LSO 2022-23 Program Book Fall Concerts

EDWARD

POLOCHICK

MUSIC

DIRECTOR

22-23

SEASON

ZLATOMIR

FUNG

CELLO

LIMMIE

PULLIAM

TENOR

DANIEL

BERNARD

ROUMAIN

VIOLIN

ANNE-MARIE

McDERMOTT

PIANO

LINCOLNSYMPHONY.COM

402.476.2211

Love

what’s next.

At Immanuel Communities, you’ll find more smiles shared

between family and friends. More services and amenities

to make each day incredible. And more opportunities to

find abundant retirement living. Enjoy life the way you’ve

imagined in retirement, and we’ll take care of the rest.

Schedule a visit today at Immanuel.com

Serving Lincoln at

The Landing, Yankee Hill Village and

Grand Lodge, now part of the family!

Affiliated with the Nebraska Synod, Evangelical Lutheran Church in America

23_61_5

FY23_61_5_AD(LSO Program Ad)_IMMCL.indd 1

7/20/2022 9:09:12 AM

EDWARD POLOCHICK MUSIC DIRECTOR

Photo By JamesAnn Photography

EDWARD POLOCHICK, MUSIC DIRECTOR

Edward Polochick, Music Director of Lincoln's

Symphony Orchestra since 1998, has expanded

LSO’s music series through innovative classical

music programs, family concerts, pops concerts,

and July 4th events like the Uncle Sam Jam. For

31 years, he served as Artistic Director of

Concert Artists of Baltimore, an all-professional

chamber orchestra and professional vocal

ensemble of eighty-plus musicians which he

founded in 1987. Maestro Polochick served

on the faculty of the Peabody Conservatory

of Music in Baltimore from 1979 until 2021 in

a multitude of conducting positions including

Associate Conductor of Orchestras, Director of

Choral Ensembles, and Opera Conductor. Not

only is he widely recognized as a conductor,

but he is an award-winning pianist and

harpsichordist and has regularly conducted

from the keyboard with Lincoln’s Symphony

Orchestra, the Baltimore Symphony Orchestra,

and Concert Artists. He has also appeared as

piano soloist with the Philadelphia Orchestra

and the Los Angeles Chamber Orchestra under

the direction of Sir Neville Marriner.

Since winning the first Leopold Stokowski

Conducting Award in 1978 and, as a result,

conducting the Philadelphia Orchestra, he

continues to attract world-wide attention as

an orchestral, choral, and operatic conductor.

In addition to conducting the Philadelphia and

Baltimore Symphony Orchestras, his guest

appearances include the Houston Symphony,

Chautauqua Symphony, the Opera Company

of Philadelphia, Omaha Symphony, Jacksonville

Symphony, Charleston (SC) Symphony

Orchestra, Aalborg Symphony (Denmark),

Daejeon Philharmonic (South Korea), St.

Petersburg Symphony (Russia), and the State

of Mexico Symphony Orchestra (Mexico).

From 1979-1999, Mr. Polochick was on the

conducting staff of the Baltimore Symphony

Orchestra as Director of the Symphony Chorus,

founder and director of the Baltimore Symphony

Chorus Chamber Singers, and frequent guest

conductor. During his tenure with the BSO, he

established annual Holiday Pops and Messiah

performances which have remained Baltimore

holiday traditions for over four decades. Most

recently he recorded his critically acclaimed

version of Handel’s Messiah for Naxos with the

Baltimore Symphony Orchestra. In the summer

of 1987, Mr. Polochick was principal conductor

of the Musicisti Americani Summer Festival

in Sulmona, Italy. In the autumn of that same

year, he conducted the Peabody Symphony

Orchestra in Moscow, the first appearance of

an American student orchestra in the Soviet

Union. In recognition of the Moscow tour,

Mr. Polochick received an ASCAP Award for

Adventurous Programming of American Music.

In 2000, Mr. Polochick received the Peggy

and Yale Gordon Achievement Award and

was made an honorary member of the

Baltimore Music Club. Two years later he was

awarded the coveted Johns Hopkins University

Distinguished Alumnus Award. In 2004, he was

named Baldwin Scholar at the University of

Notre Dame of Maryland where he held lectures,

demonstrations, and panels on the creative act

of music. He was awarded the ‘Keys to the City’

by Lincoln’s Mayor Coleen Seng in 2007, and

in 2010 received a commission from Nebraska

Governor David Heineman as an Admiral in

the Nebraska Navy. In 2011, he was the only

American to serve as an adjudicator for the

Rosa Ponselle International Vocal Competition

in Caiazzo, Italy.

Although Mr. Polochick resides in Baltimore, he

considers Lincoln to be his second home. On

each visit he contributes to the community

through LSO’s public performances, school

visits, workshops, master classes and other

educational activities, and radio and television

appearances, making classical music

accessible to everyone in his beloved Lincoln

community.

2

Lincoln’s locally-owned bookshop

featuring new books, art and gifts.

Visit Us

130 S. 13th Street

Lincoln, Nebraska 68508

Shop Online

francieandfinch.com

Hours

M-F: 10AM to 5:30PM

SAT: 12PM to 4PM

SUN: Closed

Member FDIC

For the big and small moments.

FNBO is proud to support the Lincoln

Symphony Orchestra and how the arts make

our communities unique and prosperous.

BOARD OF DIRECTORS & LSO STAFF

233 South 13th Street, Suite 1702

Lincoln, NE 68508

402.476.2211

www.lincolnsymphony.com

BOARD OF DIRECTORS

Ben Kiser, President

Kirby Reardon Past-President

Drew Brown, Treasurer

Kelley Baker

Andre Barry

Daryl C. Bell

Mary Campbell

Debra Cirksena

Abigail Eccher

Tom Klein

Ariel Merivil

Tyler Mohr

Marilyn Moore

Anthony Roebuck II

Jess Rustad

Ingrid Sepahpur

Beth Smith

Eric Sullivan

Diane Temme Stinton

Jennifer Wiltgen

FINANCIAL

PARTNERS

“Your Partner Through All Stages of Life”

(402) 484-8400 | www.wfpartners.com

info@wfpartners.com

5831 S 58th St, Ste D - Lincoln NE - 68516

Wealth Management + Insurance

David Florell, Darrin Riha, and Don Svoboda are Investment Advisor Representatives

with Woodbury Financial Services, Inc., Member FINRA, SIPC, and Registered Investment

Advisor. Insurance services are offered through Midwest Financial Group, Inc.

dba Financial Partners. Midwest Financial Group, Inc. dba Financial Partners is not

affiliated with Woodbury Financial Services, Inc.

EX-OFFICIO

Edward Polochick, Music Director &

Conductor

Karen Becker, Orchestra Committee Chair

Reg Kuhn, LSO Foundation President

Barbara Zach Lee, Executive Director

ADMINISTRATIVE STAFF

Barbara Zach Lee,

Executive Director

Hannah Bell,

Community Partnerships Manager

Kevin Madden,

Audience Services Manager

Amy Morris,

Orchestra Manager

Mary Morris,

Stage Manager

LSO FOUNDATION BOARD OF DIRECTORS

Del Lienemann, Sr., Chairman Emeritus

Reginald Kuhn, President

Margaret Kontras Sutton, Vice President

Harry Seward III, Secretary/Treasurer

Connie Geist

Shalla Young

David Florell, Florell CPA, CFP

Investment CPA, CFP Advisor

Investment Representative Advisor

Rep.

Alison Riha, CPA CPA

Tax Tax Consultant

Don Don Svoboda, Svoboda CLU, ChFC

Investment CLU, ChFC Advisor


Rep.

Darrin Riha, Riha CFE

Investment CFE Advisor


Rep.

Kylie Kylie Brookhouser

Market Analysis

A Symphony of Downtown

THE

MI L L

EST 1975

C

A

E

O

F

F

E

E

&

T

FOUR LINCOLN LOCATIONS:

The Haymarket

800 P Street

Innovation Campus

2021 Transformation Drive

College View

4736 Prescott Avenue

Telegraph District

330 S 21st Street

Saturday, January 14th 10:00 am

O’Donnell Auditorium

Free Admission

www.nebraskametauditions.org

OMAHA:

opening October 2022!

31st & Leavenworth

www.millcoffee.com

13

FREQUENTLY ASKED QUESTIONS

How can I obtain tickets?

Visit lincolnsymphony.com to choose your own seat, receive your electronic ticket, and bring it with

you to the concert, or choose to pick it up at will call before the performance. Our Audience Services

Manager is also available at 402.476.2211 Monday-Thursday 9am–5pm and Friday 9am-1pm.

The Box Office and Will Call open at the venue 90 minutes before each performance.

How much do tickets cost?

Single tickets cost $15/$35 for adults, and $5 for youth 17 and under, inclusive of all ticketing

and facility fees. We also offer discounts for young professionals, students, and music teachers.

Subscription packages with seating benefits are available for the Lied Series (8 concerts), Classical

Series (6 concerts), Compose Your Own (4 concerts), and Family Series (two adults and all

dependent children for one low price).

What COVID-19 precautions is LSO taking?

The health and safety of our musicians and audience members is of the highest priority, and

we will continue to adhere to national and local guidance. Please note that in order to conform

to any Directed Health Measures, we may need to make changes to repertoire, artists, seating

configurations, and concert dates and/or times. Every patron will be required to wear a mask that

covers their nose and mouth at all times while in the concert venue when the Lancaster County

COVID-19 Risk Dial is in the Orange or Red.

What is LSO’s relationship with the Lied Center?

LSO is the Resident Orchestra of the Lied Center, but we have our own offices, board of directors,

organizational structure, and ticketing system. All audience services are handled through LSO’s

administrative staff, which enables us to provide special treatment for our donors and ticketholders.

What options are available for families?

Our family concerts are a perfect way to introduce children to classical music during an hour-long

presentation that includes actors or puppets. We also welcome children at all Lied Center concerts,

and we provide special children’s program magazines which include educational activities, a

coloring page, and a coupon for a free cookie at intermission. If your child is becoming noisy during

Lied Center events, ask any usher to be directed to the glassed-in room at the back of the main floor,

where you can see and hear the performance without disturbing your neighbors.

How can I prepare for the concert?

Get connected by joining LSO’s eNewsletter list and by following us on Facebook, Twitter, and

Instagram. On our website, read program notes and listen to our Spotify playlist for upcoming

concerts. For a more in-depth conversation about each classical concert, watch LSO’s Pre-Concert

Chats with Maestro Polochick and special guests, hosted by Nebraska Public Media. The chat for

each classical concert is available to view online beginning the Thursday prior to the concert, and is

also screened in the Steinhart Room 45 minutes before the concert begins.

What should I wear?

There is no dress code for LSO concerts – the important thing is that you feel comfortable and

that your attire doesn’t prevent you from enjoying the music. Since our concerts attract a diverse

audience, you will find people wearing everything from casual clothing to business attire to cocktail

dresses. If you decide to dress up, please go easy on the cologne or perfume, which can distract

others near you.

Where can I park?

For Lied Center concerts we offer valet parking, and parking is also available at several

downtown garages, including Que Place (11th & Q), Larson Garage (13th & Q), Market

Place (10th & Q), and Haymarket Garage (9th & Q). Pre-pay for your event parking at

parkandgo.org. Street parking is available for our family concerts, located at O’Donnell Auditorium

at 50th & Huntington on the Nebraska Wesleyan University campus.

7

CONTENTS & FREQUENTLY ASKED QUESTIONS

Photos by

JamesAnn Photography

I can’t make it to the concert. What should I do

with my tickets?

Although all LSO ticket sales are final, season

subscribers may exchange tickets (no later than 48

hours prior to the performance) for tickets to any

remaining concerts, subject to availability. You may

also make a tax-deductible contribution by donating

the tickets to LSO for a music student to use.

Am I allowed to record the performance?

Out of respect for LSO’s agreement with our

performers, the use of cameras or recording

equipment is strictly prohibited in the concert hall.

When should I clap?

Although we welcome applause at any time,

in the last 100 years it has become traditional

concert etiquette to clap only after an entire piece

is complete. Pieces often have several movements

with a short pause between each one; you can look

TABLE OF CONTENTS

LSO INFORMATION

EDWARD POLOCHICK, MUSIC DIRECTOR.......2

BOARD OF DIRECTORS & STAFF..............5

FREQUENTLY ASKED QUESTIONS...........7

ORCHESTRA ROSTER.....................................9

CONCERT INFORMATION

A NIGHT AT THE OPERA.....................................13

SYMPHONIE FANTASTIQUE..............................17

THE FUTURE OF MUSIC......................................23

DECK THE HALLS.................................................29

CONTRIBUTIONS

CORPORATE & FOUNDATION SUPPORT.10

MEMORIAL & TRIBUTE CONTRIBUTIONS...33

ANNUAL FUND DONORS.............................37

LSO FOUNDATION.........................................40

FOLLOW US

@LINCOLNSYMPHONY ON

FACEBOOK, INSTAGRAM

& TWITTER!

at your program book to find out how many movements are in each piece and how long each piece

lasts. Symphonies and concertos often have a momentum that builds from the beginning to the

end, and applause between movements can “break the mood.”

How long is the intermission?

Our Lied Center concerts typically have one 20-minute intermission. During that time, you can

join us in the lobby to enjoy refreshments, visit with friends, and have your picture taken at our

complimentary photo booth. Stop by the bar in the orchestra lobby before the concert to prepurchase

your drink and avoid the line at intermission. The Lied Center accepts cash for alcohol

and cash or credit cards for concessions. The lights in the lobby will flash five minutes before the

second half of the program begins.

Can I meet the musicians afterwards?

Our maestro and soloists are available in the Green Room (located at the end of the hallway

leading to the Orchestra Left seats) immediately following most Lied Center concerts, and they

welcome the opportunity to greet patrons and hear feedback about the concert.

WWW.LINCOLNSYMPHONY.COM | 402.476.2211

8

ORCHESTRA ROSTER

VIOLIN

Anton Miller, Concertmaster

Emanuel Wishnow Chair

Kim Osborne Salistean

Assistant Concertmaster

Donna Carnes

Principal Second

Lisa Nielsen, Assistant

Principal Second

*Erin Birkestrand Aguirre

Assistant Principal Second

Kara Baxter

Summer Brackhan

Linda Calvert

Erin Cosby

Jenna Ferdon

Grace Lamb

Maya Nadia Maudhoo

Lisa Myers

Kristin Pfabe

Julie Ralston

Anne Sorensen-Wang

Adrienne Stratton

Kirsten Wissink

VIOLA

Chair Open, Principal

Marjorie Mengshol Chair

Christine Widman,

Assistant Principal

Fei Chen

Sarah Curley

Michael R. Frey

Patricia Morrow

Rebecca Vieker

CELLO

Karen Becker, Principal

Margaret Griesen Chair

Tracy Hanson Sands

Assistant Principal

Korynne Bolt

Jessica Dussault

Elizabeth Grunin

Adella Hotchkiss

Trevor Petersen

Leslie Williams Tien

BASS

Michael Swartz, Principal

Barbara & Howard

Dinsdale Chair

Bobby Scharmann,

Assistant Principal

Stephen Cantarero

Mark Haar

Chunyang Wang

Ian Wright

FLUTE

John Bailey, Principal

Louis H. Babst Chair

Amy Morris

PICCOLO

Rebecca Van de Bogart

OBOE

William McMullen, Principal

William & Mary Nye Chair

Lindsay Wiley

ENGLISH HORN

Darci Griffith Gamerl

CLARINET

Diane Cawein Barger,

Principal

Wesley J. &

Joan M. Reist Chair

M. Eugene Williams

BASS CLARINET

Christy Banks

BASSOON

Jeffrey McCray, Principal

*James Compton, Principal

Karen Sandene

CONTRABASSOON

Joyce Besch

HORN

Gregory Helseth, Principal

Kaylene Beal

Kimberly Beasley

*Ric Ricker

W. Harold Oliver

TRUMPET

Chair Open, Principal

Ruth Marie Amen Chair

Thomas G. Kelly

Deborah Bouffard

TROMBONE

Scott Anderson, Principal

Vernon A. Forbes Chair

Terry R. Rush

BASS TROMBONE

Tim Dickmeyer

*Liam Hughes

TUBA

Golden Lund, Principal

TIMPANI

Richard K. Jones, Principal

Symphony Guild

Anniversary Chair

PERCUSSION

Jeff Nelson, Principal

Kelli Nelson

HARP

Katie Wychulis, Principal

KEYBOARD

Richard Fountain, Principal

*One-year appointment

9

CORPORATE & FOUNDATION SUPPORT

Major Multi-Year Gifts

Anabeth Hormel Cox Charitable Trust

MarySue Harris Charitable Trust

Lienemann Charitable Foundation, Inc.

Lincoln Symphony Foundation

Rhonda Seacrest

fortissimo Gifts

Cooper Foundation

DF Dillon Foundation

Dolezal Family Foundation

Farmers Mutual of Nebraska

Immanuel Communities

Lincoln Industries

National Endowment for the Arts

Nebraska Arts Council

Nebraska Cultural Endowment

Norma Somerheiser Fund

Speedway Motors*

Union Bank & Trust Co.

mezzo forte Gifts

BNSF Foudnation

Brooks, Pansing Brooks

Humanities Nebraska

Lincoln Community Foundation

Mattson, Ricketts, Davies Stewart & Calkins

Mary F. Tous Charitable Foundation

Music Performance Trust Fund

Pinnacle Bank

Ruth M. Amen Performing Arts Designated

Fund

Viletta Leite Haddal Rev Trust

forte Gifts

Amertias

Assurity Life Insurance Company

The Cornhusker – A Marriott Hotel*

Dietze Music House

Ebbeka Design*

FNBO

J. Edmunds & Thelma D. Miller Fund

Nebraska Lottery

Nelnet, Inc.

Rogers Foundation

US Bank*

West Gate Bank

mezzo piano Gifts

Lincoln Arts Council

Lincoln Foundation Community Arts

Endowment Fund

Lincoln Community Foundation’s LSO

Support Fund

N.Z. Snell & Flora Frost Snell Fund

Roy & Marian Statton Designated Fund

Seth Family Fund

*denotes in-kind sponsors

10

Your library card gives you free access to sheet music,

recordings and more, for all genres of music.

Music Library

A one-of-a-kind resource providing information and expertise.

Lincoln City Libraries 136 S. 14th Street, Lincoln, NE 402-441-8520

Supported by the Polley Music Library Endowment Fund

lincolnlibraries.org

11

12

A NIGHT AT THE OPERA CLASSICAL

FRIDAY, SEPTEMBER 16, 2022, 7:30PM

LIED CENTER FOR PERFOMING ARTS

SEASON SPONSORS

EDWARD POLOCHICK, CONDUCTOR

LIMMIE PULLIAM, TENOR

GIUSEPPE VERDI Overture to La Forza Del Destino 8"

(1813-1901)

Prélude, Recitative & Aria from Aïda 8"

GIACOMO PUCCINI Intermezzo from Act III of Manon Lescaut 5"

(1858-1924)

"E Lecevan le Stelle" from Tosca 3"

RUGGERO LEONCAVALLO "Vesti la Giubba" from I Pagliacci 3"

(1857-1919)

GIUSEPPE VERDI Triumphal March and Ballet from Aïda 8"

~INTERMISSION~

BEDŘICH SMETANA Overture to The Bartered Bride 7"

(1824-1884)

JULES MASSENET Méditation from Thaïs 5"

(1842-1912)

Three Neapolitan Songs 9"

ERNESTO DE CURTIS (1875-1937)

I. Torna a Surriento

FRANCESCO PAOLO TOSTI (1846-1916) II. A Marechiare

SALVATORE CARDILLO (1874-1947) & III. Core 'ngrato

RICCARDO CORDIFERRO (1875-1940)

JOHANN STRAUSS JR. Overture to Die Fledermaus 9"

(1825-1899)

GIACOMO PUCCINI "Nessun Dorma" from Turandot 9"

Artist and orchestra funding supported by the Anabeth Hormel Cox and MarySue Harris Charitable

Lead Trusts. LSO’s move to the Lied Center for Performing Arts made possible in part by a gift from

Rhonda Seacrest. Student tickets made possible by the Lienemann Charitable Foundation Student Ticket

Program. Accommodations provided by The Scarlet Hotel and Speedway Properties & Nelnet.

All programs and artists are subject to change.

The Nebraska Arts Council, a state agency, has supported this program through its

matching grants program funded by the Nebraska Legislature, the National Endowment

for the Arts and the Nebraska Cultural Endowment. Visit www.artscouncil.nebraska.

gov for information on how the Nebraska Arts Council can assist your organization, or

how you can support the Nebraska Cultural Endowment.

13

CLASSICAL A NIGHT AT THE OPERA

LIMMIE PULLIAM, TENOR

Rising dramatic tenor Limmie Pulliam has thrilled

audiences with his captivating stage presence

and his “stentorian, yet beautiful,” sound.

This season, Mr. Pulliam joins the roster of The

Metropolitan Opera for the first time, covering

Radames in Aïda. He later performs the role

with Tulsa Opera for their 75th anniversary gala

concert. He also debuts the role of the Prince

in Rusalka with Portland Opera. In concert, he

debuts with the San Diego Symphony singing

Verdi’s Requiem, and makes his Carnegie Hall

debut performing “The Ordering of Moses” in

collaboration with Oberlin Conservatory, his

alma mater. He also joins pianist Mark Markham

for an “operatic greatest hits” concert and

spiritual recital with the Delta Symphony.

Mr. Pulliam’s 2021-2022 season included his

company and role debut with Los Angeles Opera

as Manrico in Il Trovatore. He additionally made

two significant orchestra debuts, singing the

title role in Otello with The Cleveland Orchestra

and Beethoven’s Ninth Symphony with The

Philadelphia Orchestra under the baton of

Yannick Nézet-Séguin. He joined Vashon Opera

as Turridu in Cavalleria Rusticana, and Otello

with Livermore Valley Opera, and appeared in

concert with the Lyric Opera of Kansas City for a

night of opera’s greatest hits, and the Memphis

Symphony for their rescheduled Beethoven’s

Ninth Symphony. During the summer, he joined

Madison Opera for their widely popular Opera in

the Park concert, and the Bard Music Festival as

Albert in Rachmaninoff’s rarely-performed The

Miserly Knight, led by Leon Botstein.

An in-demand concert artist, he has performed

Verdi’s Requiem with the Springfield Symphony

Orchestra and the Lancaster Symphony

Orchestra. He also made a much-anticipated

return appearance with Vashon Opera where

he was featured in a sold-out Limmie Pulliam &

Friends concert. He joined The National Opera

Association’s 2016 convention to honor their

Lifetime Achievement Award recipient George

Shirley, and appeared with The Concord Chorale

as tenor soloist in Mozart’s Requiem and the

tenor soloist in Stainer’s Resurrection with New

Covenant United Methodist Church. Mr. Pulliam

has been featured in numerous appearances

with the internationally renowned chorale

Gloriae Dei Cantores, as tenor soloist (Ahab/

Obadiah) in Mendelssohn’s Elijah as well as in

concerts featuring Intimations of Immortality

and For St. Cecelia by Gerald Finzi. He appeared

as the tenor soloist in Handel’s Messiah with

the Forum Sinfonia Orchestra of Finland and

soloist in Haydn’s Lord Nelson Mass with the

San Angelo Symphony. Mr. Pulliam was also

a featured soloist on The American Spiritual

Ensemble’s 2013 Winter Tour.

continued on page 15

LSO THANKS TONIGHT'S CONCERT SPONSOR

Nelnet is proud to support the arts in the

community of Lincoln, including its own Lincoln's

Symphony Orchestra. As a company that works

to make educational dreams a reality, we are

thrilled to aid this organization in its mission

to bring classical music to all members of our

community, brining educational opportunities,

inspiring moments, and life-changing experiences

to thousands of people every season.

14

A NIGHT AT THE OPERA CLASSICAL

The Missouri native trained with the late

renowned pedagogue Richard Miller. He is also

a former participant in the young artist programs

of Cleveland Opera, Opera Delaware, and Opera

Memphis. He was the 2012 Artist Division

Winner of the National Opera Association's Vocal

Competition and, in 2013, was a winner in the 3rd

Annual Concorso Internazionale di Canto della

Fondazione Marcello Giordano in Catania, Sicily.

Notes on the Program

The period extending from the mid-nineteenth

through the early twentieth centuries was a

veritable golden age of opera. Opera as a form of

entertainment was popular with and accessible

to people from all walks of life, and as such new

operatic traditions emerged and a standard

repertory of the most successful productions

formed. All across Europe distinctive styles were

developed and key composers rose to fame as

national treasures within their home countries.

Tonight’s program presents a varied sampling of

pieces from these large-scale dramatic works,

including vocal and instrumental pieces from

stories both comic and tragic.

Overture to La Forza del Destino

Prelude, Recitative, and Aria (“Celeste Aïda”)

from Aïda

Giuseppe Verdi (1813-1901)

We begin with two pieces by the most influential

opera composer of the nineteenth century, the

Italian master Giuseppe Verdi. La Forza del

Destino (“The Power of Fate”) (1862), Verdi’s

22nd opera, tells a tangled story in which the

characters come together through happenstance.

Its Overture is a staple of the standard orchestral

repertoire and, as on tonight’s program, is often

played as the opening piece of concerts. The

work introduces a potpourri of themes from the

opera itself, beginning with the ominous threenote

unison “fate” motif.

Next comes another Verdi work: the achingly

lovely Aïda (1871) aria “Celeste Aïda” (“Heavenly

Aïda”), preceded by an instrumental prelude

and the recitative “Se quel guerrier io fossi!” (“If

only I were that warrior!”). In this rhapsodic Act

I romanza, Radamès, a young Egyptian warrior,

sings of his wish to gain victory on the battlefield

as an army commander and of his secret love for

the captured Ethiopian princess, Aïda.

Manon Lescaut – Intermezzo to Act III

“E Lucevan le Stelle” from Tosca

Giacomo Puccini (1858-1924)

Widely regarded as Verdi’s immediate successor,

Giacomo Puccini brought Italian opera into

the twentieth century. Manon Lescaut (1893),

Puccini’s third of 13 total operas, tells the story

of Chevalier des Grieux and his lover, Manon

Lescaut. The celebrated Intermezzo takes place

between Acts II and III and foreshadows the

lovers’ tragic fate. Echoes of the couple’s famous

Act IV love duet in which Manon dies in des

Grieux’s arms emerge juxtaposed with themes

from happier preceding scenes.

A similar tragic theme colors the next aria, “E

Lucevan le Stelle” (“And the stars were shining”),

one of the most famous of all operatic arias. The

work is drawn from the third act of Puccini’s Tosca

(1900) and assumes the point of view of Mario

Cavadarossi, a painter who is enamored with

the singer Tosca, as he sings of his desperate

love for her while awaiting his own execution.

“Vesti la Giubba” from I Pagliacci

Ruggero Leoncavallo (1857-1919)

Composer and librettist Ruggero Leoncavallo is

best remembered today for his opera I Pagliacci

(1892) which tells the story of Canio, a commedia

dell’arte actor who murders his wife and her lover

onstage in the midst of a performance. The aria

“Vesti la Giubba” (“Put on the costume”) comes at

the end of Act I, right as Canio discovers his wife

has been unfaithful but must still make himself

ready for a performance as Pagliacci the clown.

Canio epitomizes the role of the tragic clown as

he attempts to mask his pain through this deeply

moving lament.

Triumphal March & Ballet from Aïda

Giuseppe Verdi (1813-1901)

We return once more to Verdi’s Aïda with the

Act II Triumphal March & Ballet in which the

warrior Radamés leads the Egyptian army in a

victory procession following their war against the

Ethiopians. The celebratory parade opens with

a rousing fanfare before a chorus of trumpets

picks up the main theme; few operatic melodies

are more familiar than this jubilant tune.parade

opens with a rousing fanfare before a chorus of

trumpets picks up the main theme; few operatic

melodies are more familiar than this jubilant tune.

15

CLASSICAL A NIGHT AT THE OPERA

Overture to The Bartered Bride

Bedřich Smetana (1824-1884)

Known as the father of Czech music, Bedřich

Smetana was a leading pioneer of a distinctly

Czech musical style, and his comic opera The

Bartered Bride (1866) is considered a major

contribution toward the development of that

style. Rather than overtly stating the musical

themes of the ensuing opera, its Overture sets

the light and spirited tone of the opera as a

whole. The work is often played as a standalone

concert piece and features an extended

opening string fugue.

“Méditation” from Thaïs

Jules Massenet (1842-1912)

The orchestra turns to French Romantic

opera with the five minutes of utter musical

transcendence that is “Méditation” from Thaïs

(1894) by Jules Massenet. This symphonic

intermezzo plays between the two scenes of

Act II. In Scene 1, the monk Athanaël attempts

to convince the famed courtesan Thaïs to

renounce her hedonistic life of luxury and

instead seek God’s salvation. The meeting

forces Thaïs to confront her life’s emptiness

and fears for the future, and the intermezzo

plays as a musical representation of her pained

reflection on these subjects. In Scene 2, Thaïs

tells Athanaël she will leave her life of sin and

follow him into the desert.

Three Neapolitan Songs

Torna a Surriento (Ernesto de Curtis)

A Marechiare (Francesco Paolo Tosti)

Core ‘ngrato (Cardillo and Cordiferro)

Canzone Napoletana, or Neapolitan songs, is a

generic term for a traditional song form sung in

the Neapolitan dialect. Deeply rooted in Italian

culture, the songs are usually written for solo

male voice and take the form of expressive love

songs or serenades, while stylistically falling

somewhere between folk music and art song.

The words of the first of tonight’s three-song

set, “Core ‘ngrato” (“Ungrateful heart”) (1911),

are those of a man embittered toward his lover,

chiding her for her heartless rejection of his

faithful love and the pain it has caused him.

The second song, “Torna a Surriento” (“Come

back to Sorrento”) (1894), is perhaps the most

famous within the Neapolitan song genre. It is

both a stirring ode to the beauty of the Italian

town Sorrento and a passionate plea for the

return of a lost lover. “A Marechiare” (1886)

takes its name from a small seaside village in

Naples. The singer tells of the town’s charm

(as well as that of his lover who resides there),

stating how even the fish fall in love when they

set eyes on the picturesque village.

Overture to Die Fledermaus

Johann Strauss II (1825-1899)

The genius of Johann Strauss, Jr. is nowhere

more apparent than in his operettas, and

his most enduring work within that genre is

unquestionably Die Fledermaus (“The Bat”)

(1874). The operetta’s comic plot features

flirtation, disguise, crafty revenge, and much

laughter. The Overture offers a sampling of the

operetta’s main themes, mainly a lively duplemeter

dance and an irresistible Viennese waltz.

“Nessun Dorma” from Turandot

Giacomo Puccini (1858-1924)

The night ends with one of the best-known

tenor arias in all opera, the gloriously triumphant

“Nessun Dorma” (“Let no one sleep”) from Act

III of Puccini’s final opera, Turandot (1926). It

is sung by Prince Calaf, who has fallen in love

with the lovely yet forbidding Princess

Turandot. Any man who wishes to win

Turandot’s hand must answer three riddles or

face execution, and here Calaf boldly proclaims

his assurance of victory. The aria was long a

favorite within the opera world, but it was

propelled to worldwide popularity by famed

tenor Luciano Pavarotti when he performed it

for the 1990 FIFA World Cup.

program notes by Laney Boyd

16

SYMPHONIE FANTASTIQUE CLASSICAL

FRIDAY, SEPTEMBER 30, 2022, 7:30PM


SEASON SPONSORS


GOLDEN LUND, TUBA

JOHANNES BRAHMS Academic Festival Overture 10"

(1833-1897)

JOHN WILLIAMS Tuba Concerto 18"

(b. 1932)

I. Allegro moderato

II. Andante

III. Allegro molto

~INTERMISSION~

HECTOR BERLIOZ Symphonie fantastique 49"

(1803-1869) I. Rêveries – Passions

II. Un bal

III. Scène aux champs

IV. Marche au supplice

V. Songe d'une nuit du sabbat

Artist and orchestra funding supported by the Anabeth Hormel Cox and MarySue Harris

Charitable Lead Trusts. LSO’s move to the Lied Center for Performing Arts made possible in part by

a gift from Rhonda Seacrest. Student tickets made possible by the Lienemann Charitable Foundation

Student Ticket Program. Accommodations provided by Speedway Properties & Nelnet.







17

CLASSICAL SYMPHONIE FANTASTIQUE

resides in the Davenport, IA area where he

is the Tuba and Euphonium instructor at

Augustana College and St. Ambrose University.

GOLDEN LUND, TUBA

Golden Lund began his tenure as principal

tubist with the LSO in 2009, when he began

his doctoral program studying tuba with

Craig Fuller. He has three degrees in tuba

performance: a Bachelors of Music from the

University of Utah, a Masters of Music from

Indiana University, and a Doctor of Musical Arts

from the University of Nebraska-Lincoln. Dr.

Lund’s extensive musical training has involved

studying with some of finest tuba performers

and teachers in the world including Daniel

Perantoni, Warren Deck, and Gary Ofenloch.

In addition to his work with the LSO, Lund has

also been employed as acting principal for the

Louisiana Philharmonic, Rexburg Tabernacle

Orchestra, and Quad Cities Symphony

Orchestra. He has performed as substitute

with the Utah Symphony, Orchestra at Temple

Square, Omaha Symphony Orchestra, Des

Moines Symphony, and Sioux City Symphony.

His solo career includes performances with

the Augustana Symphonic Band, Augustana

Brass Choir, BYU-Idaho Brass Choir, and the

University of Utah Wind Ensemble. Golden


Academic Festival Overture

Johannes Brahms (1833-1897)

In 1879 Johannes Brahms learned that the

University of Breslau wished to confer upon him

an honorary doctorate. Brahms despised the

fuss and veneration that came along with his

celebrity status, so he acknowledged the honor

by sending a simple thank you card. Bernhard

Scholz, the director of music in Breslau as well

as Brahms’ nominator, immediately informed

the composer the university expected him to

not only attend the ceremony, but also make

a grand musical gesture in thanks. “Compose

a fine symphony for us!” he wrote in a letter to

Brahms, “But well-orchestrated, old boy, not

too uniformly thick!”

Brahms obliged – but not without his

characteristic ironic wit. In lieu of the expected

sober and ceremonial work, the Academic

Festival Overture takes the form of an amusing

parody of scholastic splendor, serving up

“academia” with a large side of cheek.

The piece’s humor lies in the contrast of

the grandeur of Brahms’ style – masterful

counterpoint, sophisticated orchestration, and

huge instrumental forces – with the inclusion

of four rowdy beer-hall tunes popular with

students of the time (imagine attending a

formal symphonic concert only to hear a

brilliantly orchestrated, straight-laced rendition

of “99 Bottles of Beer on the Wall” and you

will perhaps come close to understanding the

overture’s subtle shock value).


The Nebraska Lottery is proud to be a sponsor

of Lincoln's Symphony Orchestra. The Nebraska

Lottery's mission is to generate proceeds for good

causes, while providing quality entertainment options

to Nebraskans. Sponsorships such as this allow the

Nebraska Lottery to assist entertainment programs

across the state and give us the chance to remind

attendees that the Nebraska Lottery continues to

help build a better Nebraska..

18

SYMPHONIE FANTASTIQUE CLASSICAL

The Academic Festival Overture’s comic nature

kicks off with a pseudo-serious introduction that

steadily builds into the first of the student songs,

"Wir hatten gebauet ein stattliches Haus" (“We

have built a stately house”), transformed here into

a dignified canticle. The piece then proceeds in

sonata form into the next song, "Der Landesvater"

(“The father of our country”) which appears as

a flowing, lyrical melody in the high strings. A

rapid shift in both mood and tempo announces

the third tune, a freshman hazing song known as

"Fuchsenritt" (“The Fox-Ride”), which bursts forth

in a comically off-beat bassoon duet. Brahms then

develops these first three melodies by playing

one off the other in a light-hearted dance before

the whole orchestra comes together to play a

rollicking rendition of the final song, "Gaudeamus

igitur" (“Therefore, let us be merry”), bringing the

work to an energetic close.

The overture premiered at a special convocation

at the University of Breslau in January 1881 with

Brahms conducting. According to one account,

students attending the ceremony burst into

irreverent song upon hearing the familiar tunes,

no doubt raising a few academic eyebrows –

arguably exactly what Brahms intended. The

piece’s boisterous charm and humor remain

irresistible and it endures today as a staple of

the modern concert repertoire.

Concerto for Tuba and Orchestra

John Williams (b. 1932)

As one of the most successful and influential

American film composers, John Williams needs

little introduction. He has scored such notable

films as “Star Wars,” “Jurassic Park,” and “Indiana

Jones,” among others, and has won 25 Grammy

Awards, five Academy Awards, and four Golden

Globe Awards. In addition to his gilded film scoring

career, Williams has a sizable catalog of classical

concertos and other orchestral works to his name.

One such is the Concerto for Tuba and Orchestra,

composed in 1985 for the 100th anniversary of

the Boston Pops.

The Tuba Concerto premiered in May 1985 with

Williams himself conducting (he was the Pops’

principal conductor from 1980-1993 and remains

its laureate conductor to this date). Williams has

said of the concerto, “I really don’t know why I

wrote it – just urge and instinct. I’ve always liked

the tuba and even used to play it a little….it’s such

an agile instrument, like a huge cornet….[The

concerto is] light and tuneful and I hope it has

enough events in it to make it fun.” Fun it certainly

is, particularly in its lending of the spotlight to an

instrument typically designated as a background

performer. Brim full of exuberant energy and

featuring passages spanning the divide between

mellow lyricism and lightning-quick intensity,

the concerto tests the boundaries of the soloist’s

virtuosic capabilities and emotive range alike.

The concerto lasts about 18 minutes and is

structured in three continuous movements. The

first movement is all energetic activity; even at

its quietest moments, there is always a sense of

drive and forward motion. This opening section

also features a demanding cadenza that brilliantly

showcases the tuba’s technical and tonal breadth.

The second movement, much gentler in tone,

provides rich contrast to the first. The tuba’s

timbre in this middle movement is warm and full

as it sings out lyrical melodies supported by lush

orchestral lines. A sudden burst of brass and

percussion boldly announces the finale’s arrival.

The soloist’s part in this closing rondo is a dazzling

feat of agility as difficult as it is quick.

Symphonie fantastique

Hector Berlioz (1803-1869)

Much of Hector Berlioz’s music was utterly

unprecedented in his time. His compositional

language was original and illustrative and his

approach to both harmony and structure broke

– or flat-out ignored – all established rules up to

that point. Berlioz also possessed a talent for

musical narrative and a keen ear for orchestral

color – abilities which came explosively together

in 1830 to produce the most astonishing of first

symphonies, Symphonie fantastique. The work’s

story, however, began a full three years prior to

its frenzied composition.

In September 1827, Berlioz attended a Paris

performance of Shakespeare’s Hamlet where

he fell instantly and violently in love with Harriet

Smithson, the young Irish actress playing the

role of Ophelia. Berlioz went to great lengths

to gain Smithson’s notice, but it was not to be;

each advance was rebuffed, each love letter

unanswered. When the actress finally left Paris

in 1829, the pining Berlioz – then just 26 years of

age – turned to composition (not to mention mindaltering

substances) to cope. What emerged was

the wildly innovative Symphonie fantastique, a

darkly vivid musical expression of the composer’s

19

CLASSICAL SYMPHONIE FANTASTIQUE

unrequited obsession in which Smithson figures

prominently as the artist’s fallen muse. The work

premiered in December 1830, and two years

later premiered once more following a set of

revisions. Harriet Smithson attended the 1832

restaging and, realizing Berlioz’s genius, at last

agreed to a meeting; they were married the

following year. Perhaps not very surprisingly,

the union proved an utter disaster and the two

faced a bitter separation in 1844 following years

of unhappiness.

When the symphony was published in 1845

Berlioz included a detailed program note with

the score, the same one he had distributed to the

audience at the work’s premiere. What follows

is that note, which the composer designated as

“indispensable for a complete understanding of

the dramatic outline of the work.”

program notes by Laney Boyd

Berlioz's note on Symphonie fantastique

The composer has aimed to develop, to the

extent they can be rendered in music, various

situations in the life of an artist. The plan of the

instrumental drama, since it lacks the assistance

of words, needs to be outlined in advance. Thus

the following program should be considered

in the same way as the spoken words of an

opera, serving to introduce the pieces of music,

whose character and expression it motivates.

Part One: Dreams and Passions: The author

supposes that a young musician, affected by

the moral malady one celebrated writer calls the

wave of passions, sees for the first time a woman

who joins together all the charms of the ideal

being of which his imagination has dreamed, and

falls madly in love. By a peculiar quirk, the beloved

image never appears in the artist’s mind without

being linked to a melody, in which he finds a

certain character that is passionate, yet noble and

shy, like that he ascribes to the object of his love.

This melodic reflection along with its model pursue

him ceaselessly, like a double idée fixe [obsession].

Such is the reason for the constant appearance, in

all the movements of the symphony, of the melody

that begins the first Allegro. The passage from

this state of melancholy reverie, interrupted by

some unprovoked fits of joy, to that of a delirious

passion, with its movements of fury, of jealousy,

its returns to tenderness, its tears, its religious

consolations, is the subject of the first movement.

Part Two: A Ball: The artist is placed in the most

varied circumstances of life, in the middle of the

tumult of a party, in the peaceful contemplation

of the beauties of nature; but everywhere, in the

city, in the country, the beloved image appears to

him and sows confusion in his heart.

Part Three: Scene in the Country: Finding

himself one evening in the country, he hears in

the distance two shepherds who pipe back and

forth a ranz des vaches [Swiss melody used to

summon cows]. This pastoral duet, the scene,

the light rustle of the trees gently agitated by the

winds, some grounds for hope that he recently

conceived, all converge to return to his heart an

unaccustomed calm, to give a happier tinge to his

ideas. He reflects on his isolation; he hopes soon

to be no longer alone…But what if she misled

him!…This mixture of hope and fear, these ideas of

happiness disturbed by some dark presentiments,

form the subject of the Adagio. At the end, one

of the shepherds again takes up the ranz des

vaches; the other does not respond…Distant noise

of thunder…solitude…silence.

Part Four: March to the Scaffold: Having become

certain that his love is ignored, the artist poisons

himself with opium. The dose, too weak to grant

him death, plunges him into a sleep accompanied

by the strangest visions. He dreams that he has

killed her whom he loves, that he is condemned

and conducted to the scaffold, and that he is

witnessing his own execution. The procession

advances to the sounds of a march at times

dark and savage, at times brilliant and solemn, in

which a muffled sound of solemn steps is followed

without transition by the noisiest clamor. At the end

of the march, the first four measures of the idée

fixe reappear like a last thought of love interrupted

by the fatal blow.

Part Five: Dream of a Witches’ Sabbath

He sees himself at the sabbath, in the midst of a

dreadful company of ghosts, sorcerers, and

monsters of all kinds who have assembled for his

funeral. Strange noises, moaning bursts of

laughter, distant cries to which other cries seem

to respond. The beloved melody appears once

more, but it has lost its character of nobility and

shyness; it is no more than a wretched,

commonplace, and grotesque dance tune; it is she

who comes to the sabbath…Roars of joy at her

arrival…She joins in the diabolical orgy…Funeral

knell, burlesque parody of the Dies irae [hymn sung

in funeral ceremonies], sabbath round-dance. The

sabbath round and the Dies irae together.

20

Bravo!

Lincoln's Symphony

Orchestra

We are proud to support

Lincoln's Symphony Orchestra 2021-22

season.

Chamber Music

—a conversation between friends.

PouLenC Trio

Thursday, September 22, 2022 | 7:30 PM

Johnny Carson Theater

Oboe, bassoon & piano playing music by

Poulenc, Schnittke, and Shostakovich

ACronYM

Thursday, November 10, 2022 | 7:30 PM


Baroque string orchestra playing a program:

“Dreams of the Wounded Musketeer,” featuring

early music of Vienna and the Alps

Season tickets available through the

first concert from www.lfcm.us

Single tickets available through the

Lied Center and at the door.

AxioM STring QuArTeT

Sunday, January 22, 2023 | 3:00 PM


“Music Beyond Limits.”

Schubert, Shostakovich, Beethoven, and Brahms

VALenCiA BArYTon ProjeCT

Tuesday, March 28, 2023 | 7:30 PM


The baryton was a stringed instrument popular in

Haydn's time. Trios by Haydn and modern pieces by

Ivan Moody, John Pickup, and Steve Zink.

inVoke

Thursday, May 4, 2023 | 7:30 PM

The Royal Grove, 340 W Cornhusker Hwy

The music of young American composers Jesse

Montgomery, Jonathan Bingham, and Quinn Mason.

THE FUTURE OF MUSIC CLASSICAL

FRIDAY, OCTOBER 14, 2022, 7:30PM


SEASON SPONSORS

CONCERT MEDIA SPONSOR


LINCOLN YOUTH SYMPHONY

ZLATOMIR FUNG, CELLO

MARY WATKINS Five Movements in Color 13"

(b. 1939)

II. Soul of Remeberance

V. Drive by Runner

TYLER WHITE Symphony No. 4 "Metaclassical" 26"

(b. 1961)

I. Vivace assai

II. Largo nostalgico

III. Menuetto nervoso, Trio appassionato

IV. Finale: Presto brioso

~INTERMISSION~

EDWARD ELGAR Cello Concerto in E minor, Op. 85 30"

(1857-1934) I. Adagio - Moderato

II. Lento - Allegro molto

III. Adagio

IV. Allegro - Moderato -

Allegro, ma non troppo -

Poco più lento - Adagio

Artist and orchestra funding supported by the Anabeth Hormel Cox and MarySue Harris

Charitable Lead Trusts. LSO’s move to the Lied Center for Performing Arts made possible in part by

a gift from Rhonda Seacrest. Student tickets made possible by the Lienemann Charitable Foundation

Student Ticket Program. Accommodations provided by The Lincoln Mariott Cornhusker Hotel and

Speedway Properties & Nelnet.







23

CLASSICAL THE FUTURE OF MUSIC

ZLATOMIR FUNG, CELLO

The first American in four decades and

youngest musician ever to win First Prize at

the International Tchaikovsky Competition

Cello Division, Zlatomir Fung is poised to

become one of the preeminent cellists of our

time. Astounding audiences with his boundless

virtuosity and exquisite sensitivity, the 22-yearold

has already proven himself to be a star

among the next generation of world-class

musicians. A recipient of the Borletti-Buitoni

Trust Fellowship 2022 and a 2020 Avery Fisher

Career Grant, Fung's impeccable technique

demonstrates a mastery of the canon and

an exceptional insight into the depths of

contemporary repertoire.

In the 2021-2022 season, Fung performed

with orchestras and gave recitals in all corners

of the world. Summer debuts included La

Jolla Chamber Music Society in recital with

Richard Fu, multiple programs at ChamberFest

Cleveland, Bravo! Vail in a chamber music

program with Joshua Bell and Shai Wosner,

Aspen Music Festival in a performance of

Tchaikovsky’s Variations on a Rococo Theme

with the Aspen Festival Orchestra, and

Rockport Chamber Music Festival in a recital

with Dina Vainshtein. In the fall, he opened

Ann Arbor Symphony’s season and appeared

twice with Iris Orchestra. He was presented

by Harvard Musical Association, Philadelphia

Chamber Music Society, Philharmonic Society of

Orange County, and Thomasville Entertainment

Foundation before making his Carnegie Hall

Weill Recital debut with pianist Mishka Rushdie

Momen in a program of Romantic-era classics.

He returned to the Philadelphia Chamber

Music Society in January for two evenings with

BalletX and the Calidore Quartet to give the

Philadelphia premiere of a new work by Anna

Clyne and appears with several orchestras

including the Kansas City and Greensboro

Symphonies. He toured Italy, Russia, China, and

Japan with orchestras and in recital.

In the 2020-2021 season, Fung made his

Seattle Symphony debut in the orchestra’s

13th annual Celebrate Asia concert in addition

to livestreams presented by University of

Delaware, The Phillips Collection & Music

Wooster, and Friends of Chamber Music, and

many online masterclasses. In the 2019-2020

season, he returned to the Ann Arbor Symphony

Orchestra and debuted with Asheville and

Aiken Symphony Orchestras. He performed

at Carnegie Hall’s Zankel Hall in a joint recital

with fellow Tchaikovsky Competition winners in

October, following a recital at Friends of Music

in Sleepy Hollow, NY. Other recitals include

Cold Spring Harbor Laboratory in New York,

Wengler Center for the Arts at Pepperdine

University in Malibu, Syrinx Concerts in Toronto,

The Embassy Series in Washington DC, Salon


West Gate Bank is a full-service community bank focused

on Lincoln. West Gate Bank is proud to support many local

organizations, including Lincoln's Symphony Orchestra, to

help make Lincoln a better place. In addition to our support of

the arts, West Gate Bank reinvests in our community through

public and private education, 100% employee participation

in the United Way for nine consecutive years, and support for

many other worthy local causes.

24

tHE FUTURE OF MUSIC CLASSICAL

de Virtuosi and Bulgarian Concert Evenings in

New York City, Chamber on the Mountain in Ojai,

and Evergreen Museum & Library in Baltimore. At

the Artist Series of Sarasota, Fung performed the

complete works for cello and piano by Beethoven.

As a chamber musician, Fung performed around

the world, opening the season with IMS Prussia

Cove on tour to London’s Wigmore Hall, Cornwall,

Cambridge, West Sussex, and Somerset. New

York City chamber music engagements included

the Aspect Foundation. During the summer of

2019, Fung performed at Musique de Chambre

à Giverny, a chamber music festival which is in

northern France.

A winner of the 2017 Young Concert Artists

International Auditions and the 2017 Astral

National Auditions, Fung has taken the top

prizes at the 2018 Alice & Eleonore Schoenfeld

International String Competition, 2016 George

Enescu International Cello Competition, 2015

Johansen International Competition for Young

String Players, 2014 Stulberg International String

Competition, and 2014 Irving Klein International

Competition. He was selected as a 2016 U.S.

Presidential Scholar for the Arts and was awarded

the 2016 Landgrave von Hesse Prize at the

Kronberg Academy Cello Masterclasses.

Of Bulgarian-Chinese heritage, Zlatomir Fung

began playing cello at age three and earned

fellowships at Ravinia's Steans Music Institute,

Heifetz International Music Institute, MusicAlp, and

the Aspen Music Festival and School. Fung studied

at The Juilliard School under the tutelage of Richard

Aaron and Timothy Eddy. He has been featured on

NPR’s Performance Today and appeared on From

the Top six times. In addition to music, he enjoys

cinema, reading, and blitz chess.

DR. TYLER G. WHITE,

COMPOSER-IN-RESIDENCE

Since 1994, Tyler Goodrich White has been Director

of Orchestras at the University of Nebraska-Lincoln;

under his direction, the UNL Symphony Orchestra

has been recognized as one of America’s finest

collegiate ensembles, selected to perform at

national and regional conventions of the Music

Educators National Conference. Before coming

to Nebraska, White led orchestras at Cornell

University and Trinity University (Texas); he

appears regularly as guest conductor and clinician

with student orchestras nationwide. In 2004, he

was a guest lecturer in conducting at the Central

Conservatory of Music in Beijing, China, and in

September 2007 he was named Best Musical

Director at the Waterford International Festival

of Light Opera in Waterford, Ireland. Recent

seasons have seen additional guest conducting

engagements in Mexico and Brazil.

A protégé of the late Maestro Robert Shaw, White

was born in Atlanta, Georgia and was raised in

Manhattan, Kansas. After graduating Phi Beta

Kappa from the University of North Carolina-Chapel

Hill, he earned his master’s and doctoral degrees

in composition from Cornell University, studying

with Pulitzer Prize-winners Steven Stucky and

Karel Husa. He has also studied at the University

of Copenhagen (Denmark) and the American

Conservatory at Fontainebleau (France). National

and international recognition for his compositions

has come through awards from ASCAP, BMI,

The American Conservatory at Fontainebleau

(Prix Maurice Ravel), Vienna Modern Masters, the

Omaha Symphony Guild, Tulane University, Indiana

State University, and the Southeastern Composers

League, and through commissions from the Atlanta

Symphony Orchestra, the Cleveland Chamber

Symphony, Lincoln’s Symphony Orchestra,

25


Lincoln’s Symphony Orchestra, and other

ensembles. In addition, the National Symphony

Orchestra (Washington, DC) awarded him one of

its American Residencies Chamber Commissions.

In 1997, White’s cello concerto Threnos (William

Schuman in memoriam) became the first work

by a Nebraskan to win the Omaha Symphony’s

International New Music Competition, and in

1999 his opera O Pioneers - the first-ever operatic

treatment of a Willa Cather novel - was premiered

at UNL and televised on Nebraska Public Television.

In 2001, Dr. White was named Composer of the

Year by the Nebraska Music Teachers Association.

In 2003, White’s Elegy “for the orphans of terror”

was awarded the Masterworks Prize and was

recorded by the Sofia Philharmonic on the inaugural

volume of ERM Media’s “Masterworks of the New

Era” CD series, and in 2006 his Mystic Trumpeter

(Symphony No. 2) was awarded Honorable

Mention in the ASCAP Foundation/Rudolf Nissim

Prize competition. In 2014, the newly revised O

Pioneers was awarded a Silver Medal in the Global

Music Prize competition, and was named a finalist

for the American Music Prize.

THE LINCOLN YOUTH SYMPHONY

CLARK POTTER, DIRECTOR

The Lincoln Public Schools founded the Lincoln

Youth Symphony in 1957. Students from throughout

the city were invited to be charter members of an

exciting new project. It was the goal of the founders

to create a ‘cream of the crop’ orchestra made up

of the city’s best young performers.

The orchestra has maintained this excellence

throughout its history and as a result, many

musicians in Lincoln and around the country have

begun their musical careers with the Lincoln Youth

Symphony experience. LYS recently celebrated

its 65th season, capped off by a performance of

Mozart’s Requiem with the Abendmusik Chorus

and choirs from four local high schools in the Lied

Center in February of 2022.

The Lincoln Youth Symphony is proud of its long

history of excellent conductors and staff. Past

conductors are: Bernard Nevin, Eugene Stoll, Orville

Voss, June Moore, Harold Levin, Brian Moore,

Michael Swartz, Huadong Lu, and Bob Krueger.

Thanks in large part to their dedication, the Youth

Symphony has produced outstanding musicians

and orchestras.

The orchestra’s extensive travel history since 2009

has included performances Rome, Vienna, Prague,

Budapest, Leipzig, Dresden, Dublin, and Belfast. It

has also appeared at national music conferences in

Chicago, St. Louis, and Kansas City. The Orchestra

has been involved in international performances

and cultural exchanges with youth orchestras in

Mexico City, Hong Kong, and Guangzhou, China. As

part of the Chinese exchange, LYS and the orchestra

from Guangzhou gave a joint performance

in Kimball Recital Hall in the fall of 2000. LYS

completed a successful performance trip to Beijing,

China, and performed a concert at the Central

Conservatory of Music in Beijing in March, 2003.

In the spring of 2005, the orchestra toured Austria,

playing concerts in Vienna, Graz, and Bad Ischl

with additional visits to Salzburg and Innsbruck.


Five Movements in Color

Mary D. Watkins (b. 1939)

Mary D. Watkins is a prolific composer, arranger,

producer, pianist, and recording artist. She has

won critical praise and awards for her numerous

symphonic works, film scores, songs, and pieces

for classical and jazz instrumentalists. Watkins

was commissioned to compose Five Movements

in Color in 1993 by the Camellia Symphony

Orchestra in Sacramento, California. The work

premiered in 1994 and has since been recorded

by the New Black Music Repertory Ensemble of

Chicago (Albany Records 2009). Five Movements

in Color is an epic statement about the African-

American experience. Elements of jazz, traditional

African music, and popular forms are merged

with contemporary techniques in this suite for full

orchestra. Two of the suite’s five movements are

included on this program:

26

tHE FUTURE OF MUSIC CLASSICAL

Second Movement – Soul of Remembrance

Soul of Remembrance is about Africans struggling

to understand their lives as slaves and starting

their long march to be recognized as fully human.

It is a march of sorrow and grief, but the melody

floating above the steady beat of the harp, lower

strings, and woodwinds is a bittersweet reminder

of their hope for peace, joy and freedom on earth

or in the afterlife.

Fifth Movement – Drive by Runner

The civil rights movement was at the center of the

fight for social change in the 1960s with demands

for equality in housing, employment, education,

voting rights, and access to public services. The

energetic fifth movement, Drive by Runner, begins

with a running bass line of accented eighth notes

in the contrabass and bassoons accompanied by

booming timpani, crashing cymbals, and shouting

brass representing the anger and urgency of the

times. The theme, heard in each of the preceding

movements, is played as a slow-moving melody

over the fast-moving basses and percussion. The

middle section is a quiet contrast to the opening

section eventually easing back into the dynamic

and restless movement of the opening.

Symphony No. 4, Op. 41 (“Metaclassical”)

Tyler G. White (b. 1961)

Why “metaclassical”? What could such a term

even mean?

First off, many listeners may be familiar with the

term “neoclassical,” referring in music to the post-

World War I practice of combining the thematic

and expressive clarity of Baroque and Classical

styles with Modernist harmonies and rhythms,

in reaction against the lush, hyperemotional

excesses of late Romanticism. Likewise, the term

“postmodernism” may also be familiar, referring

to a return to tonality after the adventures of the

post-World War II avant-garde, combined with

an often ironic, emotionally distanced relation

to the musical past, frequently expressed using

musical quotations from works representing

many different musical styles and cultures.

In coining the term “metaclassical,” I’m seeking

both to fuse and to move beyond these creative

outlooks. My Metaclassical Symphony uses

neoclassic rhythms and Classical formal models

extensively, and pervasively references earlier

works of the 18th through 20th centuries.

Unlike neoclassicism, however, the symphony

doesn’t shy away from full-blooded emotional

expression; unlike postmodernism, the music

makes constant allusion to earlier works, rather

than literal quotation. And crucially, the allusion to

earlier works is decidedly non-ironic, using the full

heritage of past centuries to create new musical

narratives of expressive power and immediacy.

Symphony No. 4 is cast in the standard 18thcentury

four-movement form (fast/slow/minuet

and trio/fast) and is written for an enlarged

Classical orchestra: pairs of flutes (doubling on

piccolo), oboes, clarinets, bassoons, horns, and

trumpets, plus one trombone, timpani, percussion,

harp, piano, and strings.

The first movement, Vivace assai, is cast in a

relatively conventional 18th-century sonata

form. The principal thematic and rhythmic

reference is to Haydn’s ingenious Symphony

No. 47 (“Palindrome”). The opening exposition

is repeated, as per 18th-century practice. In

the subsequent developmental section, an

obvious reference to the opening of Wagner’s

Tristan und Isolde is presented, followed by a

complex double fugue based on material from

the exposition. In the fugue, the music comes to

be dominated by distorted references to the finale

of Mozart’s Symphony No. 41 (“Jupiter’) and rises

to a cathartic climax. Recapitulation commences,

sinister and dramatic, in the minor mode (as in

Haydn 47), and the Wagner reference returns in

climactic fashion. The movement staggers to a

bleak conclusion, the jaunty energy of the opening

Haydn reference now broken.

The second movement, Largo nostalgico, is cast

in an arch form (ABCBA). It begins with a wistful

reminiscence of the beautiful, achingly tender

slow movement from Haydn’s Symphony No.

88. As in the Haydn movement, the opening

melody, set for solo cello and oboe playing in

octaves, alternates with contrasting episodes. A

searching trumpet melody ensues, followed by a

woodwind passage accompanied by a glittering

celesta. The music rises to a dissonant, climactic

section for full winds before suddenly breaking

off. An ominous variant of the trumpet melody

occurs in the bassoons and double basses,

accompanied by mysterious undulations in the

celesta. The Haydn-inspired theme returns in

the cello and oboe, now enshrouded in references

to the Wagner Tristan motive in the violins. The

movement settles to an ambiguous close.

27


The Menuetto nervoso opens with jagged,

emotionally diffident writing for marimba, harp,

and pizzicato violins. A swirling motive emerges in

the clarinets, violas, and cellos, gradually revealing

itself as a reference to the third movement of

Beethoven’s String Quartet No. 9, Op. 59, No.

3. The Trio appassionato features a trombone

solo which reimagines, in Mahleresque fashion,

the “Tuba mirum” from Mozart’s Requiem. The

Menuetto returns with amplified percussion

writing, and the music builds to a furious

transition, leading directly into the whirlwind,

Presto brioso finale.

The finale is a sonata-rondo (ABACABA) form;

its opening section is relentlessly driving. A brief

transition, which recalls music from Debussy’s

Fêtes (“Festivals”) for orchestra, leads to a soaring,

affirmative second theme which combines the

first notes from the second movement’s Haydninspired

theme with the Wagner Tristan motive.

In the central section (“C” in the diagram above),

the Wagner motive struggles to dominate, before

being brushed aside by a return of music from

the first movement. The finale’s initial driving

music returns, followed by the Debussy reference,

leading to a triumphant restatement of the

soaring second theme, and a wild, brilliant coda.

One final note for the listener: Don’t worry or feel

put off if the preceding discussion seems overly

technical, or if you don’t know all (or any) of the

works being referenced by the “metaclassicism.”

The purpose of this symphony is not to convey

some obscure intellectual concept, but to

communicate a convincing musical arc in sound

and time—just like any meaningful musical

statement. The interest, the nonverbal meaning

of the music, is the main thing. The pleasure of the

sound, and of its emotional and dramatic journey,

is the whole point.

program note by Tyler G. White

Cello Concerto in E minor, Op. 85

Edward Elgar (1857-1934)

In 1919 both Edward Elgar and his wife of 30

years, Alice, were struggling with health issues

and retreated together to their secluded Sussex

cottage to rest and recover. It was while at this

cottage, “Brinkwells” by name, that Elgar penned

four of his finest works: three chamber pieces as

well as the Cello Concerto in E minor, all featuring

a subtler, more concentrated musical voice than

he had yet written in. The concerto in particular

has often been interpreted as Elgar’s expression

of his deep disillusionment following the suffering

and destruction wrought during World War I. It

was, in short, his requiem for a lost world.

The Cello Concerto premiered in October 1919,

but the performance was a flop. Not only was the

work severely under-rehearsed, but the audience

was taken aback by the music's intimate and

plaintive nature and thus gave it a rather cold

reception. Still, music critic Ernest Newman wrote

of the piece, “The work itself is lovely stuff, very

simple – that pregnant simplicity that has come

upon Elgar’s music in the last couple years – but

with a profound wisdom and beauty underlying

its simplicity.” It would take popular opinion

several decades to catch up with Newman’s

assessment. Unfortunately, the concerto – now

considered a masterpiece and a mainstay of the

solo cello repertoire – was to be Elgar’s last major

work. Though he lived some 15 years beyond its

completion, Alice did not; she died just six months

following the work’s premiere. Elgar never truly

recovered from her loss and all his subsequent

attempts at large-scale works ended in fragments

and frustration.

Structured in four movements rather than the

typical three, the concerto opens with the stark

voice of the solo cello playing a sorrowful and

intensely expressive recitative. The violas soon

enter with the mournfully flowing main theme

which sweeps the soloist along in its wake. The

second movement begins without pause with

pizzicato chords and several stuttering attempts

by the cello to continue the motion of the previous

movement. When the momentum finally does

catch, the music takes the form of a dark dance

played at whirlwind speed. The third movement

Adagio is a pure and poignant lament, the

expansive and singing cello line soaring freely

over a pared-down orchestral ensemble. As with

the opening movement, the finale begins once

more with an impassioned cello recitative. Overall

the movement feels spirited and purposeful, but

always with a tone of underlying sadness or, at

best, ambiguity. Brief, reflective callbacks to the

prior movements cast a heart-wrenching shadow

over the whole before the orchestra at last hurtles

decisively to the work’s conclusion.

program notes by Laney Boyd & Tyler G. White

28

DECK THE HALLS HOLIDAY POPS

SUNDAY, DECEMBER 4, 2022, 2:00 & 6:00PM


SEASON SPONSORS

LUCAS WALDIN, CONDUCTOR

DREW DUNCAN, TENOR

BELL-ISSIMO, HANDBELL CHOIR

DANCING BEYOND LIMITS

LINCOLN SUZUKI STUDIOS

CONCERT MEDIA SPONSORS

TRADITIONAL The First Noël 3"

Arr. Carmen Dragon

STEVEN AMUNDSON Glories Ring 4"

VICTOR HERBERT March of the Toys from Babes in Toyland 3"

ALAN SILVESTRI & GLENN BALLARD Concert Suite from The Polar Express 6"

Arr. Jerry Brubaker

JERRY HERMAN We Need a Little Christmas from Mame 2"

Arr. Mark Hayes

SAMMY CAHN & JULE STYNE Let It Snow, Let It Snow, Let It Snow! 3"

Arr. Mark Hayes

TRADITIONAL A Christmas Scherzo 3"

Arr. Don Sebesky

PYOTR ILYICH TCHAIKOVSKY Three Selections from The Nutcracker Suite, Opus 71a 6"

I. March

II. Dance of the Sugar-Plum Fairy

III. Russian Dance

JOHN WILLIAMS Somewhere In My Memory 3"

Arr. Mark Hayes

NOËL REGNEY & GLORIA BAKER Do You Hear What I Hear? 4"

Arr. Keith M. Davis

~Intermission~

VARIOUS Bellringer's Holiday 6"

Arr. Randol Bass

VARIOUS Holiday String-Along 9"

Arr Kara Leigh Baxter

MEL TORMÉ & ROBERT WELLS The Christmas Song "Chestnuts Roasting on an Open Fire" 4"

Arr. Mark Hayes

LEROY ANDERSON Sleigh Ride 3"

ROBERT WENDEL Little Bolero Boy from A Classical Christmas Suite 4"

TRADITIONAL O Holy Night from Christmas Suite 4"

Arr. Mark Hayes & Dave Williamson

VARIOUS Christmas Carol Sing-Along 6"

Arr. Dan Goeller

Artist and orchestra funding supported by the Anabeth Hormel Cox and MarySue Harris Charitable Lead

Trusts. LSO’s move to the Lied Center for Performing Arts made possible in part by a gift from Rhonda

Seacrest. Student tickets made possible by the Lienemann Charitable Foundation Student Ticket Program.

Accommodations provided by he Lincoln Mariott Cornhusker Hotel and Speedway Properties & Nelnet.







29

LUCAS WALDIN, CONDUCTOR

Lucas Waldin is a dynamic and versatile

conductor whose performances have delighted

audiences across North America. He has

collaborated with some of today’s most

exciting artists including Carly Rae Jepsen, The

Barenaked Ladies, Crash Test Dummies, Ben

Folds, The Canadian Brass, and Buffy Sainte-

Marie, in addition to conducting presentations

such as Disney in Concert, Blue Planet Live,

Cirque de la Symphony, and the groundbreaking

symphonic debut of R&B duo Dvsn as part of

the global Red Bull Music Festival.

Waldin has been a guest conductor for

numerous orchestras in the U.S. and Canada,

including the Cleveland Orchestra, the St.

Louis Symphony, the Houston Symphony,

the Dallas Symphony, the Grant Park Festival

Orchestra, the Vancouver Symphony, the

Calgary Philharmonic, the Toronto Symphony,

and the National Arts Centre Orchestra.

Having joined the Edmonton Symphony

Orchestra as Resident Conductor in 2009,

Waldin was subsequently appointed Artist-in-

Residence and Community Ambassador - the

first position of its kind in North America. He

appeared with the ESO over 150 times and

conducted in Carnegie Hall during the orchestra's

HOLIDAY POPS DECK THE HALLS

participation in the 2012 Spring for Music

festival. In recognition of his accomplishments

he was awarded the Jean-Marie Beaudet

Award in Orchestral Conducting and received

a Citation Award from the City of Edmonton for

outstanding achievements in arts and culture.

A native of Toronto, Ontario, Waldin

holds degrees in flute and conducting

from the Cleveland Institute of Music.

DREW DUNCAN, TENOR

Drew Duncan, originally from Okoboji, IA, has

sung with Lyric Opera of Chicago, Des Moines

Metro Opera, Virginia Opera, Sarasota Opera,

Castleton Festival, Chicago Opera Theater,

Chamber Opera Chicago, Ash Lawn Opera,

Opera for the Young, Virginia Consort, Dubuque

Symphony Orchestra, and was a Central Region

Finalist in the Metropolitan Opera National

Council Auditions in 2010.

Since moving to Nebraska in 2012, Drew regularly

sings with Opera Omaha, Lincoln’s Symphony

Orchestra, Abendmusik, The Nebraska Wind

Symphony, First-Plymouth Church, Trinity

Episcopal Church, Saint Cecelia Cathedral, UNO,

Creighton University, TADA Productions, and

sings the National Anthem for the UNO Maverick

Hockey team, the College World Series, and the

Olympic Swim Trials and Curling Trials.

LSO THANKS TONIGHT'S CONCERT SPONSORs

At Ameritas, fulfilling life is what we do daily. One of the many ways we

fulfill lives is giving back to our communities and supporting the local

arts. Lincoln's Symphony Orchestra provides an enriching musical

experience to our community. This is just one of the many reasons

Ameritas is so proud to partner with Lincoln's Symphony Orchestra.

Founded in 1927, Dietze Music has its roots firmly planted in serving

the musicians and the communities of Lincoln and Omaha. Long term

support of local schools and the professional community continues to

be the cornerstone of this company. Dietze Music is proud to support

Lincoln's Symphony Orchestra by sponsoring today's Deck the Halls

Concerts.

30

DECK THE HALLS HOLIDAY POPS

BELL-ISSIMO

Bell-issimo had its inception in the summer

of 2001 to perform programs and concerts in

and around the community. Nancy Youngman,

Director, assembled bell ringers who were

passionate about handbells, had solid musical

ability, and were generous about allocations

of their time. Most charter members were also

members of two local church handbell choirs:

Holy Trinity Episcopal Church and St. Mark’s

United Methodist Church. Eventually, other

musicians voiced an interest in playing with the

group and it evolved to its present incarnation as

an auditioned community choir, with auditions

being held annually in August. This year’s ringers

represent 11 churches from the Lincoln area.

Bell-issimo has performed with multiple

musical groups in the Lincoln area, including

Lincoln Choral Artists, the Lincoln Community

Concert Band, Dulces Voces, the Lincoln Early

Music Consort, along with Lincoln's Symphony

Orchestra. Also, Bell-issimo has presented

several Pops & Rock Concerts at Vega and

the Royal Grove. Regular concerts have been

presented in Lincoln and various communities

throughout Nebraska. The choir was honored

to be asked to participate as special guests of

the Christmas Extravaganza in Bossier City,

Louisiana in December 2015, playing with a

professional orchestra, as well as playing for the

church service of the International Conference

of the Willa Cather Foundation in Red Cloud.

Anyone interested in playing with Bell-issimo

or scheduling a concert should contact Nancy

at youngmannk@gmail.com.

DANCING BEYOND LIMITS

Dancing Beyond Limits (DBL) is a team of

dancers dedicated to integrating a love for dance

with adaptive recreation in Lincoln, Nebraska

since 2012. Alongside a volunteer ‘dance

buddy,’ each student is challenged to move

beyond physical or developmental limits in an

uplifting environment. Confidence, teamwork,

and friendship are foundational elements instilled

through DBL, a non-profit adaptive recreation

organization. The Lincoln troupe is led by

Stephanie Chase, of Chase Dance, and Suzanne

Daugherty, Director of Dancing Beyond Limits.

LINCOLN SUZUKI STUDIOS

Lincoln Suzuki Studio Talent Education, Inc. is a

group of string, piano, and flute teachers who

use the Suzuki method of instruction. The

students in these teachers’ studios range in age

from 2 through adult. These students initially

learn by ear and continue honing both their ear

training and note-reading skills as they advance.

For more information, visit www .

lincolnsuzukimusic.com.

31

Live in Perfect Harmony.

Appearing Soon: Canopy Park

Haymarket Living | Courtyard Pool | Premium Finishes | Rooftop Patio

109 South Canopy St.

Lincoln’s LGBTQIA+ Mixed Chorus

2022-2023 Season

Hoot & Howl | October 28 | 7:30pm

Christ United Methodist Church | 4530 A St.

Make the Yuletide Gay | December 16 | 7:00pm

Christ United Methodist Church | 4530 A St.

facebook.com/starcitychorus

Love for All | March 24 | 7:00pm

Vine Congregational UCC | 1800 Twin Ridge Rd.

27

MEMORIAL & TRIBUTE CONTRIBUTIONS

IN MEMORY OF

Juan Alonso

Del & Linda Smith

Bruce Anderson

Dorothy Anderson

Deon & Susan Bahr

June Blatt

Dick & Sue Boswell

Bob & Candy

Campbell

Jack & Sally

Campbell

John & Linda

Donaldson

Ann Finkner

Connie Fouts

Linda & Reg Gartner

Sandy & John

Graham

Jim & Margaret

Griesen

Ward & Melisa

Haessler

Judy & Doug Harman

Brad Harse

Nancy Haugner

John & Susan Hoppe

Charitable

Foundation

Timothy Jacobs

Brenda Keith

Roger Kruse

Judy & Bill Lewis

Pamela Mattson

Heidi & Chris

McInerny

Daisy & Minnick

Jim, Julie & Jed

Morton

Bill & Joyce Norris

Willa Penney

Carol Phillips-Cole

Brett & Linda

Ratcliffe

Cathy & Bob Rauch

Brett & Audrey

Richert

Marilyn Rohla

John Sampson

Jane & Cheryl

Scheffert

Cathy & Dave

Sellmyer

Stevens & Smith

Construction

Susie & Gale Sup

Pat & Leroy Svec

Deborah Svec-

Carstens

Heath, Jen &

Svendsen Family

33

Richard & Karen

Vierk

Carla & John Watson

Michael & Amy

Zeleny

Jerrie (Jerry) W.

Bodeen

Mrs. Larry H. Lusk

Morris Collier

Karen Becker*

Summer Brackhan*

Donna Carnes*

Aleta Collier

Dorothy Chung*

Kent & Jan Eakins

Meghan Ferris

Mark & Heidi

Gouthro

Debbie Greenblatt*

Jim & Margaret

Griesen

Vicki Harris

Charlotte Heermann

Charles & Mel Krutz

Dottie Ladman*

Cynthia & Gary Love

Michael & Kelly

Madcharo

Rex & Pamela Martin

Anton Miller*

Connie Moon*

Pat Morrow*

Lisa Myers*

Rhonda Neely*

Lisa Nielsen*

Kristin Pfabe*

Tanner Pfeiffer*

Edward Polochick

Julie Ralston*

Jane Ray

John Reinert*

Kay Roundey

Tracy Sands*

Kim Salistean*

Carla Schoenbaum

Denise & Ross

Scholz

Timothy Stentz

Mike Swartz

Diane S. Temme

Roland & Hiroko

Temme

Shalla Young

Barbara Zach Lee

*musicians who

performed at the

funeral

Doris Cook

Constance Cook

Glen & James Glen

Jim & Margaret

Griesen

Gretta Heaney

Gerald Olson

Kay Sloan

Barbara Day

Josephine Stewart

John "Jerry"

Desmond

Chuck & Marita

Burmeister

Jim & Margaret

Griesen

Nancy Dobler

Lisa Arter

Jim & Jamie Dobler

Larry & Amy

Feerhusen

Jim & Margaret

Griesen

Sen. John McCollister

James McMullen

Christy Pearson

B. Strain

Elizabeth Carrol

Eveland

Her son Don & his

wife Carolyn

Eveland

Mike Fardella

Lauren Anderson

Robt & Mary Ann

Karen Barnhard

Vance Birkman

Eric & Deborah

Bookstrom

Vicki & Mike

Bousquet

Genevieve Brandorff

Don & Lynette

Byrnes

Timothy & Luella Cox

Linda S. David

Jayne von Forell

Debus

Ben Eakes

Donald J. Ediger

Gennaro Fardella

Mary Faylor

Robert & Idonna

Florell

Jan Fremarek

Susan Goodrich

Jim & Margaret

Griesen

Paul Haith

Don Ham

R. Brad Harse

Phil & Barbara

Heckman

Fred & Julie Hoppe

John & Susan Hoppe

Kenneth Hunter

Merle Jansen

Dianne & John Kalita

Carolyn & Jay Kent

Stacy & Jared Kvapil

Shauna Labbee

Pat Linder

Lewis P. Linkugel

Sue & Derek Lochner

James Luers

Heidi Macy

Robert & Jean Carol

Murphy

Michael J. Nolan

Howard & Phyllis

Ostrofsky

Judith Peterson

Edward Polochick

Sharon Radovich

Robert Rauch

Jill Riaz

Marleen & Bryan

Rickertsen

Linda K. Roberts

Patricia Sim

Lloyd Stuhr

Mariclare Thomas

DeEtta & Dale Vrana

Gail & Greg Watman

Rebecca & Ryan

Wells

Lisa R. Westergaard

Marcia & Herman

Wiebers

Marjorie Wyant

Barbara Zach Lee

Carol & James

Zalewski

Jeannie Zwiebel

Joann Bolton Forbes

Vernon Fobes

James Wehrman

Margaret Griesen

Karen Becker &

Alison Knudson

Mark Clinton

Donn & Sylvia Crilly

Nancy Finken Ernst &

Thomas Ernst

Allen & Joann Graves

Max & Lillie Larsen

Chuck & Peggy

McCann

Jean Patoka

Richard & Eileen

Vautravers

Shalla Young

Dr. William "Bill" T.

Griffin

Mary Arth

Pat & Ellen Beans

James Berglund

Anthony & Kara

Burwell

Jim & Sue Carraher

Sally & John

Desmond


Kent & Dorothy

Endacott

Jill Everett

Michael Faust

Nora Ford

Jim & Margaret

Griesen

Catcher Griffin

Phil & Barbara

Heckman

Gracia Henkle

Jon Hinrichs & Donna

Woods

John Hoppe

Rich Jones & Willa

Foster Jones

Con & Barbara

Keating

Sue Kuta

John & Carol Miyoshi

Doug & Joanne

Pillard

Edward Polochick

Rhonda Seacrest

Beth & Clay Smith

Josephine Stewart

Craig & Liz

Wanamaker

Barbara Zach Lee

William & Sheila

Griffin

William Griffin, Jr.

Darlene "Dee"

Hatten

Dee Hatten Family

Thomas & Mary Jo

Cherry

Pat Cole

Margaret Gross

Stanley & Carol

Fraas

Robert & Sally

Morrow

Michael & Glenda

Mullen

Patrick Olson

Thomas & Shelley

Thorpe

Vernon & Janet

Westberg

Marion & Walter

Wright

Deborah York &

Christina Day

Phil Heckman

Kathy Friedman

Josephine Stewart

Vicki Train Harris

Dr. William G.

Leavitt

Don & Carolyn

Eveland

Del Lienemann

Robert & Renee

Barbe

William J. and Kelley

A. Barnes

Neil & JoAnne

Bateman

Richard R. & Barbara

A. Bishop

John & Bev Braasch

Anne Bradford

Jim & Sue Carraher

Susan E. Carstenson

Dennis L. & Carol R.

Dahmke

Keith A. & Diane K.

Dietze

Timothy Gay

Jim & Margaret

Griesen

Bob & Diane

Grundman

David L. & Pamela J.

Iaquinta

Harland H. & Donna

J. Krambeck

Randy & Marlene

Knight

Reva M. Knightly

Gene & Suzanne

Kohmetscher

Richard & Janet

Labenz

Lorene Larsen

Doug & Mary

Lienemann

Gene Lienemann

Peggy & Chuck

McCann

Mike & Carol McKee

James Nissen

Linda A. Oliver

Thomas L. & Marry F.

Perrigo

Edward Polochick

Reprographic

Services

Association

Michael K. &

Margaret E. Ross

Pat Sass

Denise & Ross

Scholz

Neal & Katherine

Seibold

Shop Employees of

Midwest Steel

Charles S. & Debra J.

Tomek

Philip F. & Mary B.

White

Shalla Young

Barbara Zach Lee

Del & Charlotte

Lienemann

Denise & Ross

Scholz

Beverly Lightner

Joan Allen

Richard & Gayle

Allen

Diane Butherus

Gregory & Doris

Buttell

Donald & Helen

Carnes

Cirksena, Knight,

Jacobsen, Sieps &

Kresse LLC

William & Mary

Dougherty

Susan & Stanley

Fortkamp

Suzanne Jouvenat

Angela Jurgens

Robert Hagadorn

Connie Lightner

Cynthia & Gary Love

Peggy & Church

McCann

Tom & Kim Miriovsky

Michael & Erin

Reeder

Jane Rohman

Carrie Solomon

Schultz

Susan Scott

Michael & Lori Shaal

Strings Alliance in

Lincoln

Robert Maag

Joy Maag

Carol L. Miller

Eric and Erin Miller

Tom Miskimen

Brian, Lillian &

Melissa Bornstein

& Christie Emler

Robert “Bob”

Murphy

Steve Aberson

Todd Arlan

Don & Lynette

Byrnes

Harry Groome

Joyce Hasselbalch

Butch & Caroline

Hug

Tami Isaacson

Erin & Harold

Knapheide

Joseph

Knappenberger

Max & Lillie Larsen

Donna Lightbody

Donald & Betty Little

Marilyn Metzger

James Owen

Tulsa CARES

Annie & Jeff Van

Hanken

Sandra & Charles

Wall

Shalla Young

Maxine & Jack

Zarrow Family

Foundation

William Frank Nye

Frederic & Lynette

Gordon

Mary & Greg Haskins

Bradley & Catherine

Holtorf

RoseMary Januschka

& Herb Pilhofer

Melissa Nealy

& Deborah

Schroeder

Jean Patoka

John & Deborah

Patterson

Cedric Reverand

Bill & Betsy Strain

Gregory & Margaret

Sutton

Charles & Sara

Torbert

Genevieve & rev.

John Ubel

H. Donald Osborne

Kristin Pfabe

Edward Polochick

Clark & Jan Potter

Barbara Zach Lee

Virginia “Ginny”

Parker

Christine Brennan

John Carter

Amy Duxbury

Juliann French

Charlotte Heermann

Kim & John Salistean

Ruth Stephenson

Josephine Stewart

Clare Sward

Linda Thayer

Gus & Marcia

Wiebers

Shalla Young

Ann Rawley

Josephine Stewart

Ky Rohman

Sally & John

Desmond

34


Lynne Rustad

Jim & Margaret

Griesen

Carolyn Knaub-Ryba

Edward Polochick

Barbara Zach Lee

James "Jim"

Seacrest

Jim & Margaret

Griesen

Edward Polochick

Shalla Young

Barbara Zach Lee

Fred Scheele

Kristi Scheele

Sister Ruth

Schirtzinger

& Mr. Phillip

Schirtzinger

Jim & Margaret

Griesen

Stuart & Marcia

Parsons

Dennis Schneider

Deborah T. Bouffard

Tom & Angie Kelly

Michael Thompson

Dennis L. Schneider

Deborah T. Bouffard

Thomas & Angela

Kelly

Michael Thompson

David Sellmyer

Kathleen & Tam

Allan

Betty Lou Anderson

Franklin Brill

Donna Campbell

Dorothy Chung-

Javorsky

Candace & Pat

Dussault

Barton & Patricia

Green

Jim Griesen

Maureen Harvey

John & Barbara

Hetcko

Greggory & Sheri

Hurlbut

Charles & Mary

Hussman

Susanne & Ronald

Johnson

Vanvilai Katkanant

Suzanne Kirby

Nathan Meier

Lee & Kay Rockwell

Pamela Starr

Darrel & Jennifer

Stevens

Robert & Barbara

Stock

James & Geraldine

Van Etten

Lynn & Robyn Wilson

Josephine Sheffield

Loris L. Purtzer

William Stibor

Judy Stibor

Jack Tast

Rick & Heidi Tast

Loreta Tiemann

Jeffrey Butterfield &

Anita Jack

John D. Turner

Elizabeth Sterns

Emanuel Wishnow

Gail Wishnow

Michael Zach

Caleb Bailey & Dr.

Sara Baker Bailey

IN HONOR OF

Doug & Mary

Campbell

Bill Etmund

Jessica Dussault

Candace & Pat

Dussault

Jessica Dussault &

Chad Koch

Sarah Bailey

Jenny Bonk

Karin Dalziel

Dr. Jan L Fisher

Marynelle Greene

Carolyn & Kristin

Guild

Thomas & Sue Guild

Roger Reinhardt &

Sharon Mohatt

Joyce & Lyle Vannier

Verjean Vannier

Peggy & Kenneth

Volker

MarySue Harris

Mary-Ann Clinton

Edward Polochick

Carol Cook

Susan Harwood

Jane Rohman

Barbara & Robert

Bartle

Dave & Cathy

Sellmyer

John & Cyndi

Woollam

David von Kampen

Bob & Diane

Grundman

This list includes

donations received

before September

1, 2022.

Music & Fine Arts at

First Presbyterian Church

840 S. 17th St., Lincoln

Lauren Jelencovich, soprano

Sunday, Sept. 18 - 7:00 p.m.

Multi-talented singer at home in opera,

Broadway, world music & pop.

Featured soloist on tour with Yanni.

Seraph Brass

Thursday, Nov. 3 - 7:00 p.m.

Dynamic & award-winning brass ensemble

drawing from a roster of America’s top

female brass players.

35

Tickets: 402.477.6037 www.fpclincoln.org

Find us on Facebook

The Lincoln Journal Star

is a proud supporter

of the arts in our

community.

Our thanks

to Lincoln’s

Symphony

Orchestra for

bringing music

to our ears!

For information on area events,

dining options and local news,

visit JournalStar.com

ANNUAL FUND DONORS

Lincoln’s Symphony Orchestra gratefully acknowledges the following donors for their

generous support of the 2022-2023 season. This list includes donations received

after July 1, 2021 and before September 1, 2022. Donations are still being accepted

for the 2022-2023 season.

MAESTRO CLUB $15,000+

Anabeth Cox

MarySue Harris

Drs. Marilyn & David Moore

Rhonda Seacrest

J. Richard Shoemaker &

Becky Van de Bogart

VIRTUOSO CLUB $10,000+

Don & Carolyn Eveland

Richard & Eileen Vautravers

PLATINUM ORCHESTRA

CLUB $5,000+

Chris Marks & Jessica

Freeman

Jim Griesen

Angie & Dan Muhleisen

Christine & Arthur

Zygielbaum

GOLD ORCHESTRA CLUB

$2,500+

Dr. John Hinrichs & Donna

Woods

Jon & Joan Michelsen

Edward Polochick

Dr. Pamela Starr

SILVER ORCHESTRA CLUB

$1,000+

Joe & Jeanette Adams

Chuck & Marita Burmeister

Dr. John Casey

Susan Clifford

Anabeth Cox

Rob & Christine Denicola

Nancy Flader

Herb & Kathy Friedman

Jon & Melanie Gross

Kenneth Hassler

Jim Hejduk

Bob Hinrichs

Tom & Linda Hoegemeyer

Mrs. Andrew C Hove

Dan & Mary Howell

Thomas Hyde

Damon Thomas Lee &

Barbara Zach Lee

Dr. Max & Patricia Linder

Ken & Linda Livingston

Dr. Jim & Mrs. Gail O'Hanlon

John & Sigrun Pfister

Neva Pruess

Louise Schleich

David & Carol Shulman

Dennis & Nancy Stara

Jo Stewart

Rob & CJ Thoma

37

Rosemary Thornton

Joyce Urbauer

Gus & Marcia Wiebers

BRONZE ORCHESTRA

CLUB $500+

Kathleen & Tam Allan

Rich Bailey

Christena & Kelley Baker

Andy Barry & Jennifer Carter

Daryl & Doralee Bell

Jo Anne & Bob Bettenhausen

Molly Burns & Tom Klein

Laura Burton Franz

Mark Clinton

Kent & Jan Eakins

Abigail Eccher

Doug & Pam Ganz

Thomas Graul & Nancy Hove

Graul

Jeff Haas

Eola & Ned Hedges

Rich & Lanelle Herink

Ken & Meg Kester

Reg Kuhn

Ed & Loretta Love

Anton Miller & Rita Porfiris

Karen & David Morgan

Carol Myers

Lance Nielsen & Victor

Salgado-Romero

Mary Owens

Tim & Shelley Pratt

Roger & Carolyn Riefler

Ken & Gidge Schmidt

Nader & Ingrid Sepahpur

Dr. Bob & Dottie Shapiro

Frank & Ann Sidles

Duane Smith

Rick & Penny Urwiler

R. David & Shirley J. Wilcox

FRIENDS CIRCLE

SUPPORTER $250+

Sandra Ashley & Jean Dorsey

Neil & JoAnn Bateman

Don & Lynette Byrnes

Marcia & Ray Cederdahl

Jay & Jerolyn Crosier

Lois & Dick Dam

Larry & Janee Dlugosh

Candace & Pat Dussault

Craig Eckhardt

Noreen Goebel

Marynelle Greene & Ned

Sharp

DeLynn & Esther Hay

Susan Kjer Hild

Barbara Jacobson

Thomas & Angela Kelly

Richard Klodnicki

Chuck & Peggy McCann

Jeff & Jacqueline McCullough

Matt & Paula Metcalf

Loyal Park

Benjamin & Barbara Rader

Kirby & Dana Reardon

Pat & Alan Riggins

Jane Rohman

Fran Rouzee

Kristi Scheele

Rebecca & Sharad Seth

Tom Trenney & Brent Shaw

Dane & Cheryl Terhune

Delmar & Alice Timm

Sandra Washington

Dwight Wigg & Joan

Wheeler

Jennifer & Todd Wiltgen

Dr. Ray & Carolyn Zeisset

FRIENDS CIRCLE

CONTRIBUTOR $100+

Diane Bartels

Mary Ann Barton

Lorraine Beadell

Carolyn Becker

Jeremy & Talea Bloch

Roxann & Leroy

Brennfoerder

Jo Brown

Heidi Brownson

Don & Trudy Burge

Dori Bush

Aleta Collier

Foster E. Collins, Jr.

John & Barbara Cutler

John & Susan Dahm

Jennifer Davidson

Jessica Dussault & Chad

Koch

Marvin & Victoria Ehly

Susan Ferdon

Lois & Don Fick

Mary Fischer

Vernon Forbes

Tim & Chris Gay

Eunice Goldgrabe

Josephine Grayson

Helen Greer

Arlene Greever

Mary & Patrick Grewe

Robert & Patricia Grimit

Maellyn Hain

Robert Haller & Marcella

Shortt

James & Suzanne Harder

Tim & Jan Hardesty

ANNUAL FUND DONORS

Dee Hatten

Michael & Pam Hoefs

James & Linda Hoke

Duane & Janet Jaecks

Karen & John Janovy

Con & Barbara Keating

Bradley Keller

Dottie Ladman

Grace Larson

Roger & Wanda Mandigo

Paul & Melissa McCoy

Jack McKimmy

Mu Phi Epsilon Alumni

Eliza R. Perez Senic

Susan Petersen

Jerry & Mary Ann Petr

Marilyn & Tom Petro

Jerrald & Esther Pfabe

Darrell Podany

Clark & Jan Potter

Rachelle Pratt

Loris Purtzer

Mary Reiman & Becky Pasco

Bryan Rettig

Bill & JoAnn Roehrs

Diana Sanderson

Peter & Viann Schroeder

Catherine & David Sellmyer

Richard Sherburne

Jeremey & Jesica Shiers

James Slattery

Leslie & David Tien

Jean Travers

Eric & Laverne Umland

Suman & Michelle

Vallabhbhai

Elizabeth Voorhies

Marilyn Wallin

Nancy Whitman

Robert & Patricia Wikel

Michael & Ruth Ann Wylie

Mary Zilly

FRIENDS CIRCLE MEMBER

<$100

Dora Adam

Andrea Ahrens

Wahadi Allen

Elena Arsentyeva

Georgean Barber

Robert & JoAnn Barry

Bruce Bartels

Ken & Candi Bazata

Lora Black

Robert & Lynette Boyce

John Boyd

Jerre Brammeier

Kristine Brenneis & Rob

Shortridge

Alan Brodbeck

Lori Brydl Anderson &

Darlene Brydl

Nancy Buchcuski

Dorene Casey

Kathleen Casper

Christopher Cassel

Yupin Chao

Dorothy Chung-Javorsky

Trudy Clark

Jack & Shirley Cole

John & Nancy Comer

Chase Crispin

Eileen Cunningham

Frank & Ceri Daniels

Richard Dienstbier

Glenda Dietrich Moore

Abbegayle Dodds

Ashley Dorwart

Carolyn Dow

Keith Dubas

Laura Ebke

Shane Farritor

Tanner Fuhrer

Amanda Gott

Suzanne Hafey

Elaine Hammer

Joyce Hasselbalch

Tari Hendrickson

Thomas Hinshaw

Norman Hostetler

Mary & Stewart Jobes

Rosemary Johnson

Judy Johnson & Gunter

Hofmann

Wendy Jordan

James B. Karas

Chris Kavan

Carolyn Kitterer

Carolyn Lamphere

Brian & Jenina Lepard

Lucy Lien

Janet Lingren

Laura Lofquist

Laura Madden

Oliver McClung

Alicia McCune-Brown

Leo McGrath

James Miller

Joseph Meduna

Jason Muehlhausen

Mike Murphy

Clayton Naff

Patty & Jim Neid

Jennifer Nevaril

Rosemary Ohles

Carla Petrey

Jasmine Pham

Donna Posvar

Ann Quinlan

Katherine Regler

Jo Riecker-Karl

Bruce Riedman

Terri Rittenburg

Tony Roebuck

David & Tracy Sands

Carol & Jack Schneider

Jacqueline Scholz

Beverly Schultz

Harvey & Coni Schwartz

Andrew A. Seuferer

William Stephan

Brian Stelzer

Dan Stratman

Abbi Swatsworth & Mary

Carol Bond

Rebecca Taylor

Laurie Thomas Lee

Dennis Tyser

Laura Uridil

Anne Vidaver

Susan Weber

Connie Weir

Melanie White

Jared & Alyssa Wilhelm

Rebecca Wolff

THANK YOU TO THE

FOLLOWING

BUSINESSES THAT

PROVIDED A

MATCH TO EMPLOYEE

CONTRIBUTIONS:

Benevity

Foundation for

Educational Services

Nelnet, Inc.

UBS Financial

Services, Inc.

Westgate Bank

ENCORE CLUB MEMBERS

Rich Bailey

Anabeth Cox

Barbara G. Dinsdale

Florence &

Joseph Dubas Family Trust

Larry Frederick

Doug &

Pam Ganz

Jim & Margaret Griesen

Dorothy & Francis Haskins

Robert Hinrichs

Reg Kuhn

Dave &

Marilyn Moore

Bob & Jean Carol Murphy

Robert & Phyllis Narveson

Jeff & Kelli Nelson

Edward Polochick

Rich & Susan Rodenburg

David & Catherine Sellmyer

Rosemary & Mel Thornton

Barbara Zach Lee

38

since

usic

ities.

ENSURING THE FUTURE

OF OUR SYMPHONY

WHAT IS THE ENCORE CLUB?

LSO’S ENCORE CLUB is made up of individuals who

have included LSO in their estate planning documents.

A PLANNED GIFT TO LINCOLN’S SYMPHONY

ORCHESTRA allows you to ensure that LSO serves our

community for generations to come. LSO works with the

Lincoln Symphony Orchestra Foundation, which exists

to manage endowment gifts. Proceeds are directly used

to benefit LSO, and account for 12% of LSO’s operating

budget. The LSO Foundation has assets of $3 million,

and LSO receives earnings each year based on the

current market value of the assets. Consider making a

planned gift today.

211

Providing services

“in tune” with the needs

of our clients.

Music sounds

better when

you’re free.

Having a plan for the future

frees you to get more out of life.

That’s what we call fulfilling life.

Ameritas freely supports the

Lincoln Symphony Orchestra.

39

Labenz & Associates LLC

Certified Public Accountants

8555 Pioneers Boulevard

Lincoln, NE 68520

www.Labenz.com

Insurance | Employee Benefits | Financial Services

Ameritas Life Insurance Corp. ©2021 Ameritas Mutual Holding Company

AD 365 9-21

LINCOLN'S SYMPHONY ORCHESTRA FOUNDATION

All contributions to the foundation become a part of the Endowment Fund, established to ensure

the future of the orchestra. The principal is held permanently, while the interest earned each

year supports the orchestra. The following gifts have been received through September 1, 2022.

LSO Foundation

Contributors

Over $500,000

Ethel S. Abbott Charitable

Foundation

$100,000 to $499,999

Ruth Amen

Dorothea Gore

James & Margaret Griesen

Margaret Klinker

Lienemann Charitable

Foundation

$50,000 to $99,999

Halcyon Allsman

Pauline Armstrong

Barbara & Howard

Dinsdale

Dr. & Mrs. William Nye

Joan M. & Wesley J. Reist

$20,000 to $49,999

Mr. & Mrs. Al Adams

Doris Dovel Trust

Erck Charitable Foundation

Ordella I. Geisler Estate

Richard Hay Estate

Oliver & Margaret Joy

Estates

Bonnie Kaltenborn Estate

Lincoln Symphony Guild

Marjorie Menshol

$5,000 to $19,999

Alice Abel

Martha & Ken Clark

Cliff's Notes

Mr. & Mrs. James Ebel &

Memorials

Folsom Memorial

Constance & Jack Geist

Burket Graf

Phoebe & Don Hamann

Keith Heckman

Leo Hill, Estate &

Memorials

Andrew Hove

Arlene & Buford Jones

Leo Kopp Memorial

Lienemann Charitable

Memorials

H. Don & Connie J.

Osborne

Priscilla Parson

Pat & Richard Smith

Sterns Charitable

Foundation

Susan & James Stuart

Loretta Tiemann

Paula & Woody Varner

Wells Fargo Bank

Connie & Richard White

Dr. David & Catherine

Sellmyer

Memorials In

Remembrance

$1,000 to $4,999

Ethel S. Abbott Memorials

Louis & Mary L. Babst

Memorial

Senator LaVon Crosby

Jane D. Dudgeon

Louise Foreman Memorial

Charlotte Lienemann

Memorial

Del Lienemann 90th

Birthday Celebration

Lincoln Symphony Guild

Memorials

Mr. & Mrs. Carl Olson

Suzanne Owen Memorial

Denise & Ross Scholz

Sidles Memorial

Fred Stiner

Nancy Vandervoort

Memorials

Wishnow Memorial

$500 to $999

Roxann & Leroy

Brennfoerder

FirsTier Bank

Leo Hill Birthday

Celebration

Dagmar Hoiberg

Marilyn & Dave Moore

James Nissen

Pansing Memorial

Peirson Memorial

Loris L. Purtzer

J. Richard Shoemaker &

Becky Van de Bogart

Lawrence Tyler Memorial

Janet and Richard Labenz

Westbrook Memorial

Up to $499

Jojen Batten

Nanci Burchess

Willard Cook Memorial

Angela Dawy

Robert & Christine

Denicola

Kathleen &

Thomas Conroy

Sally Desmond

Amy Duxbury

John Duxbury

Mary Ann &

Chuck Erickson

Bets & Larry Frederick

Mari Lane &

John Gewecke

Dorothy &

Francis Haskins

Hal Hasselbach

Barbara &

Philip Heckman

Robert Hinrichs

Donna Woods &

Jon Hinrichs

Mrs. Walker Kennedy

Virginia Knoll

Reginald Kuhn

Jacqueline &

Jeff McCullough

Paula & Matt Metcalf

Ed Miller Memorial

Phyllis Narveson

Virgil Parker Memorial

Ginny Parker

Charles Piper

Edward Polochick

Shelley & Timothy Pratt

Lillian Slaughter

Susan Thompson

Diana Warner

Shalla Young

Barbara Zach Lee

40

AUDITIONS

BY APPOINTMENT

Sign up at:

lincolnboyschoir.org

or call 402-499-4446

ai16305296355_KLINSymphonyAd2021.pdf 1 9/1/2021 3:53:55 PM

C

M

Y

Jack Mitchell

LNK Today, Weekdays 6-9 a.m.

CM

MY

CY

CMY

K

PROUD SUPPORTER OF

LINCOLN’S SYMPHONY ORCHESTRA

Listen to LNK Today with Jack and Friends to hear from LSO Director Ed Polochick and special guests

as Lincoln’s Symphony Orchestra prepares for their next performance. LNK Today,

hosted by Jack Mitchell, airs weekdays from 6-9 a.m. on 1400 & 99.3 KLIN .

Nebraska Chamber Players •2022

Sept. 23, 7:30pm & 25, 3pm - Quintets and a Haydn Trio

Oct. 21, 7:30pm & 23, 3pm - String quartets with guests

Jack Rinke and Cindy Ricker

Performances at the Unitarian Church of Lincoln, 6300 A Street, Lincoln

402.429.8227 nebraskachamberplayers.org

2022-2023 Concert Series

All concerts are FREE in person at First-Plymouth or online at abendmusik.org

We Shall Walk

Through the Valley in Peace

Sunday, September 25 at 4:00 p.m.

Freewill offering to benefit First-Plymouth’s

Just Neighbors Medical Debt Relief.

Handel’s Messiah:

Community Sing

Sunday, November 27 at 4:00 p.m.

Freewill offering to benefit Fresh Start.

A Thrill of Hope:

Christmas with Abendmusik

Sunday, December 11 at 4:00 and 6:30 p.m.

Freewill offering to benefit the Food Bank of

Lincoln.

Last Blast with the Plymouth Brass

and Organist Nathaniel Gumbs

Saturday, December 31 at 7:00 p.m.

Freewill offering to benefit Lincoln Music

Teachers Association.

Youth Masterworks Festival:

Glory, Glory, Hallelujah!

Monday, February 27 at 7:30 p.m.

Freewill offering to benefit Cedars Youth

Services.

Capital University Chapel Choir

Saturday, March 4 at 7:00 p.m.

Freewill offering to benefit Community

Action Partnership of Lancaster & Saunders

Counties.

National Lutheran Choir

Saturday, March 25 at 7:00 p.m.

Freewill offering to benefit Lutheran Family

Services of Nebraska.

Kaleidoscope Vocal Ensemble

Friday, March 31 at 7:00 p.m.

Freewill offering to benefit Lincoln’s Center

for Legal Immigration Assistance.

Toward the Unknown Region

Sunday, April 23 at 7:00 p.m. FREE

Freewill offering to benefit Mourning Hope.

My Funny Valentine: An Abendmusik Fundraiser

Tuesday, February 14 at 7:30 p.m. Online only. Tickets required.

Details at Abendmusik.org

Branding and Identity

Website Design

Logo Development

Social Media

Photography

Video Production

ebbekadesign.com

nelottery.com

Must be 19. Free problem gambling help for

Nebraskans at problemgambling.nebraska.gov.

Top prize odds vary by game.

We’re Lincoln’s family-friendly radio station!

BONUS: Listen online at spiritcatholicradio.com or download our free app!

X, THE LIFE AND TIMES OF MALCOLM X

SUOR ANGELICA

THE MARRIAGE OF FIGARO

THE END

IS THE

BEGINNING

OPERAOMAHA.ORG

The Nebraska Cultural

Endowment Proudly Supports

LINCOLN'S Insert Nonprofit SYMPHONY Name Here ORCHESTRA

Learn more about how the

Nebraska Cultural Endowment

ensures an endless tradition of

arts and humanities in our state,

visit NebraskaCulture.org

Yup, all under one roof.

Let’s start something amazing.

Websites

Printing

Marketing

Strategic Guidance

Where do you

want to begin?

firespring.com

lied center for performaning arts

EXPERIENCE THE WORLD'S

TOP ARTISTS

OCT 8, 2022

NAUGHTON

PIANO DUO

NOV 1. 2022

ORPHEUS

CHAMBER

ORCHESTRA

MAR 1, 2023

MAR 30 2023

402.472.4747

LIEDCENTER.ORG

MAY 2-3. 2023

4

Bravo! Bravo!

Our commitment to the arts has never been stronger.

Each performance speaks directly to the heart while lifting

our spirits, reducing stress and even lowering blood pressure.

The experience leaves us renewed and enlightened.

CHI Health is proud to support the Lincoln Symphony Orchestra.

CHIhealth.com

LSO 2022-23 Program Book Fall Concerts

You also want an ePaper? Increase the reach of your titles

Delete template?

Save as template?