20252026SEASON
Gary Lewis, Music Director & Conductor
2025-2026 SPONSORS
SEASON SPONSOR
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PROGRAM BOOK SPONSOR
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FROM THE BOARD PRESIDENT
Get ready! You are about to experience compelling symphonic music that will stir your imagination and emotions. On behalf of the Board of Directors, welcome to the magnificent 2025-2026 season of your West Texas Symphony!
This season has something for everyone—from Chopin in September to Led Zeppelin in May. In between, you don’t want to miss a single spectacular performance. Please refer to the program book and the West Texas Symphony website (wtxs.org) for more information. You may also want to follow us on social media for the latest news and special program highlights.
Our symphony is the premier performing arts organization in West Texas. From the strings and woodwinds to the brass and percussionists, the professional musicians of the West Texas Symphony endeavor to provide truly amazing entertainment. We are fortunate to have Maestro Gary Lewis as our conductor. He has an impressive background and communicates to the audience his passion for music. Gary’s conducting, as well as his interaction with the audience, adds to the overall concert experience. Beyond the mainstage performances at the world-class Wagner Noёl Performing Arts Center, the West Texas Symphony also provides ensemble chamber concert series—West Texas Winds, Permian Basin String Quartet, Lone Star Brass and Chamber Chorale.
We strongly believe in nurturing future generations of musicians and music enthusiasts, which is why education is a continuing priority of the West Texas Symphony. Through programs like Marvelous Melodies, Voices of the Permian Basin and our side-by-side rehearsals and performances, we are committed to offering impactful musical encounters for students throughout West Texas.
As we celebrate this 63rd season, the Board of Directors thanks our sponsors, donors and patrons. Sixty-three years is a long time to survive in this fragile world of symphonic music. Because of your support, the West Texas Symphony is strong and looking forward to another incredible year. Music is a pathway to deepening our curiosity and connecting us to our world and to each other. We are glad you are with us on that journey.
Rebecca Bell 2025-2026 Board President
FROM THE EXECUTIVE DIRECTOR
Welcome, and thank you for attending tonight’s performance!
Tonight we hope you indulge in every sonic nuance produced by your West Texas Symphony Orchestra lead by Maestro Gary Lewis. There is so much to listen toward, and you have the unique opportunity to curate your experience.
If you are new to the symphony orchestra, or haven’t indulged for some time, I encourage you to focus your ears towards the strings, brass, woodwinds, or percussion families. Watch Maestro Lewis engage these ‘orchestra families’, or even individual musicians, toward focused musical output. Try to precisely pick out and listen to specific musicians, but don’t get discouraged; our musicians are often trying to not stand out of the musical texture…until that moment when they are trying! As you engage with these scores of highly-trained, highly talented musicians who will work in concert to achieve a collective musical goal, you might get echoes on the beauty of human experience.
The mission of the West Texas Symphony is to enhance the quality of life in West Texas through music performance and music education. Like tonight’s concert, our mission affect is nuanced, immense, and can often be powerful and challenging to comprehensively unpack through words in a program book! Simply, if you enjoyed tonight’s concert, I strongly encourage you to explore more ways to engage with your West Texas Symphony. Follow us on social media, visit wtxs.org, visit us in the lobby, or follow your favorite musicians on social media. Also, know that a majority of our financial support comes from generous gifts and donations. If you have generously donated to ensure the financial health of the West Texas Symphony, thank you! To learn more about ways to financially support your West Texas Symphony Orchestra, please visit Development Director, Violet Singh, in the lobby, visit wtxs.org, or call 432-563-0921.
Ethan Wills Executive Director
FROM THE MUSIC DIRECTOR
Dear Patrons:
Greetings, and welcome to the 2025-2026 Season of the West Texas Symphony Orchestra! As usual, I am incredibly excited to share the many terrific programs we have planned for you. We’ll kick things off in September featuring Van Cliburn Competition Medalist, Fei-Fei, playing Chopin’s gorgeous Piano Concerto No. 2 and, on the second half, the perennial favorite, Edward Elgar’s powerful Enigma Variations. In October, we’ll share the stage with Steven Page, singer/songwriter and founding member of Barenaked Ladies, presenting songs from both his Barenaked Ladies era and more recent solo career. In November, our annual WTS Spotlight will shine on co-principal trumpet, Eric Baker, as he performs an exciting work by American composer, Steve Heitzig, on an All-American program also featuring works of composers Reena Esmail and Amy Beach. Amy Beach’s Symphony No. 1, “Gaelic” was the first symphony published by an American woman and is filled with folk tunes, beautifully orchestrated. December brings West Texas’ favorite holiday tradition, the "Sounds of the Season", featuring your West Texas Symphony, the Chorale, the Voices of the Permian Basin, the WTS Chamber Ensembles, and more! There is still no better way to ring in the holiday season than with the West Texas Symphony, this year with TWO shows!
January brings “Double Trouble” as we collaborate with violinist, John Gilbert and cellist, George Work on Brahms’ monumental last work for orchestra, his Double Concerto. Also on the program, Mendelssohn’s final and Fifth Symphony, nicknamed the “Reformation.” Join us in April for the thrilling sounds of Saint-Saëns’ Symphony No. 3, known as the “Organ Symphony.” The acoustics of the Wagner Noël Performing Arts Center are perfect for this amazing sonic experience, including Jennifer Higdon’s colorful blue cathedral. And our season comes to a close in May with the music of Led Zeppelin! Come enjoy this tribute to one of the most iconic rock bands of all time and their greatest hits.
We are so grateful for your support in our mission to bring great music to the Permian Basin. In addition to the outstanding programs mentioned above, the other components of our organization are also presenting compelling programs throughout the season. Be sure to attend the performances by the Chorale, the Voices of the Permian Basin, the West Texas Winds, Lone Star Brass, and Permian Basin String Quartet. These programs are always inspiring, and you don’t want to miss them!
Please become a subscriber to all these wonderful concerts! Plan to bring a friend, or seven, and let’s fill up the Wagner-Noel this season as we continue to change lives in the Permian Basin through great 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 19th year with the orchestra and his 18th as Music Director. He is also Director of Orchestral Studies and the Bob and Judy Charles Professor of Conducting in the College of Music at the University of Colorado Boulder, where he conducts the University Symphony Orchestra and oversees the entire orchestra program.
Mr. Lewis is equally at home with professional, university, and youth ensembles. In addition to his regular posts with the West Texas Symphony Orchestra and the University of Colorado Boulder, he serves as Principal Guest Conductor for the Boulder Philharmonic Orchestra and was the founding Artistic Director of the Greater Boulder Youth Orchestras. He has also appeared with the Colorado Symphony Orchestra, the Sichuan Philharmonic Orchestra (Chengdu, China), the Colorado Music Festival Orchestra, the Lubbock Symphony Orchestra, the Quad Cities Symphony Orchestra, the New Symphony Orchestra (Sofia, Bulgaria), and the Western Plains Opera Theater. Lewis served as the Resident Conductor of the Pine Mountain Music Festival (opera and symphonic) for seven years and was the founding conductor of the Caprock Pro Musica. His work with summer music festivals has also been noteworthy including the Interlochen Center for the Arts, Pine Mountain Music Festival (opera and symphonic), and Rocky Ridge Music Center.
At CU Boulder, Mr. Lewis also leads the graduate program in orchestral conducting including both the masters and doctoral level. His former students are currently enjoying success as conductors with professional orchestras and opera companies, university and public school ensembles, and youth orchestras.
As a strong advocate of music education, Mr. Lewis has presented many in-service workshops for public school educators, as well as numerous presentations at state and regional music education association conferences. In addition, he has conducted All-State Orchestras and Bands in over 20 states along with the ASTA National Honor Orchestra and the Honor Orchestra of America. In 2010, Mr. Lewis became the founding Artistic Director of the Greater Boulder Youth Orchestras and he continues to serve as conductor of the Symphony Orchestra.
Mr. Lewis is also a strong proponent of new music. He has been instrumental in the development and production of contemporary music festivals, and his interest in new music has led him to collaborations with composers such as Dan Kellogg, Carter Pann, George Crumb, William Bolcom, John Harbison, Chen Yi, Michael Daugherty, Stephen Paulus, and many others.
Gary Lewis is a Yamaha Master Educator.
INSTRUMENTAL ENSEMBLES
For information regarding instrumental teachers, or to hire an ensemble, please contact WTS at 432-563-0921 or marketing@wtxs.org
Permian Basin String Quartet
The Permian Basin String Quartet is the resident string quartet of the West Texas Symphony, whose members are the principal string players of the orchestra. They strive to share classic and current works of the string quartet repertoire in an engaging and approachable way while championing underrepresented composers. The quartet has a loyal audience and has built a reputation as a leading ensemble in the Permian Basin.
Lone Star Brass
Formed in 1981, the Lone Star Brass is the resident brass quintet of the West Texas Symphony. The Lone Star Brass presents concerts that display the consummate technical skill of each performer and the expertise involved in working together as an ensemble. The group has recorded two albums, “Lone Star Christmas,” and “Western Fanfare.” They performed in Carnegie Hall with the Symphony Chorale and have toured the country performing shows for all ages. From New York to New Mexico, this seasoned ensemble offers programs of classical music, jazz, original works, and even opera. They perform to have fun, and it rubs off on their audiences at every concert.
West Texas Winds
As the resident woodwind quintet of WTS, the West Texas Winds are active throughout the year presenting audiences young and old with performances full of energy and refinement. The ensemble has a significant repertoire of classic standard woodwind quintets and groundbreaking new music, having presented both U.S. and world-premiere performances by living composers from around the globe. West Texas Winds are always working to present something new and exciting to their listeners.
CHORAL ENSEMBLES
For more information visit WTXS.ORG
Chamber Chorale
The Chamber Chorale is the principal choral ensemble in West Texas. Instrumental to the founding of the West Texas Symphony organization in 1962, the Chamber Chorale presents masterworks of the choral repertoire, ranging from Handel’s Messiah and the Brahms’ Requiem, to Duke Ellington’s Sacred Concert and music from the Broadway stage.
Membership is open to all singers high school age and older.
If you are interested in auditioning, please email the Chorale Director at chorale@wtxs.org
Voices of the Permian Basin
The Voices of the Permian Basin is the West Texas Symphony’s youth choir. The group features approximately 75 singers ages 2nd - 8th grades, who rehearse weekly and enjoy performing two concerts per season and at other community events.
To schedule an audition for your child, please email the VPB Director at voicespb@wtxs.org
Gary Lewis, Music Director & Conductor
VIOLIN
Tonight’s Concertmaster is Endowed in memory of Dorothy Croft by the Midland Symphony Guild
Turner Partain, Assistant Concertmaster
Gabriella St. James, Principal Second
Nathan Banks
Nikesha Hailey-Hicks
Lowell Hohstadt
Robert Meinecke
Angel Ornales
Jason Snider
VIOLA
Conrad Sclar, Principal Endowed by Mary de Compiegne & Rosalind Redfern Grover
Laura Peña, Associate Principal
Beau Garza
Kathy Hohstadt
CELLO
Nick Pascucci, Principal Endowed in memory of Walter Osadchuk by Dr. and Mrs. Michael Miller
Danny Mar, Associate Principal
Justin Barnwell
Leslee Becker
Aurelia Rocha
David Thomas
BASS
Mark Morton, Principal
Bill DeLavan, Associate Principal
Nodier Garcia
Endowed in memory of Mary June Rasmussen by Mr. Kenneth Anderson and Dr. Anne Acreman, MD
Joseph La Marca
FLUTE
Lyndsay Eiben, Principal
Kate Martin, Associate Principal
Susanna Self, Piccolo
OBOE
Caryn Crutchfield, Principal
Jordan Hastings, Associate Principal
Ann Hankins
CLARINET
Chris Chance, Principal
Tyler Webster, Associate Principal & E-flat
Mande Gragg, Bass Clarinet
BASSOON
Philip Hill, Principal
Bill Harden, Associate Principal
HORN
Scott Millichamp, Co-Principal
Sonja K. Millichamp, Co-Principal
Norma Binam
Derek Wright
TRUMPET
Eric Baker, Co-Principal
Ben Fairfield, Co-Principal
Endowed in honor of Michael J. Santorelli by Karen & Spencer Beal
TROMBONE
Stewart Rhodes, Principal
Darin Cash
BASS TROMBONE
Jon James, Principal
TUBA
Parker Burkey, Principal
TIMPANI
Tim Mabrey, Principal
PERCUSSION
Erin Martysz Thies, Principal
PIANO
Tonight’s Pianist is Endowed in honor of Shari Santorelli by Karen & Spencer Beal
2025-2026 BOARD OF DIRECTORS & STAFF
OFFICERS
Rebecca Bell, President
Jacy Lewis-Watkins, Executive VP
Dee Anna Arellano, Immediate Past President
Carla Haston, VP Finance
Maridell Fryar, VP Fundraising
Ken Hankins, Jr., VP Sponsorships
Sophie Edwards, Secretary
DIRECTORS
Gabriel Almendarez
Eric Baker
Gregg Blain
Pat Canty
Jeannine Donnelly
Leslie English
Beau Garza
Dr. Terry Gilmour
Allison Gray
Dr. Aaron Hawley
David Lauritzen
Nancy Minor
Gracie Ortiz
Dr. Jon Ortiz
Megan Pausé
Stephanie Rivas
HONORARY MEMBERS
Floyd Rountree
Shelby Thomas
Dr. Adrian Vega
Lisset Velasquez
Regan Weaver
Becky Wetendorf
Mrs. Leland Croft (dec’d)
Mrs. James A. Fowler (dec’d)
Ms. Mary Harrington (dec’d)
Mrs. Ellen Noël (dec’d)
STAFF
Mr. Josh H. Parr (dec’d)
Mrs. Lois Rochester (dec’d)
Mr. Fred A. Stout Jr. (dec’d)
Mr. Don Williams (dec’d)
Ethan Wills, Executive Director
Violet Singh, Development Director
Crystal Romero, Marketing Director
Deanna J. Russell, Office Administrator
Cole Thomas Carter, Production Manager
Gary Lewis, Music Director & Conductor
Leslie Gonzales, Personnel Manager
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 (MSG) is thrilled to kick off its 63rd year of supporting the West Texas Symphony. Founded to promote fine arts in West Texas, MSG has grown into a selfsustaining non-profit organization, providing crucial financial and volunteer support to the symphony and its’ events. The West Texas Symphony enriches Midland and Odessa by showcasing world-class performers, local talent, and captivating productions.
MSG is powered by dedicated members who contribute thousands of volunteer hours annually, with Symphony Belles— daughters of MSG members—playing an active role. From 9th to 12th grade, each Belle participates in 15 volunteer events, including West Texas Symphony performances and other community activities at places such as Safe Place, Midland Festival Ballet, Midland Community Theater, and the Wagner Noёl Performing Arts Center. Their commitment fosters a strong passion for service and the arts, leaving a lasting impact on our community.
As president of MSG this year, I’m proud to work alongside an incredible team to promote musical and fine arts performances. For our Belles, this journey will spark lifelong friendships, deepen their commitment to service, and ignite a love for the arts. Thank you to the West Texas Symphony for enriching our lives and sharing their talents with the Permian Basin for another season.
Rebecca A. Wetendorf 2025-2026 President
ODESSA SYMPHONY GUILD
The Odessa Symphony Guild is proud to celebrate 67 years of supporting the West Texas Symphony and promoting the arts throughout the Permian Basin. Founded in 1958 by a group of community-minded women, the Guild was established to offer both financial aid and volunteer assistance to music and arts programs across the region. Over the decades, OSG has contributed thousands of dollars and countless volunteer hours, staying true to the original mission of its founders. Through its efforts, the Guild has played a vital role in enriching the cultural life of Midland, Odessa, and the broader West Texas area by supporting concerts and educational programs.
Our organization is composed of dedicated members who generously give their time and resources to the community. This past year, our 108 members have volunteered over 1,200 hours. The Guild includes our Belles and Beaux—students in 9th through 12th grade—who assist at concerts by ushering, hosting events, serving musicians, cleaning up afterward, and helping with pre-concert meals. In addition, they volunteer at various events and organizations throughout the area, including St. John’s Kooky Karnival, The Attic, local churches, the Christmas Tour of Homes, local schools, the Permian Orchestra, Hope House, the Salvation Army, Jesus House, and the West Texas Food Bank.
OSG is committed to furthering its impact on the community. In addition to continued support for the West Texas Symphony, the Guild now awards scholarships annually to outstanding high school seniors. We also provide grants to local organizations that help keep the arts alive in the Permian Basin. We’re excited to partner with these groups to strengthen their work and promote the arts in Odessa.
Our biggest fundraiser of the year, The Symphony Ball, will take place in February. This event honors our senior Belles and Beaux, who have dedicated themselves to serving throughout high school. It also celebrates the contributions of our younger members. It’s inspiring to witness these young individuals step up as leaders and volunteers in our community. We warmly invite you to join us for this special evening.
I am honored to lead this incredible organization that brings culture and creativity to our community. The Odessa Symphony Guild’s volunteers truly make a difference, and we are excited to continue our work with the West Texas Symphony in the years to come.
Regan Weaver 2025-2026 President
20252026SEASON
Gary Lewis, Music Director & Conductor
KEY COLLABORATIONS
SEPTEMBER 6, 2025
Fei-Fei, Piano Fe-Fei appears by arrangement of the Cliburn Agency.
Piano Concerto No. 2 in F minor, Op. 21 FRÉDÉRIC CHOPIN
Enigma Variations
EDWARD ELGAR
STEVEN PAGE WITH THE WEST TEXAS SYMPHONY
OCTOBER 4, 2025
We welcome Steven Page “formerly of Barenaked Ladies” for a collaboration of beauty and orchestration! Songs include selections from his BNL era as well as his solo career.
WTS SPOTLIGHT
NOVEMBER 8, 2025
Eric Baker, WTS Co-Principal Trumpet
“RE|Member” American Nomad REENA ESMAIL STEVE HEITZEG
Symphony No. 1 in E minor, Op. 32, “Gaelic” AMY BEACH
SOUNDS OF THE SEASON
DECEMBER 6, 2025
West Texas’ favorite holiday tradition featuring your symphony orchestra, instrumental chamber ensembles, and choral groups!
NOW OFFERING
TWO HOLIDAY SHOW TIMES! 2:00PM & 7:30PM
BLUE CATHEDRAL
APRIL 18, 2026
Dr. Peter Martens, Organ “blue cathedral” JENNIFER HIGDON
Symphony No. 3, “Organ” CAMILLE SAINT-SAËNS
Featuring synthetic organ by Dr. Martens!
DOUBLE TROUBLE
FEBRUARY 28, 2026
John Gilbert, Violin
George Work, Cello Double Concerto JOHANNES BRAHMS
Symphony No. 5, “Reformation” FELIX MENDELSSOHN
THE MUSIC OF LED ZEPPELIN WITH THE WEST TEXAS SYMPHONY
MAY 16, 2026
Pay tribute to one of the most iconic rock bands of all time! Enjoy the timeless hits of Led Zeppelin reimagined and performed in collaboration with a full symphony orchestra.
TICKET PRICING 20252026SEASON
MAINSTAGE CONCERTS
Orchestra/Dress Circle
$83 Adult, $12 Student
Mezzanine/Parterre
$66 Adult, $12 Student
Gallery (only available for select concerts)
$46 Adult, $12 Student
CHAMBER CONCERTS
$25 General Admission, $12 Student
STUDENT TICKETS $12, 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 apply. Fees may apply.
Gary Lewis, Music Director & Conductor Presents DOUBLE TROUBLE
Saturday, February 28, 2026
7:30 p.m.
Wagner Noël Performing Arts Center
John Gilbert, Violin
George Work, Cello
THIS CONCERT IS PROUDLY SPONSORED BY
Sharon & John Webb
Diann & John McKee
DOUBLE TROUBLE 7:30 p.m.
Saturday, February 28, 2026
Wagner Noël Performing Arts Center
Gary Lewis, Conductor
John Gilbert, Violin
George Work, Cello
The Impresario Overture…………………………………………………………………...Wolfgang Amadeus Mozart
Concerto for Violin and Cello in A Minor “Double Concerto”..….……….…………….. Johannes Brahms
Allegro
Andante
Vivace non troppo
INTERMISSION - 20 MINUTES
Symphony No. 5 in D Major “Reformation”…………………………………………………...Felix Mendelssohn
Andante—Allegro con fuoco
Allegro vivace
Andante
Andante con moto—Allegro vivace—Allegro maestoso *Program subject to change.
Wolfgang Amadeus Mozart
b. January 27, 1756, in Salzburg, Austria. d. December 5, 1791, in Vienna.
The Impresario Overture
Composed: Commissioned by Emperor Joseph II in January 1786.
Premiered: In the Imperial Palace on February 7, 1786.
The Work in Context
• 1783: The Massachusetts Supreme Court rules slavery illegal and frees all slaves in the state.
• 1784: The Continental Congress ratifies the Treaty of Paris, ending the Revolutionary War.
• 1785: A young Napoleon Bonaparte becomes a lieutenant in the French artillery.
• 1786: Marriage of Figaro premieres, along with the lesser-known Der Schauspieldirektor (Impresario).
The name Wolfgang Amadeus Mozart has become synonymous with classical music, especially the music of Classical Era Vienna. A child prodigy, the young Mozart began playing the piano at the age of four and composing at the age of five. His father, a musician in his own right, began taking young Wolfgang and his older sister Nannerl on performing tours when Wolfgang was just six years old. The children performed in the Imperial Courts in Vienna and Prague and in the cities of London, Munich, Mannheim, and Paris. He continued touring throughout his childhood and teenage years. Mozart was employed as a court musician in Salzburg by the age of 17 and left acrimoniously for Vienna in 1781. It was in Vienna that Mozart established his reputation as a composer and, unlike many of his contemporaries, composed in all the popular genres of the day.
Due to Mozart’s tragic death at the age of 35, he only spent ten years in Vienna. His last several years were marked by disappointment and financial struggles. He began to borrow money to sustain his family’s lifestyle. He began to tour more around Europe hoping to improve his financial situation, but these tours were only marginally successful. Mozart’s final year, 1791, saw a modest improvement in his financial circumstances and an increase in compositional output. He composed most of The Magic Flute in early 1791, but he put the work on hold when he was commissioned to write the opera La Clemenza di Tito, for the coronation of Emperor Leopold II. He composed at a breakneck speed to finish this new opera in time for its premiere on September 6, 1791. As soon as the premiere was over, Mozart rushed back to Vienna for the final rehearsals of The Magic Flute. The opera, written for a commercial theater and not on commission, was immediately successful. Huge crowds attended the performances, and the opera reached its milestone 100th performance in November 1792. Unfortunately, Mozart was not able to appreciate his final opera’s success. His final illness began while he was in Prague for the premiere of La Clemenza di Tito. He continued working, conducted the premiere of The Magic Flute, but had to stop working on November 20th and passed away just two weeks later.
Impresario Overture, or “Overture to Der Schauspieldirektor,” was written on a last-minute commission from the Austro-Hungarian Emperor Joseph II. The commission was last minute, and Mozart was busy working on the Marriage of Figaro at the time, but a commission from the emperor could not be ignored. The emperor was entertaining some noble friends and wanted to entertain them with an opera in both Italian and German. Antonio Salieri (who did not kill Mozart, the excellent movie Amadeus notwithstanding), was commissioned to write the Italian portion and Mozart to write the German. In just a few days, Mozart had written the overture, two arias, a trio, and the German ensemble grand finale. The text of the German portion was a comedy featuring dueling sopranos. The dramatic content of the work was a bit of a mess due to the opera basically being written by a committee, so the whole opera was not performed again, but the overture is the classic Mozart perfection, with rich textured, playful melodies, and dramatic crescendos.
Johannes Brahms
b. May 7, 1833, in Hamburg, modern-day Germany. d. April 3, 1897, in Vienna, Austria.
Concerto for Violin and Cello in A Minor “Double Concerto”
Composed: Written in the summer of 1887. Premiered: October 18, 1887, in Cologne, Germany
Allegro
Andante
Vivace non troppo
The Work in Context
• 1884: France incorporates Vietnam into its empire.
• 1885: Karl Benz develops the internal combustion engine in Germany.
• 1886: Gold is discovered in the Transvaal, an area controlled by Boers in present-day South Africa.
• 1887: The Yellow River floods in China, killing 900,000. The Double Concerto premieres.
Johannes Brahms was one of the prominent composers in Vienna in the era after Ludwig van Beethoven. Born into a Lutheran family in Hamburg, Brahms spent his professional career in Vienna. His music was rooted in the traditions of the Viennese classical composers such as Haydn and Mozart, but Brahms was also an innovative and very Romantic composer. His music was respected by a wide range of his colleagues following his death in 1897.
Much like Strauss, Brahms’ father was also a horn player. Unlike Franz Strauss, Jakob Brahms did not have a high-profile career, and he prospered more as a double bass player, eventually winning a position in Hamburg. Jakob oversaw his son’s musical education, teaching him violin and finding him a piano teacher. His parents encouraged him to choose performance over composition, thinking that would lead to a more successful career. His earliest compositions were for piano, which was the instrument he was the most proficient on as a performer. Brahms tended to hate his earlier compositions, so most of the pieces he wrote in his youth he destroyed. Brahms began touring as a pianist in 1853, and he became close friends with Robert and Clara Schumann. Over the next decades, Brahms gradually built a reputation on pieces for piano, chamber music, and concertos. However, Brahms struggled to complete works in the two genres dominated by Beethoven, the symphony, and the string quartet. Brahms wrote several pieces for orchestra, including Variations on a Theme by Haydn and orchestrations of several of his Hungarian Dances, but he spent at least 15 years constantly editing and revising his Symphony No. 1. Brahms finally had the confidence to complete and premiere his first symphony in the summer of 1876. The work was met with a crescendo of critical acclaim, but even then, his insecurity caused him to revise the second movement before it was published.
While Brahm’s First Symphony brought the composer into musical stardom, the Double Concerto in A-minor was his last orchestral work. He wrote the piece for the cellist Robert Hausmann, with whom Brahms had frequently collaborated. The violinist was Joseph Joachim, who was an old friend from whom Brahms had been estranged for many years. Joachim had accused his wife of having an affair with the publisher Fritz Simrock, but Brahms believed the protestations of Joachim’s wife. Brahms conducted the premiere and conducted the work several times in the next few years, with his two old friends performing. Initial critical reaction was negative, with even his friend Clara Schumann panning the work. Later critics warmed to the work, and audiences have always appreciated the brilliance of the two equally balanced solo parts.
The work is in the typical 3-movement concerto form. The first movement is in a unique form. Every time the themes return, they are varied, even in the recapitulation, which is unusual for a concerto of the time. The second movement is relaxed and lyrical. The final movement features a bouncy theme in the soloists with interjections from the winds.
Felix Mendelssohn
b. February 3, 1809, in Hamburg, Germany.
d. November 4, 1847, in Leipzig, Germany.
Symphony No. 5 in D Major “Reformation”
Composed: Written in 1830 to mark the 300th anniversary of the Presentation of the Augsburg Confession. Premiered: The first performance was some time in the fall of 1832 in Berlin.
Andante—Allegro con fuoco
Allegro vivace
Andante
Andante con moto—Allegro vivace—Allegro maestoso
The Work in Context
• 1829: British Parliament passes the Catholic Emancipation Bill, which allows Catholics to hold public office.
• 1830: Joseph Smith organizes the Church of Jesus Christ of Latter-Day Saints
• 1831: Cyrus McCormick invents the mechanical reaper in Virginia.
• 1832: Egypt declares independence from the Ottoman Empire, Symphony No. 5 premieres.
Felix Mendelssohn, born in 1809, stands as one of the foremost composers in the era after Beethoven. A child prodigy, Mendelssohn’s musical style was well-established before his 20th birthday. His parents were careful, however, to not push Felix and his sister Fanny into the limelight too soon and allowed them to develop their talents around friends and family. The grandson of the prominent Jewish philosopher Moses Mendelssohn, Felix was born into an elite intellectual family in Germany. To avoid persecution in the Prussian empire, Abraham Mendelssohn had the Mendelssohn children secretly baptized into the Christian faith and Felix was given the name Jakob Ludwig Felix Mendelssohn Bartholdy. Abraham Mendelssohn, Felix’s father, saw the Christian faith as a positive influence in the world and believe that it would not pull his family away from what was good and true as it protected them from persecution. Although the circumstances of his “conversion” were far from ideal, Felix grew up to be a committed Protestant.
While his parents tried to shield him from the spotlight, by the time he was 17 he had written two wellknown works, his String Octet in E-flat major and his Overture to A Midsummer Night’s Dream. This second work is one of the earliest examples of a “concert overture,” that is; and overture not written to precede a play or opera but rather to stand alone on a concert. Mendelssohn drew upon the influence of a wide variety of composers and wrote in a style that contained both Classical and Romantic elements. Another formative and innovative moment in Mendelssohn’s young life was, in 1829 at the age of 20, he conducted a performance of J.S. Bach’s St. Matthew Passion. More than any other conductor or musician, Felix Mendelssohn was responsible for reviving the works of Bach, which had fallen out of fashion and hadn’t been performed in decades, and not at all outside of Leipzig where Bach lived and worked.
Symphony No. 5 in D-major “Reformation” is a fascinating intersection of Mendelssohn’s music and his religious and ethnic history. Although he had been baptized to avoid anti-Jewish persecution, Mendelssohn became a devout Lutheran. He shared a faith with J.S. Bach, whose works he revived. In 1829, Frederick William II, King of Prussia, announced that he would be holding a festival in 1830 to celebrate the 300th anniversary of the Augsburg Confession. In that year, Martin Luther and his assistant Philipp Melanchthon presented their list of 28 articles to the emperor, in what became the founding document of the first Protestant denomination. Mendelssohn, for obvious personal reasons, was thrilled at the opportunity, but unfortunately, illness delayed his completion of his work in time for performance in June 1830. This setback caused Mendelssohn to struggle to find the appropriate venue to have the piece performed, and it led to some self-doubt about the quality of the work and several sets of revisions. Eventually, he conducted a performance in 1832 in Berlin. Critical reaction was harsh, and Mendelssohn never again conducted the work. The next known performance was in 1868, over 20 years after the composer’s death.
The work is a standard four-movement symphony. Mendelssohn was, as so many of his contemporaries were, influenced by Beethoven’s Ninth Symphony and his innovations in programmatic music, and Mendelssohn wanted to write a piece with a weighty final movement with an extra-musical theme. The first movement carries the theme of conflict, with the sweet “Dresden Amen” theme contrasting with angry, forceful themes. The second and third movement have no obvious connection the Reformation theme, with the second being a light, almost classical dance and the third a song without words. The final movement is a set of variations on Ein feste Burg (A Mighty Fortress), which is a hymn Martin Luther composed and the most popular hymn in the Lutheran church. The final movement is dramatic and closes with a triumphant statement of the chorale from the full orchestra.
Program notes by Martin D. King
An active performer and teacher, Martin D. King is on the faculty of Washington State University, where he teaches horn and music education. Dr. King maintains a busy performance schedule, holding positions in three orchestras in Eastern Washington and touring with his quintet, the Pan Pacific Ensemble. For more information, please visit. www.martinking.music.com
ABOUT THE ARTISTS
GEORGE WORK
George Work holds bachelor’s and master’s degrees and the Performer’s Certificate from the Eastman School of Music, where he served as teaching assistant to Robert Sylvester. In addition to Robert Sylvester, his principal teachers include Paul Katz, Ronald Leonard, Gabor Rejto, and Carol Work. In 1981, he joined the Ames Piano Quartet, in residence at Iowa State University. The Quartet has released sixteen critically acclaimed CD recordings on the Sono Luminus, Musical Heritage, Dorian, and Albany labels, and has appeared in concert throughout the United States and Canada. International appearances include Kaliningrad, Russia, Salzburg, Austria, Paris and Marseilles, France, Taipei, Tainan, Kashiong and Taichung, Taiwan, Merida, Mexico and Cape Town, South Africa. The Quartet also performed in Cuba in 2000, the first American chamber ensemble to appear in concert there in more than forty years.
In addition to concertizing with the Quartet, Work has appeared as soloist with various orchestras in the U. S., as well as in Taiwan, R.O.C, Kaliningrad, Russia and Recife, Brazil. He was Visiting Professor of Cello at Drake University during 1997-98, and has taught and performed at numerous summer festivals, including the Schlern International Festival, Madeleine Island, the Texas Music Festival, and the Brevard Music Festival, among others. Work’s recording of the Ibert Concerto for Cello and Winds with the Baton Rouge Symphony Chamber Players, was released in September of 2012. He also appears on the double album, “Youthful Passions”, featuring violin and cello sonatas of Samuel Barber, Richard Strauss, and Erno Dohnanyi.
JOHN GILBERT
Violinist John Haspel Gilbert, Professor of Violin at the Texas Tech University School of Music in Lubbock, TX. since 1995, has been praised by legendary performers such as the late Josef Gingold ("I have great admiration for this superb violinist"), Glenn Dicterow ("Obviously we are dealing with a very high level of artistry"), Camilla Wicks, Arnold Steinhardt, and the late Joseph Fuchs. An active soloist, recitalist, and chamber music collaborator, he performs regularly throughout the United States, having appeared from coast-to-coast in prestigious venues from Weill Recital Hall in New York City to Abravanel Hall in Santa Barbara (CA). Recent international engagements have included performances in Brazil, Italy, Mexico, and the United Kingdom. His former students have distinguished themselves in national and international competitions, perform in major orchestras, hold university positions, and are public school educators, throughout the US, Brazil, and Russia.
Gilbert has served as concertmaster of the Lubbock Symphony Orchestra, the Baton Rouge Symphony, and the Knoxville Symphony. He has appeared as soloist in the concerti of Bach, Beethoven, Berg, Brahms, Bruch, Corigliano, Mendelssohn, Prokofiev, Sibelius, Vivaldi, and Kurt Weill. Gilbert has previously served as faculty at the SMU Meadows School of Music, University of Memphis, and Hope College. He is a member of the faculty of the Pienza(ITALY) Music Festival. Other summer festival affiliations have been at the Green Mountain Chamber Music Festival, Madeline Island (WI) Chamber Festival, Schlern (Italy) International Festival, Sewanee Summer Music Festival, BRAVO! Summer String Institute, Eastern Music Festival, Heidelberg Castle Festival, Killington Music Festival, and the Spoleto Festival.
Gilbert's principal studies were under the tutelage of Sally O'Reilly, Charles Castleman, and Oliver Steiner. He holds degrees from the University of Minnesota, the Yale University School of Music, and the Eastman School of Music, and has held fellowships at the Aspen Music School in both chamber music and orchestral performance. His chamber music studies were with current or former members of the Julliard, Tokyo, Cleveland, Fine Arts and Yale string quartets, and the Eastman and Rafael trios. Mr. Gilbert may be heard on the Centaur, Naxos and Innova labels. His recording of the Kurt Weill Concerto and the Alban Berg Kammerkonzert with the Baton Rouge Symphony Orchestra was released on the Sono Luminus label in September of 2012 (Sono Luminus 92161). His most recent recording, of the Sonatas of Ernö Dohnanyi, Samuel Barber (world premier) and Richard Strauss, was released on the Fleur de Son label in 2019.
From FANFARE, March 2020: “The Strauss Violin Sonata in particular requires a great deal of endurance; Gilbert and Shteinberg make it sound like a joy to perform. And their energy is matched by a suppleness of rubato that tempers virtuosic passion with graceful elegance. Fans of Leonid Kogan’s performance will enjoy Gilbert and Shteinberg’s.”-Myron Silberstein
Rhonda
Frosty Gilliam
Gary Lewis, Music Director & Conductor Presents BLUE CATHEDRAL
Saturday, April 18, 2026
7:30 p.m.
Wagner Noël Performing Arts Center
Dr. Peter Martens, Organ
Featuring a custom-built electric organ designed and performed by Dr. Martens! Side-by-side performance with local students.
THIS CONCERT IS PROUDLY SPONSORED BY
Sharon & John Webb
Gregg Blain
Mary Lou Cassidy
Martha & Paul Crump
BLUE CATHEDRAL
Saturday, April 18, 2026
7:30 p.m.
Wagner Noël Performing Arts Center
Gary Lewis, Conductor
Dr. Peter Martens, Organ
Hungarian March from The Damnation of Faust .............................Hector Berlioz
blue cathedral………………………………………….……….............................Jennifer Higdon
INTERMISSION - 20 MINUTES
Symphony No. 3 in C Minor “Organ Symphony”…………...........Camille Saint-Saens
Adagio—Allegro moderato—Poco adagio Allegro moderato—Presto—Maestoso—Allegro
*Program subject to change.
Jennifer Higdon
b. December 31, 1962
blue cathedral
Composed: Written in 1999 to celebrate the 75th anniversary of the Curtis Institute of Music. Premiered: First Performed in 2000 by the Curtis Institute of Music Symphony Orchestra.
Jennifer Higdon is an American composer and flautist. Born in Brooklyn, she spent the early years of her life in Atlanta and Tennessee. Her father was a painter, so she was exposed to all different types of visual arts as a child. She did not, however, start playing an instrument until she joined her high school band as first a percussionist and then as a flautist. Unlike many other composers, she had basically no exposure to classical music before college. She attended Bowling Green University to study flute performance, and her flute teacher encouraged her to experiment with composition. She later studied composition at Curtis and the University of Pennsylvania. She taught composition at Curtis from 1994-2021.
blue cathedral was originally written on a commission to celebrate the 75th anniversary of the founding of the Curtis Institute of Music. However, the piece took on a much more personal meaning to Higdon, as she began to think about writing it. In 1998, her younger brother, Andrew Blue Higdon, tragically passed away from skin cancer. Higdon wrote the following program notes in the score to explain her approach to composing this piece at such a difficult time in her life: “I began writing this piece at a unique juncture in my life and found myself pondering the question of what makes a life. The recent loss of my younger brother, Andrew Blue, made me reflect on the amazing journeys that we all make in our lives, crossing paths with so many individuals singularly and collectively, learning and growing each step of the way. This piece represents the expression of the individual and the group... our inner travels and the places our souls carry us, the lessons we learn, and the growth we experience. In tribute to my brother, I feature solos for the clarinet (the instrument he played) and the flute (the instrument I play). Because I am the older sibling, it is the flute that appears first in this dialog. At the end of the work, the two instruments continue their dialogue, but it is the flute that drops out and the clarinet that continues on in the upward progressing journey.” Higdon liked the image of a cathedral because they seem to serve “as a symbolic doorway in and out of this world.” It is helpful to think of this piece both as a sonic journey of wandering through a cathedral and as the composer’s process of coming to terms with the tragic loss of her brother.
Camille Saint-Saens
b. October 9, 1835, in Paris, France.
d. December 16, 1921, in Algiers, Algeria.
Symphony No. 3 in C Minor “Organ Symphony”
Composed: Written in 1886 on a commission from the Royal Philharmonic Society in England. Premiered: May 19, 1886, in St. James Hall, conducted by the composer.
Adagio—Allegro moderato—Poco adagio Allegro moderato—Presto—Maestoso—Allegro
The Work in Context
• 1883: Robert Koch discovers the bacteria that causes cholera.
• 1884: France, Britain, and Germany all declare new territories in Africa.
• 1885: Italy takes Eritrea from Egypt.
• 1886: Heinrich Hertz uses a spark to send a radio signal, the Organ Symphony premieres.
Camille Saint-Saëns was a French composer, conductor, and organist who began performing at the age of 10. Just two months after his birth, his father, a French government official, died of tuberculosis. For the sake of his health, he was taken into the country to live with a nurse for the first two years of his life. It is believed that his mother stayed in Paris, and he was returned to Paris to live with her and his aunt when he was two years old. Camille showed musical talent at an early age, and his mother encouraged his growth and provided him with opportunities. She did, however, protect him from too much public exposure, so public knowledge of the extent of his prodigious talent was mostly unknown. He was admitted to the Paris Conservatoire at the age of 13, which was the best music school in Paris and one of the best in the world. As soon as he left school, he won a job as a church organist. Saint-Saens would spend the next several decades as an organist, rising as high as a position at the official church of the French Empire. After leaving that post, was a successful freelance pianist and composer in Europe and America. Saint-Saëns only held one teaching post, and was only in that position for five years, but during that time he taught both Gabriel Fauré and Maurice Ravel. He lived long enough to go from musical radical to outdated reactionary. At the beginning of his career, Saint-Saëns championed the work of composers such as Wagner and Liszt, but by his later years, he heaped scorn on the work of Debussy and Stravinsky.
Saint-Saens wrote Symphony No. 3 in C-minor “Organ Symphony” at the height of his international fame. He was especially well-regarded in London, which he regularly visited to give concerts. The Royal Philharmonic Society commissioned the work, and Saint-Saens dedicated the work to his late friend Franz List, who has just recently passed away. He was busy completing the Carnival of the Animals, what may be his most famous work, at the time, but he put as much effort as he could into both pieces and got the score completed in time. Saint-Saens only wrote three symphonies as an adult composer, and he knew that the third symphony would probably be his last. The composer saw this work as a history of his career and wrote: "I gave everything to it I was able to give. What I have here accomplished, I will never achieve again." The work prominently features the organ and piano, which gives the symphony it’s subtitle and reflects the composer’s long career as a church organist. The reception to the work in London was not enthusiastic, but the German and French premieres went very well, and the piece continued to be performed to enthusiastic audiences ever since.
One of the most unique elements of this work, besides the prominent use of organ and piano (both two and four hands), is that the work is technically only in two movements. In the program notes that Saint-Saens wrote for the premiere in London, he wrote the following explanation of the structure of the work: “This symphony, like its author's fourth Pianoforte Concerto, and Sonata for Piano and Violin, is divided into two movements. Nevertheless, it contains, in principles, the four traditional movements; but the first, arrested in development, serves as an Introduction to the Adagio, and the Scherzo is linked by the same process to the Finale.” Along with the use of organ, another nod to the composer’s career as a church musician is his use of fragments of Gregorian Chant melodies as themes that return throughout the entire work. After a slow introduction, the main theme begins what resembles a typical symphonic first movement, but then it seamlessly transitions into the adagio rather than recapitulating the main theme. This slow section features some innovative scoring, including a unison trio melody between the clarinet, horn, and trombone. The organ makes its first entrance at the opening of this slow section of the first movement. The second movement opens with dancelike music, which would typically be the third
movement of a symphony. But again, when the scherzo would typically repeat, the music instead transitions into the finale, which is marked by a forceful C-major chord in the organ. All the forces, including the full power of the organ, join at the end to bring the work to a glorious conclusion.
Program notes by Martin D. King
An active performer and teacher, Martin D. King is on the faculty of Washington State University, where he teaches horn and music education. Dr. King maintains a busy performance schedule, holding positions in three orchestras in Eastern Washington and touring with his quintet, the Pan Pacific Ensemble. For more information, please visit. www. martinking.music.com
ABOUT THE ARTIST
DR. PETER MARTENS
Dr. Peter Martens serves on the faculty of Texas Tech University as Professor in the School of Music and Chair of the Department of Interdisciplinary Arts. His diverse research and performance activities include the pipe organ on which Dr. Martens performs weekly for worship services, and numerous times with Texas Tech Orchestra, Wind Ensemble, and Symphonic Band. A pianist since childhood, his on-the-job training as an organist at age 15 in Michigan’s Upper Peninsula after some arm-twisting by parishioners at his minister father’s new congregation, when the regular organist was snowed in for multiple weeks during an especially snowy holiday season.
Coming to understand and appreciate the complex machinery that constitutes a pipe organ led him into the maintenance, renovation, and design of organs, in acoustic, electronic, and hybrid forms. His first custom-built, computer-driven organ appeared onstage at the Wagner Noël Performing Arts Center in 2014, in the shell of a 1958 Texas Tech practice organ that was otherwise destined for the scrap heap. Tonight's organ console dates from 1998, and looks identical to common church and home organs in use today. The sounds it produces, however, are those of a faraway instrument, located in the Abbey of Saint-Étienne in the northern French city of Caen. Although re-using the casework and some pipes from the mid-18th-century organ, the abbey’s current organ is the work of renowned organ builder Aristide Cavaillé-Coll, completed in 1885. Camille Saint-Saëns completed his Symphony No. 3 the following year; thus the Saint-Étienne organ reflects the state-of-the-art in French organs at the time of piece’s composition, and provides an excellent match for the organ timbres and technical capabilities that Saint-Saëns envisioned for this large-scale Romantic work. These distant sounds come to our ears through a sophisticated process of taking multiple sound samples from each of the organ’s 6000+ individual pipes onsite, and blending them together in a way that allow for the customization sonic features like reverberation for spaces like the one you’re sitting in tonight.
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Gary Lewis, Music Director & Conductor
Presents
THE MUSIC OF LED ZEPPELIN WITH THE WEST TEXAS SYMPHONY
Saturday, May 16, 2026 7:30 p.m.
Wagner Noël Performing Arts Center
Pay tribute to one of the most iconic rock bands of all time! Enjoy the timeless hits of Led Zeppelin reimagined and performed in collaboration with a full symphony orchestra.
THIS CONCERT IS PROUDLY SPONSORED BY
Sharon & John Webb
Laurie & Miles Boldrick
Cal & Amy Hendrick
THE MUSIC OF LED ZEPPELIN WITH THE WEST TEXAS SYMPHONY
7:30 p.m.
Saturday, May 16, 2026
Wagner Noël Performing Arts Center
Gary Lewis, Conductor
THE SONG REMAINS THE SAME ALL MY LOVE BLACK DOG
OVER THE HILLS AND FAR AWAY MISTY MOUNTAIN HOP
KASHMIR
FOOL IN THE RAIN DYER MAKER
INTERMISSION - 20 MINUTES
IMMIGRANT SONG
GOOD TIMES BAD TIMES RAMBLE ON THE OCEAN
STAIRWAY TO HEAVEN WHOLE LOTTA LOVE
*Program subject to change.
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.
WEST TEXAS RADIO GROUP
Proudly Supports the West Texas Symphony
Proudly supporting fine arts in West Texas!
2025-2026 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 63rd season!
Listed below are the gifts and pledges for the 2025-2026 season as of August 1, 2025
PLATINUM BATON SOCIETY ($10,000+)
J.C. Ferguson Foundation
Wayne and JoAnn Moore Charitable Foundation
Pevehouse Family Foundation
Midland Symphony Guild
Odessa Symphony Guild
Rea Charitable Trust
Greathouse Charitable Trust
Arts Council Midland
Odessa Arts
Permian Basin Area Foundation
FMH Foundation
GOLDEN BATON SOCIETY ($5,000+)
Mary Lou Cassidy
SILVER BATON SOCIETY ($2,500+)
Dana & Michael Ashton and Mr. Marc Capellini
Martha & Paul Crump
Mary B. Kennedy
Dr. & Mrs. Nam H. Kim
Diann & John McKee
Nancy & John Minor
Betty Ann Prentice
Suzanne Rathbun
Rosalind Redfern Grover
Judith and Roger Russert
Rosemary & Max Wright
FORTISSIMO ($1,000+)
Dr. Charles Lively, Lively Wellness & Aesthetics
Gayle & Michael Banschbach
Nancy Beal
Suzie & Kirk Boyd
Drs. Richard & Roberta Case
Catherine Chance
Peggy Cowan
Mary Anne & Bill Dingus
Barney & Cindi Dishron
Thomas W. & Denise Elrod
Maridell Fryar
Laura & Jeremy Earl
Mr. & Mrs. Trey Grafa
Missy & Link Grimes
A. Lee Miller
Leslie Millichamp
Meruelo Acquisitions Group, LLC / Gabe Meruelo
Mitzi & J. Purvis
Juandelle Lacy Roberts
Gwyn & Don L. Sparks
Modesta Williams
SFORZANDO ($750+)
Sarah & David Lauritzen
Kathy & Floyd Rountree
FORTE ($500+)
Ernie Angelo
Gregg Blain
Jim & Laurie Brannigan
Shirley Davenport
Julie Edwards
Megan Ellisor
Kati Lewis
Ruth & Bob Price
Stephen Robertson
Susanna Self
Alison & James Small
Mary Stout
Jacy & Garrett Watkins
Mary Ann Woodard
MEZZO FORTE ($250+)
Tierra Company, L.P., Bill Musar
Rebecca Bell
Joy Cobb
Pam & Peter Courtney
Jeannine & Robin Donnelly
Paul Feit
Bruce & Dr. Terry Gilmour
Carla & Joe Haston
Lynn Mashburn
Megan & Paul Pausé
Janet & William Perkins
Dr. & Mrs. Tulsi Dyal Singh
Violet & Mark Singh
Lissett & Benjamin Velasquez
Nancy & Danny Watkins
CRESCENDO ($125+)
Gabe Almendarez
Julie Andreopolus
Janice Archer
Kathryn Fuller
Angie & David Lewis
Brooke LeGrue
Lee & Mary Ann Majors
Ralph Remsburg
Nickolas C. Taylor
Anne & John Tyson
Deeann & Richard Werner
PIANO (BELOW $125)
Anonymous
Dee Anna Arellano
Julie & Pat Canty
Sophie Edwards
Leslie English
Lou Nelle & Jeff George
Christopher Hall
B. Haney
Ken & Ann Hankins, Jr.
Courtney Manwarren
Gracie Ortiz
Jon Ortiz
Dan & Crystal Romero
David Santiago
Dr. Adrian Vega
Established in 1992 to help provide a financial cushion when economic activity in the Basin declines, the WTS Endowment Fund currently accounts for about 6% of the annual budget. As you consult with your tax advisor, financial planner, or attorney, please consider West Texas Symphony as a beneficiary of your planned giving or of your estate. Your legacy will continue to Enrich Lives Through Music for generations to come.
For further details on how you can play your part in assuring that WTS concerts and programs continue well into the future, please contact:
ENDOWMENT FUND CONTRIBUTORS
You, Your Legacy, and the Music of West Texas Symphony
For over 60 seasons, the music of West Texas Symphony has not just endured, but grown. What a testament to residents of this community and their determination to include live symphony, chamber, and choral music as part of the cultural landscape of West Texas!
By donating to the WTS Endowment Fund, you join generous contributors whose gifts immediately work to provide critical funding for the quality programming WTS offers season after season, now and into the future.
For further details on how you can play your part to assure that WTS continues to Enrich Lives Through Music well into the future, please contact Violet Singh, Development Director at 432-563-0921.
THE FOUNDERS
Mrs. Keleen Beal Mr. & Mrs. Louis Rochester
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
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
Marion E. Luper, Jr.
Jared A. Barlage
Marion E. Luper, Jr.
Roy E. Campbell
Mrs. Viola Campbell
HONORARIUMS:
Ted Hale
Anonymous
Michael J. Santorelli
Modesta and Clayton Williams
J.C. Ferguson Foundation
The Midland Musicians Club
Drs. Richard & Roberta Case
Mr. & Mrs. Robert H. Cole
Roger B. Corzine
Dr. & Mrs. Bart Mayron
Phil & Susan Parker
Mr. & Mrs. C. Richard Sivalls
Mr. & Mrs. George S. Smith
Mr. & Mrs. Mark D. Wilson
Bach Society ($1,000-$4,999)
MEMORIALS:
Anne K. Anson
Robert D. Anson
Robert D. Anson
Drs. Richard & Roberta Case
Tyler T. Burns
Bobby & Denise Burns
Johnny “Cactus Jack” Dowdle
Nash Dowdle
Marguerite W. Davis
Ludie & Eben Warner
John M. Grimland, Jr.
Mrs. John M. Grimland, Jr
Neal H. Johnson
Berniece Johnson
Vera Osadchuk
Bea & Bob Angevine
Walter Osadchuk
Mr. & Mrs. Jerry Covington
Josh H. Parr
Anne & Jim McLaughlin
Victoria Parr Ehrlich
Mary June Rasmussen
Dr. & Mrs. Terry Unruh
Fred A. Stout, Jr.
Kathlene N. Stout
Martha Tompkins
Dianne & Mark Tompkins
Bob Winkler & Clayton Taylor Winkler
Carolyn Winkler
ENDOWMENT FUND CONTRIBUTORS (continued)
HONORARIUMS:
Dorothy Davis
Dr. & Mrs. Terry Unruh
Rino Irving
Mary Lou Cassidy
Michael J. Santorelli
Penny and Ernest Angelo
Carole V. Warren
Shari Santorelli
Penny and Ernest Angelo
Betty Rae and Paul Davis
The MOSC Chorale
Carole V. Warren
Estate of Joyce Ann Bradley
ExxonMobil Foundation
Marshall & Winston. Inc.
Mobil Foundation, Inc.
Shinn Industrial Sales/Barbara & Don Shinn
TXU Electric
The Midland Musicians Club
Anonymous (3)
Nelson Allison
Dollie Neal Ballenger
Dr. & Mrs. John E. Bauman
Karen & Spencer Beal
Mr. & Mrs. Robert L. Boothe
Mrs. M.O. Boring, Jr.
David and Vicki Brown
Bob & Julia Chandler
Mr. & Mrs. K. Michael Conaway
Paul & Martha Crump
Betty & Albert Dale
Mr. & Mrs. Roy H. Davidson
Mary & Henri de Compiegne
Kimberly B. Dollens
Betty & Don Ewan
Celeste Fasken
Frances Gilliland
Elizabeth A. Greaves
Elizabeth Harvey
Karl & Cathy Herzog
Mr. & Mrs. Lloyd Innerarity
Mrs. Stan Jacobs
Mr. & Mrs. Bob L. Jones
Marian & Charles E. Jones
V. Wayne & Joann Jones
Dr. & Mrs. Nam Kim
Mr. & Mrs. James W. Lacy
Dr. Ron Larson & Pat Paxton Larson
Stephanie Latimer
Jane C. Lea
Robert M. & Prudie Leibrock
Scott W. Long
LaNelle McBee
Mr. & Mrs. Stephen McHaney
Rusty & Alyson McInturff
Mr. & Mrs. James D. McLaughlin
Walter & E. Grace Osadchuk
Dr. E. Grace Osadchuk
Mr. & Mrs. Josh H. Parr
Dr. & Mrs. Jess Parrish
Margaret L. Peer
Mr. & Mrs. Charles R. Perry
Mr. & Mrs. Robert Pollard
Mike and Sue Potter
Mr. & Mrs. Robert R. Rice
Mr. & Mrs. A.W. Rutter, Jr.
Rick & Debbie Schneider
Violet & Mark Singh
Dr. Roger M. Traxel
Bill & Patti Watson
Harold & Jacquelyn Williams
Rachel & Ethan Wills
Jane Wolf
Mr. & Mrs. Max Wright
Contributors (Up to $999)
HONORARIUMS:
Bea Angevine
Jane & Don Samples
Katherine Bash & Duncan
Kennedy
Harriet A. & Gene Motter
Jack “Dug” Belcher
Dortha & Ronald Bennett
Dortha & Ronald Bennett
& Barbara Shinn
Ms. Judy DeWees
Brad Bullock
MOSC Board of Directors
Eddie Montoya
Marin & Ashlin Bullock
Brad & Crista Bullock
Chris Chance
Pamela Howell
Carol Chandler
MOSC Board of Directors
Jo Ann Collett
The Midland Musicians Club
Kimberly Corman
Janet Williams Pollard
Ann Countryman
Larry & Gwen Roberts
Mrs. D. Pat Darden
Betty M. Scott
Mary Dawson
The Contemporary Study Club
Mary Dawson & Joseph
Meyer
Susan South
Gary Edmiston
Employees of Security State Bank
Sophie Edwards
Cindy Strain
Karen Elliott
Jane Wolf
Trisha Faubion
Karen Watson
Maridell Fryar
Bea Angevine
Jane & Don Samples
Sue Solari
Louise M. Garay
Bill & Mary Garay
Luis de la Garza, III
Pamela Howell
Richelle Gengler
The Midland Musicians Club
Dr. Ted Hale
Anonymous
Carol, John & Caroline Deats
Edith C. Hardy
The Midland Musicians Club
Lee Harley
Flo White
Sharon Hickox
Mark & Janet Krause
Dr. Thomas A &
Anne B. Hyde
Violet and Mark Singh
Rino Irving
Ann Parish
Betty Ann Prentice
Violet & Mark Singh
Jane Wolf
Peggy C. Jones
The Midland Musicians Club
Abigail Kauffman
Mary Macferran
Carolina Keith
MOSC Board of Directors
Jeannette Kolokoff
MOSC Board of Directors
Crystal Romero
Ann Parish
Betty Ann Prentice
LaDoyce Lambert
MOSC Board of Directors
David Lauritzen
MOSC Board of Directors
Martha Lewis
The Midland Musicians Club
Karen McAfee
Carole Symonette
John and Melissa Madura
Violet and Mark Singh
ENDOWMENT FUND CONTRIBUTORS (continued)
Reba McHaney
Mr. & Mrs. Stephen H. Parker
Tim Young & Sharon Hickox
Edward McPherson
Jeannette & Mark Kolokoff
Charles & Brenda Nail
Bill Harden
Vera Osadchuk
The Midland Musicians Club
Dr. Henry Page
The Midland Musicians Club
Mr. & Mrs. Walter Pope
Midland Symphony Guild
Richy Puga
Jennifer & John C. Harper
Gregory Pysh
Chapter Gd P.E.O.
Connie May
Russell J. Ramsland
Midland Symphony Guild
Jay Reynolds
MOSC Board of Directors
Red & Juandelle
Lacy-Roberts
Violet & Mark Singh
Elizabeth Roweck
The Midland Musicians Club
Jane Samples
Bea Angevine
Michael J. Santorelli
Violet and Mark Singh
Janet Stafford
Carol Symonette
Shari Santorelli
Craig and Doris Anderson
Connie May
Violet and Mark Singh
Janet Stafford
Carol Symonette
Cliff & Joyce Sherrod
Violet & Mark Singh
Violet Singh
Alynda Best
Joanie Holt
Rev. Jon & Dale Stasney
The Midland Musicians Club
Sue Smith & Jim Huddleston
Alathea & Jim Blischke
Violet and Mark Singh
Sue Solari
Jane & Don Samples
Mark & Jeannette Kolokoff
Bill & Mary Garay
Herb and Pat Stanley
Violet and Mark Singh
Cindy Walton
Amy A. Walton
Jane Wolf
Memorial Christian Church
Billy T. Schulze
Beverly Wise
The Midland Musicians Club
Gene & JoAnn Wyatt
Risa Brown
MEMORIALS
Nelson Allison
Michael & Dana Ashton
Bob & Kay Bivens
Karl & Cathy Herzog
Joan McCown
Sue & Buddy McDonald
Violet & Mark Singh
Dr. & Mrs. Steve Wiehle
Anne Anson
Mr. & Mrs. Kevin D. Durham
Arlen Edgar
Betty & Clem George
Robert D. Anson
Thomas K. Anson
Ms. Francene Breckenridge
Edith Libson
Andrew W. Austin & Cynthia K.
Stewart
Amy Azarov
Anthony Canino
Carol Ann Wilkinson Bascom
Jane Wolf
Eldon Basney
Midland Symphony Guild
Ms. Beverly K. Cunningham
Dr. E. Grace Osadchuk
Mr. & Mrs. Michael Tandy
Frank Bell
Betty Ann Prentice
Violet Singh
Emma Burnett
Violet and Mark Singh
Jane Wolf
Jack E. Brown
Jeannette and Mark Kolokoff
Warren Burnett
Paula & Ruff Ahders
Ms. Judy DeWees
Mr. & Mrs. Jim Leeton
Mr. & Mrs. Michael Tandy
Jane Wolf
Anne Caldwell
Mr. & Mrs. Charles E. Jones
Robert Campbell
Gary Cox
Clarence E. Cardwell, Jr.
Eric Leibrock
Mrs. Ethel Chapman
Truman & Doreen McCreless
Viola Campbell
The Midland Musicians Club
J. Dan Carpenter
Alan and Susan Leshnower
Marcella Christensen
Katherine Grella
Doris Cooper
Cowan Hill Bond Agency
Mullis Newby Hurst
Ronald Bennett
Howard Cowan
Janet Hayes
Bob & Pam Leibrock
Violet & Mark Singh
Mary Nixon Tighe
Dorothy Croft
Caroline Ater Howard
Chancy & Toni Croft
Barbara Davis
Alan & Susan Leshnower
Mary McKeown Davis
Pat & Herb Stanley
Lynn Davis
LaDoyce Lambert
Perry Davis
Melissa Burnett & Wayne Warren
Mary Dawson
The Contemporary Study Club
Sophie Edwards
Edward Goldstein
Suzanna & Matt Cooper
Beverly Drummond
Jane Wolf
Jean Grisham Dean
Jeff & Lou Nelle George
Opal Dobbs
Ludie & Eben Warner
Gretchen Estes
The Midland Musicians Club
Marie Finical
Chris Newman
John Foster
Kay & Robert Bivens
Kathleen Freeman
Lyn Fishman
Maridell Fryar
Ann Parish
Betty Ann Prentice
Fay Griffin
Betty & Stuart Awbrey
Betty Louise Gulledge
Lou Nelle & Jeff George
Martha Savage
Marshall C. Gulledge
Marilyn J. Craig
ENDOWMENT FUND CONTRIBUTORS (continued)
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
Junia Stoddard
Helen Parsons Adhers
Sally Stella
Chris Newman
ENDOWMENT FUND CONTRIBUTORS (continued)
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
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