lectured on the subject in the US, Europe, and at sea. His website is Medicine-Opera.com.
Thank you for attending and reading ClefNotes this season. We are excited to continue ClefNotes in our 23-24 season, “Best Of”!
The CH Foundation Endowed Conductor’s Podium
24 minutes
Piano Concerto No. 1 in C minor, Op. 35......Dmitri Shostakovich (1906-1975)
I. Allegro moderato
II. Lento
III. Moderato
IV. Allegro con brio
Kenny Broberg, piano Will Strieder, trumpet
INTERMISSIO N
15 MINUTES
40 minutes
Carmen Suite.....................................................Georges Bizet (1838-1875) arr. Rodion Shchedrin (1932-)
I. Introduction
II. Dance
III. First Intermezzo
IV. Changing of the Guard
V. Carmen’s Entrance and Habanera
VI. Scene
VII. Second Intermezzo
VIII. Bolero
IX. Torero
X. Torero and Carmen
XI. Adagio
XII. Fortune-Telling
XIII. Finale
The career of Dmitri Shostakovich (1906-1975) can be divided into two halves – before and after Stalin. Piano Concerto No. 1 belongs to the first half. This was the time when he was the boy wonder who produced music of boundless energy, when his world seemed limitless, and his creativity was unfettered.
Admitted to the Petrograd Conservatory when he was 13, Shostakovich was trained to be both a composer and a virtuoso pianist. When he was 19, his First Symphony, written as a graduation piece, was premiered by the Leningrad Philharmonic Orchestra to great acclaim. He was a force in Russian music from that point until the end of his life.
He hoped to be a piano composer like Rachmaninov and Prokoviev. He was selected to be one of the Soviet contestants in the inaugural Chopin Piano Competition in Warsaw in 1927. He advanced to the finals but did not win a medal. This disappointing result caused him to doubt his future as a performer.
Focusing on composition, he stopped concertizing after 1930, except for performing his own works. He began his First Piano Concerto in March of 1933. He had already finished his opera Lady Macbeth of Mtsensk, though it had yet to be performed. The opera triggered a near-lethal reaction from Stalin after he saw it in 1936, two years after its successful premiere.
The concerto started out as one for trumpet but gradually morphed into a piano concerto with a prominent but secondary part for trumpet. First performed in October 1933 with the composer as soloist, it was an immediate hit and revitalized Shostakovich’s performing career. He was repeatedly invited to perform it across Russia. It rapidly became part of the standard piano concerto repertory and has remained such to this day.
The concerto is a bundle of jokes, parodies, quotations, and dynamism. Shostakovich was one of music’s great quoters. In this work, it’s hard to keep up with all the quotations. But they are so seamlessly integrated into the work that even if you miss them, the piece still works. Some are so disguised that they’re only revealed by repeated listening.
The concerto is a wild parody of the great romantic concertos of Tchaikovsky and Rachmaninov. Shostakovich’s models are the leading modernists of a century ago – Prokofiev, Stravinsky, Poulenc, Hindemith, and Ravel. The quotations derive from his love of Mahler – who was also addicted to musical quotations.
The musical references include Beethoven’s Appassionata Sonata, the composer’s incidental music for Hamlet, the Austrian folk song ‘O du lieber Augustin,’ Haydn’s Piano Sonata in D, the folk tune ‘Poor Mary,’ a wild sendup
of Beethoven’s Rage Over a Lost Penny which includes the beginning of the famous Al Jolson song ‘California Here I Come.’ There are more. That Shostakovich could make a coherent whole out of this thematic hodge podge is a mark of his genius.
The concerto is in four movements rather than the usual three, though the third is very short and serves as an introduction to the finale. The second movement, marked lento, abandons zaniness for its duration. In ABA form, it is a dreamy waltz. The use of the trumpet when the initial theme returns is especially effective. It is an island of restrained beauty before the wackiness of the final movement takes over.
Shortly after the concerto’s premiere, Lady Macbeth of Mtsensk was staged to great acclaim. For two years, it was widely performed throughout the Soviet Union, then in 1936, Stalin attended a performance and was offended by everything in the opera. Two days later, ‘Muddle Instead of Music’ was published in Pravda. Shostakovich’s life changed forever. Thereafter he kept a packed suitcase by his door to have handy when he was arrested. Though frequently denounced, he never was jailed. Henceforth, he was still a great composer but of a different temperament.
Rodion Shchedrin (b 1932) is a Russian composer and pianist with a large body of work in a variety of genres. Since the fall of the Soviet Union, he has divided his time between Munich and Moscow. His best-known work is an unusual adaptation of Bizet’s opera Carmen. The genesis and performance of this adaptation is connected to Shostakovich both before and after its composition.
Shchedrin’s wife was the great ballerina Maya Plisetskaya (1925-2015), the prima ballerina assoluta of the Bolshoi Theater. In 1964 she asked Shostakovich to compose a ballet for her based on Carmen. He refused, explaining that the opera was so good and so well-known that no matter what he produced, the public would be disappointed. He suggested that she approach the composer she was married to.
She went instead to Aram Khachaturian, the composer of the ballets Gayane and Spartacus, who also suggested that Shchedrin was the man for the job. Before Shchedrin began composing the ballet, Plisetskaya had communicated with the Cuban choreographer Alberto Alonso. He worked out a libretto and dance moves for the ballet.
Alonso went to Moscow to teach Plisetskaya the ballet. Shchedrin observed the process and realized that he needed more than a simple adaptation of Bizet’s music. He had to be more than an arranger.
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He came up with the bold idea of using only a string orchestra and an enlarged percussion section. He rearranged the order of the music from its appearance in the opera, mixed melodies from different numbers, and included some music from Bizet’s incidental music to L’Arlésienne and his opera, La Jolie Fille de Perthe.
The ballet ran into a lot of trouble with the Soviet Minister of Culture, but it was finally staged after Shostakovich intervened on its behalf. While the ballet is occasionally performed, Shchedrin’s score lives on in the concert hall, where it has proved to be a big hit. It has also been recorded many times.
Arranged for strings, timpani, and four percussionists, it consists of 13 sections that rearrange and expand on Bizet’s music. Themes are interwoven and combined. In the ninth part of the suite, the famous Toreador Song is layered with the fate motif that predicts the story’s grim conclusion. This effect adds new meaning to the great piece. The unexpected sudden hesitations are resolved when the section ends with a full-out playing of the great tune. The fate motif also appears in the third section – ‘The changing of the guard.’
The twists and turns of the score add piquancy to the familiar music. Predictably, some critics were offended by Shchedrin’s reworking of a classic. But the audience, the ultimate critic, has decreed the work a unique addition to Bizet’s masterpiece confirming Shchedrin’s declaration that his work was “A meeting of the minds” between him and Bizet. Shchedrin had achieved the rarest of artistic feats – a masterpiece based on a masterpiece.
The string orchestra and timpanist are joined by four percussionists who play the instruments below:
Player 1: marimba, vibraphone, xylophone, castanets, three cowbells, four bongos, tubular bells, snare drum, guiro
Player 2: vibraphone, marimba, snare drum, tambourine, two woodblocks, claves, triangle, guiro
Player 3: glockenspiel, crotales, maracas, whip, snare drum, cabasa, guiro, three temple blocks, bass drum, tam-tam, tenor drum, triangle
Player 4: cymbals, bass drum, tam-tam, hi-hat, triangle, tambourine, five tomtoms
Program Notes by Neil Kurtzman
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Memorials:
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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.
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MWM Architects, Inc.
Officewise Commercial Interiors
Orlando’s Italian Restaurant
Otto’s Granary
Overhead Door Co.
Overton Hotel
Parkhill, Smith & Cooper
PayPal
Pediatric Associates of Lubbock
Pennington, Bass & Associates
Phi Beta Kappa Assn. of West
Texas & Eastern New Mexico
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
South Plains College
Southwest Snow Services
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
Brian Willcutt Chair
Toni E. Wallingford
Chair Elect
Katie Salter Treasurer
Terri Byrne Secretary
Heather Hocker
Immediate Past Chair
Steve Balch
Dolle Barker
Dustin Baucom
Gilbert Berdine
Leen Borno
David Cho
Patty D’Alise
Michael Epps
Stephen Faulk
Elias Ghandour
Gurdev Gill
Matt Grannan
Brad Green
Erin Gregg
Amy Grisham
Sandy Henry
Bobbye Hrncirik
Leslie Huckabee
Alena Ilyushyna
Tiva Kasemsri
Neil Kurtzman
Melissa Lewis
Paula Loveless
Barry McCool
Amanda Mead
Mallory Miller
Brenda Parrish
Judy Poffenbarger
Melissa Pridmore
Peter Reed
Abi Rhoades
Tim Sampson
Phil Sizer
Andrew Stetson
Robin Talbert
Davor Vugrin
Pat Wheeler
Lola Windisch
Galen Wixson
Galen Wixson
President & CEO
David Cho
Music Director
Mason Webb
Box Office & Education Coordinator
Emily Gavaghan
Director of Marketing
Amelia Jamieson
Graphic Designer
Corey Dolter
Operations Manager
Gary Hudson
Personnel Manager
Leslie Breslin
Director of Development
Kea Beasley
Director of Education
Suzanne Rasco
Director of Accounting
Vaughan Hennen
Librarian
Callie Watson
Graphic Design Intern
Jordan Parks
Marketing Intern
Anterian Gee
Marketing Intern
Rachel Vickery
Librarian Intern
Thank you for attending tonight’s performance! We appreciate your support of the Lubbock Symphony Orchestra. The 2022-2023 “Symphonic Scenes” season promises to be outstanding. We are so excited to experience the wonder of music with you.
Tonight’s performance, and every performance since 1952, has been made possible in part by the Lubbock Symphony Guild. For 70 years, the Guild members have donated their time and resources to keep symphonic music thriving in West Texas.
I hope 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 our Lubbock Symphony Guild. For more information, please visit our website at www.
Front Row Left to Right - Madeline Matthews, Emily Keister, Tatum Brown, Payton Harrison, Katherine White
2nd Row Left to Right - Maggi Underwood, Portia Clary, Madison Bigham, Anna McClendon, Blakely Biggs, Abby Harris
3rd Row Left to Right - Sydney Cranfill, Ava Hounshell, Sydney Lowe, Halle Henthorn, Ashtyn Bartley, Kaitlyn Caswell
Back Row Left to Right - Macy Hamel, Abigail St Clair, Emily Payne, Kathryn Kinnison, Chloe Conover, Elizabeth Kinnison, Natalie Caswell, Campbell Howe
Not Pictured -Regan Andrews, Adisyn Elrod, Ellis Fox, MaeAlice White
Front Row Left to Right - Alayna Bayouth, Hannah Feist, Kathryn Kothmann, Addison Burnett, Avery Schilling, Emme Hocker, Anna Everett, Jessica Foley
2nd Row Left to Right - Jillian Jones, Annabelle Bennett, AbiGayle Mills, Ava Campbell, Claudia Tepper, Campbell Carper, Reghan Rose
3rd Row Left to Right - Ava Lansdell, Skylar Tidwell, Emma Feist, Preslie Tarver, Berkley Bird, Olivia Needham, Christiana McCourt, Kathryn Cardelli, Jewel Naegele
Back Row Left to Right - Ella Scolaro, Mya Ballou, Lydia Carter, Alexandra Dannemiller, Madison White, Jeye Johnson, Olivia Phillips, Mia Capodagli, Kennedy Venable
Not Pictured - Kendall Cathey, Hannah Cooper, Preslee Edwards, Amelia Rodriquez, Emeri Tran
Front Row Left to Right - ALondon Carlisle, Brentley Preston, Tierni Green, Ryann Grissom, Emory McCain, Ella Mendez, Emily Roark
2nd Row Left to Right - Ashlyn Simek, Kamryn Chandler, Claire Ancell, Maya Al-Hmoud, Sadie Callison, Camden McDougal, Jayci Lentz, Addison Kitten, Rylan Belle Raley, Olivia Elliott, Reece Watson, Taylor Harrison, Anne Edwards, Grace Gerwig, Aubrey White
3rd Row Left to Right - Bella Lampe, Brynlee Hogg, Madelyn Caswell, Teema Sharif, Reece Riddle, Haleigh McKee, Raegan Reed, Jencee Thompson, Maya Vermillion, Rylee Rose, Hope Hancock, Ella Murphree, Lauren Casey
4th Row Left to Right - Shiloh Roach, Elizabeth Johnson, Hannah Harvey, Sydney Smothers, Morgan Parker, Blair Belew, Remington King, Zimri Buckley, Olivia Mudd, Emily White, Bradie Smith, Lydia Pesterfield, Riley Newberry
Back Row Left to Right - - Anastyn Greaser, Raegan Lee, Hannah Pharies, Cambelle Fannin, Viviana Ziegner, lndie Williams, Bryleigh Norman, Kristen Mitchell, Ella Grace Bennett, Cora Clifford, Camryn Howe, Mia Chacon, Gabrielle Scherpereel
Not Pictured - Emma Claire Womble
FRI. SEPT. 22, 2023
THE BUDDY HOLLY HALL
Peter Boyer-Rhapsody in Red, White, and Blue
Gershwin-Rhapsody in Blue
Beethoven-Symphony No. 5
Jeffrey Biegel, piano
FRI. OCT. 27, 2023
THE BUDDY HOLLY HALL
Haydn-The Creation
Michael Palmer, guest conductor
SAT. NOV. 04, 2023
THE BUDDY HOLLY HALL
Tchaikovsky-Francesca da Rimini
Mozart-Violin Concerto No. 5
Stravinsky-Firebird Suite
Chee-Yun, violin
SAT. JAN. 20, 2024
THE BUDDY HOLLY HALL
Brahms-Piano Concerto No. 1
Tchaikovsky-Symphony No. 3
Adam Golka, piano
SAT. MAR. 23, 2024
THE BUDDY HOLLY HALL
Selection of Verdi and Puccini Arias
Limmie Pulliam, tenor