2021-2022 MOSC Program

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MIDLAND-ODESSA SYMPHONY & CHORALE Gary Lewis, Music Director & Conductor

2021 2022 Keeping music live!


STUDY VOICE, PIANO, STRINGS, WOODWINDS, BRASS, PERCUSSION, AND GUITAR Achieve an associate of arts degree in music at an accredited institutional member of the National Association of Schools of Music  PROFESSIONALLY ACTIVE FACULTY  ENVI  POSITIVE & CHALLENGING ENVIRONMENT 




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TABLE OF CONTENTS FROM YOUR SYMPHONY & CHORALE From the Board President......................................................................................................... 7 From the Executive Director...................................................................................................... 8 From the Music Director.......................................................................................................... 10 Music Director Biography........................................................................................................ 11 2021-2022 Orchestra Personnel.............................................................................................. 13 2021-2022 Board of Directors & Staff..................................................................................... 14 Midland Symphony Guild........................................................................................................ 16 Odessa Symphony Guild.......................................................................................................... 17 Ticket Pricing............................................................................................................................ 20 Music Education....................................................................................................................... 36

OUR SEASON 2021-2022 Season .................................................................................................................. 18 Friends of the Symphony......................................................................................................... 22 A Texas Tribute......................................................................................................................... 32 Tchaikovsky Four...................................................................................................................... 40 May The Plants Be With You.................................................................................................... 50

OUR ENSEMBLES MOSC Chamber Ensembles..................................................................................................... 12 2021-2022 Chamber Concerts................................................................................................ 21

OUR CONTRIBUTORS / DONORS 2021-2022 Sponsors................................................................................................................ 56 2021-2022 Fund Drive Contributors....................................................................................... 57 Endowment Fund Contributors............................................................................................... 61 Advertiser Index....................................................................................................................... 78



2021-2022 SEASON

POPS & FAMILY SERIES Proudly Sponsored By



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2021 - 2022



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Kris L. Howard, M.D., P.A.

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FROM THE BOARD PRESIDENT Welcome to tonight’s performance. As we celebrate our 59th season, you and your guests are greatly appreciated. Without you, our patrons, the mission of MOSC could not be fulfilled. Delivering amazing music is both a joy and calling for our professionals. I cannot continue without recognizing the challenge our entire community and certainly our symphony has endured for over much of two years. The COVID-19 crisis shut down virtually all our society. Arts organizations and performers hit a virtual brick-wall as all work stopped. We are proud to say that MOSC became a leader in both maintaining safe standards and navigating a path forward. Although concerts were cancelled, once a safe strategy was developed to perform again, MOSC became a leader while returning to live performances. Congratulations to the musicians and staff for courage and innovation. Keeping Music Live! Our symphony is the premier performing arts organization in West Texas. We are a professional orchestra with artists both local and from across the nation. From the strings & woodwinds to the brass & percussionists the music professionals of MOSC endeavor to provide a unique experience to each of you. The Masterworks Series plus Pops & Family Series concerts provide eight big events in the world-class Wagner Noël Performing Arts Center. The show would not be complete without Maestro Gary Lewis leading the way. Beyond the eight primary concerts per year, six ensemble chamber concerts are held across our community led by our principal musicians. Education is a continuing priority of MOSC. Thousands of students annually attend program concerts and musical knowledge is shared to our next generation. Although COVID-19 halted vocal group performances across the world, we proudly announce the return of our Chorale and Voices of the Permian Basin Youth Choir. Thank you to the sponsors, donors, and patrons of MOSC. Because of the generosity of our community, live music is a reality for our area. Enjoy the show! Thomas W. Elrod 2021-2022 President MOSC Board of Directors



FROM THE EXECUTIVE DIRECTOR It is time for a victory lap. Over the past year+, the challenges that every symphony faced were extraordinary. Amid a deadly pandemic and global lockdowns, many arts organizations throughout the United States closed their doors, moved almost exclusively to online streaming, or completely overhauled their seasons. The Midland-Odessa Symphony & Chorale chose patience and perseverance. We waited so that we had the most amount of data, insight, and understanding to ensure the best decision was made for our community. And we remained flexible, nimbly adjusting our strategies to the ever-changing circumstances of an evolving pandemic. I liken our approach to last year’s season as an orchestra’s closing fermata: increasing in dynamic, holding until the last perfect moment leading to that beautiful collective release. If you have ever experienced that moment as a performer, then you know that it requires a great deal of maturity, trust, and discipline from everyone involved. The MOSC was able to pull off a massive “closing fermata” with aplomb because we had the help and support of so many: our musicians, Maestro Gary Lewis, the Wagner Noël Performing Arts Center staff, the Midland and Odessa Symphony Guilds, volunteers, patrons and donors, our local arts organizations, and the Board of Directors. We did it. We were able to keep musicians and staff employed. We rallied our strongest efforts to do what others dared not: We navigated through a dangerous pandemic and provided live musical performances in a safe setting to help bring moments of enjoyment and respite to the lives of music enthusiasts. A playbook designed to weather a crisis can often lead to some brilliant outcomes. Initially, we had no choice but to cancel or postpone some concerts. But that did not keep our musicians from interacting with their community through alternative media. We embraced broadcast streaming, but only to ensure that we found a way to participate in the education of our local students. When we had to, we did change parts of the season, but it led to a brilliant showcasing of the immense talent and flexibility of our symphony. As we move forward, we will make a point to share some of the stories you may not know. Buried in our efforts exist anecdotes about bell covers, conductor-less concerts, new collaborations, strengthened friendships, and terrific music! But we also look toward our future as we approach a milestone 60th Season in 2022-2023. Your loyal presence at tonight’s live performance is part of the magic that MOSC holds dear and remains committed toward honoring. So welcome to a rejuvenated, bold, and vibrant 59th Season! You won’t want to miss any part of what we have in store for you. Let’s go. Ethan Wills Executive Director


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FROM THE MUSIC DIRECTOR Greetings! We are so grateful to have been able to perform for you last season, albeit on a limited basis, during the pandemic. With the promise of a return to “normal” this coming season we cannot wait to share an incredible season of great music with you in an even more robust format! Many of the coming seasons’ programs were originally scheduled to be performed during last season and we are very excited to finally bring them to you now. We’ll open in September with a perennial audience favorite, Mussorgsky’s vivid Pictures at an Exhibition, orchestrated by Ravel. Pianist, Lei Weng, will share the stage performing Gershwin’s jazzy Concerto in F, and we’ll kickoff the program with Michigan composer, Roshanne Etezady’s colorful Diamond Rain. Our friends, Classical Mystery Tour, will join us in October for an amazing tribute to The Beatles. In another program we had planned to bring you last year, Texas soprano and runner-up on season four of America’s Got Talent, Bárbara Padilla, will join us in November to bring you an eclectic program of Latin classics, popular tunes and opera arias. And in December, plan to join us for our annual celebration to get the holiday season going in the Basin, Sounds of the Season! In January we’ll feature not one, but two of our own MOSC musicians as featured soloists when harpist, Vincent Pierce, and former principal flutist, Melissa Graham Hansen, join together for Mozart’s brilliant Concerto for Flute and Harp. We’ll start the program with an electric work by Jessie Montgomery called "Strum" and finish with the glorious Symphony No. 3 by Franz Schubert. March brings a special “Texas Tribute,” an exclusive program celebrating the 50th Anniversary of the beloved television program, Texas Country Reporter, narrated live by Bob and Kelli Phillips, and presenting Texas history, culture and humor, all accompanied by the orchestra. Tchaikovsky’s thrilling Fourth Symphony headlines the masterworks program in April along with Harumi Rhodes, violinist in the acclaimed Takács Quartet, performing Florence Price’s Second Violin Concerto. And finally, in May, we’ll bring the season to a rousing close with an out-of-this-world program featuring two epic works: John Williams’ "Star Wars Suite" and The Planets by Gustav Holst, accompanied by an incredible video presentation. We all have learned to never take for granted the privilege of sharing great music in a worldclass concert hall like the Wagner Noël. As I wrote last year, the arts have often used their economic impact to justify their existence, but behind that argument lie real social needs. Great music moves us in a way mere words cannot. It provides the reassurance of narrative, the peace of contemplation and - most of all - the power of community, experiences that can be hard to define but which the pandemic made us realize more fully. Vancouver singer/ songwriter Dan Mangan said “What is fulfilling about the arts is not necessarily the art itself but the way it connects us all.” Come celebrate with us and experience the thrilling music we have planned for you. And bring some friends! As we approach the 60th season of the MOSC, our communities need and deserve, more than ever, the thriving, professional orchestra we have built together. It is with your help and support that we will continue to pursue our mission to enrich lives in West Texas through great music. I look forward to meeting you at the concert! Gary Lewis Music Director & Conductor Midland-Odessa Symphony Orchestra


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GARY LEWIS MUSIC DIRECTOR & CONDUCTOR Gary Lewis is the Music Director and Conductor of the Midland-Odessa (TX) Symphony Orchestra. This is his 15th year with the orchestra and his 14th as Music Director. He is also Director of Orchestral Studies and the Bob and Judy Charles Professor of Conducting in the College of Music at the University of Colorado Boulder, where he conducts the University Symphony Orchestra and oversees the entire orchestra program. Mr. Lewis is equally at home with professional, university, and youth ensembles. In addition to his regular posts with the Midland-Odessa Symphony Orchestra and the University of Colorado Boulder, he serves as Principal Guest Conductor for the Boulder Philharmonic Orchestra and was the founding Artistic Director of the Greater Boulder Youth Orchestras. He has also appeared with the Colorado Symphony Orchestra, the Sichuan Philharmonic Orchestra (Chengdu, China), the Colorado Music Festival Orchestra, 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. His work with summer music festivals has also been noteworthy including the Interlochen Center for the Arts, Pine Mountain Music Festival (opera and symphonic) and Rocky Ridge Music Center. At CU Boulder Mr. Lewis also leads the graduate program in orchestral conducting including both the masters and doctoral level. His former students are currently enjoying success as conductors with professional orchestras and opera companies, university and public school ensembles, and youth orchestras. 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 and Bands in over 20 states along with the ASTA National Honor Orchestra and the Honor Orchestra of America. In 2010 Mr. Lewis became the founding Artistic Director of the Greater Boulder Youth Orchestras and he continues to serve as conductor of the Symphony Orchestra. Mr. Lewis is also a strong proponent of new music. He has been instrumental in the development and production of contemporary music festivals and his interest in new music has led him to collaborations with composers such as Dan Kellogg, Carter Pann, George Crumb, William Bolcom, John Harbison, Chen Yi, Michael Daugherty, Stephen Paulus, and many others. Gary Lewis is a Yamaha Master Educator.



MOSC CHAMBER ENSEMBLES For information regarding instrumental teachers, or to hire an ensemble, please contact MOSC at 432-563-0921 or marketing@mosc.org

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

Lone Star Brass 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. They perform to have fun, and it rubs off on their audiences at each and every concert. Don’t miss the annual Lone Star Brass Christmas Concert!

West Texas Winds As the resident woodwind quintet of MOSC, the West Texas Winds are active throughout the year presenting audiences young and old with performances full of energy and refinement. The ensemble has a significant repertoire of classic standard woodwind quintets and groundbreaking new music, having presented both U.S. and world-premiere performances by living composers from around the globe. West Texas Winds are always working to present something new and exciting to their listeners.


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MOSC 2021-2022 ORCHESTRA PERSONNEL Gary Lewis, Music Director & Conductor




Sarah Cranor, Acting Concertmaster & Principal Second Endowed in memory of Dorothy Croft by the Midland Symphony Guild Alejandro Gómez Guillén, Acting Concertmaster & Principal Second Ana María Quintero Muñoz, Assistant Concertmaster Laurel Lawshae, Associate Principal Kevin Crutchfield Romina Dimock Sarah Figueroa Nikesha Hailey-Hicks Amanda Hernandez Lowell Hohstadt Saikat Karmakar Bruno Lunkes Karen McAfee Robert Meinecke Turner Partain Karim Ayala Pool AbiRhoades Jason Snider Ariya Tai

Mark Morton, Acting Principal Bill DeLavan, Associate Principal Christopher Arcy Endowed in memory of Mary June Rasmussen by Mr. Kenneth Anderson and Dr. Anne Acreman, MD Alissa Stepro

Eric Baker, Co-Principal Ben Fairfield, Co-Principal Endowed in honor of Michael J. Santorelli by Karen & Spencer Beal John Irish

VIOLA Conrad Sclar, Principal Endowed by Mary de Compiegne & Rosalind Redfern Grover Laura Peña, Associate Principal Mara Arredondo Beau Garza Kathy Hohstadt Gil Jarvis Miriam Oddie

FLUTE Lyndsay Eiben, Acting Principal Kate Martin, Associate Principal Julia Barnett, Piccolo

OBOE Caryn Crutchfield, Principal Abby Yeakle Held, Associate Principal Ann Hankins

CLARINET Chris Chance, Principal Tyler Webster, Associate Principal & E-flat Mande Gragg, Bass Clarinet

BASSOON Philip Hill, Principal Bill Harden, Associate Principal


BASS TROMBONE Jon James, Principal

TIMPANI Tim Mabrey, Principal

PERCUSSION Erin Martysz Thies, Principal Jacob Adam Garcia Matt Richards

HARP Vincent Pierce, Principal

PIANO LuAnn Lane, Principal Endowed in honor of Shari Santorelli by Karen & Spencer Beal

HORN Sonja K. Millichamp, Co-Principal Scott Millichamp, Co-Principal Norma Binam Derek Wright

CELLO Amy Huzjak, Principal Endowed in memory of Walter Osadchuk by Dr. and Mrs. Michael Miller Danny Mar, Associate Principal Ilia De la Rosa Susan Jimenez Aurelia Rocha David Thomas




Thomas W. Elrod, President Carolina Keith, Executive Vice President Patrick Canty, Immediate Past President Jessica Bexley, Vice President Fundraising Mark Germer CPA, Vice President Finance Dee Anna Arellano, Vice President Sponsorships Sophie Edwards, Secretary


Steven Dojahn Dr. Nnamdi Ezenyi Maridell Fryar Beau Garza Dr. Aaron Hawley Melanie Lively Scott Long

Connie May Diann McKee Megan Pausé Betty Ann Prentice Robin Richey Stephanie Rivas Floyd Rountree

Deb Shaw Gregory Smith Kelli Stone Julian Whitley Melissa Wicker


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 (dec’d) Ms. Mary Harrington (dec’d) Mr. Don Williams (dec’d) Mr. Fred Trout Jr. (dec’d)


Gary Lewis, Music Director & Conductor Ethan Wills, Executive Director Violet Singh, Development Director Crystal Radford, Marketing Director Rino Irving, Operations Manager/Librarian Leslie Delgado, Personnel Manager Deanna J. Russell, Office Administrator


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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OUR MISSION & VISION The mission of the Midland-Odessa Symphony & Chorale is to enhance the quality of life in West Texas through professional music performances and music education programs. The vision of the Midland-Odessa Symphony & Chorale is for all individuals in West Texas to have the opportunity to experience quality professional music.

ENRICHING LIVES THROUGH MUSIC Play your part by contributing to MOSC’s Annual Fund or help ensure your symphony’s future by a contribution to the Endowment Fund.

Contact the Development Office Contact the DEVELOPMENT OFFICE development@mosc.org | 432-563-0921 development@mosc.org | 432-563-0921 MOSC.ORG


2021-2022 MIDLAND SYMPHONY GUILD Midland Symphony Guild (MSG) is excited to begin its 59th year of supporting the Midland-Odessa Symphony & Chorale (MOSC) and also supporting the local area performing arts in the Permian Basin. MSG began with the goals of supporting and raising funds for our local symphony music program. Over the past five decades, that effort has grown into a non-profit organization that provides annual financial and volunteer support to MOSC and its various productions and events. MOSC enriches the communities of both Midland and Odessa by showcasing world-class performers, local artists and musicians, and featured presentations. MSG is comprised of members who invest both time and money in their local communities. Last year, MSG donated more than 1000 volunteer hours at 700 different events. Many of these service hours were contributed by our Symphony Belles, daughters of our MSG members. Each Belle is required to complete 15 service events throughout their years in the MSG program (9th-12th grades). This requirement of service fosters both a sense of giving back to the community and appreciation for the talented artists and musicians. In addition to the MOSC, our Belles have volunteered with community organizations such as Safe Place of Midland, Midland Festival Ballet, Museum of the Southwest, Arts Council of Midland, Permian Basin Opera, Midland Community Theater and the Wagner Noel Performing Arts Center. We are so proud of our Belles. We sponsor two events for our Belle each year. We formally introduce our Freshman Belles at the February Masterworks concert, and in early April 2022 we will host our 59th Gala Weekend. This annual tradition is our biggest fundraising event for the year and provides an opportunity to highlight MOSC and the Guild’s connection to fine arts in the Permian Basin, as well as showcase the many accomplishments of our Senior Belles. The weekend includes a black-tie dinner to present and honor our Senior Belles, along with many members and patrons, for their years of service to MSG and the Midland community. It is my honor to serve as President of the Midland Symphony Guild this year. I look forward to working alongside many wonderful men and women while also having the privilege to experience exceptional performances and events. For our Belles, friendships will be formed, a spirit of service instilled, and a love of the arts encouraged. Even through this uncertainty and ever-changing environment of this year, the arts are an important part of our community and I look forward to working with the all our fine arts community to find and develop “out of the box” ideas and events which will continue to make the arts such a significant presence in the Basin. Thank you Midland and Odessa for continuing to support our Arts community for another season. Melissa Wicker 2021-2022 President Midland Symphony Guild


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2021-2022 ODESSA SYMPHONY GUILD For over 60 years the Odessa Symphony Guild (OSG) has supported the Midland-Odessa Symphony & Chorale. The OSG was formed in 1958 by a group of ladies eager to bring fine arts and culture to West Texas through volunteer work and financial support of local musicians. Through the years OSG has become a non-profit organization that continues the passion of its original members. The guild has raised thousands of dollars and volunteered countless hours to help fund and support the MOSC. In return, MOSC is able to provide our community with educational programs and top-notch concerts which is truly a blessing we hope to see continue to grow for future generations. Active members, patrons, Belles, and Beaux support the MOSC by donating financially or through volunteering their time. Volunteers promote concerts, sell memberships, usher and assist concert goers, host receptions, serve musicians, prepare for Symphony SoundBites, and attend concerts. In order to introduce students to the arts as well as service in our community, the OSG established the Belle and Beaux program for young men and women in the 9th-12th grades. During these 4 years of service we are molding the future leaders of our community as well as instilling an appreciation of the arts. With all of the uniqueness of the past year, we were able to still support MOSC through the funds raised at our annual ball. In 2022, we hope to be back in full swing with our Symphony Gala Ball being held in February. This is a special event for all of our Belles and Beaux, but also an evening to highlight our seniors and their accomplishments who have served the Guild during their 4 years of high school. Freshmen, sophomores, and juniors are presented as well to honor their time served. We invite you to join us in celebrating these students and their many accomplishments in our community. I am delighted to serve as the OSG president for the 2021-2022 season. There are many exciting things in store as we return to a normal lifestyle and are able to enjoy all of the concerts and activities MOSC has in store. We have a dedicated board ready to hit the ground running and eager Belles and Beaux anxious to serve. Congratulations to the Midland-Odessa Symphony & Chorale on their years of success and I look forward to many more years of the musical enjoyment they provide. Kelli Stone 2021-2022 President Odessa Symphony Guild




MASTERWORKS SERIES GET THE PICTURE SEPTEMBER 11, 2021 Lei Weng, piano ETEZADY - “Diamond Rain” GERSHWIN - Concerto in F MUSSORGSKY/RAVEL - Pictures at an Exhibition

CONCIERTO DE AMOR NOVEMBER 6, 2021 Featuring soprano Bárbara Padilla from America’s Got Talent with music by Falla, Ginestera and Marquez.

FRIENDS OF THE SYMPHONY FEBRUARY 5, 2022 Melissa Graham Hansen, flute | Vincent Pierce, harp MONTGOMERY - “Strum” SCHUBERT - Symphony No. 3 MOZART - Concerto for Flute & Harp

TCHAIKOVSKY FOUR APRIL 9, 2022 Harumi Rhodes, violin PRICE - Violin Concerto No. 2 TCHAIKOVSKY - Symphony No. 4


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DECEMBER 4, 2021 Celebrate the holidays with your symphony, members of the Chorale, and Voices of the Permian Basin.


MARCH 19, 2022 We welcome Bob & Kelli Phillips of the Texas Country Reporter to celebrate the Lone Star State with our symphony!


MAY 14, 2022 JOHN WILLIAMS - “Star Wars Suite”

HOLST - The Planets Visuals by Adrian Wyard

MOSC.ORG 800-514-3849 Wagner Noël Box Office, M-F, 1-5 PM Scheduled programs and individuals are subject to change.




2021-2022 SEASON









POPS & FAMILY CONCERTS ADULTS STUDENTS Orchestra/Parterre/Dress Circle $52











General Admission



Groups of 10 or more receive a 10% discount per concert. All tickets are sold through the Wagner Noël Performing Arts Center. Additional fees may apply.

800-514-3849 Wagner Noël Box Office, M-F, 1-5PM



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MOSC.ORG 800-514-3849 OR PURCHASE AT THE DOOR Scheduled programs and individuals are subject to change.



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


Melissa Graham Hansen, flute Barbara Padilla, Soprano Vincent Pierce, harp Saturday, November 7, 2020

Saturday,7:30 February 5, 2022 p.m. p.m. Arts Center Wagner Noël 7:30 Performing Wagner Noël Performing Arts Center THISCONCERT CONCERTIS IS PROUDLY PROUDLY SPONSORED BYBY THIS SPONSORED (INSERT SPONSOR LOGOS HERE – resize to fit program page) Thomas W. & Denise Elrod

Ann Parish & Betty Ann Prentice


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7:30 p.m. Saturday, February 5, 2022 Wagner Noël Performing Arts Center Gary Lewis, conductor Melissa Graham Hansen, flute Vincent Pierce, harp

Jessie Montgomery Strum

Wolfgang Amadeus Mozart Concerto for Flute and Harp I. Allegro II. Andantino III. Rondeau—Allegro Franz Schubert Symphony No. 3 I. Adagio maestoso—Allegro con brio II. Allegretto III. Menuetto. Vivace IV. Presto vivace

*Program subject to change.



ABOUT THE ARTISTS MELISSA GRAHAM HANSEN - FLUTE Dr. Melissa Graham Hansen is the former principal flutist of the Midland-Odessa Symphony & Chorale and the West Texas Winds. Known for her unique sound palette, Melissa enjoys performing both orchestral and chamber music. The former has led her to perform with numerous orchestras, such as the Greeley Philharmonic, Fort Collins Symphony, Lubbock Symphony, and the River Oaks Chamber Orchestra (Houston). The latter has inspired projects with work towards building albums featuring both flute and guitar music as well as original music written by her father. Melissa has served as a faculty member at the University of Texas of the Permian Basin and Odessa College (amongst additional institutions in other areas). She intensely enjoys teaching musicology courses in a classroom setting as well as private collegiate lessons. Beyond this work, Melissa has taught private students of all ages since 1998. One of the unique aspects of her flute studio is the use of her own method book series, entitled Beyond the Page; praised as an “innovative” and “holistic” approach to learning the flute, these books are designed with a series of levels applicable to students ranging from the intrinsically motivated junior high school student to college and beyond. The next book in the series will be aimed at a professional audience and will seek to provide a streamlined source for honing fundamental skills. After joining the MOSC as the principal flutist in 2012, Melissa also served as an orchestra representative on the MOSC Board (2013-2014) and as an MOSC personnel manager (2014 to 2021). During the summer of 2016 (through the summer of 2019), Melissa left the Basin to start a family. She treasures every moment with her husband and their two children. Melissa resigned all MOSC positions in June of 2021 to pursue and refine her passion for pedagogy, writing, and other independent and collaborative skills. Melissa received her Doctor of Musical Arts degree (specializing in performance and pedagogy) from the University of Colorado at Boulder, where she studied with Christina Jennings. In addition to Ms. Jennings, Melissa has studied with Pamela Endsley and Peter Lloyd, amongst others in the States as well as in Scotland and England.


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ABOUT THE ARTISTS VINCENT PIERCE – HARP Vincent Pierce is principal harpist of the Midland-Odessa Symphony and Chorale. He is the former director of the harp program for Ector County ISD, where he taught at Odessa High School, Ector Middle School and Milam Elementary from 2014-2019. He has also served as adjunct instructor of harp at the UT Permian Basin and at Odessa College. In fall of 2021 he began working as harp facilitator for Round Rock ISD, where he teaches at Round Rock HS and Cedar Valley, Chisholm Trail, and Walsh middle schools. Vincent has performed in several countries – first in China in 2012 as a member of the Austin based band The Noise Revival Orchestra, and in 2014 throughout Asia and Europe as a member of the University of Texas Wind Ensemble on their world tour, under the direction of Jerry Junkin. He recorded John Mackey’s “Wine-Dark Sea” with the UT Wind Ensemble in 2014 with Reference Recordings. He has also been an official South by Southwest artist and marched in the 2013 Presidential Inaugural Parade. A native of El Paso, Texas, Vincent holds a degree in music education and clarinet from Baylor University. He began harp studies as a sophomore at Baylor, and continued at UT Austin, where he received a Master of Music degree in harp performance. Vincent also holds a Cambridge Certificate of English Language Teaching for Adults through the UT CELTA program. In the summer of 2008, Vincent studied with Jeanne Chalifoux, a student of the renowned harpist Carlos Salzedo, in Alexandria, Virginia, and in the summer of 2018, he studied with Los Angeles Philharmonic principal harpist Emmanuel Ceysson at the Académie Internationale d’Été de Nice. He is past-president and a founding member of the West Texas Harp Society, a chapter of the American Harp Society, Inc. While serving as president of the WTHS he brought several guest artists to Odessa, including Russian harpist Sasha Boldachev and past AHS Concert Artist Abigail Kent, through grants from Odessa Arts and the AHS. Vincent collaborated with Odessa Arts on several projects, including the Second Tuesday Salon concert series and an NEA Big Read project, ‘Artpocalypse’. He has served as a Texas Music Educator’s Association All-State harp judge and sectional coach, and has been a clinician at the TMEA convention and the American Harp Society conference in Redlands, California. He currently serves as the South Central Regional Director and board member for the American Harp Society. Vincent is also a registered Suzuki harp teacher and a member of the Suzuki Association of the Americas. He has also served on the MOSC Orchestra Committee as local representative, commuter representative, and committee chairman and board representative. Vincent performs actively throughout the state of Texas, performing regularly with Midland Festival Ballet, Permian Basin Opera, and El Paso Symphony, and he has performed with Dallas Winds, Lubbock Symphony Orchestra, Abilene Philharmonic and Corpus Christi Ballet. He has recently begun composing, and has studied composition with Donald Grantham, Janube Tejera, and Yevgeniy Sharlat at UT Austin. Vincent is currently completing a Doctor of Musical Arts degree at UT Austin, where his research focuses on the electro-acoustic harp. He also enjoys learning languages, particularly French and Mandarin, and is a proud cat dad to Frederic Toulouse and George Berlioz.



FRIENDS OF THE SYMPHONY Jessie Montgomery b. 1981, New York City, New York. Strum Composed: Written in 2006 through a commission by Community MusicWorks. Premiered: April 2006 by The Providence String Quartet. The Work in Context • 2004: Brazil launches its first rocket into space. • 2005: Pope John Paul II dies at the Vatican. • 2006: First railway connects China and Tibet; Jessie Montgomery writes Strum. • 2007: European light bulb makers announce plan to phase out incandescent light bulb. An acclaimed violinist, composer, and educator, Jessie Montgomery is one of the leading voices in 21st-century American music. Jessie was born and raised on Manhattan’s Lower East Side. Her father is a musician, and her mother is a theater artist and storyteller. Jessie’s parents were both active in the community and often took Jessie to rallies, performances, and community parties. This sense of the communal experience of music and arts has been a major influence on Jessie’s works. In 1999, Jessie began working with The Sphinx Organization, a music advocacy nonprofit which supports young African American and Latino string players. She has won the annual Sphinx Competition two times and currently serves as the composer-in-residence for the Sphinx Virtuosi. Jessie Montgomery has written music on commission from the Metropolitan Museum of Art, the Orpheus Chamber Orchestra, and the Albany Symphony and has won awards and grants from the ASCAP Foundation, Chamber Music America, and the American Composer’s Orchestra. She has upcoming commissions with the New York Philharmonic, the National Symphony, and the New World Symphony. Jessie began studying music at the Third Street Music School Settlement, a community music school that is one of the oldest in the country. She later studied at the Juilliard School, New York University, and Princeton University. She regularly performs with the Catalyst Quartet, the Sphinx Virtuosi, and the Silkroad Ensemble. Strum is the title track of Jessie Montgomery’s 2015 album Strum: Music for Strings. The piece was originally written for string quartet and later revised for string orchestra by the composer. The title refers to the way a guitar player plucks the strings with their fingers. The piece uses pizzicato techniques from the very beginning, as the orchestra combines plucked and strummed strings with bowed melodies. Montgomery writes about the piece: “The strumming pizzicato serves as a texture motive and the primary driving rhythmic underpinning of the piece. Drawing on American folk idioms and the spirit of dance and movement, the piece has a kind of narrative that begins with fleeting nostalgia and transforms into ecstatic celebration.”


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FRIENDS OF THE SYMPHONY Wolfgang Amadeus Mozart

b. January 27, 1756, in Salzburg, Austria. d. December 5, 1791, in Vienna, Austria. Concerto for Flute and Harp Composed: April 1778, while Mozart was living in Paris for seven months. Premiered: Unknown, probably a private performance in the household of the Duke of Guines, the commissioner of the work. IV. Allegro V. Andantino VI. Rondeau—Allegro The Work in Context • 1776: The Declaration of Independence is signed, seen in Britain as an act of rebellion. • 1777: Vermont ratifies a state constitution that bans slavery and requires public education. • 1778: France recognizes United States of America, Mozart writes Concerto for Flute and Harp. • 1779: French and American forces fail to retake Savannah, lose 900 soldiers. The name Wolfgang Amadeus Mozart has become synonymous with classical music. He was famous during his life, and his reputation has only grown in the centuries after his death. A child prodigy, the young Mozart began playing the piano at the age of four and composing at the age of five. His father Leopold, a musician in his own right, began taking young Wolfgang and his older sister Nannerl on performing tours when Wolfgang was just six years old. The children performed in the Imperial Courts in Vienna and Prague and in the cities of London, Munich, Mannheim, and Paris. He continued touring throughout his childhood and teenage years. Mozart was employed as a court musician in Salzburg by the age of 17 and left acrimoniously for Vienna in 1781. It was in Vienna that Mozart established his reputation as a composer and, unlike many of his contemporaries, composed in all the popular genres of the day. As Mozart came of age, he left Salzburg and went on a tour of Italy with his father. The tour lasted from 1769-1771. Upon their return to Salzburg, young Wolfgang, now 17 years old, was hired by his father’s employer, Prince-Archbishop Heironymus Colloredo, the ruler of Salzburg. This was Mozart’s first permanent position, and he relished the opportunity to compose in many genres. He wrote all five of his violin concertos and his first piano concerto during this time. Over time, however, Mozart became dissatisfied with his position. His pay was low, and he longed to compose opera, which was completely out of the question once the court theater closed in 1775. Mozart resigned his position in Salzburg in 1777 without a new job in place. He traveled to various cities in Europe and settled in Paris. Mozart stayed in Paris for two years. He was unsuccessful finding work during this time and ended up reluctantly returning to Salzburg to take a new position in 1779.



FRIENDS OF THE SYMPHONY Mozart wrote the Concerto for Flute and Harp during his short stay in Paris. He had been giving composition lessons to the daughter of the Duke of Guines, The Duke played flute and his daughter played harp, so he commissioned this work so he would have a piece that he could perform with his daughter. Mozart greatly respected the playing of both individuals, so he was glad to write this work. The Duke and his daughter probably premiered the work, although the date and location of this premiere is unknown. The work is unusual for its time because the harp was not yet considered a standard orchestral instrument. In fact, it was still under development and not yet in its current form. Mozart never wrote another piece that used this instrument. The concerto is similar in form to Mozart’s other concerti he wrote around this time. The work is in three movements. The first movement is in sonata form, with the two main themes of the movement presented first in the orchestra and then by the soloists. As the movement continues, the flute and harp engage in a playful music dialogue with the orchestra. The second movement features the melody almost exclusively in the flute and harp. The two soloists trade Mozart’s stunning melodic phrases back and forth until coming to the cadenza, after which the soloist and the orchestra play the lyrical theme one last time. The final movement, like so many of Mozart’s concerto third movements is a lively rondo. In rondo form, the music alternates between a theme and new material. Mozart’s genius for melodic writing is again evident in lovely back and forth between flute and harp. The original rondo theme comes back one last time at the end and is joined by the orchestra as it comes to a joyful finish.

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FRIENDS OF THE SYMPHONY Franz Schubert b. January 31, 1797, in Vienna, Austria. d. November 19, 1828, Vienna, Austria. Symphony No. 3 Composed: Written between May 24 and July 19, 1815, shortly after his 18th birthday. Premiered: Not published during Schubert’s lifetime. The full symphony was first performed on March 21, 1839, with Felix Mendelssohn conducting. V. VI. VII. VIII.

Adagio maestoso—Allegro con brio Allegretto Menuetto. Vivace Presto vivace

The Work in Context • 1813: Napoleon defeated on his Eastern and Western fronts. • 1814: The Congress of Vienna is amongst the victors of the war against Napoleon, the attending countries agree to abolish the international slave trade. • 1815: Mount Tamobra erupts in Indonesia. Ash blocks out the sun and causes famine in the Northern Hemisphere, Schubert writes Symphony No. 3. • 1816: The year is known as the “Year without a Summer” due to the Mount Tamobra eruption. Unlike many of the composers that made their mark in Vienna, Franz Schubert was a native of the city. The other great Viennese composers--Mozart, Haydn, and Beethoven--had been born elsewhere in the Austro-Hungarian Empire or outside the empire entirely. Schubert was one of fourteen children born to lower class parents in Vienna. Nine of his siblings did not survive infancy. His father was a teacher and gradually built a successful school in Vienna. His family loved music, and often played music in the evenings. Schubert began to study violin, composition, and voice when he was eight years old. At the age of eleven, he successfully auditioned for the choir at the Imperial court. This was a boon for Schubert and his family as it entitled him to a free education in the imperial court. This quality education would have been completely out of reach of his family. Music was an important part of Schubert’s life at the school. He played in the orchestra, took compositions lessons with Salieri, and was fascinated with Mozart’s operas. In 1813, when he graduated from the Imperial school, Schubert was hired as a teacher by his father while he continued to study composition with Salieri. Schubert struggled to support himself financially while composing in every free moment. Eventually Schubert won a post as a performer with the Society of Friends of Music in Vienna, which gave him more financial stability and raised his profile in the musical life of the city. He finally was able to give a concert of his own works in 1828 in Vienna to critical acclaim. Tragically, he died eight months later. Scholars dispute whether the cause of death was typhoid fever or syphilis.



FRIENDS OF THE SYMPHONY Schubert wrote Symphony No. 3 during the period he was working for his father as a schoolteacher of the youngest students in the school. In his very limited free time, he managed to write over 200 works during these years. He wrote the third symphony in less than a month late at night after his teaching was finished for the day. Schubert began the work on the same day he finished a work for female chorus and horns. The symphony is relatively short in duration. Beethoven’s last symphonies were much longer by comparison. The first movement opens with a slow introduction whose theme returns later in the same movement. This continuity between introduction and the main body of the movement was very uncommon at the time. Like Beethoven’s Seventh and Eighth symphonies (finished in 1812 and 1814 respectively), Schubert’s Third does not have a true slow movement. Rather, the second movement is a jaunty Allegretto which features the clarinet in its lively middle section. The third movement is titled “Menuetto,” but this marking is more of a nod to tradition than an accurate description of the music. The movement is more of a quick waltz or a peasant dance than a stately minuet. The final movement, Presto vivace, is lightning fast and exciting. The perpetual motion in the strings drives the music forward. After a brief respite in the middle of the movement, the quick tempo returns, and the symphony ends with a flourish. Although Franz Schubert tragically died just as he rose to prominence as a composer, his prodigious output of music in every classical genre lives on to this day. It is hard to fathom how someone could write over 600 works by their 31st birthday while spending a portion of those years as a full-time kindergarten teacher. Program notes by Martin D. King An active performer and teacher, Martin D. King is on the faculty of Washington State University, where he teaches horn and music education. Dr. King is an active performer, holding positions in three orchestras in Eastern Washington and touring with his quintet, the Pan Pacific Ensemble. For more information, please visit. www.martinking.music.com

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


CONCIERTO DE AMOR Presented by Capital Farm Credit

Barbara Padilla, Soprano

Saturday,November March 19, Saturday, 7, 2022 2020 7:30 7:30 p.m. p.m. Wagner ArtsCenter Center WagnerNoël Noël Performing Performing Arts We welcome Bob & Kelli Phillips of the Texas Country Reporter to celebrate the Lone Star State with our symphony! THIS CONCERT IS PROUDLY SPONSORED BY THE POPS & FAMILY SERIES IS PROUDLY BY (INSERT SPONSOR LOGOS HERE – resize toSPONSORED fit program page) Lissa Noël Wagner & Wood Family Foundation THIS CONCERT IS PROUDLY SPONSORED BY Carolina & Ronny Keith


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Presented by Capital Farm Credit Saturday, March 19, 2022 7:30 p.m. Wagner Noël Performing Arts Center Gary Lewis, Music Director & Conductor Bob & Kelli Phillips, Narrators Authors: Bob Phillips & Mike Snyder Composer: David Lovrien Development: Kelli Phillips, Grace Lovrien, Kim Campbell This program may feature music pieces below as well as other Texas based music.

Hill Country Fanfare Randol Alan Bass

A Texas Tribute

Script by Bob Phillips & Mike Snyder Music by David Lovrien I. Texas Revolution II. Texas Constitution

Texas, Our Texas

William J. Marsh, arr. Lovrien III. The Cowboy Life, Part 1

Overture to

The Cowboys John Williams, arr. Jay Bocook

Hoedown from Rodeo

Aaron Copland, arr. R. Mark Rogers IV. The Cowboy Life, Part 2

Deep in the Heart of Texas

Don Swander, arr. Hayman/Rogers V. Oil Boom

The Yellow Rose of Texas

Traditional, arr. Carmen Dragon VI. Humor / Politics VII. Final Thoughts / Closing

The Hill Country Theme Glenn Paxton, arr. Lovrien *Program subject to change.



ABOUT THE ARTISTS BOB & KELLI PHILLIPS Kelli and Bob Phillips share more than their love for each other…they share a love for people. Each has made a career of staying in constant contact with the audiences they have built in their almost life-long careers in communications. Now they are traveling the Texas backroads together as co-hosts of “Texas Country Reporter.” Kelli Lee first appeared on television and in print at the age of 14 in commercials and ads for various businesses. At 18, Kelli became the youngest local host of Evening Magazine in the country when she was hired by KENS-TV in San Antonio while still a student at the University of Texas in Austin. She quickly expanded into working in radio on KTFM and KTSA in San Antonio and fell in love with the instant contact aspect offered by live radio. In 2003, Kelli became the morning news person as a member of the KFDM Morning Show. She soon added the noon news program to her duties and, in 2007, became the anchor of the Live at Five program and co-anchor of 6 News at Ten. When longtime 6PM news anchor Larry Beaulieu retired in 2011, Kelli was chosen to replace him on the program. Bob Phillips started his professional career while still a college student when he was hired by KDFW-TV in Dallas at the age of 18 and a first semester freshman at SMU where he later received both his BFA and MLA degrees. He was a TV news cameraman, film editor, assignments editor, reporter, producer and anchor during his 16 years at KDFW. During that time he did general assignments reporting and also covered the political beat where he followed stories from city council meetings to the state legislature to national political conventions. He covered The Dallas Cowboys as a photographer and was on the sidelines of every game they played, during the 1970s and early 80s. He also shot game footage for NFL Films and later worked at WFAA-TV in Dallas. In the early 70s, Bob and a group of journalists at KDFW started the program “4 Country Reporter,” as a way to cover news in small towns and out of the way places. The program quickly became a feature show about the lives of everyday Texans. It was an instant success with Bob as its producer and host. In 2021, the show that is now called “Texas Country Reporter” and is seen by more than a million people each week on 26 different television stations in 19 Texas markets (and nationally on RFD-TV) will begin a year long celebration of its 50th anniversary. The program is produced by the Phillips’ production company that is based in Dallas. During the celebration of 50 years of TCR, there will be events and activities all over Texas including a statewide symphony tour title “Texas Tribute” that will feature Bob and Kelli onstage with local orchestras as they play Texas themed music, interspersed with narrative passages read by Bob and Kelli. Bob’s new book about 50 years of TCR, A Good Long Drive, is being published by U.T. Press and will be available everywhere starting September 1, 2021. And the 25th Annual TCR Festival will take place in Waxahachie on October 23, 2021, with an emphasis on celebrating 50 years of “Texas Country Reporter.” Texas Country Reporter has been on the air longer than any other independently produced TV show in American history. www.TexasCountryReporter.com


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PROGRAM NOTES A TEXAS TRIBUTE (2021) Music by David Lovrien (b. 1963) Script by Bob Phillips & Mike Snyder Composer David Lovrien has been a fan of Texas Country Reporter since its beginning. After his family moved to Texas from Nebraska in 1971, TCR was his first introduction to “what Texas was like.” TCR co-hosts Bob & Kelli Phillips first met David in May 2018 at a Richardson Community Band concert. David’s Texas Saxophone Quartet performed as guest artists, and Bob was emcee for the concert. David’s arrangement of The Hill Country Theme was also included that day, and after the concert Bob shared his dream with David and his wife Grace - to create a symphonic program where he and Kelli could narrate stories of Texas history, culture, and tales from their half-century of travels. He had seen CBS reporter Charles Kuralt, famous for his “On The Road” series, give a similar concert many years ago based on North Carolina culture, and Bob was sure the richness of Texas lore could be even more successful. David volunteered to compose the underscore for the project, and Bob began writing a script with TCR senior producer Mike Snyder. They then turned things over to David to create a live soundtrack to complement the spirit and emotion of the powerful stories they gathered. The seven movements of “A Texas Tribute” are spread over the course of the concert, interspersed with other favorite Texas and western-themed selections. 1. TEXAS REVOLUTION - The first movement describes the beginnings of our state, from the Texas Declaration of Independence to the Alamo. Bob reads the words of early settler Micajah Autry and the stirring final letter of William Travis from the Alamo. The soundtrack paints a serene landscape, with noble fanfares rising from within. During the Alamo section, listen as the horns and trumpets echo the fateful bugle call “El Degüello” (The Throat-cutting) - sounded by Santa Anna’s troops to signal the Alamo defenders that no quarter would be given. 2. TEXAS CONSTITUTION - The revolution is won. Kelli reads the preamble to the Texas Constitution and the fanfare theme returns. 3. THE COWBOY LIFE, PART 1 - Bob & Kelli describe the inescapable cowboy stereotypes associated with Texas. 4. THE COWBOY LIFE, PART 2 - Sentimental western melodies rise like smoke from a dying campfire as Bob reads the wistful words of true Texas cowboy J.S. Kenyon, who retired from the historic XIT ranch in 1904. 5. OIL BOOM - In 1901, the famous Spindletop oil well struck it rich. Listen for the thumping bass drum as Bob describes early drilling technology, followed by Kelli reading reports from Galveston newspapers of the day, accompanied by upbeat ragtime tunes. 6. HUMOR & POLITICS - Texas certainly has its own brand of humor. Some say the way we talk is funny enough, but the wit and wisdom of Texas writers and politicians gives Texas humor - and politics - a character like nowhere else. 7. FINAL THOUGHTS/CLOSING - Bob & Kelli conclude by reciting the poem “God Save Texas.” by Marcia Ball & Lawrence Wright.



MUSIC EDUCATION MOSC’S MISSION: To enhance the quality of life in West Texas through professional music performances and music education.

Did you know? Each year MOSC reaches over 13,000 young people through a variety of music education programs designed to offer meaningful music experiences. Our goal is to foster a love for music starting at a young age. These programs include... Annually MOSC presents “Marvelous Melodies”, a • special symphony concert for 5,000 students performed at

the world-class Wagner Noël Performing Arts Center with musical programming tailored to school age children! Students experience exciting melodies by great composers with a fun selection of music that engages through the use of interesting or repetitive rhythms, by expressing a particular feeling or idea, or by being recognizable and easy to sing. Students attending MISD and ECISD elementary schools • have the opportunity to experience a live chamber music concert in the comfort of their own schools.

MOSC offers greatly reduced ticket pricing for all • school-aged and college students!



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an interest in learning. an interest in learning.

At Trinity School, every student is involved in the arts.

At Trinity School, every student in the arts. At Trinity School, every student is involved inis involved the arts. We are tuning up in band, vocalizing in choir, gracing the stage in drama, We are tuning up in band, vocalizing in choir, gracing the in throwing drama, snapping pictures snapping pots inin photography, art and – most We arepictures tuning in up photography, in band, stage vocalizing in choir, gracing the throwing pots in art and – most importantly – coming to know an aesthetic point-of-view. Our students arethrowing well prepared to importantly coming to know pictures an aesthetic point-of-view. Our students stage in – drama, snapping in photography, be appreciative audiences for and stalwart supporters of potsprepared in art and importantly –likecoming to stalwart know ansupporters are well to –bemost appreciative audiences and organizations the for Midland-Odessa Symphony & Chorale. aesthetic point-of-view. Our students are well & prepared of organizations like the Midland-Odessa Symphony Chorale. to Experience the difference.

be appreciative audiences for and stalwart supporters of Experience the difference. organizations like the Midland-Odessa Symphony & Chorale.

trinitymidland.org trinitymidland.org


Experience the difference.

Congratulations on your 59th season MOSC! CLAIRE & JIM WOODCOCK


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Join us for



Join us before each Masterworks concert by purchasing a ticket to the scrumptious pre-concert dinner. You’ll enjoy catered cuisine while Maestro Gary Lewis and the guest artist(s) provide you with an insider’s view of the evening’s program. Bring your friends and make new ones as you learn about the music and enhance your symphony experience!

SEPTEMBER 11, 2021 NOVEMBER 6, 2021 FEBRUARY 5, 2022 APRIL 9, 2022 Dinner includes sides, dessert and beverages. Cash bar is available.

TICKETS $26 EACH | 432-552-4437 | MOSC.ORG Menu subject to change. Tickets are limited and based on a first-come-first-serve basis.



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Midland-Odessa Symphony & Chorale Midland-Odessa Symphony & Chorale Gary Lewis, Music Director & Conductor Gary Lewis, Music Director & Conductor Presents Presents CONCIERTO DE FOUR AMOR TCHAIKOVSKY

Harumi Rhodes, violin Barbara Padilla, Soprano

Saturday, April 9, 2022 p.m. 7, 2020 Saturday,7:30 November Wagner Noël Performing Arts Center 7:30 p.m. Wagner Noël Performing Arts Center THIS CONCERT IS PROUDLY SPONSORED BY THIS CONCERT IS PROUDLY SPONSORED BY (INSERT SPONSOR LOGOS HERE – resize to fit program page)


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7:30 p.m. Saturday, April 9, 2022 Wagner Noël Performing Arts Center Gary Lewis, conductor Harumi Rhodes, violin

Florence Price Violin Concerto No. 2

Pyotr Ilyich Tchaikovsky Symphony No. 4

*Program subject to change.




HARUMI RHODES - VIOLIN Harumi Rhodes is the second violinist of the internationallyrenowned Takács Quartet, performing 80 concerts a year worldwide. Acclaimed by The New York Times as a “deeply expressive violinist,” Rhodes has gained recognition as a multi-faceted musician with a distinctive musical voice. She is Associate Professor of Violin, Artist in Residence and Ralph E. and Barbara L. Christoffersen Faculty Fellow at the University of Colorado Boulder. Rhodes combines her performing career with a passionate commitment to guiding young instrumentalists, composers and ensembles.

Originally from New Jersey, Rhodes was born into a family with Japanese, American, Russian and Romanian roots. After studying at The Juilliard School and the New England Conservatory, she co-founded the Naumburg Award-winning ensemble Trio Cavatina, served as artist member of the Boston Chamber Music Society and performed extensively with Music from Copland House, the Chamber Music Society of Lincoln Center, the East Coast Chamber Orchestra (ECCO), Orpheus Chamber Orchestra and Musicians from Marlboro. Rhodes has a vision for commissioning and programming contemporary music: her partnerships with composers of today have resulted in more than 100 premieres. As a member of the Takács Quartet, Rhodes has shaped the Graduate String Quartet Residency at CU Boulder. At the Music Academy of the West, Santa Barbara, Rhodes leads an intensive summer string quartet seminar with the Takács Quartet. When not traveling, Rhodes serves as artistic director of the Denver/Boulder branch of “If Music Be The Food...,” a concert series designed to build partnerships through music to raise awareness for food insecurity in local communities.


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TCHAIKOVSKY FOUR Florence Price b. April 9, 1887, in Little Rock, Arkansas. d. June 3, 1953, in Chicago, Illinois. Violin Concerto no. 2 Composed: Price finished the Second Concerto in 1952, a year before her untimely death. Premiered: Performed by the dedicatee twice, once in 1955 and again in 1964. The Work in Context • 1950: Allied troops land at Inchon, behind North Korean lines. • 1951: Douglas MacArthur defies President Truman, so he is relieved of his command. • 1952: Allied occupation of Japan officially ends, Florence Price writes Violin Concerto No. 2. • 1953: Josef Stalin suffers a stroke, dies four days later. Florence Beatrice Price (neé Smith) holds a prominent place in the history of American classical music. She is the first African American woman to have a symphony performed by a major orchestra, when the Chicago Symphony performed her Symphony in E minor in 1933. Price had a wide-ranging career; she was a composer, pianist, organist, and educator. Her work includes symphonies, concertos, choral works, and chamber music. Florence Price was born in Little Rock Arkansas as one of three children in a mixed-race family. Her father was the only African American dentist in Little Rock, and her mother was a music teacher. Price was born one decade after the end of Reconstruction in the South. Union troops had been withdrawn from Southern states, and state governments were beginning to pursue laws that would systematically deny rights to African American citizens who had won freedom in the Civil War and through the Emancipation Proclamation. Price’s family did their best to navigate these incredibly difficult circumstances and gave young Florence the best education they could, which included encouraging her to pursue her interest in music. She graduated from Catholic high school at 14 and from the New England Conservatory of Music at 19, where she studied composition, piano, and organ. After returning to the South to teach at several different colleges, she moved to Chicago in 1927 to escape the increasing racial hostility of the Jim Crow South. In Chicago, Florence Price experienced a major increase in her creative output. She studied composition and organ with the leading teachers in the city and made connections with other artists, including Margaret Bonds, Langston Hughes, and Marian Anderson. In 1931, she divorced her abusive husband and worked as an organist for silent films to make ends meet. In 1932, Price submitted her Symphony in E minor to the Wanamaker Foundation Awards. Her symphony won first prize and was premiered by the Chicago Symphony in 1933. Her music was taken up by many other orchestras, and she began to receive critical acclaim. Her Songs to the Dark Virgin, with text by Langston Hughes, received very positive reviews in the Chicago Daily News, hailed it as “one of the greatest immediate successes ever won by an American song.” Florence Price died suddenly from a stroke in Chicago, Illinois at the age of 66.



TCHAIKOVSKY FOUR Florence Price wrote her Violin Concerto No. 2 in 1952. She dedicated the work to Minne Jernberg, a violinist in Chicago. There are two known early performances of the piece, both performed by Jernberg, in 1952 and 1964. The 1964 performance was given as part of the celebration of the opening of the Florence B. Price Elementary School in Chicago. The manuscript of the second violin concerto, along with numerous other works, were lost for decades before being rediscovered in 2009. While renovating their newly purchased house in St. Anne, Illinois, Vicki and Darrell Gatewood discovered books, manuscripts, and sheet music, all with Florence Price’s name on them. The couple wisely contacted the archivist at the University of Arkansas and pieces which had been lost for decades were now found. In February of 2018, Er-Gene Kahng, a faculty member at the University of Arkansas, released the first recording of this newly rediscovered concerto. The concerto is unique in that it is written in one movement, not the three movements typical of many concertos. The piece has four sections, and each section contains an introductory, primary, and secondary theme. These themes come back in each new section, but each time they are orchestrated differently. Florence Price, along with the other leading African American composers of her day, was involved in an ongoing discussion of how to utilize distinctly African American musical elements, such as the blues and the melodies of spirituals, into their compositions. Rather than quoting spirituals directly in her instrumental music, Price’s music was a synthesis of musical elements from the blues and spirituals with her conservatory training. The introductory theme features cadenza-like passages in the violin. The primary theme features rhythms from the juba dance, a dance that originated on plantations in the South. Drums were outlawed for the slaves, so dances that involved stomping and slapping were created. These dances became the juba dance. The secondary theme is more romantic, with the orchestra acting as a conversation partner for the soloist. The work is exciting, compelling, and moving. The rediscovery of this piece has given all of us the chance to hear an amazing piece of music written by a groundbreaking composer. Pyotr Ilyich Tchaikovsky b. May 7, 1840, in Votkinsk, Russia d. November 6, 1893, in St. Petersburg, Russia Symphony No. 4 in F minor, Op. 36 I. Andante sostenuto—Moderato con anima—Moderato assai, quasi-Andante—Allegro vivo II. Andantino in modo di canzona III. Scherzo: Pizzicato ostinato IV. Finale: Allegro con fuoco Composed: Written in 1877 and 1878. Premiered: Russian Musical Society concert in Moscow on February 22, 1878. Nikolai Rubinstein conducting. The Work in Context • 1876: German doctor Robert Koch proves the germ theory of disease. • 1877: Thomas Edison invents the gramophone and phonograph. • 1878: The Zulu army defeats the British, Symphony No. 4 premiers. • 1879: Yellow Fever epidemic begins in New Orleans.


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TCHAIKOVSKY FOUR Pyotr Ilyich Tchaikovsky was a new kind of Russian composer. Whereas many of his predecessors, such as Mussorgsky and Rimsky-Korsakov, distrusted and opposed the influence of Western European music and the new conservatories, Tchaikovsky took a course that embraced western music and infused it with Russian elements. Born in the rural provinces of the Russian Empire, the young Tchaikovsky was a musically precocious child. His parents nurtured his musical talent, but they encouraged him to pursue a career in law rather than music. Tchaikovsky’s parents, under the strain of supporting a growing family, needed him to become financially independent as soon as possible. They enrolled him in a boarding school with a minimum age of 12 when he was just 10 years old. His early separation from his family and the sudden loss of his mother affected him for the rest of his life. Upon graduation, the young Tchaikovsky was assigned a job at the Ministry of Justice. He engaged in the musical culture of St. Petersburg while working hard in his “day job.” Tchaikovsky enrolled in the new St. Petersburg Conservatory the year it opened, and he graduated three years later, in 1865. This western style musical training was disdained by some of his contemporaries, but Tchaikovsky, while friendly with the musical conservatives, embraced a more cosmopolitan style. Tchaikovsky went on to compose in all the major genres and achieved astonishing success, both at home and abroad. Tchaikovsky wrote Symphony No. 4 right around the same time that he wrote his opera Eugene Onegin. In December 1876, Tchaikovsky began his written relationship with Mrs. Nadezhda von Meck. Von Meck was a wealthy widow and a devoté of Tchaikovsky’s music. She became Tchaikovsky’s patron on the condition that the two of them would never meet in person. Tchaikovsky began work on the Fourth Symphony soon after his first correspondence with von Meck and he kept her informed of his progress. He dedicated the symphony “to my best friend.” This dedication both paid tribute to von Meck and insured that her privacy would be protected. While Tchaikovsky’s written relationship with Nadezhda von Meck prospered both professionally and emotionally, he entered a new relationship that had the opposite effect. Tchaikovsky was writing the Fourth Symphony when he received a letter from Antonia Miyukova. Antonia claimed to be a former student (scholars disagree as to whether she was) and professed her undying love for the composer. The letters continued and the emotional content escalated to the point where Antonia threatened to end her life if Tchaikovsky did not marry her. The scholarship on Tchaikovsky’s motivation to enter this marriage is complex and somewhat contradictory. All prominent scholars on Tchaikovsky believe that he was homosexual and that a desire to avoid sexual gossip may have played a part in his decision to marry a woman he did not love. However, Tchaikovsky also had money problems, and Antonia was about to come into a large inheritance. In addition, Tchaikovsky was frustrated by being forced by his financial circumstances to teach at the St. Petersburg Conservatory. His marriage offered a way out. No matter what Tchaikovsky’s motivations were for entering the marriage, the result was disastrous. The marriage lasted for less than two months with Tchaikovsky falling ill multiple times. Tchaikovsky left Russia for a trip around Europe in the fall of 1877 to try to recover from the emotional fallout of his failed marriage. He had his unfinished manuscript for the Fourth Symphony mailed to him in Italy. He finished the orchestration in January 1878. The symphony did not receive an immediately warm reception. Tchaikovsky wrote a program explaining the symphony at the request of Mrs. von Meck which almost certainly was not meant for public consumption. The program, full of overwrought sentimentalism to satisfy a wealthy patron, found its way into the public and prejudiced many contemporary critics



TCHAIKOVSKY FOUR against the work. However, the strength of the music was greater than its poor initial critical reception, and the work today has a place amongst the greatest symphonies of the Romantic era. The symphony opens with an iconic fanfare in the horns and bassoons that is joined by the rest of the brass. Tchaikovsky said in a letter to von Meck, “The introduction is the seed of the whole symphony, undoubtedly the main idea. This is fate, that fatal force which prevents the impulse to happiness from attaining its goal, which jealously ensures that peace and happiness shall not be complete and unclouded, which hangs above your head like the sword of Damocles, and unwaveringly, constantly poisons the soul.” Tchaikovsky also wrote to a former student that the Fourth Symphony is his reflection on Beethoven’s Fifth Symphony, the absolute tour de force which includes the most famous four-note motive in all of classical music. This opening fanfare functions similarly to the way the opening of Beethoven’s Fifth unifies the whole symphony. This “fate motive” appears throughout the symphony and provides unity to the work. The second begins with a simple and beautiful oboe melody that is picked up in the strings. The middle section is much more joyous, with fanfare in the trumpets and a more triumphant air. The simple melody from the beginning returns at the end as the movement ends gently. The third movement provides a complete change in texture and affect, as the strings perform the whole movement pizzicato (plucking the strings rather than bowing). Tchaikovsky described the movement as containing a series of “capricious arabesques.” After a charming, dance-like section in the woodwinds, the initial pizzicato melody from the strings returns. The final movement begins with a flood of sound with the full forces of the symphony playing the opening flourish. The movement is mostly ebullient and festive while containing some stormy moments as well. The secondary, descending theme uses the tune of a Russian folk song called “In the Field Stood a Birch Tree.” Tchaikovsky weaves this tune throughout the movement. The opening fate theme returns about two-thirds of the way through the movement. After the music dying away to nothing but a timpani roll, the music surges back to a glorious finish. Program notes by Martin D. King An active performer and teacher, Martin D. King is on the faculty of Washington State University, where he teaches horn and music education. Dr. King maintains a busy performance schedule, holding positions in three orchestras in Eastern Washington and touring with his quintet, the Pan Pacific Ensemble. For more information, please visit. www.martinking.music.com


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Midland-Odessa Symphony & Chorale Midland-Odessa Symphony & Chorale Gary Lewis, Music Director & Conductor Gary Lewis, Music Director & Conductor PresentsBE WITH YOU MAY THE PLANETS


Saturday, May 14, 2022 p.m.Soprano Barbara7:30 Padilla, Wagner Noël Performing Arts Center Saturday, November 7, 2020 THE POPS & FAMILY SERIES IS PROUDLY SPONSORED BY p.m.Family Foundation Lissa Noël Wagner7:30 & Wood Wagner Noël Performing Arts Center THIS CONCERT IS PROUDLY SPONSORED BY Diann & John McKee THIS CONCERT IS PROUDLY SPONSORED BY (INSERT SPONSOR LOGOS HERE – resize to fit program page)


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MAY THE PLANETS BE WITH YOU Saturday, May 14, 2022 7:30 p.m. Wagner Noël Performing Arts Center Gary Lewis, Music Director & Conductor

John Williams "Star Wars Suite"

Gustav Holst The Planets With visuals by Adrian Wyard

*Program subject to change.




Adrian M. Wyard is a Seattle-based visual artist, and former designer & program manager at Microsoft. He has over 20 years experience working in digital media, including computer graphics, photography & videography, as well as software design. Adrian also has a Masters degree in the history of science from Oxford University, and has been a longtime appreciator of classical music. For larger projects numerous world-class collaborators play key roles, including animators, illustrators, photographers, programmers, and 3D artists. Learn more at www.visuals-live.com

4109 N. Midland Drive Midland, TX 79707 (432) 559-1117 www.eyelasikmidland.com


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Gustav Holst

b. September 21, 1874 in Cheltenham, Gloucestershire, England d. May 25, 1934 in London, England The Planets Composed: Holst began the work with “Mars” in 1914 and finished the final movement he wrote, “Mercury,” in 1916. Premiered: The first performance was a private performance in London on September 29, 1918. The public premiere did not occur until after World War I in London on November 15, 1920. I. Mars, the Bringer of War II. Venus, the Bringer of Peace III. Mercury, the Winged Messenger IV. Jupiter, the Bringer of Jollity V. Saturn, the Bringer of Old Age VI. Uranus, the Magician VIII. Neptune, the Mystic The Work in Context • 1914: Archduke Franz Ferdinand assassinated in Serajevo, starting World War I. Holst begins The Planets. • 1915: Babe Ruth hits his first home run; German U-boat sinks the British ship Lusitania. 128 Americans die. • 1916: The Easter Uprising begins in Dublin as the Irish fight for independence. • 1917: The United States declares war on Germany, joins World War I • 1918: A formal armistice ends World War I on November 11. The Planets private premiere Gustav Holst was born into a family of German immigrants living in England that had boasted at least one professional musician in each of the previous three generations. As a child, health issues made pursuing music difficult for young Gustav. He had undiagnosed poor eyesight and neuritis in one of his arms, which derailed his dreams of a career as a pianist. He took up trombone at age 12. His father hoped that playing the trombone would cure his asthma. Although playing the instrument did not cure his asthma, Holst ended up playing trombone professionally early in his career. Holst studied composition and counterpoint at the Royal College of Music. He also studied trombone, and he supported himself by playing trombone in musical theater orchestras. Holst’s early musical influences were Wagner, the revival of Purcell’s opera Dido and Aeneas, and later, Ralph Vaughn Williams and his passion for English folk song. Holst’s career as a composer grew slowly. He joined the Scottish Orchestra as a trombonist and played under the baton of Richard Strauss. In 1903, he left orchestral playing and took up teaching. He taught at St. Paul’s Girls’ School and Morley College for decades. His work at St. Paul’s was widely praised for bringing more serious music and rigorous study to a curriculum being taught to young women. In the years before World War I, Holst wrote two pieces that are known to almost anyone who played an instrument in their high school band. First Suite in E-flat and Second Suite in F are two of the most important early works for wind band. These




works, influenced by and sometimes quoting English folk songs, helped the wind band tradition break away from simply playing transcriptions by providing substantial, original music for this ensemble. Holst volunteered for military service in World War I but was rejected due to his ongoing health issues. He was eventually assigned to the music section of the YMCA. In this position, he worked with decommissioned British troops who were in Europe waiting to come home. As a send-off, Adrian Boult conducted the Queen’s Hall Orchestra in the premiere of The Planets. The success of The Planets made Holst famous as a composer for the first time. He now received high profile commissions from orchestras such as the New York Philharmonic. His success as a composer allowed him to devote more time to composition, which lead to increased productivity. In 1932, Holst was offered a six-month post as a guest lecturer at Harvard University. His health began to decline, and Gustav Holst died in London on May 25, 1934. His longtime friend, Ralph Vaughn Williams, conducted some of Holst’s own music at the composer’s funeral. Gustav Holst’s The Planets is a massive work for an equally large orchestra. Almost all the wind sections are larger than usual, and the percussion section consists of six players. The piece also employs two harps, celesta, organ, and three-part women’s chorus. The first performance of the piece was not a public performance; it was rather a private send-off concert for the composer before he left for his volunteer service with the YMCA in the aftermath of World War I. The first public performance was still not a complete performance. Adrian Boult only programmed five of the seven movements, as he felt that the audience may not have been able to handle the entirety of such an innovative work. The first complete performance was not until November 15, 1920 by the London Symphony. The piece was well received and launched Holst from relative obscurity into international prominence. The piece is conceived astrologically rather than astronomically. This may be why the Earth is not included in the suite. The now-controversial Pluto (is it a planet or not?) was not discovered until 1930, which explains its absence as well. Holst wrote of the music: These pieces were suggested by the astrological significance of the planets; there is no program music, neither have they any connection with the deities of classical mythology bearing the same names. If any guide to the music is required the subtitle to each piece will be found sufficient, especially if it be used in the broad sense. For instance, Jupiter brings jollity in the ordinary sense, and also the more ceremonial type of rejoicing associated with religions or national festivities. Saturn brings not only physical decay, but also a vision of fulfillment. Mercury is the symbol of mind. Mars, the Bringer of War is an absolutely relentless movement in 5/4 time. From the beginning of the movement we can hear Holst’s background as a trombonist in how prominently the brass are featured and how well he writes for them. The rhythmic ostinato introduced by the strings col legno (a technique where the string is struck with the stick of the bow rather than the hair) drives the music forward through the majority of the movement. Adrian Boult recalled that the aspect of war the composer hoped to express was its wastefulness and stupidity. Venus, the Bringer of Peace opens with a distant horn solo answered by the flutes. The identification of Venus with the goddess of love goes back to the Babylonians, at least 5,000 years ago. In astrology, Venus restores piece after the disorder of Mars passes. The violins have a lovely song-like melody in the movement, and the harps are featured prominently in this movement.


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MAY THE PLANETS BE WITH YOU Mercury, the Winged Messenger is a quick, scherzo-like movement. The god Mercury was first associated with the role of messenger in Homer’s epic The Odyssey. Astrologers consider Mercury to be “the thinker.” The music is quick, volatile, and flighty. It features the woodwinds and contains frequent meter changes. The celesta plays an important role in this movement. Jupiter, the Bringer of Jollity is the most recognizable movement of the suite. Jupiter was the king of the gods, and this name is where we get the word “jovial.” In astrology, Jupiter represents the scope of possibility and with fortune and inheritance. The most “English” of the movements, Holst wrote an original hymn tune for the piece which we hear in the middle of the movement. In 1921, Holst set this tune to the words of the poem “I Vow to Thee, My Country.” Vaughn Williams gave it a religious text, named the tune “Thaxted,” and included it in his collection of hymns Songs of Praise in 1926. The tune can still be found in hymnals of a variety of denominations. The music surrounding the hymn-tune is energetic and prominently features the brass. Saturn, the Bringer of Old Age is inspired by the outermost planet known in ancient times. The god Saturn is traditionally portrayed as an old man. Saturn represents man’s time on earth, with all its triumphs and disappointments. The music, like Venus, is slow and we hear the horns, flute, and harps prominently. The movement, while slow, contains a sense of forward momentum and builds towards stately climaxes. This movement was Gustav Holst’s favorite movement of the suite. Uranus, the Magician refers to the first planet discovered via telescope. Sir William Herschel discovered the planet in 1781. Uranus rules invention, innovation, and even astrology itself. The brass and timpani forcefully open the movement. The whole movement has the feeling of a galloping horse. The music is lively and bright and becomes boisterous at times. Neptune, the Mystic is the final movement of the suite. The planet Neptune was discovered in 1846. At the time Holst wrote this piece, Neptune was the farthest known planet in our solar system. In astrology, Neptune signifies confusion and mysticism. The movement opens with the flute section, including alto flute, playing in the low register. The whole opening of the movement has a shimmering, lyrical quality to it not unlike Debussy’s orchestral work La Mer. The middle of the movement features extended celesta solos. In the score, Holst directs the women’s chorus “"to be placed in an adjoining room, the door of which is to be left open until the last bar of the piece, when it is to be slowly and silently closed." They repeat the final bar and gradually fade away. It is rare for a composer to end a large-scale work with an ending that fades into nothing. Holst combined this technique with brilliant orchestration to produce an absolutely breathtaking ending to this work. In addition to its popularity on the concert stage, The Planets has had a major impact on the movie music of the last 40 years. John Williams has often comment on what an influence The Planets has had on his compositional style. In particular, the melodies and orchestration of “The Imperial March” draw on Mars, the Bringer of War. Hans Zimmer’s soundtrack to Gladiator drew its inspiration from this movie as well. Program notes by Martin D. King An active performer and teacher, Martin D. King is on the faculty of Washington State University, where he teaches horn and music education. Dr. King maintains a busy performance schedule, holding positions in three orchestras in Eastern Washington and touring with his quintet, the Pan Pacific Ensemble. For more information, please visit. www.martinking.music.com




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2021-2022 FUND DRIVE CONTRIBUTORS Midland-Odessa Symphony & Chorale is pleased to acknowledge the generosity of those who place a high value on the presence of live symphonic, chamber, and choral music in the Permian Basin. Through their monetary commitment or other unique forms of support they enable MOSC to fulfill its mission of enriching lives through music for a 59th season! Listed below are the gifts and pledges for the 2021-2022 season as of August 1 st, 2021. DIAMOND BATON SOCIETY ($10,000+) Beal Foundation The Henry Foundation J.C. Ferguson Foundation U N DE RW R I T T E N BY Pevehouse Family Foundation, Inc. Rea Charitable Trust Midland Symphony Guild ADDITIONAL SUPPORT BY Odessa Symphony Guild Arts Council Midland Odessa Arts BRYANT FAMILY FOUNDATION


SILVER BATON SOCIETY ($2,500+) Exploration Geophysics / Lee A. Miller Ken Anderson & Anne Acreman, MD Michael & Dana Ashton and Mr. Marc Capellini Spencer & Karen Beal Tony Blakley Bryant Family Foundation Julia Edwards Dr. Ed & Suzanne Rathbun Douglas Scharbauer Dr. Carol Ann Traut Rosemary & Max Wright

FORTISSIMO ($1,000+) Robin Richey & Gary Brednich Brunson Legacy Partnership Drs. Richard & Roberta Case Mary Lou Cassidy Roger Corzine Martha & Paul Crump Betty Rae and Paul Davis Mary de Compiegne Denise & Thomas W. Elrod Venita and JD Faircloth Robert & Marion Frazier Maridell Fryar Lighting Design sic Compilation, Arrangement & Editing Elizabeth Greaves JARED SAYEG RAMONARosalind PANSEGRAU Redfern Grover Carolina & Ronny Keith


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Mark Knox Patricia & Peter Lufholm Doris Casey Mason Diann & John McKee Pam & Bruce Moore C. Richard Sivalls Ludie & Eben Warner III Audra and J.B. Whatley Rachel & Ethan Wills FORTE ($500+) Penny & Ernie Angelo Gayle & Michael Banschbach Kirk & Suzie Boyd Cassie & Kenneth Dressel Betty P. Gulledge Marc & Vicki Martin Elizabeth Prentice Juandelle Lacy Roberts Kathy & Floyd Rountree Ann Todd Patti & William G. Watson Mary Ann Woodard MEZZO FORTE ($250+) Anonymous Betty Dale Sophie Edwards Lou Nelle & Jeff George Tammy & Tom Hawkins Judith Hayes Patty & Tevis Herd Caroline Ater Howard Stephen J. Kroger Lynn Mashburn Linda Kester Moreland Kerry & Zahir Noormohamed Eric Pantzer Megan & Paul Pausé Janet & Bill Perkins Ruth & Bob Price Violet & Mark Singh Dr. Tulsi D. & Claudette Singh Alison and Jamie Small Gregory Smith

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2021-2022 FUND DRIVE CONTRIBUTORS Elizabeth & Nick Taylor Jessica Waller Julian Whitley Michael J. Wilson CRESCENDO ($125+) Dee Anna & Johnny Arellano Steven Dojahn Monsignor Larry Droll Ashley Dunn Mark Germer Bill Harden Barbara Kurzynski

Carolyn & Jack Laschkewitsch Marci & Miles Nelson Ann Parish Toby Phillips Lucy & Billy Proctor Pat & Dick Snyder Deeann & Richard Werner PIANO ($75+) Julie & Patrick Canty Mary & Bill Delavan Arlen Edgar Tessa Elder

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ASSURING MUSIC FOR THE FUTURE! MOSC invites you to consider a meaningful and lasting gift. Established in 1992, specifically to help provide a financial cushion when economic activity in the Basin dips, the MOSC Endowment Fund currently accounts for about 7% of the annual budget. As you consult with your tax advisor, financial planner, or attorney please consider MOSC as a beneficiary of your planned giving or of your estate. Your legacy will continue to Enrich Lives Through Music for generations to come. For further details on how you can play your part in assuring that MOSC concerts and programs continue well into the future, please contact:

Violet Singh, Development Director 432-563-0921 or development@mosc.org


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ENDOWMENT FUND CONTRIBUTORS You, Your Legacy and the music of the MOSC For over 58 years, the music of the Midland-Odessa Symphony & Chorale has continued despite the economic conditions in the Permian Basin. What a testament to residents of the Permian Basin and their determination to include live symphonic and choral music as an integral part of the cultural landscape of West Texas. Your gift to the MOSC Endowment Fund allows you to join generous contributors whose gifts go immediately to work and provide critical funding for the quality programming the MOSC offers season after season for residents of all ages. For further details on how you can play your part in assuring that the MOSC continues to Enrich Lives Through Music well into the future, please contact Violet Singh, Development Director at development@mosc.org (432) 563-0921.


Mrs. Keleen Beal Millennium Club ($25,000+) MEMORIALS: Walter Osadchuk

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Mary June Rasmussen

Mr. Kenneth Anderson & Anne Acreman, MD Anonymous Karen & Spencer Beal Davidson Family Charities Estate of Dollie Neal Ballenger Mary de Compiegne Estate of Mary Louise Gilmour Rosalind Redfern Grover 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


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Robert D. Anson

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Penny and Ernest Angelo Carole V. Warren

Shari Santorelli

Penny and Ernest Angelo Betty Rae and Paul Davis The MOSC Chorale Carole V. Warren Estate of Joyce Ann Bradley 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 Elizabeth Harvey Karl & Cathy Herzog Mr. & Mrs. Lloyd Innerarity Mrs. Stan Jacobs Mr. & Mrs. Bob L. Jones Marian & Charles E. Jones V. Wayne & Joann Jones Dr. & Mrs. Nam Kim Mr. & Mrs. James W. Lacy Dr. Ron Larson & Pat Paxton Larson Stephanie Latimer Jane C. Lea Robert M. & Prudie Leibrock Scott W. Long LaNelle McBee Mr. & Mrs. Stephen McHaney Rusty & Alyson McInturff Mr. & Mrs. James D. McLaughlin


Walter & E. Grace Osadchuk Dr. E. Grace Osadchuk Mr. & Mrs. Josh H. Parr Dr. & Mrs. Jess Parrish Margaret L. Peer Mr. & Mrs. Charles R. Perry Mr. & Mrs. Robert Pollard Mike and Sue Potter Mr. & Mrs. Robert R. Rice Mr. & Mrs. A.W. Rutter, Jr. Rick & Debbie Schneider Violet & Mark Singh Dr. Roger M. Traxel Bill & Patti Watson Harold & Jacquelyn Williams Rachel & Ethan Wills Jane Wolf Mr. & Mrs. Max Wright

Contributors (Up to $999) HONORARIUMS: Bea Angevine Jane & Don Samples

Katherine Bash & Duncan Kennedy Harriet A. & Gene Motter

Jack “Dug” Belcher

Dortha & Ronald Bennett

Dortha & Ronald Bennett & Barbara Shinn Ms. Judy DeWees

Brad Bullock

MOSC Board of Directors Eddie Montoya

Marin & Ashlin Bullock

Jane & Don Samples Sue Solari

Louise M. Garay Bill & Mary Garay

Luis de la Garza, III Pamela Howell

Richelle Gengler

The Midland Musicians Club

Dr. Ted Hale

Anonymous Carol, John & Caroline Deats

Edith C. Hardy

The Midland Musicians Club

Lee Harley Flo White

Sharon Hickox

Mark & Janet Krause

Dr. Thomas A & Anne B. Hyde

Violet and Mark Singh

Peggy C. Jones

The Midland Musicians Club

Abigail Kauffman Mary Macferran

Carolina Kieth

MOSC Board of Directors

Jeannette Kolokoff

MOSC Board of Directors Crystal Radford Ann Parish Betty Ann Prentice

LaDoyce Lambert

MOSC Board of Directors

David Lauritzen

MOSC Board of Directors

Brad & Crista Bullock

Martha Lewis

Pamela Howell

Karen McAfee

MOSC Board of Directors

John and Melissa Madura

The Midland Musicians Club

Reba McHaney

Chris Chance

Carol Chandler Jo Ann Collett

Kimberly Corman

Janet Williams Pollard

The Midland Musicians Club Carole Symonette

Violet and Mark Singh

Mr. & Mrs. Stephen H. Parker Tim Young & Sharon Hickox

Ann Countryman

Edward McPherson

Mrs. D. Pat Darden

Charles & Brenda Nail

Gary Edmiston

Vera Osadchuk

Karen Elliott

Dr. Henry Page

Trisha Faubion

Mr. & Mrs. Walter Pope

Maridell Fryar

Richy Puga

Larry & Gwen Roberts Betty M. Scott

Employees of Security State Bank Jane Wolf

Karen Watson

Bea Angevine

Jeannette & Mark Kolokoff Bill Harden

The Midland Musicians Club The Midland Musicians Club

Midland Symphony Guild

Jennifer & John C. Harper

Keeping music live!

Gregory Pysh


Chapter Gd P.E.O. Connie May

Russell J. Ramsland

Midland Symphony Guild

Jay Reynolds

MOSC Board of Directors

Red & Juandelle Lacy Roberts

Violet & Mark Singh

Elizabeth Roweck

The Midland Musicians Club

Jane Samples Bea Angevine

Michael J. Santorelli Violet and Mark Singh Janet Stafford Carol Symonette

Shari Santorelli

Craig and Doris Anderson Connie May Violet and Mark Singh Janet Stafford Carol Symonette

Cliff & Joyce Sherrod Violet & Mark Singh

Violet Singh

Alynda Best Joanie Holt Rev. Jon & Dale Stasney

Violet & Mark Singh Dr. & Mrs. Steve Wiehle

Anne Anson

Mr. & Mrs. Kevin D. Durham Arlen Edgar Betty & Clem George Robert D. Anson Thomas K. Anson Ms. Francene Breckenridge Edith Libson Andrew W. Austin & Cynthia K. Stewart

Eldon Basney

Midland Symphony Guild Ms. Beverly K. Cunningham Dr. E. Grace Osadchuk Mr. & Mrs. Michael Tandy

Emma Burnett

Violet and Mark Singh Jane Wolf

Jack E. Brown Jeannette and Mark Kolokoff

Warren Burnett

Paula & Ruff Ahders Ms. Judy DeWees Mr. & Mrs. Jim Leeton Mr. & Mrs. Michael Tandy Jane Wolf

Anne Caldwell

Mr. & Mrs. Charles E. Jones

Sue Smith & Jim Huddleston

Clarence E. Cardwell, Jr.

Sue Solari

Viola Campbell

Alathea & Jim Blischke Violet and Mark Singh Jane & Don Samples Mark & Jeannette Kolokoff Bill & Mary Garay

Eric Leibrock

Mrs. Ethel Chapman

Truman & Doreen McCreless The Midland Musicians Club

J. Dan Carpenter

Alan and Susan Leshnower

Herb and Pat Stanley

Marcella Christensen

Cindy Walton

Doris Cooper

Violet and Mark Singh

Amy A. Walton Jane Wolf Memorial Christian Church Billy T. Schulze

Beverly Wise

The Midland Musicians Club

Gene & JoAnn Wyatt Risa Brown MEMORIALS

Nelson Allison

Michael & Dana Ashton Bob & Kay Bivens Karl & Cathy Herzog Joan McCown Sue & Buddy McDonald


Katherine Grella

Cowan Hill Bond Agency Mullis Newby Hurst Ronald Bennett Howard Cowan Janet Hayes Bob & Pam Leibrock Violet & Mark Singh Mary Nixon Tighe

Dorothy Croft

Caroline Ater Howard Chancy & Toni Croft Barbara Davis Alan & Susan Leshnower

Mary McKeown Davis Pat & Herb Stanley

Lynn Davis

LaDoyce Lambert

Perry Davis

Melissa Burnett & Wayne Warren

Jean Grisham Dean

Jeff & Lou Nelle George

Opal Dobbs

Ludie & Eben Warner

Gretchen Estes

The Midland Musicians Club

Marie Finical Chris Newman

John Foster

Kay & Robert Bivens

Kathleen Freeman Lyn Fishman Maridell Fryar Ann Parish Betty Ann Prentice

Fay Griffin

Betty & Stuart Awbrey

Betty Louise Gulledge Lou Nelle & Jeff George

Marshall C. Gulledge

Marilyn J. Craig Mr. & Mrs. Robert M. Neill Frankie Simmons Mary Harrington Odessa Council for the Arts & Humanities Odessa Symphony Guild Nancy Anguish Karen & Spencer Beal Bobby & Denise Burns Emma H. Burnett Melissa Burnett & Wayne Warren Karl & Cathy Herzog Tim Young & Sharon Hickox Melissa Hirsch Mr. & Mrs. Charles E. Jones Charles Milby Hartwell Barbara Hartwell Mayor Dan Hemphill Melissa Burnett & Wayne Warren Harriet Herd Midland Symphony Guild Alathea & Jim Blische Jeannine Donnelly Kenneth Herrick Elizabeth & Preston Black Myrna Herrick The Preston Black Family Mayor Bill Hext Bobby & Denise Burns



Jacque Nell Hunder Holland Marc and Kay Maddox Rose Ann Houghton Joanie Holt Robert Hudson Jane Wolf Billie Hunt Pam & Bob Leibrock Pat Innerarity Jim & Barbara Clack Mary B. Kennedy Rebecca Sawyer Janet & Paul St.Hilaire Dr. Thomas A. Hyde The Midland Musicians Club Neal Johnson Ms. Judy DeWees Marian Jones Bob & Nancy Dott Betty & Harvey Dunn Alan & Susan Leshnower Sally McGuffey Esther D. Bird Jane Knox Jeannette & Mark Kolokoff LaDoyce Lambert Phyllis Kvasnicka Beverly Muire & Family Dick Lambert LaDoyce and Gloria Lambert Gloria Lambert Barry and Mary Beck Jeannette and Mark Kolokoff Lynn Mashburn Violet and Mark Singh Jane Wolf LaDoyce Lambert Martha & Paul Crump Lynn Mashburn Margaret Purvis Jane Wolf Merceda Layton Audrey Chartier Katherine Leeton Fowler Melissa Burnett & Wayne Warren Ed Leps Audra & J.D. Whatley Katherine Linehan Mr. & Mrs. W.R. Berger Mr. & Mrs. Jack E. Blake Alva D. Butler Mr. & Mrs. Frank Cahoon Elinore Chase Harvey & Harriet Herd


Patty & Tevis Herd Sue Houghton Dan M.Leonard Jan & Bill Setzler Mrs. E.M. Seydell Barnie Snure Mrs. George Lovett Audrey Chartier Geraldine MacCabe Chastain Jheri Fleet Marjorie Sue McLelland Emma H. Burnett Maurice “Mo” Martel W.M. Champion Sammie K. Rogers Mary Elizabeth Newman Carole Symonette 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 Walter Osadchuk Vera Osadchuk Barbara Parr Anonymous Rebecca Atwood Victoria Ehrlich Mr. & Mrs. Charles E. Jones Josh H. Parr Anonymous Rebecca Atwood Mrs. Coy Best Victoria Ehrlich Delia Griffin V. Wayne & Joann Jones Mr. & Mrs. James D. McLaughlin John O’Hern

Dr. Jess Parrish Kay and Bob Bivens Harold Rasco Audrey Chartier Victor Rede Melissa Burnett & Wayne Warren Charles H. Rentz Mary Rentz 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 Violet and Mark Singh Russell F. Sanders Emma H. Burnett Sue Bob Smith Drs. Roberta & Richard Case Jeannette Kolokoff Elizabeth Prentice Violet and Mark Singh Junia Stoddard Helen Parsons Adhers Sally Stella Chris Newman David Austin Stephens Davis, Gerald & Cremer Stubbeman, McRae, Sealy, Laughlin & Browder Mary Lou Cassidy Permian Basin Landmen’s Association Violet & Mark Singh Nan & Alan Zeman Deane Stoltz & Susan Stoltz Tirey Kay & Robert Bivens 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 Sheila Thompson The Midland Musicians Club Naomi Tillett Mary & Barry Beck Alva D. Butler

Keeping music live!


Mr. & Mrs. Frank Cahoon Elinore Chase Capt. & Mrs. William E. Clark David & Sarah Lew Grimes Sue & Ted Kerr LaDoyce & Gloria Lambert Mary Ann McRae Mr. Mrs. Charles L.Tighe Earl Van Stavern Midland Symphony Guild Thomas Welch Schatzie & Charles Tighe Bill J. Whitfield Dee Griffin Rita Williams Ronald & Dortha J. Bennett Berniece Johnson Dr. & Mrs. Paul H. Johnson AT&T Foundation The Bosworth Company Chapter Gd P.E.O. Tierra Company / Bill Musar Stanton Music Club Twentieth Century Study Club Anonymous (4) Dr. & Mrs. Clayton Alred Jim & Sandra Alsup Mr. & Mrs. George Alther Mr. & Mrs. John F. Armstrong Joyce R. Barthelemy Cliffy & Barry Beal Helen B. Beal Chrys & Kelly Beal Cheryl Becker Frank & Gretchen Bell Mr. & Mrs. Stanley Bellows Virginia Berry Elizabeth & Herb Blankinship Berry & Jane Breining Ken & Cathy Burgess Mr. & Mrs. William C. Bynum Mr. & Mrs. Frank Cahoon Mr. & Mrs. Jack C. Cartwright Edward & Cassandra Cheek Mr. & Mrs. Bill Clifton


Mr. & Mrs. Robert S. Cooke Margaret Cowden Enid W. Davis Tom & Dorothy Davis Bill & Mary Anne Dingus Mary Margaret Donelson Mr. & Mrs. Lynn D. Durham, Jr. Mr. & Mrs. Curtis Erwin, Jr. Paul Feit Iris & John Foster Mr. & Mrs. Robert H. Frazer Jeff & Lou Nelle George Richard D. & Iola Gillham Dan Green Sarah & David Grimes Mr. & Mrs. M.C. Gulledge, Jr. Barbara Hales Mr. & Mrs. Robert H. Halpert Billie C. Halstead Mrs. Thornton Hardie Phil & Judy Hayes Patty & Tevis Herd Dr. & Mrs. William M. Hibbitts Melissa Hirsch Brittie N. Holster Dr. Jim Huddleston & Sue Smith Dr. & Mrs. James Humphreys Patricia & Leon Jeffcoat Barbara J.H. Johnson Maureen Johnson & Todd Torczon Jo Ann Jonsson Al & Elayne Karickhoff Sherry Keisling Niran E. Kellogg Lee & Bob Kennedy Mary B. Kennedy Mr. & Mrs. William D. Kleine Jane Knox Sarah & David Lauritzen 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 Ann Parish Steve & Diane Parker Bill Peyton Rod & Jane Phares Margaret & James H. Purvis Jane B. Ramsland Randee and Jack Rathbone Lynn Renaud Jane & Ray Riddle Mary G. Ritchie Mr. & Mrs. Larry J. Roberts Mr. & Mrs. Hal Roegner Mrs. Donald A. Ross Rita Rusnak Dee Ann & Jeff Salehi Rebecca Sawyer Lisa and Geoffrey Schaffer-Harris Mrs. Suzanne Seright James & Alison Small Sally & Bill Stella Harley R. Stimmel Mary & Paul Summersgill 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



Proudly support Midland-Odessa Symphony & Chorale!!

Congratulations on on your 59th season! Proud supporters of

Midland-Odessa Symphony & Chorale!


Congratulates MOSC on its 59th Season!

Keeping music live!





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Keeping music live!

The Midland-Odessa Symphony & Chorale on your 59th Season! Ann Parish & Betty Ann Prentice

Proudly supporting Midland-Odessa Symphony & Chorale Congrats on your 59th season! - Diann & John McKee -

Proud supporters of the 59th season!












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ADVERTISER INDEX Aghorn Energy, Inc...............................70

Midland Festival Ballet........................72

Al’s Water............................................59

Midland Symphony Guild....................76

Basin PBS............................................28

Midland Reporter-Telegram.................74

Big 2 News ..........................................68

Midland Storytelling Festival...............28

Brazos Door & Hardware.....................24

N-Tune Music & Sound........................37

Canopy, The.........................................77

Odessa American.................................67

Carter Financial & Retirement.............30

Odessa College Music Department....... 2


Odessan Magazine, The.......................73

Community National Bank...................70

Odessa Symphony Guild......................66

ConocoPhillips...................................... 6

Parish, Ann..........................................71

Corey Sly Electrical Service..................47

Piano Works, Gallery & Clocks.............80

Cotton, Bledsoe, Tighe & Dawson........52

Plains All American Pipeline, LP...........77

Crenshaw Flooring...............................58

Prentice, Betty Ann..............................71

Crump, Paul & Martha.........................71


Dee Anna Arellano - EXP Realty...........46

Safe Hands Safety................................70

DoubleTree by Hilton............................ 5

Sewell Cadillac...................................... 9

Earlene Smith- Rodan+Fields...............76

Soft Suds Carwash...............................76

Elrod, Thomas W. & Denise..................66

Stubbeman McRae Sealy Laughlin

Eye LASIK Midland...............................52

& Browder Inc.....................................66

FirstCapital Bank of Texas....................79

Texas Sun Winery................................58

Frost Bank...........................................77

Trinity School......................................38

Hemingway, The..................................76

UTPB - Music Program.........................75

Keith, Carolina & Ronny.......................66

Wagner Noël Performing Arts Center...31

Lissa Noël Wagner &

West Texas Dermatology...................... 6

Wood Family Foundation...................... 4

West Texas National Bank....................75

Mark Knox Flowers..............................42

West Texas Radio Group......................68

Marsh & McLennan Agency.................48

Woodcock, Claire & Jim.......................38

McKee, Diann & John..........................71


Keeping music live!

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