West Texas Symphony

Gary Lewis, Music Director & Conductor

2024-2025 SPONSORS

PLATINUM $10,000 SAULSBURY

GOLD

$5,000

Midland Symphony Guild & Odessa Symphony Guild

Community National Bank

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SILVER

$3,500

Brazos Door & Hardware

Cotton Bledsoe Tighe & Dawson P.C.

Plains All American Pipeline, LP

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BRONZE

$2,500

Aghorn Energy

Betenbough Homes

Big Smiles Ranch

City of Odessa

H.E.B

Dee Anna Arellano EXP Realty & Steven Palma, Right At Home Midland

Gretchen Bell In Memory of Frank Bell

Gregg Blain

Mary Dawson

Denise & Thomas W. Elrod

Ann & Ken Hankins, Jr.

Kool Katz Air Conditioning & Heating and Permian Basin Radio LLC

West Texas Symphony Board of Directors

Susie Davis, Joe & Carla

Haston & Permian Printing In memory of Lynn Davis

Standard Structures, Inc.

CHAMBER $500

Andrew Hernandez State Farm Agent

Ernie Angelo

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Jeannine & Robin Donnelly

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Carolina & Ronny Keith

Diann & John McKee

Ann Parish & Betty Ann Prentice

MEDIA, LODGING & TRANSPORTATION SPONSORS

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KMID BIG2

West Texas Radio Group

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PROGRAM BOOK SPONSOR

Midland College Foundation, Inc.

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DIANN

JOHN

SYMPHONY SOUNDBITES

ENHANCE YOUR CONCERT EXPERIENCE

Join us before each Masterworks concert by purchasing a ticket to the pre-concert dinner in the Rea-Greathouse Recital Hall. 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! Dinner includes sides, dessert and beverages. Cash bar is available. TICKETS $30 EACH - CALL 432-552-4437 - SEATING IS LIMITED Join us for the next dinner on APRIL 12

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PROUD SPONSOR OF

FROM THE BOARD PRESIDENT

Dear Esteemed Patrons and Supporters,

As we embark on the 62nd season of the West Texas Symphony, we are filled with gratitude for your unwavering support over the years. It is through your generosity and dedication that we are able to continue our mission of enriching the cultural fabric of West Texas through professional music performance and education.

The upcoming season promises to be a celebration of music's power to inspire, uplift, and unite communities. Prepare to be spellbound by music from Strauss, Debussy, and Stravinsky. From our flagship Masterworks Series to our captivating Pops & Family Series, each concert is meticulously crafted to offer a unique and unforgettable experience for our audience members.

We are thrilled to announce the return of beloved Barbara Padilla and spectacular Tony DeSare for two of our Pops & Family Series. In December, we will kick off the Holidays with Sounds of the Season, featuring not only the West Texas Symphony but also chamber ensembles, chorale groups, and special guest performers. It is events like these that truly showcase the vibrancy and talent of our local arts community.

In addition to our main performances at the world-class Wagner Noël Performing Arts Center, we are proud to present a series of chamber and chorale concerts led by our talented and dedicated principal musicians and singers. These intimate gatherings allow for a deeper connection between performers and audiences, enriching the musical experience for all.

As education remains fundamental to our mission, we are committed to offering impactful musical encounters for students throughout our community. Through programs like Marvelous Melodies, Voices of the Permian Basin, and our Side by Side performance, West Texas Symphony impacts the lives of countless young individuals, aiming to nurture future generations of musicians and music enthusiasts.

As we look ahead to the 2024-2025 season, we invite you to join us in celebrating the transformative power of live symphonic music. Whether you are a long-time supporter or experiencing the magic of the symphony for the first time, we are thrilled to have you here. Thank you for your continued support and enthusiasm. Together, we will ensure that the West Texas Symphony continues to thrive for generations to come.

Warm regards,

Dee Anna Arellano 2024-2025 Board President

FROM THE EXECUTIVE DIRECTOR

Welcome!

We are glad you are here with us.

In fact, we need you here with us, and as the greater MidlandOdessa area grows, so does its need for culture.

Whatever sociological or psychological model employed to determine human need, the need for quality music is apparent, existing in beautiful cohesion: Music runs deep down to the rhythmic pulse of our heartbeats. Music’s frequencies can be heard in nearly every square block of a downtown hub or in the great expanse of nature. Music is one of those rare activities that stimulates and engages nearly all areas of our mappable brain. We use words like ‘transformative’ or ‘impact’ to try and put words to how music engages our souls. Music impacts us thoroughly. So when a large group of individuals set aside their differences and come together to play music to the best of their ability - with fervor and with heart – it’s the best! It’s your West Texas Symphony!

There’s not a show on the docket we are not proud of. There’s not a performance booked that is sub-par. And we’re going to keep it coming as long as you keep coming back…and bring a friend!

Ethan Wills Executive Director

20242025SEASON TICKET PRICING

STUDENT TICKETS $12, ALL CONCERTS, ALL SEATS! Student tickets are available with paying adult or valid college ID. Price is for any seat, any level.

Groups of 10 or more receive a 20% discount per concert.

All tickets are sold through the Wagner Noël Performing Arts Center. Venue ticketing policies apply. Fees may apply.

FROM THE MUSIC DIRECTOR

Dear Patrons:

Greetings! I am delighted to welcome you to the 2024-2025 season of the West Texas Symphony Orchestra. We have yet another incredible season of great programs planned for you and we cannot wait to share them with you! To get us started in September we will present “American Stories” featuring the Symphony No. 1, “Afro-American” by the dean of Black American composers, William Grant Still, paired with Dvořák’s masterful Cello Concerto, also written here in America. In October we welcome back, by popular demand, the amazing Mexican-American soprano, Barbara Padilla, for an enchanting evening of popular songs. November brings two of Richard Strauss’ most beloved and captivating works, "Till Eulenspiegel’s Merry Pranks" and the Suite from “Der Rosenkavalier” along with Grieg’s magnificent Piano Concerto. December means the start of the holiday season and there is no better way to ring it in than with the West Texas Symphony, the Chorale, Voices of the Permian Basin, the chamber ensembles and other surprises!

We are always honored to present one of our own superb artists as a featured soloist. In January we’ll do just that with Chris Chance, principal clarinet of the WTS, performing Debussy and Weber and the orchestra presenting Beethoven’s charming Symphony No. 2. The incredible singer, songwriter and pianist, Tony DeSare, returns in March to share a tribute to timeless piano legends culminating with Gershwin’s Rhapsody in Blue. April will not only mark the beginning of springtime but will also bring the first performance ever in the Permian Basin of Stravinsky’s revolutionary and evocative Rite of Spring. This work changed the course of music history and is recognized as the most important orchestral work of the 20th century and perhaps of all time. You won’t want to miss it! Also on the program, our annual side-by-side performance with area music students sitting in with the professional musicians of the WTS. And what better way to bring the season to a close than with the screening of the iconic movie, Superman, with the WTS performing John William’s triumphant score live!

We simply could not bring this great music to the Permian Basin without your help and support. Please be sure to also attend the many wonderful performances by the outstanding ensembles of the WTS, the Chorale, our youth choir, The Voices of the Permian Basin, along with the West Texas Winds, Lone Star Brass, and Permian Basin String Quartet. These programs are always inspiring and engaging and you don’t want to miss them!

We hope you will subscribe to all of these wonderful series of concerts. Plan to bring a friend and let’s fill up the Wagner Noël for this season of great music as we continue our mission to change lives in the Permian Basin through great music. I look forward to meeting you at the concert!

Sincerely,

Gary Lewis

GARY LEWIS MUSIC DIRECTOR & CONDUCTOR

Gary Lewis is the Music Director and Conductor of the West Texas Symphony orchestra. This is his 18th year with the orchestra and his 17th 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 West Texas 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.

INSTRUMENTAL ENSEMBLES

For information regarding instrumental teachers, or to hire an ensemble, please contact WTS at 432-563-0921 or marketing@wtxs.org

Permian Basin String Quartet

The Permian Basin String Quartet is the resident string quartet of the West Texas Symphony, whose members are the principal string players of the orchestra. They strive to share classic and current works of the string quartet repertoire in an engaging and approachable way while championing underrepresented composers. The quartet has a loyal audience and has built a reputation as a leading ensemble in the Permian Basin.

Lone Star Brass

Formed in 1981, the Lone Star Brass is the resident brass quintet of the West Texas Symphony. 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. The group has recorded two albums, “Lone Star Christmas,” and “Western Fanfare.” They performed in Carnegie Hall with the Symphony Chorale and have toured the country performing shows for all ages. 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 every concert.

West Texas Winds

As the resident woodwind quintet of WTS, 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.

CHORAL ENSEMBLES

For more information visit WTXS.ORG

Chamber Chorale

The Chamber Chorale is the principal choral ensemble in West Texas. Instrumental to the founding of the West Texas Symphony organization in 1962, the Chamber Chorale presents masterworks of the choral repertoire, ranging from Handel’s Messiah and the Brahms’ Requiem, to Duke Ellington’s Sacred Concert and music from the Broadway stage.

Membership is open to all singers high school age and older.

If you are interested in auditioning, please email the Chorale Director at chorale@wtxs.org

Voices of the Permian Basin

The Voices of the Permian Basin is the West Texas Symphony’s youth choir. The group features approximately 75 singers ages 2nd - 8th grades, who rehearse weekly and enjoy performing two concerts per season and at other community events.

To schedule an audition for your child, please email the VPB Director at voicespb@wtxs.org

2024-2025 ORCHESTRA PERSONNEL

Gary Lewis, Music Director & Conductor

VIOLIN

Romina Dimock, Concertmaster

Endowed in memory of Dorothy Croft by the Midland Symphony Guild

Turner Partain, Assistant Concertmaster

Laurel Lawshae, Associate Principal

Gabriella St. James, Principal Second

Nathan Banks

Nikesha Hailey-Hicks

Lowell Hohstadt

Robert Meinecke

Angel Ornales

Jason Snider

VIOLA

Conrad Sclar, Principal Endowed by Mary de Compiegne & Rosalind Redfern Grover

Laura Peña, Associate Principal

Beau Garza

Jean Gómez

Kathy Hohstadt

CELLO

Suyeon Kim, Principal Endowed in memory of Walter Osadchuk by Dr. and Mrs. Michael Miller

Danny Mar, Associate Principal

Justin Barnwell

Leslee Becker

Aurelia Rocha

David Thomas

BASS

Mark Morton, Principal

Bill DeLavan, Associate Principal

Nodier Garcia

Endowed in memory of Mary June Rasmussen by Mr. Kenneth Anderson and Dr. Anne Acreman, MD

FLUTE

Lyndsay Eiben, Principal

Kate Martin, Associate Principal

Susanna Self, Piccolo

OBOE

Caryn Crutchfield, Principal

Kathleen Carter Bell, 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

HORN

Scott Millichamp, Co-Principal

Sonja K. Millichamp, Co-Principal

Norma Binam

Derek Wright

TRUMPET

Eric Baker, Co-Principal

Ben Fairfield, Co-Principal

Endowed in honor of Michael J. Santorelli by Karen & Spencer Beal

John Irish

TROMBONE

Stewart Rhodes, Principal

Darin Cash

BASS TROMBONE

Jon James, Principal

TUBA

Arturo Galvan, Principal

TIMPANI

Tim Mabrey, Principal

PERCUSSION

Erin Martysz Thies, Principal

HARP

Vincent Pierce, Principal

PIANO

LuAnn Lane, Principal

Endowed in honor of Shari Santorelli by Karen & Spencer Beal

2024-2025 BOARD OF DIRECTORS & STAFF

OFFICERS

Dee Anna Arellano, President

Rebecca Bell, Executive VP

Jessica Bexley, Immediate Past President

Jacy Lewis-Watkins, VP Fundraising

Sophie Edwards, Secretary

DIRECTORS

Gabriel Almendarez

Amy Azarov

Eric Baker

Alice Beckstrom

Gregg Blain

Jeannine Donnelly

Leslie English

Maridell Fryar

Beau Garza

Allison Gray

Ken Hankins, Jr.

Elizabeth Hartman

Carla Haston

Dr. Aaron Hawley

Angie Hurt King

David Lauritzen

Hillary Lovell

Nancy Minor

Kenisha Natividad

Gracie Ortiz

Megan Pausé

Stephanie Rivas

Floyd Rountree

Morgan Taylor-Thomas

Dr. Adrian Vega

Lisset Velasquez

Stephanie Wright

In loving memory of Mary Dawson, cherished West Texas Symphony supporter: WTS Board member, Chorale member, VP of Sponsorship

HONORARY MEMBERS

Mrs. Leland Croft (dec’d)

Mrs. James A. Fowler (dec’d)

Ms. Mary Harrington (dec’d)

Mrs. Ellen Noël (dec’d)

Mr. Josh H. Parr (dec’d)

Mrs. Lois Rochester (dec’d)

Mr. Fred A. Stout Jr. (dec’d)

Mr. Don Williams (dec’d)

STAFF

Gary Lewis, Music Director & Conductor

Ethan Wills, Executive Director

Violet Singh, Development Director

Crystal Romero, Marketing Director

Deanna J. Russell, Office Administrator

Leslie Delgado, Personnel Manager

Scott Millichamp, Music Librarian

Emily Baker, Voices of the Permian Basin Director

Dr. Brad Light, Chorale Director

FRANK A. BELL AWARDS

For contributions and/or services that have significantly advanced the mission of the West Texas Symphony.

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

Rino Irving – March 4, 2023

MIDLAND SYMPHONY GUILD

The Midland Symphony Guild (MSG) is excited to begin its 62nd year of supporting the West Texas Symphony. With a desire to support fine arts in our area, the MSG began with the goal of supporting and raising funds for our local symphony music program. Over the past six decades, that effort has grown into a self-sustaining non-profit organization that provides financial and volunteer support to the West Texas Symphony and the various events that it produces. The West Texas Symphony enriches the communities of both Midland and Odessa by showcasing world-class performers, local artists, musicians, and featured presentations.

The MSG comprises members who invest time and money in their local communities. Annually, the MSG donates thousands of volunteer hours contributed mostly by our Symphony Belles, who are the daughters of our MSG members. Each Belle is required to complete 15 volunteer events or placements in their years in the MSG program (9th-12th grades), many of which include performances presented by the West Texas Symphony. This requirement of service fosters a sense of giving back to the community and appreciation for the work ethic and commitment demonstrated by the talented artists and musicians. In addition to the West Texas Symphony, our Belles volunteer at community organizations such as Safe Place, Midland Festival Ballet, Museum of the Southwest, Midland Food Bank, Midland Community Theater, and the Wagner Noël Performing Arts Center. We are so proud of our Belles!

As a native Midlander, former Symphony Belle, and lover of the arts, it is my privilege to serve as president of the Midland Symphony Guild this year. I look forward to working with many wonderful men and women while encountering exceptional musical and fine arts performances. For our Belles, friendships will be formed, a spirit of service instilled and a love of the arts encouraged. Thank you to the West Texas Symphony for enriching our lives and sharing their talents with the Permian Basin for another season.

Hillary Lovell 2024-2025 President Midland Symphony Guild

ODESSA SYMPHONY GUILD

The Odessa Symphony Guild is thrilled to serve the West Texas Symphony and the arts in the Permian Basin for the 66th year. Odessa Symphony Guild began in 1958 with a group of women who were dedicated to their community. The OSG was formed to help provide both financial and volunteer support to the arts and music programs across the Permian Basin. Since its inception, the Odessa Symphony Guild has raised thousands of dollars and members have volunteered many hours to continue the mission of the founders. Odessa Symphony Guild has greatly enriched the communities of Midland and Odessa by helping the West Texas Symphony provide educational programs and concerts to the West Texas Area.

The Odessa Symphony Guild is made up of members who volunteer their time and give financially to our community. We currently have 97 members of OSG who have served over 1,000 hours throughout the community this past year. The Odessa Symphony Guild Belles and Beaux are made up of 9th – 12th graders who have spent time ushering concerts, hosting receptions, serving musicians lunches, working the pre-concert dinner ‘Symphony Soundbites’, and attending concerts for the West Texas Symphony. The Belles and Beaux also put in numerous hours volunteering within the community at St. John’s Kooky Karnival, many local schools, Permian Orchestra, Hope House, Salvation Army, Ellen Noël Art Museum, Jesus House, Salvation Army, Odessa College and West Texas Food Bank.

The Odessa Symphony Guild is proud to continue investing even more in our local community. In addition to the financial support and hours given to the West Texas Symphony, the Odessa Symphony Guild will be awarding four scholarships to commendable high school seniors each year. The Guild will also be donating to various organizations around our community to help bring and keep the arts here in the Permian Basin. We are extremely excited to start the process of making this grant available. We look forward to coming along side these organizations to help build and better their programs to help keep the arts going strong in Odessa.

Our annual fundraiser, The Symphony Ball, will be held in February. This event is for all our Belles and Beaux and will honor our seniors who have served in the guild the past four years. We also celebrate the countless hours that our Freshman, Sophomores and Juniors have served. It is especially inspiring to see these students give of their time and observe these students strive to be leaders in our community. We invite you to join us for this great event.

I look forward to leading our wonderful organization that helps bring culture and talent to our community. Our city is a better place because of the wonderful volunteers of the Odessa Symphony Guild. We are excited to serve alongside the West Texas Symphony for the coming years.

Stephanie Wright 2024-2025 President Odessa Symphony Guild

20242025SEASON

GARY LEWIS | MUSIC DIRECTOR & CONDUCTOR

MASTERWORKS SERIES

AMERICAN STORIES

SEPTEMBER 7, 2024

Ethan Blake, Cello

Cello Concerto in B minor | ANTONÍN DVOŘÁK

Symphony No. 1 | WILLIAM GRANT STILL

FOLK TALES

NOVEMBER 9, 2024

Dr. Andrew Cooperstock, Piano

Till Eulenspiegel’s Merry Pranks | RICHARD STRAUSS

Der Rosenkavalier Suite | RICHARD STRAUSS

Piano Concerto in A minor | EDVARD GRIEG

WTS SPOTLIGHT

“DOVES & CROCODILES”

JANUARY 11, 2025

Chris Chance, Clarinet

Premiere Rhapsodie | CLAUDE DEBUSSY

Clarinet Concerto No. 1, Mvt. III | CARL MARIA VON WEBER

Symphony No. 2 | LUDWIG VAN BEETHOVEN

THE RIOT RITE OF SPRING

APRIL 12, 2025

The Rite of Spring | IGOR STRAVINSKY

This concert will open with our third annual side-by-side performance with local Permian Basin students!

POPS & FAMILY SERIES

WEST TEXAS SYMPHONY WITH BARBARA PADILLA

OCTOBER 5, 2024

Back by popular demand, we welcome the Mexican-American soprano, Barbara Padilla, whose on-stage presence and beautiful vocal prowess will captivate audiences of all musical tastes.

SOUNDS OF THE SEASON

DECEMBER 7, 2024

Don’t miss West Texas’ timeless holiday tradition! Featuring your symphony orchestra, instrumental chamber ensembles, choral groups, and Santa Claus!

Sounds ofthe Season

TONY DESARE

“THE PIANO SHOW FEATURING RHAPSODY IN BLUE ”

MARCH 1, 2025

The triple threat singer/pianist/songwriter, Tony DeSare, takes you on a journey that celebrates the timeless piano legends who have become the cornerstone of pop music!

SUPERMAN IN CONCERT MAY 17, 2025

You’ll believe a man can fly as Superman in Concert arrives in concert halls around the world, accompanied by the power of a full symphony orchestra performing John Williams’ triumphant original score live to picture!

SUPERMAN and all related characters and elements are trademarks of and © DC Comics. © 2019 Warner Bros. Entertainment Inc. All Rights Reserved.

PERMIAN

Gary Lewis, Music Director & Conductor

Presents

Saturday, January 11, 2025

7:30 p.m.

Wagner Noël Performing Arts Center

THIS CONCERT IS PROUDLY SPONSORED BY

Gregg Blain

Denise & Thomas W. Elrod

Ann Parish & Betty Ann Prentice

West Texas Symphony Board of Directors

Chris Chance, Clarinet

WTS SPOTLIGHT

7:30 p.m.

Saturday, January 11, 2025

Wagner Noël Performing Arts Center

Gary Lewis, Conductor

Chris Chance, Clarinet

Premiere Rhapsodie

Claude Debussy

Clarinet Concerto No. 1 in F minor, Op. 73 ....................................... Carl Maria von Weber

I. Allegro

II. Adagio ma non troppo

II. Rondo; Allegretto

INTERMISSION

Symphony No. 2 in D major, Op. 36 ...................................................Ludwig van Beethoven

I. Adagio molto—Allegro con brio

II. Larghetto

III. Scherzo: Allegro

IV. Alle

*Program subject to change.

Claude Debussy

b. August 22, 1862 in St. Germain-en-Laye, France. d. March 25, 1918 in Paris, France.

Premiere Rhapsodie

Composed: Written between December 1909 and January 1910.

Premiered: July 14, 1910, as part of the Paris Conservatoire final exams.

The Work in Context

• 1907: The years ends with 8% of US houses wired for electricity.

• 1908: The first Ford Model T rolls off the production line.

• 1909: The United States bans the importation of opium.

• 1910: The first commercial freight flight takes place between Dayton and Columbus, Ohio. Premiere Rhapsodie is first performed in Paris.

Claude Debussy was born to a family of very modest means who lived in the outskirts of Paris. When he was seven, his family fled the siege of Paris to Cannes, where Debussy first studied piano. He showed so much musical promise that he was enrolled in the Conservatoire de Paris at the age of ten. He first studied piano, but his attention later turned to composition. He eventually won the prestigious Prix de Rome, which resulted in a residency in Italy. Over the next years, the young Debussy traveled and experienced a variety of musical styles. He appreciated Wagner, but he believed that his style of late-romantic music was on the way out of fashion. Debussy was more interested in Renaissance Italian music, Javanese Gamelan music he heard at the world’s fair, and Russian music. His varied musical interests, combined with his involvement with the symbolist poets, lead Debussy to develop a unique and innovative musical style. Although Debussy rejected the label, many scholars and critics have called him the first impressionist composer for the way his music reminds the listener of impressionist art.

By the end of the first decade of the 1900s, Debussy’s status as a composer had been solidified. His music was being performed by the most prestigious orchestras in the world. Debussy’s colleague, Gabriel Faure, the Director of the Paris Conservatoire, named Debussy to the board of directors of this prestigious institution. One of Debussy’s first duties at his alma mater was to write solo works for the Conservatoire’s next two year’s Concours (final exam/ contest). The first of these pieces was Premiere Rhapsodie, first performed at the end of the 1909-1910 academic year. The original version was written for clarinet and piano, as these pieces were typically composed. In 1911, Debussy published his own orchestration of the work, which is the version you will hear on this concert.

The pieces composed for the Paris Conservatoire Concours typically test all the variety of skills and techniques required of a virtuoso performer. This is true of the pieces written of all the different instruments, not just clarinet. The piece starts out with a beautiful lyrical section that takes advantage of the large range of the clarinet. A faster section on the middle allows the clarinetist to demonstrate the technical prowess of the instrument. The piece ends with fast flourishes ending with a more cadenza-like final statement.

Carl Maria von Weber

b. November 19, 1786, in Eutin, Bishopric of Lubeck, modern day Germany.

d. June 5, 1826, in London, England.

Clarinet

I. Allegro

II. Adagio ma non troppo

III. Rondo; Allegretto

Composed: Written in 1811 for the clarinetist Heinrich Barmann Premiered: Premiered in Munich on June 13, 1811, with Maximilian I Joseph of Bavaria in the audience.

The Work in Context

• 1808: John Dalton hypothesizes that atoms of different elements have a distinct weight, or atomic number.

• 1809: Russia defeats Sweden and brings Finland under Russian control.

• 1810: American settlers move into West Florida which causes President James Madison to annex the region from a weakened Spanish Empire.

• 1811: Venezuela, Bolivia, and Colombia all declare independence from Spain, Clarinet Concerto No. 1 premieres.

Known as a key figure in the development of German Romantic Opera, Carl Maria von Weber had a short, but very significant career in music. His father, Franz Anton von Weber, was a musician, and his mother, Genovefa Weber, was a singer from Vienna. He was baptized with the name Carl Friedrich Ernst Weber. The middle name Maria was seemingly added later, and the “von” in his family’s name was an affectation, as his family was not descended from south German nobility. After Franz’s music director position in Eutin was cut due to lack of funding, he formed a theater company in Hamburg of members of his family and toured Germany. The theater was a rag-tag group, consisting of Franz Anton, Genovefa, their children, and a few other family members. They performed plays and singspiel (German-language plays with sung musical numbers). Young Carl Maria was given his earliest musical education by his family. He studied piano and violin and showed immediate aptitude. During his family’s travels, he studied with musicians in the town the troupe visited, such as Michael Haydn in Salzburg. He composed his first opera when he was 13 while his family was in Munich.

In 1800, the Weber family band settled down in Freiberg, where his father hoped to settle down as a lithographer (a printing technique for music and maps). The precocious young Weber kept writing music, traveling, and even started writing music criticism at the age of 15. His second opera, written when he was 14, received a few performances. His first professional position was as director of the Breslau Opera when he was just 17. Weber attacked the job with youthful energy. He forced older singers into retirement, expanded the orchestra, and programed more challenging music. The job left him no time to compose, however, so he only held the position for two years. Weber’s next position, in the court of the Duke of Wurttemberg, ended with him being falsely accused of embezzlement and bribery. This ordeal taught Weber to keep a detailed record of his expenses daily. He left Wurttemberg in 1810 without a concrete plan of what would come next.

It was Weber’s works for solo clarinet that turned his career around, including Clarinet Concerto No. 1 in F minor, the third movement of which you will hear on this concert. In Munich, he met the clarinetist Heinrich Barmann, and wrote a concertino and two concertos for Barmann. Starting in December 1811, Barmann and Weber went on tour performing these works. These concerts turned around the public and critical perception of Weber, and lead to prestigious positions in Prague, Berlin, and Dresden. In 1821, his masterpiece Der Freischutz premiered. This pioneering work is still performed today and significantly influenced the development of German Romantic Opera.

Ludwig van Beethoven

b. December 17, 1770, in Bonn, Germany. d. March 26, 1827, in Vienna, Austria.

Symphony No. 2 in D major, Op. 36

Composed: Written between 1801 and 1802.

Premiered: April 5, 1803, in Vienna with Beethoven conducting.

I. Adagio molto—Allegro con brio

II. Larghetto

III. Scherzo: Allegro

IV. Allegro molto

The Work in Context

• 1800: World population has risen from 600 million to one billion in the previous century.

• 1801: Britain absorbs Ireland into a single British kingdom and bans Catholics from public office.

• 1802: The British sign a treaty ending their most recent war with France.

• 1803: Ohio becomes the 17th US State, Symphony No. 2 premieres.

Ludwig van Beethoven is a towering figure in Western classical music who has taken on almost mythic stature in our imaginations. We hear melodies from works like his fifth and ninth symphonies in so many different contexts that they have just become part of our lives. Much like Mozart before him, Beethoven showed musical talent at an early age that was developed under the tutelage of his overbearing father. He moved to Vienna when he was 21 years old, and Vienna became his home for the rest of his career. Beethoven’s initial reputation in Vienna came as a virtuoso pianist, and over time commissions began to roll in and his reputation grew. He famously began losing his hearing in 1798, and by 1801, his deafness was beginning to inhibit his professional work. It is difficult to imagine the mental and emotional toll that impending deafness would take on a composer who was in the process of coming into increasing fame and fortune. In May of 1802, Beethoven went to the town of Heiligenstadt to rest from the stresses of dealing with his health. In Heiligenstadt, Beethoven wrote a letter to his brothers that has become known as the Heiligenstadt Testament. In the letter, dated October 6, 1802, Beethoven attempts to explain his difficulty dealing with his deafness and why it had affected his family relationships. When discussing why he had kept his deafness a secret, he writes: “how could I possibly admit such an infirmity in the one sense which should have been more perfect in me than in others, a sense which I once possessed in highest perfection, a perfection such as few surely in my profession

enjoy or have enjoyed.” The letter ends with Beethoven both laying out his will and telling his brothers that his art will sustain him for the rest of his life. The letter remained unsent; scholars discovered the letter in Beethoven’s personal papers after his death in 1827. After writing this letter Beethoven worked even harder and entered the most productive and famous period of his career. It was during this time that he wrote Symphony No. 2, along with many of his other most famous works.

Beethoven wrote Symphony No. 2 while he was staying in Heiligenstadt in 1802. It is interesting to speculate on how much and in what ways his personal crisis affected the music. However, Beethoven left no letters or program notes about the piece specifically, so these associations, while probably true, are speculative. The piece still falls within a mostly classical style. Beethoven’s third symphony, which he would premiere in 1804, truly began Beethoven’s, and music’s, Romantic period. Beethoven premiered the piece along with his Third Piano Concerto and the oratorio Christ on the Mount of Olives.

The symphony opens with a long, slow introduction that gives way to a buoyant Allegro that seems to show no hint of the person struggle Beethoven was experiencing. The second movement is lyrical with several beautiful melodies interacting in a variety of ways. The Scherzo movement features melodies that are fragmented between different instruments. In the classical period, the third movement of a symphony was typically a menuet. Beethoven’s use of the scherzo is a hint at the musical earthquake to come with the shift to the Romantic period. The movement is full of musical jokes and Beethoven’s unpredictable musical sense of humor. The final movement is quite fast and energetic, with the agitated lines in the strings contrasting with the more lyrical melodies in the winds.

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

ABOUT THE ARTIST

CHRIS CHANCE – CLARINET

Chris Chance enjoys a varied performing career as an orchestral clarinetist, chamber musician, and concert soloist.

He is currently Principal Clarinet of the West Texas Symphony, Principal Clarinet of the Missouri Symphony Orchestra, clarinetist of the West Texas Winds woodwind quintet, and performs often with the New Mexico Philharmonic. Chris has performed with other orchestras across North America, including Arizona Opera, Ohio Light Opera, Columbus Indiana Philharmonic, Lubbock Symphony, and the Orquesta Sinfónica UANL of Monterrey, Mexico. In addition to live performance, he has also worked as a recording studio musician for the Hal Leonard Corporation.

Chris received a Bachelor of Music degree, a Performer Diploma, and the Performer's Certificate from the Indiana University Jacobs School of Music.

MUSIC EDUCATION

DID YOU KNOW?

Each year WTS reaches over 15,000 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...

MARVELOUS MELODIES

This special WTS symphony concert is performed annually for approximately 5,000 students at the world-class Wagner Noël Performing Arts Center. The musical programming is tailored to school age children! Students experience exciting melodies by great composers that engages them through repetitive rhythms, by expressing a particular feeling or idea, or by being recognizable and easy to sing.

SCHOOL CONCERTS

Students attending MISD and ECISD elementary schools have the opportunity to experience a live chamber music concert in the comfort of their own school buildings.

STUDENT DISCOUNT

WTS offers the greatly reduced ticket price of $12, at any seat, for all students!

M.D., P.A.

Gary Lewis, Music Director & Conductor

Presents

TONY DESARE

“The Piano Show Featuring Rhapsody In Blue”

Songwriter

Saturday, March 1, 2025

7:30 p.m.

Wagner Noël Performing Arts Center

THIS CONCERT IS PROUDLY SPONSORED BY

Gretchen Bell In Memory of Frank Bell

Dee Anna Arellano – EXP Realty

Steven Palma – Right at Home Midland

Tony DeSare, Singer / Pianist /

George Gershwin

b. September 26, 1898, in Brooklyn, New York City

d. July 11, 1937, in Los Angeles, California

Rhapsody in Blue

Composed: Commissioned by bandleader Paul Whiteman in early 1924.

Premiered: February 12, 1924, in a concert titled “An Experiment in Modern Music” in New York City with the composer as the soloist.

The Work in Context

• 1921: Warren G. Harding inaugurated as president after his successful “Return to Normalcy” campaign.

• 1922: The British Empire covers one fifth of the world’s population.

• 1923: Louis Armstrong makes his first recording, “Chimes Blues.”

• 1924: Rhapsody in Blue Premieres.

Unlike many composers who progress through formal musical training that concludes with a degree from a major conservatory, George Gershwin had a career that moved from Tin Pan Alley to Broadway to the concert stage. His compositional style is distinctly American, reflecting a fusion of popular song and Jazz with classical techniques. Born into a family of Russian immigrants in New York, the Gershwin household was not known for its music making until George’s father bought a piano for his older brother, Ira. Young George took to the piano immediately. He demonstrated so much talent and skill that he immediately sought lessons from a variety of teachers in the neighborhood. After he finished the ninth grade, George dropped out of school and got a job for a Tin Pan Alley music publisher as a “plugger.” The job of a plugger was to promote the company’s songs by singing and playing them for performers. The job was a great fit for a young pianist because it forced him to practice for hours a day and caused him to absorb the popular song style of the era. From his job as a plugger, Gershwin moved into jobs as a rehearsal pianist for musicals and got a composition contract of $35 a week plus royalties. By the time he turned 21, George had a reputation as a great pianist, had written the music to a Broadway show, and had multiple songs in print. In 1920, Al Jolson recorded his song Swanee, which yielded the composer $10,000, an enormous sum of money in 1920. In 1923, Gershwin was involved in a voice recital that introduced him to the classical music audience. Canadian mezzo-soprano Eva Gauthier gave a recital in New York City that included a variety of pieces by composers such as Purcell, Bellini, Hindemith, and Bartok. It also included a set of American pieces from Broadway and Tin Pan Alley, including a song by Gershwin. Moreover, George Gershwin accompanied this set of songs on piano, which gave the New York musical elite their first introduction to his talents and unique style.

What really shot Gershwin into the public consciousness and made him a household name was his iconic piece Rhapsody in Blue. Gershwin wrote this work for a concert being presented by Paul Whiteman, the director of a dance orchestra in New York. Whiteman had attended the concert with Eva Gauthier and was inspired. He wanted to program an entire concert to demonstrate that elements from jazz and dance music could be successfully incorporated into classical music. The concert, billed as “An Experiment in Modern Music,” was to be presented in honor of Abraham Lincoln’s birthday in Aeolian Hall in New York City. A simple misunderstanding and an overeager journalist almost caused this piece to never be written. In January 1924, George’s brother Ira found an article in the New York Tribune which announced that George was writing a jazz concerto for Whiteman’s jazz concert.

There was just one problem: Gershwin had politely declined Whiteman’s initial request to write the piece. Gershwin called Whiteman the next day to clear the air. Whiteman told Gershwin that his rival Vincent Lopez was planning to steal his idea for an all-jazz concert so the piece needed to be written quickly. Whiteman’s sales job worked, and Gershwin started on the piece that would become Rhapsody in Blue. The concert was a rousing success that was well attended by New York’s many music critics. The approval of the piece was nearly unanimous, with Gershwin’s legacy as the man who brought jazz to the concert hall firmly cemented.

Rhapsody in Blue is not in the typical 3-movement form of a concert. Rather, it is written in one continuous movement with some sections that are played in a quasi-improvisatory style. The piece opens with an iconic clarinet solo which is traditionally performed as a glissando. Gershwin wrote a 17-note diatonic scale for the clarinet, not the glissando. In a rehearsal, the clarinetist Ross Gorman played a glissando instead of the written scale. Gershwin loved the sound so much he insisted that Gorman perform the solo this way, and now every aspiring clarinetist must learn that technique. The piece drew inspiration from a variety of musical styles, from ragtime rhythms to Cuban clave rhythms to stride and vaudeville piano styles. The piece is structured as a series of continuous episodes that develop a few musical themes throughout the work.

While Gershwin composed the work, he was not yet developed enough as an arranger and orchestrator to produce the complete score for Whiteman’s jazz orchestra. Ferde Grofe, Whiteman’s pianist and arranger, helped Gershwin orchestrate the parts. The first arrangement of the piece was not for standard orchestra; it instead made use of the particular instrumentation of the 23-member Whiteman jazz orchestra. This version is rarely performed given its unusual instrumentation. The version that is most commonly heard on the concert hall stage was the version Grofe arranged in 1942 for full symphony orchestra.

Rhapsody in Blue created a new era in American music. This fusion of classical music with American popular styles took the musical world by storm. The decade of the 1920s is called both “The Roaring 20s” and “The Jazz Age,” and no piece of music better exemplifies the zeitgeist of this period more than Gershwin’s most famous work.

ABOUT THE ARTIST

TONY DESARE

Tony DeSare performs with infectious joy, wry playfulness and robust musicality. Named Rising Star Male Vocalist in Downbeat magazine, DeSare has lived up to this distinction by winning critical and popular acclaim for his concert performances throughout North America and abroad. From jazz clubs to Carnegie Hall to Las Vegas and headlining major symphony orchestras, DeSare has brought his fresh take on old school class around the globe. DeSare has four top ten Billboard jazz albums under his belt and has been featured on the CBS Early Show, NPR, A Prairie Home Companion, the Today Show and his music has been posted by social media celebrity juggernaut, George Takei. DeSare has also collaborated with YouTube supergroup Postmodern Jukebox. He has been a featured guest artist with over 100 symphony orchestras with some highlights including the Cleveland Orchestra, The New York Pops, The San Francisco Symphony, The Houston Symphony, the Chicago Symphony.

Notwithstanding his critically acclaimed turns as a singer/pianist, DeSare is also an accomplished award-winning composer. He not only won first place in the USA Songwriting Contest, but has written the theme song for the motion picture, My Date With Drew, several broadcast commercials and has scored five films. His sound is romantic, swinging and sensual, but what sets DeSare apart is his ability to write original material that sounds fresh and contemporary, yet pays homage to the Great American Songbook.

Tony has a strong presence on social media and continues to release his “song diaries”, recordings from his home studio that started in 2020 and now number in the 100’s. Tony has numerous recordings available on all platforms and playlists.

Tony DeSare is a Yamaha Artist. For more information visit tonydesare.com

Mary Dawson

Proud Supporter of the West Texas Symphony

to

West Texas Symphony.

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Morris Brooks · San Smith · Rob Boyd

Gary Lewis, Music Director & Conductor

Presents

THE RIOT RITE OF SPRING

Our third annual side-by-side performance with local Permian Basin students!

Saturday, April 12, 2025

7:30 p.m.

Wagner Noël Performing Arts Center

THIS CONCERT IS PROUDLY SPONSORED BY Mary Dawson

THE RIOT RITE OF SPRING

7:30 p.m.

Saturday, April 12, 2025

Wagner Noël Performing Arts Center

Gary Lewis, Conductor

Local Permian Basin Students

The Rite of Spring ....................................................................................................... Igor Stravinsky

*Program subject to change.

Igor Stravinsky

b. June 17, 1882, Oranienbaum, a small town 25 miles west of St. Petersburg. d. April 6, 1971, New York City, USA.

The Rite of Spring

Composed: Written for the 1913 season of Sergei Diaghilev’s Ballets Russe. Premiered: Theatre des Champs-Elysees on May 29, 1913.

Part I: Adoration of the Earth

a. Introduction

b. Augurs of Spring

c. Ritual of Abduction

d. Spring Rounds

e. Ritual of the Rival Tribes

f. Procession of the Sage: The Sage

g. Dance of the Earth

Part II: The Sacrifice

a. Introduction

b. Mystic Circles of the Young Girls

c. Glorification of the Chosen One

d. Evocation of the Ancestors

e. Ritual Action of the Ancestors

f. Sacrificial Dance

The Work in Context

• 1910: The British create the Union of South Africa out of four of its colonies in the region as a dominion of the British Empire.

• 1911: The Triangle Shirtwaist Factory fire kills 146 workers in New York City.

• 1912: The Titanic strikes an iceberg and sinks, killing 1517.

• 1913: Ford Motors introduces the first moving assembly line, The Rite of Spring premieres.

Born near St. Petersburg Russia in 1882, Igor Stravinsky’s musical life spanned nearly 90 years and two continents. Stravinsky’s work spans the full spectrum of 20th century style, from his nationalist ballets of the early 20th century, through his experimental nationalism and neoclassicism, and all the way to the serial style in which he composed for much of his time in the United States. He wrote music for the stage and for the orchestra in addition to his large output of choral pieces, music for solo voice, and chamber music.

Stravinsky’s family was quite musical. His father was the principal bass voice in the Imperial Mariinsky Theater in St. Petersburg, and his mother was a very good amateur singer and pianist. His father knew all the prominent musicians on the scene in Russia, including Rimsky-Korsakov, Borodin, and Mussorgsky. The young Igor grew up surrounded by music, taking composition lessons from Rimsky-Korsakov at a young age. When his mentor died in 1908, Stravinsky had already written several works. In 1909, Stravinsky’s Scherzo fantastique premiered in St. Petersburg. In the audience was one Sergei Diaghilev. Diaghilev was an art critic, patron, and ballet impresario. After some success in presenting concerts of Russian music in Paris, he founded the Ballets Russe and presented its first season in 1909. The company was successful beyond the wildest dreams of Diaghilev or his performers. Diaghilev commissioned The Firebird for his 1910 season from Stravinsky after approaching Anatoly Liadov, who was notoriously lazy and couldn’t finish the score on time. The success of the premiere vaulted Stravinsky into international superstardom and lead to the commissions of Petrushka and The Rite of Spring in following seasons.

The Rite of Spring was the third ballet Stravinsky wrote in his collaboration with Diaghilev and the Ballets Russe. The Firebird and Petrushka had been wildly successful, so the premiere of Stravinsky’s third ballet for the Ballets Russe was much anticipated. Diaghilev worked with two visionary artists on these projects: the dancer and choreographer Vaslav Nijinsky and stage and costume designer Nicholas Roerich. It was Roerich, an expert in Russian folklore and an ethnographer, who came up with the concept for The Rite of Spring. The subtitle, “Pictures of Pagan Russia in Two Parts” adds context to the ideas before the work. The ballet scenario stages the story of a pre-Christian Russian village taking part in various rituals celebrating the arrival of spring. The ballet culminates with a young girl being chosen who dances herself to death as a sacrifice for the community. The plot is more a series of episodes rather than a strong story, with the music expertly augmenting and sometimes leading the action on the stage. The music is continuous with no pause between sections. There is a pause between the end of Part I and the beginning of Part II.

The premiere of the ballet on May 29, 1913, could be seen as the beginning of modern music. The Theatre was brand new, with Diaghilev being paid a large sum to hold the Ballet Russe season in this new venue. The rehearsals went well, but storm clouds loomed on the horizon. A few critics who had been allowed to attend the dress rehearsal warned that the public might feel they were being mocked and react poorly to the performance. The premiere was sold out with the hall stuffed to the rafters. The audience began to get restless as soon as early in Part I, but it wasn’t Stravinsky’s music that so bothered them. Nijinsky’s choreography was like nothing they had ever seen. Rather than the graceful flowing movements of France’s beloved ballet, Nijinsky had tried to recreate the movements of the pagan ritual, which has been described as “ugly earthbound lurching and stomping.” The Parisian ballet audience was divided between wealthy patrons who loved the classics and a more Bohemian set who loved all things new and hated the wealthy patrons in the boxes. These two groups began attacking each other, with the noise disrupting the dancers’ ability to communicate and with various items thrown at the orchestra, who like total professionals, just kept playing. The audience did calm down, watched the final sequence in relative silence, and gave several curtain calls to the performers. Critical reaction was as divided as the audience, with wild lies being written about the premiere, such as an elderly Camile Saint-Saens storming out of the theatre, which Stravinsky later had to repudiate. Soon after this initial run, Diaghilev and Nijinsky had a falling out, and so later performances used a different choreography until in 1987, the Joffrey Ballet in Los Angeles performed a reconstruction of Nijinsky’s 1913 choreography based on years of extensive research. Video of this version can be found on YouTube and will give an impression of what the audience in May 1913 witnessed.

Stravinsky described the Rite of Spring as “a musical choreographic work. It represents pagan Russia and is unified by a single idea: the mystery and the great surge of the creative power of spring….”. It is hard to sum up the music in just a few sentences as it is so widely varied throughout the 35-minute work. Stravinsky used a larger orchestra than he ever had before, and was absolutely fearless in his use of dynamics, expanded ranges, extended techniques, and novel orchestral colors and combinations of instruments. Stravinsky expressed the primitive subject matter of the ballet by writing driving rhythms, loud interjections from the brass, and the use of bitonality, in which the orchestra is playing in two different keys at the same time. The music critic Alex Ross described Stravinsky’s use of Russian folk music in the work by taking the melodies and then "proceeded to pulverize them into motivic bits, pile them up in layers, and reassemble them in cubistic collages and montages." The result is a compelling and innovative work that did as much as any single piece to usher in the age of musical modernism. The work was first performed as a concert work (music only, no ballet) on February 18, 1914, in St. Petersburg, Russia, with Serge Koussevitsky conducting.

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

West Texas Symphony BOARD OF DIRECTORS proudly supports our musicians and staff.

Congrats on 62 seasons of enriching lives through music!

Proudly Supports the West Texas Symphony

Gary Lewis, Music Director & Conductor

Presents

SUPERMAN IN CONCERT

SUPERMAN and all related characters and elements are trademarks of and © DC Comics. © 2019 Warner Bros. Entertainment Inc. All Rights Reserved.

Saturday, May 17, 2025

7:30 p.m.

Wagner Noël Performing Arts Center

TONIGHT'S CONCERT IS PROUDLY SPONSORED BY

Susie Davis, Joe & Carla Haston & Permian Printing

In memory of Lynn Davis

WEST TEXAS SYMPHONY SATURDAY, MAY 17, 2025

GARY LEWIS, CONDUCTOR

ALEXANDER SALKIND Presents

MARLON BRANDO GENE HACKMAN

In a RICHARD DONNER Film

Starring CHRISTOPHER REEVE

Also Starring

NED BEATTY JACKIE COOPER GLENN FORD TREVOR HOWARD MARGOT KIDDER

VALERIE PERRINE MARIA SCHELL TERENCE STAMP PHYLLIS THAXTER SUSANNAH YORK

Superman Created by JERRY SIEGEL & JOE SHUSTER

Story by MARIO PUZO

Screenplay by MARIO PUZO DAVID NEWMAN LESLIE NEWMAN and ROBERT BENTON

Creative Consultant TOM MANKIEWICZ

Director of Photography GEOFFREY UNSWORTH, B.S.C.

Production Designer JOHN BARRY

Music by JOHN WILLIAMS

Executive Producer ILYA SALKIND

Produced by PIERRE SPENGLER

Directed by RICHARD DONNER

PANAVISION® TECHNICOLOR®

An ALEXANDER and ILYA SALKIND Production

Original Soundtrack Available on Warner Archives/Rhino Movie Music

Tonight's program is a presentation of the complete film Superman with a live performance of the film’s entire score. Out of respect for the musicians and your fellow audience members, please remain seated until the conclusion of the music.

SUPERMAN and all related characters and elements are trademarks of and © DC Comics. © 2019 Warner Bros. Entertainment Inc. All Rights Reserved.

FCL PRODUCTION CREDITS

By arrangement with Warner Bros. Pictures, Superman in Concert is produced by Film Concerts Live!, a joint venture of IMG Artists, LLC and The Gorfaine/Schwartz Agency, Inc.

Producers: Steven A. Linder and Jamie Richardson

Director of Operations: Rob Stogsdill

Production Manager: Sophie Greaves

Production Assistant: Katherine Miron

Worldwide Representation: IMG Artists, LLC

Technical Director: Mike Runice

Music Composed by John Williams

Music Preparation: Jo Ann Kane Music Service

Film Preparation for Concert Performance: Ramiro Belgardt, Epilogue Media

Technical Consultant: Laura Gibson

Sound Remixing for Concert Performance: Chace Audio by Deluxe

The score for Superman has been adapted for live concert performance.

With special thanks to: Warner Bros. Pictures, Richard Donner, John Williams, Toby Emmerich, Paul Broucek, Stella Burks, Jeff Crawford, Nicole Woods, Amy Archambault, Kristie Nakamura, Ann Martin, Carol Cuellar, Michael Worden, Mike Matessino, Alex Levy, Mark Graham, Matt Voogt, Bethany Brinton and the musicians and staff of the West Texas Symphony.

In memory of Christopher Reeve.

www.filmconcertslive.com

ABOUT THE COMPOSER

JOHN WILLIAMS

In a career spanning more than six decades, John Williams has become one of America’s most accomplished and successful composers for film and for the concert stage, and he remains one of our nation’s most distinguished and contributive musical voices. He has composed the music and served as music director for more than one hundred films, including all nine Star Wars films, the first three Harry Potter films, Superman, JFK, Born on the Fourth of July, Memoirs of a Geisha, Far and Away, The Accidental Tourist, Home Alone and The Book Thief. His 50-year artistic partnership with director Steven Spielberg has resulted in many of Hollywood’s most acclaimed and successful films, including Schindler’s List, E.T. the Extra-Terrestrial, Jaws, Jurassic Park, Close Encounters of the Third Kind, the Indiana Jones films, Munich, Saving Private Ryan, The Adventures of Tintin, War Horse, Lincoln, The BFG, The Post and The Fabelmans. His contributions to television music include scores for more than 200 television films for the groundbreaking, early anthology series Alcoa Theatre, Kraft Television Theatre, Chrysler Theatre and Playhouse 90, as well as themes for NBC Nightly News (“The Mission”), NBC’s Meet the Press, and the PBS arts showcase Great Performances. He also composed themes for the 1984, 1988, and 1996 Summer Olympic Games, the 2002 Winter Olympic Games. He has received five Academy Awards and fifty-four Oscar nominations, making him the Academy’s mostnominated living person and the second-most nominated person in the history of the Oscars. He has received seven British Academy Awards (BAFTA), twenty-five Grammys, four Golden Globes, five Emmys, and numerous gold and platinum records. In 2003, he received the Olympic Order (the IOC’s highest honor) for his contributions to the Olympic movement. He received the prestigious Kennedy Center Honors in December of 2004. In 2009, Mr. Williams was inducted into the American Academy of Arts & Sciences, and he received the National Medal of Arts, the highest award given to artists by the U.S. Government. In 2016, he received the 44th Life Achievement Award from the American Film Institute – the first time in their history that this honor was bestowed upon a composer. In 2020, he received Spain’s Princess of Asturias Award for the Arts as well as the Gold Medal from the prestigious Royal Philharmonic Society in the UK, and in 2022 he was awarded an honorary knighthood of the British Empire as one of the final awards approved by Her Majesty Queen Elizabeth II.

In January 1980, Mr. Williams was named nineteenth music director of the Boston Pops Orchestra, succeeding the legendary Arthur Fiedler. He currently holds the title of Boston Pops Laureate Conductor which he assumed following his retirement in December 1993 after fourteen highly successful seasons. He also holds the title of Artist-in-Residence at Tanglewood. Mr. Williams has composed numerous works for the concert stage, among them two symphonies, and concertos commissioned by several of the world’s leading orchestras, including a cello concerto for the Boston Symphony Orchestra, a bassoon concerto for the New York Philharmonic, a trumpet concerto for The Cleveland Orchestra, and a horn concerto for the Chicago Symphony Orchestra. In 2009, the Boston Symphony premiered his concerto for harp and orchestra entitled “On Willows and Birches”, and in the same year, Mr. Williams composed and arranged “Air and Simple Gifts” especially for the first inaugural ceremony of President Barack Obama.

In 2021, Williams premiered his second violin concerto with the Boston Symphony Orchestra at Tanglewood along with soloist Anne-Sophie Mutter, for whom he composed the work.

Growing up in my generation meant that you avidly followed the exploits of Superman in the syndicated comic strips that regularly appeared in newspapers across the country. It was a time when Superman fired the imaginations of all young people, and I was no exception.

Many years later, when director Richard Donner asked me to compose the score for his feature film Superman, I was thrilled and truly felt that I was revisiting a formative part of my childhood.

The film starred, among others, Christopher Reeve, Gene Hackman, Margot Kidder, and the great Marlon Brando. But it was young Chris Reeve’s unforgettable performance in the title role that endeared this timeless character to movie audiences around the world. After so many years, I’m truly delighted that those audiences are now able to experience the film with the musical score performed live by one of our great symphony orchestras.

John Williams

WEST TEXAS RADIO GROUP

Proud supporters of the WEST TEXAS SYMPHONY

PERMIAN BASIN AREA FOUNDATION

Since 1989, Permian Basin Area Foundation has served as this region’s community foundation. The Foundation partners with generous donors to leave a lasting impact in communities throughout a multi-county region of West Texas. Permian Basin Area Foundation builds permanent endowments to respond to emerging and changing needs, and to sustain existing nonprofit organizations in the fields of education, arts and culture, health, social services, community development, and civic affairs.

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2024-2025 FUND DRIVE CONTRIBUTORS

West Texas Symphony is pleased to acknowledge the generosity of those who place a high value on the presence of live symphonic, chamber, and choral music in West Texas. Through their monetary commitment and other unique forms of support, they enable us to fulfill our mission of enriching lives through music for a 62nd season!

Listed below are the gifts and pledges for the 2024-2025 season as of October 16, 2024.

PLATINUM BATON SOCIETY ($10,000+)

J.C. Ferguson Foundation

Midland Symphony Guild

Odessa Symphony Guild

FMH Foundation

Arts Council of Midland

Odessa Arts

Helen Greathouse

Charitable Trust

Rea Charitable Trust

Pevehouse Family Foundation, Inc.

GOLDEN BATON SOCIETY ($5,000+)

Mary Lou Cassidy

SILVER BATON SOCIETY ($2,500+)

2W Whatley Ranch

Michael & Dana Ashton & Mr. Marc Capellini

Jessica & Heath Bexley

Kay Bird

Drs. Roberta & Richard Case

Martha & Paul Crump

Julia Edwards

Mary Kennedy

Dr. Ed & Suzanne Rathbun

Richard Sivalls

Nancy & John Minor

Rosemary & Max Wright

FORTISSIMO ($1,000+)

Cliffy & Barry Beal

Rebecca Bell

Tony Blakely

Peggy Cowan

Paul & Betty Rae Davis

Mary Anne & Bill Dingus

Beverly & Gene Drummond

Maridell Fryar

Rosalind Redfern Grover

Dr. Kris & Cheri Howard

Mary & Nam Kim

Diann & John McKee

Doris Casey Mason

Lee Miller

SFORZANDO ($750+)

Sarah & David Lauritzen

Floyd & Kathy Rountree

Jacy & Garret Watkins

FORTE ($500+)

Ernie Angelo

Gayle & Michael Banschbach

Gregg Blain

Jim & Laurie Brannigan

Mary Dawson

Paul Feit

Kevin Harrington

Cressinda Hyatt

Betty Ann Prentice

Ruth & Bob Price

Juandelle Lacy Roberts

Young & Aaron Whiting

Rachel & Ethan Wills

Mary Ann Woodard

MEZZO FORTE ($250+)

Tierra Company/Bill Musar

Kathryn & Gabriel Almendarez

Amy Azarov

Mary Blain

Jeannine & Robin Donnelly

Jeff & Lou Nelle George

Carla & Joe Haston

Patty & Tevis Herd

Angie King Hurt

Lynn Mashburn

Megan & Paul Pausé

Janet & William Perkins

Dr. Tulsi & Claudette Singh

Violet & Mark Singh

Lissett & Benjamin Velasquez

CRESCENDO ($125+)

Sophie Edwards

Leslie English

Allison Gray

Judith Hayes

Anne & Jont Tyson

Deeann & Richard Werner

PIANO (BELOW $125)

Anonymous

Julie Andreopulos

Dee Anna & Johnny Arellano

Darby Brown

Julie & Pat Canty

Barney Dishron

Felicia & Joshua Guinn

Ann & Ken Hankins, Jr.

Allison Morrison

Mary Nava

Gracie Ortiz

Ralph Remsburg

Shawna Ritchie

Dan & Crystal Romero

Dr. Adrian Vega

Bartley Wilson

Established in 1992 to help provide a financial cushion when economic activity in the Basin declines, the WTS Endowment Fund currently accounts for about 6% of the annual budget. As you consult with your tax advisor, financial planner, or attorney, please consider West Texas Symphony 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 WTS concerts and programs continue well into the future, please contact:

ENDOWMENT FUND CONTRIBUTORS

You, Your Legacy, and the Music of West Texas Symphony

For over 60 seasons, the music of West Texas Symphony has not just endured, but grown. What a testament to residents of this community and their determination to include live symphony, chamber, and choral music as part of the cultural landscape of West Texas!

By donating to the WTS Endowment Fund, you join generous contributors whose gifts immediately work to provide critical funding for the quality programming WTS offers season after season, now and into the future.

For further details on how you can play your part to assure that WTS continues to Enrich Lives Through Music well into the future, please contact Violet Singh, Development Director at 432-563-0921.

THE FOUNDERS

Mrs. Keleen Beal

Millennium Club

($25,000+)

MEMORIALS:

Walter Osadchuk

Dr. & Mrs. Michael S. Miller

Mary June Rasmussen

Mr. Kenneth Anderson & Anne Acreman, MD

Anonymous

Karen & Spencer Beal

Davidson Family Charities

Estate of Dollie Neal Ballenger

Mary de Compiegne

Estate of Lewis Merle O’neal

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)

MEMORIALS

Justin Andrew Fregia

Martha Fregia

Charles Tracy Sivalls

Mrs. C.T. Sivalls

In Honor of Ruth McFarland

Midland Symphony Guild

Estate of Mary Harrington

Mr. & Mrs. Louis Rochester

Anonymous (2)

Nancy & Buddy Anguish

Drs. Terry & Elvira Burns

Dr. & Mrs. J. Terry Carpenter

Mr. & Mrs. Nance G. Creager

Marion E. Luper, Jr.

Dr. & Mrs. William L. McGavran III

Beverly Pevehouse

Mr. & Mrs. T.G. Roden

Mr. & Mrs. Earl Rodman

Mozart Society ($5,000-$9,999)

In Honor of Ted Hale

Anonymous

MEMORIALS:

Nelson Allison

Marion E. Luper, Jr.

Jared A. Barlage

Marion E. Luper, Jr.

Roy E. Campbell

Mrs. Viola Campbell

HONORARIUMS:

Ted Hale

Anonymous

Michael J. Santorelli

Modesta and Clayton Williams

J.C. Ferguson Foundation

The Midland Musicians Club

Drs. Richard & Roberta Case

Mr. & Mrs. Robert H. Cole

Roger B. Corzine

Dr. & Mrs. Bart Mayron

Phil & Susan Parker

Mr. & Mrs. C. Richard Sivalls

Mr. & Mrs. George S. Smith

Mr. & Mrs. Mark D. Wilson

Bach Society ($1,000-$4,999)

MEMORIALS:

Anne K. Anson

Robert D. Anson

Robert D. Anson

Drs. Richard & Roberta Case

Tyler T. Burns

Bobby & Denise Burns

Johnny “Cactus Jack” Dowdle

Nash Dowdle

Marguerite W. Davis

Ludie & Eben Warner

John M. Grimland, Jr.

Mrs. John M. Grimland, Jr

Neal H. Johnson

Berniece Johnson

Vera Osadchuk

Bea & Bob Angevine

Walter Osadchuk

Mr. & Mrs. Jerry Covington

Josh H. Parr

Anne & Jim McLaughlin

Victoria Parr Ehrlich

Mary June Rasmussen

Dr. & Mrs. Terry Unruh

Fred A. Stout, Jr.

Kathlene N. Stout

Martha Tompkins

Dianne & Mark Tompkins

Bob Winkler & Clayton Taylor Winkler

Carolyn Winkler

ENDOWMENT FUND CONTRIBUTORS

HONORARIUMS:

Dorothy Davis

Dr. & Mrs. Terry Unruh

Rino Irving

Mary Lou Cassidy

Michael J. Santorelli

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

Brad & Crista Bullock

Chris Chance

Pamela Howell

Carol Chandler

MOSC Board of Directors

Jo Ann Collett

The Midland Musicians Club

Kimberly Corman

Janet Williams Pollard

Ann Countryman

Larry & Gwen Roberts

Mrs. D. Pat Darden

Betty M. Scott

Mary Dawson

The Contemporary Study Club

Mary Dawson & Joseph

Meyer

Susan South

Gary Edmiston

Employees of Security State Bank

Sophie Edwards

Cindy Strain

Karen Elliott

Jane Wolf

Trisha Faubion

Karen Watson

Maridell Fryar

Bea Angevine

Jane & Don Samples

Sue Solari

Louise M. Garay

Bill & Mary Garay

Luis de la Garza, III

Pamela Howell

Richelle Gengler

The Midland Musicians Club

Dr. Ted Hale

Anonymous

Carol, John & Caroline Deats

Edith C. Hardy

The Midland Musicians Club

Lee Harley

Flo White

Sharon Hickox

Mark & Janet Krause

Dr. Thomas A &

Anne B. Hyde

Violet and Mark Singh

Rino Irving

Ann Parish

Betty Ann Prentice

Violet & Mark Singh

Jane Wolf

Peggy C. Jones

The Midland Musicians Club

Abigail Kauffman

Mary Macferran

Carolina Keith

MOSC Board of Directors

Jeannette Kolokoff

MOSC Board of Directors

Crystal Romero

Ann Parish

Betty Ann Prentice

LaDoyce Lambert

MOSC Board of Directors

David Lauritzen

MOSC Board of Directors

Martha Lewis

The Midland Musicians Club

Karen McAfee

Carole Symonette

John and Melissa Madura

Violet and Mark Singh

ENDOWMENT FUND CONTRIBUTORS (continued)

Reba McHaney

Mr. & Mrs. Stephen H. Parker

Tim Young & Sharon Hickox

Edward McPherson

Jeannette & Mark Kolokoff

Charles & Brenda Nail

Bill Harden

Vera Osadchuk

The Midland Musicians Club

Dr. Henry Page

The Midland Musicians Club

Mr. & Mrs. Walter Pope

Midland Symphony Guild

Richy Puga

Jennifer & John C. Harper

Gregory Pysh

Chapter Gd P.E.O.

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

The Midland Musicians Club

Sue Smith &

Jim Huddleston

Alathea & Jim Blischke

Violet and Mark Singh

Sue Solari

Jane & Don Samples

Mark & Jeannette Kolokoff

Bill & Mary Garay

Herb and Pat Stanley

Violet and Mark Singh

Cindy Walton

Amy A. Walton

Jane Wolf

Memorial Christian Church

Billy T. Schulze

Beverly Wise

The Midland Musicians Club

Gene & JoAnn Wyatt

Risa Brown

MEMORIALS

Nelson Allison

Michael & Dana Ashton

Bob & Kay Bivens

Karl & Cathy Herzog

Joan McCown

Sue & Buddy McDonald

Violet & Mark Singh

Dr. & Mrs. Steve Wiehle

Anne Anson

Mr. & Mrs. Kevin D. Durham

Arlen Edgar

Betty & Clem George

Robert D. Anson

Thomas K. Anson

Ms. Francene Breckenridge

Edith Libson

Andrew W. Austin & Cynthia K.

Stewart

Carol Ann Wilkinson Bascom

Jane Wolf

Eldon Basney

Midland Symphony Guild

Ms. Beverly K. Cunningham

Dr. E. Grace Osadchuk

Mr. & Mrs. Michael Tandy

Frank Bell

Betty Ann Prentice

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

Clarence E. Cardwell, Jr.

Eric Leibrock

Mrs. Ethel Chapman

Truman & Doreen McCreless

Viola Campbell

The Midland Musicians Club

J. Dan Carpenter

Alan and Susan Leshnower

Marcella Christensen

Katherine Grella

Doris Cooper

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

Mary Dawson

The Contemporary Study Club

Sophie Edwards

Edward Goldstein

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

Martha Savage

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

ENDOWMENT FUND CONTRIBUTORS (continued)

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

Dr. Thomas Hohstadt

Jane Wolf

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

ENDOWMENT FUND CONTRIBUTORS (continued)

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

Ronald Thomas

Ann Parish

Violet Singh

Sheila Thompson

The Midland Musicians Club

Naomi Tillett

Mary & Barry Beck

Alva D. Butler

Mr. & Mrs. Frank Cahoon

Elinore Chase

Capt. & Mrs. William E. Clark

David & Sarah Lew Grimes

Sue & Ted Kerr

LaDoyce & Gloria Lambert

Mary Ann McRae

Mr. Mrs. Charles L.Tighe

Earl Van Stavern

Midland Symphony Guild

Thomas Welch

Schatzie & Charles Tighe

Bill J. Whitfield

Dee Griffin

Rita Williams

Ronald & Dortha J. Bennett

Berniece Johnson

Dr. & Mrs. Paul H. Johnson

AT&T Foundation

The Bosworth Company

Chapter Gd P.E.O.

The Midland Musicians Club

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

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