THE UNIVERSITY OF SOUTHERN MISSISSIPPI SYMPHONY ORCHESTRA
Dr. Michael Miles, Music Director
Saturday, April 27, 2024 - 7:30 p.m.
Bennett Auditorium
Well, there are lots of “ends” to acknowledge and celebrate tonight. This evening we arrive at the end of our “Voyage,” as tonight is the final performance of the Symphony season. Tonight also represents the end of my tenure as director of Orchestral Activities and college teaching career. It’s been a wonderful year of music-making with our orchestra, and I will be sad to see it come to an end.
I chose the Mahler Symphony No.1 for my final concert for a variety of reasons, but primarily because this work represents closing the full circle of my career. I began college as an engineering major. Like most 18-year-olds, I had no idea what I wanted to do with my life, and someone suggested that because I was good in math, I should build bridges. That made perfect sense to me - NOT! Nonetheless, bridge-building was my major. I had always played in band and sung in the choir, so I auditioned for a band scholarship at little University Southern Colorado in Pueblo. I soon found myself spending far more time in the rehearsal hall than doing my calculus and analytical geometry homework.
That first semester, I met a young friend who would change my life. While I had enjoyed music growing up, and showed a little talent, I was very sheltered in my exposure to the great music that existed in the classical canon. One day my friend invited me over to his house to listen to classical music. He played the Mahler No. 1 that night. I had no idea in my neophyte state of musical knowledge what I was listening to, but it moved me in a way that nothing else had to that point in my life. I was inspired, dumbstruck, awestruck, speechless, and so emotional I couldn’t move. I had no idea that music could contain such power, such passion, and so many different emotions all at the same time. I found tears streaking down my face and couldn’t tell if they were tears of joy or sorrow. I think they were both! That night changed my life. The next day, I changed my major from bridgebuilding to music.
So tonight, I chose to close my career performing the single piece of music that 47 years ago triggered my incredible musical voyage. For me, this was always the only piece I would conduct on my final concert. I also chose this piece because it represents a significant and large challenge to our students in the orchestra. I told them that every one of them would grow as a musician through the process of learning this music, and I know you will be impressed at how they have risen to the occasion.
Dr. Taylor Hightower, our resident resonance chamber, has been hounding me for years to program the Leider eines fahrenden Gesellen (Songs of the Wayfarer). I finally asked him why he so badly wanted to perform this work, and he told a similar story of a singular piece of music that spoke so deeply to him that he felt his career would not be whole without being able to perform it. Knowing the connection of musical and metaphorical themes between the song cycle and the symphony, I thought programming the two together would be great fun for the audience. Tonight, I hope you will enjoy hearing how Mahler treats the same thematic material in the two different works. His genius will be on full display.
I have spent 39 years teaching in higher education (42 if you count my years as a graduate teaching assistant). It’s the only job I have ever known, and it’s the only job I’ve ever loved. To spend an entire career imparting wisdom and providing life-altering experiences to young people is an incredibly gratifying career, and to do so within an arts discipline that has been my lifelong passion makes it doubly rewarding. I want to thank all those who supported me along the way, but my career has never been about me. It has always been about the students. The thousands of student relationships I have enjoyed over the years has been what got me out of bed every day. I still enjoy friendships with students I taught in my very first year of teaching and every other year along the way. I can’t imagine a more rewarding and gratifying career. Everyone should be so lucky.
While I am personally grateful to everyone who supports our orchestra, I am also keenly aware of how important that support is to our students. Tonight, please take a couple of minutes to think about the journey these students are on and how much of a difference you make in their future success. Your patronage keeps our orchestra alive. There is nothing more rewarding to our students than to walk onto the stage and see an audience full of people they know are there to support their hard work and dreams. It is palpable and fills the hall with energy and excitement. Our students respond to that energy with focus and passion. Every performance is a huge step in their growth and future success, and you are an essential part of that growth and success. I hope you will continue to support these students, and I look forward to doing the same right alongside you.
See you at the Symphony!
THE UNIVERSITY OF SOUTHERN MISSISSIPPI
COLLEGE OF ARTS AND SCIENCES
SCHOOL OF MUSIC
present
The Titan
The University of Southern Mississippi Symphony Orchestra
Dr. Michael Miles, music director
Dr. Taylor Hightower, baritone
Saturday, April 27, 7:30 p.m.
Bennett Auditorium
Leider eines fahrenden Gesellen (Songs of the Wayfarer)
Gustav Mahler
I. Wenn mein Schatz Hochzeit macht (1860-1911)
II. Ging heut Morgen über’s Feld
III. Ich hab’ ein glühend Messer
IV. Die zwei blauen Augen
Dr. Taylor Hightower, baritone
Dedicated to our friend and colleague, Professor Bill Odom
Brief Intermission
Symphony No. 1 in D Major
I. Langsam. Schleppend
II. Kräftig bewegt, doch zu schnell
III. Feierlich und gemessen, ohne zu schleppen
IV. Stürmisch bewegt
This program is presented in part by a generous grant from Partners for the Arts.
Gustav Mahler
Program Notes
Leider eines fahrenden Gesellen
Mahler’s Lieder eines fahrenden Gesellen is perhaps his most performed and beloved vocal work. It is often referred to as his first mature work, but it follows in the footsteps of his earlier works. For this song cycle, Mahler wrote his own text using folk images and musical settings. However, there is something new and exciting about these songs that may account for their popularity. The Lieder eines fahrenden Gesellen may stand out due to an emotional connection felt by Mahler to the text, which he wrote during his time in Kassel during a love affair with a soprano in the theater he ran.
The four poems used create a narrative story of a jilted lover, the wayfarer. In this narrative, the wayfarer 1) attempts to leave the place of his sorrow (where he fell in love with his beloved and where she is now getting married), 2) goes to nature in search of consolation, 3) expresses his agony by complaining of a metaphorical burning knife in his heart, and 4) takes shade beneath a linden tree to find rest. The narrative story and musical settings of the obsessive images and images of nature create a unique musical landscape which consists of progressive tonality and sharp contrasts of moods and tempos.
The first song contrasts the rejected lover’s grief (music in Slavic folk-style) with his delight in nature (a pastoral middle section with bird calls). In the second song, an Austrian “walking tune” gradually fades out into wistful romantic harmonies. The third song consists of fast, tortured music, entirely unfolk-like, with stuttering muted trumpets and menacing trombones. Thoughts of the beloved generate a despairing loud climax which slowly disintegrates. In the final song, the protagonist finds lasting peace beneath a linden tree. Mahler’s funeralmarch style appears here, merging into an Austrian folk vein saddened by gentle chromaticisms.
Notes by Dr. Taylor Hightower
Translation
Wenn mein Schatz Hochzeit macht
When my love becomes a bride, becomes a happy bride, that will be my saddest day. I’ll go into my little room, gloomy little room, weeping, weeping for my love, for my dear love.
Floweret blue, floweret blue, do not fade, do not fade! Fledgling sweet, fledgling sweet, you sing in the green meadow: “Ah, how lovely is the world! Jug-jug! Jug-jug!”
Do not sing, do not bloom; Spring is dead and gone. Singing’s done for ever now. At evening, when I do to sleep, I’ll think upon my sorrow, upon my sorrow.
Ging heut’ Morgen über’s Feld I went this morning through the fields, dew still hung upon the grass, spoke to me the merry finch: “You there, hey— good morning! Hey there, you— won’t it be a lovely day? Tweet! Tweet! Fine and bright! O but how I love the world!”
And the harebells in the field told me merry, cheerful things, with their bells, a-ting-a-ling, rang their morning greeting out: “Won’t it be a lovely day? Ting! Ting! Lovely thing! O but how I love the world! Hola!”
Then began, in the sunshine, all the world to glitter bright; all things woke to color and sound in the sunshine, flower and bird, both great and small. “Good day! Good day! Isn’t it a lovely day? You there, hey—lovely day!”
Will my joy now flower too? No, no; well I know ‘twill never, never bloom again.
Ich hab’ ein glühend Messer I have a red-hot knife, a knife in my breast. Woe’s me! Woe’s me! It cuts so deep into every joy and every bliss, so deep! so deep! It cuts so sharp and deep!
Ah what a cruel guest is this! Never grants me peace, never grants me rest! Not by day, not by night, when I’d sleep. Woe’s me! Woe’s me! Woe’s me!
When I look into the sky, two eyes of blue look back at me. Woe’s me! Woe’s me!
When through the yellow corn I go, I see afar her golden hair swept by the wind. Woe’s me! Woe’s me! When I start up out of dreams, and hear the ring of her silvery laughter, woe’s me! Woe’s me!
I would that I lay on the black bier, and could never more open my eyes!
Die
zwei blauen Augen von meinen Schatz
The two blue eyes of my love, they’ve sent me out into the wide world. So I had to take my leave of the town so dear to me!
O blue eyes, why did you look at me? Now I am full of grief and sorrow.
I went out at the dead of night, across the gloomy heath; no-one said goodbye to me.
My companions were love and sorrow!
By the wayside stands a linden-tree; and there at last I’ve found some sleep, under the linden-tree. It snowed its blossoms over me, I knew no more of the evils of life, for all things turned to good again, O all to good again!
Everything, everything, love, and grief, the world, my dreams!
Symphony No. 1 in D Major
Mahler remarked that his first symphony “virtually gushed like a mountain stream,” when it was finished in the spring of 1888. However, the musical material and inspiration for much of the work began several years earlier. Mahler used material from his own song cycle Leider eines fahrenden Gesellen (Songs of the Wayfarer) in the first and third movements and drew many other inspirations from literature and art. These will be discussed as they appear in the individual movements. The symphony went through various incarnations before reaching the four-movement version performed today.
In November 1889, Mahler premiered a “Symphonic Poem in Two Parts” in Budapest, where he served at the time as director of the Royal Hungarian Opera. This five-movement composition was greeted with some bewilderment and hostility. Mahler set about revising the work, now calling it “Titan, A Tone Poem in the Form of a Symphony.” The title alludes to a work by novelist Jean Paul, whose best-known novel, a massive work in four volumes called Titan (completed in 1803), dealt with a heaven-storming idealist who Mahler clearly sought to emulate in referencing him as the title for his symphony. Yet Mahler complicates the Jean Paul scenario with additional references, both programmatic and musical.
At this point, the “symphony” had two parts, each with its own title. Mahler further provided some programmatic explanations, generally quite minimal except for the innovative fourth movement, a “funeral march” that had most puzzled the first listeners. Mahler conducted this five-movement Titan two times, in Hamburg and in Weimar the following year. In 1896, however, he decided to drop the second movement, a lilting andante with solo trumpet. He now called the work simply, “Symphony No. 1 in D major.” ” The “Blumine” movement was gone (it sometimes appears as a separate concert piece), as were the two-part format, the titles, and the other extramusical clues. By this time, Mahler was increasingly moving away from wanting to divulge what was behind his works, but his own words provide some insight for the audience that can still enhance the listening experience.
Mahler writes, “Wie en Naturlaut” (Like the sound of nature) on that first page, and in a letter to the conductor, Franz Schalk, we read, “The introduction to the first movement sounds of nature, not music!” The music seems to grow organically from the interval of a falling fourth. The two notes are the opening of the main theme, derived from one of Mahler’s own songs, “Ging heut’ Morgens über’s Feld” (This morning I went out o’er the fields), the second in his cycle Lieder eines fahrenden Gesellen (Songs of a Wayfarer). Fragments detach themselves from the mist, become graspable, coalesce. Among these fragments are a pair of notes descending by a fourth, distant fanfares, a little cry of oboes, a cuckoo call (by the only cuckoo in the world who toots a fourth rather than a third), a gentle horn melody. Mahler’s wayfarer crosses the fields in the morning, rejoicing in the beauty of the world and hoping that this marks the beginning of his own happy times, only to see that no, spring can never, never bloom for him. But for Mahler, the song is useful not only as an evocation, but as a musical source, and he draws astounding riches from it by a process, as Erwin Stein put it, of constantly shuffling and reshuffling its figures like a deck of cards.
Traditional sonata allegro form is only hinted at, as Mahler avoids use of a second theme until the development section. This lyric theme in the cellos blooms along with transformations of the exposition’s primary theme. Mahler closes the movement with a truncated recapitulation and a very brief coda he described as follows: “My hero breaks out in laughter and runs away.”
The second movement (Kräftig bewegt, doch nicht zu schnell) is a Ländler, an Austrian folk-dance in ¾ time that was to become one of Mahler’s favorites, yet he retains the scherzo A-B-A form typical of the period. Once again, he uses an earlier song, “Hans und Grethe,” to provide melodic material. The A section begins with the celli and basses sounding a figure that derives from the descending fourths heard in the first movement, above which the woodwinds and violins state the main ländler tune. This melody again resembles the opening movement, especially through its stepwise ascent and closing gesture that recalls the previously heard cuckoo calls; small turn figures even suggest fragments of “Ging heut’ morgen.” After repetition, variation, and an additional heightened restatement of these ideas, this first portion of the second movement comes ringing to its conclusion. The contrasting dance presented in the B (Trio) section is announced by a solo horn. The music is waltz-like at a slower tempo, as well as in a gentler, more lyrical character. The ländler melody returns in earnest to round off the movement.
The third movement was the most misunderstood in the early performances of the piece, but today it is regarded as rather clever. In regard to the third movement, Mahler states, “It is true that I received the external inspiration for the third movement from the well-known children’s painting [The Hunter’s Funeral]. Only the mood matters, and out of it—abruptly, like lightning out of a dark cloud—leaps the fourth movement. It is simply the outcry of a deeply wounded heart preceded by that very eerie, ironic and brooding sultriness of the death march.”
The mood of the third movement begins as a funeral march quoting the children’s song “Bruder Martin” (known as “Frère Jacques” in France and “Are You Sleeping?” or “Where is Thumbkin?” in the United States). In order to make his melody more suitable for the suggestion of a funeral procession, Mahler recast it in the minor mode and placed its first statements in a round for unconventional instruments: solo bass, solo bassoon and solo tuba. More and more instruments join the round as the timpani recalls the perfect fourth interval from the first movement. The oboe and E-flat clarinet add a disruptive countermelody to the mix, and the march subsides to usher in the next portion of the movement.
As mentioned above, Mahler used Moritz von Schwind’s drawing of The Hunter’s Funeral to enhance the composer’s inspiration. The scenario of the huntsman’s funeral provides a reasonable explanation for Mahler’s curious (if macabre) decision to base a funeral march on a children’s melody. Following the funeral march, Mahler alternates a Jewish folk dance with a Klezmer Band melody with the indication to the players of “mit Parodie” (“with parody”). Again, regaling the listener with unique orchestration—a pairing of oboe and trumpet duets proclaims the first dance, while clarinets accompanied by the klezmer standard of bass drum and cymbal deliver the second—each appears two times before echoes of the funeral march whisk away this section’s exuberance.
Mahler then moves into a lyrical passage that quotes another lied from the Gesellen songs. This time, Mahler draws upon the final lied in the cycle, a setting of another of his own poems titled, “Die zwei blauen Augen von meinen Schatz” (“The Two Blue
Eyes of My Sweetheart”). Because this text describes someone mourning a lost love, the song seems an appropriate choice for a symphonic funeral procession, even though its programmatic connections to Bruder Martin, the mock grieving of forest animals, and Jewish dance music remain nebulous. In contrast, the prevalence of fourths in “Die zwei blauen Augen” connects to a great deal of the first movement’s music.
Since “Die zwei Blauen Augen” itself resembles a funeral march, Mahler can move into the symphony’s final presentation of its funeral music without any kind of transition. This time, however, the Jewish dances invade the scene, thus throwing the music temporarily off-kilter. Mahler nonetheless soon sorts things out, and the music fades away as if the procession has moved off into the distance.
Mahler described the opening of his fourth movement as “the sudden despairing cry of a heart wounded to its depths.” This provides an apt metaphor for the cymbal crash and dissonance that initiate the ¨Sürmisch bewegt” (“Stormily moving”) introduction to the finale. Tumultuous arpeggios and scales then ensue in the strings, punctuated by sneering triplets, as well as rising lines in the brass that anticipate some of the movement’s primary materials. After these brass fragments build to a fortissimo peak, the exposition of the sonata-form movement begins.
The first of the exposition’s themes combines the two rising lines stated in the brass during the introduction. The resulting melody’s opening gesture—a short note followed by three longer ones—derives from the Gregorian chant, “Crux fidelis” (“Faithful Cross”), that Liszt frequently used in his music to symbolize the crucifix, though Mahler slightly modifies its intervals so that it conforms to his minor key. Moreover, the “Crux fidelis” excerpt, when taken together with the next eight notes of the finale’s first theme, restates the ostensibly “new” motive introduced in the buildup of tension immediately prior the climax of the symphony’s first movement.
After substantial elaboration and variation of this theme’s melodic components, the music fades. The exposition’s lyrical second theme materializes. The melody’s idyllic calm and inherent beauty provide a stark contrast with the music of the finale heard thus far. Yet the diverging mood proves short-lived, as “Crux fidelis” and triplet figures from the opening of the movement are restated at a soft dynamic to create a sense of unease. Another stormy passage heralds the start of the development. New derivations of the exposition’s first theme are heard along with the “Crux fidelis.” Ultimately, however, fanfares reminiscent of the first movement emerge from the din with a pairing of “Crux fidelis”—now set in the major mode and with its original intervals restored. The trumpets begin a chorale that is continued in the French horns that makes obvious the connection between this idea and the opening movement’s series of descending fourths, but it has also been interpreted as a direct quote of Handel’s Messiah (“and He shall reign forever and ever”).
However, this music fades, and Mahler brings the listener all the way back to the beginning of the first movement with the initial theme of the piece and the awakening of nature with horn calls and cuckoo birds. This recollection of his hero’s initial walk into nature gives the work a circular feel, solidifying the connection of all the musical and metaphorical themes in the work. Much like the opening movement, fanfares resound at the high point, marshalling strength for a second assault that does indeed open the doors to a heroic ending and to its celebration in a hymn in which the horns, now on their feet, are instructed to “drown out everything, even the trumpets.”
STRINGS
Dr. Borislava Iltcheva, violin
Dr. Hsiaopei Lee, viola
Dr. Alexander Russakovsky, cello
Dr. Marcos Machado, bass
Dr. Nicholas Ciraldo, guitar
WOODWINDS
Dr. Danilo Mezzadri, flute
Dr. Galit Kaunitz, oboe
Dr. Jackie McIlwain, clarinet
Dr. Kim Woolly, bassoon
Dr. Dannel Espinoza, saxophone
BRASS
Dr. Rob Detjen, horn
Dr. Tim Tesh, trumpet
Dr. Ben McIlwain, trombone
Dr. Richard Perry, tuba
PERCUSSION
Dr. John Wooton, percussion
PIANO
Dr. Michael Bunchman, piano
Dr. Ellen Elder, piano
Dr. Hongzuo Guo, staff pianist
Dr. Elizabeth Moak, piano
Dr. Zhaolei Xie, staff pianist
ORCHESTRAL ACTIVITIES
Dr. Michael Miles
CHORAL ACTIVITIES
Dr. Gregory Fuller
Dr. Jonathan Kilgore
VOICE
Dr. Kimberley Davis
Dr. Taylor Hightower
Dr. Meredith Johnson
Dr. Jonathan Yarrington
MUSIC EDUCATION
Dr. Ashley Allen
Dr. Melody Causby
Dr. Ian Cicco
Stacey Miles
UNIVERSITY BANDS
Dr. Catherine Rand
Dr. Travis Higa
Dr. Cody Edgerton
JAZZ STUDIES
Larry Panella
MUSIC HISTORY
Dr. Barbara Dietlinger
Dr. Edward Hafer
Dr. Joseph Jones
MUSIC THEORY
Dr. Danny Beard
Dr. Joseph Brumbeloe
Dr. Douglas Rust
DIRECTOR
Dr. Colin McKenzie
ASSOCIATE DIRECTORS
Dr. Joseph Jones
Dr. Timothy Tesh
ASSISTANT TO THE DIRECTOR Laurie Rinko
FINANCIAL MANAGER Belinda Taft
ACADEMIC ADVISEMENT COORDINATOR Lauren Gerhart
GRADUATE COORDINATOR
Dr. Melody Causby
UNDERGRADUATE COORDINATOR
Dr. Jonathan Kilgore
PR/MARKETING AND EVENT COORDINATOR
Dr. Mike Lopinto
PIANO TECHNICIAN
Carlos Boza
Symphony Orchestra
Violin 1
Alexander Ilchev, Concertmaster
Jessica Achon
Juan Lincango
Adele Paltin
Laura Lopera
Icaro Santana
Jonathan Chen
Julia Finney
Casey Macklin
Violin 2
Federico Franco, principal
Nohelia Zambrano
Angelina Sidiropoulou
Alejandro Lopez
Victor Amaut
Grace Pineda
Lucas Gonzalez
Dexter Rodkey
Viola
Ana Sofia Suarez, principal
Isabella Marques
Christian Avila
Renata Andrade
Ronnie Ortiz
Nicole Herrera
Cello
Mert Ozkan, principal
Cristian Sanchez
Alejandro Restrepo
Brian Lorett
Evelin Lopez
Mauricio Unzueta
Gabriel Sepulveda
Kassandra Henriquez
Bass
Pedro Areco, principal
Matheus Ferreira de Souza
Daniel Magalhaes
Nick Shellenberg
Jose Cuellar
Charlie Levandoski
Manuel Jara Ramirez
Carlos Herrera
Flute
Claudio Palazzi, principal
Sarah Hinchey, piccolo
Angel Hamel, piccolo
Baylee Stout, piccolo
Oboe
Alexandra Gordon, principal
Josh Strobel
Geordie Nabors
English Horn
Darbi George
Clarinet
Eli Anderson, principal
Caitlyn Austin, Eb Clarinet
Eva Matson
Gerby Guerra Galva, Eb and Bass Clarinet
Bassoon
Zachary Howell
Brandon Woodie
Contrabassoon
Gabe Flores
Horn
Brian Alston, principal
Andrew Cook, asst. principal
Anna Zurawski
Abby Loftin
Chance Rootes
Ashley Bayington
Hannah Baron
Ashley Wallace
Trumpet
Rob Smith, principal
Clayton Jacocks, asst. principal
Doug Hutchinson
Zach Dake
Kyle Matthess
Trombone
Caleb Owenby
Peter van der Bijl
Alex Handley, bass
Tuba
Joey Caponera
Timpani
Carmen Vessel
Gabe Manning
Percusssion
Gabe Manning
Bryce McDonald
Logan Whitehead
Ryan Dunklee
Harp
Bonnie Littlejohn
About the Artists
J. Taylor Hightower, baritone, is an Associate Professor of Voice at the University of Southern Mississippi, where he teaches applied voice and two vocal literature courses. He holds a Bachelor of Music degree in voice performance from Furman University and both his Master of Music and Doctor of Music degree in voice performance from Indiana University. While at Indiana, Dr. Hightower’s major professor was Dr. James McDonald, but he also coached and studied voice with world-renowned bass Giorgio Tozzi, Distinguished Professor Timothy Noble, and Chancellor’s Professor Costanza Cuccaro.
Dr. Hightower is excited to have the opportunity to sing Mahler’s Lieder eines fahrenden Gesellen with the USM orchestra this spring. Other recent performances include the baritone solos in the Dubois Seven Last Words of Christ with Galloway UMC in Jackson, Lt. Brannigan in Guys and Dolls and the Father (Peter) in Hansel and Gretel for the USM Opera and Musical Theater Company, and the baritone solos in the Brahms’ Requiem with the Meistersingers. In addition to his duties in the School of Music, Dr. Hightower is also the Music Minister for the traditional service at Main Street UMC.
Dr. Michael Miles is a unique brand of musician, whose career includes a blend of musical and academic positions. Dr. Miles’ academic career includes appointments at Western Carolina University and Florida International University. He also served for seven years as chair at Southeastern Oklahoma State University and six years as director of the School of Music at The University of Southern Mississippi. Dr. Miles’ interest in arts advocacy and education in the community has led him to administrative positions in several community and state organizations. He served on the Hattiesburg Concert Association staff, and as executive director and founder of the Red River Arts Academy, an intensive summer arts training experience for students 14-18 years of age. Dr. Miles also served eight years as president of the Board of Directors of the Red River Arts Council in Durant, Oklahoma.
Dr. Miles’ appreciation for all forms and styles of music are evident in the variety of performing, conducting and music directing positions he has enjoyed. As a trumpet artist, Dr. Miles has performed with dozens of symphony orchestras as featured soloist and principal trumpet, and released a compact disc recording of new music for trumpet and piano by Robert Suderburg and James Wintle, titled Reflections in Times’ Mirror. In addition to his current duties as director of orchestral activities at Southern Miss, Miles’ conducting appointments include music director of the Hattiesburg Civic Light Opera Company, music director
of the Oklahoma Youth Symphonies, and music director of the Oklahoma Shakespearean Festival. Miles recently conducted the USM Chamber Orchestra in its Carnegie Hall debut and served as guest conductor of the Festival Orchestra at the V Clinicas Instrumentalis in Cartegena, Columbia. In 2013, Dr. Miles served as guest conductor with The University of Southern Mississippi Symphony Orchestra, backing the legendary Beach Boys at the Beau Rivage Casino in Biloxi, Mississippi. Dr. Miles has also served as guest conductor with the Xinghia Conservatory Orchestra of Guangzhou, China, Vidin (Bulgaria) Philharmonic, Springfield Symphony, Tulsa Philharmonic, Tallahassee Symphony, New Mexico University Symphony, and Oklahoma Youth Orchestra.
In his career, Dr. Miles has served as music director/conductor for over 190 musical theatre performances involving 55 different musical theatre productions, including the recent highly acclaimed Southern Miss productions of The Drowsy Chaperone, The Phantom of the Opera, Magic of the Musical Stage, West Side Story, Mary Poppins, Ragtime, Showbiz Showstoppers, Showbiz Harmony and Sweeney Todd. Dr. Miles served as music director of HCLO’s productions of Into the Woods, Cabaret, Wizard of Oz, Camelot and Tommy. Dr. Miles also served as chorus master for the Hub City Players production of Rock of Ages and music director for their production of James and the Giant Peach. The Phantom of the Opera and James and the Giant Peach productions were awarded the prestigious American Prize for Musical Theater in 2018.
In his tenure at Southeastern Oklahoma State University, Dr. Miles led an award-winning Jazz Ensemble that was recognized by the Oklahoma State Legislature as the “Official Jazz Ambassadors of Oklahoma.” This ensemble made three concert tours of the People’s Republic of China School of the Arts.
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William L. Thames in memory of Lou Rackoff
Gerry and Thad Waites
Mrs. Sandra and Dr. R. Greer Whitacre
Dr. and Mrs. Christian M. Zembower
SUSTAINER - $750
In memory of Dr. William Odom
PATRON - $500
Albert Architects
The All-Star Team Realtors
Elizabeth Mee Anglin
Dixie and Dennis Baum
Rebecca Bedell
Cadence Bank
Brian and Sarah Carver
Gwen and Perry Combs
Dr. and Mrs. Christopher R. Crenshaw
Mary J. Cromartie
Charles Dawe and Dr. William Waller
Dr. Jeremy Deans and Dr. Alyson Brink
Sabrina and Eric Enger
Iris Easterling
Allyson Easterwood
Forrest General Hospital
Chem and Wayne A. Hughes
Stanley Hauer
Brenda O’Neal Lambert
Charles and Jane Lewis
Robert Y. Lochhead
John M. and Carolyn Lopinto Sr.
Dr. and Mrs. Troy McIntire in memory of Dr. Dean Cromartie
Dr. Colin and Mandie McKenzie
Keith and Carolyn McLarnan
Celia Faye Meisel
Becky Montague
Drs. Jeanne and William Morrison
Mrs. Virginia M. Morris
Kathyrn and Robert Morrow in honor of Rob Wheeler
David Ott
Jennifer and Abb Payne
Matthew Wayne Pennington
Kathy and Randy Pope
Connie and Robin Roberts
Teejay and David Shemper
Signs First
Delois L. Smith in memory of J. Lavon Smith
Southern Bone & Joint Specialists, PA
Millie and Randy Swan
Jane and Stephen Thomas
Dr. Douglas F. Thomas
Dr. and Mrs. Greg Underwood
Walnut Pharmacy and Gifts
Russ Willis
DONOR - $250
Paula and Allen Anderson
Dr. Katie Anthony and Dr. Daniel Smith
Dr. Angela Ball
Linda and Larry Basden
Dr. and Mrs. David W. Bomboy
Michael Boudreaux
LTC Kaylanni Branch
Joanna and Biljac Burnside
Card My Yard
Fran and Gene Carothers
Peg and Bob Ciraldo
Rachel and Nicholas Ciraldo
Carolynn and Lewis Clark
Dr. Eyler Coates Jr.
Amber Cole
Community Bank
Anna and Ryan Copeland
Bettie Cox and David Powers
Linda and Robert Cox
Joelle Crook in memory of George T. Crook
Charles Cullefer
Drs. JP and Lisa Culpepper
Kimberley Davis
Beejee and Andy Dickson
DeAnna Douglas
Drs. Sergey and Veronica Dzugan
Muriel Everton
Gary Fordham
Linda Boutwell-Griffith and John Griffith
Wes Hanson
Dr. and Mrs. Robert Heath in honor of Sarah K. Heath
Richard D. Hudson
Che’ and Wayne Hughes
Joyce and Chris Inman
Betty Jo D. Ison
Althea and Raoul Jerome
Rebekah and Jeff Johnson
LBJ Properties LLC
Dr. Jameela Lares
Dr. Mike Lopinto in honor of
Carolyn and John Lopinto
Maureen K. Martin in honor of Dr. and Mrs. Aubrey K. Lucas
Megan McCay
Jennifer and Kennard McKay
Drs. Diane and Jim Miller
Drs. Bitsy Browne and Marvin Miller
Drs. Suzanna and Andrew Nida
LTC and Mrs. E. Walker Nordan
Candace and Kent Oliver
Clay Peacock
Pinebelt Foundation
Jacquelyne and Brad Pittman
Bob and Betty Press
Dr. and Mrs. Tom Puckett
Petra and Curt Redden in memory of Irma Schneider
Sharon and David Richardson
Dr. and Mrs. Douglas M. Rust
Mr. and Mrs. Sam Sackler
Carolee and Seth Scott
Sabrina and Alex Schuerger
Mark Shows
Susan Slaughter
Mary and Eric Sumrall
Martha and Tommy Thornton
Debra and Richard Topp
Mr. and Mrs. Ric Voss
Barbara and Kenneth Waites
Diane and Jerry Waltman
Amelia Watkins
Alissa Wiggins
Paige and Pat Zachary
CONTRIBUTOR - $150
Area Development Partnership
Lynne and William Baggett
Billie Ballengee
Drs. Diana and Joshua Bernstein
Mrs. Anita and General Buff Blount
Katherine Boone
Mr. Joe Bost and Dr. Katie James
Mary Glenn and Todd Bradley
The Rev. Laurie Brock
Charles A. Brown in memory of Mirneal C. Brown
Jennifer and Sam Bruton
Margaret and Ron Chapman
Dr. David Cochran
Mitch and Marcia B. Cochran
Jacob Cotton
Jennifer Courts
LuAnn Knight Crenshaw
Alice Crotwell
Dr. and Mrs. Randall Currie
Dr. Jay Dean
Maryann Kyle and Jay Dean in memory of Jack and Sara Dean
Bethanie and Jerry DeFatta
Andrew Dews
Steve Farrell?
Carol and Gardner Fletcher
Andrea Ford
Racheal Fowler
James and Lauren Gerhart
Phillip Brian Goe
Cheryl Goggin
Nancy Guice in memory of Dr. John D. W. Guice
Julie Hammond
Benjamin Hardy
Elizabeth Hughes
Dr. and Mrs. Richard A. Johnson
Rosi and Dex Johnson
Nicolle Jordan and Thomas O’Brien
Hal and Teresa Odom
Ivonne Kawas
Lorinda S. Krhut
Linda and Mike Kuykendall
Dr. Francis Laatsch and Susan Reiter
Marcia M. Landen
Vicki R. Leggett
Kelly Ferris Lester
Mr. John Logan
Melinda and Alan Lucas
Marcos Machado
Jackie and Milo McCarthy
Bill McHugh
Jackie and Ben McIlwain
Ellen McKenzie
Mary Virginia McKenzie
Bill and Bebe McLeod in memory of Dr. John A. McLeod III
Margaret and Larry McMahan
Dr. and Mrs. Thomas Messer Jr. in honor of Dr. Mike Lopinto
Louise and John Meyer
Astrid Mussiett in memory of Gladys S. Mussiett
Danilo Mezzadri
Dr. Mark Miller
Deborah and Steve Moore
John Mullins in honor of Jim Meade
Heath Nobles
Mr. and Mrs. Hal E. Odom
Dr. Roderick and Eula Posey
Charles and Anita Price
Ellen Price-Elder
Jann and George Puckett in honor of DeAnna Douglas
Mr. and Mrs. William K. Ray
Sherrie Mitchell Richmond
Mark Rigsby and Melanie Eubanks
Marc Edward Rivet
Barbara Ann Ross
Ellen Ruffin
Ken Simson
David Sliman
Tayvi Smith
Joseph Steadman in memory of Betty A. Steadman
Barbara and Sidney Sytsma
Dr. Timothy J. Tesh
Jennifer Torres
Jewel Brantley Tucker in memory of Samuel Tucker
Sharon and Carey Varnado
Lisa and Greg Vickers
Jacqueline and Michael Vlaming
Brittney Westbrook
Aissa Wiggins
Larry G. Williamson
FRIEND - $50
Michael Aderibigbe
Nikki Acord
Kimberly Ainsworth
Dr. Jenna and Mr. Daniel Barton
Richard Edward Beckford
Elizabeth and Chris Bedenbaugh
Cindy Bivins
Day Bookout
Dr. Cherie and Mr. Lance Bowe
Chris and Lisa Bowen
Dr. and Mrs. Bob Brahan
Lauren Bridges
Rashonda Brown-Hughes
Joe Brumbeloe
William Byars
Kathy and Ben Carmichael
Matthew Casey
Dr. Adam Clay
Darcie Conrad
Brooke Cruthirds
John Cummings
Mr. and Mrs. Charles Daughdrill
Melissa Jean David
Becky Pruett Denham
Dannika Dewhurst
Diane Dobson
Mary and Steve Dryden
Helen Edwards
Ellen Elder
Kelly Ellis
Elissa Ernst
Carol and Gardner Fletcher
Barbara Jane Foote
David Fortenberry
Olivia Clare Friedman
Emily and Joel Gallaspy in memory of Jane Bradley Gorman
Gamma Chi Chapter of Kappa Kappa Psi
Monika Gehlawat
Heather and Ken Graves in memory of Jeremy Lespi
Jeff Greene
Bruno D. Griffin
Barbara L. Hamilton
Diana and George Hardin
Anita Hearon
Frances B. Hegwood
Dr. and Mrs. Wendell Helveston
Brenda Hesselgrave
Marsha Hester
Mrs. Sarah and Dr. Eddie Holloway
Emily and Dale Holmes
Wanda J. Howard in memory of Mrs. Beth Curlee
Dr. Luis A. Iglesias
Casey Jarman
Cheryl D. Jenkins
Jane W. Jones
Lisa Jones
Dr. and Mrs. Charles Junek
Kailey Kemp
Simpson H. Kendall
Penny and Gene Kochtitzky
Wendy Kulzer
Francis E. Laatsch
Karl Langenbach in memory of Betty Langenbach
Karen LeBeau
Hsiadpei Lee
Linde and Jeff Lynn
Jessica Magee
Kelli McCloskey
Judi McQueen
Robert Angus McTyre
Medley Law Group
Holly Miller
Kristie Murphy
Christa Nelson
Chuck Nestor in memory of Dr. Charles Nestor Sr.
Katherine Olexa
Kathy Owens
Mr. and Mrs. Ken T. Pace
Robert Pierce
Amy Rogers Pelton in memory of Betty C. Rogers Morris
James Pettis in memory of Linda C. Pettis
Nellie and Charles Phillips
Kathy and Peter Pikul
Mr. and Mrs. Zeke W. Powell Jr.
Ashley Price
Charles Ray
Julie Reid
Dr. Alexander Russakovsky
Mark Russell
Rosalie and Bill Schoell
Elizabeth and Scott Schwartz
Allie and Chris Seay
Linda Seifert
Erin Sessions
Valerie C. Simmons
Carol and Ken Simpson
Dana William Skelton
Carroll and Dura Smith
Blaise Sonnier
Rebecca G. Stark
Joseph Steadman
Edward N. Stephens
Virginia and Kenneth Stevens
William K. Stevens
Lorraine A. Stuart
Katie and David Sullivan
Sally and Garland Sullivan in memory of Garland H. Williams
Hayden Tharpe
Gabby Theriot
Janet and Pat Tidmore
David Tisdale
Joanne Tran
Susannah J. Ural and John Rasberry in memory of Dr. William F. Ural
Betty Lynn and Joe Ed Varner in memory of Virginia H. Culpepper
Krystyna Varnado
Kisha Welford
Anne G. Wilkins in memory of Bert Wilkins
Cory R. Williams
Dr. John Wooton
As of February 2, 2024
To request a correction to this list, contact Kate Smith, Partners for the Arts, at 601.266.5095 or kate.smith@usm.edu.
If you would like to join PFTA, visit usm.edu/partners-arts.
