Issuu

WTXS.ORG 2026 | 2027 SEASON

2026|2027

SEASON

Gary Lewis, Music Director & Conductor

BOOK 1

Explore the music inside...

TABLE OF CONTENTS From the Board President.....................................................................................10 From the Interim Executive Director...................................................................... 11 From the Music Director........................................................................................12 Music Director Biography......................................................................................13 2026-2027 Orchestra Musicians...........................................................................16 2026-2027 Board of Directors & Staff....................................................................17 Midland Symphony Guild......................................................................................18 Odessa Symphony Guild.......................................................................................19 Ticket Pricing.........................................................................................................22 Music Education....................................................................................................33 Advertiser Index....................................................................................................78

CONTRIBUTORS / DONORS 2026-2027 Sponsors...............................................................................................4 2026-2027 Fund Drive Contributors......................................................................56 Endowment Fund Contributors..............................................................................58

CONCERTS 2026-2027 Season................................................................................................20 Prokofiev!..............................................................................................................24 Pines of Rome & Sibelius......................................................................................36 Haunting Halloween Harmonies............................................................................47 Sounds of the Season...........................................................................................51

CHAMBER ENSEMBLES Instrumental Ensembles........................................................................................14 Choral Ensembles.................................................................................................15 2026-2027 Chamber Concerts..............................................................................23

2026-2027 SPONSORS SEASON SPONSORS ($25,000+) Linda Stephens Sharon & John Webb

PLATINUM ($10,000+)

Anonymous Diamondback Energy Midland Symphony Guild & Odessa Symphony Guild PBX Saulsbury Donna & Bob Landreth Douglas Scharbauer Sue & Jay Siebens Claire & Jim Woodcock

GOLD ($5,000+)

2W Whatley Ranch Community National Bank Meruelo Acquisitions LLC. Moriah Group Cliffy & Barry Beal Karmen & Billy Bryant Martha & Paul Crump Diann & John McKee Larry Haggard & Dr. Tom Parks

SILVER ($3,500+)

Cotton Bledsoe Tighe & Dawson P.C. Helmerich & Payne, Inc. Plains All American Pipeline, LP Gretchen Bell Terri & Tim Dunn Susie Davis | Carla & Joe Haston | Ann Volker | Permian Printing Amy & Cal Hendrick

BRONZE ($2,500+)

Aghorn Energy, Inc. BigSmiles Ranch K-Bar Waterwell & Electric /Gregg Blain 4

Republic Services Tierra Company/ Bill Musar Kay Bird Sigrid & Richard Coats Audrey & Michel Curry Jeannine & Robin Donnelly Julie Edwards Maridell Fryar Ann & Ken Hankins, Jr. Kris & Cheri Howard Vickie Hurt Ann Parish & Betty Ann Prentice Garrett & Jacy Watkins

CHAMBER ($500)

State Rep. Brooks & Shelby Landgraf Beckstrom Vocal Studio/Alice Beckstrom Ernie Angelo K-Bar Waterwell & Electric / Gregg Blain Phillip Everett Maridell Fryar Kati Lewis Susan C. Martin Melinda & Henry Musselman Megan & Paul Pausé Ann Parish & Betty Ann Prentice Shari Santorelli

MEDIA, LODGING & TRANSPORTATION SPONSORS Odessa Marriott Hotel & Conference Center LaQuinta Inn & Suites Odessa North Sewell Midland Odessa American Midland Reporter-Telegram Basin PBS KMID Big2 West Texas Radio Group The Odessan

PROGRAM BOOK SPONSOR Midland College Foundation, Inc.

Discover luxury at its finest at Sewell BMW of the Permian Basin and Sewell Cadillac, Buick, GMC in Midland, Texas. Experience unparalleled performance, elegance, and innovation with our exceptional range of luxury vehicles. Visit our website today and elevate your driving experience to new heights. teamsewell.com PROUD SPONSOR OF

Experience West Texas Flavors Like Never Before at Barrel & Derrick.

A gathering place in the heart of downtown Odessa, TX. We invite friends, family, and colleagues to eat, drink, and play; celebrating big city flavors with a warm Texas atmosphere. Travelers & Locals Are All Welcomed. 432.580.5805 305 East 5th Street Odessa, tx 79761

www.marriott.com/mafmc www.marriott.com/mafmc

Congratulates West Texas Symphony on a 64th Season!

SAFE. SOLID. STRONG.

SAULSBURY.COM 9

FROM THE BOARD PRESIDENT Dear Friends of the West Texas Symphony, Welcome to our 64th season — and thank you for being part of something truly remarkable. When the West Texas Symphony was founded in 1962, the vision was straightforward and ambitious: bring professional, world-class music to the people of West Texas. More than six decades later, that mission lives not only on this stage, but in classrooms, school auditoriums, and community spaces across the area. Through our music education programs, we are reaching the next generation of musicians, listeners, and arts advocates — children who may be experiencing live orchestral music for the very first time. From the Voices of the Permian Basin youth choir to our chamber ensembles bringing music directly into the community, the West Texas Symphony is committed to making sure that every individual in West Texas has the opportunity to experience quality professional music. That belief drives everything we do. We are one of the largest professional performing arts organizations in West Texas — an orchestra of more than 70 professional musicians, ranked by the League of American Orchestras as a metropolitan orchestra. That designation matters. What we have built here is not just impressive — it is exceptional, and it exists because of you. Our mission is to enhance the quality of life in West Texas through professional music performance and music education — and that work does not happen without sustained, generous support from patrons like you. Your investment funds programs that shape young lives, strengthen our community, and ensure that the arts remain a vital part of West Texas for generations to come. As we savor every moment of this 64th season, we are also looking ahead with enormous anticipation to our 65th season — a milestone that belongs to every person who has ever bought a ticket, made a gift, or simply showed up and listened. We are dreaming big, and we hope you will be right there with us. Your continued support — whether through attendance, donations, or simply spreading the word — is what keeps this orchestra alive and thriving. We are grateful beyond measure, and we will not take it for granted. With gratitude and excitement, Jacy Lewis-Watkins 2026-2027 Board President

FROM THE EXECUTIVE DIRECTOR Welcome to the 64th season with the West Texas Symphony. In a world filled with notifications, headlines, and constant distractions, a symphony concert offers something increasingly rare: the opportunity to be fully present. For the next hour or two, hundreds of people will share the same space, hear the same sounds, and experience the same performance, yet no two listeners will leave with the same memory. Music has a remarkable ability to meet each of us where we are. It can inspire, challenge, comfort, energize, or simply provide a moment of reflection. Often, it does all those things at once. What makes a live performance even more extraordinary is that it exists only in this moment. Unlike a recording, a live concert can never be replicated exactly. Every phrase, every entrance, every crescendo is created in real time by musicians who have devoted years to mastering their craft. Their individual talents come together in pursuit of something larger than any one performer: a shared artistic experience. That pursuit reflects the spirit of the West Texas Symphony itself. For more than six decades, this organization has brought world-class music to our region while investing in music education and cultural enrichment throughout West Texas. We believe great music should not be reserved for major metropolitan centers. It belongs here, too, in our communities, our schools, and our lives. Whether you are a long-time patron or attending your first concert, your presence matters. The arts thrive because you choose to support them with your time, your enthusiasm, and your generosity. Every ticket purchased, every volunteer hour given, and every contribution made helps ensure that live symphonic music remains a vibrant part of West Texas for generations to come. We are also deeply grateful for the generous individuals, families, businesses, and community partners whose support sustains the West Texas Symphony. The majority of our funding comes from charitable contributions, and every gift helps ensure that symphonic music and music education remain vibrant in our region. If you are already a supporter, thank you for investing in the cultural life of West Texas. On behalf of our musicians, staff, board of directors, and Maestro Gary Lewis, thank you for being here. We are honored to share this season with you. To learn more about ways to support the West Texas Symphony, please visit our Development Director Violet Singh in the lobby, visit our website, or call us at 432-563-0921. Enjoy the performance, Kari Hennagin Interim Executive Director

FROM THE MUSIC DIRECTOR Greetings and welcome to the 2026-2027 Season of the West Texas Symphony orchestra! We have another amazing season of programs planned and we cannot wait to share them with you. Beginning in late August this season, we’ll present Prokofiev’s powerful Symphony No. 5 along with his Piano Concerto No. 3, perhaps the finest piano concerto of the 20th century. Cliburn Competition finalist, Clayton Stephenson, will join us at the piano. Early October brings another special program featuring exhilarating music from Manuel de Falla’s ballet, The Three-Cornered Hat, Sibelius’ iconic Violin Concerto, featuring violinist Rinat Erlichman, and ending with the blockbuster, Pines of Rome, by Respighi. Later in October, bring the family to celebrate Halloween with us and enjoy a night of “spook-tacular” music and costumes! December brings our annual Sounds of the Season, the very best way to ring in the holiday season. As always, enjoy traditional holiday music and celebrate the Christmas season with the orchestra, chamber ensembles, the Chorale, the Voices of the Permian Basin, and more. In February our annual WTS Spotlight, featuring one of our own principal musicians as featured soloist, shines on Principal Flutist, Lyndsay Eiben. Join us as Lyndsay performs the Stamitz Flute Concerto in G and the orchestra follows up with Beethoven’s iconic Symphony No. 3, “Eroica.” April brings our annual side-by-side performance with area music students, collaborating this year on Offenbach’s infectious Orpheus in the Underworld Overture. Also on the program, Debussy’s masterwork, La Mer, a tour de force for the orchestra, and Poulenc’s Gloria, featuring the Festival Chorale. And, finally, we’ll end our season with the orchestra performing the colorful score to the movie, “How to Train Your Dragon,” as we screen the movie live. If you have not experienced one of these performances in the Wagner Noël Performing Arts Center, you don’t know what you are missing! Your support means everything to us and to our mission to bring great music to the Permian Basin. As always, there is much more than just the programs listed above. The Chorale, the Voices of the Permian Basin, the West Texas Winds, Lone Star Brass, and Permian Basin String Quartet are all presenting fabulous programs throughout the year in our communities. For more information on all these events, plus more, please visit our website at WTXS.ORG We hope you will consider becoming a subscriber and bring friends and family along to enjoy these great programs. Come celebrate with us and let’s fill up Wagner Noël as we continue to change lives in the Permian Basin through extraordinary music. I’ll see YOU at the SYMPHONY! 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 20th year with the orchestra and his 19th 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.

Happy 20th Anniversary, Maestro Lewis! 13

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

SYMPHONY CHORALE

The Symphony Chorale is the principal choral ensemble in West Texas. Instrumental to the founding of the West Texas Symphony organization in 1962, they present 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

WEST TEXAS SYMPHONY 2026-2027 ORCHESTRA MUSICIANS Gary Lewis, Music Director & Conductor

VIOLIN

Andres Bravo, Concertmaster Endowed in memory of Dorothy Croft by the Midland Symphony Guild Turner Partain, Associate Concertmaster Grace Marín Aguilar, Assistant Concertmaster Gabriella St. James, Principal Second Violin Nathan Banks Robert Colley Cody Fineron Nikesha Hailey-Hicks Lowell Hohstadt Sergio Lisboa Robert Meinecke Angel Ornelas Isabella Rollans Jason Snider Lily West

VIOLA

Marian Herrero, Principal Endowed by Mary de Compiegne & Rosalind Redfern Grover Laura Peña, Associate Principal Benjamin Cantrell Tyler Chen Beau Garza Les Ginther Kathy Hohstadt

CELLO

Nick Pascucci, Principal Endowed in memory of Walter Osadchuk by Dr. & Mrs. Michael Miller Danny Mar, Associate Principal Leslee Becker Maia Cook Aurelia Rocha David Thomas

BASS

Mark Morton, Principal Joseph La Marca Endowed in memory of Mary June Rasmussen by Mr. Kenneth Anderson & Dr. Anne Acreman, MD

FLUTE

Lyndsay Eiben, Principal Kate Martin, Associate Principal Carolyn Keyes, Piccolo

OBOE

Caryn Crutchfield, Principal Jordan Hastings, Associate Principal Ann Hankins

CLARINET

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 Sidney Shuler

TROMBONE

Stewart Rhodes, Principal Darin Cash

BASS TROMBONE Jon James, Principal

TUBA

Parker Burkey, Principal

TIMPANI

Tim Mabrey, Principal

PERCUSSION

Erin Martysz Thies, Principal Yi-Mei Ciou Hannah Gallamore

Chris Chance, Principal Tyler Webster, Associate Principal & E-flat HARP Mande Gragg, Bass Clarinet Helen Cooley, Principal

BASSOON

Philip Hill, Principal Bill Harden, Associate Principal

HORN

PIANO

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

2026-2027 BOARD OF DIRECTORS & STAFF OFFICERS

Jacy Lewis-Watkins, President Ken Hankins, Jr., Executive VP Rebecca Bell, Immediate Past President Carla Haston, VP Finance Pat Canty, VP Fundraising Gregg Blain, VP Sponsorships Jeannine Donnelly, Secretary

DIRECTORS Gabriel Almendarez Kim Altizer Dee Anna Arellano Eric Baker Alice Beckstrom Maia Cook Shaylee Ford Beau Garza

Dr. Terry Gilmour Allison Gray Dr. Aaron Hawley Jennifer Hopgood David Lauritzen Nancy Minor Garcie Ortiz Dr. Jon Ortiz

Megan Pausé Victoria Printz Stephanie Rivas Janai Rogers Rohith Saravanan, MD Dr. Adrian Vega Lisset Velasquez

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 Kari Hennagin, Interim Executive Director Violet Singh, Director of Development Crystal Romero, Director of Marketing Cole Thomas Carter, Director of Operations

Leslie Gonzales, Personnel Manager Judy Bridges, Bookkeeper Scott Millichamp, Music Librarian Dr. Brad Light, Chorale Director Emily Baker, Voices of the Permian Basin 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 is proud to continue the tradition of supporting the West Texas Symphony, a commitment that has spanned more than sixty years. Founded with a desire to promote and sustain the fine arts in our community, the Guild has provided financial and volunteer support to the Symphony and the many programs and events it presents each season. Through outstanding performances featuring world-class musicians, guest artists, and local talent, the West Texas Symphony continues to enrich the lives of residents throughout Midland, Odessa, and the Permian Basin. The dedicated members of the Midland Symphony Guild invest their time, talents, and resources in support of both the arts and our local community. Each year, the Guild contributes thousands of volunteer hours, many of which are provided by our Symphony Belles. The Symphony Belles program is made up of young women in grades 9 through 12 who demonstrate a commitment to service and community involvement. During their time in the program, each Belle is required to complete volunteer placements and events, many of which support performances and activities presented by the West Texas Symphony. This spirit of service promotes leadership, responsibility, and an appreciation for the talented artists and musicians who enrich our community. In addition to supporting the West Texas Symphony, our Belles volunteer with numerous local organizations, including Safe Place, Midland Festival Ballet, Museum of the Southwest, Midland Community Theatre, the Midland Food Bank, Young Life, the Bush Family Home and the Wagner Noël Performing Arts Center. We are incredibly proud of the positive impact they make throughout our community and the example they set for future generations. As the mother of a Symphony Belle and a supporter of the arts, it is my privilege to serve as President of the Midland Symphony Guild this year. I look forward to working alongside our dedicated members, volunteers, and community partners as we continue the Guild’s tradition of service and support. Through the opportunities to serve and form friendships while gaining an appreciation of the performing arts, I am confident this will be a rewarding year for our members and Belles alike. Thank you to the West Texas Symphony for enriching our lives and strengthening our community through the power of music and the arts. We are honored to support another season of exceptional performances throughout the Permian Basin. Janai Rogers 2026–2027 President

ODESSA SYMPHONY GUILD The Odessa Symphony Guild has proudly supported the West Texas Symphony and promoted the arts across the Permian Basin for more than six decades. Established in 1958 by a dedicated group of community-minded women, the Guild was created to provide both financial support and volunteer service to music and arts programs throughout the region. Since its founding, the organization has contributed countless volunteer hours and significant resources to help enrich the cultural life of Odessa, Midland, and surrounding communities. The Guild is made up of passionate members who generously give their time to serve others. During the past year alone, members contributed more than 1,200 volunteer hours. A key part of the organization is its Belles and Beaux program, which includes students in grades 9–12. These young volunteers assist with symphony events, support local nonprofits, and participate in a variety of community service projects throughout the area. In addition to supporting the West Texas Symphony, the Guild invests in the future through scholarships awarded to outstanding high school seniors and grants that help local organizations strengthen and expand arts opportunities in the Permian Basin. One of the Guild’s signature events is the annual Symphony Ball, held each February. This special occasion recognizes senior Belles and Beaux for their years of service while celebrating the leadership and dedication of all participating students. The event highlights the positive impact these young volunteers have on the community. The Odessa Symphony Guild remains committed to fostering creativity, supporting the arts, and encouraging service. Through its partnership with the West Texas Symphony and its ongoing community outreach efforts, the Guild continues to make a lasting difference across West Texas. Shaylee Ford 2026-2027 President

AGHORN ENERGY, INC. Rhonda & Frosty Gilliam

Proud sponsors of the West Texas Symphony! 19

2026|2027 SEASON Gary Lewis, Music Director & Conductor PROKOFIEV!

AUGUST 29, 2026 From the Wind, That Which Augurs | ENNIS HARRIS Composer in attendance and Saxophone Soloist Piano Concerto No. 3 | SERGEI PROKOFIEV Featuring Clayton Stephenson, Piano Appears by arrangement with the Cliburn Agency. Symphony No. 5 | SERGEI PROKOFIEV

PINES OF ROME & SIBELIUS OCTOBER 3, 2026

The Three-Cornered Hat, Suite No. 2 MANUEL DE FALLA Violin Concerto | JEAN SIBELIUS Featuring Rinat Erlichman, Violin Pines of Rome | OTTORINO RESPIGHI

HAUNTING HALLOWEEN HARMONIES OCTOBER 24, 2026

Join us for a night of spook-tacular orchestral music with a fun Halloween theme!

WEAR YOUR COSTUME!

SOUNDS OF THE SEASON DECEMBER 5, 2026

West Texas’ favorite holiday tradition featuring your symphony orchestra, instrumental chamber ensembles, and choral groups!

TWO SHOW TIMES! 2:00PM & 7:30PM

Sounof dthse Season

WTS SPOTLIGHT & BEETHOVEN’S EROICA FEBRUARY 27, 2027 Serenade for Winds ANTONÍN DVOŘÁK Flute Concerto in G Major CARL PHILIPP STAMITZ Featuring Lyndsay Eiben, Flute Symphony No. 3 “Eroica” LUDWIG VAN BEETHOVEN

FRENCH FANTASY APRIL 10, 2027

Orpheus in the Underworld Overture JACQUES OFFENBACH Side-by-side with local students La Mer | CLAUDE DEBUSSY D’un matin de printemps LILI BOULANGER Gloria | FRANCIS POULENC With Festival Chorale!

HOW TO TRAIN YOUR DRAGON IN CONCERT MAY 15, 2027

When a young Viking defies tradition and befriends a ferocious dragon, together they must fight against all odds to save both their worlds. Experience this captivating film in HD, with its thrilling musical score performed live to picture! How To Train Your Dragon © 2010 DreamWorks Animation LLC. All Rights Reserved.

WTXS.ORG 800-514-3849 Concerts held at 7:30PM at Wagner Noël Performing Arts Center. Scheduled programs, dates, and individuals are subject to change.

2026|2027 SEASON

TICKET PRICING MAINSTAGE CONCERTS Orchestra/Dress Circle $83.50 Adult, $12.50 Student Mezzanine/Parterre $66.50 Adult, $12.50 Student Gallery (only available for select concerts) $46.50 Adult, $12.50 Student

CHAMBER CONCERTS

All 2026-2027 Chamber Concerts are FREE! Tickets available 30 days before each event. Seating may be limited. STUDENT TICKET $12.50, ANY CONCERT, ANY SEAT! 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 and fees apply.

800-514-3849

Wagner Noël Box Office, W-F, 1-5PM

WTXS.ORG

Gary Lewis, Music Director & Conductor Presents

PROKOFIEV!

Saturday, August 29, 2026 7:30 p.m. Wagner Noël Performing Arts Center Clayton Stephenson, Piano Clayton Stephenson appears by arrangement of the Cliburn Agency. Ennis Harris, Saxophone Composer in attendance and saxophone soloist. THIS CONCERT IS PROUDLY SPONSORED BY Cliffy & BJ Beal Karmen & Billy Bryant Sharon & Bobby Floyd Kay Bird Julie Edwards Ann & Ken Hankins, Jr. Kris & Cheri Howard Vickie Hurt Ann Parish and Betty Ann Prentice Saulsbury 24

PROKOFIEV! 7:30 p.m. Saturday, August 29, 2026 Wagner Noël Performing Arts Center Gary Lewis, Conductor Clayton Stephenson, Piano Ennis Harris, Saxophone From the Wind, That Which Augurs……………………………………………………………….................Ennis Harris Ennis Harris, Composer & Saxophone Piano Concert No. 3..….……….……………........................................................................Sergei Prokofiev Clayton Stephenson, Piano Andante – Allegro Tema con variazioni Allegro, ma non troppo

INTERMISSION - 20 MINUTES Symphony No. 5………………………………………………….....................................................Sergei Prokofiev Andante Allegro marcato Adagio Allegro giocoso *Program subject to change.

From the Wind, That Which Augurs Ennis Harris From the composer… As I completed my doctoral studies at the University of Southern California in May of 2025, I found myself reflecting on my time as a student with a flurry of emotion. Excitement to transition fully into the professional world, and at the same time, the whispering quiet fear of leaving such a familiar environment behind. In June that same year, I had the opportunity to attend Ravinia as a Jazz Fellow, where Kurt Elling graced the stage with his gift for inhabiting the poetry of a song with the artistry of a Shakespearean actor. Elling was in the midst of a tour honoring the music of Weather Report, adding lyrics to Joe Zawinul's legendary composition, Current Affairs. His words struck me deeply. Elling’s poignancy illuminates the courage required to walk across the threshold: Now the curtain falls, and the journey calls. And you fear — with no one you love near — you might disappear. You are one with generations who have made it through, one of many. And hidden hands will always guide and hold you — you're worthy. No matter where the wind and the waters throw you, they're bound to blow you home. From the Wind, That Which Augurs is my own musical version of this story. The piece opens with a whispering breeze in the violins and violas, accompanied by a wind machine. The flute soloist enters a few measures later with a hint of the theme that comes to fruition in the second half, with the help of the soprano saxophone and drum set, an ode to Wayne Shorter and Peter Erskine of Weather Report, representing the guiding wind. For the students in the orchestra, many of whom, like I once was, are standing at the threshold of transition, I hope they will approach their journey with the confidence and vigor of a storm, heralded by the brass fanfare that marks the start of a new path paved with adventure. Immense gratitude to Dr. Larry Livingston, who commissioned this work for the Texas Music Educators Association Symphony Orchestra, premiered in February 2026 with himself at the helm. In equal measure, I am grateful to Sabrina Behrens, Vice President of the TMEA Orchestral Division, for having the confidence in me to produce a new work to premiere with an all-state ensemble. A deeply heartfelt thank you to Maestro Gary Lewis for championing this work, and to the inimitable musicians, staff, and directors of the West Texas Symphony for their consummate musicianship and professionalism. - Program Notes by Ennis Harris. Piano Concerto No. 3 Sergei Prokofiev Sergei Prokofiev's Third Piano Concerto, Op. 26 was a long time in the making, and the sketches traveled the world with him as he studied, performed, and continued work on the piece. He first started on sections of the concerto between 1911 and 1913, while he was still at the St. Petersburg Conservatory, but did not complete the work until 1921 at a resort in France, after moving to the United States and starting many projects there. Since the process of composition took place over a decade of travel and political turmoil worldwide, the concerto bears marks of Prokofiev's early sardonic, sometimes grotesque humor. Yet by the completion of the work, he had finished his “Classical” Symphony No. 1, and still had a lingering taste of more conservative forms and styles in his mind as he wrote. The concerto also was to be premiered in the United States and audiences there favored more conservative music. Of course, this also looks ahead to the “new simplicity” Prokofiev chose to adopt within a year or two, which would color the rest of his output. As such the Third Concerto is a pivotal work which looks back to Prokofiev's dissonant, progressive taste in youth, and predicts his more melodious and conservative style in older age. The premiere was with the Chicago Symphony Orchestra in December of 1921, with Prokofiev himself performing the solo. The composer was quite nervous about the performance, writing that the piece

“turned out to be devilishly difficult,” and that he was practicing three or more hours every day for the premiere. The Chicago audience enjoyed the concerto, but audiences in New York reviled Prokofiev's recent opera, The Love for Three Oranges. He was devastated by the poor reception of the opera, even though his concerto would soon begin taking off and soaring in popularity after he moved back to Europe in 1922. Fortunately, audiences have come to embrace and enjoy his opera- and appreciation for the Third Piano Concerto has only grown with the years since. Andante - Allegro The piece begins with a lonesome clarinet solo that becomes a duet, then flowers as the rest of the orchestra joins in. Suddenly the music takes off at breakneck speed and the piano is introduced. Under running sixteenths throughout the ensemble, the rhythm of pulsing chords then takes over and introduces a typically humorous, sarcastic early-Prokofiev melody with oboe and castanets. All of this material works together like a machine until the clouds part and the lonesome introductory theme returns transformed, with sweeter accompaniment this time. A dreamlike sequence follows based on this theme, before the soloist unleashes the sixteenth notes again, pulling the orchestra along for a recapitulation of the faster material, leading to a frenzied ending that leaves the listener (and musicians!) breathless. Theme and Variations Though still in his Modernist era, there are always hints of appreciation for classical styles in Prokofiev- in particular with this Theme and Variations. After the orchestra states the theme, the piano's first variation changes the tone and color of the music. The second variation is brusque and makes use of polytonality; the third rhythmic and earthy. The fourth variation is slow and dreamlike- but not relaxed. There is a feeling of isolation and uncertainty as twisting chromatic melodies create dissonance and tension. The fifth variation feels almost like a preemptive finale movement of its own, but the main theme of the second movement theme returns and the energy simmers to a quiet conclusion. Allegro, ma non troppo Prokofiev envisioned the finale as an argument between the piano and orchestra. The movement begins with a stiff, staccato melody in the orchestra, which the piano interrupts with its own bright, daring material. The orchestra stands firm, and the exchange is playful more than heated or angry, as the general key area of the harmony gets pulled in different directions. As with the best “arguments,” there are moments of beautiful mutual agreement, though sometimes it sounds accidental- as when two opponents remain staunch in their views but find themselves agreeing to their own surprise. The music swells as the agreement becomes understood and embraced. The opening material returns, though now with the piano and orchestra working together more than against, culminating in a delightful conclusion all joined as one. Symphony No. 5 Sergei Prokofiev Sergei Prokofiev's Third and Fourth Symphonies were drawn from stage works he had recently composed: the opera The Flaming Angel, and the ballet The Prodigal Son, respectively. After these, Prokofiev felt it was high time to write a symphony for its own sake once more. In his Symphony No. 5 in B-flat, Op. 100, Prokofiev sought to create a piece “glorifying the human spirit... praising the free and happy man-- his strength, his generosity, and the purity of his soul.” He soon regarded the Fifth as a high point in that period of his musical life. Rightly so- at this point in his life he was at the height of his skills, mature and masterful in theme, harmony, orchestration- the symphony is not only a crowning achievement of Prokofiev's oeuvre, but of the genre itself. Though the year of 1944 was tumultuous as the end of World War 2 was drawing near, Prokofiev wrote this new symphony at a composers' retreat, away from the turmoil where he could focus on his vision for the work. He finished the original piano score in a month, but drew from ideas he had been sketching for ten years or more. By the time he returned to conduct the 1945 premiere in Moscow, however, he was again forced to face the horrors of war. Pianist Sviatoslav Richter attended the premiere, and wrote of the experience:

“When Prokofiev mounted the podium and silence set in, artillery salvos suddenly thundered. His baton was already raised. He waited, and until the cannon fire ceased, he didn’t begin. There was something very significant, very symbolic in this. It was as if all of us—including Prokofiev—had reached some kind of shared turning point.” The work is more melodic and less harshly dissonant than some of his earlier work, fitting in with the "new simplicity" he chose to favor after leaving behind his youthful fiery temper and angular modernist aesthetic decades prior. As such the Fifth Symphony has more in common with the popular Romeo and Juliet than The Love for Three Oranges. Andante The first movement opens with a melody for flute and bassoon, leading into a second woodwind theme. The brass and violins state the third and final theme of the movement. Prokofiev includes a "false repeat" which seems to directly mirror the opening, only for the harmony to change suddenly and reveal that this is the start of the development rather than a true repeat. After the twists and turns of the development, the trumpets restate the original theme. Other themes also return before coming to an ending that is decisive yet tinged with angst. Allegro marcato This movement functions as the symphony's scherzo, and it is in this movement that we hear a bit more of Prokofiev's earlier style, biting and sarcastic in its humor. The energy is kept at quite a high level by relentless, driving ostinato figures, until more lyrical material appears in the woodwinds. Even here there are hints of the earlier driving material underneath, as if we have reached a hilltop above the chaos before descending into it once again. The climb back down into the frantic material of the opening is gradual, like rolling downhill and beginning to fear losing control- and there is a slightly more menacing color to the recapitulation. We quickly find ourselves in the thick of the chase once more- right up until the abrupt ending. Adagio The movement is somber, yet with soaring, lyrical melodies to sweeten the experience. The gentle, shared woodwind melody giving way to soaring, weeping strings is much more reminiscent of Romeo and Juliet than the previous movement's early-Prokofiev aesthetic. The mood turns a bit darker as deep strings, brass, and piano are punctuated by snare drum trills- perhaps hinting at the war going on outside that Prokofiev was trying to ignore in his seclusion. Tension grows between the sweet and melodious, and the more militaristic side- eventually everything becomes peaceful and reflective again. Allegro giocoso The last movement begins with dialogue reminiscent of the first movement, themes in conversationbut suddenly the tempo leaps ahead and an exuberant theme appears in the clarinet. Joyful optimism pervades, though more introspective moments do occur, and themes from previous movements return. The finale is full of triumph and fun- but near the end fragments of the theme keep getting interrupted by frantic, militaristic material that takes over just before the ending. Is the war over? Is the triumph really complete? These questions are intriguing- nonetheless the energy of the movement is thrilling and its conclusion is satisfying in spite of these unanswered questions. ABOUT SERGEI PROKOFIEV Sergei Prokofiev (1891-1953) was one of the early to mid 20th Century's most beloved composers, exploring musical styles that were both modern and neoclassical. Born in Sontsovka, Ukraine, Prokofiev showed interest in music and skill in composition right from the start, composing his first piece of music by the age of five. At thirteen, he was the youngest student who had ever been admitted to the St. Petersburg Conservatory. His musical taste was quite progressive and modernist, earning him growing success in contemporary musical circles while earning him unimpressive grades in his more traditional composition classes. Soon

after finishing at the conservatory in 1914, he began working in Paris with Sergei Diaghilev and the Ballets Russes, where his ballet Chout earned high praise from both Igor Stravinsky and Maurice Ravel. During the tumultuous years of Russian revolutions, Prokofiev wrote the Classical Symphony (No. 1), Violin Concerto No. 1, and began work on Piano Concerto No. 3, which he later completed in 1921 after moving to the US. The following year, Prokofiev and Stravinsky got into such a heated argument over Prokofiev's opera, The Love for Three Oranges, that the two nearly came to blows and spent years estranged from each other. A religious conversion inspired Prokofiev to rein in his fiery temper, and it also contributed to a softening in his musical taste, from modernist expressionism to what Prokofiev described as a "new simplicity." After years abroad, Prokofiev returned to his homeland, now the Soviet Union. Initially some of his earlier compositions had been seen as "anti-Soviet," but he grew in prominence as a musical ambassador to the West and eventually moved to Moscow. In 1936 he composed one of his most famous and internationally beloved works, Peter and the Wolf, though he still drew criticism from the government for other works and was compelled to write on approved subjects in approved styles whether Prokofiev himself approved or not. During this Soviet period, his ballets Romeo and Juliet and Cinderella were successful both inside and outside the USSR, and his 1944 Symphony No. 5 made him again a hero of Russian music. However, within just four years Prokofiev was denounced, along with Dmitri Shostakovich and four other artists, for "formalism" which allegedly rejected "standards of classical music" in favor of dissonant modernism. Prokofiev continued composing works that are now well-known masterworks, including two more symphonies and a Symphony-Concerto for cello and orchestra, but life without government support during the Cold War was increasingly bleak. Prokofiev died on the 5th of March 1953- the same day as Stalin. In a letter prior to his death, Shostakovich had written to wish that Prokofiev should have another century of life in which to create music, and that "Listening to such works as your Seventh Symphony makes it much easier and more joyful to live." - Program notes by Chris Chance. Chris 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 and worked as a recording studio musician for the Hal Leonard Corporation. Chris holds a Bachelor of Music degree, a Performer Diploma, and the Performer's Certificate from the Indiana University Jacobs School of Music.

ABOUT THE ARTISTS CLAYTON STEPHENSON, PIANO American pianist Clayton Stephenson’s love for music is immediately apparent in his joyous charisma onstage, expressive power, and natural ease at the instrument. Hailed for “extraordinary narrative and poetic gifts” and interpretations that are “fresh, incisive and characterfully alive” (Gramophone), he is committed to making an impact on the world through his music-making. Growing up in New York City, Clayton started piano lessons at age 7, and the next year was accepted into The Julliard School’s Music Advancement Program—a full scholarship program for under-represented students—where he lingered to watch student recitals and fell in love with music. He advanced to Juilliard’s elite Pre-College at age 10—with the help of his teacher at the time, Beth Nam, who gave him countless extra lessons without charge—to study with Matti Raekallio, Hung-Kuang Chen, and Ernest Barretta. Clayton practiced on a synthesizer at home until he found an old upright piano on the street that an elementary school had thrown away; that would become his practice piano for the next six years, until the Lang Lang Foundation donated a new piano to him when he was 17. He credits the generous support of community programs with providing him musical inspiration and resources along the way. As he describes it, the “Third Street Music School jump-started my music education; the Young People’s Choir taught me phrasing and voicing; Juilliard’s Music Advancement Program introduced me to formal and rigorous piano training, which enabled me to get into Juilliard Pre-College; the Morningside Music Bridge validated my talent and elevated my self-confidence; the Boy’s Club of New York exposed me to jazz; and the Lang Lang Foundation brought me to stages worldwide and transformed me from a piano student to a young artist.” Recent and upcoming highlights include concertos with the Houston, North Carolina, and Cincinnati Symphonies; festival appearances at Grand Teton, Grant Park, and Tippet Rise; recitals at Washington Performing Arts at the Kennedy Center, Fondation Louis Vuitton, and Weill Recital Hall at Carnegie Hall; gala performances with the New York and Las Vegas Philharmonics; and collaborations with violinists Nikki and Timothy Chooi. He also joins the Hartford Symphony Orchestra as 2024–2025 Artist-in-Residence. Clayton graduated from the Harvard-New England Conservatory (NEC) dual degree program in spring 2023 with a bachelor’s degree in economics at Harvard and a master’s degree in piano performance at NEC under Wha Kyung Byun. In addition to being the first Black finalist at the Van Cliburn International Piano Competition in 2022, he received an Avery Fisher Career Grant in 2024, won the inaugural Nina Simone Piano Competition in 2023, and is a 2025 Sphinx Medal of Excellence honoree.

ENNIS HARRIS, COMPOSER Ennis Harris is a Los Angeles-based composer and arranger whose work bridges musical cultures and forms through the lens of storytelling. His music moves fluidly across genre and cultural traditions, and has been performed by leading artists and ensembles across the U.S. and abroad. Ennis’ recent work includes performances of his arrangement of Nino Rota’s La Dolce Vita: Finale by the Orchestra Sinfonica del Conservatorio Niccolò Piccinni featuring Joe Lovano and conducted by Vince Mendoza, as well as the premiere of his latest orchestral work From the Wind, That Which Augurs, commissioned and conducted by Dr. Larry Livingston with the 2026 TMEA Symphony Orchestra. His work Water Painter for percussion ensemble was premiered at the 2026 Northwest Percussion Festival with virtuoso marimbist Kana Funayama and the Central Washington University Percussion Ensemble. His piece Ennui: Manila, 1926, written in honor of Luis G. Dato, premiered with the UCLA Contemporary Jazz Ensemble in May of 2026. Ennis created original arrangements in collaboration with USC Thornton School of Music Dean Jason King, Dr. Larry Livingston, and Visions and Voices for the 2025 Quincy Jones Symphonic, with the orchestra led under the baton of maestro Anthony Parnther. Ennis is a 2024 recipient of the BMI Composer Award for his concertino for clarinet and orchestra, entitled Adarna. That same year, he received first prize in the Van Alexander Arranging Competition presented by ASMAC, for a Tango-inspired arrangement of Duke Ellington’s The Lake. In 2023, he was awarded the Jeff Clayton New Note Commission Award by the Los Angeles Jazz Society, which resulted in his 23-minute work Images and Silhouettes for 19-piece jazz chamber ensemble being premiered at the Angel City Jazz Festival. He also received the ISJAC/USF Prize for Emerging Black Composers for his big band work Eye in the Sky, and earlier the Herb Alpert Young Jazz Composer Award for Portrait Poem. Ennis holds a B.A. in Global Jazz Studies from UCLA and M.M. and D.M.A. degrees from USC, where he studied composition with Vince Mendoza and conducting with Larry Livingston.

4122 Faudree Road Odessa, Texas 79765 432.288.9041

• FREE HOT BRIGHT SIDE™ BREAKFAST • HIGH-SPEED WIFI • ONSITE BRIGHT SIDE MARKET • EXPANDED FITNESS ROOM • RESTAURANTS WITHIN WALKING DISTANCE

ASK FOR OUR SYMPHONY VISITOR RATE

40 YEARS OF ARTS, CULTURE & COMMUNITY

Connecting the Permian Basin to local performances and world-class arts programming. DONATE AT: www.BasinPBS.org 432-563-5728

MUSIC EDUCATION WEST TEXAS SYMPHONY’S MISSION is to enhance the quality of life in West Texas through professional music performances and music education.

STUDENT DISCOUNT

WTS offers the greatly reduced ticket price of $12.50, at any seat, for all students. Select concerts in the 2026-2027 season are FREE!

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 7,000 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 engage them through repetitive rhythms, by expressing a particular feeling or idea, or by being recognizable and easy to sing.

SCHOOL CONCERTS

Music program offering students in-school concerts at select elementary campuses performed live by our three resident instrumental ensembles: Lone Star Brass, West Texas Winds, and Permian Basin String Quartet.

AND MORE... HELP SUPPORT MUSIC EDUCATION TODAY! CALL 432-563-0921 LARRY HAGGARD & DR. TOM PARKS 33

POWERING THE PERMIAN ENERGIZING THE ARTS We proudly call the Permian Basin home and are honored to stand alongside the West Texas Symphony in bringing world-class music to the region.

AMERICAN ENERGY. PERMIAN POWERED. diamondbackenergy.com | NASDAQ: FANG 34

Gary Lewis, Music Director & Conductor Presents

PINES OF ROME & SIBELIUS

Saturday, October 3, 2026 7:30 p.m. Wagner Noël Performing Arts Center Rinat Erlichman, Violin THIS CONCERT IS PROUDLY SPONSORED BY Jeannine & Robin Donnelly

PINES OF ROME & SIBELIUS

7:30 p.m. Saturday, October 3, 2026 Wagner Noël Performing Arts Center Gary Lewis, Conductor Rinat Erlichman, Violin The Three-Cornered Hat, Suite No. 2 .............................................Manuel De Falla The Neighbor’s Dance – Seguidillas The Miller’s Dance – Farruca Final Dance – Jota Violin Concerto……..…………………………………….………...............................Jean Sibelius Rinat Erlichman, Violin Allegro moderato Adagio di molto Allegro, ma non tanto INTERMISSION - 20 MINUTES Pines of Rome…………....................................................................Ottorino Respighi The Pines of Villa Borghese Pines near a catacomb The Pines of the Janiculum The Pines of the Appian Way *Program subject to change.

The Three-Cornered Hat, Suite No. 2 Manuel De Falla After being introduced to Manuel De Falla by Igor Stravinsky in 1916, Sergei Diaghilev attended a performance of Falla's pantomime "El corregidor y la molinera" (The Magistrate and the Miller's Wife), based on the comic novel by Pedro Antonio de Alarcón. Diaghilev was so impressed that he commissioned Falla to expand the work into a full ballet. Falla agreed, and thus created one of his great masterpieces, "The Three-cornered Hat." The story centers around an amorous Magistrate (whose office is signified by wearing a three-cornered hat), who relentlessly yet unsuccessfully pursues the lovely wife of the local Miller. Thwarted at every turn, the Magistrate endures pranks from the Miller and his wife, suffers accidental misfortune, and after a bit of clothes-swapping and mistaken identities in an operatic turn of events, he is eventually humiliated into giving up his pursuit. The smaller pantomime version "El corregidor y la molinera" premiered in 1917. To expand the work into a full ballet for Diaghilev, Falla enlarged the orchestra required, and he composed additional dances, including a new solo for the Miller, which has now become one of the ballet's most famous numbers. Pablo Picasso was the costume designer for the premiere, and as he had also made the curtain for the show, Picasso requested that Falla write an introductory piece to be played before the curtain was raised. The full ballet premiered in 1919 in London and was immediately successful, but Falla was not able to conduct the premiere. At the last minute, he learned that his mother was dying, so he dropped everything and immediately returned home to be with her. The two suites from the ballet are lifted directly from the individual pieces in the ballet. Suite No. 2 comprises most of the second act. Dance of the Neighbors The first movement opens at night, with the local villagers dancing a variety of seguedillas set to traditional themes, including a popular tune from an operetta by Gerónimo Giménez. The strings set the scene with a peaceful tune that is joined by the woodwinds as it becomes the first dance. The second theme is a more lyrical one, played by the flute and bassoon together. Variations on the first theme resume, eventually relaxing as the villagers retire for the night. The Miller's Dance The Miller's Dance is an earthy flamenco farruca and was one of the new pieces added by Falla for the larger 1919 ballet version. The movement opens with a fiery French horn solo followed by a florid cadenza for English horn. The dance is full of passion, with rapid contrasts in dynamic and color. A slow accelerating crescendo builds to frenetic ending. The second suite omits the Magistrate's intervening minué from the ballet, and instead moves directly to the final scene. Final Dance The finale is an Aragonese jota dance. The village erupts in jubilant chaos as the Magistrate's plans are foiled at last and all of the villagers enjoy a laugh at his expense, tossing him repeatedly into the air with a blanket. The music swirls, leaps, and rushes ahead one moment, then struts proudly before dashing away again. Fragments of quotations from other movements interject as the cast of characters reassemble in confusion and delight at the Magistrate's misfortune- before rushing ahead to a rousing, triumphant conclusion.

ABOUT MANUEL DE FALLA Manuel de Falla (1876-1946) was one of the earliest and most successful composers to bring Spanish traditional music to the symphony stage. While other Spanish composers of the time were Catalan- such as Isaac Albéniz- Falla came from Andalusia, and he used the fiery flamenco style of that region to great effect in his compositions- particularly during the early years. Born in Cadiz, he studied piano and composition privately. While teenagers, Falla and his friends created two literary magazines, which they produced and distributed locally. In 1897, Falla and his family moved to Madrid where he enrolled in the Real Conservatorio de Música y Declamación, where he studied with José Tragó, Felipe Pedrell, and later Albéniz. In 1900 his family fell on hard financial times, so Falla began teaching piano lessons for additional income while continuing to work on his compositions. After winning a competition with his operetta La Vida Breve, Falla struggled to stage the work locally and was urged by his colleagues and teachers to move to Paris in 1907. Falla succeeded in publishing new works in Paris, as well as staging La Vida Breve in Nice, becoming well known in the active Paris music scene. His mentors were Paul Dukas and Claude Debussy, though Falla became acquainted with several other giants of early Twentieth Century music as well, including Maurice Ravel, Igor Stravinsky, and the ballet impresario Sergei Diaghilev. After years of international success he returned to Spain in 1914, where he continued composing new works including the ballet El Amor Brujo, and finished Nights in the Gardens of Spain for piano and orchestra, which he had begun in France. Falla composed a short pantomime which Diaghilev commissioned him to expand into the now famous ballet The Three-cornered Hat, which premiered in London. Though beloved as a hero in Spain, he was forced to flee during the turmoil of World War 2. Falla moved to Argentina, where he lived out his years. He worked exhaustively on a large scale opera, Atlàntida, from 1926 through the end of his life, but the work was incomplete at the time of his death. Since then, Atlàntida has been completed posthumously and was first produced in 1962 in Milan. Violin Concerto Jean Sibelius Jean Sibelius admired violin virtuosi and himself studied at the Vienna Conservatory as a violinist. He even auditioned for the Vienna Philharmonic, but did not win a position with the group. Sibelius's contribution to the violin world, it turns out, was by enriching the repertoire itself. He composed a sonatina, a sonata, and several short pieces for the violin- but none compare to the Violin Concerto in D minor, Op. 47. Finished in 1903 and revised in 1905, the work is a sublime marriage of Sibelius's rich, dark soundscapes with the virtuosity of the solo violin. This was no small feat- especially at the time Sibelius was composing it. The preceding centuries had seen violin concertos as conversational showpieces between the soloist and orchestra- light, sparkling fare. Beethoven vastly expanded the genre into a larger, more symphonic mode- but though that work was composed and premiered in 1806, it was initially unsuccessful and only began to enter the repertoire some 60 years before Sibelius's

offering. Brahms and Tchaikovsky continued the trend of expansive, symphonic concertos, but Sibelius's distinctive dark orchestral colors were a further removal from what audiences were used to hearing. This being the case, it is even more significant that Sibelius was able to contribute to the genre itself. Where Beethoven and others expanded the genre, Sibelius deepened it- though not without experiencing a bit of Beethoven's woe: early performances were not very well received, several well-known violinists hated the work, and critics predicted that it would soon be forgotten. Thankfully, again following Beethoven's example, Sibelius's concerto is now considered one of the greatest of all time. Allegro moderato This concerto has an immediacy of intent- rather than begin with any frills or fanfare, Sibelius simply sets the mood, and has the solo violin present the main theme. The atmosphere is dark and mysteriously beautiful right from the start. Doing away with the obvious solo-vsensemble dialogue of the past, Sibelius makes the soloist and orchestra more seamlessly integrated throughout. To keep the voices distinct, he makes use of the lower range of the accompanying instruments while the violin generally floats above. Traditionally in first movements of concertos, the cadenza is placed near the end to give the soloist the fullest freedom to impress the audience with their technique before the orchestra plays a rousing conclusion. Sibelius instead shifts the cadenza to the middle of the first movement, retaining the soloist's opportunity to shine while giving the cadenza a more important functional role in the development section of the movement. After this the themes recapitulate and build to a strong conclusion. Adagio di molto The color and scope of the first movement being broad and rich in D minor, the second is still and serene in B-flat Major, providing a fresh, welcome contrast. Bridging the gap is an introduction with pairs of woodwinds setting the mood, before the violin enters with the theme. The stillness and serenity are not austere and floating, but grounded and deep- a frozen lake rather than clouds or mountain peaks. The central section of this movement is more dramatic and intense, but this energy spins out and subsides into the calm beauty of the opening again. Allegro, ma non tanto The movement is dance-like, weighty, yet vigorous. One might ask, what other kind of dance could Sibelius write, if he is so known for his dark solemnity? It is a frequent aid to both listeners and performers, to remember that Sibelius not only came from Finland, but his music is deeply and perfectly infused with landscapes of deep snows and blanketed pines. Upon hearing this it is difficult to imagine anything else- and though Sibelius himself described the movement as a “Danse macabre,” Sir Donald Francis Tovey called it “a polonaise for polar bears.” The music is lighter and more playful than Tovey suggests, with a feeling of an elaborate folk-dance one moment, playful and jaunty hemiola the next. After experiencing the entire concerto there can be no question of the composer's love for the violin, and it is a shame that the piece did not receive the immediate success it deserved- and has since earned. ABOUT JEAN SIBELIUS Few composers could hope to be called the quintessential composer of their nation and remain unchallenged, but Jean Sibelius (1865-1957) is undoubtedly the Finnish composer, and will likely always remain so. None other has risen to such heights of fame, nor gone beyond simply composing music to alter a genre of classical music in a historical sense. Sibelius was not just a famous composer who happened to be Finnish; he was deeply interested in Finnish

national heritage and culture. He was particularly fond of the great collection of epic poetry, the Kalevala, which has inspired artists the world over- including J. R. R. Tolkien. Sibelius also contributed indirectly to Finland's history- at the beginning of his life Finland was part of the Russian empire, and Sibelius's music (particularly Finlandia) helped to inspire patriotism and solidify national identity leading up to Finland's independence in 1917. In his youth Sibelius began his studies in Helsinki, then continued in Berlin and Vienna before returning to live and work in Helsinki again. His interest in the Kalevala inspired his first major compositions, Kullervo for chorus and orchestra, followed by the Lemminkäinen Suite for orchestra. Securing a modest national pension enabled him to focus on composing, and he then wrote his first two symphonies and the Concerto for Violin in D minor. These works remain significant contributions, but despite success his personal life became troubled by too much drinking after the death of his daughter Kirsti to typhus in 1900. Moving out of the city in 1904 helped to change Sibelius's destructive habits, and his work continued with greater focus. Two more symphonies followed, as well as additional works derived from the Kalevala: Pohjola's Daughter, and Luonnotar. However, his music began to take on a more depressing tone after a bout with cancer in 1908. In 1914 he visited the United States with success, and a commission followed from the New York Symphony Society. Despite his fame, with the first World War his income shrank to almost nothing and he was forced to remain at home. He worked for years on his Fifth Symphony, during which time Finland declared its independence from Russia. He finished seven symphonies by 1924 and continued to write successful and influential music until 1926. Despite all of these events appearing to work for the best for him, Sibelius was troubledespecially by the pressure of knowing there were high expectations for his eighth symphony. Though he wrote a few small pieces from 1929 into the 1930s, and a draft of an eighth symphony- he ultimately burned that draft along with other manuscripts in 1945, and completely gave up composing from that point on. Though he maintained friendships and his marriage, Sibelius's great contributions to music ceased after 1926 and he ultimately withdrew from the public eye until his death in 1957. Even so, Sibelius's later life of retirement was not a sad one. Close friends and his wife recalled him living simply, in peace and happiness- especially after the burning of his manuscripts in 1945 which seems to have set him free from his personal demons. Friends, musicians, and even dignitaries visited him from time to time, but his need was for nature and a quiet life in solitude. Nonetheless his influence as a composer looms large, both inspiring and intimidating generations of Finnish composers after him. Pines of Rome Ottorino Respighi Ottorino Respighi composed his tone poem The Pines of Rome over a period of several years, completing the work in 1924. It was premiered at the Teatro Augusteo in Rome later that same year by the Orchestra dell'Augusteo, under the baton of Bernardino Molinari. It is the second of Respighi's Roman trilogy of tone poems, following 1916's Fountains of Rome and preceding his Roman Festivals of 1928. The Pines of Rome is cyclical in several intriguing ways. Each movement is set at a particular time of day: midday, dusk, midnight, and dawn. Each movement is set at a particular location around Rome, roughly drawing a counterclockwise circle around the city: The Villa Borghese, catacombs, the Janiculum, and the Appian Way. Each location references a different period

of Roman history: the present day of Respighi's time, Christian tombs, the era of the preChristian pantheon, and the Roman Republic. The movements also reference the cycle of human life, though not in order: childhood, death, gods and the afterlife, and adulthood. The piece's four movements hint at symphonic traditions, but in an unconventional order of Scherzo, a Largo funeral procession, a rhapsodic Nocturne, and a March-finale: The Pines of the Villa Borghese, Midday The first movement overflows with swirling exuberance and vitality. Children run under the trees chasing each other, dancing in circles, and chanting nursery-rhymes. They play games, imitate soldiers and birds, singing and shrieking in joy. The music's frantic effervescence imitates and is built on singsong nursery rhymes. Many of the tunes included were jotted down in 1920, when Respighi asked his wife Elsa to sing for him the songs she used to sing as a little girl playing in the gardens. She wrote of her surprise when four years later she heard them played by the orchestra in this movement. The Pines by a Catacomb at Dusk The first movement abruptly ends, followed by an atmosphere of depth and silence. Bass instruments and organ give the impression of being underground. There are sounds of solemn chanting, with offstage echoes of hymns and Mass-settings, like the memory of faith held by those who have died. There is solemnity and beauty without fear- this is not a haunted place, but a place of memory. The music swells with a triumphant restatement of the Sanctus, as the hopes of the bereaved reach heavenward. The Pines at the Janiculum, Midnight Moonlight gleams on the pines atop the hill of the Janiculum- dedicated to the god Janus. The piano gives us the moonlight, and the clarinet plays a melody inspired by nightingales, with the written instruction "come in sogno" (as if in a dream). Indeed the whole movement feels dreamlike, with swirls of emotion rising and falling back into peace. The movement ends with the clarinet again, accompanied by an audio recording of an actual nightingale, as Respighi felt that no instrument or voice could truly capture the effect of the bird itself. This movement is widely considered the very first use of recorded media in the concert hall, opening the door for wider experimentation in multimedia performance art in the decades that followed. It is interesting to note that this technological innovation takes place during the movement referencing the most ancient of the four time periods represented- just as Janus looks both to the past and future with his two faces. The Pines along the Appian Way at Dawn The movement begins with distant drums, nearly inaudible. Bass clarinet, horns, and the English horn give us the gloom and mists of dawn through sinuous lines that build the anticipation of something approaching. The marchers draw nearer, and the music shifts from unknown expectancy to increasingly triumphant sonorities, brass fanfares, rumbling organ, and thundering drums like thousands of marching feet, as a Roman Legion returns home triumphant. The movement also calls for 6 buccini, large ancient Roman horns- today most often played on flugelhorns or saxhorns. Respighi said the experience of hearing this movement was the first time a work had fully turned out the way he had imagined it, and Elsa recalled the ending of the first performance was completely drowned out by the audience's ovation. ABOUT OTTORINO RESPIGHI Ottorino Respighi (1879-1936) was an Italian composer best known for his orchestral tone poems, although he also wrote ballets, operas, choral music, and chamber music.

An accomplished musicologist, Respighi was often inspired by early music and wrote transcriptions of Renaissance lute and viol music for modern orchestra, including his three beloved suites of Ancient Airs and Dances. Born in Bologna to a musical family, his interest in music was encouraged from a young age. Respighi attended the Liceo Musicale di Bologna, where he studied violin, viola, composition, and music history. In his early professional life, he was primarily a violinist, but earned a position as principal violist with the Russian Imperial Theatre in St. Petersburg for its 1900 opera season, where he met Nicolai Rimsky-Korsakov and studied composition with him. In 1913 Respighi moved to Rome to teach composition at the Liceo Musicale di Santa Cecilia. One of his first students was Elsa Olivieri-Sangiacomo, with whom Respighi would later fall in love. They married in 1919, and the two shared so many interests and lived so harmoniously that several friends and colleagues (including Giacomo Puccini) praised their relationship as a truly profound human and spiritual connection. Elsa and Ottorino moved into an apartment in Palazzo Borghese, which they named “I Pini” (The Pines). Two of Respighi's best-known works premiered in 1917: the first suite of Ancient Airs and Dances, and the first of his eventual trilogy of Roman tone poems, Fountains of Rome. The latter was not as well-received as Respighi had hoped, which inspired him to begin working on a second tone poem. However, in the following year Fountains became wildly successful during a concert-series with Arturo Toscanini in Milan, which opened doors for many future projects internationally. Over the next several years Respighi wrote ballets for the Ballets Russes, completed a new opera, and went on tour as a performer alongside Elsa. His second Roman tone poem, Pines of Rome, premiered in 1924. This time, it was a success from the start- and has become one of his most famous, if not the single most famous work of his life. Mussolini's rise to power was difficult for Respighi, who wanted to distance himself and remain neutral, but his works were exploited by the fascist regime for its own gain. However, fame and the favor of the fascist party granted Respighi the influence to advocate on behalf of artists who were not in favor with Mussolini, as well as to continue traveling internationally. Respighi's third Roman tone poem, Roman Festivals, was completed in 1928 and premiered in 1929 (again with Toscanini) in New York. The most harmonically unconventional of the three, it is also the most difficult to perform, and is somewhat less beloved than the other two. In spite of this, Respighi felt that he had reached a pinnacle with the work, saying that he had achieved “maximum of orchestral sonority and colour,” and would never again attempt such a large work. He continued to find success internationally, with prestigious performances across three continents, and there was even a Respighi Festival held in Belgium in 1931. He continued composing, conducting, and performing until his health began to decline in 1935. Respighi passed away in 1936 at age 56. Elsa Respighi outlived Ottorino by a remarkable 60 years, passing away just before her 102nd birthday. She not only championed her husband's works, she also finished his final opera, wrote his biography, set up funds for music education in his name, wrote operas and other compositions of her own, and recorded memoirs of the famous and talented people she and her husband met in their travels.

- Program notes by Chris Chance. Chris 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 and worked as a recording studio musician for the Hal Leonard Corporation. Chris holds a Bachelor of Music degree, a Performer Diploma, and the Performer's Certificate from the Indiana University Jacobs School of Music.

ABOUT THE ARTIST RINAT ERLICHMAN, VIOLIN Rinat Erlichman began her violin studies in Israel at the age of 6 with Ms. Irina Miskov. Erlichman continued her studies with Mr. Michael Gaisler at the Hassadna Conservatory in Jerusalem, and later on at the Jerusalem Academy of Music and Dance. She received her Bachelor of Music degree from The Juilliard School as a student of Itzhak Perlman and Li Lin, and her Master of Music degree from Rice University as a student of Paul Kantor. She recently completed her Artist Diploma at the University of Colorado Boulder studying with Harumi Rhodes and Edward Dusinberre. Erlichman is a graduate of the Perlman Music Program, Music Academy of the West, Aspen Music Festival, Heifetz International Music Institute, Orchestra of the Americas, and David Goldman program in the Jerusalem Music Center. Since 2005, she has received support from the America-Israel Cultural Foundation, and from the Ronen Foundation since 2021. Erlichman played in The Juilliard School Honors Quartet Program and served as a principal player for the Young Israeli Philharmonic Orchestra. She has played for musicians including Ivry Gitlis, Gil Shaham, Miriam Fried, Gyorgy Pauk, Shmuel Ashkenasi, Yehonatan Berick, Michaela Martin, and Catherine Cho. Erlichman performed recitals in Paris, London, and performed at the Israeli President House. She played at the Neue Galerie in New York as part of the Perlman Music Program, and with the Haifa Symphony Orchestra as a soloist. She was the recipient of the 2023-2025 Dorothy Richard Starling Foundation Violin Scholarship and is the winner of the 2024 Bruce Ekstrand Memorial Graduate Competition and the CU Boulder School of Music Concerto Competition. She currently serves as section violinist with the Boulder Philharmonic orchestra. When in Israel, Erlichman volunteers to play at the Mental Health Center in Be’er Sheva City. She also played for the NYC based CiM, “Concerts in Motion”, which gives the opportunity to play for audiences that cannot attend the standard concert halls. Erlichman plays a violin made by Goffredo Cappa, on loan courtesy of Yehuda Zisapel Foundation.

BANKING ON YOUR FUTURE

MEMBER FDIC

Empowering tomorrow through community today.

CNBTX.BANK • 432.262.1600

WEST TEXAS RADIO GROUP

Proud supporters of the

WEST TEXAS SYMPHONY

Gary Lewis, Music Director & Conductor Presents

HAUNTING HALLOWEEN HARMONIES

Saturday, October 24, 2026 7:30 p.m. Wagner Noël Performing Arts Center Enjoy a night of spook-tacular orchestral music with a fun Halloween theme! THIS CONCERT IS PROUDLY SPONSORED BY Garrett & Jacy Watkins

OPEN THE DOOR to a lifestyle you’ll love.

Experience freedom from home maintenance and embrace peace of mind. Our independent living neighborhoods offer spacious lots for single-family homes, full access to campus amenities, and a full continuum of care. Live the life you love at Manor Park.

Schedule a tour today. 432.224.0632 | manorparkinc.org 2208 N Loop 250 W | Midland, TX

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

Gary Lewis, Music Director & Conductor Presents

SOUNDS OF THE SEASON

Saturday, December 5, 2026 2:00pm & 7:30 p.m. Wagner Noël Performing Arts Center West Texas’ favorite holiday tradition featuring your symphony orchestra, instrumental ensembles, and choral groups! EVENING PERFORMANCE PROUDLY SPONSORED BY 2W Whatley Ranch Republic Services Gretchen Bell Amy & Cal Hendrick Sigrid & Richard Coats Claire & Jim Woodcock Meruelo Acquisitions Group Saulsbury

WTXS.ORG

DONATE TO THE FUND DRIVE 53

MCH Urgent Care JBS Parkway 3001 JBS Parkway (432) 640-6700 Monday - Friday: 9:00am - 8:30pm Saturday & Sunday: 10:00am - 5:30pm

MCH Urgent Care West University 6030 West University (432) 640-6644 Monday - Friday: 9:00am - 8:30pm Saturday & Sunday: 10:00am - 5:30pm

TX-40050852

Scan to download our MyMCH app to have a video visit with a provider any time, anywhere, 24/7/365.

(432) 640-6000 | MCHODESSA.COM

MCH ProCare Walk-in Clinic 8050 E Highway 191 Suite 104 (432) 362-2685 Monday - Saturday: 8:00am - 7:00pm (Closed 1pm - 2 pm)

Sunday: CLOSED

2026 – 2027 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 64th season! Listed below are the gifts and pledges for the 2026-2027 season as of August 1, 2026. PLATINUM BATON SOCIETY ($10,000+) J.C. Ferguson Foundation Midland Symphony Guild Odessa Symphony Guild

SFORZANDO ($750+) Betty Ann Prentice

GOLDEN BATON SOCIETY ($5,000+) Arts Council of Midland Drs Roberta & Richard Case Dr. James & Sandra Huston Diann & John McKee Dana & Michael Ashton and Mr. Marc Capellini Georgia & Carroll Thomas Family Foundation Claire & Jim Woodcock Max & Rosemary Wright

FORTE ($500+) Beckstrom Vocal Studio / Alice Beckstrom Ernie Angelo Gregg Blain Shirley Davenport Dr. Paul Feit Dr. Terri & Bruce Gilmour Carla & Joe Haston Jeanie & Tom Johnson Juandelle Lacy Roberts Susanna Self Alison & Jamie Small Jacy & Garret Watkins

SILVER BATON SOCIETY ($2,500+) Chaparral Foundation Laurie & Miles Boldrick Mary Lou Cassidy Martha & Paul Crump Mary Kennedy Katie Lewis Suzanne Rathbun Modesta Williams

MEZZO FORTE ($250+) Rebecca Bell Eddie & Gwen Drennan Lynn Mashburn Natalie Pawlowski Dr. Tulsi & Mrs. Claudette Singh Violet & Mark Singh Anne & Jont Tyson Nancy & Danny Watkins

FORTISSIMO ($1,000+) Gayle & Michael Banschbach Nancy Beal Peggy Cowan Mary Anne & Bill Dingus Maridell Fryar Lisa Graham Patti & Rod MacDonald A. Lee Miller Leslie George Millichamp Doris Redfern Gwyn & Don L. Sparks

CRESCENDO ($125+) Anonymous Chris Ahlstrom Sophie Edwards Angie & David Lewis Deeann & Richard Werner

PIANO (BELOW $125) Anonymous Kathy & Jay Anderson Juliette Andreopulos Ann & Ken Hankins, Jr.

CONSIDER A MEANINGFUL AND LASTING GIFT! 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:

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

Endowment

Honoring Your Legacy and the Music of West Texas Symphony! 57

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 Michael Hunt Talbot

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 John & Nancy Minor MEMORIALS:

Nelson Allison

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

Mary Dawson

Mr. & Mrs. Trey Grafa

Marion E. Luper, Jr.

John M. Grimland, Jr.

Marion E. Luper, Jr.

Neal H. Johnson

Mrs. Viola Campbell

Vera Osadchuk

HONORARIUMS: Ted Hale

Walter Osadchuk

Michael J. Santorelli

Anne & Jim McLaughlin Victoria Parr Ehrlich

Jared A. Barlage

Roy E. Campbell

Anonymous

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

Mrs. John M. Grimland, Jr Berniece Johnson

Bea & Bob Angevine Mr. & Mrs. Jerry Covington

Josh H. Parr

Mary June Rasmussen Dr. & Mrs. Terry Unruh

Sandy Sledge

Helen & Sam Sledge

Fred A. Stout, Jr. Kathlene N. Stout

Martha Tompkins

Dianne & Mark Tompkins

ENDOWMENT FUND CONTRIBUTORS (continued)

Bob Winkler & Clayton Taylor Winkler Carolyn Winkler

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

Mary Dawson & Joseph Meyer

Contributors (Up to $999) HONORARIUMS: Bea Angevine

Edith C. Hardy

Katherine Bash & Duncan Kennedy

Sharon Hickox

Jane & Don Samples

Harriet A. & Gene Motter

Jack “Dug” Belcher

Dortha & Ronald Bennett

Dortha & Ronald Bennett & Barbara Shinn Ms. Judy DeWees

Brad Bullock

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 The Midland Musicians Club

Lee Harley Flo White

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

MOSC Board of Directors Eddie Montoya

Peggy C. Jones

Brad & Crista Bullock

Abigail Kauffman

Pamela Howell

Carolina Keith

MOSC Board of Directors

Jeannette Kolokoff

Marin & Ashlin Bullock Chris Chance

Carol Chandler Jo Ann Collett

The Midland Musicians Club

Kimberly Corman

The Midland Musicians Club Mary Macferran

MOSC Board of Directors

MOSC Board of Directors Crystal Romero Ann Parish Betty Ann Prentice

Janet Williams Pollard

LaDoyce Lambert

Larry & Gwen Roberts

David Lauritzen

Betty M. Scott

Martha Lewis

Ann Countryman

Mrs. D. Pat Darden Mary Dawson

The Contemporary Study Club

MOSC Board of Directors MOSC Board of Directors

The Midland Musicians Club

Karen McAfee

ENDOWMENT FUND CONTRIBUTORS (continued) Bill & Mary Garay

Gary Cox

Carole Symonette

Herb and Pat Stanley

Clarence E. Cardwell, Jr.

Violet and Mark Singh

Cindy Walton

Mrs. Ethel Chapman

John and Melissa Madura Reba McHaney

Violet and Mark Singh

Eric Leibrock

Truman & Doreen McCreless

Edward McPherson

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

Charles & Brenda Nail

The Midland Musicians Club

Marcella Christensen

Risa Brown

Doris Cooper

Mr. & Mrs. Stephen H. Parker Tim Young & Sharon Hickox Jeannette & Mark Kolokoff Bill Harden

Vera Osadchuk

The Midland Musicians Club

Beverly Wise

Gene & JoAnn Wyatt

Dr. Henry Page

MEMORIALS

Mr. & Mrs. Walter Pope

Michael & Dana Ashton Bob & Kay Bivens Karl & Cathy Herzog Joan McCown Sue & Buddy McDonald Violet & Mark Singh Dr. & Mrs. Steve Wiehle

The Midland Musicians Club

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

Nelson Allison

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

Amy Azarov

Anthony Canino

Carol Ann Wilkinson Bascom Jane Wolf

Eldon Basney

Viola Campbell

The Midland Musicians Club

J. Dan Carpenter

Alan and Susan Leshnower 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

Mary Dawson

The Contemporary Study Club Sophie Edwards Edward Goldstein Suzanna & Matt Cooper Beverly Drummond Jane Wolf

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

Jean Grisham Dean

Betty Ann Prentice Violet Singh

Gretchen Estes

Frank Bell

Emma Burnett

Violet and Mark Singh Jane Wolf

Jeff & Lou Nelle George

Opal Dobbs

Ludie & Eben Warner

The Midland Musicians Club

Marie Finical Chris Newman

Jack E. Brown Jeannette and Mark Kolokoff

John Foster

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

Lyn Fishman Maridell Fryar Ann Parish Betty Ann Prentice

Fay Griffin

Mr. & Mrs. Charles E. Jones

Betty Louise Gulledge

Warren Burnett

Anne Caldwell

Robert Campbell

Kay & Robert Bivens

Kathleen Freeman

Betty & Stuart Awbrey

Lou Nelle & Jeff George Martha Savage

ENDOWMENT FUND CONTRIBUTORS (continued) 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 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

ENDOWMENT FUND CONTRIBUTORS (continued)

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 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

IT’S HOW YOU CHOOSE, TO GET YOUR NEWS Midland Reporter-Telegram Print Online via MRT.com Mobile - Smartphone & E-Edition / Web Browser

15 Smith Road, STE 1004, Midland, Texas 432.682.5311 | www.mrt.com 68

OAOA Your Way! With our ALL ACCESS DIGITAL SUBSCRIPTION PACKAGE,

you can

CHOOSE HOW YOU NEWS.

SCAN NOW or Go to the Google App Store Everything you love about the Odessa American ALWAYS at your fingertips.

ANYTIME, ANYWHERE!

Thank you for subscribing to the Odessa American. If you have any questions, please call Customer Service at (432) 337-7314 or out of town (888) 693-7191 and we will be happy to help. 69

ELECTRICIANS SERVING MIDLAND & ODESSA SINCE 1988 Electrical Service/Panel Upgrades Electrical Troubleshooting & Repairs Generator Installations Swimming Pool Lights Grounding & Bonding LED Fixture Installations Code Corrections & Updates Electric Vehicle Charger Installations

Dedicated Circuits Low-Voltage Wiring Landscape Lighting Pole Light Installations Security Lighting Surge Protection Hot Tub Wiring Sub-Panel Installations

WE OFFER 24/7 EMERGENCY SERVICE FOR OUR CUSTOMERS' PEACE OF MIND.

REQUEST SERVICE (432) 570-0229

www.coreysly.com

info@coreysly.com

SPARKS KEVINKEVIN SPARKS

KEVIN SPARKS TEXAS STATE SENATOR TEXAS STATE SENATOR DISTRICT 31 TEXAS STATE SENATOR KEVIN SPARKS DISTRICT 31

KEVINSPARKS SPARKS KEVIN

DISTRICT 31 TEXAS STATEKEVIN.SPARKS@SENATE.TEXAS.GOV SENATOR KEVIN.SPARKS@SENATE.TEXAS.GOV KEVIN.SPARKS@SENATE.TEXAS.GOV DISTRICTTEXAS 31 STATE SENATOR

KEVIN TEXAS SPARKS STATE SENATOR

Best wishes the West Texas Symphony! TEXAS STATE to SENATOR

DISTRICT 31 BestKEVIN.SPARKS@SENATE.TEXAS.GOV wishes to the West Texas POLITICALDISTRICT AD PAID FOR Symphony! BY KEVIN31 SPARKS CAMPAIGN

st wishes to theDISTRICT West31 Texas Symphony! POLITICAL AD PAID FOR BY KEVIN SPARKS CAMPAIGN

KEVIN.SPARKS@SENATE.TEXAS.GOV PAIDKEVIN.SPARKS@SENATE.TEXAS.GOV FOR BYTexas KEVIN SPARKS CAMPAIGN st wishes POLITICAL to KEVIN.SPARKS@SENATE.TEXAS.GOV theADWest Symphony! POLITICAL AD PAID FOR BY KEVIN SPARKS CAMPAIGN

Best wishes the West TexasWest Symphony! Besttowishes to the Texas Symphony!

Best wishes to the West Texas Symphony! POLITICAL AD PAID FOR BY KEVIN SPARKS CAMPAIGN

POLITICAL AD PAID FOR BY KEVIN SPARKS CAMPAIGN

Show

an interest in learning trinitymidland .org

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

We are tuning up in band, vocalizing in choir, gracing the stage in drama, snapping pictures in photography, throwing pots in art, and - most importantly - coming to know an aesthetic point of view. Our students are well prepared to be appreciative audiences for and stalwart supporters of organizations like the West Texas Symphony.

Susie’s South Forty Confections Voted Best Candy/Chocolate. “The sweetest little shop in town!” ®

Factory Gift Shop 401 S. Marienfeld St., Midland, TX 79701 432-570-4040 www.SusiesSouthForty.com

Corporate Gifts

Free Samples

Custom Gift Baskets

Odessa Sign Shop is proud to support the West Texas Symphony!

Our Legacy is You! Your local real estate experts in Midland, Odessa, Big Spring, and surrounding areas.

•DECALS•MAGNETS•VINYL•BANNERS•POLE SIGNS•LED SIGN•MAINTENANCE •DECALS•MAGNETS•VINYL•BANNERS•POLE SIGNS•LED SIGN•MAINTENANCE

432-363-9336

•DECALS•MAGNETS•VINYL•BANNERS•POLE SIGNS•LED SIGN•MAINTENANCE •DECALS•MAGNETS•VINYL•BANNERS•POLE SIGNS•LED SIGN•MAINTENANCE

LegacyRealEstate.com

432-687-6500

•DECALS•MAGNETS•VINYL•BANNERS•POLE SIGNS•LED SIGN•MAINTENANCE •DECALS•MAGNETS•VINYL•BANNERS•POLE SIGNS•LED SIGN•MAINTENANCE

sales@signsolution.net www.odessasignsolution.net

- General Orthopedics - Hand Surgery - Sports Medicine - Fractures & Injuries - Joint Replacement

Basin Orthopedic is a proud supporter of the West Texas Symphony www.basinorthopedics.com #1 Parks Legado Court Odessa, TX 79765 432-332-2663 74

Guiding Families, Enriching Communities. Proudly Supporting the WEST TEXAS SYMPHONY

For More Information,Visit One of Our Eight Funeral Home Locations Alpine Memorial Funeral Home 209 West Sul Ross Ave. | Alpine, TX 79830 432-837-2222 | alpinememorialfuneralhome.com

Martinez Funeral Home & Crematory - West Odessa 10137 West University Blvd. | Odessa, TX 79764 432-360-2100 | martinezfuneral.com

Harkey Funeral Home 210 South Allen Ave. | Monahans, TX 79756 432-943-4407 | harkeyfunerals.com

Peaceful Garden Funeral Home 116 West 4th St. | Pecos, TX 79772 432-445-3457 | peacefulgardenfuneralhome.com

Heritage Funeral Home - Big Bend Pecos Funeral Home 301 North Main St. | Fort Stockton, TX 79735 607 West 3rd St. | Pecos, TX 79772 432-336-3939 | heritagefuneralhomeofthebigbend.com 432-445-3302 | pecosfuneralhome.com Martinez Funeral Home & Crematory - Odessa 1040 South Dixie Blvd. | Odessa, TX 79761 432-332-8077 | martinezfuneral.com

Sunset Memorial Gardens & Funeral Home 6801 East Business 20 | Odessa, TX 79762 432-362-2331 | sunsetodessa.com

Generous scholarships for students who participate in the UTPB Music Program!

100%

of students get hired immediately or go on to pursue graduate degrees. Music graduates from 2023-2025

APPLY TODAY www.utpb.edu/music music@utpb.edu 76

TX-40050549

ADVERTISER INDEX 2W Whatley Ranch.....................................53

Meruelo Acquisitions Group.......................46

Aghorn Energy, Inc......................................19

Midland College Foundation, Inc................80

Al’s Water...................................................64

Midland Community Theatre......................65

Basin PBS...................................................32

Midland Festival Ballet...............................63

Basin Orthopedic........................................74

Midland Reporter-Telegram........................68

Bell, Gretchen.............................................49

Moriah Group.............................................35

Big 2 News/ KMID......................................66

Musicologie Odessa....................................49

BigSmiles Ranch.........................................55

Odessa American........................................69

BKV Energy.................................................. 2

Odessa College -Music Department............79

Community National Bank..........................45 Corey Sly Electrical Services........................71 Cotton Bledsoe Tighe & Dawson P.C.......... 29 Crump, Martha & Paul................................48 Curry, Audrey & Michel..............................49 Davis, Sue...................................................54 Diamondback Energy..................................34 Donnelly, Jeannine & Robin........................50 Dunn, Terri & Tim.......................................52 Edwards, Julie.............................................52 Eye LASIK Midland......................................50 Fryar, Maridell............................................18 Haston, Joe & Carla....................................54 Helmerich & Payne, Inc. .............................48 Hendrick, Cal & Amy...................................53 Hurt, Vickie................................................49 K-Bar Waterwell & Electric / Gregg Blain....35

Odessan Magazine, The..............................70 Odessa Marriott.......................................... 8 Odessa Sign Solution..................................73 Parish, Ann.................................................25 PBX............................................................31 Permian Basin Area Foundation..................45 Permian Printing........................................54 Plains All American Pipeline, LP..................54 Prentice, Betty Ann.....................................25 rOming Yoga...............................................52 SAULSBURY................................................. 9 Sewell Midland............................................ 7 Sunset Memorial........................................75 Susie’s South Forty Confections..................73 Tarpley Music.............................................67 Tierra Company..........................................55

Kevin Sparks...............................................72

Trinity School.............................................72

La Quinta Odessa North..............................32

UTPB – Music Department.........................76

Legacy Real Estate......................................73

Village at Manor Park, The.........................50

Mark Knox Flowers.....................................32

Volker, Ann.................................................54

Marsh McLennan Agency...........................77

West Texas Jazz Society..............................73

McKee, Diann & John.................................55

West Texas Radio Group.............................46

Medical Center Health Systems..................54

Woodcock, Claire & Jim...............................6

LEARN MORE: WWW.ODESSA.EDU

ASSOCIATES | BACHELORS | CONTINUING EDUCATION | DUAL CREDIT | WORKFORCE TRAINING

Enriching Lives One Note at a Time Midland College Foundation proudly supports the West Texas Symphony. M I DL A N D C OL L E GE

FOUNDATION Since 1997, the Davidson Distinguished Lecture Series and Phyllis & Bob Cowan Performing Arts Series and the Friends of the Series have provided cultural enrichment and entertainment FREE to the community.

midland.edu/foundation