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TABLE OF CONTENTS FROM YOUR SYMPHONY & CHORALE 8 From the Board President 9 From the Executive Director 10 From the Music Director 11 Music Director Biography 13 2015-2016 Board of Directors & Staff 14 Midland Symphony Guild 16 Odessa Symphony Guild 23 Ticket Pricing OUR SEASON 18 2015-2016 Season Series 28 Opening Night At The Symphony 36 An Evening Of Asleep At The Wheel with Midland-Odessa Symphony 40 The Romantics 50 Sounds of the Season OUR ENSEMBLES 20 2015-2016 Chamber and Choir Events 21 Our Orchestra 22 Our Chamber Ensembles SPECIAL EVENTS 24 Symphony SoundBites 26 Music for a Cause OUR CONTRIBUTORS / DONORS 53 2015-2016 Sponsors 54 2015-2016 Fund Contributors
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FROM THE BOARD PRESIDENT I would like to personally thank you for your support of the Midland-Odessa Symphony & Chorale’s concert this evening with your attendance! To put on a performance such as the one you are part of tonight, we have been relying on supporters like you for the past fifty-two years. Now in our 53rd season, we would like to extend our gratitude to our supporters both new and old that have helped us in our mission to enhance the quality of life in the Permian Basin by providing outstanding musical performances and music education programs. Thank you also to our donors, sponsors, and advertisers that are listed throughout the program. If you see someone listed you know or frequent, please pass along my gratitude! As a self-confessed choral music nerd and even bigger Star Wars nerd and Trekkie, I could not be more excited for this season’s offerings. From the opening concert with renowned Asleep at the Wheel to a U.S. premiere to a 150 plus voice choir and on and on, the season is full of highlights in the making. And to finish the season off with “Feel the Force!” in which you will not only experience the familiar strains of music from your favorite Sci-Fi pics but also be among the characters of Star Wars, it’s like a little piece of heaven has come to the Wagner Noel just for me. Like most of you, the distractions of the internet, YouTube and Netflix sometimes help me soothe the stresses of the daily hustle and bustle in our communities. But that escapism pales in comparison to a live concert which allows us all a brief moment to unplug together and communally participate in the experience. If you have friends and family who have not attended one of MOSC’s concerts before, I encourage you to invite them to our next performance. I am proud and humbled to lead the Board during our 53rd Season. If you see me about, do not hesitate to give me the Vulcan salute, “Live long and prosper”. Thank you once again for your attendance and support! May the Force be with you,
Brad Bullock
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FROM THE EXECUTIVE DIRECTOR Dear Friends, As I enter my third season with MOSC I am so excited about all we have accomplished in improving our artistry, growing our audience and expanding our music educational programming in such a short period of time. This has been accomplished with the diligent work by our Board of Directors and outstanding Staff, continued and growing Sponsorship support and the loyal support from you, our patrons. Our 53rd Season builds on this momentum and will allow our Symphony to grow and flourish by providing quality symphonic experiences for the Greater Permian Basin. For the past two years MOSC has provided an important music education program for public, private and homeschooled elementary students in the Basin. Students have the opportunity to experience a live concert at the Wagner Noël Performing Arts Center, in which great composers and their music come to life through a professional theatrical performance interspersed with symphonic music. This season’s “Mozart’s Magnificent Voyage" complete with period costumes, props, set pieces and lighting includes nearly two dozen of the composer’s best known excerpts. In addition to our school programs, MOSC is proud to offer this mesmerizing Family Concert as a Saturday matinee with “special family pricing.” Visit mosc.org for more information. Due to its popularity, our holiday concert Sounds of the Season will include an added matinee performance. This concert will provide a special opportunity for you to join MOSC in our partnership with Toys for Cops, as our “Music for a Cause” program this season. Bring a new toy to either concert, so that Toys for Cops may provide new toys for children in crisis throughout the year. We hope you will join us in this worthy program. To further support our mission I am pleased to introduce our Marketing Director, Crystal Calcote who comes with a breadth of talent and skills as both a graphic artist and seasoned marketing director. During her short time here Crystal is creating new and exciting community connections. She designed our new website that I encourage you to visit. You can now easily access any of our website information on your phone or tablet, allowing you to conveniently donate to MOSC and link to the WNPAC to order concert tickets, in addition to loads of information at your fingertips. All of this could not be possible without your generous support for all we do. I hope our 53rd Season of music brings you as much joy as we have bringing it to you.
Sincerely, Jeannette Kolokoff 9
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FROM THE MUSIC DIRECTOR Dear Patrons, Greetings! It is an honor to welcome you to the 2015-2016 season of the Midland-Odessa Symphony Orchestra. We have prepared for you an amazing lineup of great music and wonderful artists. From Opening Night featuring the principal violinist of the Takács Quartet, Edward Dusinberre, playing the iconic Beethoven Violin Concerto, to The Romantics including Brahms Symphony No. 4 and our own co-principal horn Scott Millichamp playing Strauss, to Latent Emotions, the title of the Oscar Navarro’s new work of which we will perform the US premiere featuring our own concertmaster John Madura, to the grand Mozart Requiem including the MOSC Chorale, area university choirs and a fabulous quartet of guest soloists, this is going to be a season of great music you won’t want to miss! Another fabulous and varied slate of artists and programs awaits you in our Pops and Family Series, including Asleep at the Wheel, Rose Sawvel and the Sounds of the Season, Bravo Broadway! and Feel the Force! With music from “Star Wars” and other great movies about space. Thank you for joining us for this season of great music! Your support is greatly appreciated. Please be sure to also check out the many wonderful performances by the outstanding ensembles of the MOSC, the Chorale, our youth choir The Voices of the Permian Basin, along with the West Texas Winds, Lone Star Brass, and Permian Basin String Quartet. These programs are always inspiring and engaging and you don’t want to miss them! I hope you will subscribe and bring a friend to join us for this very special season as we continue our mission to enrich lives in the Permian Basin through great music. I look forward to meeting you at the concert! Sincerely,
Gary Lewis Music Director and Conductor
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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 Colorado Symphony Orchestra, Boulder Philharmonic Orchestra, 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.
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2015-2016 BOARD OF DIRECTORS & STAFF OFFICERS Brad Bullock, President Jay Reynolds, Executive Vice President LaDoyce Lambert, Immediate Past President Patrick Canty, Vice President, Fundraising Rebecca Young, Vice President, Finance Carol Chandler, Secretary Edward McPherson, Vice President Sponsorships
DIRECTORS Penny Angelo Dana Ashton John Barkley Sheilagh Bassett Rebecca Bell Karmen Bryant Barbara Davis Nash Dowdle Barbara Faubion Dr. Paul Feit Bert Ferrara
Maridell Fryar Linda George Mark Germer Judy Gladden Heather Hutson Dr. Thomas A. Hyde David Lauritzen Mark Lyon Ann Parish Janet Pollard
Suzanne Rathbun Kathleen Rector Leslie Rhodes Floyd Rountree Melissa Rowland Deb Shaw Dave Sutter Ty Sutton Ludie Warner 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 Trout 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/Librarian Crystal Calcote, Marketing Director
Melissa Graham, 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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2015 - 2016 PRESIDENT, MIDLAND SYMPHONY GUILD The Midland Symphony Guild celebrates our 53nd year as a non-profit support organization for the Midland-Odessa Symphony & Chorale (MOSC). Our Guild serves as a fundraising arm for the MOSC, as well as providing volunteer service to other great community organizations like Safe Place, Midland Festival Ballet, Museum of the Southwest, Arts Council of Midland, Midland Community Theatre, Mission Center Adult Day Service and The Wagner Noel Performing Arts Center. Our Symphony Belles are girls, eighth through twelfth grade, from all area schools that are learning the importance of community service and volunteerism by serving in our organization. We estimate that our members and our Symphony Belles provide approximately 21,000 hours of community service each year which means we have provided over 1 million hours since our organization began in 1962. In February 2016, we will host our Diamond Gala Weekend starting with a black tie dinner and dance on Friday, February 5 to present our Senior Belles and honor their 4 years of service. On Saturday, February 6, we introduce our incoming Freshmen Belles with a luncheon and style show. On Saturday night, we conclude the weekend festivities with the Belle Ball for all our Belles as a thank you for their service. As residents of the greater Permian Basin, we are incredibly fortunate to have an organization in our midst that fosters the talent of our local musicians and provides us access to musical performances and educational programs that are usually only available in metropolitan areas. We look forward to a new season and to continue to support MOSC in their endeavor to enrich our lives through music for many years to come!
Leslie Rhodes
2015-2016 President, Midland Symphony Guild
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2015-2016 MIDLAND SYMPHONY GUILD BOARD OF DIRECTORS EXECUTIVE OFFICERS President Belle Vice President Community Vice President Financial Vice President Membership Vice President Project Vice President Corresponding Secretary Recording Secretary Parliamentarian Immediate Past President
Leslie Rhodes Christine Foreman Kim Lancaster Laura Roman Theresa Carter Cindee Dietrich Raquel Padilla Pam Walls Jill Pennington Angie Bramley ELECT OFFICERS
Belle VP Elect Community VP Elect Financial VP Elect Membership VP Elect Project VP Elect
Debbie Hightower Leslie Wilson Amanda Bledsoe Cheryl Spotts Tom Elrod
COMMITTEE CHAIRS Advisory Planning/Bylaws Jill Pennington Community Liaison Kim Lancaster Concert Hospitality Dana Howard Finance Laura Roman Gala Cindee Dietrich Guild Arrangements Pam Walls Long Range Planning Leslie Rhodes Mailing Renee Rogers Membership Theresa Carter Membership in Training D’Yon Butler Nominating Lisa Kidwell Patron Liaison Melanie Jones Publicity Robin Hall Symphony Belle Christine Foreman Symphony Office Katherine Jones Tabletops Angela Babcock/Michele Shelton TX Assn of Symphony Orchestra (TASO) Lee Scott Yearbook Karen Parnell
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2015 - 2016 PRESIDENT, ODESSA SYMPHONY GUILD The Odessa Symphony Guild is excited about the 2015-2016 Midland-Odessa Symphony and Chorale season! For over 52 years the MOSC has continued to Enrich Lives Through Music in West Texas by providing quality concerts and music education for our communities. The MOSC musicians are vital to the Arts programs in our schools and West Texas is fortunate to be a home for these talented musicians. The Odessa Symphony Guild began in 1958 and is comprised of Active members, Patrons, & Belle/Beaux volunteers. Odessa Symphony Guild provides opportunities for members to support the MOSC through fundraising, monetary contributions, ushering, working and attending concerts and hosting receptions. Our Belle/Beaux volunteers consist of 9th-12th grade students who have a parent or sponsor that is a member of the Odessa Symphony Guild. Look for our Belles and Beaux at various concerts. They do a great job and are learning how to Share The Music in the process. The main fundraiser for the Odessa Symphony Guild is the Symphony Ball. The Symphony Ball will be held Saturday, January 30, 2016, A Symphony in the Garden, will introduce and honor our young ladies and gentlemen who serve in the Belle/Beaux program. The Odessa Symphony Guild would like to extend an invitation to all to come and Share the Music as we travel into the beauty of a mystical garden and raise money to support the Midland-Odessa Symphony and Chorale. I am privileged to serve as the president this year of the Odessa Symphony Guild and to work with such an enthusiastic group of volunteers. Enjoy this evening's concert and please visit us at www.odessasg.org to learn more about Odessa Symphony Guild and help us Enrich Lives Through Music.
Heather Hutson 2015 - 2016 President Odessa Symphony Guild
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2015 - 2016 ODESSA SYMPHONY GUILD JUNIOR BELLES/BEAUX
Bottom (l to r) Kinzie Johnson, Kendall Gray, Bailey Becker, Bria Winfrey, Heather Hood Top (l to r) Will Sellers, Trace Notley, Kyle Kennedy, CourtneyTaliaferro, Natalie Steen, Amanda Adkins, Avery Steen, Dalton Anderson, Preston Earls, Charles Roberts, Andrew Blackstone ODESSA SYMPHONY GUILD 2015-2016 SLATE OF OFFICERS AND COMMITTEE CHAIRS President Heather Hutson President Elect Lura Humble VP Membership Sherry Adams VP Projects Kelly Sims VP Tickets Cindy Winfrey Recording Secretary Jacqui Gore Treasurer Darla Becker Asst. Treasurer DeeAnna Arellano Parliamentarian Ann Kennedy Corresponding Secretary Heather Butler STANDING COMMITTEE CHAIRS Arrangements Belles/Beaux By-Laws Historian/Public Relations Membership Nominating Projects Tickets Yearbook Patron Liaison Communications
Ashli Tate Kathy Roberts/Kelly Jones Ann Kennedy Candy Thompson Sherry Adams Gina Hood Kelly Sims Cindy Winfrey Sharman Adkins Carol Evans Donna Kelm 17
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MOSC 2015-2016 ORCHESTRA GARY LEWIS, MUSIC DIRECTOR AND CONDUCTOR VIOLIN John Madura, Concertmaster Dorothy Croft Chair Endowed by the Midland Symphony Guild Yalira Machado, Associate Concertmaster Alex Norris, Principal Second Violin Paula Beard Kevin Crutchfield Xavier DeGrate Trisha Faubion Nikesha Hailey Amanda Hernandez Lowell Hohstadt Laurel Lawshae Yi-窶食suan Lin Karen McAfee Robert Meinecke Lucy Proctor Abi Rhoades Jason Snider Molly Turner Greg Zychowski VIOLA Melissa Madura, Principal
Laura Peﾃｱa, Associate Principal Beau Garza Kathy Hohstadt Miriam Oddie
FLUTE Melissa Graham, Principal Kate Martin, Associate Principal
CELLO Amy Huzjak, Principal Endowed in memory of Walter Osadchuk by Dr. and Mrs. Michael Miller Danny Mar, Associate Principal Elizabeth Purvis Aurelia Rocha David Thomas
OBOE Caryn Crutchfield, Principal Robert Krause, Associate Principal Ann Hankins
BASS Bill DeLavan, Principal Christine Craddock, Associate Principal Robert Pierot Endowed in memory of Mary June Rasmussen by Mr. Kenneth Anderson and Dr. Anne Acreman, MD Christopher Arcy
BASSOON Julie Ann Link, Principal Bill Harden, Associate Principal
CLARINET Chris Chance, Principal Sarah Demy, Associate Principal Mande Gragg
HORN Sonja Kassal, Co-Principal Scott Millichamp, Co-Principal Norma Binam Susan Kelley
TRUMPET Eric Baker, Co-Principal Michael Santorelli, Co-Principal John Irish TROMBONE Darin Cash BASS TROMBONE Jon James, Principal TUBA Kevin Young, Principal TIMPANI Tim Mabrey, Principal PERCUSSION Erin Martysz, Principal Nathaniel Collins HARP Vincent Pierce, Principal PIANO Shari Santorelli, Principal
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Midland-Odessa Symphony & Chorale Gary Lewis, Music Director & Conductor
Presents
O PENING N IGHT AT THE S YMPHONY
EDWARD DUSINBERRE, VIOLIN
SATURDAY, SEPTEMBER 12, 2015 7:30 P.M. WAGNER NOﾃ記 PERFORMING ARTS CENTER THIS CONCERT PROUDLY SPONSORED BY MARTHA AND PAUL CRUMP SYMPHONY SOUNDBITES SPONSORED BY MIDLAND SYMPHONY GUILD 28
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O P E N I N G N I G H T AT T H E S Y M P H O N Y
OPENING NIGHT AT THE SYMPHONY 7:30 P.M. SATURDAY, SEPTEMBER 12, 2015 WAGNER NOËL PERFORMING ARTS CENTER Gary Lewis, conductor Edward Dusinberre, violin
“Hungarian March” from The Damnation of Faust, op. 24 Violin Concerto in D, op. 61
Hector Berlioz (1803 – 1869)
Ludwig van Beethoven (1770 – 1827) Edward Dusinberre, violin • Allegro, ma non troppo • Larghetto • Rondo (Allegro)
~INTERMISSION~ Antonín Dvořák (1841 – 1904)
Symphony No. 8, op. 88 • Allegro con brio • Adagio • Allegretto grazioso • Allegro ma non troppo
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T H E A R T I S T Edward Dusinberre, violin
Edward Dusinberre was born in 1968 in Leamington Spa, England, and has enjoyed playing the violin from a young age. His early experiences as concertmaster of the National Youth Orchestra of Great Britain encouraged him to choose music as a profession. He studied with the Ukrainian violinist Felix Andrievsky at the Royal College of Music in London and at the Juilliard School with Dorothy DeLay and Piotr Milewski. In 1990 he won the British Violin Recital Prize and gave his debut recital in London at the Purcell Room, South Bank Centre. Upon completion of his studies at Juilliard Dusinberre auditioned for the Takács Quartet, which he joined in 1993. In July 2010 Edward released a recording of Beethoven’s violin sonatas no. 9 and 10 with pianist David Korevaar on the Decca label. Andrew Clements wrote in the Guardian newspaper; “Edward Dusinberre brings the same wonderfully subtle and intensely musical qualities to these two violin sonatas as he does to Beethoven’s quartets…” Edward Dusinberre enjoys writing about music. His book, Beethoven For a Later Age: The Journey of a String Quartet, will be published by Faber and Faber in January 2016. The book takes the reader inside the life of a string quartet, melding music history and memoir as it explores the circumstances surrounding the composition of Beethoven’s quartets and the Takacs Quartet’s experiences rehearsing and performing this music. He has written articles for the Guardian, Financial Times and Strad Magazine. Edward lives in Boulder, Colorado with his wife Beth, an archeologist who teaches at the University of Colorado, and their son Sam. He enjoys hiking in the mountains near Boulder and going to the theatre. www.takacsquartet.com
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O PE N I N G N I G H T AT THE S YM P HON Y “Hungarian March” from The Damnation of Faust, op. 24
Hector Berlioz (1803 – 1869)
The work of French composer Hector Berlioz embodies the bold innovations of the nineteenth century; his approach was saturated with fantasy, imagination, dreams, and originality. Even this unique musician was not without influence, however; Berlioz was inspired both by literature and individuality in the music world, particularly realizing the effects of Beethoven’s far-reaching shadow. Berlioz once explained, “Beethoven opened before me a new world of music, as Shakespeare had revealed a new universe of poetry.” These obsessions permeated his personal life as well, leading to his great love affair with Harriet Smithson (the idée fixe of his Symphonie fantastique), though he later theorized that he might have been in love with Harriet as a Shakespearean muse rather than Harriet herself. In addition to the work of Shakespeare, other literary inspirations were particularly in vogue throughout Europe. Goethe’s Faust was amongst these works, and served as the impetus for many compositions. Mendelssohn (who was close friends with Goethe) admitted such influence, whereas others set this story to music in more direct ways, such as Liszt with his Faust Symphony. Schubert’s “Gretchen am Spinnrade” is amongst the most famous examples in the vocal world, though surprisingly, Schubert never won Goethe’s endorsement. Wagner toyed with using Faust as a subject in his early 20s, though only the overture remains as testament to such musings. Even the great Beethoven was not immune to the craze; it is said that on his deathbed, he expressed remorse for not setting Faust. Berlioz first read Goethe’s Faust in 1828, as translated by Gérard de Nerval. He was immediately hooked: “I could not put it down. I read it incessantly, at meals, at the theater, in the street, everywhere.” Almost at once, he began to feel these words through the lens of his original musical expression, though he was influenced in part by Nerval’s setting; parts of the translation were set in verse rather than prose. By 1829, Berlioz finished his Huit Scènes de Faust, listing this ambitious work has his opus 1. Anxiously, he sent a copy to Goethe, who in turn shared it with Carl Friedrich Zelter, a trusted musician friend. Zelter (whose own music carried a certain “homespun charm” but lacked the imaginative depth of Berlioz) told Goethe that Berlioz’s music was sheer madness. (It could be noted that the correspondence from Zelter was deficient in, shall we say, social grace; his words were extremely harsh.) Disheartened by the ordeal, Berlioz turned away from this work, and in a fevered state of angst, even tried to locate and destroy all of the existing copies. He later published his Waverly Overture as his official opus 1. 4506 Briarwood Avenue Midland, TX 79707 432-689-6300 www.medicalspaofmidland.com
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O P EN I N G N I G H T AT THE S YM P HON Y (continued) Although Berlioz often pondered a new plan for Faust, it would be another fifteen years until he took action. The year was 1845, and Berlioz was in the midst of yet another highly active European tour. The premieres of some of his most famous works now behind him (including Symphonie fantastique), Berlioz set his mind to confronting the subject of Faust – a task that proved more a release of music than a journey to create: “I composed the score with an ease such as I have rarely experienced with any of my other works. I wrote it when and where I could: in coaches, in trains, on steamboats, and even during my stay in cities, despite the various obligations which arose from the concerts I was giving. ” Berlioz included his Huit Scènes as well as a few other scenes he had written years before, but beyond this, Goethe’s work was merely a launching point; Berlioz’s libretto is largely original. One example of his originality is the inclusion of the Hungarian March, which Berlioz skillfully worked into the plot by changing the setting of the opening scene – mostly, he openly admitted, just for the sake of including this highly favored and deeply nationalistic music. This odd twist to the plot of Berlioz’s The Damnation of Faust came about as a result of the inception and reception of the March hongroise. Whilst in Vienna (in the midst of tour and writing his Faust), Berlioz was approached by a man who was very familiar with the Hungarian culture, and desired to give a word of advice regarding Berlioz’s upcoming Hungarian tour: “if you want to please the Hungarians, write a piece on one of their national themes; they will be delighted…” The man gave Berlioz a collection of national music, from which Berlioz chose the Rádóczy theme. This theme, possibly written by a gypsy violinist by the name of János Bihari, dates from around 1809 and honors the memory of Prince Francis Rádóczy, the leader of the Hungarian revolt against Austria in the early 1700s. News of this plan traveled fast, and Berlioz (alongside his publisher) fielded many inquires about his setting of this beloved theme. By the night of the premiere, it was with a modicum of apprehension that Berlioz took the stage for the last piece: the highly anticipated march. Berlioz himself described the experience in his Memoirs (translated by Michel Austin): “After a trumpet flourish based on the opening bars of the theme, the march appears, played [softly] by flutes and clarinets, with a pizzicato accompaniment on the strings. The audience stayed quiet and silent at this unexpected opening. But when, over a long crescendo, fragments of the theme reappeared in a fugato, punctuated by muffled notes on the bass drum simulating distant cannon-fire, the hall began to seethe with an indescribable sound, and when the orchestra erupted in a furious mêlée and hurled forth the long-contained fortissimo, shouts and stamping such as I had never heard shook the hall. The concentrated fury of all these incandescent souls exploded with a vehemence which shook me with terror; I felt my hair standing on end, and had to start again, as you can imagine…” Berlioz goes on in his Memoirs to describe his experience after leaving the stage: “I was violently shaken, as you can imagine, after such a storm; I was wiping my brow in a small room behind the theatre when there was a striking after-shock of the emotional scenes in the hall. This is what happened: a poorly dressed man suddenly entered my room, his face strangely agitated; at my sight he threw himself on me, embraced me wildly, his eyes filled with tears, and it was with difficulty that he mumbled a few words: ‘Ah! Sir, sir! me poor Hungarian… poor devil… not speak French… un poco l’italiano… Forgive… my excitement… Ah! understood your cannon.. Yes, yes… big battle… German dogs!’ Then striking his breast violently with his fist: ‘In my heart I… carry you… Ah! Frenchman… 32
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O P EN I N G N I G H T AT THE S YM P HON Y (continued) revolution man… know how to write music for revolutions.’ I will not attempt to describe the man’s terrible state of excitement, his tears, the gnashing of his teeth; it was almost terrifying, it was sublime!” After that initial reception, Berlioz found a place for the Hungarian March in his dramatic legend The Damnation of Faust. Its fervor is still felt by modern audiences, regardless of any nationalistic knowledge; the unabashed confidence of the slow but relentless build is enough to stir even the most reluctant listener. Violin Concerto in D, op. 61
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 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. Over the course of the next five years, Beethoven produced a myriad of masterworks, notably including three symphonies (with work toward his famous Fifth Symphony), several concertos, sonatas, string quartets, Lieder (German songs), and his opera Fidelio, with its popular Leonore overtures. Amongst these great works, in the midst of these drastic (though vehemently heroic) times, Beethoven wrote his Violin Concerto in D, op. 61. This lengthy concerto premiered on December 23, 1806, featuring violinist Franz Clement. The folklore surrounding this premiere is interesting, to say the least; the timeline between completing the composition and the concert was so short that 33
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O P E N I N G N I G H T AT THE S YM P HON Y (continued) some claim Clement did not have time to practice. However, Clement was reportedly up to the task, and (in the spirit of a man who grew up as a child prodigy, perhaps) even “played to the crowd” by improvising his own music whilst holding the violin upside down in the same concert. Whether it was this lighthearted showmanship or a lack of rehearsal that was to blame, critics gave Beethoven’s concerto a disappointingly lukewarm review. It wasn’t until several years past Beethoven’s death that the work took its rightful place in the repertoire, through the virtuosity and artistry of a young Joseph Joachim, under the baton of Mendelssohn in the 1840s. The first movement, marked Allegro ma non troppo, opens with a simple five-stroke call of a drum before the woodwinds enter with a sweet and gentle melody in D. The strings respond, entering with an echo of the drum articulation, but oddly, on a D-sharp. This note is conflicting with the secure warmth established by the woodwinds, yet is placed so purposefully that a conversation ensues, floating between major and minor tonalities, punctuated by the percussive motive. When the violinist finally enters with a graceful lilt of tenderness, the lyricism of this piece begins to bloom, like rays of sunshine through a passing cloud, gliding with an ebb and flow of intensity. The second movement (Larghetto) is sublimely subtle in its refined grace. The hymn-like theme is carried almost exclusively by the orchestra, allowing the violinist to provide intricate and heart-throbbing commentary. The daydream is abruptly broken when the third movement begins without pause. This movement, a rondo, brings twists of dancing energy and quintessential Beethovian strength, but does not stray too far from the work’s overall affect of deep, passionate expression. Symphony No. 8, op. 88
Antonín Dvořák (1841 – 1904)
Perhaps most often remembered for his New World Symphony in the orchestral world, Czech composer Antonín Dvořák is regarded as one of the great nationalist composers of the nineteenth century. He aided in perpetuating the nationalistic sound world of his native land as well as that of others; he could be called a predecessor of ethnomusicology to some degree. An extremely diverse composer, Dvořák earned worldwide admiration through works in nearly every genre of his time (from the symphony to operas and oratorios; chamber music to solo piano music; secular choral works and songs). Few of his contemporaries were as prolific and successful across such a wide range. His path to international fame was hard won, however, in part due to political turmoil between his native country and others that beckoned with promises of success. In order to appease the masses for a period of time early in his career, Dvořák suggested to his publisher that his first name be printed as “Ant.” as this was a natural abbreviation for both Czech and German names, also
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O P E N I N G N I G H T AT THE S YM P HON Y (continued) requesting that the title pages and texts of vocal works to be printed in both languages. Overall, Dvořák experienced the difficult personal and artistic dilemma of having to balance loyalty to his homeland with the necessary steps to achieve international success. Thankfully, in 1883, Dvořák was invited to London by the Philharmonic Society. Subsequent success there led to numerous English tours, allowing Dvořák the luxury of a secure step on the path to fame. Additionally, England was far enough removed from the continental bickering that he was able to produce works while remaining true to his heritage; he wrote on numerous Czech subjects without fear of the arrogance, preconceptions, and prejudice displayed by many of his continental circles. Compositionally, these years (specifically 1886-92) are sometimes labeled as his second Slavonic period. The new aspects of his works which separates them from earlier periods is a fundamental (and quintessentially Romantic) element of a poetic, picturesque musical language of implication and association. By the time of his eighth symphony, Dvořák began to take his originality to new heights by relaxing formal structures and increasing the liberties of the poetic elements. Interestingly, this symphony was known as Symphony No. 4 in Dvořák’s lifetime; he had only published five of his nine, and they were numbered as such. It wasn’t until the 1950s that the other four were published, subsequently creating the need to adopt the current numbering system. (It is to this end that his famous New World Symphony is sometimes listed as No. 5 when in fact it was his ninth.) Regardless of whether this symphony is called the fourth or the eighth, it is a work that stands apart from all of the rest in terms of its pastoral, idyllic nature. Written in his country home at Vysoká in the fall of 1889, Dvořák was eager to create a work that had “individual thoughts worked out in a new way.” With poetic freedom, the basic work (pre-orchestration) was completed in a mere six weeks. The “melodies simply pour out of me,” Dvořák once said of the experience. With orchestration and adjustments, Symphony No. 8 was birthed and matured in less than ten weeks. Despite being in G Major, the opening movement begins in a conspicuously dark manner, punctuated by the lightness of bird calls and themes with childlike lilt; through his eloquent freedom of mind and glorious physical setting, Dvořák paints a picturesque image of his beloved Bohemian countryside. This pastoral effect is carried throughout the work, particularly utilizing the woodwinds as soloists for the disarmingly and emotionally direct themes. In addition to his distinctly Czech flavors portrayed with childlike wonder, Dvořák continues the battle between light and dark, major and minor, alluding to his own painful personal battles. By the finale however, it is clear that the predominate atmosphere will indeed be light. While rehearsing this movement, a Czech conductor by the name of Rafael Kubelik once said, “in Bohemia, the trumpets never call to battle – they always call to dance,” and dance we shall. Melissa Graham © 2015
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M i d l a n d - O d e s sa S y mphon y & Choral e wit h L is s a Noë l Wa g n e r a n d Franc e s & J ac k Br ow n Present
An Evening of Asleep at the Wheel with the Midland-Odessa Symphony
A s leep a t t he Wheel S a t u r d ay, O c t o ber 17 , 20 15 7 : 3 0 p. m . Wag ner N o ël Per f o r m i ng Ar t s Cent er Progra m to be a n n ounc ed fro m St age T his C on cert G en erously Spo nso red b y
CAROL & TOM CHANDLER
MIDLAND SYMPHONY GUILD 36
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Asleep at the Wheel has seen miles and miles of Texas. They got their kicks on Route 66. And, in 2010, the band clicked another milestone on the odometer – their 40th anniversary. Now in their 44th year, the band continues to introduce the western swing genre to a new generation on tour and takes audiences on the ride of a lifetime with their play, “A Ride with Bob.” “It’s been an amazing ride. From Paw Paw to San Francisco to Austin, we’ve seen it all,” says Wheel front man Ray Benson. “But, rest assured, there is still so many exciting projects in the works. The Wheel keeps rolling!” It all started when Ray Benson, Floyd Domino, and Lucky Oceans, along with a Vermont farm boy named Leroy Preston; Virginian Chris O'Connell; and Gene Dobkin, a bass player and fellow classmate of Benson's from Antioch College in Yellow Springs, Ohio, joined forces. They began with a simple goal: to play and help revive American roots music. Asleep at the Wheel landed a gig opening for Alice Cooper and Hot Tuna in Washington, DC in 1970. At the height of Vietnam, many Americans were using their choice of music to express their stance on the conflict in southeast Asia. “We wanted to break that mold,” said Benson. “We were 37
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concerned more with this amazing roots music, which we felt was being lost amid the politics. We were too country for the rock folks and we were too long-haired for the country folks. But everybody got over it once the music started playing.” Still the King is Alseep at the Wheel’s third and latest tribute album dedicated to the music of the legendary, late Bob Wills and his Texas Playboys. Every track features one of a range of Americana musicians, including Pokey LaFarge, Lyle Lovett, Willie Nelson, Old Crow Medicine Show and The Devil Makes Three, among others. I reached out to every great singer we knew. I just kept asking folks who I felt would fit in. I was looking for the roots of American music, said Asleep at the Wheel frontman Ray Benson. Still the King began production when Benson s son and co-producer Sam Seifert pointed out that over 15 years had passed since Asleep at the Wheel’s last tribute to the music of Bob Wills, enough time for interest to renew and fresh talent to emerge. What followed was a two-year quest to track down the right songs and the collaborators to play them. Our no list was pretty awesome, Seifert laughed when asked about the process of contacting musicians for Still the King. That being said, we really got the majority of who we wanted. We would kind of get artists in batches, it was very laborious...We were working all throughout and to the end. The process may have been laborious at times, but the finished product displays a fine balance between the nostalgic and the new; artists in their twenties play alongside those who have been onstage for decades. Benson saw the album as an opportunity to include some younger musicians and to bring Wills work to new generations. The result is an album that should please both western swing neophytes and lifelong listeners. Asleep at the Wheel has drawn from a diverse pool of talent in their commemoration of the king of western swing, and there’s not a disappointing track out of the 22 compositions included. CD’s are available for purchase in the lobby. 38
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Midland-Odessa Symphony & Chorale Gary Lewis Music, Director & Conductor Presents
THE ROMANTICS
SCOTT MILLICHAMP, HORN GARY LEWIS, CONDUCTOR
SATURDAY, NOVEMBER 7, 2015 7:30 P.M. WAGNER NOﾃ記 PERFORMING ARTS CENTER THIS CONCERT PROUDLY SPONSORED BY ANN & KEN HANKINS, JR. FRIENDS OF SCOTT MILLICHAMP Sym p hon y Sou n dBit es Spo nso red b y
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Saturday, November 7, 2015 7:30 p.m. Wagner Noël Performing Arts Center Gary Lewis, conductor Scott Millichamp, horn Overture to Nabucco Giuseppe Verdi (1813 – 1901) Horn Concerto No. 1 in E-Flat, op. 11
Richard Strauss (1864 – 1949)
Scott Millichamp, horn • Allegro non troppo • Andante con moto • Rondo (Allegro molto)
~INTERMISSION~ Symphony No. 4, op. 98
Johannes Brahms (1833 – 1897)
Allegro non troppo Andante moderato Allegro giocoso – Poco meno presto – Tempo I Allegro energico e passionate – Più allegro
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S c o tt Millic h am p , h or n Scott Millichamp is Co-Principal Horn of the Midland-Odessa Symphony Orchestra, hornist with the MOSC’s Lone Star Brass quintet, Fourth Horn with Abilene Philharmonic, Second Horn with the summertime Missouri Symphony Orchestra, Instructor of Music Theory and Aural Skills at University of Texas of the Permian Basin, and Co-Music Director at the Unitarian-Universalist Church of Midland. A native of Detroit, he graduated from Interlochen Arts Academy with a Fine Arts Award in Horn and received his Bachelor and Master degrees in Horn Performance from Indiana University. Following his time at IU, he served concurrently as a Graduate Teaching Assistant in Composition at the University of Hawaii in Manoa, a substitute hornist with the Honolulu Symphony Orchestra, pianist for Honolulu Waldorf School eurythmics classes, and Choir Accompanist for First Unitarian-Universalist Church of Honolulu. Prior to his MOSC appointment in 2009, he served as Fourth Horn of the Arkansas Symphony Orchestra; he has also performed with Arkansas’s Opera in the Ozarks festival and the Lyrique-en-Mer opera festival in Belle-Ile, France.
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THE ROMANTICS Giuseppe Verdi (1813 – 1901) Overture to Nabucco Italian composer Giuseppe Verdi composed nearly thirty operas in his active theater days (which spanned sixty years), and at least half of these remain at the core of today ’s opera repertoire. At the height of his career, he was producing a new opera ever y nine months, most of which were highly successful; Verdi was the most famous and frequently performed Italian opera composer in all of Europe, displacing the extremely popular Rossini and Donizetti. Alongside German composer Richard Wagner (1813 – 1883), Verdi was the most influential opera composer of the 19th centur y. The development of Verdi’s career also coincided with an extraordinar y time for Italy: Napoleon was defeated in 1815, resulting in the return of Austrian occupation. As early as the 1820s, secret societies were formed with the goal of unifying the Italian states, essentially launching the Risorgimento. Literally meaning “Renaissance,” “rise again,” or “revival,” this was the movement that would ultimately lead to the crowning of Vittorio Emanuele as the King of a unified Italy in 1861. The 1840s and 50s were particularly crucial in this revolution, notably concurrent with the rise of Verdi’s fame. It was this time period that birthed beloved operas such as Macbeth, Rigoletto, Il trovatore, and La traviata to name only a few. Verdi’s popularity was so great, that audiences would sometimes yell “Viva Verdi!” at performances. Unbeknownst to some, this held a double meaning for the Risorgimento patriots; “Verdi” also ser ved as an acronym for Vittorio Emanuele Re D’Italia, (Long Live Victor Emmanuel King of Italy). After the crowning of the King, Verdi was even elected as a member of the new Chamber of Deputies, and later made a Senator of the Kingdom by the King himself. Verdi’s music itself was also arousing for these political sentiments. Listeners heard the embodiment of their nationalistic and personal perspectives; Verdi’s work certainly was (and still is) capable of cutting to the core of social and political issues. The work at hand ser ves as a prime example. Premiered in 1842, Nabucco is based on the biblical stor y of the plight of the Jewish people as King Nebuchadnezzar exiles them from their native land. Though perhaps not a completely intentional parallel, the connection to the Italian people would not have gone unnoticed. In particular, the chorus “Va, pensiero” of the third act achieved incredible nationalistic response (literally, “Fly, thought,” this chorus is known in English simply as “Chorus of the Hebrew Slaves”). The moment in the opera is heart wrenching: the slaves have just lost important parts of their city, and are full of longing and despair for their homeland. This song became a highly revered symbol for Italians, inciting nationalism still today; in 2009, a senator proposed that “Va, pensiero” replace Italy ’s national anthem.
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T H E R O M A N T I C S (continued) The success of Nabucco was hard won for Verdi, however; just before this, he had considered giving up composition all together. In 1838, Verdi and his wife of the time had lost a child. Only a year later, another infant passed. In 1840, Verdi’s wife became ill and died as well. Less than a few months later, Verdi premiered his second opera (Un giorno de regno) – a complete failure. It reportedly only had one performance before closing. Verdi fell into a deep depression, believing for the first time that it was possible he was not meant to be on the path he was pursuing. Perhaps giving up composition would be better. He once declared: “I was convinced I could find no consolation in my art, and resolved never to compose again.” Thankfully, through the (somewhat forceful) efforts of a director by the name of Bartolomeo Merelli, Verdi accepted the commission to write Nabucco. The theme of national independence, with all of its coinciding implications for the Italians, made Nabucco an instant success. Verdi later described this turning point in his life as the moment he really became a musician – the true beginning of his career. As to be expected, the overture (or sinfonia) draws from themes of opera itself. Verdi skillfully sets themes against one another to foreshadow the conflict to come, including the chorus theme that would become so meaningful to so many. Richard Strauss (1864 – 1949) Horn Concerto No. 1, op. 11 Richard Strauss was the most important German composer of his day. His notable presence emerged around the time of the deaths of Richard Wagner (1813 – 1883) and Johannes Brahms (1833 – 1897). As testimony to his reputation, it could be noted that he was the only contemporar y German composer whose work held the interest of Claude Debussy; the famous French composer once proclaimed Strauss to be a “dominating genius of the times.” Musicologists such as William Austin believe his work to be “so bold, so good,
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T H E R O M A N T I C S (continued) so vast, and so complex that a short account cannot do it justice,” while also admitting he may have been a bit of an epigone rather than a sheer revolutionar y, following Mozart and Wagner as “a gleaner after the main har vest.” Regardless, Strauss was a revolutionar y composer in many ways, even if only in his uniquely unabashed compositional style and corresponding attitude. Strauss was also prolific in a wide array of genres. In particular, his tone poems and operas are the most prized bits of his legacy, including works such as Til Eulenspiegel, Der Rosenkavalier, and Salome. Before achieving any semblance of status that would lead to his legacy, however, like any other artist, Strauss had to work to find his own voice. His path differed from some in that he came from a musical family; his father, Franz Strauss (1822 – 1905) was the principal horn player in the Munich Court Orchestra. Franz was a superb musician, and was often called the “Joachim of the horn,” referencing the leading violinist of the day, Joseph Joachim (1831 – 1907). (This is the same Joachim whose artistic work with the Beethoven Violin Concerto –on the MOSC program in September– led to that concerto gaining the revered respect it deser ves.) Franz Strauss was also an extreme conser vative when it came to his musical taste, and by extension, the music he chose to expose to his son. Despite gaining fame in part through his work in Wagner ’s operas, Franz loathed Wagner and his compositions. Wagner ’s feelings towards this brilliant horn player were not dissimilar; he once described Franz Strauss as “a detestable fellow, but when he plays the horn you can’t be angr y with him.” The works of Haydn, Mozart, Beethoven, and Schubert were the most often studied and played in the Strauss household. In fact, to “properly ” guide his son, Franz was still super vising and critiquing Richard’s compositions as late as the early 1880s. While some may consider this scope limiting, it cannot be claimed that Strauss the younger was not given a strong foundation from which to work – without this foundation, his voice would undoubtedly have developed differently. Beyond the obvious influence on Richard Strauss’s compositional development, Franz also affected his son’s instrument preferences. It is said that as a baby, Richard would smile and laugh when he heard the sound of a horn – and scream and cr y when he heard a violin. Ironically (or perhaps not), Richard did play the violin in an orchestra under his father ’s baton for a period of time beginning in 1882, after obser ving the setting for several years prior. It 45
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T H E R O M A N T I C S (continued) was this orchestral setting that helped the young Strauss (only aged 18 years in 1882) to embark upon composing in unfamiliar genres, such as concert overtures and symphonies (notably his Symphony No. 1 in 1880 and No. 2 in 1884), as well as concertos. From this, his first (and only) violin concerto was born (1880-82), alongside his first horn concerto (1882-83). Beyond these two concertos, Strauss obviously had a clear passion for the sound of the horn throughout his career (despite his personal –perhaps rebellious– choice of the violin, in addition to early education on the piano). The famous horn calls in Der Rosenkavalier, Don Juan, and Till Eulenspiegel are just a few examples of this love. Growing up in the shadow of a horn virtuoso (perhaps quite literally) surely must have bestowed upon Strauss a deeply rooted emotional connection and understanding of the instrument’s capabilities. However, the concerto at hand is the first of only two horn concertos Richard Strauss would write, though the second one would not be written until the 1940s, dedicated to the memor y of his father. Given his father ’s influence, it seems somehow poetically fitting that these two concertos would ultimately frame Richard’s long and brilliant life as a musician. At the time of this concerto’s conception, the young Strauss was still untouched by the Wagnerian spell under which he would ver y shortly succumb (an arguably necessar y step in finding his voice as we remember him today). The concerto is youthful in its affect and melodic ardor, and conser vative in its harmonic language. One may be reminded of Brahms in the traditional lyricism of the time, or perhaps Mendelssohn or even Mozart in the lightness of the finale. However, regardless of the somewhat neophyte status of Strauss at this young age, the voice is still clearly his own, if only in its unapologetically radiance. Modern listeners surely will think of the later works of Strauss; the calling card of the horn is an undeniable connection. Cast in a traditional three-movement structure that unfolds almost without pause, the work is unified by its thematic motives. The most notable of these is, in fact, the opening fanfare of the soloist: a simple yet grandly heralding ascending triad. Strauss skillfully manipulates this motive into the poetic lyricism of the slow movement before twisting it into the perpetually blooming bravura of the finale. Johannes Brahms (1833 – 1897) Symphony No. 4, op. 98 The famous composer Robert Schumann (1810 – 1856) withdrew as editor of the Neue Zeitschrift für Musik in 1844, writing only sporadic, small contributions over the next decade. When he wrote again in 1853, his headliner article caused quite the stir. Schumann described that he perpetually followed the paths of the “chosen ones,” the artists that may 46
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T H E R O M A N T I C S (continued) prove masters, and he believed that “there would and must suddenly appear some day one man who would be singled out to make articulate in an ideal way the highest expression of our time, one man who would bring us master y, not as a result of a gradual development, but as Miner va, springing fully armed from the head of Cronus. And he is come, a young creature over whose cradle graces and heroes stood guard. His name is Johannes Brahms…” It was with this heralding acclamation that the name Brahms became well known overnight – both a liberating gift and a potentially paralyzing level of public expectation. Brahms did prove to be the rightful successor of Beethoven in the larger forms of orchestral music, and of Schubert (and even his herald, Schumann) in the miniature genres of solo pieces and songs. However, he was also one of the most notable examples of a “traditionalist” in that he found his voice through a synthesis of modern and older aspects, drawing upon the skill of masters from the previous eras. In particular, the forms and polyphony of the Renaissance and Baroque periods permeate his music to the degree that some dubbed him “reactionar y ” and an epigone, merely imitating and echoing the past. Others saw the brilliance in this synthesis, and considered him revolutionar y. In a time when originality and freedom from convention were highly revered, this was a brave path regardless of any other label. Through a modern lens, it would never be claimed that Brahms was anything less than a master; his music is the epitome of intentional conviction, at once bluntly controlled and so passionately lush that the result is undeniably and expansively human. The path to this success was not without his own struggles, however, and the symphony was a genre that eluded and plagued him early in his career. He once spoke of “giant footsteps” following him, referring to the lingering aftermath of Beethoven’s massive shadow. Although it is known that Brahms began sketching a symphony as early as 1862, his first symphony was not completed until 1876; Brahms was already in his early 40s. The modern perception of this age is still impressive, of course, given the depth of this work. However, it should be noted that this was rather late for most masters of the older eras. Mozart was still a boy when writing in this genre, and Beethoven produced his Symphony No. 4526 E. University, #1A 1 before turning 30. Nonetheless, the Odessa, TX 79762 carefully crafted work was well worth Office: (432) 368-6800 Cell: (432) 528-1153 the wait. After this point, it was only E-mail: simsguess@cableone.net about another decade before Brahms Web: simsguessrealtors.com finished his work in this genre, GARY SIMS, ABR, CRS concluding with the Symphony No. 4. BROKER-OWNER Multi-Million Dollar Producer
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T H E R O M A N T I C S (continued) Premiered on October 25th of 1885, the fourth and final symphony of Brahms in many ways represents the summit of his achievement in the genre. It begins almost mid-thought, as though we are dropped into the middle of a dream. Scholarship shows that Brahms toyed with a few bars of chords to precede this gesture, but he ultimately (and wisely) omitted them. The result provokes the sensation of joining an already heated conversation. This conversation is soaked with questions and sighs, dripping with passion before allowing any forcefulness to invade the expressive content. The quickly displayed duality of these opposing emotions foreshadows one of the most moving aspects of this work, described by his beloved Clara Schumann as though “one lay in springtime among the blossoming flowers, and joy and sorrow filled one’s soul in turn.” Brahms skillfully expresses this duality throughout the work, sending listeners spinning between the highest cloud of an intensely liberating rapture and the introspective melancholy of a deeply solemn despair. Although it is cast in essentially the same traditional four-movement structure of his earlier symphonies, this work is unified not only by its per vasive emotional duality but by a refined sense of motivic consistency, specifically that of a third. This motivic consistency extends itself to both vertical and horizontal dimensions, as well as to the harmonic axes of the movements themselves: the first movement is in E minor, the second in E major, the third in C major (a third away from home), and finally back to E minor. The melodic thirds are frequently minor, but are sometimes repeatedly major, extending to an augmented triad (particularly in the first movement). This is especially interesting, as musicologist Walter Frisch points out, “congruence of this type foreshadows remarkably Schoenberg’s concept of the unity of musical space, in which ‘there is no absolute down, no right of left, for ward or backward.’” Arnold Schoenberg (1874 – 1951) was an extremely important composer for the German Expressionist movement, responsible for forging the path to the atonality and serialism of the Second Viennese School. It could be noted that Schoenberg, though his music seems so vastly distant, believed with dutiful conviction that his progression was the necessar y evolutionar y path, taken directly from his German predecessors. Beyond this sense of consistency (and in addition to many more aspects), Brahms shaped a true master work through synthesizing the old and new in his fourth symphony. Formally, the first movement implies a traditional Sonata-Allegro (a form established in the Classical period), but upon the traditional repeat of the exposition, Brahms completes only eight measures before altering a chord, plunging directly into the new harmonic meadows of the development. The end of the development is recognizable as well, through its effect of a conversation petering out, amorphously slowing and losing a partner to distraction. This is one of the softest moments in the 48
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T H E R O M A N T I C S (continued) entire symphony (marked ppp), and while the winds continue their slow but clear end of the conversation, their colleagues do not immediately answer. When the strings finally respond, they signal the start of the recapitulation, and the listener is once again dropped into the same dream as from the start, still spinning with sighing heartbeats of progress. The second movement begins in a medieval church mode (Phr ygian) with clear declamation before once again presenting the duality of emotions found in the first movement. The ominous illusion of darkness seems to permeate this movement more than the previous, despite its major tonality. The third movement is a scherzo, filled with echoes of Beethoven in form and Haydn in its humor. The element of humor is somewhat surprising; lightheartedness is not amongst the typical list of adjectives connected with Brahms. The emotional duality persists even through this comedy, however, and ends with brilliance (that may contain a particularly notable comedic overuse of the triangle). The finale is one of the most referenced in all of Brahms’ works. It is a passacaglia (ver y similar to a chaconne), and presents as a theme with 32 variations over a repeated bass line. To pull this Baroque form into the 19th centur y, Brahms superimposes it onto the general outline of sonata form; the declamator y eight-note theme from the beginning is heard with extreme clarity at the start of the pseudo recapitulation, just after a quietly longing sigh gesture from the flute. As to be expected, he also writes with the unabashed clarity and control of his Romantic harmonic language. With all of these extraordinar y elements at once synthesized, from an analytical viewpoint, it is not hard to understand why musicologists and theorists alike tend to choose this movement so frequently – with excitement akin to children in a candy store. Regardless of any (extremely interesting!) musicological, theoretical, or formal aspects, listeners can all agree: Brahms reached new heights with this work. Through the battle of duality, the depth of emotion can provoke an intense visceral response in listeners still today. This profundity is so human that one cannot deny the master y of Johannes Brahms. Melissa Graham Š 2015
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M id l a nd - O d e ssa S y mphon y & Choral e with L is s a No ë l Wa g n e r a n d Franc e s & J ac k Br ow n
Present
Sounds of the Season
R os e Sa wve l, so prano G a ry Lewis , c o nd uc t o r
Sa t u r d ay, D ec em ber 5, 2 01 5 7 : 3 0 p. m . Wag ner N o ël Per f o r m i ng Ar t s Cent er T his C on cert Proud ly Spo nso red b y
C OTTON , B LEDSOE , T IGHE & DAWSON , PC
C LAIRE & J IM W OODCOCK
Ms. Sawvel’s Appearance Sponsored by Jeannette & Mark Kolokoff 50
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A R T I S T S
Rose Sawvel, soprano Few upcoming artists are as celebrated for their artistry and stage presence as soprano Rose Sawvel, who brings a glittering, silvery tone with outstanding agility and brilliance, along with the skills of an adept actress to each role she portrays. She recently made her debut with San Francisco Opera's Merola Opera Program as Serpetta in La finta giardiniera, covering the role of Lady with a Hand Mirror in Postcard from Morocco and performing scenes at the Merola Grand Finale concert from Orphée aux enfers, The Rape of Lucretia, L'Elisir d'amore, Semele and La Rondine. Engagements for the 2014-15 season include Lucia in Lucia di Lammermoor with Opera Fort Collins, The Prince in The Little Prince with Opera Fayetteville, soprano soloist in Mendelssohn's Elijah, soprano soloist in an all-Bernstein concert narrated by Jamie Bernstein, and soprano soloist in Mozart's Regina coeli K. 127 with the Greeley Philharmonic Orchestra. Recent roles include Marie in Daughter of the Regiment, La Fée in Cendrillon, Adina in Elixir of Love, Blondie in The Abduction of Figaro, Despina in Cosí fan tutte, Amy March in Little Women, Dew Fairy and Sandman in Hansel and Gretel, Mabel in The Pirates of Penzance, the title role in Patience, Kate Pinkerton in Madama Butterfly, Anne Page in The Merry Wives of Windsor, Susanna in Le nozze di Figaro, and excerpts as Cunégonde in Candide and Gretel in Hänsel und Gretel. Her concert performances include Handel's Messiah, Mozart's Requiem, Mozart's Regina coeli K. 108, Saariaho's Lohn, Villa-Lobos' Bachianas Brasileiras No. 5, Ticheli's Angels in the Architecture, Rogers' Three Japanese Dances, A. Scarlatti's Christmas cantata and Berio's Sinfonia. Rose was a finalist in the 2013 Eastern Region Metropolitan Opera Nation.
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S P O N S O R S
POPS & FAMILY SERIES SPONSOR LISSA NOËL WAGNER WITH FRANCES & JACK BROWN PLATINUM ($10,000) First Capital Bank of Texas GOLD ($5,000) Aghorn Energy Community National Bank Concho Resources Tim and Terri Dunn Midland Symphony Guild Shamrock Steel Sales Claire & Jim Woodcock SILVER ($3,500) Carol and Tom Chandler Cotton, Bledsoe, Tighe & Dawson P.C. Permian Abstract BRONZE ($2,500) Martha & Paul Crump Friends of John Madura Friends of Scott Millichamp Frost Bank Ann & Ken Hankins, Jr. Dr. James & Sharon Humphreys Odessa Symphony Guild Phytex Rehabilitation, LLC West Texas Insurance Exchange
CHAMBER/CHORAL CONCERTS ($500) Penny & Ernie Angelo Basic Energy Services Kay Bivens – Legacy Real Estate Dee and Susan Carter Maridell Fryar Dr. Thomas A. Hyde and Anne B. Hyde Chris & Fred Newman Debbie and Steve Pruett Reliance Energy, Inc. Shamrock Steel Sales Sue and Karl Wikelski Mike Willson GUEST ARTIST SPONSORS Jeannette & Mark Kolokoff MEDIA, LODGING & TRANSPORTATION SPONSORS CBS 7 Doubletree by Hilton Midland Reporter-Telegram Odessa American FOX 24 Basin PBS Premier Parking Rogers Ford West Texas Public Radio
Sponsors 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. For more information regarding Sponsorship Opportunities please call Violet Singh, Development Director at 432-563-0921. 53
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2015 - 2016 FUND DRIVE CONTRIBUTORS The Midland-Odessa Symphony & Chorale is very pleased to acknowledge the generosity of those who value the presence of live symphonic, chamber and choral music in the Permian Basin. Through their monetary commitment or through other unique forms of support they enable the MOSC to fulfill its mission of Enriching Lives Through Music for a 53rd season. Listed below are gifts and pledges received for the 2015-2016 season as of August 5, 2015.
DIAMOND BATON SOCIETY ($10,000+) Chevron J.C. Ferguson Foundation Midland Symphony Guild Odessa Symphony Guild GOLDEN BATON SOCIETY ($5,000+) Maridell Fryar Karen & Spencer Beal George & Kay Smith Claire & Jim Woodcock GOLDEN BATON SOCIETY ($2,500+) Anonymous Benita Bermingham Drs. Richard & Roberta Case Ann & Ken Hankins, Jr. Max and Rosemary Wright FORTISSIMO ($1,000+) Betenbough Homes Brazos Door & Hardware/Diann McKee Exploration Geophysics, Inc. / Lee Miller Marshall & Winston, Inc. Sewell Ford Lincoln Anonymous (2) James & Cynthia Bobo Karmen & Billy Bryant Brad & Crista Bullock Margaret & J. Dan Carpenter Mary de Compiegne Martha & Paul Crump Betty Rae & Paul Davis Betty P. Gulledge Red and Juandelle Lacy Roberts Doris and John Mason Craig & Mary Payken Janet Williams Pollard Randee and Jack Rathbone Mr. & Mrs. C. Richard Sivalls Carole Warren
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FORTE ($500+) Anonymous Abell Hanger Foundation Chaparral Bolt & Supply / Keith Binam Ernie & Penny Angelo Kirk & Suzie Boyd Julie Z. Edwards Elaine Eiland Lou Nelle & Jeff George Reed and LuAnn Gilmore Patty & Tevis Herd Dr. Thomas A. & Anne B. Hyde Dianne and William Jones Virginia & Bob Jones Stephanie & John Latimer Chris & Fred Newman Jay Reynolds Joyce & Cliff Sherrod Ann & Jimmie Todd Mr. & Mrs. Richard C. Waddell Denise and Watts
Karen & Roy Williamson FORTE ($250+) Gladden State Farm/Judy Gladden Nicholas Consulting Group, Inc. Russell L. Freeman, Inc. Anonymous Rebecca C. Bell Richard and Sherry Buck Betty Dale Paul Feit Linda K. Fox Linda George Ralph & Sally Green Kim & Richard Hatchett Mr. & Mrs. Ron Holcomb Caroline Ater Howard Steve & Hilde Kroger Gloria & LaDoyce Lambert Edward McPherson Wes and Jean Pittman Betty Ann Prentice Bob and Ruth Price
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2015 - 2016 FUND DRIVE CONTRIBUTORS Jim and Kathleen Rector Judy Reigle Kathy & Floyd Rountree Neva Rousselot Violet & Mark Singh Sue Solari Nick & Liz Taylor Ludie and Eben Warner Mr. & Mrs. Richard Werner Michael J. Willson Daniel and Rebecca Young CRESCENDO ($125) Tierra Company, L.P. / Bill Musar
Michael & Gayle Banschbach Harold and Leann Brenner Paula Cahoon Barbara Davis Keith and Jane Dial Monsignor Larry Droll Barbara Faubion Elizabeth Greaves Sarah & David Grimes Mack and Edna Hibbits Joanie Holt Mr. & Mrs. Ted Kerr Jack and Carolyn Laschkewitsch Rod and Patti MacDonald
Joan McCown Lynn S. Mashburn Melissa and Mark Rae Paul & La Donna Weaver Jane Meredith Wolf PIANO ($75+) Anonymous (2) Beverly Alstrin Ann Parish Betty Whitmire
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For over 52 years, the music of the Midland-Odessa
Symphony & Chorale has been presented as planned; despite the economic conditions in the Permian Basin, the music continued and no season (or part of a season) has ever been cancelled. What a testament to residents of the Permian Basin and their determination to include live symphonic and choral music as an integral part of the cultural landscape of West Texas. Your gift to the MOSC Endowment Fund allows you to join generous contributors whose gifts go immediately to work and provide critical funding for the quality programming the MOSC offers season after season for residents of all ages. The MOSC invites you to consider a more impactful and meaningful gift. As you consult with your tax advisor, financial planner or attorney please let the MOSC be that entity as a beneficiary of your planned giving or of your estate as your legacy continues to Enrich Lives Through Music for generations to come. For further details on how you can play your part in assuring that the MOSC continues to Enrich Lives Through Music well into the future, please contact Violet Singh, Development Director at development@mosc.org (432) 563-0921.
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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 Honor of Ted Hale Anonymous Memorials: Nelson Allison Marion E. Luper, Jr. Jared A. Barlage Marion E. Luper, Jr. Roy E. Campbell
Mr. & Mrs. Louis Rochester
Mrs. Wanda Campbell J.C. Ferguson Foundation The Midland Musicians Club 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 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 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 Violet & Mark Singh
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ENDOWMENT FUND CONTRIBUTORS (continued) Dr. Roger M. Traxel Harold & Jacquelyn Williams Jane Wolf & Pool Webb Mr. & Mrs. Max Wright Contributors (Up to $999) Honorariums: Bea Angevine Jane & Don Samples 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 Kimberly Corman Janet Williams Pollard 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 Edith C. Hardy The Midland Musicians Club Lee Harley Flo White
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Sharon Hickox Mark & Janet Krause Peggy C. Jones The Midland Musicians Club Abigail Kauffman Mary Macferran LaDoyce Lambert MOSC 2014 - 2015 Board of Directors Martha Lewis The Midland Musicians Club Reba McHaney Mr. & Mrs. Stephen H. Parker Tim Young & Sharon Hickox Edward McPherson Jeannette & Mark Kolokoff 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 Mark & Jeannette Kolokoff Bill & Mary Garay Cindy Walton Amy A. Walton Jane Wolf Memorial Christian Church 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 Mr. & Mrs. Kevin D. Durham Arlen Edgar Betty & Clem George Robert D. Anson Thomas K. Anson Ms. Francene Breckenridge 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 Clarence E. Cardwell, Jr. Eric Leibrock Mrs. Ethel Chapman Truman & Doreen McCreless Wanda Campbell The Midland Musicians Club 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
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ENDOWMENT FUND CONTRIBUTORS (continued) 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 Robert Hudson Jane Wolf 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 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 & Harriet 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 Rebecca Atwood Victoria Ehrlich Mr. & Mrs. Charles E. Jones Josh H. Parr Anonymous Rebecca Atwood Mrs. Coy Best Victoria Ehrlich Delia Griffin V. Wayne & Joann Jones Mr. & Mrs. James D. McLaughlin John O’Hern Dr. Jess Parrish Kay and Bob Bivens 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 David Austin Stephens Davis, Gerald & Cremer Stubbeman, McRae, Sealy, Laughlin & Browder Mary Lou Cassidy Permian Basin Landmen’s Association Violet & Mark Singh Nan & Alan Zeman Deane Stoltz & Susan Stoltz Tirey Kay & Robert Bivens
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ENDOWMENT FUND CONTRIBUTORS (continued) Emma H. Burnett Wanda Campbell 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 / Bill Musar 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 Cheryl Becker Frank & Gretchen Bell Mr. & Mrs. Stanley Bellows Virginia Berry
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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. Hibbitts 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 B. 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 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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At Trinity School, 94% of our students participate in fine arts classes. We are tuning up in band, vocalizing in choir, gracing the stage in drama, snapping pictures in photography, throwing pots in art and – most importantly – coming to know an aesthetic point-of-view. Our students are well prepared to be appreciative audiences for and stalwart supporters of organizations like the Midland-Odessa Symphony & Chorale. Congratulations on another great season!
Students Participate in Fine Arts 3500 West Wadley | Midland, TX 79707 | www.trinitymidland.org The Mission of Trinity School is to be a college preparatory community that provides a nurturing environment to enrich the mind, strengthen the body, enliven the soul, and inspire servant leadership.
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ADVERTISER INDEX Aghorn Energy, Inc. All About Hearing, Inc. Alldredge Gardens Barn Door Steakhouse Basin PBS Bobby Cox Companies Carter Financial CBS7 Chandler, Carol & Tom Complex Community Federal Credit Union Concho Consierge MD Midland Corey Sly Electrical Service Cotton, Bledsoe, Tighe & Dawson, PC Crenshaw Flooring Crump, Martha & Paul Diamonds Diamonds Doubletree by Hilton Dunn, Terri & Tim First Capital Bank of Texas First Methodist Midland Fox 24 Frost Bank Gladden Insurance Agency Hankins, Ann & Ken Humphreys, Dr. James & Sharon Ideal Flower Arrangements Janee's Bridal & Formal Jim's Tall & Big Men's Store Joe Allbright - Retire West Texas Jonnie's Design & Home Décor Legacy Real Estate Legacy Real Estate - Kay Bivens Lissa Noël Wagner - Frances & Jack Brown Liz's Interiors Lubbock Piano Gallery Mark Knox Flowers MCH Laser & Wellness Center MCH Mission Fitness Mattei Glass Medical Center Health System Medical Spa of Midland MHBT Midland College
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Midland Community Theatre Midland Festival Ballet Midland Opera Theatre Midland Reporter-Telegram Midland Symphony Guild Midland-Odessa Symphony & Chorale MOSC - Mozart's Magnificent Voyage MOSC - Symphony Sweepstakes Name Droppers N-Tune Music & Sound Odessa American Odessa College Odessa Symphony Guild Odessan Magazine Orchard Park Odessa Patches & Scraps Permian Basin Area Foundation Permian Eye Associates Permian Pediatrics PhyTEx Rehabilitation & Sports Medicine Associates Premier Parking Rogers Ford Lincoln Mercury Serenity Memorial Gardens Cemetery Sewell Lincoln Shamrock Steel Sales, Inc. Sherrod’s Piano Service Sims & Guess, Realtors St. John's Episcopal School St. Nicholas’ Episcopal Church Susie's South 40 The Bosworth Company The Canopy The George W. Bush Childhood Home The Hemingway The Studio Fine Furnishings & Interiors The Village at Manor Park The Wishing Well Trinity School University of Texas of the Permian Basin Wagner Noël Performing Arts Center Wells Fargo West Texas Insurance Exchange, Inc. West Texas Public Radio Woodcock, Claire & Jim
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