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2014-2015 Season Book 1
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OYSTER PERPETUAL SUBMARINER DATE
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oyster perpetual and submariner are trademarks.
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TABLE OF CONTENTS From Your Symphony & Chorale 6 7 8 9 11 12 14
From the President of the Board From the Executive Director From the Music Director Music Director Biography 2014-2015 Board of Directors & Staff Midland Symphony Guild Odessa Symphony Guild
Our Season 16 22 34 38 48
2014-2015 Season Series An Evening with Susan Graham For Michael, The Music of Michael Jackson Rach Rocks! Sounds of the Season
Our Ensembles 18 19 20
2014-2015 Chamber, Choir and Special Events Our Orchestra Our Chamber Ensembles
Our Contributors/Donors 50 52 54 90
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2014-2015 Sponsors 2014-2015 Fund Drive Contributors Endowment Fund Contributors Advertiser Index
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From the President of the Board... elcome to the 52nd season of the Midland-Odessa Symphony and Chorale! With your attendance, you become part of a rich history of an organization which has enhanced the quality of life in the Permian Basin by providing great music for more than half a century. Deservedly so, the Permian Basin is known as the nation’s most prolific oil producer. We believe it could also be said that the Permian Basin is home to an organization which has been the most successful in terms of cooperation between these two neighboring cities. In 1962 two struggling orchestras in Midland and Odessa came together, and with support from both communities, they have stayed together all these years in good times and bad. Now that we have a first-class venue to perform in – the Wagner Noël Performing Arts Center – the future looks especially bright for the next 52 years. But a nice hall is not enough. We couldn’t continue our rich history without an outstanding orchestra and chorale, and the best music director/conductor we can find. I am proud to say that we have all three! And more. Gary Lewis is one of the finest, and most personable, conductors in the country; Greg Pysch leads a talented chorale; a committed board of directors oversees the organization’s efforts, and an excellent staff, headed by our executive director Jeannette Kolokoff, guides our day to day operations. All in all, they are ingredients for another successful season. No matter which concert you are attending as you read this, you are sure to have a stimulating and satisfying experience. And often it will just be a lot of fun, because the season offerings appeal to just about everyone, from our season opener featuring premiere opera singer Susan Graham (who just happens to be from Midland) to tributes in our Pops series to Michael Jackson and the Beatles. We couldn’t present these programs without our generous sponsors and advertisers. Take a minute to look through this book to see who they are, and thank them when you have the chance. Again, we are glad you are here – and thank you for your support.
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From the Executive Director... Dear Music Lovers,
Welcome to the Midland-Odessa Symphony & Chorale’s 52nd Season, promising to be an extraordinary wealth of both repertoire and talent, especially designed to please all palates. We are so pleased that you have chosen to spend your time with us during our 2014-2015 Season as we continue our dedication to enhancing the quality of life in the Permian Basin by providing outstanding symphonic, choral and chamber music performances and music education programs. Did you know that MOSC presents six Chamber concerts, two Chorale concerts and a Youth Choir concert every season? If variety is the spice of life then these ensembles are filling the Basin with vast assortment of musical vibrancy. Originally performed in Palaces, chamber music now includes a stylistic variety of beautiful music presented in intimate settings. This season, our Chamber concerts performed in the Rea-Greathouse Recital Hall by our Lone Star Brass Quintet, Permian Basin String Quartet and West Texas Winds Quintet offer a wide collection of classical and contemporary offerings from October through March. The 70 voices of the Symphony Chorale continue our tradition of providing diverse programming in the Basin with music ranging from Americana to Brahms. Presenting “Wade in the Water – a Collection of African Spirituals”, our ever-growing Youth Choir, Voices of the Permian Basin is excited to explore this important American genre. SHARING THE MUSIC. We are very proud of our education programs as they continue to flourish and enhance the lives of thousands of students throughout the Permian Basin. Our ensembles visit over forty-five schools presenting fun and experiential concert programs in the MISD and ECISD elementary schools. All students may attend our Masterworks and Chamber & Choir concerts at no cost. As we did in our 13-14 season, we will once again bring over 5,000 students to the Wagner Noël Performing Arts Center to experience a live performance where great composers come to life through stories interspersed with symphonic music performed by our orchestra. Thank you for being a part of our 52nd season. Together with your support MOSC will continue to be the premiere arts organization in the Basin. Sincerely, Jeannette Kolokoff
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From the Music Director...
Thank you for joining us for this season of incredible music! I cannot wait to share the terrific artists and repertoire we have prepared for you. It is hard to imagine a more varied and compelling season and I trust you will plan to join us for all of it! We start with the Permian Basin’s own Susan Graham, the most sought after mezzo-soprano on the planet. Ms. Graham will thrill you with many of the favorites on her acclaimed recordings, ranging from opera arias to Broadway. Next, we’ll “rock” you with Rachmaninoff as the most recent winner of the Cleveland International Piano Competition, Stanislav Khristenko, performs the enduring favorite Piano Concerto No. 2. Rocks remain the theme as you hear the first Texas performance of Jeffrey Nytch’s new symphony Formations, inspired by the great geological formations and history of the American West. Vienna is our next destination as we present music of Johann and Richard Strauss, featuring the breathtaking Der Rosenkavalier Suite. In addition, our own principal clarinetist Christopher Chance brings you another Texas premiere of the soulful Clarinet Concerto by Spanish composer Oscar Navarro. Our Masterworks series comes to a dramatic end with a program of music in drama, “Shakespeare in Love.” From Romeo and Juliet to A Midsummer Night’s Dream to West Side Story, you’ll hear the inspiring takes of Prokofiev, Mendelssohn and Bernstein on these timeless classics. As usual, our fabulous Pops and Family Series has something great for everyone. We’ll start with the irresistible tunes of Michael Jackson, then kickoff the holiday season with “Sounds of the Season” featuring the outstanding and entertaining baritone Patrick Mason as Santa. The spring brings a fantastic program of the music of George Gershwin including Rhapsody in Blue as performed by the renowned pianist Jeffrey Biegel. And what better way to wrap up the season than with the “Classical Mystery Tour,” the music of The Beatles! Thank you for joining us for this season of great music. Your support is greatly appreciated. Please be sure to also check out the many wonderful performances by the outstanding ensembles of the MOSC, the Chorale, our youth choir The Voices of the Permian Basin, along with the West Texas Winds, Lone Star Brass, and Permian Basin String Quartet. These programs are always inspiring and engaging and you don’t want to miss them! I hope you will subscribe to join us for this very special season as we continue our mission to enrich lives in the Permian Basin through great music. We hope to see you there! Best wishes,
Gary Lewis Music Director and Conductor, Midland-Odessa Symphony Orchestra 8
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GARY LEWIS MUSIC DIRECTOR & CONDUCTOR Gary Lewis is the Music Director and Conductor of the Midland-Odessa (TX) Symphony Orchestra. He is also the Director of Orchestras and Professor of Music in the College of Music at the University of Colorado at Boulder. At Colorado Mr. Lewis conducts the University Symphony Orchestra and oversees the entire orchestra program. He also leads the graduate program in orchestral conducting, including both the masters and doctoral level. Lewis has served on the faculties of Texas Tech University, The Ohio State University, The University of Michigan, and Abilene Christian University. He received the Master of Music degree in conducting from Texas Tech University and the Bachelor of Music Education degree from The University of Oklahoma. His post-graduate work includes participation in the Pierre Monteux School for Orchestral Conductors and the Tanglewood Conducting Seminar. Mr. Lewis is equally at home with professional, university, and youth ensembles. In addition to his regular posts with the Midland-Odessa Symphony Orchestra, the University of Colorado, and the Greater Boulder Youth Orchestras, he regularly conducts productions for Ballet Lubbock and has also appeared with the Colorado Symphony Orchestra, Boulder Philharmonic Orchestra, the Colorado Music Festival, 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. 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 in Texas, Ohio, Illinois, Florida, Tennessee, Kentucky, New Jersey, Michigan, Oklahoma, New Mexico, Nevada, Wyoming, Rhode Island, Delaware, the Honor Orchestra of America and, during the next two years, the Minnesota All-State and the American String Teachers Association National High School Honor Orchestra. In 2010 Mr. Lewis played an important role in the creation of the Greater Boulder Youth Orchestras and continues to serve as the founding Artistic Director of the organization and conductor of the Symphony Orchestra.
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2014-2015 BOARD OF DIRECTORS & STAFF OFFICERS LaDoyce Lambert, President Brad Bullock, Executive Vice President Sue Solari, Immediate Past President Patrick Canty, Vice President, Fundraising Jay Reynolds, Vice President, Finance Carol Chandler, Secretary Beverly Alstrin, Vice President, Sponsorships
DIRECTORS Penny Angelo Sheilagh Bassett Rebecca Bell Cindy Bobo Angie Bramley Dale Brown Karmen Bryant Margaret Carpenter Kathleen Cornwell Barbara Davis Nash Dowdle Barbara Faubion Bert Ferrara
Maridell Frayar Linda George Judy Gladden Jacqui Gore Dr. Joanna Hadjicostandi-Anang Janet Hughes Sharon Humphreys Thomas A. Hyde Abigail Kauffman Ann Kennedy David Laurizen Scott Long
Daniel Loudenback Edward McPherson Chris Newman Ann Parish Janet Pollard Suzanne Rathbun Floyd Rountree Deb Shaw Ty Sutton Ludie Warner Mike Willson Rebecca Young
HONORARY MEMBERS Mrs. Leland Croft (dec’d) Mrs. James A. Fowler (dec’d) Mr. Don Williams (dec’d) Mr. Josh H. Parr (dec’d) Mrs. Ellen Noël (dec’d)
Mrs. Lois Rochester Ms. Mary Harrington (dec’d) Mr. Don Williams (dec’d) Mr. Fred Trout Jr. (dec’d)
M O S C S TA F F Gary Lewis, Music Director & Conductor Jeannette Kolokoff, Executive Director Violet Singh, Development Director Rino Irving, Operations Manager/Librarian Holly Clinton, Marketing Coordinator
Melissa Graham, Personnel Manager Deanna Russell, Office Administrator Gregory Pysh, Chorale Conductor Emily Baker, Voices of the Permian Basin Director
F R A N K A . B E L L AWA R D S For contributions and/or services that have significantly advanced the mission of the Midland Odessa Symphony & Chorale, Inc. Frank A. Bell - May 21, 1997 The Beal Family - May 19, 1999 Robert E. Hunt - August 31, 2000 Mary Harrington - May 16, 2001
Ted Hale - April 14, 2007 Grace Osadchuk - October 13, 2007 Scott W. Long - May 18, 2013
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2014 - 2015 President, Midland Symphony Guild
The Midland Symphony Guild is looking forward to another year of enabling the Midland-Odessa Symphony & Chorale (MOSC) to fulfill its mission of Enriching Lives Through Music! The Midland Symphony Guild’s 400+ members and Belles will provide thousands of volunteer hours as they organize fundraisers, host/usher concerts, and provide hospitality to MOSC musicians and guest artists. In February 2015, the Guild will continue the long-standing tradition of hosting Gala Weekend during which we recognize our Symphony Belles for their service as well as raise funds for MOSC. The weekend will kick off Friday night, February 6th with a formal black tie dinner & dance as we present our Senior Belles and honor their four years of service. On Saturday, February 7th the Freshmen Belles will be introduced at a luncheon and style show. The weekend will conclude Saturday night with the Belle Ball as a thank you to all of the Belles. April 16, 2015 the Guild will celebrate our annual Tabletops Design Showcase fundraiser at Green Tree Country Club. The event will feature tabletop decorations by local designers, a fashion show, and a silent action. In addition, guests will be treated to a fabulous luncheon and live entertainment performed by one of the MOSC Ensembles. Membership in the Midland Symphony Guild remains an honor and a privilege as the contributions we provide continue to be a vital part of the future success of the Midland-Odessa Symphony & Chorale. I am honored to serve with the dedicated, hard-working members of the Midland Symphony Guild as we pass along the rich traditions of community service and appreciation of music to the next generation!
Angie Bramley 2014-2015 President, Midland Symphony Guild
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2014 - 2015 President, Odessa Symphony Guild he Odessa Symphony Guild is excited about the 2014-2015 Midland-Odessa Symphony and Chorale season! For over 51 years The MOSC has continued to Share the Music with West Texas by providing quality concerts and music education for our communities. The MOSC musicians are vital to the Arts programs in our schools and West Texas is fortunate to be a home to these many talented musicians. The Odessa Symphony Guild began in 1958 and is comprised of Active Members, Patrons and Belle/Beaux volunteers. OSG provides opportunities for members to support the MOSC through fundraising, monetary contributions, ushering, working and attending concerts and hosting receptions. Our Belles and Beaux are 9th – 12th grade high school students who have a parent or sponsor that is a member of the Odessa Symphony Guild. Look for our Belles and Beaux at various concerts. They do a great job and are learning about Sharing the Music in the process! This year The Odessa Symphony Guild will be hosting the National Young Artist Competition (NYAC) January 9 & 10, 2015 at the Wagner Noël Performing Arts Center. The National Young Artist Competition (NYAC) is held every 4 years and attracts hundreds of applicants from around the nation. There have been over 3000 competitors in the NYAC since the start of the competition in 1962. The NYAC committee is meeting and planning for the young artists that will be competing this year in piano, winds and percussion, and strings. Come and Share the Music of some of the finest young talent from across the nation! The main fundraiser for The Odessa Symphony Guild is the Symphony Ball which will be held Saturday, February 7th and will introduce and honor our young ladies and gentlemen who serve in the Belle/Beaux program. The Odessa Symphony Guild would like to extend an invitation to Come and Share the Music as we travel back in time to celebrate the Big Band Era and raise money to support the Midland-Odessa Symphony and Chorale. I am privileged to serve as president this year of the Odessa Symphony Guild and to work with such an enthusiastic group of volunteers. Enjoy this evening’s concert and please visit us at www.odessasg.org to learn how to Come and Share the Music with us!!
Ann Kennedy 2014-2015 President, Odessa Symphony Guild 14
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2014 - 2015 Odessa Symphony Guild Junior Belles/Beaux
Pictured back row l-r: Heath Adams, Cecelia Pyron, Allison Gray, Jamie Howton, Courtney Rogers, Emily Allbright, Baylee Preskey, Mackenzie Poston, Jacob Evans, Miles Turner Front Row l to r: Mikayela Talley, Morgan Caley, Abigail Furst, Maggie Garcia, Bailey Tate, Lexi Ellison, Leah Sparkman Not Pictured: Tayler Thompson, Sam Wilkins, Taran Butler, Dakkota Duckworth, Madison Gerig, Brianna Johnson O D E S S A S Y M P H O N Y G U I L D 2014-2015 E X E C U T I V E B O A R D President President Elect Vice President Membership Vice President Projects Vice President Tickets Recording Secretary Treasurer Assistant Treasurer Parliamentarian Corresponding Secretary Standing C ommittee Chairs Arrangements Belles/Beaux By-laws Finance Historian/Public Relations Membership Nominating Projects Tickets Yearbook Patron Liaison Communications National Young Artist Competition
Ann Kennedy Heather Hutson Cindy Winfrey Lura Humble Stefani Johnson Gina Hood Dana Taliaferro Darla Becker Dawnna Talley Jami Sellers
Ashli Tate Kathy Roberts Dawnna Talley Dana Taliaferro Candy Thompson Cindy Winfrey Suzette Furst Lura Humble Stefani Johnson Sharman Adkins Carla Haston Donna Kelm Carolina Keith 15
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MOSC 2014-2015 ORCHESTRA VIOLIN John Madura, Concertmaster Dorothy Croft Chair Endowed by the Midland Symphony Guild Alex Norris, Principal Second Violin Kevin Crutchfield Heather Davis Trisha Faubion Lowell Hohstadt Nikesha Hopes Laurel Lawshae Yalira Machado Karen McAfee Robert Meinecke Lucy Proctor Abi Rhoades Jason Snider Martha Stone Molly Turner Greg Zychowski VIOLA Melissa Madura, Principal Laura Pe単a, Associate Principal Brett Berridge Beau Garza Kathy Hohstadt Jan Mayfield Miriam Oddie
CELLO Amy Huzjak, Principal Endowed in memory of Walter Osadchuk by Dr. and Mrs. Michael Miller Danny Mar, Associate Principal Elizabeth Purvis Aurelia Rocha David Thomas BASS Bill DeLavan, Principal Christine Craddock Robert Pierot Endowed in memory of Mary June Rasmussen by Mr. Kenneth Anderson and Dr. Anne Acreman, MD FLUTE Melissa Graham, Principal Kate Martin, Associate Principal Jennifer Chen OBOE Caryn Crutchfield, Principal Robert Krause, Associate Principal
CLARINET Chris Chance, Principal Sarah Demy, Associate Principal Mande Gragg BASSOON Luis de la Garza, III, Principal Bill Harden, Associate Principal HORN Sonja Kassal, Co-Principal Scott Millichamp, Co-Principal Norma Binam Susan Kelley
BASS TROMBONE Jon James, Principal TUBA Kevin Young, Principal TIMPANI Tim Mabrey, Principal PERCUSSION Erin Martysz, Principal Nathaniel Collins Keith Lloyd PIANO Shari Santorelli, Principal
TRUMPET Eric Baker, Co-Principal Michael Santorelli, Co-Principal John Irish TROMBONE Ben Walsh, Principal Darin Cash
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Midland-Odessa Symphony & Chorale Gary Lewis, Music Director & Conductor
Presents
A N E VENING W ITH
SUSAN GRAHAM, MEZZO-SOPRANO SATURDAY, SEPTEMBER 13, 2014 • 7:30 P.M. WAGNER NOËL PERFORMING ARTS CENTER Ms. Graham’s Appearance Sponsored by Lissa Noël Wagner with Frances & Jack Brown This Concert Proudly Sponsored by Peggy & Bob Cowan Friends of Susan Graham Ann & Ken Hankins, Jr.
Susan Graham appears by arrangement with IMG Artists, 152 West 57th Street, 5ft Floor, New York, NY 10019. Tel: 212-1994-3500. Susan Graham can be heard on BMG, Erato, Sony, Decca, Philips, EMI, and the Warner Classics family of labels. 22
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A N E VE N I N G W I TH S U S AN GR AHAM 7:30 P. M . S ATURDAY, S EPTEMBER 13, 2014 WAGNER N OËL P ERFORMING A RTS C ENTER Christoph Willibald von Gluck (1714 – 1787) Overture to Iphigénie en Aulide Orchestra “Che farò senza Euridice” from Orfeo ed Euridice Susan Graham “O del mio dolce” from Paride ed Elena Susan Graham Wolfgang Amadeus Mozart (1756 – 1791) Overture to Le nozze di Figaro Orchestra “Deh per questo” from La clemenza di Tito Susan Graham “Parto, Ma Tu, Ben Mio” from La clemenza di Tito Susan Graham
~INTERMISSION~ Maurice Ravel (1875 – 1937) Alborada del Gracioso Orchestra Shéhérazade Susan Graham • Asie • La flûte enchantée • L'Indifférent
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A R T I S T
“Susan Graham has for the better part of a decade impressed audiences with her creamy singing and chiseled characterizations.” – New York Times
Grammy Award-winner Susan Graham – dubbed “America’s favorite mezzo” by Gramophone magazine – achieved international stardom within a few years of her professional debut. Her operatic roles span four centuries, from Monteverdi’s Poppea to Jake Heggie’s Sister Helen Prejean (Dead Man Walking), which was written especially for her. Her recital repertoire is equally wide-ranging; her most recent release, Virgins, Vixens, and Viragos, features music by 14 composers from Purcell to Sondheim. As one of today’s foremost interpreters of French vocal music, the Texas native was awarded the French government’s prestigious honorific, “Chevalier dans l’Ordre des Arts et des Lettres.” Graham enjoyed early success in “trouser” roles like Mozart’s Cherubino (Le nozze di Figaro), before mastering his more virtuosic parts and the title roles of Handel’s Ariodante and Xerxes. She triumphed in Richard Strauss’s iconic mezzo roles, Octavian (Der Rosenkavalier) and the Composer (Ariadne auf Naxos). These brought her to prominence with all the world’s major opera companies, including the Metropolitan Opera, Chicago, San Francisco, Covent Garden, Paris, Munich, La Scala, Salzburg, and Vienna. She created the female leads in the Met’s premiere productions of John Harbison’s The Great Gatsby and Tobias Picker’s An American Tragedy. As Houston Grand Opera’s Lynn Wyatt Great Artist, she recently performed Prince Orlofsky (Die Fledermaus), before heading an all-star cast featuring Plácido Domingo in a revival of the Met’s acclaimed Baroque pastiche, The Enchanted Island. It was with conquests in Berlioz’s Béatrice et Bénédict in Lyon and Massenet’s Chérubin at Covent Garden that the mezzo scored further 24
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A R T I S T
French repertory collaborations with such preeminent conductors as Sir Colin Davis, Charles Dutoit, James Levine, and Seiji Ozawa. New productions of Gluck’s Iphigénie en Tauride, Berlioz’s La damnation de Faust, Massenet’s Werther, and Offenbach’s La belle Hélène and The Grand Duchess of Gerolstein were mounted for her in New York, London, Paris, Chicago, San Francisco, Santa Fe, and elsewhere. Most recently, Graham earned rave reviews for her portrayal of Anna in a new staging of Rodgers & Hammerstein’s The King and I at Théâtre du Châtelet in Paris and was the stand-out star of Berlioz’s Les Troyens at the Met, which was broadcast to cinemas worldwide in the company’s Live in HD series. Graham’s affinity for French music has led to regular appearances with the New York Philharmonic, Boston Symphony, Orchestre de Paris, London Symphony, and more. Marking her first duo recital tour, the mezzo recently teamed up with soprano Renée Fleming at six of the nation’s top venues. Her extensive and distinguished discography features oratorios and song cycles by Berlioz, Ravel, and Chausson, as well as solo albums that include her Grammy Award-winning album of Ives songs. Among the mezzo’s additional honors are Musical America’s Vocalist of the Year and an Opera News Award. www.susangraham.com www.facebook.com/pages/Susan-Graham/108104832545050 www.twitter.com/mezzograham © 21C Media Group, September 2014
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AN EVENING WITH SUSAN GRAHAM Overture to Iphigénie en Aulide
Christoph Willibald von Gluck (1714 – 1787)
In the midst of the Enlightenment, Bohemian composer Gluck played a crucial role in translating the widespread agitation for the reform of opera. This reform, though arguably innovative, was a natural perpetuation of the trends of European intellectuals. Gluck sought to express the common core idea of simplicity and reductionism – that rational thought begins with clearly stated principles: “simplicity, truth and naturalness are the great principles of the Beautiful in all productions of art.” So ensued the great Italian reform operas of C. W. Gluck, alongside his librettist Ranieri Calzabigi, beginning with the famous Orfeo ed Euridice. In the score of his second reform opera, Alceste, Gluck (though Calzabigi’s penning) provided a dedicatory letter addressing his intentions. He “proposed to restrict the music to its true function of serving the poem in the expression and in the situations of the story without interrupting the action or cooling it down with useless, superfluous ornamentations” – as had become tradition in opera seria, particularly in the elaborate “Da Capo” arias (within which the singer would show his or her virtuosity as a more valued aspect over clarity of the libretto or action). Gluck further expounded that the “overture ought to prepare the audience for the events to be presented, that it ought, so to speak, to set the theme,” and as a result, believed his “greatest labor should consist in the search for a beautiful simplicity.” After general success with his reform operas in Vienna, Gluck moved to Paris in 1773. Initially, his music was received with various degrees of fevered admiration, apprehension, and outright disdain. On April 19, 1774, Gluck premiered his Iphigénie en Aulide, his first tragédie opéra, and was again acknowledged with mixed reviews. The only instant success was the overture, which received enthusiastic applause. After only five performances, the first run was interrupted by the death of Louis XV. Gluck, ever the opportunistic, made alterations during the break, particularly in the ending. When the opera reopened in January of 1775, Marie Antoinette, the Queen of France, attended a performance. The Queen was an ardent supporter of Gluck, perhaps due to her connection to him through singing lessons back in Vienna. The Queen’s attendance was recounted in the Correspondance littéraire: “If the votes on M. [Monsieur] Gluck’s Iphigénie continue to be severely divided, they were all united the day the queen came to hear it, when the verses were applied to her in the chorus. [Sing, sing our queen’s praises…] The allusion was seized with enthusiasm. The piece had to be repeated, and all eyes turned to the Queen, who received the homage with the most amiable and interesting embarrassment. What prologues, what panegyrics can be compared to such transports of public tenderness and admiration!” Gluck had won the crowd. The overture to Iphigénie en Aulide, now a cornerstone of Gluck’s oeuvre, has since been heralded as one of his finest instrumental achievements. “Che farò senza Euridice” from Orfeo ed Euridice
C. W. Gluck (1714 – 1787)
Orfeo ed Euridice premiered in Vienna on October 5, 1762. The opera was the spearhead of Gluck’s reform movement with poet (and librettist) Ranieri Calzabigi (1714 – 1795). In the third (and final) act, Orfeo has finally been allowed to bring his wife home from the under-
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AN EVENING WITH SUSAN GRAHAM (continued) world, if he does not look upon her face until they are back in the world of the living. On the road, Euridice questions Orfeo’s strangely impatient behavior, pressing him for an explanation, though he cannot provide one. After an ensuing passionate argument, Euridice faints. Orfeo turns to look, and Euridice dies instantly. The heartbreaking “Che farò senza Euridice” is Orfeo’s resultant contemplation of life without his beloved. Che farò senza Euridice? Dove andrò senza il mio ben? Euridice, o Dio, risponde! Io son pure il tuo fedele. Euridice! Ah, non m’avanza più socorso, più speranza ne dal mondo, ne dal cielo.
What will I do without Euridice? Where will I go without my love? Euridice, oh God, answer! I am entirely your faithful one. Euridice! Ah, I am left without any help, any hope neither from this world, nor heaven.
“O del mio dolce” from Paride ed Elena
C. W. Gluck (1714 – 1787)
Paride ed Elena, Gluck’s third and final reform opera, premiered on November 3, 1770. Its initial reception carried mixed reviews, though Gluck was believed to already have his sights set on Paris. The overture to Paride ed Elena sets the scene, utilizing music heard later in the opera (as part of his reform tactics). Act 1 begins on the seashore, with a view of the nearby city of Sparta as well as the Trojans’ tents on the beach. Paris (Paride), along with his following of Trojan sailors, is offering a sacrifice to the goddess Venus. The opening chorus unfolds – a hymn praying to Venus for help in Paris’s desire for Helen (Elena) of Troy. “O del mio dolce” follows, as Paris’s own personal testimony to his feelings for the beautiful Helen. O del mio dolce ardor Bramato oggetto, L’aura che tu respiri, Alfin respiro.
Oh, coveted object of my sweet ardor, The air you breathe, At last I breathe.
Ovunque il guardo io giro, Le tue vaghe sembianze Amore in me dipinge: Il mio pensier si finge Le più liete speranze; E nel desio che così M’empie il petto Cerco te, chiamo te, spero e sospiro.
Everywhere I look, Your vague semblance Paints love in me: My thoughts imagine Even more joyful hopes And in this desire that so Fills my bosom I seek you, call you, hope and sigh.
Overture to Le nozze di Figaro
Wolfgang Amadeus Mozart (1756 – 1791)
Premiered on May 1, 1786, The Marriage of Figaro was the first of the three great Italian comic operas written to librettos by Lorenzo da Ponte. Da Ponte wrote this opera’s libretto based on the controversial Parisian play Le mariage de Figaro (additionally titled La folle journée – The Day of Madness), written by Pierre-Augustin Beaumarchais in 1784. Beaumarchais was severe in his political overtones and sexually risqué content; the play was almost immediately banned in Vienna. Despite this, Mozart (ever the risk-taker) worked with Da Ponte to tone down the 27
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AN EVENING WITH SUSAN GRAHAM (continued) more scandalous bits, and managed to tighten the dramatic structure to keep a brisk pace appropriate to their needs. The result was an opera in four acts, perpetually indefatigable; Le nozze di Figaro never loses its momentum. The overture, though utilizing none of the material from the opera itself, perfectly captures the excited tone and frenzied pace of the action to follow. It opens with a spinning line of sixteenth notes from the strings and bassoon, as though joining an already moving train. A quick conversation between two paired sections (oboes with horns; flutes with clarinets) takes place before the orchestra explodes into the first theme. This stark contrast between soft and loud is present throughout the overture, akin to hushed excitement and joyous outbursts. Even the more lyrical second theme does not escape the infectious exhilaration; the overture continually spins forward until its bright-eyed and bushy-tailed conclusion. “Deh per questo” from La clemenza di Tito
W. A. Mozart (1756 – 1791)
Premiered on September 6, 1791 in Prague, La clemenza di Tito was the penultimate opera in Mozart’s prolific oeuvre, though the bulk of his last opera, Die Zauberflöte, was already completed. The libretto is that of the famous Pietro Metastasio, a popular choice; it had previously been set by over 40 other composers. Librettist Caterino Tommaso Mazzolà helped Mozart to modify Metastasio’s work to suit his needs. Mozart is thought to have composed La clemenza between late July and September of 1791, in the midst of his soon-to-be fatal illness and travels to Prague. Despite the difficulties, Mozart finished the work on the eve of the premiere. Although widespread audiences enjoyed this opera until about 1830, it subsequently went into eclipse. Since then, La clemenza di Tito has never again fully recovered a traditional spot in the repertoire; it is often thought to be unworthy of Mozart’s legacy, perhaps in part due to the hasty production for a commission he was loath to refuse. Thankfully, arias such as “Deh per questo” (as well as “Parto, ma tu, ben mio”) remain mainstream as beloved repertoire pieces. “Deh per questo” is from the second act, set in the midst of an intimate and dire conversation between the emperor (Tito) and his formerly loyal friend (Sesto). Sesto has confessed to an assassination attempt on Tito, and should therefore be sentenced to death. Tito, wanting to find a reason to spare his friend, has called for him, gently addressing him, asking for an explanation. Sesto’s guilt-ridden demeanor is clear, but in an effort to protect Vitellia (the accomplice, but also the woman who had stolen his heart), he refuses to explain. Tito, understandably angered, dismisses him coldly. Their parting is delayed by “Deh per questo” – Sesto’s last plea, asking Tito to remember their friendship and kindred love.
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Deh, per questo istante solo Ti ricorda il primo amor, Che morir mi fa di duolo Il tuo sdegno, il tuo rigor.
Ah, for just this one moment, remember your initial love, that makes me die of grief your anger, your severity.
Di pietade indegno, e vero, Sol spirar io deggio orror. Pur saresti men severo se vedessi questo cor.
Unworthy of pity, it is true, I ought only to inspire horror. Although you would be less severe if you saw my heart.
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AN EVENING WITH SUSAN GRAHAM (continued) Disparato vado a morte, ma il morir non mi spaventa. Il pensiero mi tormenta che fui teco un traditor!
Desperate, I go to death, but dying does not scare me. The thought which torments me is that I betrayed you!
(Tanto affanno soffre un core, ne si more di dolor!)
(So much grief a heart suffers, yet does not die of sorrow!)
“Parto, ma tu, ben mio” from La clemenza di Tito
W. A. Mozart (1756 – 1791)
In Act I, Sesto has fallen madly in love with Vitellia. The scene is full of passion on Vitellia’s behalf; she is enraged and orders Sesto to kill Tito and set fire to Rome. So blind is Sesto’s infatuation that even her incredulous request to assassinate the emperor, his friend and honored leader, does not sway his affection. Sesto responds with “Parto, ma tu, ben mio,” clearly stating how much he loves her, and how he will do anything she desires. Parto, ma tu, ben mio, Meco ritorna in pace; Sarò qual più ti piace, Quel che vorrai fatò.
I go, but, my dearest, make peace with me again. I will be what you would most have me to be, do whatever you wish.
Guardami, e tutto oblio, E a vendicarti io volo; A questo sguardo solo Da me sì pensera. Ah qual poter, oh Dei! Donaste alla beltà.
Look at me, and I will forget all, and fly to avenge you; Your glance will be my only thought. Ah, ye gods, what power you have given beauty!
Alborada del Gracioso
Maurice Ravel (1875 – 1937)
Throughout his career, Ravel had a notable inclination toward far away places and times. His mother was Basque and his father Swiss; Ravel’s music is a testimony to his longstanding identification with his heritage, particularly the Basque culture. The respected Spanish composer Manuel de Falla once described Ravel’s Spanish music as “subtly genuine.” His Swiss heritage can in part be attributed in another fashion. His father was a watchmaker, a profession that exemplifies attention to even the smallest detail. Stravinsky, in a famous (and notably uncomplimentary) critique, used the words “Swiss watchmaker” to describe Maurice Ravel’s musical approach; Ravel was often criticized for an emphasis on craftsmanship and technique over expressiveness. In a time when composers were pushing the boundaries in the latter category, however, Ravel was by no means derivative in his style. In fact, he is heralded as one of the most original and urbane musicians of his time, while still quintessentially French in his elegant sensibility. Like Debussy, Ravel was inspired by the exotic music he heard at the 1889 Exposition in Paris, and freely admitted this experience as influential. The allure of the exotic was sufficiently intoxicating, and in addition to his particular fascination with the Basque culture, his resultant oeuvre featured elements such as modal melodies, pentatonic scales, allusions to bitonality, 29
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AN EVENING WITH SUSAN GRAHAM (continued) and emphasized extended chords (particularly utilizing 9ths and 11ths). Whatever his tactics, and however controlled they may have been, the result undeniably evokes emotion; he was no mere technician. Ravel completed a set of piano pieces, entitled Miroirs in 1905. Alborada del gracioso is the fourth of the five pieces, and is notoriously challenging for even the most virtuosic pianists. In fact, one of the most common adjectives describing its difficulty is “fiendish,” particularly with respect to its relentlessly fast repeated notes, glissandos, complex rhythms, and stamina demands. The title itself is also elusive. Alborada is essentially “dawn.” Some musicologists relate this to the French aubade or to the genre of Old Occitan lyric poetry alba, commonly used by troubadours in the Middle Ages. These relations evoke the original intent of such songs: in the broadest traditional sense, they were used by a watchman to separate lovers in the throws of infidelity when dawn was approaching. With this in mind, del gracioso is slightly harder to define. Del gracioso is literally of the “clown,” “jester,” or “buffoon.” Consequently, Ravel may be alluding to both unsatisfied love and humor; Dawn Song of the Buffoon paints quite a picture. Perhaps it speaks to a private joke with this movement’s dedicatee, Michel-Dimitri Calvocoressi, a friend and colleague to Ravel. Ravel orchestrated Alborada del gracioso in 1918. Some believe he was particularly compelled to orchestrate this piece because he was unsatisfied with pianists’ abilities to perform the work well. Regardless, Ravel’s sense of color in this orchestration is extremely gratifying. The work begins with an allusion to the seguidilla, a Spanish dance form and folksong, traditionally accompanied by guitar. Ravel, in his watchmaker-like attention to detail, has provided the strummed guitar timbre through pizzicato in the strings. The dance is interrupted by flourishes of color from solo instruments, a mournful bassoon solo, and other momentary sentimental mood swings. The dance never completely stops, present to some degree even under the slower motion of the sentimental melodies. The unyielding conclusion builds to a bright splash of glorious intensity, finishing this exciting orchestral showpiece with a flourish. Shéhérazade (3 poems for voice & orchestra)
Maurice Ravel (1875 – 1937)
Composed in 1903 and premiered in Paris in 1904, Shéhérazade is incredibly evocative in its Eastern musical fragrances. Its voluptuous beauty speaks volumes in regards to Ravel’s wizardry of orchestration; the exotic text is brought to life in a vivid fantasy with a dreamy aura of sensuality and languid shimmers. The text is taken from the poetry of Ravel’s friend, Tristan Klingsor (a pseudonym for Arthur Justin Léon Leclère). Ravel and Klingsor (along with each dedicatee of Miroirs) were members of an avant-garde group called Les apaches, whose main principle was to advocate groundbreaking artistic achievements. Klingsor was surprised by Ravel’s choices in his set of Shéhérazade poems, particularly in that of Asie. Ravel, perpetually enticed by a challenge, picked this text intentionally because of the undramatic nature of the poem, seemingly unsuitable for this task. Asie (Asia) is a travelogue, brimming with evocations of the exotic Orient. At each turn and nuance, Ravel expertly reinforces the enticing imagery, rising to the challenge. La flûte enchantée (The magic flute) features a story of mesmerized desire. Last, L'Indifférent (The indifferent one) speaks to unrequited love. 30
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AN EVENING WITH SUSAN GRAHAM (continued) • Asie (Asia) Asie, Asie. Asie Vieux pays merveilleux des contes de nourrice Où dort la fantaisie comme une impératrice En sa forêt emplie de mystère.
Asia, Asia, Asia Wonderful old country nursery tales Where fantasy sleeps like an empress In a forest full of mystery.
Asie, Je voudrais m'en aller avec la goëlette Qui se berce ce soir dans le port, Mystérieuse et solitaire, Et qui déploie enfin ses voiles violettes Comme un immense oiseau de nuit dans le ciel d'or.
Asia, I would like to sail away with the schooner That is rocking tonight in the harbor, Mysterious and lonely, And finally deploying its purple sails Like a huge night bird in the golden sky.
Je voudrais m'en aller vers des îles de fleurs En écoutant chanter la mer perverse Sur un vieux rythme ensorceleur.
I would like to go to the flower islands Listening to the perverse sea sing To an old, bewitching rhythm.
Je voudrais voir Damas et les villes de Perse Avec les minarets légers dans l'air. Je voudrais voir de beaux turbans de soie Sur des visages noirs aux dents claires;
I want to see Damascus and the cities of Persia With minaret light in the air. I would like to see beautiful silk turbans On black faces with bright teeth;
Je voudrais voir des yeux sombres d'amour Et des prunelles brillantes de joie Et des paux jaunes comme des oranges; Je voudrais voir des vêtements de velours Et des habits à longues franges.
I want to see the dark eyes of love And pupils shining with joy And skins yellow as oranges; I want to see clothes of velvet And coats with long fringes.
Je voudrais voir des calumets entre des bouches Tout entourées de barbe blanche; Je voudrais voir d'âpres marchands aux regards louches, Et des cadis, et des vizirs Qui du seul mouvement de leur doigt qui se penche Accordent vie ou mort au gré de leur désir.
I would like to see pipes in mouths Surrounded by white beards; I want to see bitter merchants with suspicious looks, And the cadis, and the viziers Who with a mere movement of a crooked finger Grant live or death to suit their desire.
Je voudrais voir la Perse, et l'Inde, et puis la Chine, Les mandarins ventrus sous les ombrelles, Et les princesses aux mains fines, Et les lettrés qui se querrellent Sur la poésie et sur la beauté;
I would like to see Persia, and India, then China, Plump mandarins under umbrellas, And princesses with fine hands, And scholars who quarrel Over poetry and beauty;
Je voudrais m'attarder au palais enchanté Et comme un voyageur étranger Contemple à loisir des paysages peints Sur des étoffes en des cadres de sapin Avec un personnage au milieu d'un verger;
I want to look upon an enchanted palace And as a foreign traveler Contemplate at leisure painted landscapes On fabrics with pine frames With a character in the middle of an orchard;
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Je voudrais voir des assassins souriants Du bourreau qui coupe un cou d'innocent Avec son grand sabre courbé d'Orient.
I want to see smiling assassins The executioner cut an innocent neck With his large curved saber of the Orient.
Je voudrais voir des pauvres et des reines; Je voudrais voir des roses et du sang; Je voudrais voir mourir d'amour ou bien de haine.
I want to see the poor and the queens; I want to see roses and blood; I want to see death by love or hate.
Et puis m'en revenir plus tard Narrer mon aventure aux curieux de rêves En élevant comme Sinbad ma vieille tasse arabe De temps en temps jusqu'à mes lèvres Pour interrompre le conte avec art. . . .
And when I return later Tell my story to the curious dreamers I will raise – just like Sinbad – my old Arab cup From time to time to my lips To artfully interrupt the tale…
• La flûte enchantée L'ombre est douce et mon maître dort, Coiffé d'un bonnet conique de soie Et son long nez jaune en sa barbe blanche.
The shade is soft and my master sleeps, Wearing a conical silk hat And long yellow nose in his white beard.
Mais moi, je suis éveillée encor Et j'écoute au dehors Une chanson de flûte où s'épanche
But I, I am still awake And I hear from outdoors A song of a flute overflowing
Tour à tour la tristesse ou la joie. Un air tour à tour langoureux ou frivole Que mon amoureux chéri joue,
Alternately sadness or joy. A tune by turns languid or frivolous My cherished lover plays,
Et quand je m'approche de la croisée Il me semble que chaque note s'envole De la flûte vers ma joue Comme un mystérieux baiser.
And when I approach the window It seems to me that each note flies From the flute to my cheek Like a mysterious kiss.
• L'Indifférent Tes yeux sont doux comme ceux d'une fille, Jeune étranger, Et la courbe fine De ton beau visage de duvet ombragé Est plus séduisante encor de ligne.
Your eyes are soft like a girl, Young stranger, And the delicate curve Of your beautiful face, shadowed with down, Is still more seductive in outline.
Ta lèvre chante sur le pas de ma porte Une langue inconnue et charmante Comme une musique fausse . . . Entre! Et que mon vin te réconforte . . .
Your lips sing on my doorstep An unknown and charming language Like music out of tune… Enter! And let my wine give you comfort…
Mais non, tu passes Et de mon seuil je te vois t'éloigner Me faisant un dernier geste avec grâce Et la hanche légèrement ployée Par ta démarche féminine et lasse. . .
But no, you go And at my door I see you away Making me a final graceful gesture And your hips slightly swing From your feminine and languid gait… Melissa Graham © 2014
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Midland-Odessa Symphony & Chorale Gary Lewis, Music Director & Conductor
Presents
THE
FOR MICHAEL, MUSIC OF MICHAEL JACKSON
J e a n s ‘ n Cl assi c s S a tur d a y, O c to b e r 18, 2014 • 7:30 p.m. Wa g ne r N o ë l Pe rformi n g Arts Ce n te r This Concert Generously Sponsored by
Midland Symphony Guild 34
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P R O G R A M For Michael, The Music of Michael Jackson 7:30 p.m. S a t u r d a y, O c t o b e r 1 8 , 2 0 1 4 Wa g n e r N o ë l P e r f o r m i n g A r t s C e n t e r For Michael, The Music of Michael Jackson Gary Lewis Conductor Billie Jean I Wa n t Yo u B a c k ABC Never Say Goodbye Ben Rockin’ Robin I’ll Be There R o c k w i t h Yo u D o n ’ t S t o p ‘ T i l Yo u G e t E n o u g h
~INTERMISSION~ Wo r k i n ’ D a y a n d N i g h t O f f t h e Wa l l Wa n n a B e S t a r t i n ' S o m e t h i n ' Beat It T h e Wa y Yo u M a k e M e F e e l P. Y. T. ( P r e t t y Y o u n g T h i n g ) Human Nature Thriller
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Gavin Hope Gavin has a diverse experience through song, stage, film, and TV throughout his career. After being the youngest member in Calgary Opera Chorus history, he's been a member of Alberta pop group The EarthTones, sang with Michael Bolton, and eventually became a member of Canadian Pop A Cappella institution, The Nylons. Four albums, constant touring, and a Juno Nomination later, Gavin ventured into theatre, where highlights include RENT, and having the opportunity to play the role of Simba in the original Canadian company of The Lion King. Some other selected credits include Tempest and As You Like It with Canstage, and Gavin also had the pleasure of performing with Stage West Calgary's Smokey Joe's CafĂŠ. Gavin recorded his debut album "Anything Like Mine" in 1998, gaining favorable chart positions on Canadian airwaves with 9 singles, including "Can I Get Close" which garnered him another Juno nomination for best R&B recording. Gavin has had many great opportunities to travel the world and share the stage with celebrities such as Deborah Cox, Jill Scott, Shania Twain, Michelle Wright, Natalie Cole, James Brown, and Aretha Franklin. After some time gigging with multiple bands, performing jingles for Radio and Television, being a featured vocalist with Royal Caribbean and Celebrity Cruise Lines, Gavin is now finally looking forward to getting back in the studio to record another album very soon!
Peter Brennan's Jeans 'n Classics is a winner! Since its inception, it has been a star performer in the arts and entertainment scene. Its concept of combining rock musicians and headlining stars with worldclass symphony orchestras has drawn record setting capacity crowds. Jeans 'n Classics appeals to an age group from 25 to 65, with a heavy concentration in the Classic Rock audience. The patrons are symphonygoers, enthusiastic sponsors and business professionals who wish to entertain clients, investors and reward employees. Jeans 'n Classics is a group of musicians who understand orchestra culture and are committed to help in the building of younger, loyal audiences for symphony orchestras across Canada and the United States. www.jeansnclassics.com
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Midland-Odessa Symphony & Chorale Gary Lewis, Music Director & Conductor
Presents
R ACH ROCKS!
Stanislav Khristenko, piano
S a t u r d a y, N o v e m b e r 8 , 2 0 1 4 7:30 p.m. Wa g n e r N o ĂŤ l P e r f o r m i n g A r t s C e n t e r This Concert Proudly Sponsored by
Martha & Paul Crump 38
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P R O G R A M Rach Rocks! 7:30 p.m. S a t u r d a y, N o v e m b e r 8 , 2 0 1 4 Wa g n e r N o ë l P e r f o r m i n g A r t s C e n t e r Rach Rocks! Gary Lewis Conductor Stanislav Khristenko, piano Audience Choice: Overture to Il barbiere di Siviglia Gioachino Rossini (1792 – 1868) Piano Concerto No. 2, op. 18
Sergei Rachmaninoff (1873 – 1943) Moderato Adagio sostenuto Allegro scherzando
~INTERMISSION~ Symphony No. 1, “Formations” Orogenies Rush! Requiems Majesties
Jeffrey Nytch (b. 1964)
Commissioned by the Geological Society of America and the Boulder Philharmonic Orchestra in celebration of the GSA's 125th Anniversary, with support from ExxonMobil and co-commissioned by Midland-Odessa Symphony & Chorale.
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A B O U T T H E A R T I S T S Stanislav Khristenko Stanislav Khristenko's performances have captivated audiences on four continents since his first solo recital at the age of eleven. A 'poet', 'an architect of great forms' (LeSoir), Mr. Khristenko has been praised in the media around the globe. The Washington Post wrote “it was clear that Khristenko knows how to spin a story; his pacing was mature and unhurried, the dynamic range wide, and his fingers exhibited power and sensitivity." Of his Weill Hall at Carnegie Hall solo recital The New York Concert Review wrote "[he] has the poise and intellect of a seasoned performer.” Mr. Khristenko has appeared as a soloist with the National Symphony Orchestra of Belgium, the Cleveland Orchestra, Phoenix Symphony, Hong Kong Chamber Orchestra, Berliner Musikfreunde Orchestra, Takamatsu Symphony Orchestra, Arkansas Symphony, Northwest Florida Symphony and Moscow Conservatory Orchestra, among others. His performance highlights include solo recitals in Weill Hall at Carnegie Hall, Schubertsaal in Vienna, Phillips Collection in Washington; and performances with orchestra in Grosser Hall of Berlin Philharmonie, Severance Hall in Cleveland, Moscow Conservatory Great Hall and Hong Kong City Hall. Mr. Khristenko has won top prizes at some of the most prestigious international piano competitions. In 2013 alone he won First Prize at the 2013 Cleveland International Piano Competition, First Prize at the 2013 Maria Canals International Music Competition, and was named Fourth Laureate at the 2013 Queen Elisabeth Competition. Mr. Khristenko also was a recipient of the Emil Gilels Award of the Mstislav Rostropovich Foundation and a Russian Performance Art Foundation Award. Following Mr. Khristenko’s performance of Brahms’ Piano Concerto No. 1 with The Cleveland Orchestra in the final round of the Cleveland Competition, the Plain Dealer’s Zachary Lewis praised his performance for its “shimmering filigree and phrases of exquisite tenderness, in which every note mattered.” Born in Ukraine, Mr. Khristenko is a graduate of the Moscow State Tchaikovsky Conservatory. He received an Artist Diploma from the Cleveland Institute of Music in 2010 where he studied as a full scholarship student with Sergei Babayan.
Jeffrey Nytch Composer Jeffrey Nytch has built a diverse career as a composer, teacher, performer, arts dministrator, and consultant. He has also run a small business, co-founded a non-profit ervice organization in Houston, performed a wide range of repertoire as a vocalist, and served five years as Managing Director of The Pittsburgh New Music Ensemble “PNME ”), one of the nation’s premiere new music ensembles. In 2009 he joined the faculty of The University of Colorado-Boulder, where he serves as Director of The Entrepreneurship Center for Music. A native of Vestal, New York, Nytch completed a bachelor’s degree at Franklin and Marshall College (Lancaster, Pennsylvania), studying with John Carbon, and earned Masters and Doctoral degrees in composition from the Shepherd School of Music, Rice University (Houston), under the guid40
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ance of Composer-in-Residence Paul Cooper. He has also studied with Donald Erb at Gunther Schuller's Schweitzer Institute of Music in Sandpoint, Idaho, and has participated in master classes with Ross Lee Finney, Christopher Rouse, and Samuel Adler. Hailed by the Pittsburgh Post-Gazette as "both impressive and satisfying," Nytch’s music comprises a wide range of works that have been performed at venues throughout the United States and Europe, including Lincoln Center, the Corcoran Gallery in Washington, D.C., the Soho Arts Festival, The Festival at Sandpoint, the Luzerne Chamber Music Festival, the Marktoberdorf International Chamber Choir Competition, and the Breckenridge Music Festival. His compositions have been performed by such artists as Richard Stoltzman, the Pittsburgh New Music Ensemble, the Ahn Trio, the Verge Ensemble, the National Repertory Orchestra, the New York Chamber Symphony, the Seattle Symphony, the Binghamton Philharmonic, and the Slovak Radio Symphony Orchestra. Nytch has received numerous grants, awards and commissions, including First Prize in the American Festival for the Arts American Composers' Competition, a Creative Artist Grant from the Cultural Arts Council of Houston, and awards from ASCAP, the Ithaca College Choral Composition Competition, The Morton Gould Composers' Competition, "Meet the Composer," the American Music Center and the Mellon Foundation. His music has been recorded by the Slovak Radio Symphony Orchestra conducted by Robert Black, the Seattle Symphony with Richard Stoltzman and conductor Gerard Schwarz, and by George Manahan and the New York Chamber Symphony. The recording of his Clarinet Concerto was listed among the Best Classical Discs of 2002 by Gramophone magazine. Most recently, this Symphony No. 1: Formations, inspired by the geology of the Rocky Mountains, was co-commissioned by the Boulder Philharmonic and the Geological Society of America, receiving its premiere in the Fall of 2013. During his tenure with The Pittsburgh New Music Ensemble, Nytch partnered with Artistic Director Kevin Noe to introduce an innovative new approach to presenting contemporary chamber music, incorporating movement, theatrical lighting, spoken word, video, and costumes to create a unique “theater of music.” The new format resulted in a 600% increase in attendance in five years, as well as a doubling of the organization’s budget. He still serves the group as its President. He has also held teaching posts at Carnegie Mellon University, the American Festival for the Arts, and Franklin & Marshall College. In addition to composing and teaching, Nytch serves as a strategic consultant to arts organizations and works with educational institutions seeking to develop or begin entrepreneurship programs. He has lectured and conducted workshops at the Jacobs School of Music at Indiana University, The Manhattan School of Music, Western Michigan University, The University of Minnesota, Louisiana State University, and others.
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Audience Choice Overture Winner: Il barbiere di Siviglia (The Barber of Seville)Gioachino Rossini (1792 – 1868) In the early 19th century, the Italian opera business was lively, bustling, and hectic. Modern musicologists have likened it to avant-garde theater arenas such as New York City; audiences demanded new operas with astounding frequency. For composers, the vast demand was a double-edged sword, of sorts; it meant they had the potential to yield a lucrative business, but they also had to produce works incredibly fast. In fact, it was not infrequent for composers to receive a libretto mere weeks before the opera was to premiere. Popular legend states that Rossini wrote Il barbiere de Siviglia in only thirteen days, though this is likely an exaggeration. It is, however, documented that he signed the contract to compose this opera less than two months before the premiere date. Gioachino Rossini was the shining center of this hubbub. By the time Rossini premiered Il barbiere di Siviglia in February of 1816 (at the “ripe” age of 23), he was already a seasoned veteran; his work from 1810 until this premiere boasted no less than 16 stage works (amongst a plethora of sacred pieces, cantatas, incidental music, hymns, choruses, vocal pieces, and instrumental music). Rossini’s popularity was similar to a rock star by today’s standards, as described by journalist Leigh Hunt in a letter dated March of 1823: “…Rossini is talked of, written of, copied, sung, hummed, whistled, and demi-semi-quavered from morning to night. If there is a portrait in a shop-window, it is Rossini’s. If you hear a song in the street, it is Rossini’s. If you go to a musicshop to have something copied – ‘An air of Rossini’s?’” Rossini dominated the scene. As with any star in popular culture, however, competition can prove to be fierce. Such was the case in the premiere of Rossini’s Il barbiere di Siviglia; many of the audience members, avid supporters of said competition, attended with the sole intent of heckling and booing. Coupled with several unfortunate happenings on stage (such as a singer falling during his entrance – consequently having to perform his aria with a bloody nose, another singer falling through a trap door, and a seemingly miscreant cat wandering on stage), this premiere was anything but successful. Rossini, disheartened by the poor reception, retreated home with a claimed illness. The next night, however, the audience listened – and still today, audiences everywhere love this comic opera masterpiece. The overture itself has a similarly interesting history; it was not written for this opera. Many of the composers in this era recycled their own material, likely out of sheer need to meet the fast-paced demands. The overture that modern audiences now correlate with Il barbiere di Siviglia serves as an example of this recycling, having functioned in the same manner (though with varying degrees of modification) in in his Aureliano in Palmira of 1813, and Elisabetta, Regina d'Inghilterra of 1815. Despite the colorful history of this overture, 4526 E. University, #1A it is difficult to think of it as anything but the Odessa, TX 79762 aural appetizer for Il barbiere di Siviglia. It is one Office: (432) 368-6800 of the most familiar and recognizable operatic Cell: (432) 528-1153 overtures to modern audiences. Some listeners E-mail: simsguess@cableone.net Web: simsguessrealtors.com may also have additional pop culture correlaGARY SIMS, ABR, CRS tions, ranging from its feature in the 1940s Bugs BROKER-OWNER Bunny and Woody Woodpecker cartoons to the Multi-Million Dollar Producer
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more recent usage in the sitcom Seinfeld (1993). Amongst his many compositional talents (in addition to masterfully recycling material and lightning-fast production), Rossini was a master of several standard forms. The overture at hand serves as a perfect example of the form he used for many of his overtures: a slow introduction, followed by a spritely allegro. Rossini was particularly skilled at building climaxes; in this case (as in most), he uses themes comprised of short, rhythmically concise motifs. With each repetition of the theme, Rossini adds more instruments into the mix, building a natural crescendo. This sublimely simple and organic tactic was so effective (and so notably in Rossini’s voice) he was later known as “Monsieur Crescendo” in Paris. To the MOSC audience choice participants: Bravi, tutti. What a lovely choice! Piano Concerto No. 2 in C minor, op. 18
Sergei Rachmaninoff (1873 – 1943)
Sergei Rachmaninoff (also spelled Serge or Sergey; Rakhmaninov or Rachmaninov) was a Russian pianist, composer, and conductor. His skills as a pianist were rarely paralleled in his day, and his compositions represent the last of the great Russian late Romanticism. His precision and expressive breadth in his conducting made audiences feel the pieces had been “washed” anew with clarity. Although he was very successful to varying degrees in all three facets of his career, Rachmaninoff found it difficult to focus on more than one at a time. As a result of this wholehearted devotion, his compositions were frequently spaced out into times when he was able to escape to private retreats in which to compose without distraction. His favorite retreat, called Ivanovka (in the Russian countryside southeast of Moscow), is thought to be the birthplace of nearly 85 percent of his compositions. Although Ivanovka was destroyed in the Russian Revolution of 1917, the beloved estate has since been recreated as a museum monument in tribute to the great Rachmaninoff. Particularly as a composer (though also as a conductor and performer), Rachmaninoff worked with several of the most revered Russian musicians at the time, such as Tchaikovsky and Rimsky-Korsakov. In 1897, Glazunov conducted the premiere of Rachmaninoff’s first symphony with horrid results; a sample review: “If there were a conservatory in Hell, if one of its talented students were instructed to write a program symphony on the ‘Seven Plagues of Egypt,’ and if he were to compose a symphony like Mr. Rachmaninoff’s, then he would have fulfilled his task brilliantly and would bring delight to the inhabitants of Hell.” This critique was written by none other than the famous César Cui, a revered composer, many years Rachmaninoff’s senior, and member of the circle of Russian nationalists later heralded as “The Five” or “The Mighty Handful” (alongside Mussorgsky, Rimsky-Korsakov, Borodin, and Balakirev). Cui’s review was particularly vicious, but the words of other critics were not much more positive. This disaster caused much turmoil for Rachmaninoff, though retrospective speculation led him to believe its poor reception was more to do with the performance than the actual music, and some remarked that Glazunov was drunk at the performance. Although this assertion cannot be proven, Shostakovich was known to have described 43
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Glazunov’s tendency to keep a bottle of alcohol behind his desk in his studio at the St. Petersburg Conservatory, from which he drank through a tube during lessons. Whatever the reasons for this disaster, Rachmaninoff was subsequently plunged into a deep despondency. For the next three years, sketches for compositions were started and abandoned; nothing of compositional significance came from this span of time. Thankfully, Rachmaninoff was able to turn to other aspects of his musical career rather than abandoning all hope as a musician. His love for composition remained, however, and he eventually sought out the help of Dr. Nikolai Dahl, who was experimenting with psychological therapy through hypnosis. Rachmaninoff described the experience: “I heard the same hypnotic formula repeated day after day while I lay half asleep in the armchair in Dahl’s study. ‘You will write a Concerto. . . . You will work with great facility. . . . It will be excellent.’ . . . Although it may sound incredible, this cure really helped me. By the autumn I had finished two movements of the Concerto.” This blossoming concerto he refers to was none other than his most enduringly popular work, the Piano Concerto No. 2; to say Rachmaninoff had found the strength to return to composition would be a vast understatement. He returned with eloquent, breathtakingly visceral force, his voice strong once again, even if his ego did not match the concerto’s inherent confidence. These two movements, partially drawn from material written a decade earlier, were premiered (by Rachmaninoff as the soloist) in December of 1900. The ensuing success was so encouraging that Rachmaninoff dove into finishing this great work. A few months later, the concerto was finished. This masterpiece is unapologetically old-fashioned for its time; Stravinsky once called it a “switch from a very young composer to a very old one” – and though he did not mean this to be a compliment, he was in some ways very correct. Written at a time when the avant-garde composers (such as Schoenberg, Ives, Mahler, Debussy, and Stravinsky himself) were wildly working to find new ways to push musical boundaries, Rachmaninoff found a niche of great public appeal in the 20th century by looking back to the 19th (much to the vexation of said contemporaries). Although Rachmaninoff was so clearly embracing the legacy of older masters (Liszt and Tchaikovsky in particular), he was also revealing a new refinement to his voice as a composer. Through his C minor concerto, Rachmaninoff speaks with a fluid train of thought full of new ideas at each bend, a talent for memorable tunes (so catchy they would be quoted for years to come – notably used by Sinatra and within several movies such as “Brief Encounter”), and above all, a severely genuine sense of sincerity. The first movement opens with a series of somewhat sinister chords before breaking into a flood of flowing grace. As the pianist spins a seemingly endless web of virtuosic intricacy, the strings take up the melody. This aspect is particularly interesting, as it holds throughout the movement. Although the soloist has many melody lines, the orchestra shares this role more than was typical for a 19th century concerto. This type of collaboration is, in fact, unusual in any era; despite the soloist’s undeniably virtuosic role (a standard element to a concerto), it almost seems as though Rachmaninoff (as the soloist) was intent on staying out of the spotlight. The ingenious result is a piece of music that can be appreciated and absorbed as a whole, rather than sheer focus on the pianist’s abilities. The second movement begins in the somewhat distant key of E major. With this choice, Rachmaninoff again borrowed from the older masters: this same key relationship was used by Beethoven 100 years earlier in his 3rd Piano Concerto. Rachmaninoff was also “looking back” in the sense that this movement’s principal theme was written a decade before. Regardless, his instincts were undeniably legitimate; placed after the anguish and heavy intensity of the first move44
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ment, this theme floats with breathtaking reverie and subdued introspection. The final movement begins in E major but quickly returns “home” to C minor. The first theme is lively but nonetheless intense; the second is heartfelt and passionate. The brilliant second theme is one of the notable examples of Rachmaninoff’s gift for melody, particularly relevant in his day; as his contemporaries were leaving audiences increasingly baffled by the direction modern music was headed, these accessible themes effortlessly elicited relatable emotional responses, leaving the listener reassured and comforted. Rachmaninoff ends this great work with a spellbinding flash of florid color from the pianist before punctuating with a few final (and collaboratively emphatic) chords. Symphony No. 1, “Formations”
Jeffrey Nytch (b. 1964)
Composer, performer, educator, and advocate Jeffrey Nytch currently serves as Director of the Entrepreneurship Center for Music at the University of Colorado at Boulder. His career path has been rich and diverse, ranging from various teaching positions to arts administration. His interests have ranged from a young obsession with Wall Street to the study of geology, though through it all, Nytch has always been motivated by music, the “abiding passion of his heart.” His Symphony No. 1 reflects a combination of these varied interests – geology and music – and also speaks to the particular inspiration provided by his setting in Boulder, with the breathtaking view of the Rocky Mountains as a backdrop. However, this large work is culturally relevant well beyond Boulder, or even the massive Rocky Mountains; it speaks to the human connection to the earth. In a 2013 interview with Boulder Weekly’s Peter Alexander, Nytch was asked “what is the one thing you’d want to tell the audience before they hear the piece?” His response: “I would say that I don’t think they have to know all of the geologic details, that I hope they will be able to experience the piece of music as a piece of music and enjoy it, and that they just think about our relationship to the earth. And that this piece speaks about that relationship from different perspectives, that the first movement is from the perspective of the earth, that the earth kind of giving birth. The interior movements are about the tension between us and the earth, and I look at the last movement as a kind of reconciliation where we go forward and celebrate this great thing that we have.”
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Symphony No. 1, “Formations” was co-commissioned by the Boulder Philharmonic Orchestra and the Geological Society of America in celebration of the Society’s 125th anniversary, with support from ExxonMobil and the Composer Assistance Program of the New Music USA. The world premiere took place on September 7, 2013. Tonight’s performance will be the Texas premiere. “Formations” program notes by Jeffrey Nytch: One of the interesting things about the geology of the Rocky Mountains is how musical the history is: rocks that are formed at the very beginning continually reappear, just as musical themes do in a composition; components of those rocks – motives, if you will – are modified, varied, and transformed over the course of the work; and patterns and repetition are at the core of our geologic history, just as they are at the core of most Western music. This allowed me to form four guiding principles that helped me shape this symphony: 1) I was not going to attempt a complete telling of the geologic history of the Rocky Mountains – such an undertaking would require many symphonies! 2) I would find musical ways to express geologic processes so that the symphony would not just be a reflection of the landscape but of the processes that formed that landscape. 3) When one views a modern feature such as a mountain, ones sees the many different events that have shaped that feature in the aggregate. This compression of perception, and of time, gave me the freedom to superimpose or rearrange geologic events according to the best musical outcome, even if it took geologic events out of the order in which they occurred. 4) There would be some portion of the work that would explore the relationship between humans and the geology that has such enormous influence on our lives and history. Each movement explores a different episode in the geologic story of the Rocky Mountains: The first movement describes the ancient accumulation of crust that eventually form the whole of southwestern North America. The three climaxes represent three major mountain-building events (“Orogenies”) that were the culminations of these accretion episodes, with a suddenly calm coda representing the roughly 500 million years of geologic quiet that followed – a vast gap of geologic time for which we have almost no record. The second movement depicts the gold rush era of the 19th century, with its sudden bursts of frenetic activity that usually played out almost as quickly as eager prospectors arrived. We hear a rustic fiddle tune such as what one might have heard in a mining camp, but the tune keeps going awry and fizzling out – just as each rush failed to fulfill its promise. A middle section superimposes the sounds of miners panning for gold with a depiction of the geologic process that formed most of the mineral deposits in the region: super-heated hydrothermal veins that shot up from the earth’s mantle, cooled, and deposited veins of gold, silver, and other precious metals. The “intrusion” music is interrupted by the thundering of the Cripple Creek Diatreme, an explosive volcano that created Colorado’s richest deposit of precious metals. This geologic event is in turn interrupted by a human one: the labor strife between minors and mine owners, accompanied by the sounds of gun shots that brought the rush era – and bring this movement – to a crushing conclusion. The third movement evokes the late Cretaceous, a period in which a vast tropical sea flooded central North America and where huge amounts of organic material accumulated to create coal, oil, and natural gas. As I contemplated this chapter in geologic history I was struck by two things. The 46
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first was the realization that fuels that make our modern society possible are derived from the remains of plants and animals – creatures that were previously alive, and whose death provided the material for the very thing our modern world depends on. I found this thought worthy of contemplation, and it inspired the title “Requiems” as well as the bulk of the music for this movement. The more animated music towards the end of the movement provides a contrast to the dark world of buried organic sediment: a sunny evocation of what must have been a tranquil and beautiful region, with warm lagoons and rich, tropical forests. Marine reptiles such as plesiosaurs arched gracefully in clear, tropical waters, while pterosaurs and early bird species soared through the air. The final movement depicts the long and complex history behind the modern Rocky Mountains. First we hear a brooding tuba solo dissolve into a slow, climbing chorale for brass: the steady uplift of the Laramide Orogeny, approximately 67 million years ago. But this uplift didn’t result in the mountains we see today. In fact, those highlands were buried by their own debris and that of an extended period of volcanic activity that showered thousands of meters of ash, lava, and pyroclastic flows upon the region. It was not until about 5 million years ago that either climate change, renewed uplift, or some combination of the two caused sudden and rapid erosion of the Laramide highlands – carving out the majestic mountains we see today. As the erosion picks up pace, we hear snippets of motives from the entire symphony culminating in a grand chorale of joyous celebration for the magnificent region we know today as the Rocky Mountains. Of course, it’s every composer’s desire that the music work on its own terms, without the benefit of any outside narrative. This is precisely what I found to be so satisfying about writing this symphony: while developing the connection points between geologic principles and musical ones I was not forced to compromise either: the music was already in the geology, making it easy to bring the geology into the music. For more information on Nytch and his creative processes, visit https://vimeo.com/album/2225132 (for videos on “Formations” created by the composer) or http://jeffreynytch.com Melissa Graham © 2014
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Midland-Odessa Symphony & Chorale Gary Lewis, Music Director & Conductor
SOUNDS
PRESENTS
OF THE
SEASON
Patrick Mason, baritone S a t u r d a y, D e c e m b e r 7 , 2 0 1 4 • 7 : 3 0 p . m . Wa g n e r N o ë l Pe r f o r m i n g A r t s C e n t e r F e a t u r i n g t h e M O S C S y m p h o n y, C h o r a l e , V o i c e s o f t h e Permian Basin, Lone Star Brass,Permian Basin String Q u a r t e t a n d We s t Te x a s W i n d s This Concert Proudly Sponsored by:
J IM & C LAIRE W OODCOCK Mr. Mas on’s Appearance Sponsore d b y J e a n n e t t e & M a rk K ol ok of f 48
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A R T I S T
T
he distinguished American baritone, Patrick Mason, has performed and recorded an astonishingly wide range of music spanning the last 10 centuries. Most recently he premiered and recorded Voices from the Heartland, a major new work written for him by Pulitzer Prize winning composer George Crumb. He was a Grammy finalist in the category of Solo Vocal Performance in 2006 for his recording of Songs of Amy Beach on Bridge Records. Mason has worked with composers Elliott Carter, Stephen Sondheim, John Duffy and many others on performances and recordings of new works. Patrick Mason has made numerous recordings with Bridge Records: Songs of Amy Beach; Franz Schubert’s Winterreise; Mélodies (French songs by Fauré, Poulenc, Ravel and Dutilleux); Stefan Wolpe – Vocal Music; American Orchestral Song, featuring works of Horatio Parker, Virgil Thompson, Charles Griffes, John Alden Carpenter and Roy Harris; and songs by John Musto (with soprano Amy Burton and the composer at the piano). Mason is a Berton Coffin Faculty Fellow at the University of Colorado in Boulder and the recipient of the University’s prestigious Hazel Barnes Award for excellence in teaching and research/creative work. Mason is the vocal coordinator of the John Duffy Composer’s Institute (an annual two-week event which is part of the Virginia Arts Festival) where he works with young singers and composers to create new works for the musical stage.
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S P O N S O R S
WE
WOULD LIKE TO THANK OUR 2014-2015 SPONSORS
CONCERT SPONSORS PLATINUM ($10,000) Anonymous Friends of Susan Graham Cimarex Energy Co. First Capital Bank of Texas Peggy & Bob Cowan GOLD ($5,000) Aghorn Energy Community National Bank Concho Resources Tim & Terri Dunn Lithia All American Auto Group Midland Symphony Guild Reliance Energy, Inc. Shamrock Steel Sales Sivalls, Inc. Claire & Jim Woodcock SILVER ($3,500) Carol & Tom Chandler Cotton, Bledsoe, Tighe & Dawson P.C. Flexbar, Inc. BRONZE ($2,500) Basic Energy Services Betenbough Homes Friends of Chris Chance Michele Cox /MorganStanley Martha & Paul Crump Frost Bank Gladden Insurance Agency / State Farm
BRONZE (continued) Ann & Ken Hankins, Jr. Dr. James & Sharon Humphreys Manor Park My Community Federal Credit Union Odessa Symphony Guild TCO Field Services, Inc. United Rentals CHAMBER ($500) Anonymous Kay & Bob Bivens Dee and Susan Carter Dr. Thomas A. & Anne B. Hyde Chris & Fred Newman Permian Abstract Wes & Roni Perry Steve & Debbie Pruett Shamrock Steel Sales GUEST ARTIST SPONSORS Lissa NoĂŤl Wagner with Frances & Jack Brown Jeannette & Mark Kolokoff EDUCATIONAL SPONSORS Kelly Grimsley Auto Group Barbara Faubion MEDIA & LODGING SPONSORS Doubletree by Hilton Midland Reporter - Telegram Odessa American
Sponsors are essential to the quality production of each MOSC concert. Opportunities are still available for this exciting season.
Platinum $10,000 Gold $5,000 Silver $3,500 Bronze $2,500 Chamber $500 You can also support our choirs and ensembles by becoming A FRIEND of your ensemble of choice for only $25.00. For more information regarding Sponsorship Opportunities please call Violet Singh, Development Director at 432-563-0921.
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2014 - 2015 FUND CONTRIBUTORS The Midland-Odessa Symphony & Chorale is very grateful to the individuals and businesses, which by their monetary commitment or through other unique forms of support, make possible the continued growth of the Symphony’s many outstanding artists, programs and services. Listed below are gifts and pledges received for the 2014/2015 Season as of July 25, 2014. DIAMOND BATON SOCIETY ($10,000+) J.C. Ferguson Foundation Midland Symphony Guild Odessa Symphony Guild GOLDEN BATON SOCIETY ($5,000+) Karen & Spencer Beal Beverly Pevehouse George & Kay Smith SILVER BATON SOCIETY ($2,500+) Exploration Geophysics, Inc. Drs. Roberta & Richard Case Maridell Fryar Ann & Ken Hankins, Jr. Mary B. Kennedy Dr. Ed & Suzanne Rathbun Doris Redfern Max and Rosemary Wright
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2014 - 2015 FUND CONTRIBUTORS FORTISSIMO ($1,000+) Brazos Door & Hardware / Diane McKee Marshall & Winston, Inc. Anonymous James & Cynthia Bobo Paula Cahoon Roger Corzine Martha & Paul Crump Betty Rae & Paul Davis Elaine Eiland Bob & Marion Frazier Joan Headlee Patricia & Leon Jeffcoat Red & Juandelle Lacy Roberts Randee & Jack Rathbone Richard & Lura Sivalls Jont & Anne Tyson Mr. & Mrs. Richard C. Waddell FORTE ($500+) Chaparral Bolt & Supply ConocoPhillips Karmen & Billy Bryant Jeff & Lou Nelle George Betty Gulledge Anne Herbig Patty & Tevis Herd Dr. Thomas A. & Anne B. Hyde Virginia & Bob Jones Stephanie & John Latimer Kati Lewis Edwin H. Magruder, Jr. Dr. William McIntire Jim & Ann McLaughlin Chris & Fred Newman Craig & Mary Payken Margaret & James Purvis Gordon & Judy Reigle Jay Reynolds Cliff & Joyce Sherrod Sue Solari Mary Stout
Ann & Jimmy Todd Mary Edith Waddell David & Denise Watts MEZZO FORTE ($250+) Campbell & Associates Securities Campbell Construction Company Nicholas Consulting Group, Inc. Tierra Company, L.P. / Bill Musar Kathy Anderson Rebecca C. Bell Suzie & Kirk Boyd Kim & Frank Cremer Betty Dale Diana & Gary Edmiston Linda Fox Billy W. and Cathy A. Harris Mr. & Mrs. Ron Holcomb Helen Joan Holt Caroline Ater Howard J. Stephen Kroger Gloria & LaDoyce Lambert Caroline Lewis Wes & Jean Pittman Bob & Ruth Price Vicki & Bob Rice Floyd & Kathy Rountree Neva Rousselot Violet & Mark Singh Paul Summersgill Charles & Schatzie Tighe Mr. & Mrs. Richard Werner Phyllis White Jane Wolf CRESCENDO ($125+) Anonymous Janice Archer Dottie & Norman Barker Harold & Leann Brenner Rosamaria Clark
Keith & Jane Dial Msgr. Larry Droll Barbara Faubion Kathleen Freeman David & Sarah Grimes Bob & Jo Halpert Judy Hayes Mack & Edna Hibbitts Susan & Ted Kerr Jack & Carolyn Laschkewitsch Rod & Patti MacDonald Lynn S. Mashburn Joan McCown Ann & Gary Moore Lou & Mike Paulson Elizabeth A. Greaves Melissa & Mark Rae Robert & Joanna Sadler Nick & Liz Taylor Sandy & George Thomas PIANO ($60+) Anonymous (2) Juliette Andreopulos Mr. & Mrs. R. C. Banks Herbert F. Boles Leon G. Byerley Lana & John Cooper, IV Arlen Edgar Barbara Hartwell Margaret A. Kepple Janell Lewallen Edward McPherson Ms. Sammie Rogers Sharla & Tom Sloan Phil & Kay Szenasi Susan Winn Orin Wade DONOR (Up to $59.99) Mr. & Mrs. Frank Vitrano
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ENDOWMENT FUND CONTRIBUTORS 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 Davidson Family Charities Estate of Dollie Neal Ballenger Estate of Mary Louise Gilmour William Randolph Hearst Endowment for Music Education Midland Symphony Guild MOSC Board of Directors Harvey & Harriet Herd John & Doris Mason Estate of Alice B. Moxey David Austin Stephens
Beethoven Society ($10,000-$24,999) In Memory of Charles Tracy Sivalls Mrs. C.T. Sivalls In Honor of Ruth McFarland Midland Symphony Guild Estate of Mary Harrington Anonymous (2) Nancy & Buddy Anguish Drs. Terry & Elvira Burns Dr. & Mrs. J. Terry Carpenter Mr. & Mrs. Nance G. Creager Dr. & Mrs. William L. McGavran III Beverly Pevehouse
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Mr. & Mrs. Louis Rochester
Mr. & Mrs. T.G. Roden Mr. & Mrs. Earl Rodman
Mozart Society ($5,000-$9,999) In Honor of Ted Hale Anonymous Memorials: Nelson Allison Marion E. Luper, Jr. Jared A. Barlage Marion E. Luper, Jr. Roy E. Campbell Mrs. Wanda Campbell J.C. Ferguson Foundation 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 Marguerite W. Davis Ludie & Eben Warner
John M. Grimland, Jr. Mrs. John M. Grimland, Jr Neal H. Johnson Berniece Johnson Nelson Allison Anonymous 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 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
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ENDOWMENT FUND CONTRIBUTORS (continued) 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 deCompiegne Kimberly B. Dollens Betty & Don Ewan Celeste Fasken Frances Gilliland Elizabeth A. Greaves Karl & Cathy Herzog Mr. & Mrs. Lloyd Innerarity Mrs. Stan Jacobs Mr. & Mrs. Bob L. Jones Marian & Charles E. Jones V. Wayne & Joann Jones 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 Harold & Jacquelyn Williams Jane Wolf & Pool Webb 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 Marin & Ashlin Bullock Brad & Crista Bullock Chris Chance Pamela Howell Jo Ann Collett The Midland Musicians Club Ann Countryman Larry & Gwen Roberts Mrs. D. Pat Darden Betty M. Scott Gary Edmiston Employees of Security State Bank Karen Elliott Jane Wolf 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 Lee Harley Flo White Sharon Hickox Mark & Janet Krause Robert Hudson Jane Wolf
Peggy C. Jones The Midland Musicians Club Abigail Kauffman Mary Macferran Martha Lewis The Midland Musicians Club Reba McHaney Mr. & Mrs. Stephen H. Parker Tim Young & Sharon Hickox 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. Russell J. Ramsland Midland Symphony Guild Elizabeth Roweck The Midland Musicians Club Jane Samples Bea Angevine Shari Santorelli The MOSC Chorale Violet Singh Alynda Best Sue Smith & Jim Huddleston Alathea & Jim Blischke Sue Solari Jane & Don Samples Mark & Jeannette Kolokoff Mary & Bill Garay Cindy Walton Amy A. Walton Mr. & Mrs. Pool Webb Billy T. Schulze Beverly Wise The Midland Musicians Club Gene & JoAnn Wyatt Risa Brown
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ENDOWMENT FUND CONTRIBUTORS (continued) 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 Mr. & Mrs. Kevin D. Durham Edith Libson Andrew W. Austin & Cynthia K. Stewart Eldon Basney Midland Symphony Guild Ms. Beverly K. Cunningham Dr. E. Grace Osadchuk Mr. & Mrs. Michael Tandy Warren Burnett Paula & Ruff Ahders Ms. Judy DeWees Mr. & Mrs. Jim Leeton Mr. & Mrs. Michael Tandy Jane Wolf & Pool Webb Anne Caldwell Mr. & Mrs. Charles E. Jones Viola Coleman The Midland Musicians Club Mrs. Ethel Chapman Truman & Doreen McCreless Bea Cooper Violet Singh Dorothy Croft Caroline Ater Howard Chancy & Toni Croft Barbara Davis Alan & Susan Leshnower
Perry Davis Melissa Burnett & Wayne Warren Opal Dobbs Ludie & Eben Warner Gretchen Estes The Midland Musicians Club Marie Finical Chris Newman John Foster Kay & Robert Bivens Fay Griffin Betty & Stuart Awbrey 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 Billie Hunt Pam & Bob Leibrock Robert Hudson Jane Wolf Pat Innerarity Jim & Barbara Clack Mary B. Kennedy Rebecca Sawyer Janet & Paul St.Hilaire Neal Johnson Ms. Judy DeWees Marian Jones Bob & Nancy Dott Betty & Harvey Dunn Alan & Susan Leshnower Sally McGuffey Esther D. Bird Dick Lambert LaDoyce and Gloria Lambert Merceda Layton Audrey Chartier Katherine Leeton Fowler Melissa Burnett & Wayne Warren Katherine Linehan Mr. & Mrs. W.R. Berger Mr. & Mrs. Jack E. Blake Alva D. Butler Mr. & Mrs. Frank Cahoon Elinore Chase Harvey 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
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ENDOWMENT FUND CONTRIBUTORS (continued) Maurice “Mo” Martel W.M. Champion Sammie K. Rogers 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 & Pool Webb 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 Harold Rasco Audrey Chartier
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Victor Rede Melissa Burnett & Wayne Warren 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 Russell F. Sanders Emma H. Burnett Junia Stoddard Helen Parsons Adhers Sally Stella Chris Newman Deane Stoltz & Susan Stoltz Tirey Kay & Robert Bivens Emma H. Burnett Wanda Campbell David Austin Stephens Davis, Gerald & Cremer Stubbeman, McRae, Sealy, Laughlin & Browder Permian Basin Landmen’s Association Violet & Mark Singh Nan & Alan Zeman Kathleen Stout Midland Symphony Guild Twentieth Century Study Club Capt. & Mrs. William E. Clark Berniece Johnson Charlene Shults Kay & Robert Bivens 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. Tierra Company/Bill Musar The Midland Musicians Club 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
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ENDOWMENT FUND CONTRIBUTORS (continued) 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. Hibbits 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 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 Steve & Diane Parker Bill Peyton Rod & Jane Phares Margaret & James H. Purvis Jane Ramsland 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 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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No ma N matter atter how h w yyou gett yo our news s... your news... Wee aree Midland’s W Midl nd’ Midla d’s source e. source.
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It’s our differences that make us great. No m No matter atter w what hat yyou ou value, value, II’m ’m hhere ere ttoo pprotect rotect with iitt w ith rrespect espect and and pprofessionalism. rofessionalism m. Like neighbor, Like a ggood ood n eighbor, State State Farm Farrm is is there. there. CALL C ALL M ME E TTODAY. ODAY. ®
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At Trinity School, 94% of our students participate in fine arts classes. 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 Midland-Odessa Symphony & Chorale. Congratulations on another great season!
Students Participate in Fine Arts 3500 West Wadley | Midland, TX 79707 | www.trinitymidland.org The Mission of Trinity School is to be a college preparatory community that provides a nurturing environment to enrich the mind, strengthen the body, enliven the soul, and inspire servant leadership.
Experience the Difference
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Does Your Doctor Text You Back?
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,WœV QRW MXVW SDUNLQJ LWœV D ZD\ WR À\ Valet Parking at Midland International Airport
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ADVERTISER INDEX Aghorn Energy Alldredge Gardens American Financial & Retirement Services, LLC Anwar, S. Javaid & Vicky APTorre Photography Basic Energy Basin Burger House Betenbough Homes Bobby Cox Companies Brooks Benefit Consultants Carter Financial Group Carter's Furniture CBS 7 Chandler, Carol & Tom Cimarex Community National Bank Concho Resources Concierge MD Midland Corey Sly Electrical Service Cotton, Bledsoe, Tighe & Dawson Cowan, Peggy & Bob Crenshaw Flooring Cristiani's Jewelers Crump, Martha & Paul Diamonds Doubletree by Hilton Eyes of Texas First Capital Bank Flexbar Frost Bank George Bush Childhood Home Gladden Insurance Agency Hankins, Ann & Ken Humphreys, Dr. James & Sharon Jewish Philanthropic Union Jim's Tall & Big Men Joe Allbright - Retire West Texas Kelly Grimsley Auto Group Larry's Specialty Meats Legacy Real Estate Legacy Real Estate - Jane Wolf/ Susan Palmer Legacy Real Estate - Kay Bivens Lissa Noël Wagner - Frances & Jack Brown Lithia All American Dealerships 90
73 62 77 88 63 87 77 9 72 12 47 25 64 49 13 78 63 84 61 89 74 53 3 78 64 5 65 51 52 60 82 71 83 77 83 83 41 66 87 82 65 78 21 79
Liz's Interiors Lubbock Piano Gallery Mark Knox Flowers MCH Laser & Wellness Center MCH Mission Fitness Medical Center Health System Medical Spa of Midland Midland College Midland Community Theatre Midland Festival Ballet Midland-Odessa Symphony & Chorale Midland Opera Theatre Midland Reporter - Telegram Midland Symphony Guild Morgan Stanley My Community Federal Credit Union N-Tune Music & Sound Odessa American Odessa College Odessa Symphony Guild Odessan Magazine Paesano Violin Shop Permian Basin Area Foundation Permian Pediatrics Premier Parking Reliance Energy Rogers Ford Lincoln Mercury Sewell Lincoln Shamrock Steel Sales, Inc. Sherrod's Piano Service Sims & Guess, Realtors Sivalls, Inc. Smith's Shoes St John's Episcopal School Susie's South 40 TCO Field Service Texas Tech Physicians of the Permian Basin The Bosworth Company The Hemingway The Village at Manor Park Trinity School United Rentals Wagner Noël Performing Arts Center Wells Fargo Woodcock, Claire & Jim
89 75 82 70 80 86 55 92 56 33 71 69 67 81 65 35 37 76 2 81 85 54 59 58 89 60 19 91 73 45 42 71 24 43 60 68 61 61 57 66 81 68 39 87 68
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2014-2015 Season Book 1
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Book 1