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 33 37 50

2013-2014 Season Series Gala Opening Night (Masterworks I) Rockin’ Out with Flash Cadillac (Pops & Family I) Bernstein, Copland and Beyond (Masterworks II) Sounds of the Season – Holiday Spectacular (Pops & Family II)

Our Ensembles 5 21 15

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

Our Contributors/Donors 19 52 54 86

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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 Malia Albin, Secretary Beverly Alstrin, Vice President, Sponsorships

DIRECTORS Gloria Abalos Penny Angelo Sheilagh Bassett Rebecca Bell Kay Bivens Cindy Bobo Dale Brown Karmen Bryant Carol Chandler 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 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 John Madura, violin ~ Heather Davis, violin (not pictured) the Permian Basin.

Melissa Madura, viola ~ Amy Huzjak, cello

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 First Capital Bank of Texas GOLD ($5,000) Community National Bank Concho Resources The Dunn Family Lithia All American Auto Group 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 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 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 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 Jane 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

BASS TROMBONE Jon James TUBA Kevin Young, Principal

BASSOON Luis de la Garza, III, Principal Bill Harden

TIMPANI Tim Mabrey, Acting Principal

HORN Sonja Kassal, Co-Principal Scott Millichamp, Co-Principal Norma Binam Susan Green TRUMPET Michael Santorelli, Co-Principal Eric Baker, Co-Principal John Irish

PERCUSSION Erin Martysz, Principal Nathaniel Collins, Acting Keith Lloyd HARP Ricky Rasura, Principal PIANO Shari Santorelli, Principal

TROMBONE Ben Walsh, Principal Darin Cash

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Midland-Odessa Symphony & Chorale Presents

GALA OPENING NIGHT MASTERWORKS I

William Kanengiser, guitar Saturday, September 14, 2013 7:30 p.m.

Wagner NoĂŤl Performing Arts Center Masterworks Series Sponsored by David Austin Stephens This Concert Sponsored by the Midland-Odessa Symphony & Chorale Board of Directors 22

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P R O G R A M

Gala Opening Night 7:30 p.m.

Saturday, September 14, 2013 Wagner Noël Performing Arts Center Gala Opening Night Gary Lewis Conductor William Kanengiser, guitar Overture to Die Zauberflöte (The Magic Flute), K. 620 Wolfgang Amadeus Mozart (1756 – 1791)

Concierto de Aranjuez

Joaquín Rodrigo (1901 – 1999) Allegro con pirit Adagio Allegro gentile ~INTERMISSION~

Sergei Rachmaninoff (1873 – 1943) Symphony No. 2, op. 27 Largo – Allegro moderato Allegro molto Adagio Allegro vivace

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 B O U T

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T H E

A R T I S T

Recognized as one of America’s finest classical guitarists,

William Kanengiser won First Prize in the 1987 Concert Artists Guild International Competition as well as major guitar competitions in Toronto (1981) and Paris (1983). He has recorded four solo CD’s for the GSP label, ranging from classical to jazz to Caribbean to Near Eastern styles, and he recently recorded two CD’s for the Suzuki Guitar Advanced Repertoire Series. In 2005 he released a live concert DVD, “Classical Guitar and Beyond”, for Mel Bay Recordings, which also features Mr. Kanengiser’s talents as a comedian/mimic in his infamous “GFA Imitation Show”. A member of the guitar faculty at the USC Thornton School of Music since 1983, he was a recipient of the “2011 Dean’s Award for Excellence in Teaching”. He has given master classes around the world and produced two instructional videos, “Effortless Classical Guitar” and “Classical Guitar Mastery” for Hot Licks Video. The 2010-11 season was marked by special performances of Shingo Fujii’s “Concerto de Los Angeles” for solo guitar and guitar orchestra, which was written for Mr. Kanengiser and recorded in Kyoto in 2008. This piece was played with guitar students in seven U.S. cities, as well as in Osaka and Shanghai. Featured recitals in 2012-13 include Spivey Hall (Atlanta) and appearances with the Long Island, Philadelphia, Sacramento, Calgary, and Indianapolis Guitar Societies.

As a founding member of the Los Angeles Guitar Quartet, Mr. Kanengiser has toured extensively throughout Asia, Europe and North America and recorded over a dozen CD’s.

LAGQ was awarded a GRAMMY® for Best Classical Crossover Recording in 2004. Their newest recording project “Interchange”, features concertos by Joaquin Rodrigo and Sergio Assad; it was released in March 2010 and received a Latin Grammy nomination for Best Classical Composition. In addition to three European tours this season, they recently completed their Australian debut tour, including three sold-out shows at the Sydney Opera House.

In addition to the many arrangements and compositions Mr. Kanengiser has written for LAGQ over the years, Mr. Kanengiser recently created the stage production “The Ingenious Don Quixote: Words and Music from the Time of Cervantes,” writing a one-hour script for John Cleese (of Monty Python) and arranging accompanying Spanish Renaissance music for guitar quartet. This work is now being toured with comedian Phil Proctor of the Firesign Theater, and was recently released as a live DVD on Mel Bay Recordings.

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O P E N I N G

N I G H T

Overture to Die Zauberflöte (The Magic Flute), K. 620 Wolfgang Amadeus Mozart (1756 – 1791) The first performance of Die Zauberflöte, conducted by Mozart himself, was held at the Theater auf der Wieden in Vienna on September 30, 1791. Though most of the opera was composed by July of this same year, Mozart was not finished composing the overture until only two days before the first performance; it is claimed that the musicians first read this music at the dress rehearsal. Perhaps one reason for this retrospective compositional tactic is the fact that Mozart had begun to allude to the attached opera in his overtures much more than was traditional at the time. Typically, 18th century overtures were not thematically connected to their respective operas; the custom of setting the mood for an opera by utilizing thematic material in the overture was not common until well after Mozart’s time. Within this overture however, the entire opera’s story is found in microcosm.

Die Zauberflöte is a German Singspiel (rather than the expected sung dialogue, a singspiel has spoken dialogue alternating with singing – similar, in fact, to modern Broadway musicals).

It was librettist Emmanuel Schikaneder who commissioned this great work, a man who was also a prominent though somewhat roustabout theater manager; audiences may have expected a night of cheeky farce as a result of Schikaneder’s involvement, but likely realized they were in store for much more from the moment of the overture’s noble three-chord opening.

Beginning with the example of these three majestic chords, the Overture displays masonic elements that are present throughout the opera. Mozart was introduced to Freemasonry by Joseph Haydn. Many intellectuals of the time were Freemasons, and most of these men were concerned less with the political ideals than the broader principles of the Enlightenment, such as the brotherhood of man, nature, reason, and humanity as a whole. This was neither religious nor anti-religious (Mozart’s membership did not conflict with his faith), though some claim Mozart’s frequent use of threes is just as likely a reference to the Holy Trinity as it is to the Masonic usage (though the latter likely stems from Christianity, regardless of the nonreligious state of Freemasonry at this time). In addition to the first statement of the iconic number three, this same chordal gesture interrupts the overture in the middle of its Allegro section, and once more within the opera itself (which completes its own set of three). However, the most prevalent element to the work as a whole is its holistic and enlightened sense of man: “It was his bequest to mankind, his appeal to the ideals of humanity. His last work is not Tito or the Requiem; it is Die Zauberflöte. Into the Overture, which is anything but a Singspiel overture, he compressed the struggle and victory of mankind, using the symbolic means of polyphony; working out, laborious working out in the development section; struggle and triumph.” – Alfred Einstein After the opening of the rising, heralding three chords (also referred to as the “threefold” chords), which seem to invite the listener to partake rather than observe, Mozart provides a short section of sublime reverence, with only a few interjections of weighted depth as the emotion ebbs and flows. This quickly gives way to the Allegro section, which utilizes a fugue – the first Mozart overture to do so. Even more impressively, Mozart subtly combines the fugue into the larger scope of a sonata form (in short, a three part form comprised of an exposition, development, and recapitulation: an exposition in which the thematic material is heard, a development in which the key changes, and finally back “home” to the original key in the recapitulation). This form is conducive for the microcosmic prelude to the opera: its exposition displays the situation, the development shows the journey and struggles, then finally there is a thriumphant resolution in the recapitulation.

The “situation” is this: Tamino, the heroic prince, needs to rescue the beautiful princess Pamina from evil. The sublime reverence of the opening, full of love and respect, may serve to illuminate such awe inspiring motivations – especially considering the larger philosophical implication. The Allegro begins as Tamino sets out on his journey. The interruption of the slow threefold chords (at the start of the struggling development of the Allegro, not heard since the opening notes of the Overture) begins the association between the threefold chords

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with the trials that Tamino must undergo to be with Pamina – though again, the broader significance is the representation of the struggles of man and humanity in general. Finally, Tamino heroically wins the battle against evil, dipicted in the joyous final section when the tonality returns “home” to its original key.

Ironically, the fugue’s main theme (also called a subject) is not Mozart’s creation, but rather that of his “rival” Muzio Clementi (1752 – 1832). Mozart “borrowed” this theme from one of Clementi’s piano sonatas (op. 24, no. 2) – in fact, the very same sonata that Clementi performed in a sort of “duel” against Mozart in a performance for Emperor Joseph II ten years prior to this Overture. Clementi was understandably outraged, though it is often wondered which bothered him more: the fact that Mozart “borrowed” this particular theme, or the claim that Mozart’s clever treatment of said theme was filled with more artistry in its contrasts and increased sense of energy. Regardless, the Overture to Die Zauberflöte is a profound example of Mozartian balance: grace, elegance, and grandeur without overt lavishness, sublime reverence without unnecessary severity, and urgency and earnestness without impatience.

Concierto de Aranjuez Joaquín Rodrigo (1901 – 1999) Spanish composer Joaquín Rodrigo described his own music as “neocasticista” or “faithful to tradition.” He utilized traditional forms in his music and drew upon both Classical and nationalist sources for his musical language, though it is claimed that his most profound gift lies in his remarkably eloquent melodies. Rodrigo is also heralded as contributing the most significant Spanish concerti and settings of classical Spanish poetry; furthermore, most (if not all) guitarists would agree that his guitar pieces are amongst the most central in the entire Classical guitar repertoire. Indeed, soon after the 1940 premier of the Concierto de Aranjuez in Barcelona, Rodrigo was recognized as one of the leading composers in Spain.

After beginning his musical education at an early age in Valencia, Rodrigo moved to Paris in 1927 to study with Paul Dukas (composer of the famous The Sorcerer’s Apprentice) at the Ecole Normale. During the Spanish Civil War, Rodrigo lived and worked in France and Germany, unable to return to his native country, though finally returned to Spain to live in Madrid in 1939. This was also the year he completed the Concierto de Aranjuez. During the second half of the 20th century, Rodrigo was revered and prized much as fellow Spanish composer Manuel de Falla was respected in the first half; both composers wrote with a similarly “faithful to tradition” sense of classical and nationalistic pride in Spanish music, art, and literature.

The Concierto de Aranjuez has become one of the most popular 20th century concertos, and has been transcribed for numerous instruments. Though the only arrangement done by the composer’s hand was for harp and orchestra, other artists, such as renowned jazz musician Miles Davis (in his 1960 album Sketches of Spain), have adapted this music into several other forms, particularly utilizing the breathtaking theme of the second movement. This concerto is so beloved that in honor of Rodrigo’s 90th birthday, King Juan Carlos I of Spain awarded him the hereditary title “Marqués de los jardines de Aranjuez” (Marquis of the gardens of Aranjuez).

The birth of the idea for this concerto came in 1938, when the Rodrigos (Joaquín, with his wife Victoria Kamhi by his side) met with the Marqués de Balarque and guitarist Regino Sáinz de la Maza. Rodrigo enthusiastically agreed, and decided to dedicate the work to this same guitarist. However, while writing the concerto, Kamhi suffered a miscarriage in the seventh month of her pregnancy. While she recovered in the hospital, Rodrigo spent sleepless nights at home, playing the melody from the second movement of this concerto. A family friend, upon observing this behavior, stated that the sadness of the scene and the melody was so

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deep it gave her chills. Kamhi later stated that for her, this theme evoked “the happy days of our honeymoon, when we walked in the park in Aranjuez, and at the same time, it was a love song. And for those reasons, the work would be entitled Concierto de Aranjuez.”

Rodrigo himself described that “the Concierto de Aranjuez is named from the famous royal site on the shore of the River Tagus, not far from Madrid, along the road to Andalusia, and some perceive Goya’s shadow in the notes of its music, full of melancholic emotion. Its music seems to bring to life the essence of an 18th-century court, where aristocratic distinction blends with popular culture. In its melody the perfume of magnolias lingers, the singing of birds and the gushing of fountains...” Although the implied imagery is powerful, Rodrigo, blind from the age of three, could never have actually seen this beautiful site.

The concerto’s first movement, marked “Allegro con spirito,” displays Rodrigo’s love for traditional form and nationalistic musical language from the very beginning. It is largely based on Spanish dances, such as the fandango, and utilizes the common Spanish meter that blurs the metric distinction between 6/8 and 3/4. Rodrigo’s compositional skill shines in his ability to balance the full orchestra with the quieter guitar, and frequently exploits the upper voices of the orchestra (particularly the woodwinds) in agile counterpoint. The soloist begins with a soft rasgueado (flamenco strumming), promising, yet delaying, the melody. The woodwinds take up this rhythmic gesture and finally the melody is heard in the violins. In addition to rasgueado, the guitarist uses additional techniques associated with flamenco, such as punteado (picked ornamentation in flying scale passages).

The famously sublime Adagio follows the charming first movement, with its unforgettable English horn solos and flamenco-inspired ornaments in the guitar. Many scholars site similarities to Baroque works within this movement, especially in the sense of its floridity, harmonic progression, and emotionally charged ornamentation. Considering the life altering events during this piece’s conception, it may come as no surprise that many claim to hear Rodrigo’s sobbing in the midst of this emotional journey. The melody, first heard in the English horn, is inspired by the saeta, an Andalusian lament sung during Holy Week. Traditionally, the saeta would be sung by a few women walking the streets, eventually leading to communal keening.

The English horn and guitarist carry the weight of the lament in the beginning of this journey, though as in the traditional setting, the orchestra ultimately joins with their own cries. After the extended cadenza and passionate climax, the movement ends with a sense of reflective, gentle longing.

Last, the “Allegro gentile” third movement relates to the first in its genteel courtly dance flavors. After the passionate whirlwind of emotion found in the Adagio, this last movement begins with such charm and simplicity that one may feel it akin to throwing cold water on a

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sunburn. As in the first movement, Rodrigo employs a metric juxtaposition, this time between 2/4 and 3/4. Various solo instruments pass the theme around, back and forth, culminating in a grand presentation before ending delicately. After all, Rodrigo said that this piece “should sound like the hidden breeze that stirs the treetops … should only be as strong as a butterfly … a suggestion of times past.”

Symphony No. 2, op. 27 Sergei Rachmaninoff (1873 – 1943) Sergei Rachmaninoff (also spelled Serge or Sergey; Rakhmaninov or Rachmaninov) was a Russian pianist, composer, and conductor. His skills as a pianist were rarely paralleled in his day, and his compositions represent the last of the great Russian late Romanticism. His precision and expressive breadth in his conducting made audiences feel the pieces had been “washed” anew with clarity. Although he was very successful to varying degrees in all three facets of his career, Rachmaninoff found it difficult to focus on more than one at a time. As a result of this wholehearted devotion, his compositions were frequently spaced out into times when he was able to escape to private retreats in which to compose without distraction. His favorite retreat, called Ivanovka (in the Russian countryside southeast of Moscow), is thought to be the birthplace of nearly 85% of his compositions. Although Ivanovka was destroyed in the Russian Revolution of 1917, the beloved estate has since been recreated as a museum monument in tribute to the great Rachmaninoff.

Particularly as a conductor (though also as a conductor and performer), Rachmaninoff worked with several of the most revered Russian musicians at the time, such as Tchaikovsky and Rimsky-Korsakov. In 1897, Glazunov conducted the premiere of Rachmaninoff ’s first symphony with horrid results; one critic even claimed that it likened a “programme symphony on the Seven Plagues of Egypt.” This disaster caused much turmoil for Rachmaninoff, though retrospective speculation led him to believe its poor reception was more to do with the performance than the actual music, and some remarked that Glazunov was drunk at the performance.

Although this assertion cannot be proven, Shostakovich was known to have described Glazunov’s tendency to keep a bottle of alcohol behind his desk in his studio at the St. Petersburg Conservatory, from which he drank through a tube during lessons.

Whatever the reasons for this disaster, Rachmaninoff was subsequently plunged into a deep despondency. For the next three years, sketches for compositions were started and abandoned; nothing of compositional significance came from this span of time. Thankfully, through his own efforts in therapy (particularly with hypnotist Nikolai Dahl) as well as those of his family and friends (whom even set up a meeting with Tolstoy to discuss his music), Rachmaninoff did return to composition, and in 1900, he premiered two movements from his most enduringly popular work, the Second Piano Concerto. Nonetheless, it was several more years until Rachmaninoff decided to again tackle the full-scale symphony. When he did return to such work, he was very secretive: “I gave my solemn word – no more symphonies. Curse them! I don’t know how to write them, but mainly, I don’t want to.”

By February of 1906, after living in a country fraught with growing political unrest, Rachmaninoff decided to resign his current post (as conductor at Moscow’s Imperial Grand Theater) and almost immediately moved with his family to Italy. His firstborn daughter became ill shortly thereafter, causing him to bring her back to Russia. However, as the environment he found there was not conducive to productive work, Rachmaninoff retreated to take a house in Dresden. It was here, in the seclusion of this retreat, that he completed his Second Symphony between October of 1906 and April of 1907.

The massive Symphony No. 2 has since been heralded as the “Russian Lyric Symphony” by critics such as Konstantin Kuznetsov, who also stated, “so direct and sincere are its themes, and so naturally and spontaneously do they develop.” Rachmaninoff ’s gift for creating ardently charged melodies is particularly evident in this hour of music, reflecting his conceptual ideal that “music must first and foremost be loved. It must come from the heart and it must be directed to the heart. Otherwise it cannot hope to be lasting, indestructible art.”

The first movement, marked Largo – Allegro moderato, begins with a soft chant-like theme

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in the lower strings, establishing from the very start the motivic upward sigh of a half step.

After the winds echo the half steps, this theme is then spun into the upper strings, who take over and exploit the curling four-note tail. Together, these elements form the basis of the movement, and in the fashion of Tchaikovsky’s Fourth and Fifth Symphonies, Rachmaninoff uses these motivic gestures to underpin the entire work (a tactic Rachmaninoff may have been influenced by, as he once stated he “was completely under the spell of Tchaikovsky”). The Largo section continues to build upon this idea until the peak of emotional ardor, notably supported by the brass section. As the emotion ebbs, the solo English horn “muses” upon the journey thus far, and leads into the Allegro, with the upper strings softly shuddering a fragmented rising scale. This scale (which the strings quickly reintroduce with more conviction) along with the recognizable curling four-note tail of motivic consistency, serves as the first theme. In the midst of the shudders and conviction of the strings, the clarinet introduces the second theme – again, clearly related to the original motivic sigh gesture. Rachmaninoff is now using these ideas with more forward momentum, creating the urgently intense lyricism that defines this movement. A duet between solo violin and English horn heralds the coming power of the development section, within which the storm builds higher and higher. With few moments of levity (Rachmaninoff certainly knew how to build suspense), the brass interjecting triumphant fanfares, the home key is finally reached again with the second theme calling and responding between the woodwinds and upper strings. Again, the tension rises, building until the appropriately abrupt finish.

The second movement scherzo (marked Allegro molto) is vigorous and wildly energetic, spitting colorful sparks of flame amongst moments of haunting lyricism. Rachmaninoff uses a leitmotif of particular fascination in a few places, more explicit later in the movement than the beginning: the Dies irae chant theme from the Gregorian Mass for the Dead. The Dies irae is first suggested by the horns at the beginning of the movement, and taken up with more prominence by the brass in a sinister chorale near the end.

The Adagio seems to begin mid-phrase, as though joining a train already in motion, enticingly inviting the listeners to be swept away on an emotive heartfelt journey. The heavenly genius of Rachmaninoff ’s lyricism is particularly evident here, beginning with the memorable theme carried by the violins (still reminiscent of the sigh gesture heard in the beginning of the symphony). The strings soon part to let the clarinet sing, as though the sun has shifted to reveal a shimmering and flowing river, seemingly and breathtakingly endless in its long lines and expansion of a simple idea. The momentum carries the glorious emotion forward, until a feeling of uncertainty begins to snake its way into the beauty. The oboe and English horn begin to have a conversation fraught with sighing sobs. As this next turn in the journey takes flight, the beauty of sunshine, flowing rivers, and endless sighs continue to starkly bare their colors.

If the Scherzo is vigorous and wildly energetic, spitting colorful sparks of flame, the final movement (Allegro vivace) begins already on fire, bubbling and boiling with vitality. Rachmaninoff utilizes triplets in this first theme, reminiscent of the Scherzo; there is even evidence of direct quotations, again displaying the motivic consistency and unity Rachmaninoff so brilliantly employs throughout the entire work. When this initial cheeriness subsides, the violins again take the role of the lyrical singers, supported by a rhythmic drive of triplets, perpetually thrusting the motion forward. The exposition closes with the familiar upward sigh gesture.

When the high-speed vitality returns in the development, Rachmaninoff foreshadows the brilliant section to come with several descending scales, all the while utilizing familiar motivic elements. Eventually, the swirls of descending scales, played slow and fast, high and low, syncopated and straight, combine to create a sound world remarkably akin to the ringing of hundreds of church bells in Russia. Back “home” in the recapitulation, Rachmaninoff once more spins the violins into lyricism, again compelled by triplets and the cheery theme of the beginning, complete with plenty of (now triumphant) sighs.

– Melissa Graham

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Midland-Odessa Symphony & Chorale Presents

ROCKIN’ OUT WITH FLASH CADILLAC ( P O P S & FA M I LY I )

Flash Cadillac Saturday, October 19, 2013 7:30 p.m.

Wagner Noël Performing Arts Center Pops & Family Series Sponsored by Lissa Noël Wagner with Francis and Jack Brown Concert Sponsored by S. Javaid and Vicky Anwar Sivalls, Inc. Midland Symphony Guild

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Rockin’ Out with Flash Cadillac Gary Lewis Conductor FLASH CADILLAC WARREN KNIGHT - Bass Guitar and vocals DAVE “THUMPER” HENRY - Drums & vocals TIMOTHY P. IRVIN - Vocals ROCKY MITCHELL - Guitar & vocals PETE SANTILLI - Keyboard and vocals DWIGHT BEMENT - Saxophone

Flash Cadillac and the Symphony will perform selections from the following: BE MY BABY Spector, Barry & Greenwich BLUEBERRY HILL Lewis, Stock & Rose DANCING IN THE STREET Stevenson, Hunter, & Gaye DONNA Richie Valens GREAT BALLS OF FIRE Hammer & Blackwell HIGHER AND HIGHER Smith, Jackson, Milner & Davis HOLD ON, I'M COMIN' Hayes & Porter I ONLY HAVE EYES FOR YOU Warren & Dubin JAILHOUSE ROCK Leiber & Stoller LATER THAN MIDNIGHT Kris Moe LAYLA E. Clapton & D. Allman MY GIRL Robinson & White NIGHT TRAIN Forest, Washington, & Simpkins PENNY LANE Lennon & McCartney PRETTY WOMAN Orbison & Dees RIVER DEEP, MOUNTAIN HIGH Ashford & Simpson ROLL OVER BEETHOVEN Chuck Berry RUNAWAY Del Shannon SHAKE, RATTLE & ROLL Bill Haley & The Comets SHE’S SO FINE Kris Moe & Linn Phillips SHOUT Isleys SINCE I DON'T HAVE YOU J. Rock & The Skyliners SIXTEEN CANDLES Dixon & Khent SOUVENIR OF CALIFORNIA Kris Moe SPLISH, SPLASH Darin & Murray STAND BY ME King, Leiber & Stoller SURFIN' USA Wilson & Berry SURFING DOWN BROADWAY Sam McFadin/Kris Moe SWEET LITTLE SIXTEEN Chuck Berry SWEET SOUL MUSIC Redding, Conley, & Cooke TRUE LOVE WAYS Petty & Holly TWISTIN’ THE NIGHT AWAY Sam Cooke WHITER SHADE OF PALE Reed & Brooker There will be a twenty-minute intermission FLASH CADILLAC APPEARS BY ARRANGEMENT THROUGH SCOTT O'MALLEY & ASSOCIATES Special arrangements for this program were prepared by: MARK ARNEST, LARRY BAIRD, DWIGHT BEMENT, DAN BRINK, DON ELAM, DAVE HANSON, and TONY KLATKA

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 34

Melissa Young Owner thehemingwayofmidland.com

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

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Flash Cadillac and Sixties Peers Honored

by Colorado Music Hall of Fame September 8, 2012, Boulder Theater Boulder, CO Denver – The Colorado Music Hall of Fame has announced the impending induction of Flash Cadillac, along with the Astronauts, Sugarloaf and KIMN radio. Details of the induction event will be revealed shortly.

"The Colorado Music Hall of Fame, a non-profit organization that benefits the CU School of Music, honors those individuals who have made outstanding contributions, preserves and protects historical artifacts, and educates the public regarding everything that's great about our state's music," says Chuck Morris, CMHOF's chairman of the board.

Prolific promoter Barry Fey of Family Dog fame and the Denver Folklore Center's Harry Tuft were inducted in February. John Denver and Red Rocks Amphitheatre were the inaugural inductees to the CMHOF last April.

- March 2012 Announcement from the Colorado Music Hall of Fame

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Midland-Odessa Symphony & Chorale Presents

COPLAND, BERNSTEIN AND BEYOND MASTERWORKS II

DAVID JACKSON,

DANIEL WASHINGTON,

trombone

baritone

Saturday, November 9, 2013 7:30 p.m.

Wagner NoĂŤl Performing Arts Center Masterworks Series Sponsored by David Austin Stephens This Concert Sponsored by Dr. James & Sharon Humphreys

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C o pla nd, Ber nste i n and Beyo nd 7:30 p.m.

Saturday, November 9, 2013 Wagner Noël Performing Arts Center Copland, Bernstein and Beyond Gary Lewis Conductor David Jackson, trombone Daniel Washington, baritone Overture to Candide Angel of Dreamers

Leonard Bernstein (1918 – 1990) Eric Ewazen (b. 1954)

O Love You So Fear the Dark God a Me This is My Father’s Country My Mother’s Sea Chanty All Souls Day ~INTERMISSION~ blue cathedral Jennifer Higdon (b. 1962) [note the intentional non-capitalized form] El Salón México

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Aaron Copland (1900 – 1990)

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T H E

A R T I S T

DAVID JACKSON, trombone David Jackson enjoys an active career as a performer and teacher. He is a recognized and ardent supporter of new music who has commissioned and premiered numerous compositions for the trombone. His most recently commissioned and debuted Angel of Dreamers, by Eric Ewazen, for trombone, baritone voice and strings, and John Henry’s Big by Adolphus Hailstork for trombone and piano.

Mr. Jackson has been a guest performer with numerous orchestras, including the Detroit Symphony, Dallas Symphony, Chicago Symphony, Fort Worth Symphony, Grand Rapids Symphony, New World Symphony, as well as the Michigan Opera Theatre and the Cabrillo Music Festival.

He is a member of the Detroit Chamber Winds and Chicago’s Fulcrum Point New Music Project.

In demand as a guest clinician and performer, Mr. Jackson has presented numerous guest recitals and masterclasses at institutions including the Juilliard School, Yale University, UCLA, University of Minnesota, the Cincinnati College-Conservatory as well as the conservatories of Shanghai and Beijing.

His former students occupy performing and teaching positions throughout the United States.

Mr. Jackson is currently Associate Professor of Trombone at the University of Michigan School of Music. He has also been on the faculties of Baylor University, Eastern Michigan University, the University of Toledo and the Interlochen Arts Camp. He spends his summers teaching and performing at the Hot Springs Music Festival, the MPulse Trombone Institute, the Idyllwild ChamberFest and the Brevard Music Center. Mr. Jackson is a Conn-Selmer artist and clinician.

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A R T I S T

DANIEL WASHINGTON, Bass-Baritone Bass-Baritone Daniel Washington enjoys a career that brings him to the world’s major opera houses and concert stages, pairing him with such conductors as Sir Simon Rattle, Bernard Haitink and Charles Dutoit. As Wolfram, his “rich, resonant voice and well shaped phrases were the highlight of the evening,” opined the Palm Beach Daily News. “It was compelling singing that set the stage for the most emotional part of the production.”

Recent seasons have found Washington as the villain Crown in a new production of the opera Porgy and Bess at the Opéra Comique in Paris. Performances were also heard in Granada, Caen, and at the Grand Theatre de Luxembourg. Concert performances of this American classic were given with the Greater Anderson Music Consortium, at the Fondazione Teatro Massimo, with the Bowling Green Chamber Orchestra, the Helena Symphony, the Piccolo Spoleto Festival, and the Trondheim Symphony. He also sang in the world premiere of the song cycle Angel of Dreamers by the noted American composer Eric Ewazen with The Michigan Chamber Players and the Detroit Chamber Winds and Strings.

Among Washington’s recent highlights figure concert versions of Porgy and Bess with the Berlin Philharmonic under Rattle, Montreal Symphony under Dutoit, Detroit Symphony, Houston Symphony, Oregon Symphony, Naples Philharmonic, and Cincinnati Pops. He has also portrayed Wolfram in Tannhäuser at the Palm Beach Opera and Balthazar in Menotti’s Amahl and the Night Visitors, directed by the composer.

Additionally, he has appeared in concert with the Bournemouth Symphony, Royal Stockholm Philharmonic, the Royal Liverpool Philharmonic Orchestra, the London Symphony, the Bayerische Rundfunk, the Rotterdam Philharmonic, the Czech Philharmonic, and the Tonhalle Orchestra Zürich. As a recitalist, he has appeared in Germany, Austria, Switzerland, and the Spoleto Festival USA. Other highlights of his operatic career include his Royal Opera Covent Garden debut in Strauss’ Die Frau ohne Schatten, conducted by Bernard Haitink, and his debut as Porgy at La Fenice in the highly acclaimed production of Porgy and Bess directed by Götz Friedrich. He also created the role of Steven Biko in the world premiere of the opera Biko for the Royal Opera’s Garden Venture Project. Other opera engagements include Amonasro in Verdi’s Aida at the Stadttheater Saarbrücken, Jochanaan in Strauss’ Salome at the Teatro Massimo (Palermo), Marcello in La Bohème at the Hamburg Staatsoper, Escamillo in Bizet’s Carmen, the title role in Verdi’s Simon Boccanegra at the Stadttheater Luzern and the title roles in Wagner’s Der Fliegende Holländer and Mozart’s Don Giovanni at the Stadttheater Hof in Germany.

Daniel Washington has won many awards, including the First Prize in the International Voice Competition of Toulouse and the First Prize in the International Competition of Lyric Singing in Verviers. He also won the Bad Hersfeld Opera Prize in recognition of his excellence in performing the role of Jochanaan in Strauss’ Salome.

His recordings include a recording of Spirituals, “Songs my Mother Taught Me”, the Baritone Solo in Appalachia by Delius, Pizarro in Beethoven’s Fidelio, Tom in Gershwin’s Blue Monday Blues, and Tarquinio in Respighi’s Lucretia.

Daniel Washington is a Professor of Voice at the University of Michigan School of Music, Theatre, & Dance.

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Overture to “Candide” Leonard Bernstein (1918 – 1990) The legacy of American composer, conductor, and educator Leonard Bernstein speaks to his prominence in every field in which he worked, his dedication to his craft, and his sheer artistry. Bernstein’s varied accomplishments span across the world, from concert halls to musical theaters, and television to classrooms. As a conductor, his most famous contribution was his tenure as music director of the New York Philharmonic. Although his compositional output boasts numerous popular favorites, perhaps the most beloved is his score to the Broadway musical West Side Story, which was written and premiered within the same span of time as Candide. In fact, Bernstein worked on these scores simultaneously, leading to some bleed between the works. For instance, the West Side Story music for the songs “One Hand, One Heart” and “Gee, Officer Krupke!” originally appeared in the score for Candide.

Both of these stories served as inspirational sparks for Bernstein compositionally; in the case of Candide, based on Voltaire’s satirical novel of 1759, the European characters galavant around the world seeking proof of the claim that “all is for the best in this best of all possible worlds.” Appropriately, Bernstein utilized European dance forms, such as the waltz, gavotte, and schottische. In addition, both scores exploit a motivic consistency. Candide boasts the frequent use of the minor seventh to denote importance, and motives from “Candide’s Lament” reappear at many moments throughout the show.

After the premieres of these two shows (Candide in 1956; West Side Story in 1957), it was clear that while both would be crowning achievements, the latter would have a lengthier career of “bringing down the house.” After the first run of Candide, Bernstein revisited and modified the work several times over the course of the next three decades. In 1989, Bernstein recorded a new concert version of the work, devoting his last ounces of vital energy in his already seriously ill state. This composition and its implications meant a great deal to Bernstein; he once stated, “there’s more of me in that piece than anything else I’ve done.”

The Overture to “Candide” is one of the most popular American overtures, programmed regularly for the concert stage and thoroughly enjoyed by audiences and performers alike (as may be evidenced in pop culture by several videos on YouTube, including a few of Bernstein himself conducting this piece). From the very first downbeat, this overture propels at breakneck speeds, overflowing with toe-tapping excitement. The two main melodies are taken directly from the show: the upbeat tune is from Cunégonde’s aria “Glitter and Be Gay;” the romantically sweeping line is from Candide and Cunégonde’s love duet “Oh, Happy We.” Angel of Dreamers Eric Ewazen (b. 1954) O Love You So Fear the Dark God a Me This is My Father’s Country My Mother’s Sea Chanty All Souls Day All across the globe, numerous ensembles have performed the music of Eric Ewazen, from Honolulu to the United Kingdom, Texas to Israel, from university ensembles to renowned symphony orchestras. As an avid educator, he has been a guest at over 100 universities and colleges throughout the world. His works have been recorded on numerous labels, such as Summit Records, d’Note Records, Albany, and EMI Classics. Ewazen earned his Bachelor of Music degree at the Eastman School of Music, a Master of Music

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degree and a Doctorate of Musical Arts degree at the Juilliard School. His teachers include Milton Babbitt, Samuel Adler, Warren Benson, Joseph Schwantner, and Gunther Schuller.

Angel of Dreamers was commissioned and debuted by David Jackson. After working with Ewazen on the idea of the piece, Jackson worked to choose text for the lyrics. He settled on the work of Jamaican poet Lorna Goodison (who, alongside Jackson, is on the faculty at the University of Michigan). After receiving her blessing, Jackson sent a book of Goodison’s poetry to Ewazen, who connected well with the work. The end result, in Jackson’s words, is a “beautiful song cycle that pays tribute to those who have protected and cared for us throughout our lives, but are no longer with us.” The premiere of the string quartet version took place in 2009 in Detroit, Michigan, with a preconcert talk by Goodison and Ewazen. The string orchestra version premiered in New York City at the Juilliard School in October of 2009, where Ewazen has been on faculty since 1980. The Midland-Odessa Symphony performance will be the Texas premiere, and only the third worldwide performance of the orchestral version.

Eric Ewazen’s program notes on “Angel of Dreamers”: Lorna Goodison's beautiful, evocative poetry, filled with vivid imagery was the inspiration for my song cycle, "Angel of Dreamers". Culled from 5 different poems from her many collections--the 5 poems are a tribute to our parents and our loved ones--those who have protected us, embraced us throughout our lives--providing comfort in our life's journey.

The initial poems describe our life journey: "O Love you so Fear the Dark", describes the fear of the unknown--fear of that darkness--but a voice, filled with wisdom--is telling us not to fear--that the darkness leads to light. "God A Me" continues the journey now in the flowing waters--that tide of life. When one is temporarily tossed out--away from the flow, again, the fear, the disorientation--but resilience takes over--and the return to the flow of life in that comforting rush of the waters leads one forward.

The following two poems are a tribute to our parents--those whose initial wisdom, unconditional love, and caring guidance provide us comfort throughout our lives--long after they are gone they are in our memories forever. In our dreams we still see them--as familiar, beloved tunes trigger the memory of the Father--we feel comfort--absolute and enduring. A dream of the mother also provides comfort--but we are now the care-givers-and we protect her memory in our hearts--and we imagine her transcendent, away from the Earthly chores of life--flying through the skies, ethereal, blessed.

The final poem sums up this love, and our appreciation for the comfort we have been given. Once again, the memory triggered by music--this time, the resonating Kumina Drum Sounds, we feel protected, always able to overcome our fears, our question marks about life--and we are never alone. Love endures.

Throughout the piece--the musical lines reflect the strong emotions of Ms. Goodison's extraordinary words. The emotions shift frequently from fear to comfort--from dramatic intensity, to pastorale peace. The distinct, evocative imagery, is reflected in the choice of rhythms and melodic stylings. And which composer would not enjoy being able to include quotes from some of the most beloved popular tunes like "Shenandoah", "Jamaican Farewell" and "Sleep Late my Lady Friend" in their music? The Trombone and Vocal lines provide a real dialogue--tossing ideas back and forth--the trombone sometimes anticipating the singer--sometimes acting like a Greek Chorus commenting upon the twists and turns of the life's journey presented in the words, but sometimes joining with the singer in proclaiming strong, heartfelt emotions.

I am so grateful to my friend, David Jackson, Daniel Washington and the wonderful string ensemble who are bringing my music to life. I hope you enjoy the performance of "Angel of Dreamers".

– Eric Ewazen

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CO P L A N D , BE R N S T EI N AN D BE YON D Angel of Dreamers Poetry by Lorna Goodison I. O Love You So Fear the Dark O Love, you so fear the dark you so accustomed to fighting.

It only seems like the night but it’s a veiled overture to light.

It is transitory love, it is passing.

The dagger, love, sheath it.

The bloodied dove, sweet, release it.

There is nothing to fear it is dark only as your eyes or my hair and it is kind love it leads to light if you but knew it only unarmed will you go through it.

II. God a Me Tide was me out of the river sweep me up onto the bank.

I was swimming in sync so with the live currents of the big rivers, one hundred rivers of this green island.

Now here I am beached but still breathing.

They say I’m the only one who can live so outside of the water culture where fish flourish and grow.

Fish out of water God a me Fish live on land God a me Slightly amphibian God a me My name itself a prayer God a me On land I breathe uneasy but still breathe though until the tides of mercy pull me

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back into the flow.

God a me.

III. from “This Is My Father’s Country” They say that if you dream your father and he does not speak that is an ill omen.

And I dream my father, he does not speak, he does not speak, there is no need.

He smiles so and the room is filled with stillness, high transcendent peace.

One Christmas I spent in New York alone my father appeared to me on Dry Harbor Road.

He burst through the doors of the funeral home and rapidly ascended the fire escape then hovered as a bright ball of light illuminating my solitary actions at evening.

He hovered outside in the snow glowing over the music issuing out the window, he and I serenaded by his favorite singer, Harry Belafonte, crooning “Jamaica Farewell” and “Shenandoah” and “sleep Late My Lady Friend.”

IV. My Mother’s Sea Chanty I dream that I am washing my mother’s body in the night sea and that she sings slow and that she still breathes.

I see my sweet mother a plump mermaid in my dreams and I wash her white hair with ambergris and foaming seaweed.

I watch my mother under water gather the loose perals she finds, scrub them free from nacre and string them on a lost fishing line.

I hear my dark mother speaking sea-speak with pilot fish, showing them how to direct barks that bear away our grief and anguish.

I pray my mother breaks free from the fish pots and marine chores of her residence beneath the sea, and that she rides a wild white horse.

V. All Souls Day How to explain Kumina drum sounds

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resounding through these cold rooms?

From what sky did a god disc drop this percussing cymbal in my teacup?

More music now, here’s a reed wind which pipes alto and animates March trees. Waterfowl on the pond become canards who honk in duck-deep chorus.

And no matter how my used-heart tries to settle like a cabouchon-cut stone in the weighted crown of an aging liege, it ska ska skas instead, licks one drop like the wingslaps of duck, oblivious.

All day I seem to have company, sitting down by myself to eat, I sense that someone already spread this table, prepared this meal then graced it for me. blue cathedral Jennifer Higdon (b. 1962) Pulitzer-prize winner Jennifer Higdon is one of the most performed living American composers working today. Her list of commissioners range from the Cleveland Orchestra to the Philadelphia Orchestra; from eighth blackbird to the Tokyo String Quartet; and from The President's Own Marine Band to such artists as Hilary Hahn. Higdon received the 2010 Pulitzer Prize in Music for her Violin Concerto, with the committee citing Higdon's work as a "deeply engaging piece that combines flowing lyricism with dazzling virtuosity." She has also received awards from the Serge Koussevitzky Foundation, the Guggenheim Foundation, the American Academy of Arts & Letters (two awards), the Pew Fellowship in the Arts, Meet-the-Composer, the National Endowment for the Arts, and ASCAP. In January 2010, Higdon received a GRAMMY for Best Contemporary Classical Composition for her Percussion Concerto. She holds the Rock Chair in Composition at The Curtis Institute of Music in Philadelphia.

Written in 2000, blue cathedral is one of the most popular pieces of new music in the United States.

The Philadelphia Inquirer calls it “a potent experience, awash in facile orchestrations and [with] an engaging sense of journey.” The New York Times claims it is “primarily tonal, as well as imaginative, richly orchestrated and accessible […].”

Jennifer Higdon’s notes on “blue cathedral”: Blue...like the sky. Where all possibilities soar. Cathedrals...a place of thought, growth, spiritual expression...serving as a symbolic doorway in to and out of this world. Blue represents all potential and the progression of journeys. Cathedrals represent a place of beginnings, endings, solitude, fellowship, contemplation, knowledge and growth. As I was writing this piece, I found myself imagining a journey through a glass cathedral in the sky. Because the walls would be transparent, I saw the image of clouds and blueness permeating from the outside of this church. In my mind's eye the listener would enter from the back of the sanctuary, floating along the corridor amongst giant crystal pillars, moving in a contemplative stance. The stained glass windows' figures would start moving with song, singing a heavenly music. The listener would float down the aisle, slowly moving upward at first and then progressing at a quicker pace, rising towards an immense ceiling which would open to the sky...as this journey progressed, the speed of the traveler would increase, rushing forward and upward. I wanted to create the sensation of contemplation and quiet peace at the beginning, moving towards the feeling of celebration and ecstatic expansion of the soul, all the while singing along with that heavenly music.

These were my thoughts when The Curtis Institute of Music commissioned me to write a work to commemorate its 75th anniversary. Curtis is a house of knowledge--a place to reach towards that beau-

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tiful expression of the soul which comes through music. I began writing this piece at a unique juncture in my life and found myself pondering the question of what makes a life. The recent loss of my younger brother, Andrew Blue, made me reflect on the amazing journeys that we all make in our lives, crossing paths with so many individuals singularly and collectively, learning and growing each step of the way.

This piece represents the expression of the individual and the group...our inner travels and the places our souls carry us, the lessons we learn, and the growth we experience. In tribute to my brother, I feature solos for the clarinet (the instrument he played) and the flute (the instrument I play). Because I am the older sibling, it is the flute that appears first in this dialog. At the end of the work, the two instruments continue their dialogue, but it is the flute that drops out and the clarinet that continues on in the upward progressing journey.

This is a story that commemorates living and passing through places of knowledge and of sharing and of that song called life.

This work was commissioned and premiered in 2000 by the Curtis Institute of Music.

– Jennifer Higdon El Salón México Aaron Copland (1900 – 1990) American composer Aaron Copland is perhaps best known for his “distinctly American sound,” particularly through his frequent use of stark intervals and expansively transparent breadth and depth of his orchestration; these elements often lead listeners to imagine the wide-open Wild West. His Pulitzer Prize and New York Music Critics’ Circle Award winning composition Appalachian Spring (1943-44) serves as an excellent example of this sound, as does the intensely popular Rodeo and Fanfare for the Common Man (both 1942). In addition to this “American” sound however, Copland wrote many pieces with several other cultures and compositional tactics in mind; he was well traveled and educated.

Amongst others, Copland studied in France with Nadia Boulanger (an educator whose list of students reads somewhat like a “who’s who” of 20th century composers).

Copland composed primarily at the piano. His melodic content tended to be direct and vigorous; his rhythmic language was most often very declamatory. The declamatory rhythms suggest the accentual patterns of prose. Together with the musical language, Copland frequently insinuates instrumental conversations through chants, calls and responses, or hymns. In the case of El Salón México, these tactics paint a vivid scene that very well could have been seen at the salón for which it was named.

Although Copland dabbled in numerous compositional arenas (some musicologists claim four categories through which he moved – only one of which was his “Americana” phase), by the mid1930s he began to feel “an increasing dissatisfaction with the relation of the music-loving public and the living composer.” This led Copland to consider lighter efforts, stating that he “felt it was worth the effort to see if I couldn’t say what I had to say in the simplest possible terms.” This was by no means an effort to make his music less intellectually fascinating; in fact, in working to connect to the common man, some would claim his music became more inspiring.

Copland visited Mexico for the first time in

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1932, where he found the country’s people (as well as its revolutionary government) an inspiration, and subsequently returned to Mexico for extended working vacations. It was at this time, at the request of his friend César Chávez, that he visited the nightclub that birthed the idea for El Salón México. Copland later described that this piece “might never have been written if it hadn't been for the existence of the Salón México. I remember reading about it for the first time in a tourist guidebook: ‘Harlem-type nightclub for the peepul [sic], grand Cuban orchestra. Three halls: one for people dressed in your way, one for people dressed in overalls but shod, and one for the barefoot.’ When I got there, I also found a sign on the wall, which said: ‘Please don't throw lighted cigarette butts on the floor so the ladies don't burn their feet.’ ” He also described feelings he experienced in the nightclub, stating that “in some inexplicable way, while milling about in those crowded halls, one really felt a live contact with the Mexican people — the electric sense one sometimes gets in far-off places, of suddenly knowing the essence of a people — their humanity, their separate shyness, their dignity and unique charm. […] I was attracted by the spirit of the place and by the Mexican people. Using Mexican melodies seemed appropriate. My purpose was not merely to quote literally, but to heighten without in any way falsifying the natural simplicity of Mexican tunes.”

As Copland was new to this culture, he was hesitant about freely composing with Mexican folk songs. Before considering a premiere, he wrote to his friend Chávez (the same man who took him to the nightclub): “I am terribly afraid of what you will say of the Salón Mexico – perhaps it is not Mexican at all, and I would feel so foolish. But in America del Norte it may sound Mexican.” To Copland’s surprise, Chávez was thrilled by the piece, and even conducted the premiere in Mexico City in 1937 with great success. One critic stated that Copland was able to exemplify the Mexican culture by “embodying the very elements of our folk song in the purest and most perfect form.”

Copland seamlessly uses at least nine folk songs in El Salón México, such as “El Palo Verde” and “El Mosco.” The formal structure alternates between slow and fast, displaying the Mexican culture as seen from Copland’s eyes. Nearing the end of the piece, Copland chose to “present the folk tunes simultaneously in their original keys and rhythms. The result is a kind of polytonality that achieves the frenetic whirl I had in mind before the end, when all is resolved with a plain unadorned triad.”

By the late 1940s, Copland was widely regarded as the foremost American composer of his time.

Even now, half a century later, his work stands as an iconic example of American musicianship.

– Program notes compiled and written

by Melissa Graham

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Midland-Odessa Symphony & Chorale Presents

SOUNDS OF THE SEASON HOLIDAY SPECTACULAR (POPS & FAMILY II)

Tamra Hayden Saturday, December 7, 2013 7:30 p.m.

Wagner Noël Performing Arts Center Featuring the MOSC Symphony, Chorale, Voices of the Permian Basin, Lone Star Brass, Permian Basin String Quartet and West Texas Winds Pops & Family Series Sponsored by Lissa Noël Wagner with Francis and Jack Brown

Concert Sponsored by LITHIA ALL AMERICAN AUTO GROUP

JIM & CLAIRE WOODCOCK

Ms. Hayden’s Appearance Sponsored by Jeannette & Mark Kolokoff

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T H E

A R T I S T

Tamra Hayden From Broadway to the Blues, critics have called Professional Actress-Singer/Songwriter, Tamra Hayden, an 'emotionally rich, psychologically detailed singer that can reheat coffee' and 'outsizzle Peggy Lee'.

Tamra Hayden performed on Broadway as Cosette in Les Miserables and Texas in Cabaret (Studio 54); Off-Broadway in Jacques Brel Is Alive And Well And Living In Paris; and has toured throughout the US as Christine in Phantom of the Opera, Cosette in Les Mis, It Ain't Nothin' But The Blues, and Hodel in Fiddler On The Roof (opposite Theodore Bikel).

A versatile singer, Tamra has performed Broadway Pops with Palm Beach Pops, The Nashville, Charlotte, Tucson and New Jersey Symphonies to name a few.

Chosen as one of the "Top Ten to watch in 2010" by CDBaby, Tamra's numerous musical collaborations have resulted in a wide variety of recordings: Reggae On Broadway; Traditions, Tartans and Tears; Stars At Night; Songs From The North Country; A Day At The Fair; I Believe In The Fire; Angus Mohr's: A Christmas Pageant; and Unwrapped. As a musical activist, Tamra's music has raised awareness for Union Collective Bargaining, Relay For Life, and Veterans for Peace. The music video of her song, Eden Will Bloom, was presented at The Puffin Cultural Forum Poetry Jam For Peace.

Tamra graduated with honors earning a Bachelor of Music Degree in Vocal Performance from the University of Northern Colorado.

She was awarded a MacArthur Scholarship as well as a scholarship for Viola.

Currently, Tamra is developing new ways to create and learn music through her art and music based iOS app, MusicalMe - Images (launch March 2013). She also sings lead and plays Viola in August Moons (a New York based duo) and Tradition, Tartan and Tears (a Colorado based Celtic Trio). www.tamrahayden.com

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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 July 26, 2013.

DIAMOND BATON SOCIETY ($10,000+) L. Decker Dawson David Austin Stephens Midland Symphony Guild Odessa Symphony Guild GOLDEN BATON SOCIETY ($5,000+) Kati Lewis George & Kay Smith 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. Anonymous (2) Bob & Bea Angevine Karen & Spencer Beal Roger B. Corzine Martha & Paul Crump Mary W. de Compiegne Betty P. Gulledge Joan Headlee Dr. William McIntire Doris & John Mason Red & Juandelle Lacy-Roberts Richard & Lura Sivalls Jont & Anne Tyson Dr. & Mrs. Terry Unruh FORTE ($500+) Chaparral Bolt & Supply Mr. & Mrs. Ernest Angelo Betty Rae & Paul Davis Tim & Terri Dunn Julie Z. Edwards Bill & Susan Feuer Dan & Judia Foreman Jeff & Lou Nelle George Linda George Ralph & Sally Green Lee Harley T. Scott & Gladys Hickman Dr. Thomas & Anne Hyde Virginia & Bob Jones Ron & Pat Paxton Larson Stephanie & John Latimer Edwin H. Magruder, Jr. Chris & Fred Newman Craig & Mary Payken Mr. & Mrs. Jack Rathbone Joyce & Cliff Sherrod Sue Solari Mary Stout Ann & Jimmie Todd Mr. & Mrs. R.C. Waddell Mr. & Mrs. J.B. Whatley

MEZZO FORTE ($250+) Campbell Construction Company Mike & LaNelle Agee Kathy Anderson Barry & Cliffy Beal Kay & Bob Bivens Baxter & Shirley Breaux Karmen Hendrix Bryant 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 Gene & Becky Needham Shirley & Larry Nichols Wes & Jean Pittman Bob & Ruth Price Jay Reynolds Floyd & Kathy Rountree Neva Rousselot Violet & Mark Singh Brenda & Don Smith Mary & Paul Summersgill Charles & Schatzie Tighe Mary Edith Waddell Pool Webb & Jane Wolf CRESCENDO ($125+) Tierra Company / Bill Musar Anonymous (2) Beverly Alstrin Rebecca Bell Harold & Leann Brenner Jan Brockett 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 Jacqueline Hendricks Helen Joan Holt Rick & Cindy Lanning Rod & Patti MacDonald Lynn Mashburn Ann & Gary Moore David & Joan Oesper 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 Keith & Jane Dial Arlen Edgar Lucilee Grimes Edgar Barbara Faubion Ron & Jan Genter Sam & Rhonda Gray Barbara Hartwell Margaret Ann Kepple Ted & Sue Kerr Mrs. William J. Lewallen Joan McCown Ray and Carole Stoker DONOR (up to $59.99) Sharlis & Denman Andrews 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 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 In Memory of Roy E. Campbell Mrs. Wanda Campbell J.C. Ferguson Foundation Drs. Richard & Roberta Case Mr. & Mrs. Robert H. Cole Roger B. Corzine Dr. & Mrs. Bart Mayron Phil & Susan Parker

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Mr. & Mrs. Louis Rochester

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 Mr. & Mrs. James W. Lacy Dr. Ron Larson & Pat Paxton Larson Stephanie Latimer Jane C. Lea Robert M. & Prudie Leibrock Scott W. Long Marion E. Luper 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

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ENDOWMENT FUND CONTRIBUTORS (continued) 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 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 Mrs. Ethel Chapman Truman & Doreen McCreless 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

,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) 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 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 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

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ENDOWMENT FUND CONTRIBUTORS (continued) 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 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

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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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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!

www.odessasg.org 432-570-4181 s www.wnbonline.com

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San Antonio Member FDIC

St. Joseph’s Home Health, Inc. Providing Excellent Home Care to Our Community We believe that home health care must be made

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It’s our differences that make us great.

No matter No matter w what hat yyou ou value, value, II’m ’m hhere ere ttoo pprotect rotect itit w with ith rrespect espect aand nd pprofessionalism. rofessionalism m.

Like neighbor, Like a ggood ood n eighbor, State State Farm Farrm is is there. there.

CALL C ALL M ME E TTODAY. ODAY. ®

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Chocolatier Since 1991 Midland: 2101 W. Wadley Street 432-570-4040 | 432-687-4040 www.susiessouthforty.com

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THE Proud to be participating in the growth of the Permian Basin.

Cool Off Next Summer Tour to Austria and Germany in June with the MOSC Chorale

For More Information Please Email chorale@mosc.org

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ADVERTISER INDEX Alldredge Gardens American Financial & Retirement Services, LLC Ann & Ken Hankins APTorre Photography Beltone Betenbough Homes Brooks Benefit Consultants Carter's Furniture CBS 7 Cimarex Energy Co. Claire & Jim Woodcock Community National Bank Concho Resources Corey Sly Electrical Service Coulon Dental Crazy Cute Couture & Décor Crenshaw Flooring Cristiani's Jewelers CVA Advertising & Marketing Doubletree Hilton Dr. James & Sharon Humphreys Elliott & Waldron Abstract Company of Pecos First Capital Bank Flexbar, Inc. George W. Bush Childhood Home Gladden Insurance Agency Jim's Tall & Big Men's Store Kensington's Kloset Legacy Real Estate Legacy Real Estate - Jane Wolf & Susan Palmer Legacy Real Estate - Kay Bivens Les Misérables Lissa Noël Wagner - Francis & Jack Brown Lithia All American Dealerships Mark Knox Flowers Medical Center Hospital Medical Spa of Midland Midland College Midland Opera Theater

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16 83 65 56 83 81 64 47 17 87 30 81 82 65 88 43 54 3 20 67 52 75 36 39 14 76 68 64 64 66 82 69 26 70 66 80 21 49 68

Midland Reporter Telegram Midland Symphony Guild Mission Fitness Morgan Stanley N-Tune Music & Sound Odessa American Odessa College Odessa Symphony Guild Odessan Magazine Paesano Violin Shop Pat Paxton & Jane McCrary Paul & Martha Crump Permian Basin Area Foundation Permian Pediatrics Premier Parking Reliance Energy Rogers Ford S. Javiad & Vicky Anwar Sewell Odessa Shamrock Steel Sales, Inc. Sherrod's Piano Service Sims & Guess, Realtors SM Energy Southwest Bank St. John's Episcopal School St. Joseph's Home Health, Inc. Sunset Memorial Gardens & Funeral Home Susie's South 40 Confections Texas Tech Physicians of the Permian Basin The Ashingdon Companies The Bosworth Company The Hemingway The Village at Manor Park The Wine Rack Trinity School United Rentals Wagner Noël Performing Arts Center Wells Fargo West Texas Food Bank Western National Bank

59 65 77 38 71 78 2 73 72 19 29 17 56 48 55 29 57 18 79 30 53 27 83 66 48 73 68 76 24 85 58 34 76 28 74 82 11 74 84 73

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