Tchaikovsky's First Piano Concerto Program

Jon Kimura Parker, piano Peter Bay, conductor

MENDELSSOHN NIELSEN TCHAIKOVSKY

Overture to The Fair Melusina Symphony No. 1 Piano Concerto No. 1

Piano Concerto

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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A LETTER FROM THE PRESIDENT & CEO Dear Friends of the Lubbock Symphony, On behalf of the Board of Directors, musicians, and staff of Lubbock Symphony, it is my pleasure to welcome you to The Buddy Holly Hall of Performing Arts and Sciences for tonight’s performance.

We extend our deepest gratitude to guest conductor Peter Bay, who has traveled from Austin to lead us with his remarkable artistry, and guest pianist Jon Kimura Parker, whose extraordinary virtuosity and passion will bring the Tchaikovsky Piano Concerto to life. It is an honor to welcome them both to the Lubbock stage.

A special thank you to City Bank for its unwavering commitment to the arts. Its dedication to enriching our community through music is evident tonight as we showcase spectacular talent.

Additionally, we would like to express our sincere appreciation to Helen Kim-Sills and Classical 105.7 for their partnership in producing the Sizzle Reel that you will see tonight. This special video feature, showcasing Clint Barrick, Brad Green, Richard Fountain, and David Cho, offers unique insights into the brilliance of Mendelssohn, Nielsen, and Tchaikovsky.

Please enjoy Tchaikovsky’s First Piano Concerto and we look forward to seeing you at Carmina Burana in April.

Sincerely,

Galen Wixson President & CEO Lubbock Symphony

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A LETTER FROM THE MUSIC DIRECTOR Dear Friends of the Lubbock Symphony, We are thrilled to welcome guest conductor Peter Bay who has been hailed as a Maestro who “really knows the score inside and out for every work that he conducts and the interpretations of the works he conducts are based on scholarship and honest study”. Maestro Bay has just celebrated a silver anniversary of his music directorship at the Austin Symphony. His dedication and energy has brought passion and joy to the musicians and the audiences worldwide.

It is also a great honor to welcome guest pianist Jon Kimura Parker who has mastered all the works written for piano and orchestra. He has recently been featured as guest lecturer at ToneBase Piano; an online masterclass for aspiring pianists.

As the Gold Medalist at the 1984 Leeds International Piano Competition, he has performed with every major orchestras. He is the Artistic Director at the Honens International Piano Competition and is currently a master teacher and professor at the Shepherd School of Music at Rice University.

Tonight’s program has a theme; Musical Gifts. Mendelssohn, upon hearing his colleague’s opera “Melusina”, was inspired to write a thank you note by writing this beloved concert overture. The first half of tonight’s program will conclude with a Danish composer Carl Nielsen’s Symphony No. 1. It is a youthful work inspired by Beethoven Symphony No. 5. He dedicated this exciting work to his wife.

The finale of the program is none other than Tchaikovsky’s illustrious and beloved first piano concerto. It was dedicated to the esteemed pianist and the dean of the Moscow Conservatory Nicolai Rubinstein. The initial reception from Rubinstein was less than lukewarm to say the least. Tchaikovsky did not give up and presented to another titan Hans von Bülow who enthusiastically approved it as one of the war horses that will take the piano world by storm. To this day, Tchaikovsky’s first piano concerto has garnered appreciation from players and audiences.

Thank you for your support for tonight’s Lubbock Symphony Masterworks program. Your presence and attention is greatly appreciated.

Most sincerely,

David Cho Music Director Lubbock Symphony

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

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Peter Bay, guest conductor Peter Bay has been the Music Director and Conductor of the Austin Symphony Orchestra since 1998. He also serves as the Conductor of the Bravo! Big Sky Classical Festival Orchestra (MT) and the Arizona Philharmonic.

Bay has conducted over 80 orchestras, including the National, Chicago, St. Louis, Houston, Dallas, Baltimore, New Jersey, North Carolina, San Antonio, Tucson, West Virginia, Colorado, Hawaii, Sarasota, and Fort Worth symphonies.

Internationally, he has led the Bochum (Germany), Carinthian (Austria), Lithuanian National, and Ecuador National symphonies, the Minnesota and Algarve (Portugal) orchestras, and the Louisiana, Buffalo, Arizona, Rhode Island, and Boca del Rio (Mexico) philharmonics. His opera and chamber engagements include the St. Paul Chamber Orchestra, Theater Chamber Players of the Kennedy Center, and performances at Eastman and Aspen opera theaters. He has appeared at festivals such as Aspen, Grant Park, Ravinia, Round Top, OK Mozart, Music in the Mountains, and Skaneateles. In 2018, he conducted Bernstein’s Mass for the Bernstein100Austin celebration.

In addition to his symphonic work, Bay is the primary conductor for Ballet Austin.

His Austin Opera credits include A Streetcar Named Desire, La Traviata, Turandot, The Marriage of Figaro, and La Bohème.

Previously, Bay served as Music Director of the Erie Philharmonic, Annapolis Symphony Orchestra, Breckenridge Music Festival, Britt Festival Orchestra, and Hot Springs Music Festival. He has also held positions with the Rochester Philharmonic, St. Paul Chamber Orchestra, and Richmond Symphony. From 1980 to 1990, he was on the conducting staff of the Aspen Music Festival, leading concerts with four of its orchestras.

His recordings include a critically acclaimed Bridge Records release of Edward Burlingame Hill’s music with the Austin Symphony and pianist Anton Nel, the U.S. premiere of Britten’s The Sword in the Stone with the Richmond Symphony, and Voices with the Rochester Philharmonic. He also conducted Christopher Cross’ Secret Ladder album and Hanan Townshend’s soundtrack for the 2016 film The Vessel.

In 1994, Bay was one of two conductors selected for the Leonard Bernstein American Conductors Program. He won first prize at the 1980 Baltimore Symphony Young Conductors Competition and was a prizewinner at the 1987 Leopold Stokowski Competition. In 2012, he was featured in Solo Symphony, a choreographic work by Allison Orr, and was inducted into the Austin Arts Hall of Fame in 2016.

Bay is married to soprano Mela Sarajane Dailey, and they have a son, Colin.

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Jon Kimura Parker, piano Pianist Jon Kimura Parker is celebrated for his charisma, enthusiasm, and dynamic performances. A veteran of the international concert stage, he has performed in renowned venues such as the Berlin Philharmonie, Carnegie Hall, London’s South Bank, the Sydney Opera House, and the Beijing Concert Hall. He is the Creative Partner of the Minnesota Orchestra, Artistic Director of the Honens International Piano Competition, and Artistic Advisor for the Orcas Island Chamber Music Festival.

Highlights of his 2021-22 season include concerto appearances with the Phoenix, Peninsula, San Antonio, Rhode Island, and Kansas City orchestras, a special performance with the Galilee Chamber Orchestra in Toronto, and recitals for Portland Piano International and the Chamber Music Society of Lincoln Center. He also tours as a member of the Montrose Trio, alongside Martin Beaver and Clive Greensmith.

A versatile collaborator, Parker has performed with Doc Severinsen, Audra McDonald, Bobby McFerrin, Pablo Ziegler, and Sanjaya Malakar. He was a founding member of Off the Score, performing with Stewart Copeland of The Police and arranging works by Prokofiev, Ravel, and Stravinsky. He has also accompanied Frederica von Stade, Susan Graham, and Luca Pisaroni in recital.

A dedicated educator, Parker is a Professor of Piano at the Shepherd School of Music at Rice University. His students have won major international competitions and performed worldwide. He has lectured at The Juilliard School, given master classes at Yale, and chaired the jury for the Hilton Head International Piano Competition.

Parker’s discography includes a dozen albums, covering composers from Mozart and Chopin to Barber, Stravinsky, and John Adams. His most recent recording, Fantasy, built around Hirtz’s Wizard of Oz Fantasy, was praised for its artistic depth.

His Concerto Chat YouTube series explores the piano concerto repertoire, while his Whole Notes performances are available on Amazon Prime Video. He is currently recording master classes for Tonebase.

Winner of the Gold Medal at the 1984 Leeds International Piano Competition, Parker studied with Edward and Keiko Parker, Lee Kum-Sing, Marek Jablonski, and Adele Marcus at The Juilliard School. An Officer of The Order of Canada, he holds honorary doctorates from the University of British Columbia and the Royal Conservatory of Music, Toronto.

Known to friends as “Jackie,” Parker is married to violinist/violist Aloysia Friedmann.

Their daughter Sophie graduated from Rice University in 2021.

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LUBBOCK SYMPHONY ORCHESTRA GUEST CONDUCTOR Peter Bay

The CH Foundation Endowed Conductor’s Podium

VIOLIN I

VIOLA

Israel Mello

Principal

Mary M. Epps and Ralph E. Wallingford Endowed Chair

Linda Lin

Sharon Mirll Sera Jung Bruno Silva Vivian McDermott Jasmin Caldera Josh Allen

Diekemper Family Foundation Endowed Chair

CELLO

Annie Chalex Boyle

Concertmaster

Jones-Saathoff Family Endowed Chair

Associate Concertmaster

Maja Maklakiewicz

Assistant Concertmaster

Lazaro Gonzalez Adan Flores Shawn Earthman

TTU School of Music Endowed Performer Chair

Radman Rasti Kea Beasley Anna Kim Savanna Sharp

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 Sean Kyhm

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Michael Newton

Principal

Mary Francis Carter Endowed Chair

Danny Mar Alejos Anaya Madeline Garcia Daria Miśkiewicz Justin Barnwell Jeremy Couture

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Eric Leise

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Crew of Columbia, STS-107 Endowed Chair

Antonio Herbert Spencer Hartman

PICCOLO

Spencer Hartman

OBOE

Susetta Rockett

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Lubbock Symphony Guild Endowed Chair

TRUMPET Gary Hudson

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Stacey and Robert Kollman Family Endowed Chair

William Takacs

TROMBONE Bruce Keeling

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Larry and Lucy Landusky Endowed Chair

Jacob Moore

BASS TROMBONE Darin Cash

Jordan Hastings

Tim and Mary Jane Sampson Endowed Chair

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David Shea

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BASSOON

Vince Ocampo

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Nancy and Tom Neal Endowed Chair

Ian Resurreccion

Lisa Rogers

Principal

Lubbock Symphony Guild Endowed Chair

PERSONNEL MANAGER Gary Hudson

LIBRARIAN Israel Mello

HORN

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Anthony and Helen Brittin Endowed Chair

Esteban Chavez Clark Hutchinson Jack Mellinger Seth Wallace

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Felix Mendelssohn (1809-1847) The Fair Melusina Overture, op. 32 Carl Nielsen (1865-1931) Symphony No. 1 in G minor, op. 7 I. Allegro orgoglioso II. Andante III. Allegro comodo - Andante sostenuto - Tempo I IV. Finale: Allegro con fuoco

INTERMISSION Piotr Ilyich Tchaikovsky (1840-1893) Piano Concerto No. 1 in Bb minor, op. 23 I. Allegro II. Andantino III. Allegro Jon Kimura Parker, piano The length of this program is approximately 1 hour and 40 minutes.

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PROGRAM NOTES Written by Dr. David Cole Felix Mendelssohn: Overture to The Fair Melusina, Op. 32 Felix Mendelssohn fell in love with fairy tales and legends from an early age. His overture to Shakespeare’s A Midsummer Night’s Dream so perfectly evokes the enchanted realm of Oberon, Titania, and Puck, it seems impossible that the work was written by a 16-year-old. That love of Shakespeare came from the nurturing of reading and study in the Mendelssohn household where he and his sister Fanny read, acted, and set to music poetry and drama by Shakespeare and many other writers.

Mendelssohn and his family undoubtedly knew the legend of the water nymph Melusina, who agrees to marry a human mortal on the condition that he never see her bathing or giving birth – a story akin to Hans Christian Andersen’s The Little Mermaid. Goethe had set the legend as part of a novel and 1807, and a dramatized version of Goethe’s text was offered as a libretto to Beethoven, who turned it down.

Near his 25th birthday, Mendelssohn attended a performance of the opera Melusina

by Conradin Kreutzer. Mendelssohn was underwhelmed by Kreutzer’s treatment of the legend and undertook to write an overture on the subject to demonstrate his own ideas on an effective musical representation. Mendelssohn worked on the overture through 1833, intending it as a birthday gift for his sister Fanny. The London premiere was less successful than Mendelssohn had hoped for, so he revised it and published it in 1835.

As in his evocative Hebrides Overture, in The Fair Melusina, Mendelssohn manages to suggest the watery realms of Melusina’s legend without slavishly following the plot of the legend in music. While the burbling clarinets and strings of the introduction might suggest the mermaid herself, the stormy Allegro that follows is in a Classical sonata form and a contrasting lyrical string melody as a second theme.

Yet it seems to be Melusina who has the final word as she evaporates in a final cascade of gentle woodwind and string arpeggios.

Carl Nielsen: Symphony No. 1 in G minor, Op. 7 When a symphony is given its first performance, if the composer is in the audience, it’s traditional for the conductor to acknowledge him and bring him to the stage for a bow and to bask in the appreciation of the audience. In some cases, composers will conduct their own new works and receive kudos (or catcalls) from the podium.

Concert patrons in Copenhagen attending the concert of the Chapel Royal Orchestra on the evening of March 14, 1894 might have been surprised when, at the conclusion of Carl Nielsen’s First Symphony, conductor Johann Svendsen gestured towards the orchestra’s second violin section and the 27-year-old composer arose, violin in hand, to accept the enthusiastic approval of the audience and his colleagues in the orchestra. This premiere of Nielsen’s Symphony No. 1 was the first step on a distinguished journey for the composer that would produce five more symphonies that spoke with a distinctive voice in a century where composers questioned the validity of writing symphonies at all. From his humble origins, Nielsen would eventually be hailed as Denmark’s foremost composer - a title he retains to this day, nearly a century after his death.

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Nielsen was born in Odense on the Danish island of Funen, the seventh of twelve children. He received his earliest musical training from his parents. He described his first experiences in music like this: I had heard music before, heard father play the violin and cornet, heard mother singing, and, when in bed with the measles, I had tried myself out on the little violin.

After some formal training in violin and piano, he became a junior member of a military band at age 14, playing trumpet and alto trombone. He continued to play the violin for dances and gatherings while on leave at home. He left the regiment upon acceptance by Copenhagen’s Royal Academy, where he studied violin, music theory, and composition.

After graduating from the Academy in 1886, Nielsen began his career as a freelance musician. It was during this period that his first compositions (mostly chamber music) were given their first performances. His Little Suite for string orchestra was favorably received at a concert at Copenhagen’s famed Tivoli Gardens. It was published as the composer’s Opus 1. After joining the second violin section of the Royal Danish Orchestra, Nielsen gained exposure to the orchestral repertoire of both past and present, which planted the seeds that grew into his Symphony No. 1.

Born into a century where the primary musical debates were between supporters of Brahms (the more “Classical” romanticism of Schubert, Schumann, and Mendelssohn) and the supporters of Wagner (the “radical” innovations of Berlioz and Liszt), Nielsen, like many 20th-century composers, chose a different path.

Instead of either slavish devotion to the past or an unquestioning embrace of the contemporary, Nielsen melded both traditional forms and contemporary harmony to create a distinctive musical voice. It’s tempting to see Nielsen’s music as an aural predecessor of Danish Modern design, with the clear vision of his music as an equivalent of the clean lines and unfussy elegance of the later Scandinavian aesthetic.

Nielsen greatly admired Beethoven’s Fifth Symphony and its journey from darkness into light. In his own music, Nielsen adapted this principle into the idea of progressive tonality, the structural device of beginning a piece of music in one key and concluding in another key, giving the work a harmonic “goal” to which it strives from the beginning to the end of the work. As in Beethoven’s Fifth, where each of the first three movements contain harmonic “hints” of the triumphant C major of the finale, in Nielsen’s symphonies there are glimpses of the key that will ultimately conclude the work. Nielsen’s First Symphony is one of his earliest manifestations of this principle, beginning in a stormy G minor and concluding in radiant C major.

The symphony opens with a surge of energy, as though we’ve suddenly opened the door upon a musical discourse that was already taking place. Nielsen’s unusual tempo marking (Allegro orgoglioso, a “proud liveliness”) reflects a composer first starting to stretch his musical muscles and wanting to proudly assert himself to both the orchestra and the audience. The bold, striding opening theme leads to an outpouring of lyricism that hovers between yearning and disquiet. Even in its calmer interludes, this opening movement never strays far from the tumultuous energy with which it began. Throughout, Nielsen masterfully manipulates his musical material to present each melodic idea in a variety of moods and colors.

The final bars rachet the energy up another notch, plunging headlong to the final cadence, which closes the movement like the sudden slamming of a door at the end of a contentious argument.

Strings introduce a quiet hymn to open the second movement (Andante), which soon develops into a more passionate lyrical outpouring. The music rises and falls in

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Program notes, continued waves, as though trying to master an overwhelming emotion. When the climactic moment arrives, the orchestra sings a passionate lament which gradually subsides back to the quiet textures of the opening, accompanied by gentle palpitations that pass through the different sections of the orchestra. The final surge of emotion suddenly changes from minor to major, closing the movement in an atmosphere of blissful calm.

While the third movement (Allegro comodo) is in the expected rapid triple meter for a classical symphony, Nielsen creates a symphonic structure that’s closer to the feeling of constant change, growth, and development found in the first movement. Musical material is modified in an ever-changing kaleidoscope of colors and textures. Contrast is provided by a solemn chorale led by the horns and supported by the low growl of the bassoons. While we hear a return of the material that opened the movement, Nielsen continues to vary the melody, harmony, and orchestration to give the feeling of starting from one point and arriving at a different destination. A final surprise - the chorale returns at the end in a more nostalgic guise before the opening ideas reassert themselves only to quietly evaporate into silence.

The finale (Allegro con fuoco) opens with the same confident strength as the first movement. Here, too, there are brief moments of calm, but the forward momentum is rarely thwarted for long. Nielsen demonstrates some of the many lessons he has learned from Beethoven, with extraordinary climaxes being built over long stretches through the repetition and layering of small musical ideas. The final bars surge forward ecstatically, bringing the symphony to a joyous conclusion. It’s little wonder that the audience at the Copenhagen premiere rose to their feet to acclaim this extraordinary work by a such a youthful composer.

Peter Ilyich Tchaikovsky: Piano Concerto No. 1 in B-flat minor, Op. 23 Tchaikovsky’s two best-known and most beloved concertos both needed to walk a difficult path to finally arrive in the concert hall. His Violin Concerto was snubbed by its original dedicatee, Leopold Auer, and after its world premiere in Vienna in December 1881, the critic Eduard Hanslick condemned the work in the press the following day: “…the violin is no longer played; it is torn asunder, it is beaten black and blue.” Despite these initial birthing pains, the Violin Concerto became and remains one of the most beloved works in the repertoire.

Six years earlier, Tchaikovsky’s Piano Concerto No. 1 had faced a similar uphill battle.

Not a virtuoso pianist himself, Tchaikovsky was self-conscious about his ability to write idiomatically for the instrument. He pinned his hopes upon persuading the brilliant Russian pianist Nicolai Rubinstein to take on the challenge of the first performance. Rubinstein was a composer as well as a pianist, and he was the head of the Moscow Conservatory where Tchaikovsky served on the faculty. As one of the leading pianists of his time, if he would lend his advocacy to Tchaikovsky’s concerto, it would be assured of a place in the concert repertoire.

Upon putting the finishing touches on the work, Tchaikovsky made an appointment to play the concerto for Rubinstein on Christmas Eve of 1874. The older composer listened thoughtfully throughout the entire performance. At the end, when greeted with Rubinstein’s stony silence, Tchaikovsky asked for his opinion. Rubinstein launched into a vicious diatribe on the defects of the composition, not sparing Tchaikovsky’s feelings in the least. Tchaikovsky described it in a letter to a friend: “There burst from Rubinstein’s mouth a mighty torrent of words. He spoke quietly at first, then he waxed hot, and finally he resembled Zeus hurling thunderbolts. It seems that my concerto was utterly worthless, absolutely unplayable. Certain passages were so commonplace and

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awkward they could not be improved, and the piece as a whole was bad, trivial, vulgar. I had stolen this from somebody and that from somebody else, so that only two or three pages were good for anything and all the rest should be wiped out or radically rewritten.”

Rubinstein told Tchaikovsky that if he would undertake radical and extensive alterations, and if the revisions met with Rubinstein’s approval, the great virtuoso would deign to bestow his talents upon Tchaikovsky’s poor little concerto.

Tchaikovsky absorbed Rubinstein’s criticism stoically, but the conservatory director’s harsh comments and condescending attitude must have hit a nerve – Tchaikovsky soon after wrote to a friend, “I will not alter a single note, and will publish it exactly as it is!” Just as Beethoven angrily tore the title page of his Eroica Symphony when scratching out the dedication to Napoleon Bonaparte, Tchaikovsky rubbed out the dedication to Rubinstein and instead dedicated it to the German pianist and conductor Hans von Bülow (who just happened to be one of Rubinstein’s professional rivals).

Karma was on Tchaikovsky’s side. Von Bülow not only graciously accepted the dedication, but immediately included it on a concert tour of the United States.

Instead of a world premiere in Moscow with Rubinstein at the piano, Tchaikovsky’s First Piano Concerto made its debut in Boston, with von Bülow conducting the orchestra of the Harvard Musical Society, a pick-up group of professional musicians from the area. The young American composer George Whitefield Chadwick was in the audience at the premiere and found the work powerful and enchanting; American audiences agreed. Von Bülow reported the work’s success back to Tchaikovsky, who gushed in a letter to a friend, “Each time Bülow was obliged to repeat the whole finale of my concerto! Nothing like that happens in our country.”

Tchaikovsky’s concerto has been so beloved for so long that it is easy to overlook its unique musical features. The opening movement is announced in portentous horn fanfares, punctuated by sharp chords from the rest of the orchestra. The soloist enters with majestic chords to accompany the orchestra in one of the lushest Romantic melodies in the concerto repertoire – in the “wrong” key (D-flat major, not B-flat minor). The piano repeats the same melody, adorned with filigree decoration, over a quiet pizzicato accompaniment. After a brief piano cadenza, this ravishingly beautiful tune returns one more time in full Hollywood orchestration over cascades of chords in the piano…and it is never heard again. A quiet interlude that follows leads to the Allegro con spirito, whose initial idea is a nervous figure in the piano which is then heard in the orchestra. The contrasting second theme is a sensitive and melancholy tune that sighs with each phrase. The piano’s pyrotechnics are evident throughout the movement, answered by the passionate outbursts of the orchestra. While the movement is identifiable in sonata form, the overall feeling one is of an extended rhapsody, with a free interplay of the movement’s themes. The energy builds throughout the movement to an extended piano cadenza, a brief reprise of the lyrical second them and a final sprint to the final chords.

The Andantino semplice is an ABA song form, but the central section serves not just as a contrast, but as a miniature scherzo within the bookends of the opening and closing sections. The opening flute melody passes to the piano, which extends and elaborates its simple song, provoking gentle responses from solo woodwinds and horn. After the central section’s light-footed exuberance, the piano returns to the wistful opening tune and brings the movement to a quiet conclusion.

The finale (Allegro con fuoco) bursts forth in a whirlwind of orchestral energy, which the piano seizes upon immediately in a vigorous, demonic dance, punctuated by syncopated accents in the orchestra. The pianistic fireworks relent only for an ardently lyrical waltz, introduced by the strings and taken up by the soloist. Virtuoso pianism and passionate lyricism vie for the spotlight throughout the movement, answered by muscular orchestral tuttis. The lyrical waltz appears in one final grand peroration for both piano and orchestra before the soloist brings the house down with the final adrenaline-fueled sprint to the finish.

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2024-2025 SEASON

Maestro’s Circle, continued Shanna and James St. Clair Lyn and Mark Stoll Jenny and Edson Way Darya White

VIRTUOSO’S CIRCLE ($3,500 – $4,999) Evelyn Davies Gilley Griffith Mary McCrary Brenda and Curtis Parrish Drs. Nadene and Roger Tipton Mary Jane and Tim Sampson

CONCERTMASTER’S CIRCLE ($1,500 – $3,499) Elizabeth and Will Ashmore Barb and Nathan Baie Betsy and Mark Bass Cathy and Ray Box Terri and Michael Byrne Beth and Chris Carpenter Deborah Conn 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 Barry McCool Peggy and Terry McInturff Stephanie Rogers Tina and Tommy Sansom Sue and Jim Sexton Dr. Charles and Patricia Wheeler Cindy and Harry Zimmerman

MUSICIAN’S CIRCLE ($1,000 – $1,499) Pam and Rob Allison Joan Baker Maria and Stephen Balch Judith Baldwin *in memoriam

39

Family Owned Since 1931

40

Musicians Circle, continued Dustin Baucom Leen and Mounir Borno Amanda Bourland Kasi and Chris Boutwell Mary Ann and Klattenhoff Bridges Ruth and Aubrey Bridges Mr. Anthony and Dr. Helen Brittin Bobbe Crawford Richard Gale 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 Paula and Kurt Loveless 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 Melanie and Mike Ragain Kelly Robinson Judy and Paul Rostad Judith Rowdon Mary and Roger Saathoff Carrie and Kevin Sedberry Debbie Sims Michelle Stephens Kristian Tsokanov Sally Walton Joyce and Scott White Ruth Wilkerson Brian A. Willcutt

YOUNG ARTIST’S CIRCLE

($500 - $999) Gisele Bazan Beverly and Dana Butler Dr. and Mrs. Joehassin Cordero Reyhan and Richard Crider Patty and Mark D’Alise Cari and Dennis Dillon Joe Dominey Patrick Dunne Matthew and Lisa Garner Santa Nicole George

2024-2025 SEASON

Young Artist’s Circle, continued

Stephen Glenn Ellen and Dennis Harp Glenda and George Helfrich Jane Henry Heather and Mark Hocker David Hodges Janeen Drew Holmes Courtney and Doug Jordan George R. Keeling Insurance Agency LLC Janice and Morris Knox Fran Koch Lucy Lanotte Kit and Ben Linton Sally Murray Norman Orr Penelope and Gerald Pipkin Kathrin Lee Price Dona Richardson Janice and Lowry Schaub Tracee and Dr. Scott Spore Janice Stachowiak Dianne White Mary and John Zias

PATRON’S CIRCLE ($275 - $499) Janis and Eric Blackwell Sandra and Robert Crosier Robin and Karl Dent Wendell Leatherwood Jill Nelson Gwen and Thomas Nichols Janet and Davis Price Carol K Walker Kathleen Weed Gay Word

SUSTAINER’S CIRCLE ($125 - $274) H. Allen Anderson Jill and Randy Ball Shelley and Ian Barba Nancy and Alwyn Barr David Box Jamila and Samuel Branch Krista and Matthew Bumstead Kathleen and Eric Burrell Kim Burrows Neill Carter Chris Castleberry Mary Cato William Choe *in memoriam

41

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Sustainer’s Circle, continued Chris and Kathy Claus Christopher Collins Amy and Josh Corbin Alex Driggars Dorothy Glenn Chuck Heinz Alena Ilyushyna Chee Yun Kim Judy and Gary Linker Carolyn Moore and Allan MacKenzie Beverly and Don McBeath Cindy and Mark McBrayer Joe McFerrin James McNabb Kishor Mehta Leslie Mihal Sue Mooney Thinh Nguyen Dona Nussbaum Thomas Parsons Justin Price Suzanne Rasco Carlos Ricaldi Carol Robertson

Neva Rousselot Sylvia Sapsky Karen Savage Joe Sharp Sherril and Charles Skibell Sandra Stratton Steve Synck Jim Tapp Jack Thompson Paul Thornton Alice V White Donna and Hugh Wilson 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

43

www.officewiseco.com www.officewiseco.furniture 1301-13th Street Lubbock, TX 79401 Locations in

Lubbock, Amarillo, Midland/Odessa & DFW 806.763.2500 | 800.825.8222

A Symphony of products and services to keep your business in tune 44

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

45

46

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

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 Tina and Tommy Sansom

47

Share $50

With A Friend

$50 Off

Any Service1

$25 to you, $25 off to your friend

SINCE • 1934 Scan to Schedule

BetterCallArmstrong.com | 806-763-COOL Promo 18221. 1 Valid on services $200 or more. See company representative for details.

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

48

CRESCENDO Mezzo Forte, continued 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

49

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

50

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

51

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

— Matshona Dhliwayo

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

52

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

53

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

54

2024-2025 SEASON

55

MICHAEL POSTAR ’S

Proud supporter of The Lubbock Symphony 56

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

.

57

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

58

2024-2025 SEASON

59

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

CovenantHealth.org 60

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

61

Artistic Spirit PROUD TO FEED

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

62

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 Jamie Shipp

Education Assistant

63

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

64

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

65 10/4/2024 12:41:20 PM

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

66

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

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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

s

e

n

te d

b

y

JUNE 13-15, 2025

BroadwayAtTheBuddyHollyHall.com 800.776.7469 BWAYLUBBOCKBHH

68

MAY 16-18, 2025

2024-2025 SEASON

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