MW3 program digtial by Lubbock Symphony

7:30 PM Brahms - A German Requiem

CH Foundation; Helen Jones Foundation, the Arts; and a grant from the City of Lubbock, as recommended by Civic Lubbock, Inc.

The Lubbock Chorale

David Cho, conductor

Amanda Key, soprano

Eleomar Cuello, baritone

Thank You

To our Partners In Harmony founding members

Beth and Will Ashmore

Kasi and Chris Boutwell

Mary Ann Bridges

Maureen Chadwick

Bobbe Crawford

Deena and Harold Evensky

Patricia Freier

Terry Hawkins and Dr. Doug Klepper

Honorable Phil and Carla Johnson

Dawn Kelley and Marcus Borhani

Diane Lowell Ann McDonald

Laura and Monte Monroe

Nancy Neal

Melissa Pridmore

Janice Stachowiak

Toni E. Wallingford

Carol Walker

Dr. Charles and Patricia Wheeler

Birgit Green

Dr. Lola B. Windisch

Susan Tarrant

Our mission is to support the Lubbock Symphony Orchestra’s education initiatives by underwriting a Masterworks concert each season that builds on the LSO’s 80-year tradition of education and outreach, providing students from education related organizations the opportunity to experience the power of a live symphonic performance.

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

Dolle

A LETTER FROM THE PRESIDENT & CEO

Dear Friends of the Lubbock Symphony Orchestra,

It is a pleasure to welcome you to our third Masterworks concert of the season. Thank you for joining us this evening and for your continued support of your Lubbock Symphony.

This performance is made possible through the generous support of City Bank. We are grateful for their commitment to the arts and to the Lubbock community. Partnerships like this allow the Lubbock Symphony to continue presenting inspiring performances in The Buddy Holly Hall of Performing Arts and Sciences.

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

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

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

Thank you,

Heather Hocker President & CEO hhocker@LubbockSymphony.org

A LETTER FROM THE BOARD CHAIR

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

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

We are pleased to welcome two outstanding guest artists this evening. Baritone Eleomar Cuello has appeared as a soloist in a wide range of operas, including Don Giovanni, La bohème, and Madama Butterfly. His versatility will bring the great depth and resonance needed to tonight’s performance.

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

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

Thank you for joining us this evening.

Gratefully,

Jill Stangl Chair LSO Board of Directors

A LETTER FROM THE MUSIC DIRECTOR

Dear Lubbock Symphony Family,

Welcome to our third Masterworks program of the 2025-2026 season; Brahms’ A German Requiem.

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

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

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

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

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

Sincerely,

David Cho Music Director Lubbock Symphony Orchestra

Amanda Key, soprano

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

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

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

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

Eleomar Cuello, baritone

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

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

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

ALAN ZABRISKIE, ARTISTIC DIRECTOR THE LUBBOCK CHORALE

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

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

THE LUBBOCK CHORALE

Alan Zabriskie

Artistic Director/Conductor

Mark Bailey

Associate Graduate Conductor

Charles Whitehead

Collaborative Pianist

Anh Van Collins

Business Manager

SOPRANO

Melanie Anthony

Katie Ball

Betsy Bass

Sarah Cantor

Addy Davis

Oxana Davis

Miranda Dawson

Jennifer Furey

Hannah Gossett

Madison Hanson

Lisa Harvey

Sophia Hernandez*

Soprano, continued

Karen Hybner

Makenzie Hyde

Chris Kimbler

Karina Lago Disdier*

Hannah Lammert

Barbara Lauriat

Kiana Love

Heather McInroe

Katie Nielsen

Mimi Pappas

Kensly Peck

Rebecca Puckett

Claire Randolph

Julie Ray

Christina Rielo

Glenda Reynolds

Jess Walls

Carol Ward

Heidi Winkler

ALTO

Mandi Almager

Sofia Altamirano

Gwendolyn Bain

Elizabeth Carroll

Jo Crum

Robbi Crumpler

Kylie Davis

Carolyn Eaks

Patricia Freier

Amberlynn Gonzales

Adithi Govindan

Haley Guenther

Beth Haney

Aveline Hewetson

Dana Hinds

Patsy Jackson

Gabriella Lacombe

Faith La Lande

Maggie Langsford

Lizzie Lambert*

Kennedy Leonard

Erin Lich

Christie Lujan-Cox

Bridget Mann

Katie Mann

Nicole Martens

Celestina Martinez

Rachael McCutcheon

Samantha Pearce

Kelsey Peck

Kate Poudrier

Mari Quiles

Kate Smith*

Connie Spicier

Lori Summers

Juliana Upchurch

Linda Tyler

Cynthia West-Ward

Kayla Wimberley

Karen Wood

Lauren Ziegenhorn*

Emily Zoorob

TENOR

Darrell Bateman

Jacob Briggs*

Aiden Chapleau*

Charlie Correa

Jeb Harris

Jaden Hicks

Randall Hinds

Preston Hitt*

Mark Huffines*

Weston Marshall

Rolla Randel

Ken Smith

Ryken Tucker*

BASS

Mark Bailey**

Kayden Bawa

Trayce Boudreaux*

Carlos Camarena

Don Collier

Terry Forbes

Ken Haney

Jake Hemmle*

Melvin E Laski

Mark Light

Christopher Markgraf*

Ethan Nguyen

Collin Smith

Sam Vasquez*

Orlando Williams*

Skipper Wood

Kerry Wright

*Denotes TTU Scholarship Singers **2025-2026 Recipient of the Lottie Hilton and Judge Pat Moore Altrusa

Club Music Scholarship

This list represents all currently active members. Some members may not participate in every concert.

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

PROUD SUPPORTER OF

Lubbock Symphony Orchestra

LUBBOCK SYMPHONY ORCHESTRA

CONDUCTOR

David Cho

Conductor

The CH Foundation Endowed

Conductor’s Podium

VIOLIN I

Annie Chalex Boyle

Concertmaster

Jones-Saathoff Family

Endowed Chair

Abi Rhoades

Associate Concertmaster

Diekemper Family Foundation

Endowed Chair

Abreal Whitman

Assistant Concertmaster

Josenir Alves Cerqueira Jr.

Adan Flores

Radman Rasti

TTU School of Music

Endowed Performer

Guillermo Uribe Laudino

Sean Kyhm

Malik Winston

Erick Valle

VIOLIN II

Saikat Karmakar

Principal

Justice Phil and Carla Johnson

Endowed Chair

Cassidy Forehand

Assistant Principal

Kea Beasley

James Ellis

Shirley Wigley

Christine Tao

Brennan Lowrey

Martha Perez

Savannah Sharp

William Olufsen

Orion Mckenzie

VIOLA

Israel Mello

Principal

Mary M. Epps and Ralph E.

Wallingford Endowed Chair

Jordan Stubblefield

Sharon Mirll

Libby Herring

Camellia Asadi

Vivian McDermott

Jasmin Caldera

CELLO

Michael Newton Principal

Mary Francis Carter Endowed Chair

Alejos Anaya

Madeline Garcia

Kelly Kuhn

Caroline Silva

DOUBLE BASS

Mark Morton Principal

Eugene and Covar Dabezies

Endowed Chair

Greg Faught

Stuart Anderson

Chris Arcy

Fernando Almeida

FLUTE

Kim Hudson Principal

Crew of Columbia, STS-107

Endowed Chair

Eric Leise

Associate Principal

Antonio Herbert

PICCOLO

Antonio Herbert

OBOE

Jordan Hastings Principal

Lubbock Symphony Guild

Endowed Chair

Angeli Mari Nicolas

CLARINET

David Shea Principal

Christine Polvado and John

Stockdale Endowed Chair

Aron Maczak

BASSOON

Vince Ocampo

Principal

Nancy and Tom Neal

Endowed Chair

Adam Drake

CONTRABASSOON

Ian Resurreccion

HORN

Quentin Fisher Principal

Anthony and Helen Brittin

Endowed Chair

Esteban Chavez

Clark Hutchinson

Caleb Dent

Ashley Beyer

TRUMPET

Gary Hudson Principal

Stacey and Robert Kollman

Family Endowed Chair

Nathalie Mejia-Zec

TROMBONE

James T Decker Principal

Larry and Lucy Landusky

Endowed Chair

Bruce Keeling

BASS TROMBONE

Darin Cash

Tim and Mary Jane Sampson

Endowed Chair

TUBA

Miles Bintz Principal

Diekemper Family Foundation

Endowed Chair

TIMPANI

Lisa Rogers Principal

Lubbock Symphony Guild

Endowed Chair

HARP

Elizabeth Howard Principal

Rachel Jean Armstrong Thomas Principal Harp Endowed Chair

PERSONNEL MANAGER

Gary Hudson

LIBRARIAN

Israel Mello

B RAHMS: A

ermanRequiem

Schumann, Robert (1810 - 1856)

Overture, Scherzo and Finale, op. 52

I.Overture

II.Scherzo

III.Finale

Amanda Key, soprano

Eleomar Cuello, baritone

The Lubbock Chorale

David Cho, conductor

INTERMISSION

Brahms, Johannes (1833 -1897)

Ein deutsches Requiem, op. 45 (A German Requiem)

I. Selig sind, die da Leid tragen – Blessed are they that mourn

II. Denn alles Fleisch, es ist wie Gras – For all ﬂesh is as grass

III. Herr, lehre doch mich – Lord, make me to know the measure of my days

IV. Wie lieblich sind deine Wohnungen – How lovely is thy dwelling place

V. Ihr habt nun Traurigkeit – Ye now are sorrowful

VI. Denn wir haben hie keine bleibende Statt –

For here we have no abiding city

VII. Selig sind die Toten – Blessed are the dead

Amanda Key, soprano

Eleomar Cuello, baritone

Alan Zabriskie, The Lubbock Chorale

David Cho, conductor

This program is approximately 1 hour and 46 minutes

Helen Jones Foundation, Inc.

SS Foundation

German - English Translations

Brahms, Johannes

Ein deutsches Requiem, op. 45 (A German Requiem)

German

Matthew 5:4 Selig sind, die da Leid tragen, denn sie sollen getröstet werden.

Psalm 126:5,6 Die mit Tränen säen, werden mit Freuden ernten. Sie gehen hin und weinen und tragen edlen Samen, und kommen mit Freuden und bringen ihre Garben.

II

1 Peter 1:24 Denn alles Fleisch ist wie Gras und alle Herrlichkeit des Menschen wie des Grases Blumen. Das Gras ist verdorret und die Blume abgefallen.

James 5:7 So seid nun geduldig, lieben Brüder, bis auf die Zukunft des Herrn. Siehe, ein Ackermann wartet auf die köstliche Frucht der Erde und is geduldig darüber, bis er empfahe den Morgenregen und Abendregen.

1 Peter 1:25 Aber des Herrn Wort bleibet in Ewigkeit.

Isaiah 35:10 Die Erlöseten des Herrn werden wieder kommen, und gen Zion kommen mit Jauchzen; ewige Freude wird über ihrem Haupte sein; Freude und Wonne werden sie ergreifen und Schmerz und Seufzen wird weg müssen.

English

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

They that sow in tears shall reap in joy. He that goeth forth and weepeth, bearing precious seed, shall doubtless come again with rejoicing, bringing his sheaves with him.

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

Be patient therefore, brethren, unto the coming of the Lord. Behold, the husbandmen waiteth for the precious fruit of the earth, and hath long patience for it, until he receive the early and latter rain.

But the word of the Lord endureth for ever.

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

III

Psalm 39:4-7 Herr, lehre doch mich, daß ein Ende mit mir haben muß, und mein Leben ein Ziel hat, und ich davon muß. Siehe, meine Tage sind einer Hand breit vor dir, und mein Leben ist wie nichts vor dir. Ach, wie gar nichts sind alle Menschen, die doch so sicher leben. Sie gehen daher wie ein Schemen, und machen ihnen viel vergebliche Unruhe; sie sammeln und wissen nicht wer es kriegen vird. Nun Herr, wess soll ich mich trösten? Ich hoffe auf dich.

Wisdom of Solomon 3:1 Der Gerechten Seelen sind in Gottes Hand und keine Qual rühret sie an.

Psalm 84:1,2,4 Wie lieblich sind deine Wohnungen, Herr Zebaoth! Meine seele verlanget und sehnet sich nach den Vorhöfen des Herrn; mein Leib und Seele freuen sich in dem lebendigen Gott. Wohl denen, die in deinem Hause wohnen, die loben dich immerdar.

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

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

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

John 16:22 Ihr habt nun Traurigkeit; aber ich will euch wieder sehen und euer Herz soll sich freuen und eure Freude soll neimand von euch nehmen.

Ecclesiasticus 51:27

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

Isaiah 66:13 Die Erlöseten des Herrn werden wieder kommen, und gen Zion kommen mit Jauchzen; ewige Freude wird über ihrem Haupte sein; Freude und Wonne werden sie ergreifen und Schmerz und Seufzen wird weg müssen.

Hebrews 13:14 Denn wir haben hie keine bleibende Statt, sondern die zukünftige suchen wir.

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

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

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

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

German - English Translations of Brahms, cont.

1 Corinthians 15:51,52,54,55

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

Revelation 4:11 Herr, du bist Würdig zu nehmen Preis und Ehre und Kraft, denn du hast alle Dinge geschaffen, und durch deinen Willen haben sie das Wesen und sind geschaffen.

VII

Revelation 14:13

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

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

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

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

PROGRAM NOTES

Schumann: Overture, Scherzo and Finale

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

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

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

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

Brahms: A German Requiem

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

Death pervades classical music like a mournful messenger of fate. Examples are too numerous to mention in any depth; a few, such as Wagner’s Tristan und Isolde, Strauss’s Death and Transfiguration, and Mahler’s 9th Symphony are prime examples. But there is one musical form that is exclusively about death – the Requiem. There are thousands of musical settings of the Catholic Mass for the Dead. They often add or subtract from the liturgical text of the Mass. The best known of these are by Mozart, Berlioz, Verdi, and Fauré.

*(More about Fauré below.)

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

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

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

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

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

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

The longest of all Brahms’ compositions, the work is symmetrically arranged in seven movements:

I. Selig sind, die da Leid tragen (Blessed are they that mourn): Begins with the Beatitudes (“Blessed are they that mourn”). Scored without violins to create a dark, somber texture.

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

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

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

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

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

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

Movements I and VII form a frame focused on beatitude and consolation. Both begin with the word ‘Selig’ (Blessed) and share similar melodic material. Movement VII ends with the same musical motifs and harp-enriched orchestration as Movement I.

Movements II and VI confront mortality and transience. Movement II is the most dramatically contrasted and is often described as a funeral march with a progression from mortal transience to eschatological hope. The closing section culminates in a radiant fugue, one of Brahms’s first major demonstrations of choral contrapuntal mastery. Movement VI is the largest and most complex movement, combining elements of aria, chorus, recitative, and fugue. It begins with the baritone articulating humanity’s homelessness in the world. The movement ends in a monumental double fugue, combining learned counterpoint with overwhelming sonic power. This is the closest Brahms comes to traditional judgment imagery, yet even here the emphasis is on divine worthiness rather than human fear.

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

Program notes, cont.

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

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

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

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

By using the German language and non-liturgical texts, Brahms redefined the “Requiem” as a concert-hall genre rather than strictly a church service, influencing later composers like Mahler and Fauré to seek more personal, less dogmatic expressions of mortality. The work continues to be programmed worldwide as a standard for reflection and remembrance, valued for its ability to provide solace during times of collective or personal loss.

*Fauré’s Requiem uses the traditional Catholic text, omitting the Dies Irae. It too is in seven movements and is scored for soprano, baritone, mixed choir, orchestra, and organ. Fauré wrote of the work, “Everything I managed to entertain by way of religious illusion I put into my Requiem, which moreover is dominated from beginning to end by a very human feeling of faith in eternal rest.” The influence of Brahms’ earlier Mass on Fauré is palpable.

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

Neil Kurtzman

ANNUAL FUND

The Lubbock Symphony Orchestra appreciates the generosity of the following individuals who have given to the Annual Fund between February 2025 and February 2026.

MAESTRO’S LEGACY CIRCLE

($100,000+)

Ann and Craig* McDonald Family

MAESTRO’S DIAMOND CIRCLE

($50,000-$99,000)

Herb and Evan Armstrong

MAESTRO’S PLATINUM CIRCLE

($25,000-$49,999)

Dr. Doug Klepper and Terry Hawkins

Sandra and Neil A. Kurtzman

MAESTRO’S GOLD CIRCLE

($15,000-$24,999)

Deena and Harold Evensky

Patricia and Donnie Hicks

Shari and Randy Holloway

Shanna and James St. Clair

Nadene and Roger Tipton

MAESTRO’S SILVER CIRCLE

($7,500 – $14,999)

The Advisors Group

Sherryle Cantu

Shelby Russel

Dr. Rebeccah & Mr. Dustin Baucom

Dolle Barker

Jill and Gilbert Berdine

Leen and Mounir Borno

Terri and Michael Byrne

Maureen Chadwick

Betsy and Thivakorn Kasemsri

Marcus Borhani and Dawn Kelley

Susan and Don Maddox

Katie and John Salter

Tommy Sansom

Jill and Fred Stangl

Lyn and Mark Stoll

Ralph Tamper and Don Shrum

Jenny and Edson Way

Drs. Lola and Thomas Windisch

MAESTRO’S CIRCLE

($5,000 – $7,499)

Randy Andrews

Covar Dabezies

Stephen L. and Melissa A. Faulk

Birgit and Brad Green

Sue and Curtis Griffith

Sandy and Alan Henry

Leslie and Adrian Huckabee

The Honorable and Mrs. Phil Johnson

Jan Ledbetter

Laura and Monte Monroe

Tricia and Dr. Peter Reed

Mary Jane and Tim Sampson

Jo Anne M. Smith

Toni E. Wallingford

VIRTUOSO’S CIRCLE

($3,500 – $4,999)

Patricia Lynn Freier

Lucy and Larry J. Landusky

Mary McCrary

CONCERTMASTER’S CIRCLE

($1,500 – $3,499)

Elizabeth and Will Ashmore

Betsy and Mark Bass

Kasi and Chris Boutwell

Deborah Conn

Linda and Bryan Dunn

Elenora and Elias Ghandour

Reed Hooks

John Hunter

Virginia Kellogg

Stacey and Robert Kollman

Nancy and Tom Neal

Brenda and Curtis Parrish

Janeen Patterson

Melissa and Tim Pridmore

Trevor Rogers

Kuykendall Foundation

Cindy and Harry Zimmerman

MUSICIAN’S CIRCLE

($1,000 – $1,499)

Nathan Baie

Stephen and Maria Balch

Nancy Barr

Anthony Brittin

Kathleen and Eric Burrell

Terri and Mike Byrne

Cassie Christopher

Allison Clayton

Katherine Cody

Joehassin Cordero

Evelyn Davies

Patti and Jim Douglass

Clay Elliott

Michael Epps

Martha Fregia

Alvin Gary

Amy Grisham

LaVelle Hawkins

Rhea Hill

Hill & Ioppolo Oral and Dental Implant

Surgery of Lubbock

Bobbye Hrncirik

Grace Lin

Patti and Jim Lupton

Sharon and Rick Martin

Sally Murray

Dr. Tam Nguyen

Gwen Nichols

Stephanie Rogers

Janice Stachowiak

Darya White

Joyce and Scott White

Brian A. Willcutt

Michael Zimmerman

YOUNG ARTIST’S CIRCLE

($500 - $999)

Gisele Bazan

Amanda Bourland

Krista and Matthew Bumstead

Kristina Butts

Beverly and Dana Butler

Mary and W.R. Collier

Sandra and Robert Crosier

Joe Dominey

Dennis Harp

Nancy and Richard Jorgensen

Joshua Kendrick

Kyle Laughlin

Claire and Wyatt Leavell

Carolyn Moore and Allan MacKenzie

Cindy and Mark McBrayer

Rebecca Moffett

Young Artist’s Circle, cont.

Robert Nebb

Gwen and Thomas J. Nichols

Sharmon and Keith Owens

Thomas Parsons

Melanie and Dr. Mike Ragain

Dr. Carlos Ricaldi

Dona Richardson

Tracee and Dr. Scott Spore

Chris St. Clair

Tracy Wills Tobin

Sally Walton

PATRON’S CIRCLE

($275 - $499)

Barry Cohen

Reyhan and Richard Crider

David Cummings

James Fox

Constance Goodwin

David Hodges

Janeen Drew Holmes

Alycyn Keeling

Janice and Morris Knox

Kishor Mehta

Michael Mitchell

Jill Nelson

Mary Ellen Perez

Vanessa Pope

Patrick Poradek

Janet and Davis Price

Sherill and Charles Skibell

Carol Walker

Gay Word

SUSTAINER’S CIRCLE

($125 - $274)

Lynn Akin

H. Allen Anderson

Xochitl Anderton

Jill and Randy Ball

Pam Blassingame

Bradley Blount

Jessica Brashear

Kathy Britton

Joana Brown

Carla Burrus

Neill Carter

Mary Cato

Josh Corbin

Bobbe Crawford

Cari and Dennis Dillon

Sherri Field

Gregory Fields

Mark Flenniken

Mark Funderburk

Sustainer’s

Circle, cont.

David Gibson

Lisa Gilliland

Tyler Graham

Jane Henry

Callum Hetherington

Aveline Hewetson

Aaron Huff

Margaret Kemp

Wendell Leatherwood

Judy and Gary Linker

Diane Lowell

Debbie Lyford

Penelope and Gerald Pipkin

George Porter

Christy Reeves

Darin Richards

Joel Robinett

Carmen Stein

Steve Synck

Jim Tapp

Dave Treat

Alina Warraich

Wayne Weslander

Dianne White

Rodney White

Gary Wood

LUBBOCK SYMPHONY CHAMBER ORCHESTRA SPONSORS

Grey Hare Analytics, Inc.

SS Foundation

Patricia and Donnie Hicks

Prosperity Bank

Shari and Randy Holloway

LUBBOCK YOUTH ORCHESTRAS SPONSORS

The CH Foundation

Comissioners Court / Lubbock County, Texas

Civic Lubbock

ESO Fan Wear

Helen Jones Foundation

Mighty Wash

Lubbock Live Festival for the Arts

UMC Connect

SEASON SPONSORS

*Lubbock Youth Orchestras and Lubbock Symphony Education Sponsors

MAESTRO’S PLATINUM CIRCLE

($25,000+)

The United Family

MAESTRO’S GOLD CIRCLE

($15,000-$24,999)

City Bank

University Medical Center

UMB Bank

LSO Partners in Harmony

MAESTRO’S SILVER CIRCLE

($7,500 – $14,999)

Armstrong MechanicalBeth and Chris Carpenter

Chappell, Lanehart & Stangl P.C.

*Double T SmilesDrs. Colleen and Michael Segall

Hill & Ioppolo Oral & Dental Implant

Surgery of Lubbock

(The Ioppolo Family Foundation)Lory and Dr. Rob Ioppolo

Merrill Lynch

MWM Architects

Officewise Commercial Interiors

Overton Hotel & Conference Center

Texas Tech Office of the President / J.T. and Margaret Talkington College of Visual and Performing Arts

MAESTRO’S CIRCLE

($5,000 – $7,499)

Casserole Premium Quality Beans

Friends of Trout Fishing in America

Tiva Kasemsri

Lowry Schaub

Scott Spore

Roger Tipton

Thomas Windisch

John Zias

GRACO Real Estate Development

The Andrews Family

Happy State Bank

Julian Gold

HG Thrash

Texas Tech University School of Music

Victory Bank

Visual Edge IT

VIRTUOSO’S CIRCLE

($3,500 – $4,999)

Grey Hare Analytics, Inc.

CONCERTMASTER’S CIRCLE

($1,000 – $3,499)

Abuelo’s Mexican Restaurant

Grace and Robert Lin

Blue Layer

Community National Bank

Evensky & Katz / Foldes

Wealth Management -

Katie and John Salter

Prosperity Bank

Science Spectrum

Tucker Floral

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

Help us bring the next big artist to Lubbock!

THANK YOU TO OUR CRESCENDO DONORS!

FORTISSIMO

($10,000+)

Evan and Herb Armstrong

Lubbock Symphony Guild

Nancy and Thomas Neal

Ralph Tamper and Don Shrum

FORTE

($5,000 - $9,999)

Michael Epps

Don and Susan Maddox

Sharon and Rick Martin

Shanna and James St. Clair

Toni Wallingford

MEZZO FORTE

($1,000 - $4,999)

Pam and Rob Allison

Beth and Will Ashmore

Ruth Ann and Aubrey Bridges

Mezzo Forte, continued

Bobbe Crawford

Covar Dabezies

Stephen L. and Melissa A. Faulk

Patricia Lynn Freier

Birgit and Brad Green

Robbie Harbison

Sandy and Alan Henry

The Honorable and Mrs. Phil Johnson

Richard Jorgensen

Betsy and Thivakorn Kasemsri

Stacey and Robert Kollman

Grace and Robert Lin

Gwen and Tom Nichols

Sharmon and Keith Owens

Brenda and Curtis Parrish

Prosperity Bank

Dr. Wael and Hana Qubti

Tricia and Peter Reed

Judy and Paul Rostad

Mary and Roger Saathoff

PROUD TO FEED

Artistic Spirit

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

CRESCENDO

Mezzo Forte, continued

Mary Jane and Tim Sampson

Tina and Tommy Sansom

Debbie Sims

Jill and Fred Stangl

Pat and Charles Wheeler

Darya White

MEZZO PIANO

($20 - $999)

Trudy Gamble

Carol Giblin

Alena Ilyushyna

Amanda Kuhn

Kit and Ben Linton

James McNabb

Jill Nelson

Mary Parra

Kathrin Price

Cloyce Stetson and Janice Stachowiak

Ross Waggoner

Susan Wilson

For over 79 seasons, the Lubbock Symphony Orchestra has been a bridge between the world’s top performers and the heart of the Hub City. Whether it’s up-and-coming talent or seasoned professionals, we take pride in showcasing the rich musical culture of our region to the world. Now, it’s time to turn up the volume and make it clear that Lubbock is a destination not to be missed.

The meaning of CRESCENDO is a gradual increase. In 1963, the Lubbock Symphony introduced the legendary pianist Van Cliburn, who performed with our local orchestra. Similarly in 1993, the Lubbock Symphony garnered attention by hosting a series of concerts featuring pop singer Tony Bennett. Since then, the orchestra has had the privilege of hosting notable performers such as Yo-Yo Ma, Joshua Bell, Wynton Marsalis, Susan Graham, Renée Fleming, Boyz II Men, and Kristin Chenoweth. The Symphony has also paid tribute to renowned artists like Queen, The Beatles, Led Zeppelin, Wicked The Musical, and Aretha Franklin. These performances hold a special place in the hearts of many members of our community, as they are cherished memories. This is why we strive to keep creating unforgettable experiences that can be treasured by future generations.

Did you know that only one-third of our annual budget comes from ticket sales? The remaining funds mainly come from music supporters in the community, like yourself. Crescendo aims to AMPLIFY your support of our evolving mission to bring the most prominent names in music to the Hub City.

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

Please join us with your gift to Crescendo today!

HONORARIUMS

The Lubbock Symphony Orchestra respectfully acknowledges donations received during the 2025-2026 Season in honor of the following:

Bess Haley In Honor Of Toni Wallingford

Evelyn Davies In Honor Of Toni Wallingford

The Randy Andrews Family In Honor Of David Cho

William Choe In Honor Of David Cho

Sue Sexton In Honor Of David Cho

Virginia Kellogg In Honor Of David Cho

Dean Kilmer In Honor Of David Cho

Rock Thoms In Honor Of David Cho

David J. Tobin In Honor Of David Cho

G3 In Honor of Stephen L. and Melissa A. Faulk

Michael Epps In Honor Of Stephen L. and Melissa A. Faulk

Robin and Don Walker In Honor Of Stephen L. and Melissa A. Faulk

Toni E. Wallingford In Honor Of Stephen L. and Melissa A. Faulk

Patricia and Charles Wheeler In Honor Of Stephen L. and Melissa A. Faulk

Twentieth Century Club In Honor Of Dr. Elissa Stroman

Jim Smith In Honor Of Donna Smith

In honor of Dawn Kelley & Marcus Borhani Musicians Support Endowment

James and Luann Beardemphl

Scott and Jessica Beardemphl

Crystal Borhani

Rahim and Martha Borhani

Tutti Burkett

David Cho

Bryan and Linda Dunn

Richard and Rebecca Gale

Larry and Susan Hess

Sheryl House

George R. Keeling Insurance

Doug Klepper and Terry Hawkins

Leslie Mihal

Allan Mackenzie and Carolyn Moore

Steve and Peggy Reinhart

Susan and Chris Seiter

Tom and Judy Spoonts

Priscilla Stennis

Cloyce Stetson and Janice Stachowiak

Lloyd and Betti Whetzel

Patricia and Charles Wheeler

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

Inspired by Possibility

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. SCAN QR CODE FOR MORE INFORMATION

MICHAEL POSTAR’S

ADVISORY COUNCIL, PAST CHAIRS

Jack M. Lewis

W.P. Clement

Charles E. Maedgen, Jr.

Roy Bass

Rex Webster

Marion Key

W.R. Sewell

J.C. Reynold

James L. Quicksall, Jr.

Asher Thompson

Richard G. Richards

Jack Kastman

Joe J. Moise

J. Harmon Jenkins

George C. Miller

Lonnie Langston

John Witcomb

O.W. English

Asher Thompson

Troy Myers

Arthur E. Gamble

Charley Pope

C.B. Carter

Robert E. Norris

Dean James Allen

Robert L. Stripling

Charley Pope

John R. Kreiger

Roger Key

Edwin E. Merriman

Owen McWhorter, Jr.

Frank Newton

Frank Anderson

Kay Sanford

Paul Meyer

Robert L. Stripling

Jim Ratliff

Coffee Conner

Alan Henry

William D. Armstrong

Susan Boling

Curtis Griffith

DeWayne Pierce

Mike Cunningham

Margaret Lutherer

Chris Barnette

Catherine S. Porter

Ray Fargason

Emily Ratcliff

Brad Green

Peter G. Daia

Kirk McLaughlin

Harry Zimmerman

Shannon Taliaferro

Heather Hocker

Brian Willcutt

Toni Wallingford

CONNECT WITH US & SIGN UP TODAY!

UMC Connect is a revolutionary ﬁtness facility located inside UMC Health & Wellness Hospital in South Lubbock!

From Technogym wristband technology that integrates straight into our equipment to unlimited studio classes like group cycle, Pilates, yoga, and circuit-based training.

UNLIMITED CLASSES. NO HIDDEN FEES.

BEHIND THE MUSIC

OFFICERS

Jill Stangl

Chair

Dustin Baucom

Chair Elect

Brad Green

Treasurer

Stephanie Rogers Secretary

Toni Wallingford

Immediate Past Chair

BOARD OF DIRECTORS

Beth Ashmore

Steve Balch

Dustin Baucom

Gilbert Berdine

Leen Borno

Kasi Boutwell

Terri Byrne

Maureen Chadwick

David Cho

Cassie Christopher

Allison Clayton

Covar Dabezies

Clay Elliott

Deena Evensky

Stephen L. Faulk

Melissa A. Faulk

Cassidy Forehand

Patricia Lynn Freier

Elias Ghandour

Brad Green

Amy Grisham

Spencer Hartman

Sandy Henry

Rhea Hill

Bobbye Hrncirik

Rob Ioppolo

Carla Johnson

Tiva Kasemsri

Amanda Kuhn

Neil Kurtzman

Larry Landusky

Grace Lin

Laura Monroe

Brenda Parrish

Board of Directors, cont.

Melissa Pridmore

Peter Reed

Carol Robertson

Stephanie Rogers

Tim Sampson

Jill Stangl

Andrew Stetson

Nadene Tipton

Alejandro Verdugo

Toni Wallingford

Edson Way

Darya White

Joyce White

Lola Windisch

ADMINISTRATION

Heather Hocker

President & CEO

David Cho

Music Director

Eric Allen

Lubbock Symphony

Chamber Orchestra Artistic Director

Courtney Jordan

Director of Development

Molly Ramirez

Director of Marketing and Communications

Callie Watson

Box Office Coordinator

Amelia Jamieson

Graphic Designer

Julia Griffith

Education Outreach Manager

Lee Schrader

LYO Manager

Gary Hudson

Personnel Manager

Corey Dolter

Operations Manager

Israel Mello

Librarian

Karyn Roy Development Intern

A LETTER FROM THE LUBBOCK SYMPHONY GUILD PRESIDENT

Welcome Patrons,

Thank you for attending tonight’s performance! We appreciate your support of the Lubbock Symphony Orchestra. The 20252026 season promises to be an outstanding year of symphonic performances. We are excited to experience the joy of music with you.

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

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

Sincerely,

Kathleen Burrell, President Lubbock Symphony Guild

Lubbock Symphony Guild Senior Debutantes

Front Row Left to Right - Kathleen Jane St. Clair, Angelia Liu, Sarah Simpson, Sadie Gillespie, Meridith Bradley, Lauren King, Payton Reed, Emyrson Parrott, Blakely Martin, Katelyn Bollens, Chayce Johnson, Ella Bennett, Viviana Ziegner, Olivia Mudd

2nd Row Left to Right - Georgia Kitten, Alice Everett, Ellie Underwood Reya Felton, Mckanna Garcia, Kennedy Cowan, Joleigh Reno, Ashlyn Edwards, Brynlee Smith, Emma Lane, Erin Brodbeck

3rd Row Left to Right - Elizabeth Nicholson, Cassidy McKinnon, Campbell Beeler, Katelyn Glenn, London Bird, Baylee Fillingim, Addison Stewart, Natalie Sweat, EllaMaria Webb, Chayce Welborn, Campbell Franklin, Harper Burrell

4th Row Left to Right - Halley Reynolds, Addison Neufeld, Landry Allen, Joy Wischmeyer Adelaide Underwood, Madison Heider, Ava Smith, Finnley Forero, Dannelle McCourt Not Pictured - Talitha Dalton

Lubbock Symphony Guild Junior Debutantes

Front Row Left to Right - Lola Latham, Kayci Cave, Shelby Rivas, Ella Condra, Carter Piland

Sophie Scolaro, Sarah Poe, Rynn Riddle

2nd Row Left to Right - Alexis Gregory, Aubry Elrod, Sophie Carter, Emily Aldinger, Sage Boyle, Kristine Wischmeyer, Riverson Sawyer, Kayleigh Lewis, Hope Stonestreet

3rd Row Left to Right - Alyssa Joiner, Ashtyn Neufeld, Isabella Hernandez, Kaylee Jordan Emersyn Cross, Marlee Thompson, Presley Taylor, Pamela Buckley, Addison Evans, Kaylee McKee, Kaelie Fincher

Back Row Left to Right - Finley Cross, Ellison Roberts, Elizabeth Thane, Campbell Wilson

Abbott Spitzer, Hadley Payne, Lula Biondi, Elizabeth Williams, Kate Harlien

Not Pictured - Lauren Brashear, Hannah Owen

Lubbock Symphony Guild Senior Debutantes

Lubbock Symphony Guild Sophomore Debutantes

Front Row Left to Right - Cannon Miller, Tatum Maines, Kaylee Cottrell, Audrey Oaks

Hope Acrey, Elizabeth Cruce-Roberst, Jack Callahan, Frederick Strangl, Emerson Mooty

Ella Hurst, Tess Stockdale, Avery Garza, Grace Cone

2nd Row Left to Right - Alexis Edwards, Halle McPherson, Caroline Cathey, Wade Massengale, Beau Bennett, William Marcinkowski, McKenna Tidwell, Clara Pesterfield, Channing Boyd

3rd Row Left to Right - Avery Smith, Avery Underwood, Ella Polk, Ainsley Wisniewski

Grace Tippy, Elly Craft, Saylor Sexton

Back Row Left to Right - Channing King, Hurley Neufeld, Taylor Haymes.

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