MOSC 2013-2014

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TABLE OF CONTENTS From Your Symphony & Chorale 8 9 10 11 13 60 62

From the President of the Board From the Executive Director From the Music Director Music Director Biography 2013-2014 Board of Directors & Staff Midland Symphony Guild Odessa Symphony Guild

Our Season 6 22 40 42 50

2013-2014 Season Series Carmina Burana (Masterworks III) Riders In The Sky (Pops & Family III) Celebrating Youth (Masterworks IV) Disney in Concert - Magical Music from the Movies (Pops & Family IV)

Our Ensembles 5 15 21

2013-2014 Chamber, Choir and Special Events Our Chamber Ensembles Our Orchestra

Our Contributors/Donors 19 52 54 90

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2013-2014 Sponsors 2013-2014 Fund Contributors 2013-2014 Endowment Fund Contributors Advertiser Index

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From the President of the Board...

My name is Sue Solari and I have been a

resident of the Permian Basin for the last 40 years. I have been a subscriber for many years and have watched the Midland-Odessa Symphony and Chorale grow into a first class organization now performing in a first class arts center. I have served on the Board of Directors for the last 5 years in various committees such as Development, Finance, Fund Raising and Artistic Relations (great fun since it includes meeting the artists up close and personal). I have also had the opportunity to house some of the young musicians that come to play for our concerts. It is such fun to have these outstanding musicians. This year I have the privilege of serving as the President of the Board for the 2013-2014 Season.

We have just finished celebrating our 50th season with a sell-out crowd for our final Pops Concert Cirque de la Symphonie. What a way to end our season with our fantastic director, orchestra and a wonderful group of cirque performers.

Our next season offers something for everyone from our first Masterworks in September, with a gala opening night, to our final Pops and Family concert in May with Disney in Concert. Don’t forget that we have wonderful chamber and chorale concerts all year long with the West Texas Winds, Permian Basin String Quartet, Lone Star Brass, MOSC Chorale and our children’s chorale, Voices of the Permian Basin.

We are proud to present, in collaboration with Midland Community Theater, one of the most outstanding musical masterpieces of all time Les Miserables in April of 2014.

The Board and I look forward to the 2013-2014 season because we have a new Executive Director, Jeannette Kolokoff, who comes to us with a love of music, musicians and an outlook and enthusiasm to make the Midland-Odessa Symphony and Chorale the best it can be.

So come join us and start Soaring into the next 50 years!

Sue Solari, Midland-Odessa Symphony and Chorale Board President

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From the Executive Director...

Dear MOSC Family Members,

Yes, you are part of the MOSC family! With your attendance tonight, you have become part of our chartered flight into this season, Soaring into the Next 50 Years. You may have the honor of being in our family for many years or you may be our celebrated new arrival. Either way, fasten your seat belt tonight and get ready to ascend into the world of live concert music. Following take-off you can fly with us as the music soars with each and every concert. Our 51st season has been especially designed to offer something special for each and every member of our family. We hope you will enjoy our concerts as much as we enjoy performing them; after all, family members share great experiences.

Two very special and diverse partnerships continue our commitment to working with our community. Midland-Odessa Symphony & Chorale in collaboration with Midland Community Theatre will present Les Misérables in April in our wonderful Wagner Noël Performing Arts Center. This year we also launch our Music for a Cause program in which we support a non-profit organization in our area. MOSC is partnering with West Texas Food Bank for the entire season. Music feeds the soul, but food is necessary to nurture our bodies. Thousands of people go to bed hungry in West Texas and yes even in our own Permian Basin backyard. It is our hope that our MOSC family members will visit the Food Bank’s Lobby display at every concert to give generously to support our neighbors in need.

Our choral ensembles are also exploring new heights. Formally known as the Kids’ Choir, our youth choir has a new name “Voices of the Permian Basin.” Under the direction of Emily Baker, the choir is growing to 100 voices and will be seen at the Holiday Concert in their new performance attire. Our adult Chorale will venture across the ocean on a concert tour Austria and Germany next summer. Director, Greg Pysh leads this exciting trip and continues to expose our great talents to new lands.

We want to know what you are up to and we want to know what our MOSC family members would like to hear. So, we invite you to stay informed about all our activities by regularly checking our website mosc.org and “liking” us on Facebook. You can receive regular email updates by joining our secure email list via our website. We exist because of your incredible support and are extremely thankful to be able to increase our family by bringing quality symphonic music for all to enjoy.

Hold on tight, it’s going to be a great trip!

With Joy and Great Expectations,

Jeannette Kolokoff 9

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From the Music Director...

Greetings!

Thank you for joining us for the beginning of the next 50 years of the Midland-Odessa Symphony and Chorale! I have never been more excited about a season than I am about this one. We hope you will subscribe and join us for each incredible program we have planned for you. Our Masterworks series will kickoff with Grammy-award winning guitarist William Kanengiser performing the enchanting Concierto de Aranjuez by Spanish composer Joaquín Rodrigo, followed by the compelling and tuneful Symphony No. 2 by Rachmaninoff. Odessa’s own David Jackson, one of the foremost trombonists in the world, will return to the Permian Basin to thrill us with Angel of Dreamers, a work written for him and baritone Daniel Washington by American composer Eric Ewazen. This program will feature works by American composers, not only those more familiar to us like Copland and Bernstein, but living composers at the forefront of classical music today like Jennifer Higdon and Eric Ewazen. We are most pleased to again collaborate with the Chorale in presenting the stunning Carmina Burana, likely the most performed work from the 20th century. World-class soloists, the Chorale and the orchestra will join forces to present the greatest spectacle in classical music. Our Masterworks series comes to a close with a celebration of our youth in music. Local high school musicians will join the Midland-Odessa Symphony Orchestra to present Mussorgsky’s chilling Night on Bald Mountain. The most recent winner of our National Young Artist Competition, 13-year-old sensation Victoria Young, will thrill you with her performance of Beethoven’s Piano Concerto No. 3. The series finale will close with the magnificent Organ Symphony of Saint-Saëns.

Our Pops and Family Series is equally fabulous and has something for everyone. We start with Rock and Roll and the always entertaining group, Flash Cadillac. December brings our annual tradition, the Holiday Spectacular. In addition to the orchestra, Chorale, Youth Choir, and outstanding chamber ensembles within the orchestra, we are pleased to feature Broadway singer Tamra Hayden. America’s favorite cowboys Riders in the Sky, featuring the finest in western music, visit in March. What better way to bring this outstanding season to a close than with Disney in Concert, presenting the magical music from many of your best-loved Disney movies I hope you will subscribe to join us for this very special season as we begin the next 50 years of the MOSC changing lives in the Permian Basin through great music. We’ll see you at the Wagner Noël!

Best wishes,

Gary Lewis Music Director and Conductor, Midland-Odessa Symphony Orchestra 10

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GARY LEWIS MUSIC DIRECTOR & CONDUCTOR Gary Lewis is the Music Director and Conductor of the Midland-Odessa (TX) Symphony Orchestra. He is also the Director of Orchestras and Professor of Music in the College of Music at the University of Colorado at Boulder. At Colorado Mr. Lewis conducts the University Symphony Orchestra and oversees the entire orchestra program.

He also leads the graduate program in orchestral conducting, including both the masters and doctoral level.

Lewis has served on the faculties of Texas Tech University, The Ohio State University, The University of Michigan, and Abilene Christian University. He received the Master of Music degree in conducting from Texas Tech University and the Bachelor of Music Education degree from The University of Oklahoma. His post-graduate work includes participation in the Pierre Monteux School for Orchestral Conductors and the Tanglewood Conducting Seminar.

Mr. Lewis is equally at home with professional, university, and youth ensembles. In addition to his regular posts with the Midland-Odessa Symphony Orchestra, the University of Colorado, and the Greater Boulder Youth Orchestras, he regularly conducts productions for Ballet Lubbock and has also appeared with the Boulder Philharmonic, the Colorado Music Festival, the Lubbock Symphony Orchestra, the Quad Cities Symphony Orchestra, the New Symphony Orchestra (Sofia, Bulgaria), and the Western Plains Opera Theater. Lewis served as the Resident Conductor of the Pine Mountain Music Festival (opera and symphonic) for seven years and was the founding conductor of the Caprock Pro Musica.

As a strong advocate of music education, Mr. Lewis has presented many in-service workshops for public school educators, as well as numerous presentations at state and regional music education association conferences. In addition, he has conducted All-State Orchestras in Texas, Ohio, Illinois, Florida, Tennessee, Kentucky, New Jersey, Michigan, Oklahoma, New Mexico, Nevada, Wyoming, Rhode Island, Delaware, the Honor Orchestra of America and, during the next two years, the Minnesota All-State and the American String Teachers Association National High School Honor Orchestra. In 2010 Mr. Lewis played an important role in the creation of the Greater Boulder Youth Orchestras and continues to serve as the founding Artistic Director of the organization and conductor of the Symphony Orchestra.

MIDLAND-ODESSA SYMPHONY ORCHESTRA

Shining Bright In West Texas

Concerts – Shows – Rental Facilities Experience It!

Halfway between Midland and Odessa off I-20 1310 N. FM 1788, Midland, Texas 79707 www.wagnernoel.com WagnerNoel

@wagnernoel_pac

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THE MISSION OF THE MIDLAND-ODESSA SYMPHONY & CHORALE IS TO ENHANCE THE QUALITY OF LIFE IN THE PERMIAN BASIN BY PROVIDING OUTSTANDING SYMPHONIC, CHORAL AND CHAMBER MUSIC PERFORMANCES AND MUSIC EDUCATION PROGRAMS.

Enriching Lives Through Music Play your part with the MOSC by contributing to the Annual Fund, or help insure the future for the next 50 years by a contribution to the MOSC Endowment Fund.

Contact the Development office at development@mosc.org or 563-0921 for details.

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2013-2014 BOARD OF DIRECTORS & STAFF OFFICERS Sue Solari, President LaDoyce Lambert, Executive Vice President Scott Long, Immediate Past President Jacqui Gore, Vice President, Marketing Maridell Fryar, Vice President, Fundraising Brad Bullock, Vice President, Finance Carol Chandler, Secretary Beverly Alstrin, Vice President, Sponsorships

DIRECTORS Gloria Abalos Malia Albin Penny Angelo Sheilagh Bassett Rebecca Bell Kay Bivens Cindy Bobo Dale Brown Karmen Bryant Kathleen Cornwell Barbara Davis Nash Dowdle

Barbara Faubion Bill Feuer Linda George Judy Gladden Melissa Graham Charlie Grimes Joanna Hadjicostandi-Anang Janet Hughes Sharon Humphreys Thomas A. Hyde Abigail Kauffman

Stephanie Latimer Daniel Loudenback Chris Newman Ann Parish Janet Pollard Jay Reynolds Floyd Rountree Deb Shaw Ty Sutton Dawnna Talley Mike Willson

HONORARY MEMBERS Mrs. Leland Croft (dec’d) Mrs. James A. Fowler (dec’d) Mr. Don Williams (dec’d) Mr. Josh H. Parr (dec’d) Mrs. Ellen Noël (dec’d)

Mrs. Lois Rochester Ms. Mary Harrington (dec’d) Mr. Don Williams (dec’d) Mr. Fred Stout Jr. (dec’d)

M O S C S TA F F Gary Lewis, Music Director & Conductor Jeannette Kolokoff, Executive Director Violet Singh, Development Director Rino Irving, Operations Manager Holly Clinton, Marketing Coordinator

Scott Millichamp, Personnel Manager Deanna Russell, Office Administrator Gregory Pysh, Chorale Conductor Emily Baker, Voices of the Permian Basin Director

F R A N K A . B E L L AWA R D S For contributions and/or services that have significantly advanced the mission of the Midland-Odessa Symphony & Chorale, Inc. Frank A. Bell - May 21, 1997 The Beal Family - May 19, 1999 Robert E. Hunt - August 31, 2000 Mary Harrington - May 16, 2001

Ted Hale - April 14, 2007 Grace Osadchuk - October 13, 2007 Scott W. Long - May 18, 2013

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THE MUSICIANS OF THE MIDLAND-ODESSA SYMPHONY & CHORALE

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bout the MOSC Musicians The musicians of the Midland-Odessa Symphony & Chorale are active throughout the Permian Basin. They teach music in our community and perform in schools, churches and at special events. If you are enjoying live music with quality instrumentalists or vocalists in the Permian Basin, the chances are high they are a member of the MOSC. The MOSC supports three resident instrumental ensembles, a chorale and a youth choir. The instrumental ensembles of the MOSC perform with the symphony as our principal musicians. Their ensembles services with the MOSC also include in-school performances for MISD and ECISD elementary students, two annual recitals for each ensemble, lunch time concerts at ClayDesta as well as performances at MOSC events. Sing with the MOSC To audition for the Symphony Chorale or Voices of the Permian Basin please call the MOSC at 563-0921.

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ENSEMBLES FOR PROGRAM LONE STAR BRASS Mike Santorelli, trumpet Eric Baker, trumpet Scott Millichamp, horn Ben Walsh, trombone Kevin Young, tuba The Lone Star Brass presents concerts that display the consummate technical skill of each performer and the expertise involved in working together as an ensemble. From New York to New Mexico, this seasoned ensemble offers programs of classical music, jazz, original works and even opera - complete with wigs and costumes. They perform to have fun, and it rubs off on their audiences at each and every concert. Don’t miss the annual Lone Star Christmas Concert!

WEST TEXAS WINDS Melissa Graham, flute Caryn Crutchfield, oboe Chris Chance, clarinet Luis de la Garza III, bassoon Sonja Kassal, horn In May of 2002, the West Texas Winds gained national recognition when they advanced to the semi-finals of The Fischoff National Chamber Music Competition in South Bend, Indiana. As the resident woodwind quintet of the Midland-Odessa Symphony & Chorale, the West Texas Winds are busy bringing quality chamber music to audiences young and old alike. From avant-garde to timeless classics, a West Texas Winds performance is like no other.

PERMIAN BASIN STRING QUARTET

John Madura, violin ~ Heather Davis, violin Melissa Madura, viola ~ Amy Huzjak, cello

The Permian Basin String Quartet is the resident string quartet of the MOSC, and is comprised of the principal string players of the orchestra. The quartet members have developed a loyal audience and a reputation as a leading ensemble in the Permian Basin.

For information regarding instrumental teachers or to hire an ensemble, please call the MOSC at 563-0921 15

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S P O N S O R S We would like to thank our 2013-2014 Sponsors

MASTERWORKS SERIES SPONSOR David Austin Stephens

POPS & FAMILY SERIES SPONSOR

Lissa Noël Wagner with Francis and Jack Brown

CONCERT SPONSORS PLATINUM ($10,000) S. Javaid & Vicky Anwar Doubletree by Hilton First Capital Bank of Texas GOLD ($5,000) Community National Bank Concho Resources The Dunn Family Lithia All American Auto Group MOSC Board of Directors Odessa American Reliance Energy, Inc. Shamrock Steel Sales Sivalls, Inc. Claire & Jim Woodcock SILVER ($3,500) Carol & Tom Chandler Cotton, Bledsoe, Tighe & Dawson P.C. Flexbar, Inc. SM Energy BRONZE ($2,500) Betenbough Homes Michele Cox with Smith Barney Martha & Paul Crump Discovery Operating, Inc. Gladden Insurance Agency State Farm Ann & Ken Hankins, Jr.

BRONZE (continued) Dr. Jim & Sharon Humphreys Midland Symphony Guild My Community Federal Credit Union Odessa Symphony Guild TCO Field Services, Inc. United Rentals Western National Bank CHAMBER ($500) Mr. & Mrs. Ernest Angelo Anonymous Kay Bivens – Legacy Real Estate Dee & Susan Carter Cathy Michalka Figert Maridell Fryar HNB Mortgage Dr. Thomas A. & Anne Hyde Dr. Ron & Pat Paxton Larson Chris & Fred Newman Steve & Debbie Pruett Shafer, Davis, O’Leary & Stoker Shamrock Steel Sales Sue Wikelski Claire & Jim Woodcock EDUCATIONAL SPONSORS Barbara Faubion Cathy Michalka Figert Jeannette and Mark Kolokoff

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MOSC 2013-2014 ORCHESTRA VIOLIN John Madura, Concertmaster Dorothy Croft Chair Endowed by the Midland Symphony Guild Heather Davis, Principal Second Violin Kevin Crutchfield Maria Demus Nikesha Hopes Trisha Faubion Laurel Lawshae Karen McAfee Robert Meinecke Lucy Proctor Abi Rhoades Jason Snider Martha Stone Molly Turner Greg Zychowski VIOLA Melissa Madura, Principal Laura Stout, Associate Principal Brett Berridge Mariia Bogodist Beau Garza Kathy Hohstadt Jan Mayfield

CELLO Amy Huzjak, Principal Endowed in memory of Walter Osadchuk by Dr. and Mrs. Michael Miller Danny Mar David Thomas Marshall Lowe Aurelia Rocha BASS Bill DeLavan, Principal Bill Zauner Endowed in memory of Mary June Rasmussen by Mr. Kenneth Anderson and Dr. Anne Acreman, MD Robert Pierot FLUTE Melissa Graham, Principal Kathryn Martin Jennifer Chen OBOE Caryn Crutchfield, Principal Robert Krause

CLARINET Chris Chance, Principal Sarah Demy Amanda Gragg BASSOON Luis de la Garza, III, Principal Bill Harden HORN Sonja Kassal, Co-Principal Scott Millichamp, Co-Principal Norma Binam Susan Green TRUMPET Michael Santorelli, Co-Principal Eric Baker, Co-Principal John Irish

BASS TROMBONE Jon James TUBA Kevin Young, Principal TIMPANI Tim Mabrey, Acting Principal ( 1-year position) PERCUSSION Erin Martysz, Principal Nathaniel Collins ( 1-year position) Keith Lloyd HARP Ricky Rasura, Principal PIANO Shari Santorelli, Principal

TROMBONE Ben Walsh, Principal Darin Cash

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Midland-Odessa Symphony & Chorale Gary Lewis, Music Director & Conductor Presents

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A R M I N A

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Bjorn Arvidsson, tenor

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U R A N A

A S T E R W O R K S

Jennifer Bird-Arvidsson, soprano

III

Gerald Dolter, baritone

MOSC Symphony Chorale Midland College Chaparral Singers Odessa College Choir UTPB University Choir January 18, 2014 7:30 p.m.

Wa g n e r N o ĂŤ l P e r f o r m i n g A r t s C e n t e r Masterworks Series Sponsored by David Austin Stephens This Concert Proudly Sponsored by Martha and Paul Crump A n n & Ke n H a n k i n s , J r.

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P R O G R A M

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U R A N A

January 18, 2014 7:30 p.m.

Wagner Noël Performing Arts Center Gary Lewis, Conductor Jennifer Bird-Arvidsson, soprano/Bjorn Arvidsson, tenor/ Gerald Dolter, baritone MOSC Symphony Chorale, Gregory M. Pysh, director Midland College Chap Singers, Bert Bostic, director Odessa College Choir, David Cormen, director UTPB University Choir, Cory Alexander, director Symphony No. 8 in B Minor, D. 759 “Unfinished” Franz Schubert (1797 – 1828) Allegro moderato Andante con moto

~INTERMISSION ~ CARMINA BURANA Carl Orff (1895 – 1982) Fortuna Imperatrix Mundi (Fortune, Empress of the World) 1. O Fortuna (chorus) 2. Fortune PlangoVulnera (chorus) I. ImFrühling (in the Spring) 3. Verisletafacies (small chorus) 4. Omnia Sol temperat (baritone) 5. Ecce gratum (chorus) Ufdem anger (in the Meadow) 6. Tanz (orchestra) 7. Floret silva (chorus) 8. Chramer, gip die varwemir (soprano and small chorus) 9. Reie a. Swazhie gat umbe (chorus) 23

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(continued)

b. Chume, chum, geselle min (small chorus) c. Swazhie gat umbe(chorus) 10. Were diuwerltalle min (chorus) II. InTaberna (in the Tavern) 11. Estuansinterius (baritone) 12. Olim lacus colueram (tenor and male chorus) 13. Ego sum abbas (baritone and male chorus) 14. Intabernaquandosumus (male chorus) III. Courd’amours (Court of Love) 15. Amor volatundique (soprano and chorus) 16. Dies, noxetOmnia (baritone) 17. Stetitpuella (soprano) 18. Circa mea pectora (baritone and chorus) 19. Si puer cum puellula (male chorus) 20. Veni, veni, venias (chorus) 21. Intrutina (soprano) 22. Tempus estiocundum (soprano, baritone, chorus) 23. Dulcissime (soprano) Blanzifloret Helena (Blanchefleur and Helen) 24. Ave formosissima (chorus) Fortuna Imperatrix Mundi (Fortune, Empress of the World) 25. O Fortuna (chorus)

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A R T I S T S

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jörnArvidsson, tenor is an established opera and concert singer who is known for his versatility, his dramatic ability and flawless use of language. This commitment has led to engagements in some of the most renowned cities and halls in Europe and the United States.

He has sung at Welsh National Opera in Cardiff, the Festival dʼAix en-Provence and productions at the Theatre de Rouen and Caen in France, Opera Zuid in Maastricht, Holland, the Wexford Festival, the theatres in Dortmund, Erfurt, Dessau and Saarbrücken in Germany, the Concertgebouw in Amsterdam, and La Fenice in Venice. He has performed in over 60 operas, operettas and oratorios, highlights of which include such leading tenor roles as Turiddu, Tamino and Ferrando, Hoffmann, Don José,the tenor solo in MahlerʼsDas Lied von der Erde, Rodolfo and Pinkerton, the Evangelist in the Passions of St. John and St. Matthew, Nemorino and Edgardo, Eisenstein, Alfredo, Duca and Macduff, but also character roles such as Mime in Das Rheingold and the Fool in Wozzeck. In 1998 He worked with BBC Wales and Welsh National Opera on a Television adaptation of the opera production LʼIncoronazione di Poppea, which was sold to many countries all over the world. Engagements last year included: “Ceremony After A Fire Raid” by Daniel Kellogg at CU Boulder, Bachʼs Mass in b minor in Denver and Boulder, and Verdiʼs Requiem Mass in Sacramento, CA, a recording of which is available on iTunes and Amazon. In addition to singing Dr. Cajus in the CU Opera Spring production of VerdiʼsFalstaff, Bjorn will be returning to Germany in 2013 to sing the Verdi Requiem with his wife, Jennifer Bird-Arvidsson.

As a perfect example of “the modern opera singer” Bjorn Arvidsson continues to thrill audiences in opera houses and concert halls everywhere.

Sponsorships are essential to the quality production of each MOSC concert.

Opportunities are still available for this exciting season.

Platinum $10,000 Gold $5,000 Silver $3,500 Bronze $2,500 Chamber $500 You can also support our choirs and ensembles by becoming A FRIEND of your ensemble of choice for only $25.00. Call the MOSC at 563-0921.

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A R T I S T S

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ennifer Bird-Arvidsson, soprano enjoys a busy and varied singing career in the US and Europe, having built a reputation as a charismatic, intelligent and versatile performer of more than 50 roles in opera, operetta and musical theater, as well as much of the standard oratorio and concert literature.

As the recipient of a Rotary International Ambassadorial Scholarship, Jennifer studied in Germany in the Opernklasse of the Hamburg Musikhochschule, where she joined the vocal studio of renowned soprano Judith Beckmann. Soon thereafter she began singing at the Landestheater Coburg and then at the Bremer Theater where she became a pillar of the soloist ensemble, singing major roles in the lyric and lyriccoloratura soprano repertory and, in Coburg, twice earning the Audience Favorite Prize. Engagements followed at the Vienna Volksoper, Nationaltheater Mannheim, TheaterBonn, Theater Chemnitz, Theater Lübeck, Theater Würzburg and Theater Hagen, among others. Highlights have included the title roles in Lulu and Lucia di Lammermoor, Ann Trulove in The Rake’s Progress, Pamina in Die Zauberflöte, Sophie in Der Rosenkavalier, Marguerite in Faust, Blanche in A Streetcar Named Desire, Nedda in I Pagliacci, Gilda in Rigoletto, Violetta in La traviata, Euridice in Orphée aux Enfersand Konstanze in Die EntführungausdemSerailamong many others. Much in demand as a recitalist and concert singer, Jennifer has been the soprano soloist in The Messiah with the Berlin Symphony Orchestra, in Dvo!ák’sStabat Mater with the Bremer Philharmonic and in a Veteran’s Day concert with the US Army Band at Carnegie Hall. In 2008 Jennifer was invited to Brussels to perform with members of the Ictus Ensemble in honor of the 200th anniversary of Ricordi Publishing. She has been the featured soloist in gala concerts with the Stuttgart Philharmonic at the Stuttgart Konzerthalle and in Luxembourg with the Orchestra of the Warsaw TeatrWielki. In 2010 she made her Lincoln Center, Alice Tully Hall debut in Orff ’s Carmina Burana with the Riverside Choral Society. In 2012 Jennifer was the soprano soloist in the world premiere performances of Frank Ticheli’sSongs of Love and Life with conductor Allan McMurray. In 2013 Jennifer will add two new pillars of concert repertoire to her list, singing the soprano solos in Beethoven’s ninth symphony with the Midland-Odessa Symphony in January and Verdi’s Requiem in Germany in October. Jennifer has been a prizewinner in several international competitions, including First Prizes in both the Sylvia Geszty Competition and the Robert Stolz Competition and 3rd Prize in the Alexander Girardi Competition, where she also received a special award for exceptional dramatic ability. Jennifer has worked with noted artists such as Lawrence Renes, Martin Katz, Barrie Kosky, Helmut Baumann, Florian Ludwig, Stefan Klingele, Phillip Himmelmann, Joshua Major, Gustav Meier, Andrej Woron, JJ Penna, Antoine Palloc, Bruno Berger-Gorski, Andrej Woron, Rosamund Gilmore, Ronald Land, DetlefAltenbeck and AloisSeidlmeier.

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A R T I S T S

Gerald Dolter, baritone has established himself in

opera houses and concert halls both in the United States and Europe. Opern Welt magazine has described his performances as “radiant,” by the Frankfurter Rundschauas “powerful baritonal presence,” and by England’s Opera magazine as “electrifying.”

His operatic credits include appearances with the Pittsburgh, New Jersey State, Tulsa, St. Louis, Cincinnati, and Arizona opera companies, as well as the opera companies of Frankfurt, Mannheim, Hamburg, Karlsruhe, Düsseldorf, Gelsenkirchen, Krefeld, and Montpellier. From 1985 – 1991, Dolter was the leading baritone with Germany’s Bremen Opera. His repertoire there included such diverse characterizations as Germont in La Traviata, Escamillo in Carmen, and Nick Shadow in The Rake’s Progress. His operatic repertoire includes more than 85 characterizations.

Dolter joined the voice faculty at the Texas Tech School of Music in the fall of 1995. He became the Director of TTU Music Theatre in 1998. He has sought to program a wide variety of works to benefit students and the public interest. Johann Strauss’ operetta Die Fledermaus, Mozart’s Don Giovanni, Nicolai’s The Merry Wives of Windsor, a world premiere music drama, Bellini’s War, by Steven Paxton and Verdi’s La Traviata are a sampling. He has also built a reputation for staging works in unusual locations. His production of Stephen Sondheim’s Into The Woods, staged in a local Lubbock hotel atrium, represented a drastic departure for normal theatrical venues, in which he made use of the natural trees, brooks, pools, and shrubs to enhance the required stage settings. Last spring he directed a new production of Mozart’s Cosi Fan Tutte for Texas Tech Music Theatre, which toured to the National Theatre of Honduras. His upcoming directing activities will include new productions of Iolanthe for TTU Music Theatre and Les Miserables for the City of Lubbock.

Gerald Dolter was a National Winner in the Metropolitan Opera Auditions in 1984. He is now a frequent adjudicator for that competition at both the district and regional levels.

Gerald Dolter’s latest venture has been the creation of a musical theatre production company, Lubbock Moonlight Musicals. Since its inception in summer of 2006, the company has produced many, grand-scale musicals in the outdoor setting of Lubbock’s Wells Fargo Amphitheatre. High school and college students have benefited from this new company. In addition to valuable, professional stage experience, these students are paid stipends as administrators, stage performers, pit musicians and stage technicians. As a result of the company’s success, a new dinner-theatre series, Moonlight Dinner Theatre, has spun off from summer operations. In addition, tour performances of LMM musicals have been given throughout Texas and New Mexico.

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CARMINA BURANA Symphony No. 8 in B Minor, D. 759 “Unfinished” Franz Schubert (1797 – 1828) Schubert was an extremely prolific composer within his 31 years; a feat particularly astounding when one considers how it must have felt to live and work in Vienna right under Beethoven’s shadow. During his short lifespan, he had a small but devoted circle of supporters who called themselves “Schubertians.” The atmosphere created by this intimate group was particularly conducive to genres such as Leider (German songs); Schubert wrote over 600 in his lifetime, sometimes averaging better than a song every two days.His 1815 song Erlkönigwas an instant hit, and the now famous song cycles Winterreiseand Die schöneMüllerin remain examples of Schubert’s best-known works today.

Although these songs are still beloved by modern “Schubertians,” it is unfortunate that they tended to overshadow Schubert’s larger works during his lifetime.

Had he lived into the 1830s, composers such as Schumann and Liszt would have aided his career; they considered his work to be brilliant, and lamented the fact that he was an “undiscovered” composer. One example of the larger genres is the symphony; Schubert wrote seven complete symphonies (his last complete symphony, “The Great” C Major is typically called his Ninth), and left at least five incomplete. The “Unfinished” Symphony No. 8 is an example of the latter category; although it was at one time believed he meant to be revolutionary by presenting a complete symphony with only two movements, the original manuscript shows at least nine fully orchestrated bars of a third movement on the backside of the second. The question of why Schubert never finished this astounding work remains unanswered, though many other theories exist.

Written in the autumn of 1822, the “Unfinished” Symphony represents a particularly important time in Schubert’s life. His young Classical compositional style had long since given way to more Romantic language, and he was desperately seeking a new path for the symphony. Paralyzed as he was by Beethoven’s domineering shadow, coupled with the fact that he had contracted syphilis (the disease that would ultimately kill him), Schubert suffered from self-doubt and depression.

In a letter dated January of 1823, Schubert clearly stated that he believed he did not possess any orchestral works which he could “send with a clear conscience” into the world, especially in the midst of the Vienna music scene where “so many pieces of great masters” were present, such as Beethoven’s Overtures from “Prometheus, Egmont, Coriolan, etc. etc. etc.”.

Thankfully, his “Unfinished” Symphony survived. This gift is a real stroke of luck when considering both Schubert’s insecurity and the fate of the physical manuscript: upon deciding to abandon this work, Schubert gave the manuscript to his friend Josef Hüttenbrenner, who at some point gave it to his brother, Anslem, who then proceeded to shove the manuscript in a drawer. Another Schubert manuscript (music for Goethe’s Claudine von Villa Bella) was similarly treated, and was eventually used as kindling by a servant around 1848. Consequently, the “Unfinished” Symphony was not performed until 1865.

The first movement, marked Allegro moderato, serves as an excellent example of Schubert’s mastery of melody. This notable aspect stands in stark contrast to Beethoven’s tendency to construct his symphonic movements utilizing short melodic or rhythmic gestures (think of the compelling four-note motive of Beethoven’s 5th). While Beethoven unfolds his music from these short gestures, Schubert begins with “full-fledged melodic statements that unfold like songs.”

Schubert does utilize harmonic drama as well; it is claimed that one particular moment in the development “uncannily anticipates” Wagner’s Tristan und Isolde.

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Other musicologists claim that with this symphony, along with his “Great” Symphony No. 9, Schubert laid the seeds that would later blossom for Anton Bruckner and Gustav Mahler.

The movement opens with a sad song sung by the cellos and basses before giving way to the rhythmic shimmer of the violins. The lyrical principal theme is then voiced by the oboe and clarinet, eventually leading to the happier second theme played by the cellos. However, the happiness of this waltz is tainted with heart wrenching pathos, and the battle between the mere hope of happiness and the darkness of anguish ensues.

The second movement, entering so sweetly in E major after the end of the first’s emphatic B minor anguish, seems so fragile and tender that a whisper might destroy it. Schubert builds this sweetness to majestic heights before hinting – through a soaring clarinet line – that the happiness may not last. Again, a battle between stark emotions rages, driving listeners between fragile happiness and intense suffering, both filled by lyricism and ferocious punctuations. Finally, the battle gives way to sublime tranquility, a type of sweetness earned only after waging such a war.

Regardless of why Schubert left this work unfinished, the two movements are emotionally satisfying and structurally complete by themselves. Further, the work’s brilliance provides a window into the mindset of Schubert in the midst of his depression. While writing this work, Schubert once wrote: My peace is gone, my heart is sore, I shall find it never and nevermore. I may well sing this every day now, for each night, on retiring to bed, I hope I may not wake again, and each morning but recalls yesterday’s grief.”

Carmina Burana Carl Orff (1895 – 1982) At a time when the divide between “Classical” music and the general public was widening, when convention and tradition were suddenly the very things to avoid, composers across the Western world were reacting in various ways. For instance, Arnold Schoenberg (founder of the Second Viennese School) sought out new pathways to transcend motivic and tonality boundaries, and developed his serial twelve-tone technique in the 1920s. Although Schoenberg is still revered for his

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avant-garde contributions to the music world, some composers felt that a return to simplicity was a better path. Carl Orff fell into this latter category, seeking simpler, more direct expression via a musical idiom “musical idiom that would serve as a means of drawing listeners away from their daily experiences and closer to the realization of oneness with the universe” (Dr. Richard E. Rodda). What better way to do this than to turn to ideas and concepts that have stood the test of time?

Carl Orff was commonly regarded as a conservative (especially when considering the contemporary avant-garde movements), but he was amazingly radical in his drastic, simple style. Orff utilized elements such as folksong, 19th century popular song, and accessible aspects of Baroque, Renaissance, and medieval music; the text and music of Carmina Burana (meaning “Songs of Beuren” in Latin) serves as an excellent example of this trait.

The text is based on a collection of poems from the 13th century (dated 1280), discovered in a monastery of Benediktbeurenin 1803. The original manuscript contained over 200 entries in at least three different languages; Latin secular poetry (including some from the 12th century), Latin sacred lyrics, German poems, a satirical ‘Gamblers’ Mass’, and liturgical plays. In addition, many of the poems contained music in unheightedneumes – a notational style that is relatively rare at so late a date, and does not provide much insight in terms of actual pitch. Consequently, though Orff obviously allowed Gregorian chant to influence his writing at times, he did not utilize any of the accompanying melodies found in the original manuscript.

Carmina Burana was written in 1935 to 1936 and premiered as a staged production at the Frankfurt Opera House on June 8, 1937. Orff was so pleased with the initial reception that he consequently claimed it as his “opus 1” in a letter to his publisher: “you can now delete all that I have written before and that you have unfortunately published. With the Carmina Burana my ‘collected works’ begin.”

For Orff, this was the beginning of a clear new path: “music in its purest and most elemental form – rhythm, melody, and vocal-instrumental color – that is, music that bypasses the brain and goes straight to the emotions” (Janet E. Bedell).

Orff ’s new path has proven to withstand the test of time; the popularity of Carmina Burana still today can hardly be disputed. It is claimed that Classical music lovers rate Carmina Burana as high as Beethoven’s 5th on lists of perennial “must haves.” In modern popular culture, Carmina can be foundwithin realms spanning from car and aftershave commercials to adaptations and quotations within the rap music of Puff Daddy, the electronica of SUB, and the death metal music of Therion.

Technically classified as a scenic cantata (with optional mimed action), Carmina Burana is comprised of 25 movements divided into three main sections: nature, the tavern, and love. The entire work is framed by the now famous “O Fortuna” chorus, sung in praise of Fortune, the goddess of both ill and good fortune. Although Orff originally conceived this massive work for the stage, it is more commonly encountered in the concert hall than an opera house.

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The well-known spectacular opening of “O Fortuna” sends the listeners into Orff ’s sound world with the abruptness akin to getting doused with freezing water. Immediately, the intensity carries us into a different realm – one that is familiar yet entrancing, simple yet drastic. The first section, depicting nature, begins with an awakening of spring. Orff ’s sound world is now filled with both Gregorian chant and moments of Asian flavors. The simplicity of the unison melody in the chorus seems to gently coax Mother Earth into an awakened state, eventually giving way to the baritone solo praising the awe-inspiring and overwhelming power of love. Now fully awake, a series of dances and songs ensue.

In the second section, entitled “In Taberna” (in the tavern), a series of parodies displays a truly theatrical element to this work. Through a succession of solos and chorus movements, a vivid description of the earthly happenings in the tavern unfolds while the continuity of exaggerated pathos alludes to the effects of drinking.

Whether it is the baritone’s operatic rant in “Estuansinterius” or the tenor soloist in “Olimlacus colueram” (sung from the perspective of a swan – while roasting on a spit), the text is both celebrating and denouncing the common happenings in the tavern.

The final section depicts the starkly contrasted concept of courtly love, as well as the (less refined) yearning for the unattainable. The subject matter is not without earthly desire, as is evident in the soprano’s coquettish song. The section ends with the emphatically exultant “Blanziflor et Helena,” leading full circle (or “full wheel”) back to “O Fortuna.”

Through the entire work, the text and music alike brings a sense of familiarity; these primeval forces resonate through time. The topics of nature, enjoyment of earthly pleasures, and the intoxicating effects of love certainly transcend any particular era or country. Orff expresses these eloquent forces with simplicity, utilizing melodies devoid of polyphony in order to send a clear message, and rhythmic drive that seems at times akin to a human heartbeat. Much like the human voice, sung throughout time, Orff ’s clear simplicity resonates on a universal level.

– Program Notes written by Melissa Graham

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THE CHOIRS

MOSC S YMPHONY C HORALE C HOIR Gregory M. Pysh, Conductor Shari Santorelli, Accompanist SOPRANO Carmina Aquilar Alice Beckstrom Jessica Birt Cathy Bonifay Victoria Kottman-Eckman MeriLee Eidson Connie Ford Lana Habash Linda Hagler Lauryl Hoose Cami Hodges Brittany Honesto Sharon Humphreys Sandra Huston Amber Jennings Christine Lopez Jessica Santorelli Massey Joyce McKelvey Tricia Moffa Claire Noyes Melissa Orta Lindsey Peña Maria Peña Kathy Pysh Lori Repman Carole Symonette Carrol Unger Karen Weidmann

ALTO Doris Anderson Amanda Arguello Sebrena Arguello Cindy Barkley April Barlow Lisa Bristow Debbie Butler Lynne Chandler Virginia DeBerry Elaine Dickman Heidi Dorey Melody Drinkard Lauren Eaton Clarissa Funk Vera Howell Mary Alice Hubbart Sunny Kim Berniece Johnson Megan Loney Connie May Dawn Miller Rosamund Obregon Cathy O’Reilly Sandy Patrick Hannah Payken Jennifer Ramsey Dana Roepke Trinia Rowland Anna Sartin Kay Szencsi Elizabeth Syed Miranda Ward

TENOR Kent Alexander Dee Carter Steve Clarke Nash Dowdle Garrett Eidson Leslie Harman Dale Jenkins Mike Kahler Scott Long Glen Olsen Scooter Tilley BASS Drew Anderson Brad Cockrell JoJo Caparas Gene Collins Don McLarey Don Miller Rolando Orta Craig Payken Garth Powell Lyle Roberts Ed Rowland Ron Whitaker Bryan Wilson

The Hemingway Fine Cigars • Pipes • Tobacco • Accessories • Premium Wines Imported and Domestic Beer • Live Entertainment Tue- Sat 2200 W. Wadley #2 Midland, TX 79705 Ph 432-570-5333 Cigar/Wine Bar

Melissa Young Owner thehemingwayofmidland.com

3952 E. 42nd St. Ste. O Odessa, TX 79762 Ph 432-550-5511 Retail Only 35

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THE CHOIRS

T HE M IDLAND C OLLEGE C HAPARRAL S INGERS B ERT B OSTIC , D IRECTOR Soprano Virginia Anderson Ashley Hearn Raya Struck

Alto Brenda Aguirre Toni Burandt Tenor Jonathon Dees Wallace McNary Matt Scott

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Bass John Green Wynton McNary Andrew Moorhead

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THE CHOIRS

T HE O DESSA C OLLEGE C HOIR DAVID C ORMAN , D IRECTOR Soprano Amanda Adams Zoe Alvarado Summer Calderon Kaitlyn Flud Rachel Holder Sandra Lindsey Karen Lopez Kendi Molinar Melissa Orta Whitney Ridley Blake Rogers Breanna Sotelo Lauren Tittel

Alto Breanna Carrasco Mikayla Cleere Kacee Crone Katy Engebretson Veronica Erwin Micaela Grenier Kayla Hambrick Shaquolle Johnson Esperanza Lazcano Emilze Montanez Annette Munoz Azalea Rivas Meghan Stephenson Kelsey Tillery Christine Williamson Kayla Wright

Tenor Billy Baker Nathan Garcia Jeb Harris, Texas King Art King Daniel Ramirez Bass Matthew Braithwaite Chris Brokaw Jacob Corman Daniel Forbess David Forsythe Jino Jordan Jimmy Thompson Schuyler Stallcup Anthony Vickery Alec Williams Garrett Briles

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THE

T HE U NIVERSITY OF T EXAS OF P ERMIAN B ASIN U NIVERSITY C HOIR Cory Alexander, Director

Soprano Allison Bryant Kristen Cross Landi Harding Summer Magill Berkley McAlpine Sarai Sanchez Yadira Uranga Brittney White

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Alto Lorissa Bright Aimee Dutchover Constance Ladd Imperial Lopez Melanie Pogue Larke Tapper Allison Turner

Tenor Jesus Deanda Collie Roland Marc Worden Daniel Guerrero Bass Justin Anderson Josh Bustamante Tristan Davis Zachary Marvin Alex Wetzig

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Midland-Odessa Symphony & Chorale Presents

RIDERS POPS

IN THE SKY & FAMILY III

Saturday, March 1, 2014 7:30 p.m.

Wagner Noël Performing Arts Center Pops & Family Series Sponsored

by Lissa Noël Wagner with Francis and Jack Brown This Concert Proudly Sponsored by Carol & Tom Chandler, Tim & Terri Dunn, Gladden Insurance Agency State Farm,

(Program to be announced from stage.)

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Midland-Odessa Symphony & Chorale Gary Lewis, Music Director & Conductor Presents

CELEBR ATING YOUTH MASTERWORKS IV

Victoria Young, Piano April 12, 2014 7:30 p.m.

Wagner NoĂŤl Performing Arts Center Masterworks Series Sponsored by David Austin Stephens This Concert Proudly Sponsored by

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P R O G R A M

C E L E B R AT I N G YO U T H Saturday, April 12, 2014 7:30 p.m.

Wagner Noël Performing Arts Center Celebrating Youth Gary Lewis, Conductor Victoria Young, piano Night on Bald Mountain Modest Mussorgsky (1839 – 1881) Piano Concerto No. 3 in C Minor, op. 37 Ludwig van Beethoven (1770 – 1827) Allegro con brio Largo Rondo (Allegro – Presto)

~INTERMISSION~ Symphony No. 3 in C Minor, op. 78 “Organ” Camille Saint-Saëns (1835 – 1921) Adagio – Allegro moderato; Poco adagio Allegro moderato – Presto; Maestoso – Allegro

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ictoria Young, piano (National Young Artist Competition Winner) At the tender age of thirteen, Victoria Frances Young has already performed at Steinway Hall, Lincoln Center, and Carnegie Hall. In 2011, she was awarded a $10,000 Jack Kent Cooke Young Artist Award in conjunction with her performance on NPR’s From the Top, which features the nation’s top young musicians.

Victoria made her orchestral debut when she was six with the Nevada Chamber Symphony. She has been featured with the Henderson Symphony Orchestra and the Las Vegas Youth Camerata Orchestra as well. Because of her musical achievements and talent, the mayor of the City of Las Vegas proclaimed June 22, 2011 as “Victoria Frances Young Day”. In its November 2011 issue, the Vegas Seven Magazine selected Victoria as one of the 20 most talented kids under 20 years of age.

In March 2013, Victoria was selected as one of the winners in the 8th J.S. Bach International Piano Competition in Würzburg, Germany. This competition was open to all pianists 36 years old and under. Victoria, who just turned 13, became the youngest and the second American prizewinner in the history of the competition.

Just two months before this competition, Victoria won the grand prize of the 40th Midland-Odessa Symphony National Young Artists Competition playing a Beethoven concerto. Her other past honors include 1st place in the Partitas and Suites category in the Rosalyn Tureck International Bach Piano Competition, Gold Medalist in the AADGT International Young Musicians Festival Competition, and 1st prize in the Stony Brook International Piano Festival Competition, as well as numerous local competitions.

Victoria made her international debut when she was 10, at the Eduardo Brito National Theater of Santo Domingo, Dominican Republic. She received a standing ovation for her mesmerizing performance and obtained an excellent review in the local newspaper, El Nacional, which described her as “a miracle”.

In May 2012, Victoria made her San Francisco debut in the annual Pursuit of Excellence recital at the Community Music Center. The audience and the faculty of CMC were in awe of her. She has been invited to return again in September 2013 to premiere their newly formed program Emerging Young Artists.

In 2012, the CEO of NPR’s From the Top chose Victoria as one of the three musicians to present at the E.G. Conference in Monterey, California, which showcases the world’s top innovators, scientists, and artists. Victoria’s 2012 debut in Spain created a buzz in the media and prompted the media to juxtapose her talents with Mozart’s—which Victoria humbly rejected.

Victoria recently performed a solo recital for the Spanish American Music Council’s concert series in New York City. She has also been selected by Classical Pianists of the Future to perform solo concert in Binghamton, New York, in March 2014.

Victoria is currently studying at the New Music School in Chicago with Mary Sauer, principal pianist of the Chicago Symphony Orchestra and the New Music School piano department chair. The school recently invited Victoria to participate in their highly selective Fellows Program.

Besides her musical talent, Victoria is a happy and kind-hearted child. She volunteers to perform at two senior centers every month. She is passionate about composing and also loves to paint, swim, cycle, write poetry, and have afternoon tea. Every day—in the future—she wishes to stroll in the woods, walk up a hill, visit a museum, enjoy the sunrise and sunset, and most of all, see the world.

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CELEBR ATING YOUTH Night on Bald Mountain Modest Mussorgsky (1839 – 1881) Russian composer Modest Mussorgsky’s life was drastically disjointed, beginning in wealth and ending in poverty and loneliness. Like so many other composers, he left some of his most important compositions unfinished; Mussorgsky [also spelled Musorgsky or Moussorgsky] frequently revisited and meticulously reworked his compositions, sometimes giving up before reaching satisfaction. Although he did have a small amount of formal studies, he was largely self-taught and was known to be highly intellectual, perpetually fascinated with seeking the musical embodiment of human speech: “my music should be an artistic reproduction of human speech in outward manifestation of thoughts and feelings, should without forcing or exaggeration, become music – truthful, accurate, and yet (read: which means) artistic, highly artistic.

There you have the ideal towards which I am striving,” (Mussorgsky, in a letter to Ludmila Shestakova, dated July 30, 1868).

Mussorgsky enrolled in the Cadet School of the Guards at the age of thirteen, following the family tradition in the military. In a strange twist of fate, it was due to this choice that he would eventually serve at a military hospital in St. Petersburg, where he would meet Alexander Borodin (a notable composer, with whom he would later be associated as part of “The Five,” a group of revolutionary Russian composers). Two years later, Mussorgsky decided to resign his commission in order to devote himself to music, though he had already begun his battle with alcoholism; Mussorgsky would later suffer seizures as a reported result of his alcoholism, leading to his demise at the age of 42.

As if in testimony to his disjointed life, some of his most famous works (for instance, Pictures at an Exhibition, Boris Godunov, and Night on Bald Mountain) all have similarly confusing histories. Pictures is an extremely popular piece, though the version most familiar to modern audiences is the orchestral version, orchestrated by Ravel. Boris Godunov is Mussorgsky’s most famous opera, but was partially revised by composers such as Rimsky-Korsakov and Shostakovich. For many years, these “corrections” (to address perceived technical weaknesses) were observed over Mussorgsky’s original intentions (a trend that has happily fallen out of fashion).

First completed in 1867, Night on Bald Mountain is a tone poem inspired by Russian legends, and was originally entitled St. John’s Night on Bald Mountain (or “Bare” Mountain, originally titled in Russian: Ivanova noch′ na Lïsoy gore). Mussorgsky was

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very excited about this “hot and chaotic” piece, feeling particularly proud of its Russian authenticity, believing that it “is, in form and character, Russian and original; and I want to feel sure that it is thoroughly in keeping with historic truth and Russian folk tradition.” Upon taking it to Balakirev (a Russian composer – also a member of “The Five” who had taken Mussorgsky under his wing), he was angered by Balakirev’s demands for a number of changes. Mussorgsky stubbornly refused Balakirev’s demands, instead choosing to await a better opportunity to utilize this music. As the years went by, Mussorgsky tried to find this perfect setting via at least three revisions, including a version with chorus in 1872. After again reworking the piece (particularly the ending), it finally settled into a resting state in 1880. A few short years later, after Mussorgsky’s death, Rimsky-Korsakov revised it yet again. It is this 1886 version that has become the well-known Night on Bald Mountain, especially after its feature in Disney’s Fantasia.

Of the revision process, Rimsky-Korsakov once wrote: “With Mussorgsky's material as a basis, I decided to create an instrumental piece by retaining all of the author's best and coherent material, adding the fewest possible interpolations of my own. It was necessary to create a form in which Mussorgsky's ideas would mold in the best fashion. It was a difficult task, of which the satisfactory solution baffled me for two years […]”

Rimsky-Korsakov left this description for the programmatic content (partially untouched from Mussorgsky’s own hand): Subterranean sounds of unearthly voices. Appearance of the Spirits of Darkness, followed by that of the Chernobog (the “Black God”). Glorification of Chernobog and celebration of the Black Mass. Witches’ Sabbath. At the height of the orgy, the bell of the little village church is heard from afar. The Spirits of Darkness are dispersed. Daybreak.

Piano Concerto No. 3 in C Minor, op. 37 Ludwig van Beethoven (1770 – 1827) Though accounts vary, Beethoven was likely beginning to notice signs of hearing loss by 1796. He did not admit this openly for several more years; it is probable that the onset was insidious enough to deny the signs. In June of 1801, Beethoven wrote a letter to a man named Wegeler in his native Bonn, stating, “I must confess that I am living a miserable life. For almost two years I have ceased to attend any social functions, just because I find it impossible to say to people: I am deaf. If I had any other profession it would be easier, but in my profession it is a terrible handicap. As for my enemies, of whom I have a fair number, what would they say?”

He suffered from the obvious psychological effects of such a “handicap” – it is even documented that he considered suicide at least once in his life. Thankfully, through the support of his loyal friends, and no shortage of self-perseverance, Beethoven continued to work. In fact, the music of this period in his life is sometimes labeled his “heroic” or “middle” period; it would be another 23 years before he wrote his revolutionary Ninth Symphony. (The label “heroic” does not refer to his own personal battles of will, though the connection with such a feat would not go amiss.)

Less than five months after writing his gloomy confessions to Wegeler, he wrote again with somewhat happier thoughts: “You can scarcely believe what an empty, sad life I have had for the last two years. My poor hearing haunted me everywhere like a ghost; and I avoided all human society. I was forced to seem a misanthrope, and yet I am far from being one. This change has been brought about by a dear charming girl who loves me and whom I love … and for the first time I feel that marriage might bring me happiness. Unfortunately she is not of my class.” The woman he is referring 46

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to was likely the Countess Giulietta Guicciardi, only aged 17 at this time; “too young, and perhaps too spoilt, to take Beethoven’s devotion very seriously, though no doubt she was flattered for a time by the attentions of a famous composer,” (Joseph Kerman, et al., Oxford Dictionary).

Such happiness, as well as his intense anguish over the haunting ghost of his hearing were characteristic of his conflicting moods at this time. In the midst of these drastic emotions, Beethoven wrote his Piano Concerto No. 3. The bulk was likely completed in 1800, just in time for a major debut concert in Vienna, but for reasons unknown, he chose to play an earlier concerto instead. This beautiful work would wait three more years before its unveiling.

The premiere finally took place on the 5th of April in 1803, with Beethoven as the soloist, undoubtedly after a modicum of adjustments within the time that had passed.

This concert also featured the premieres of Beethoven’s Second Symphony and the oratorio Christus am Oelberge (Christ on the Mount of Olives), alongside a reprise performance of his First Symphony. A colleague of Beethoven’s, Ignaz von Seyfried, agreed to turn pages for him during the concerto, a job that he soon realized was easier said than done: “I saw almost nothing but empty leaves, at most on one page or another a few Egyptian hieroglyphs wholly unintelligible to me and scribbled down to serve as clues for him. He played nearly all of the solo part from memory, since, as was so often the case, he had not had time to put it all down on paper. He gave me a secret glance whenever he was at the end of one of the invisible passages, and my scarcely concealable anxiety not to miss the decisive moment amused him greatly, and he heartily laughed […].”

The Third Piano Concerto bares a notable Mozartean flavor, though the work as a whole is clearly his own invention; any similarities are claimed to be in respected homage rather than mere imitation. Beethoven had moved to Vienna in 1792, scarcely a year after Mozart’s death (a fact Beethoven undoubtedly lamented, as it was no secret he admired the late master). According to popular anecdote, Beethoven was once taking a walk with pianist Johann Cramer, and upon hearing a movement from a Mozart Concerto from a nearby residence, exclaimed “Cramer! Cramer! We shall never be able to do anything like that!” It is claimed that the concerto he heard that day was none other than Mozart’s Piano Concerto No. 24 in C minor, K.491, the very concerto that may have served as inspiration for Beethoven’s Third Piano Concerto. Listeners who are familiar with this Mozart Concerto may hear similarities, though retrospective beliefs still hold that while Beethoven may have had this music in his ear, he wrote in a manner that compliments rather than imitates, and even respectfully transcends the Mozartean style.

The first movement, marked Allegro con brio, opens with an unusually long orchestral introduction. The pianist finally enters, boldly stating the quintessentially Beethovian theme with heroic declamation after three dramatic scales. These three scales will later signal the beginning of the development section. The second movement, Largo, is in the distant key of E Major. For modern listeners, the distance in tonality may serve as a connection to realize its presaging nature; the languid, rhapsodic character seems more akin to Schumann or Chopin than earlier composers. The middle section of this 47

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movement features a heart-wrenchingly melancholy dialogue between flute and bassoon, while the soloist’s shimmers fill each heartbeat. The final movement is a rondo (Allegro – Presto), and begins with a playful theme in the home key of C minor. This movement seems to reflect both the pathos and love within Beethoven’s current emotional state; the minor mode theme is at times very somber, while others find it dripping with flippantly jaunty character as it sneaks into a major mode. Gradually, the movement gives way to the spirit of comedy.

Symphony No. 3 in C Minor, op. 78 “Organ” Camille Saint-Saëns (1835 – 1921) Camille Saint-Saëns has been hailed as the most astounding child prodigy in the history of music. Much like Mozart, Saint-Saëns began studying, writing, and performing music at an incredibly young age; his first composition was written at the age of three, and by the age of ten, Saint-Saëns was offering audiences the choice of any of Beethoven’s 32 piano sonatas as encores (to be performed from memory). Also like Mozart, Saint-Saëns was versatile and prolific. However, his life extended half of a century longer than Mozart’s, affording him the luxury of time. Within his 86 years, Saint-Saëns also became well versed in astronomy, archaeology, anthropology, and mathematics, gifted as a caricaturist and as a writer of prose.

Although Saint-Saëns contributed to every genre of French music, modern audiences are familiar with scarcely a sliver of his prolific oeuvre. Amongst this sliver, one notable example is his Carnaval des Animaux (Carnival of the Animals), a work which Saint-Saëns never took seriously and even refused to publish, fearing it would detract from his serious reputation; it is believed the original intent was a mere joke, written on holiday in 1886. It is therefore ironic that this work serves as one of the longstanding popular Saint-Saëns works, though perhaps it is so because of the apparent humor and genuine emotion. Most of his more serious works are unfamiliar to modern audiences. It is possible that this is a result of his work seeming “too elegant” – that is, “superficial” in emotion, lacking the turmoil felt in other masters’ works, or the natural emotion found in Carnaval des Animaux.

Few would argue the breathtaking nature and emotional magnitude of his Third Symphony however, which may explain its popularity over the other four symphonies SaintSaëns wrote. His “Third” was actually the last of the five to be completed, and with this, Saint-Saëns felt a valedictory sense of completion within the symphonic genre: “with it I have given all I could give. What I did I could not achieve again.” Commissioned by the Royal Philharmonic Society (the same organization that commissioned Beethoven’s Ninth),

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CELEBR ATING YOUTH

(continued)

this work was greatly inspired by Saint-Saëns’ revered friend Franz Liszt. Saint-Saëns originally intended to dedicate this symphony to Liszt; he was honored by Liszt’s praises of the preliminary sketches. Sadly, Liszt’s death came before the work could be published, mere weeks after its London premiere; Liszt never heard the final product that his friendship so heavily affected. Saint-Saëns instead chose to leave the score with the simple (though emotionally charged) inscription “À la mémoire de Franz Liszt.”

The Third Symphony comes at an interesting time in French history; there are but a few notable major symphonies from the century predating this work. A monumental example of the few is Berlioz’s Symphonie fantastique in 1830; this revolutionary work still stands as one of the most important French pieces of music. From 1830 until the Third Symphony of Saint-Saëns, several entertaining and charming (but otherwise fairly unremarkable) French symphonies dotted the timeline. With this symphony, however, a new and enduring tradition of unquestionably great French symphonies began.

Saint-Saëns conducted both the London premiere in May of 1886 and the French premiere in 1887. For the London premiere, Saint-Saëns wrote: “This Symphony, divided into two parts, nevertheless includes practically the traditional four movements: the first, checked in development, serves as an introduction to the Adagio, and the scherzo is connected after the same manner with the finale. The composer has thus sought to shun in a certain measure the interminable repetitions which are more and more disappearing from instrumental music.”

The Third Symphony’s two parts are unified by one theme, used throughout the work and transformed through skillful manipulation to suit the character of each moment.

This tactic is largely indebted to the compositional wonders of Liszt, though Saint-Saëns displays a uniquely brilliant sense of imagination in his transformations. The work is also splendidly orchestrated on a vast scale, requiring several additions to the traditional orchestra roster of the time; most notably, two sections feature magnificent contributions from the pipe organ, hence the symphony’s nickname.

– Program Notes written by Melissa Graham

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Midland-Odessa Symphony & Chorale Gary Lewis, Music Director & Conductor Presents

D ISNEY IN C ONCERT M AGICAL M USIC FROM THE M OVIES P OPS & FAMILY IV

Saturday, May 3, 2014 7:30 p.m.

Wagner Noël Performing Arts Center Pops & Family Series Sponsored by Lissa Noël Wagner with Francis and Jack Brown This Concert Proudly Sponsored by Michele Cox with Morgan Stanley, Odessa Symphony Guild, Discovery Operating, Inc.

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DISNEY IN CONCERT

Disney in Concert Magical Music from the Movies is produced by Symphony Pops Music Sherilyn Draper – Director and Writer Ted Ricketts – Musical Director Presentation authorized by Disney Concert Library © Disney “Disney Classics Overture” Arranged by Bruce Healey © 1993 Walt Disney Music Co. (ASCAP) & Wonderland Music Co., Inc. (BMI) "Disney's The Little Mermaid Orchestral Suite" Music by Alan Menken Lyrics by Howard Ashman Arranged by A. Menken, R. Merkin T. Pasatieri and T. Ricketts © 1990 Wonderland Music Co., Inc. (BMI) "Colors of the Wind" Music by Alan Menken Lyrics by Stephen Schwartz Arranged by Danny Troob © 1995 Wonderland Music Company, Inc. (BMI) & Walt Disney Music Company (ASCAP)

"Disney's Beauty and the Beast Orchestral Suite" Music by Alan Menken Lyrics by Howard Ashman Arranged by Danny Troob and Franck van der Heijden Edited by Ted Ricketts © 1992 Wonderland Music Co., Inc. (BMI) “I Wan'na Be Like You” Words and Music by Richard M. Sherman and Robert B. Sherman Arranged by Franck van der Heijden © 1966 Wonderland Music Company, Inc. (BMI) "Medley From Disney's Mary Poppins" Words and Music by Richard M. Sherman and Robert B. Sherman Arranged by Bruce Healey and Ken Whitcomb © 1963 Wonderland Music Company, Inc. (BMI)

INTERMISSION "Disney's The Hunchback Of Notre Dame Orchestral Suite" Music by Alan Menken Arranged by Michael Starobin Edited by Ted Ricketts © 1996 Wonderland Music Co., Inc. (BMI) "Disney’s Aladdin Orchestral Suite" Music by Alan Menken Lyrics by Howard Ashman and Tim Rice Arranged by Danny Troob and Bruce Healey © 1992 Wonderland Music Co., Inc. (BMI) & Walt Disney Music Company (ASCAP)

"Disney's The Lion King Orchestral Song Suite" Music by Elton John Lyrics by Tim Rice Score by Hans Zimmer Arranged by Brad Kelley and Ted Ricketts © 1994 Wonderland Music Co., Inc. (BMI) "It's a Small World" Music by Richard M. Sherman & Robert B. Sherman Arranged by Ken Whitcomb © 1963 Wonderland Music Co., Inc. (BMI

“Pirates of the Caribbean Suite” Music by Klaus Badelt Arranged by Ted Ricketts © 2003 Walt Disney Music Company (ASCAP) 51

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2013 - 2014 FUND CONTRIBUTORS The Midland-Odessa Symphony & Chorale is very grateful to the individuals and businesses, which, by their monetary commitment or through other unique forms of support, make possible the continued growth of the Symphony’s many outstanding artists, programs and services.

Listed below are gifts and pledges received for the 2013/2014 season as of December 13, 2013.

DIAMOND BATON SOCIETY ($10,000+) Abell-Hanger Foundation Art Council of Midland Beal Foundation Chevron L. Decker Dawson David Austin Stephens J.C. Ferguson Foundation Henry Foundation Midland Symphony Guild Odessa Symphony Guild Odessa Council for the Arts & Humanities Permian Basin Area Foundation Rea Charitable Trust GOLDEN BATON SOCIETY ($5,000+) Kati Lewis Karen & Spencer Beal George & Kay Smith Golden Baton Society SILVER BATON SOCIETY ($2,500+) Cindy & James Bobo Drs. Roberta & Richard Case Peggy & Bob Cowan Maridell Fryar Ann & Ken Hankins, Jr Scott W. Long Dr. Ed & Suzanne Rathbun Doris P. Redfern Morris & Nancy Rubenstein Max & Rosemary Wright

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2013 - 2014 FUND CONTRIBUTORS FORTISSIMO ($1,000+) Brazos Door & Hardware Exploration Geophysics, Inc. Marshall & Winston, Inc. Standard Sales, LLP Anonymous (2) Bob & Bea Angevine Nancy Anguish John & Cindy Barkley Roger B. Corzine Martha & Paul Crump Mary W. de Compiegne Betty P. Gulledge Joan Headlee Dr. William McIntire Doris & John Mason Beverly Pevehouse Craig & Mary Payken Red & Juandelle Lacy-Roberts Richard & Lura Sivalls Terri & Mark Solari Jont & Anne Tyson Dr. & Mrs. Terry Unruh FORTE ($500+) Chaparral Bolt & Supply Pioneer Natural Resources Mr. & Mrs. Ernest Angelo Betty Rae & Paul Davis Tim & Terri Dunn Elaine Eiland Charles & Starling Edwards Julie Z. Edwards Bill & Susan Feuer Dan & Judia Foreman Bob & Marion Frazier Jeff & Lou Nelle George Linda George Ralph & Sally Green Lee Harley T. Scott & Gladys Hickman Darin & Lisa Holderness Dr. Thomas & Anne Hyde Virginia & Bob Jones Ron & Pat Paxton Larson Sarah & David Lauritzen Stephanie & John Latimer Edwin H. Magruder, Jr. Chris & Fred Newman Elizabeth Prentice Margaret & James Purvis Mr. & Mrs. Jack Rathbone Joyce & Cliff Sherrod Sue Solari Mary Stout Ann & Jimmie Todd Mr. & Mrs. R.C. Waddell Mr. & Mrs. J.B. Whatley Glenn & Pebble Winters

MEZZO FORTE ($250+) Campbell Construction Company Mike & LaNelle Agee Kathy Anderson Barry & Cliffy Beal Frank & Freda Benton Kay & Bob Bivens Baxter & Shirley Breaux Karmen Hendrix Bryant Jack & Barbara Cartwright Betty Dale Barbara Davis Richard D. Gillham David & Sarah Grimes Patty & Tevis Tevis Caroline Ater Howard Janet Hughes Steve and Hilde Kroger LaDoyce & Gloria Lambert Jim & Ann McLaughlin Gene & Becky Needham Shirley & Larry Nichols Zahir & Kerry Noormohamed Wes & Jean Pittman Bob & Ruth Price Jay Reynolds Vicki & Robert Rice Floyd & Kathy Rountree Neva Rousselot Violet & Mark Singh Brenda & Don Smith Mary & Paul Summersgill Charles & Schatzie Tighe James & Debbie Van Stavern Mary Edith Waddell Phyllis White Michael J. Wilson Pool Webb & Jane Wolf CRESCENDO ($125+) Sims & Guess Realtors / Gary Sims Tierra Company / Bill Musar Anonymous (3) Beverly Alstrin Janice N. Archer Mr. & Mrs. Norman Barker Rebecca Bell Harold & Leann Brenner Michele Brock Jan Brockett Mr. & Mrs. Dale Brown Richard & Sherry Buck Brad & Crista Bullock Leon G. Byerley Mrs. Frank Cahoon Pat & Julie Canty Tom & Carol Chandler Juana Christesson John & Doris Cooper

Charlyne Dodge Monsignor Larry Droll Roland & Judy Gladden Jacqui Gore Elizabeth A. Greaves Charles Grimes Joanna Hadjicostandi-Anang Judy Hayes Jacqueline Hendricks Mr. & Mrs. Ron Holcomb Helen Joan Holt Rick & Cindy Lanning Joyce Leach Rod & Patti MacDonald Lynn Mashburn Ann & Gary Moore David & Joan Oesper Mr. & Mrs. Rex Peebles Billie & Lucy Proctor Melissa & Mark Rae Dr. Tulsi D. & Claudette Singh Sandy & George Thomas Ludie & Eben Warner Mr. & Mrs. Richard Werner Shirley West PIANO ($60+) Anonymous (3) Malia Albin Jean C. Allen Julie Andreopulis Kirk & Suzie Boyd Keith & Jane Dial Arlen Edgar Lucilee Grimes Edgar Barbara Faubion Ron & Jan Genter Sam & Rhonda Gray Katherine & Michael Grella Barbara Hartwell Dr. Pamela Howell Margaret Ann Kepple Ted & Sue Kerr Mrs. William J. Lewallen Joan McCown Ms. Sammie Rogers Ray and Carole Stoker Ronald York DONOR (up to $59.99) Anonymous Bassett Construction / Sheilagh & Billy Bassett Sharlis & Denman Andrews William & Sara St. Clair Mr. & Mrs. Paul St.Hilaire Mr. & Mrs. Frank Vitrano

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ENDOWMENT FUND CONTRIBUTORS THE FOUNDERS Mrs. Keleen Beal Millennium Club ($25,000+) Memorials: Walter Osadchuk Dr. & Mrs. Michael S. Miller Mary June Rasmussen Mr. Kenneth Anderson & Anne Acreman, MD Anonymous Davidson Family Charities Estate of Dollie Neal Ballenger Estate of Mary Louise Gilmour William Randolph Hearst Endowment for Music Education Midland Symphony Guild MOSC Board of Directors Harvey & Harriet Herd John & Doris Mason Estate of Alice B. Moxey David Austin Stephens

Beethoven Society ($10,000-$24,999) In Memory of Charles Tracy Sivalls Mrs. C.T. Sivalls In Honor of Ruth McFarland Midland Symphony Guild Estate of Mary Harrington Anonymous (2) Nancy & Buddy Anguish Drs. Terry & Elvira Burns Dr. & Mrs. J. Terry Carpenter Mr. & Mrs. Nance G. Creager Marion E. Luper Jr. Dr. & Mrs. William L. McGavran III Beverly Pevehouse Mr. & Mrs. T.G. Roden Mr. & Mrs. Earl Rodman

Mozart Society ($5,000-$9,999) In Memory of Nelson Allison

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Mr. & Mrs. Louis Rochester

Marion E. Luper Jr. In Memory of Jared A. Barlage Marion E. Luper Jr. In Memory of Roy E. Campbell Mrs. Wanda Campbell In Honor of Ted Hale Anonymous J.C. Ferguson Foundation Drs. Richard & Roberta Case Mr. & Mrs. Robert H. Cole Roger B. Corzine Dr. & Mrs. Bart Mayron Phil & Susan Parker Mr. & Mrs. C. Richard Sivalls Mr. & Mrs. George S. Smith Mr. & Mrs. Mark D. Wilson

Bach Society ($1,000-$4,999) Memorials Anne K. Anson Robert D. Anson Robert D. Anson Drs. Richard & Roberta Case Tyler T. Burns Bobby & Denise Burns Marguerite W. Davis Ludie & Eben Warner John M. Grimland, Jr. Mrs. John M. Grimland, Jr Neal H. Johnson Berniece Johnson Nelson Allison Anonymous Vera Osadchuk Bea & Bob Angevine Walter Osadchuk Mr. & Mrs. Jerry Covington Josh H. Parr Anne & Jim McLaughlin Victoria Parr Ehrlich

Mary June Rasmussen Dr. & Mrs. Terry Unruh Fred A. Stout, Jr. Kathlene N. Stout Martha Tompkins Dianne & Mark Tompkins Bob Winkler & Clayton Taylor Winkler Carolyn Winkler ExxonMobil Foundation Marshall & Winston. Inc. Mobil Foundation, Inc. Shinn Industrial Sales/Barbara & Don Shinn TXU Electric The Midland Musicians Club Anonymous (3) Nelson Allison Dollie Neal Ballenger Dr. & Mrs. John E. Bauman Karen & Spencer Beal Mr. & Mrs. Robert L. Boothe Mrs. M.O. Boring, Jr. David and Vicki Brown Bob & Julia Chandler Mr. & Mrs. K. Michael Conaway Paul & Martha Crump Betty & Albert Dale Mr. & Mrs. Roy H. Davidson Mary & Henri de Compiegne Kimberly B. Dollens Betty & Don Ewan Celeste Fasken Frances Gilliland Elizabeth A. Greaves Karl & Cathy Herzog Mr. & Mrs. Lloyd Innerarity Mrs. Stan Jacobs Mr. & Mrs. Bob L. Jones Marian & Charles E. Jones V. Wayne & Joann Jones

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ENDOWMENT FUND CONTRIBUTORS (continued) Mr. & Mrs. James W. Lacy Dr. Ron Larson & Pat Paxton Larson Stephanie Latimer Jane C. Lea Robert M. & Prudie Leibrock Scott W. Long LaNelle McBee Mr. & Mrs. Stephen McHaney Rusty & Alyson McInturff Mr. & Mrs. James D. McLaughlin Walter & E. Grace Osadchuk Dr. E. Grace Osadchuk Mr. & Mrs. Josh H. Parr Dr. & Mrs. Jess Parrish Margaret L. Peer Mr. & Mrs. Charles R. Perry Mr. & Mrs. Robert Pollard Mike and Sue Potter Mr. & Mrs. Robert R. Rice Mr. & Mrs. A.W. Rutter, Jr. Rick & Debbie Schneider Dr. Roger M. Traxel Harold & Jacquelyn Williams Jane Wolf & Pool Webb Mr. & Mrs. Max Wright

Contributors (Up to $999)

Honorariums: Bea Cooper Angevine Jane & Don Samples Violet Singh Katherine Bash & Duncan Kennedy Harriet A. & Gene Motter Jack “Dug� Belcher Dortha & Ronald Bennett Dortha & Ronald Bennett & Barbara Shinn Ms. Judy DeWees Marin & Ashlin Bullock Brad & Crista Bullock Chris Chance Pamela Howell Jo Ann Collett The Midland Musicians Club Ann Countryman Larry & Gwen Roberts

Mrs. D. Pat Darden Betty M. Scott Gary Edmiston Employees of Security State Bank Karen Elliott Jane Wolf Maridell Fryar Bea Angevine Jane & Don Samples Sue Solari Louise M. Garay Bill & Mary Garay Luis de la Garza, III Pamela Howell Richelle Gengler The Midland Musicians Club Dr. Ted Hale Anonymous Carol, John & Caroline Deats Lee Harley Flo White Sharon Hickox Mark & Janet Krause Peggy C. Jones The Midland Musicians Club Martha Lewis The Midland Musicians Club Reba McHaney Mr. & Mrs. Stephen H. Parker Tim Young & Sharon Hickox Vera Osadchuk The Midland Musicians Club Dr. Henry Page The Midland Musicians Club Mr. & Mrs. Walter Pope Midland Symphony Guild Richy Puga Jennifer & John C. Harper Gregory Pysh Chapter Gd P.E.O. Russell J. Ramsland Midland Symphony Guild Elizabeth Roweck The Midland Musicians Club Jane Samples Bea Angevine

Shari Santorelli The MOSC Chorale Violet Singh Alynda Best Sue Smith & Jim Huddleston Alathea & Jim Blischke Sue Solari Jane & Don Samples Cindy Walton Amy A. Walton Mr. & Mrs. Pool Webb Billy T. Schulze Beverly Wise The Midland Musicians Club Gene & JoAnn Wyatt Risa Brown Memorials Nelson Allison Michael & Dana Ashton Bob & Kay Bivens Karl & Cathy Herzog Joan McCown Sue & Buddy McDonald Violet & Mark Singh Dr. & Mrs. Steve Wiehle Anne Anson Arlen Edgar Betty & Clem George Robert D. Anson Thomas K. Anson Ms. Francene Breckenridge Mr. & Mrs. Kevin D. Durham Edith Libson Andrew W. Austin & Cynthia K. Stewart Eldon Basney Midland Symphony Guild Ms. Beverly K. Cunningham Dr. E. Grace Osadchuk Mr. & Mrs. Michael Tandy Warren Burnett Paula & Ruff Ahders Ms. Judy DeWees Mr. & Mrs. Jim Leeton Mr. & Mrs. Michael Tandy Jane Wolf & Pool Webb Anne Caldwell Mr. & Mrs. Charles E. Jones

,WœV QRW MXVW SDUNLQJ LWœV D ZD\ WR À\ Valet Parking at Midland International Airport

432-563-5911

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Enrich the lives of West Texans through music by making a gift to the MOSC Endowment Fund

200 N. Loraine, Loraine e, Suite 500 • Midland, Texas Texas 79701 432.617.3213 432.6 617.3213 • www.pbaf.org www w.pbaf.o . rg 56

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ENDOWMENT FUND CONTRIBUTORS (continued) Mrs. Ethel Chapman Truman & Doreen McCreless Bea Cooper Angevine Violet Singh Dorothy Croft Caroline Ater Howard Chancy & Toni Croft Barbara Davis Alan & Susan Leshnower Perry Davis Melissa Burnett & Wayne Warren Opal Dobbs Ludie & Eben Warner Gretchen Estes The Midland Musicians Club Marie Finical Chris Newman John Foster Kay & Robert Bivens Fay Griffin Betty & Stuart Awbrey Marshall C. Gulledge Marilyn J. Craig Mr. & Mrs. Robert M. Neill Frankie Simmons Mary Harrington Odessa Council for the Arts & Humanities Odessa Symphony Guild Nancy Anguish Karen & Spencer Beal Bobby & Denise Burns Emma H. Burnett Melissa Burnett & Wayne Warren Karl & Cathy Herzog Tim Young & Sharon Hickox Melissa Hirsch Mr. & Mrs. Charles E. Jones Charles Milby Hartwell Barbara Hartwell Mayor Dan Hemphill Melissa Burnett & Wayne Warren Harriet Herd Midland Symphony Guild Alathea & Jim Blische Jeannine Donnelly Kenneth Herrick Elizabeth & Preston Black Myrna Herrick The Preston Black Family

Mayor Bill Hext Bobby & Denise Burns Billie Hunt Pam & Bob Leibrock Pat Innerarity Jim & Barbara Clack Mary B. Kennedy Rebecca Sawyer Janet & Paul St.Hilaire Neal Johnson Ms. Judy DeWees Marian Jones Bob & Nancy Dott Betty & Harvey Dunn Alan & Susan Leshnower Sally McGuffey Esther D. Bird Jeannette Kolokoff Chapter Gd P.E.O. Dick Lambert LaDoyce and Gloria Lambert Merceda Layton Audrey Chartier Katherine Leeton Fowler Melissa Burnett & Wayne Warren Katherine Linehan Mr. & Mrs. W.R. Berger Mr. & Mrs. Jack E. Blake Alva D. Butler Mr. & Mrs. Frank Cahoon Elinore Chase Harvey Herd Patty & Tevis Herd Sue Houghton Dan M.Leonard Jan & Bill Setzler Mrs. E.M. Seydell Barnie Snure Mrs. George Lovett Audrey Chartier Geraldine MacCabe Chastain Jheri Fleet Marjorie Sue McLelland Emma H. Burnett Maurice “Mo” Martel W.M. Champion Sammie K. Rogers Grace Osadchuk Jan Artley, Jane Samples, Patty Smith, Lucinda Windsor, Maridell Fryar

Melissa Burnett & Wayne Warren Mr. & Mrs. D. N. Ewan Chris & Fred Newman Rebecca Sawyer Schatzie & Charlie Tighe Vera Osadchuk Rino Irving Pam & Bob Leibrock Lynch Chappel Alsup Ed Magruder Suzanne Martin Bill & Sheila Morrow Violet & Mark Singh Sue Solari Bill Stella Jan & Paul St.Hilaire The Midland Musicians Club Jane Wolf & Pool Webb Walter Osadchuk Vera Osadchuk Barbara Parr Anonymous Mr. & Mrs. Charles E. Jones Josh H. Parr Anonymous Mrs. Coy Best Delia Griffin V. Wayne & Joann Jones Mr. & Mrs. James D. McLaughlin John O’Hern Harold Rasco Audrey Chartier Victor Rede Melissa Burnett & Wayne Warren Charles Roberts Mr. & Mrs. George F. Harley Betty Lloyd Ross Frank & Getchen Bell Rebecca Bell Mr. & Mrs. Frank Cahoon Ms. Sarah C. Hardwick Dr. & Mrs. Charles Simmons Russell F. Sanders Emma H. Burnett Junia Stoddard Helen Parsons Adhers Sally Stella Chris Newman Deane Stoltz & Susan Stoltz Tirey Kay & Robert Bivens Emma H. Burnett Wanda Campbell

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ENDOWMENT FUND CONTRIBUTORS (continued) David Austin Stephens Davis, Gerald & Cremer Permian Basin Landmen’s Association Violet & Mark Singh Kathleen Stout Midland Symphony Guild Twentieth Century Study Club Capt. & Mrs. William E. Clark Berniece Johnson Charlene Shults Kay & Robert Bivens Naomi Tillett Mary & Barry Beck Alva D. Butler Mr. & Mrs. Frank Cahoon Elinore Chase Capt. & Mrs. William E. Clark David & Sarah Lew Grimes Sue & Ted Kerr LaDoyce & Gloria Lambert Mary Ann McRae Mr. Mrs. Charles L. Tighe Earl Van Stavern Midland Symphony Guild Thomas Welch Schatzie & Charles Tighe Bill J. Whitfield Dee Griffin Rita Williams Ronald & Dortha J. Bennett Berniece Johnson Dr. & Mrs. Paul H. Johnson AT&T Foundation The Bosworth Company Chapter Gd P.E.O. Tierra Company The Midland Musicians Club Stanton Music Club Twentieth Century Study Club Anonymous (4) Dr. & Mrs. Clayton Alred Jim & Sandra Alsup Mr. & Mrs. George Alther Mr. & Mrs. John F. Armstrong Joyce R. Barthelemy Cliffy & Barry Beal Helen B. Beal Chrys & Kelly Beal

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Cheryl Becker Frank & Gretchen Bell Mr. & Mrs. Stanley Bellows Virginia Berry Elizabeth & Herb Blankinship Berry & Jane Breining Ken & Cathy Burgess Mr. & Mrs. William C. Bynum Mr. & Mrs. Frank Cahoon Mr. & Mrs. Jack C. Cartwright Edward & Cassandra Cheek Mr. & Mrs. Bill Clifton Mr. & Mrs. Robert S. Cooke Margaret Cowden Enid W. Davis Tom & Dorothy Davis Bill & Mary Anne Dingus Mary Margaret Donelson Mr. & Mrs. Lynn D. Durham, Jr. Mr. & Mrs. Curtis Erwin, Jr. Paul Feit Iris & John Foster Mr. & Mrs. Robert H. Frazer Jeff & Lou Nelle George Richard D. & Iola Gillham Dan Green Sarah & David Grimes Mr. & Mrs. M.C. Gulledge, Jr. Barbara Hales Mr. & Mrs. Robert H. Halpert Billie C. Halstead Mrs. Thornton Hardie Phil & Judy Hayes Patty & Tevis Herd Dr. & Mrs. William M. Hibbits Melissa Hirsch Brittie N. Holster Dr. Jim Huddleston & Sue Smith Dr. & Mrs. James Humphreys Patricia & Leon Jeffcoat Barbara J.H. Johnson Maureen Johnson & Todd Torczon Jo Ann Jonsson Al & Elayne Karickhoff Sherry Keisling Niran E. Kellogg Lee & Bob Kennedy Mary B. Kennedy Mr. & Mrs. William D. Kleine

Jane Knox Pam & Bob Leibrock Edith H. Libson Buddy & Anita Lintzen Mr. & Mrs. J.K. Lytle Beverly Martin James H. Miller, D.D.S. Darla V. Mueller Kelvie Williams Muhlbauer Mr. & Mrs. Charles E. Nail Mr. & Mrs. Jim Nelson Mr. & Mrs. Fred Newman James & Jerri Nickel Steve & Diane Parker Bill Peyton Rod & Jane Phares Margaret & James H. Purvis Jane Ramsland Lynn Renaud Jane & Ray Riddle Mary G. Ritchie Mr. & Mrs. Larry J. Roberts Mr. & Mrs. Hal Roegner Mrs. Donald A. Ross Rita Rusnak Dee Ann & Jeff Salehi Rebecca Sawyer Lisa and Geoffrey Schaffer-Harris Mrs. Suzanne Seright Violet & Mark Singh James & Alison Small Sally & Bill Stella Harley R. Stimmel John & Barbara Swart Mr. & Mrs. Phillip Szenasi Mr. & Mrs. Michael Tandy John J. Taylor Mr. & Mrs. L.B. Terrell Mr. & Mrs. Charles L. Tighe William A. Townsend Julia E. Vaughan Mary Edith Waddell Orin Wade Mr. & Mrs. Edward Wallace Rev. & Mrs. Robert Walter Jenna H. Welch Mr. & Mrs. Richard Werner Jann & Dr. Stephen Wiesenfeld Mike Willson

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MOSC WISH LIST ■ ■ ■ ■

New Roof ADA Restrooms Storage Building HVAC System

■ ■ ■ ■

Interior Paint and Carpet Digital Outdoor Sign Re-Paving the Parking Lot Electrical re-Wiring

To our donors, sponsors and numerous contributors we say THANK YOU for playing your part in assuring that the music we present is of the highest artistic quality, season after season, for half of a century. Finally, the music is now being enjoyed in the magnificent Wagner Noël Performing Arts Center.

The administrative office at 3100 LaForce Boulevard, the BurtonNoël Center, is ideally located between Midland and Odessa where a staff of five work year-round. The Center also serves as a rehearsal hall for the Chorale, Voices of the Permian Basin and the resident ensembles. Additionally, the facility also stores all of the equipment of the MOSC. This facility is currently in need of some much needed improvements. We wish to appeal to you (or your business) to assist in the restoration of our offices so that we can continue to fulfill our mission of Enriching Lives Through Music.

If you (or your business) have an interest in providing any item(s) on our wish list, please contact Development Director Violet Singh at development@mosc.org or (432) 563-0921.

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2013 - 2014 President, Midland Symphony Guild

J oin us as we Soar into the next 50 years for both Midland-Odessa Symphony & Chorale (MOSC) and the Midland Symphony Guild. The MOSC has enriched our community immeasurably, and it is the Guild’s mission to ensure that the tradition of bringing quality musical performances to the Permian Basin continues. To that end, our approximately 180 Symphony Belles will provide an estimated 12,000 combined hours of service as they organize fundraisers, host and usher at concerts, serve at receptions and help educate the community throughout the year.

Below are highlights of our 2013-2014 season.

In January 2013, the Midland Symphony Guild held the National Young Artists Competition (NYAC), an honor bestowed on Midland every four years. Over the course of the competition some 80 young musicians from three categories—piano, winds and percussion, and strings—played for the grand prize and the opportunity to perform as a soloist with the MOSC during the 2013-2014 season. The NYAC has a rich legacy of showcasing some of the most talented classical musicians from across the United States, and the Grand Prize winner was, Victoria Young, 12 years old and lives in Henderson, NV and attends New Music School.

During our Diamond Gala Weekend in early February, the Guild will sponsor various activities to honor our Symphony Belles and their service as well as to raise funds for the MOSC. Our annual Black Tie Dinner will be held at the Midland Center on Friday, February 7, 2014, to present our Senior Belles and their diligent service during the past four years. On Saturday, February 8, the Freshmen Belles will be introduced during a luncheon and style show, and the Gala weekend will conclude Saturday evening with the much anticipated Belle Ball.

In spring of 2014, the Guild will continue to celebrate our fabulous annual Table Tops fundraiser at Green Tree Country Club. The event will feature table top decorations by local designers, a fashion show, and a silent auction. In addition, guests will be treated to a delicious luncheon provided

by Green Tree and live entertainment performed by one of the Symphony Ensembles.

As we Soar into the next 50 years the Midland-Odessa Symphony & Chorale and the Midland Symphony Guild, we pause to reflect on how much live classical music has enriched our lives at the same time that we anticipate quality performances for many years to come.

Gloria Abalos 2013-2014 President, Midland Symphony Guild 60

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2013 - 2014 Midland Symphony Guild Belles

Row 1: Palvasha Deme, Caroline Smith, Rachel Hanna, Victoria Gerald, Kami Berryhill Row 2: Madison Hope Williams, Isabel Joesphine Nosek, Nicole Leeann Hartzoge, Andie Parnell, Alaina Christine Carter, Tory Elizabeth Conner Row 3: Allyson Gordon, Meredith Whiting, Margo Edwards, Hannah Thomas, Elise Howard, Caitlyn Branco, Alexis Broughton Row 4: Caroline Grace, Jeanette Sorianello, Cassidy Golden, Libby Kamradt, Sara Spears, Alex Beggs Row 5: Victoria Jordan, Kennedy Coffman, McKenzie Dean, Nicole Pitchford, Kathy Bramley

MIDLAND SYMPHONY GUILD 2013-2014 EXECUTIVE BOARD President President-Elect Belle Vice President Community Co-Vice President Community Co-Vice President Financial Vice President Financial Vice President Elect Membership Vice President Project Co-Vice President Project Co-Vice President Corresponding Secretary Recording Secretary Immediate Past President Parliamentarian

Gloria Abalos Angie Bramley Cheri Jones Kim Lancaster Kelly Hullender Angie Bramley Ginger Stallings Becky Sutter Vonda Duncan Laura Wilson Valerie Kennedy Ana Hinojos Becka Hanna Allison Hartzoge

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2013 - 2014 President, Odessa Symphony Guild

W

hat an exciting schedule the Midland Odessa Symphony and Chorale 2013-2014 has in store.

Soaring into the Next 50 Years will prove that the arts are alive and well within our community. I am so privileged to have the opportunity to work with such an outstanding group of volunteers as this year’s Odessa Symphony Guild President. Throughout the past 55 years, the Odessa Symphony Guild volunteers have graciously provided time and financial support in order to promote and enhance cultural and musical appreciation within our community.

Our volunteers are what have enabled our organization to be a major contributor to the Midland Odessa Symphony and Coral. We would like to extend an invitation to participate in this continued endeavor in any capacity. Participation in the Odessa Symphony Guild includes monetary contributions, hosting receptions, ushering, working, and attending concerts and fundraisers by Active Members, Patrons, and our Belle/Beaux volunteers.

The Odessa Symphony Guild has worked feverishly to bring understanding and awareness of community and culture to our youth.

Our Belle/Beaux program includes more than 50 young ladies and gentlemen who graciously volunteer during concerts as well as participate in fundraising efforts. Beginning as freshman they volunteer each year and are formally presented their senior year at our major fundraiser the Black-Tie Gala Ball.

Each year our gala provides opportunities for supporters to come together and celebrate the accomplishments of the organization while raising funds that are contributed to Midland Odessa Symphony and Coral.

Odessa Symphony Guild extends an invitation to join us on March 1, 2014 to honor our volunteers and members while raising money for the Midland Odessa Symphony and Coral.

Congratulations Midland Odessa Symphony and Coral for a successful 50 years! Soaring into the Next 50 Years will be an honor and privilege that we are proud to participate. Enjoy this evening’s concert and please feel free to visit us at www.odessasg.org to learn more about Odessa Symphony Guild and how you can become involved in supporting the arts of West Texas.

Dawnna Talley 2013-2014 President, Odessa Symphony Guild

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2013 - 2014 Odessa Symphony Guild Junior Belles/Beaux

(front) Lexi Satterwhite, Emily Scharlach, Bailey Armstrong, Autumn Roberts, Brittany Roberts, (back) Audrey Adkins, Ryan Simmons, Collin Simmons, Jake Sellers, Megan Gray

ODESSA SYMPHONY GUILD 2013-2014 EXECUTIVE BOARD President President Elect Vice President Membership Vice President Projects Vice President Tickets Recording Secretary Treasurer Assistant Treasurer Parliamentarian Corresponding Secretary

Dawnna Talley Ann Kennedy Cindy Winfrey Heather Hutson Pam Mounts Gina Hood Julie Adams Dana Taliaferro Carla Haston Jami Sellers

STANDING COMMITTEE CHAIRS Arrangements Belles/Beaux By-Laws Finance Julie Adams Historian/Public Relations Membership Nominating Projects Tickets Yearbook Patron Liaison Communications National Young Artist

Ashli Tate Kathy Roberts Carla Haston Candy Thompson Cindy Winfrey Suzette Furst Heather Hutson Pam Mounts Julie Garrett Carla Haston Donna Kelm Carolina Keith 63

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Our Western Spirit

Odessa Symphony applauds Guild

At Western National Bank, it is our privilege to support the arts that enrich our community.

SUPPORTING MIDLAND ODESSA SYMPHONY & CHORALE

From local artists to world-renowned musicians, from dance and theater to rock concerts, we applaud those who share their gifts with us.

FOR MORE THAN 50 YEARS!

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