Midland-Odessa Symphony & Chorale

Book 2

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TABLE OF CONTENTS From Your Symphony & Chorale 6 7 8 9 11 12 14

From the Board President 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 46

2014-2015 Season Series There’s a Good Chance You’ll Love Strauss!

S’Wonderful, S’Marvelous, S’Gershwin Shakespeare in Love Classical Mystery Tour – A Tribute to the Beatles

Our Ensembles 18 2014-2015 Chamber, Choir and Special Events 19 Our Orchestra 20 Our Chamber Ensembles

Our Contributors/Donors 51 52 55 90

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2014-2015 Sponsors 2014-2015 Fund Contributors Endowment Fund Contributors Advertiser Index

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From the President of the Board...

Welcome to the 52nd season of the MidlandOdessa 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

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 Chris Chance 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 Crystal Calcote, 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 MIDLAND SYMPHONY GUILD SENIOR BELLES/FRESHMAN BELLES

Pictured from left to right: Row One Grace Brown, Haley Allen, Kenzi McGraw, Dakota Abalos, Shelby Corbitt, Annette Mayne, Amelia Folger Row Two Ava English, Laycie Duncan, Kathleen Holland, Emili Robin, Mariah Long, Miriam Shayeb, Caleigh Anuszkiewicz, Macy Essman, Isabella Boudreaux, Julia Delgado, Erika Fanous Row Three Megan Roberson, Sophie Sutter, Victoria Jeter, Bentleigh Dunavan, Mia Martinez, Elizabeth Rain, Reagan Hollar Not Pictured Emerson Gotcher, Kimber Jeter, Kelly Jones, Mary Katherine Prehn

Pictured from left to right: Row One Caitlin Lauritzen, Kaitlyn Padilla, Faith DeLaGarza, Makynna Wallace, Madeline Gesell, Jill Martin, Abbigail Sanchez, Hallie Hooper, Carter Nix, Lauren Hanna, Sofia Salcedo Row Two Reagan Squire, Reagan Long, Kristen Jones, Haley Wacker, Emma Pennington, Kate Herring, Mollie Wright, Haylee Bledsoe, Abby Brown, Blake Gibson, Makaylee Carter, Jenna Gaddy Row Three Allison Stewart, Merrick Beach, Audrey Spotts, Brighton Butler, Mia Rivera, Carly Barker, Landree Dietrich, Bailey Goodrum, Lizzy McQuien, Margaret Roberson, Rebekah Sowders, Caroline Harper, Taylor Parnell Row Four Hollis Hightower, Gentry Foreman, Tarah Roman

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2014-2015 MIDLAND SYMPHONY GUILD BOARD OF DIRECTORS Executive Officers President Belle Vice President Community Vice President Financial Vice President Membership Vice President Project Vice President Corresponding Secretary Recording Secretary Parliamentarian Immediate Past President

Angie Bramley Cheri Jones Kelly Hullender Ginger Stallings Melissa Beach Lisa Cisneros Valerie Kennedy Ana Hinojos Liz Sevcik Gloria Abalos Elect Officers

Belle VP Elect Community VP Elect Financial VP Elect Membership VP Elect Projects VP Elect Committee Chair Advisory Planning/Bylaws Community Liaison Concert Hospitality Finance Gala Guild Arrangements Long Range Planning Mailing Membership Membership-In-Training Newsletter Nominating Patron Liaison Publicity Symphony Belle Symphony Office Tabletops TX Association of Symphony Orchestras (TASO) Yearbook

Christine Foreman Kim Lancaster Laura Roman Theresa Carter Dawn Allen

Liz Sevcik Kelly Hullender Dana Howard Ginger Stallings Becka Hanna Ana Hinojos Lisa Cisneros Renee Rogers Melissa Beach JoAnna Low Raquel Padilla Melanie Jones Traci Brenner Stephanie Wood Cheri Jones Katherine Jones Dawn Allen Diane Riggs Angie Bramley

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2014 - 2015 PRESIDENT, ODESSA SYMPHONY GUILD

The Odessa Symphony Guild is excited about the 20142015 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!

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

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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 Committee 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

T HERE ’ S A G OOD C HANCE Y OU ’ LL L OVE S TRAUSS !

CHRIS CHANCE, CLARINET SATURDAY, JANUARY 24, 2015 • 7:30 P.M. WAGNER NOËL PERFORMING ARTS CENTER This Concert Proudly Sponsored by:

Friends of Christopher Chance Beverly Alstrin, Janet & Corby Considine, Mr. & Mrs. William Dingus, Linda George, Dr. & Mrs. Mack Hibbits, Dr. Pamela R. Howell, Sue Bob Smith & Jim Huddleston, Dr. & Mrs. Michael Jordan, Darryl P. Knapp, Kathrin Lewis, Mr. & Mrs. William G. Morris, Mr. and Mrs. Fred Newman, Kathy Shanon, Violet & Mark Singh, Sue Solari, Gloria Steelman, Mr. John B. Todd, Joan Whitt, Robert Whitt, Jane Wolf 22

T H E R E ’ S A G O O D C H A N C E YO U ’ L L L OV E S T R AU S S !

S ATURDAY, J ANUARY 24, 2015 7:30 P. M .

WAGNER N OËL P ERFORMING A RTS C ENTER Gary Lewis, conductor Chris Chance, clarinet Overture to Die Fledermaus Johann Strauss II (1825-1899) Concerto No. 2 for Clarinet and Orchestra

Óscar Navarro (b. 1981)

~INTERMISSION~ Radetzky March, op. 228 Suite from Der Rosenkavalier, op. 59

Johann Strauss I (1804 – 1849)

Richard Strauss (1864 – 1949)

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A B O U T

T H E

A R T I S T

Clarinetist Chris Chance enjoys a varied career

as an orchestral musician, chamber musician, recitalist, teacher, and recently as a concert soloist as well. He has performed across the U.S. as well as in Canada, Mexico, and Japan.

A student of Eli Eban, Chris earned a Bachelor of Clarinet Performance and a Performer Diploma in Clarinet at the Indiana University Jacobs School of Music. While at IU, he was awarded the prestigious Performer's Certificate award for his Junior Recital, and received an unprecedented second nomination for his Senior Recital.

In addition to serving as Principal Clarinet of the Midland-Odessa Symphony and clarinetist of the MOSC’s West Texas Winds woodwind quintet, Chris is also Principal Clarinet of the Missouri Symphony Orchestra, a summer-season orchestra based in Columbia, Missouri. In the past, he has been a member of the Columbus Indiana Philharmonic and the Ohio Light Opera, and was offered a position in 2001 with the Orquesta Sinfónica UANL of Monterrey, Mexico. Chris has also performed as a guest chamber artist at the Hot Springs music festival in Hot Springs, Arkansas.

In June 2014, Chris performed Bruch's Double Concerto with the Missouri Symphony, alongside violist Tatiana Kotcherguina of the Arkansas Symphony. He has also performed smaller solo works with orchestras in the past, but is thrilled to be making his first professional performance of a solo clarinet concerto with the MOSC this year.

In addition to his performing career, Chris is Adjunct Instructor of Clarinet for the University of Texas of the Permian Basin.

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T HERE ’ S A G OOD C HANCE Y OU ’ LL L OVE S TRAUSS !

Overture to Die Fledermaus

Johann Strauss II (1825 – 1899)

Through works such as the famous On the Beautiful Blue Danube (An der schönen blauen Donau, op. 314), Johann Strauss the Younger was ultimately known as the Waltz King. His music was often thought to be the embodiment of Viennese culture; indeed, the Blue Danube became so popular, it achieved a status likened to a national anthem. Before this fame, however, Strauss had more humble beginnings as the son of the first Johann Strauss. Alongside his brother Josef in particular, Johann the Younger was immersed in the Viennese music scene from a very young age. There are numerous accounts of the two young men as “social pianists,” playing upon the request of neighboring friends and other patrons. Johann the Younger once recalled this time in his life, remembering that through the idolization of their father, Johann and Josef “paid close attention to every note, we familiarized ourselves with his style and then played what we had heard straight off, exactly in his spirited manner. He was our ideal. We often received invitations to visit families … and would play from memory, and to great applause, our father’s compositions.”

Despite Johann the Elder’s wishes for his boys to be respectable middle-class bankers (both Johann and Josef studied at an institution for this precise goal), Johann the Younger left this path in 1843, after adamantly deciding to devote himself to music. Less than 18 months later (in October of 1844), critics were already predicting that the legacy of Strauss the Elder would “be worthily continued in his son; children and children’s children can look forward to the future, and three-quarter time will find a strong footing in him.”

Johann (the Younger) did indeed earn his title as the Waltz King, though also deflected to the operetta genre (amongst others), through various motivational means. He began experimenting with this genre in the 1860s, but did not premiere a fully staged work until 1871.

However, despite ultimately earning the additionally revered position as a leading composer in the “Silver Age” of Viennese operettas, only three of his compositions in this genre achieved international status during Strauss’s lifetime. Amongst these is Die Fledermaus (The Bat), premiered in 1874. Its music is artistic, exciting, and compelling (and offers many opportunities for a skilled singer) – so much so, Die Fledermaus is often the only Strauss operetta found in major opera houses today.

4506 Briarwood Avenue Midland, TX 79707 432-689-6300 www.medicalspaofmidland.com

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T HERE ’ S A G OOD C HANCE Y OU ’ LL L OVE S TRAUSS ! (continued) Although Johann Strauss did not seem overly concerned with the quality of the libretti (he wrote equally beautiful music regardless of how “good” or “bad” the text may have been), Die Fledermaus is considered a fantastic story – one with brightness throughout, clear characters with recognizable yet strongly individualistic traits, and amusingly preposterous action. Many claim that when paired with Strauss’s artistry, it is quintessentially representative of 19th century Vienna – a portrayal of flowing champagne, perpetual readiness for celebration, romance and risqué lyrics, and of course, plenty of waltzes. The Overture, itself a very famous Strauss work, draws from melodies within the operetta, notably from the last act. The most memorable tune, however, is drawn from the festive second act – and yes, this tune is, of course, a waltz.

II Concerto for Clarinet & Symphonic Orchestra

Óscar Navarro (b. 1981)

Spanish composer Óscar Navarro is internationally recognized for his orchestral, chamber ensemble, and concert band music, though he also has achieved notable accomplishments in the vast industry of film music. Amongst the achievements in the latter category, Navarro completed a degree at the prestigious University of Southern California, Thornton School of Music (in Los Angeles) under the tutelage of major film composers such as Joel McNeely (The Guardian, Peter Pan 2, etc.), Pete Anthony (King Kong, Batman, Terminator, etc.), Michael Giacchino (Star Trek, The Incredibles, etc.), and Christopher Young (Spiderman 3, Nightmare on Elm Street, etc.). Navarro also had the opportunity to work with Young as an orchestrator, with the main pursuit of creating concert suites from Young’s film music (onavarro.com).

Despite his vast array of compositional talents and motivations, Navarro began his career as a clarinetist, and as a result, is able to write in an intimately idiomatic manner only obtainable from personal experience. The concerto at hand is his second, and features musical language that is at once relatable and beautifully unique. Dedicated to clarinetist José Franch-Ballester, this work was commissioned by the Valencia Music Institute in 2011, completed and premiered in 2012.

To paraphrase the composer himself (onavvaro.com), the form of this concerto boasts three clearly identifiable sections without traditional movement breaks; the sections flow together in much the same way film music ebbs and flows, morphs and transforms. The harmonic language is predominately tonal, featuring everything from minimalism and impressionism to a “very cantabile style tinged with ethnic / new age,” and even “the typical flamenco music of Spanish folklore” (accompanied by one of the most important instruments used in flamenco music, the palms). Navarro treats the clarinet with the respect of a native speaker, writing both with idiomatic exploitations of the instrument’s capabilities as well as using it as “the instrument par excellence in all of us, the voice” – the clarinet will, at times, soar and sing, though seemingly introspective in moments. This relatable singsong approach is contrary to the 26

T HERE ’ S A G OOD C HANCE Y OU ’ LL L OVE S TRAUSS ! (continued) traditional concerto, in which the soloist line can be projected as constantly vying for the spotlight. The result is breathtakingly genuine – relatable and human. Through his II Concerto, Navarro takes us on a journey akin to a cohesive story; his experience in film music shines with grace and eloquence even on the concert stage.

Christopher Chance, our soloist for the evening, explained that it is “rare for a composer to be able to use the harmonic language and lush orchestration of the film-score genre, but to use them in such a way that the music is unpredictable, stirring, and compelling even to the discerning classical audience member. Too often film music is thought to be lesser in craftsmanship or inspiration, but Navarro proves that these colors and these tools can be used to create legitimate art.” Chance also believes that for the “average listener, the non-classically-trained, the rare and occasional concertgoer,” the uniqueness and accessibility of this compositional style “makes Navarro's music a valuable bridge between worlds- and classical music needs that right now.”

Radetzky March, op. 228

Johann Strauss I (1804 – 1849)

Although perhaps ultimately overshadowed by his Waltz King son, Johann Strauss (the Elder) was an extremely popular and prolific composer in his own time. He was instrumental in developing the dance music genres (notably the waltz), and wrote many pieces that still hold strong nationalistic sentiments; indeed, the Radetzky March is to the Viennese tradition what John Phillip Sousa’s Stars and Stripes is to Americans.

Without the benefits later afforded by his sons (he was orphaned at the age of 12), Strauss worked quickly to find a path to notable reputation and contribution. By his early 20s (May of 1827), he had formed the Strauss Orchestra, though with small numbers at the time. However, the humble beginnings of this ensemble proved to belie the ultimate fame it would achieve; the Strauss Orchestra went on to great international success. At age 29, Strauss had gained so much popularity that Vienna’s journalists were perpetually competing against one another to find the perfect catchphrase to describe this newly famous musician. As an example of this literary hubbub, one man described Strauss as “the Mozart of the waltz, the Beethoven of the cotillons, the Paganini of the galop, the Rossini of the potpourri,” (Adolf Bäuerle’s words in Theaterzeitung, 16 November 1833).

Furthermore, his reputation as a performer was well documented as well. The famous Richard Wagner attended a Strauss Orchestra performance in 1833 (in the midst of the hubbub), and later described that he would “never forget the extraordinary playing of Johann Strauss, who put equal enthusiasm into everything he played, and very often made the audience almost frantic with delight. At the beginning of a new waltz this demon of the Viennese musical spirit shook like a Pythian priestess on the tripod, and veritable groans of ecstasy which, without doubt, were more due to his music than to the drinks in which the audience had indulged, raised their worship for the magical violinist to almost bewildering heights of frenzy,” (Richard Wagner in Mein Leben, 1911).

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T HERE ’ S A G OOD C HANCE Y OU ’ LL L OVE S TRAUSS ! (continued) In 1848, the European Revolution flared into Vienna, cutting a momentary divide between the Elder and Younger Strauss men. As testimony to his imperialist sympathies, Johann the Elder composed the Radetzky March, dedicated to the Austrian Army. Radetzky himself was an Austrian field marshal, who had reportedly just won a battle. However, as the perpetually business-conscious musician Strauss was, he also composed a few marches paying tribute to the revolutionary cause, leading critics to dub him a “musical chameleon.” Regardless, vitality and a spirit of genuinely fierce passion live at the heart of his compositions – the Radetzky March remains a symbol of nationalistic fervor still today.

Suite from Der Rosenkavalier, op. 59

Richard Strauss (1864 – 1949)

Richard Strauss (of no relation to the previous Strauss family) was the most important German composer of his day. His notable presence emerged around the time of the deaths of Richard Wagner (1813 – 1883) and Johannes Brahms (1833 – 1897). Like Johann Strauss II, Richard Strauss was immersed in the music world through the family business; his father was an internationally renowned horn virtuoso. Also like the Waltz King, this Strauss took the Western world by storm at a young age. As testimony to his reputation, it should be noted that he was the only contemporary German composer whose work held the interest of Claude Debussy; the famous French composer once proclaimed Strauss to be a “dominating genius of the times.”

Musicologists such as William Austin believe his work to be “so bold, so good, so vast, and so complex that a short account cannot do it justice,” while also admitting he may have been a bit of an epigone rather than a sheer revolutionary, following Mozart and Wagner as “a gleaner after the main harvest.” Regardless, Strauss was a revolutionary composer in many ways, even if only in his uniquely unabashed compositional style and corresponding attitude. Strauss was also prolific in a wide array of genres. In particular, his tone poems and operas are the most prized bits of his legacy, including works such as Til Eulenspiegel and Salome.

In a collaboration with the Viennese poet and playwright Hugo von Hofmannsthal (1874 – 1929), the original opera Der Rosenkavalier came at a point in Strauss’s compositional trends when he appeared to be dramatically shifting from the German expressionism of Salome and Elektra to a more clearly defined neoclassicist language.

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T HERE ’ S A G OOD C HANCE Y OU ’ LL L OVE S TRAUSS ! (continued) In some ways, this assessment is accurate; he certainly was combining a sense of Mozartean clarity with his innate romantic lyricism. It was publicly known that Strauss decided to write a Mozartean opera, using works such as Le nozze di Figaro as inspiration. The parallels are especially evident in the libretto of Der Rosenkavalier, as it is based upon conventions of the French farce of Mozart’s day. Further, the “characters and comic situations of both are cut from the same cloth: youthful lovers thwarted at first by lecherous older men, intrigues complicated by disguises, and, in the end, young love winning out over all.”

Premiered in Dresden in January of 1911, Der Rosenkavalier was undeniably the most successful in his collaborations with Hofmannsthal. It was so outrageously popular that special “Rosenkavalier trains” ran from Berlin to Dresden, “Rosenkavalier” brands of champagne and cigarettes were sold, and to top it off, a film was made in 1926 (ironically, originally a silent film – though no less a testimony to Strauss’s affect).

Despite musicologists’ tendencies to seek a pigeonholed label (or “ism”, such as neoclassicism), Strauss clearly had no interest in utilizing any of the correlated techniques for their own sake; he was not motivated by a need to expand his technical resources, and did not follow conventions in any manner but that which suited his own desire. To label this music “neoclassicist” may, in fact, be too limiting beyond its applicable surface applications. However, Strauss certainly had a habit of tonality in Der Rosenkavalier, despite his abrupt (and sometimes dizzyingly swift) modulations. Coupled with a clear and satisfying pattern of resolving dissonances (though again, only in accordance with his own habits), Strauss’s adherence to tonality is notably evident in the suite at hand.

Although many versions of this work exist, it should be noted that Strauss himself pulled excerpts from his opera for the original orchestral suite, picking several choice bits (such as the Rosenkavalier calling card: the famously heroic horn calls). A particularly permeating element to the suite (and the opera alike), however, is the waltz. Strauss had been encouraged by Hofmannsthal to “try and think of an old-fashioned Viennese waltz… sweet and saucy, which should pervade the whole of the last act.” As may be expected, Strauss looked to the Waltz King for inspiration. His admiration of Johann Strauss II was notably documented; he once wrote a particularly touching bit: “how could I have composed my Rosenkavalier waltzes without thinking of our laughing genius of Vienna? Of all the God - gifted dispensers of joy, Johann Strauss is to me the most endearing . . . and enduring.”

Melissa Graham © 2014

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

Presents

S’W O N D E R F U L , S’M A R V E L O U S , S’G E R S H W I N

J e f f r e y Bi e g e l , pi an o S a t u rda y, M a r c h 7 , 2 0 1 5 • 7:30 p.m.

Wa gn er N o ë l Pe r f o r m i ng Arts Ce n te r This Concert Proudly Sponsored by C a r o l & To m C h a n d l e r Gladden Insurance Agency – State Farm

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S’W O N D E R F U L , S ’ M A R V E L O U S , S ’G E R S H W I N Gary Lewis, conductor Jeffrey Biegel, piano All music composed by George Gershwin S e l e c t i o n s f r o m “ C r a z y f o r Yo u ” ( a r r . B r u b a k e r ) Fa s c i n a t i n g R h y t h m ( a r r. S a y r e ) R h a p s o d y i n B l u e ( a r r. G r o f é )

~INTERMISSION~ Po r g y a n d B e s s : S e l e c t i o n s ( a r r. W h i t n e y ) An American in Paris

G er s h wi n ph o t o s p r o v i d e d b y th e I r a a n d L e o no re S . G ershw in Trusts -G eorge Gershwi n f or m a l po rt ra it , Ne w Yo rk , 1 9 3 0 .

Phot o b y Ma u ric e G o l d be rg .

-Reh earsal f or Musi c o f G ers hw in ra d io pro gra m , Ne w Yor k ,1 9 3 4 .

Phot o b y Le o n id F in k .

-On the set of Shall We D a n c e a t R KO S t u d io s , H o l ly w ood,1 9 3 6 .

Phot o b y Emm e t t S c ho e n ba u m

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A B O U T

T H E

A R T I S T

Considered one of the great pianists of our time, Jeffrey Biegel has created a multi-faceted career as a pianist, recording artist, composer and arranger. His electrifying technique and mesmerizing touch have received critical acclaim and garner praise worldwide. Known for his standard-setting performances of the standard repertoire, Mr. Biegel will perform two premieres during the 2013-14 season: Lucas Richman's 'Piano Concerto' with the Knoxville Symphony Orchestra, and, Jake Runestad's 'Dreams of the Fallen' with the Louisiana Philharmonic Orchestra and Symphony Chorus of New Orleans at the National WWII Museum on Veterans Day 2013. He recently formed a new piano trio, the Dicterow-DeMaine-Biegel trio with violinist Glenn Dicterow,and cellist Robert Demaine.

Highlights of recent performances include two world premieres with the Pacific Symphony Orchestra, conducted by Carl St. Clair: Richard Danielpour's 'Mirrors for Piano and Orchestra, and, William Bolcom's 'Prometheus for Piano, Orchestra and Chorus', and a global webcast with the Detroit Symphony Orchestra, Leonard Slatkin conducting, in Beethoven's "Choral Fantasy" and William Bolcom's "Prometheus". He performed the premiere of his adaptation of pop legend Neil Sedaka's 'Manhattan Intermezzo' for piano and orchestra with Orchestra Kentucky, and performed the World Premiere of Ellen Taaffe Zwilich's 'Shadows' for piano and orchestra, with the Louisiana Philharmonic Orchestra, commissioned by eight orchestras. His recent recordings include 'A Grand Romance' (2013), 'A Steinway Christmas Album' (2011) and, 'Bach On A Steinway' (2010) for the Steinway & Sons label; Leroy Anderson's 'Concerto in C', conducted by Leonard Slatkin with the BBC Concert Orchestra, Ellen Taaffe Zwilich's 'Millennium Fantasy' and 'Peanuts Gallery', a solo cd of Vivaldi's 'Four Seasons' for Naxos; 'Classical Carols' for Koch and the Complete Sonatas by Mozart on the E1 label. His chamber music recordings with Trio21 include Kenneth Fuchs' 'Falling Trio' based on the novel, "Falling Man" by Don DeLillo, for Naxos, and, Glen Roven's musical adaptation of the classic children's book, "Runaway Bunny", with guest narrator, Welsh-born actress Catherine Zeta Jones.

The career of pianist Jeffrey Biegel has been marked by bold, creative achievements and highlighted by a series of firsts: He initiated the first live internet recitals in New York and Amsterdam in 1997 and 1998, and, in 1999, assembled the largest consortium of orchestras (over 25), to celebrate the millennium with a new concerto composed for him by Ellen Taaffe Zwilich, whose 'Millennium Fantasy for Piano and Orchestra' was premiered with the Cincinnati Symphony Orchestra in 2000. He also transcribed Balakirev's 'Islamey Fantasy' for piano and orchestra, premiered with the American Symphony Orchestra in 2001, followed with Charles Strouse composing a new work titled 'Concerto America' for Mr. Biegel, premiered with the Boston Pops in 2002. He further arranged the piano part for Billy Joel's 'Symphonic Fantasies' in 2006, with performances at the Eastern Music Festival, the Boris Brott Festival and with the Indianapolis, Harrisburg, and other US orchestras.

Until the age of three, Mr. Biegel could neither hear nor speak, until corrected by surgery. The 'reverse Beethoven' phenomenon can explain Mr. Biegel's life in music, having heard only vibrations in his formative years. Born a second-generation American, Mr. Biegel's roots are of Russian and Austrian heritage. A Russian cousin, pianist Herman Kosoff, immigrated to the United States in the early 20th century, and had studied with the great Leopold Godowsky in Austria.

Mr. Biegel's published works include The World In Our Hands (Hal Leonard), Christmas In A Minute (Hal Leonard), The Twelve Days of Christmas (Hal Leonard), Hey Ho, the Wind and the Rain (Hal Leonard), Hanukah Fantasy (Hal Leonard), There Shines a Light Ahead (Porfiri & Horvath), Different Kind of Hero (Carl Fischer), and Four Psalms for Choir (LeDor Group).

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2015 MARCIA MCENTYRE ZOFFUTO HERO AWARD WINNER John Carroll is in his nineteenth year as the associate band director at Permian High School in Odessa, Texas. At Permian, Mr. Carroll assists with the marching band, organizes the marching drum line, and directs the Concert Band and the Jazz Ensemble.

Permian Concert Bands under Mr. Carroll’s instruction have been consistent Sweepstakes Awards winners in University Interscholastic League Concert and Sightreading contests as well as First Division recipients and winners of “Outstanding Band in Class” awards at spring festivals. Under his direction, the Permian Jazz Ensemble has also been the recipient of First Division ratings at the Texas Tech Jazz Festival and has been named “Outstanding Overall Band” at the festival. The Permian Jazz Band has also received the “Outstanding in Class” award at the Director’s Choice South Padre Island Music Festival as well as having won awards at the West Texas Jazz Society Jazz Festival.

During Mr. Carroll’s tenure at Permian, the marching drum line has won the West Texas Auxiliary Championships 6A Drum Line competition in Lubbock, Texas, on five different occasions. Most recently at this contest, the drum line won the “Outstanding Big School Drum Line” award. Under his direction, all three of the Permian feeder junior high school drum lines have also won the Junior High Division of the West Texas Auxiliary Championships. The Permian drum line is a two-time winner of the Randall High School Marching Drum Line Contest in Amarillo. It also received the “Outstanding Drum Line” caption award at the Pecos Marching Festival in 2014. In addition, groups under his direction have won the “Outstanding Percussion Ensemble” award at the West Texas A&M University “Day of Percussion.” The Permian Percussion Ensemble has been a consistent winner of “First Division” Awards at the Texas State Solo/Ensemble Contest. The Mojo Percussion Ensemble performed at the Sandy Feldstein National Percussion Festival in Indianapolis during March, 2011. The group was one of five ensembles to be invited to this prestigious festival. Also, in 2011, the Percussion Ensemble was declared as one of two “National Winners” in the nationwide percussion ensemble competition hosted by The Foundation for Music Education.

On 33 different occasions, students of Mr. Carroll have attained membership in the Texas All-State Band. Two of these students received the honor of being named “First Chair” in Texas All-State .

John has enjoyed 37 years of teaching music. He holds a Bachelors of Music Education degree from Abilene Christian University, as well as a Masters of Arts degree from West Texas A&M University. He had the unique pleasure of working with his former college band director, Dr. Charles Trayler, for 9 years in Dalhart. He has always been proud to be known as a “Texas public school band director”. He is most grateful for the mentorship of many people, including Dr. Trayler, Dr. Gary Garner of WTAMU, Van Ragsdale, Dan Gibbs, and Dr. Susan Tariq, also of WTAMU. Mr. Carroll holds membership in Texas Bandmasters Association, Texas Music Educators Association, Phi Beta Mu Honorary Band Directors Fraternity, and is an active member of the Texas Music Adjudicators Association in the Concert Band division. He is also a member of Educational Team of the Vic Firth Stick and Mallet Company.

Mr. Carroll considers his greatest blessing in his profession to be the association of the thousands of students he has been able to teach. He knows that all championships and trophies pale in comparison to the joy of sharing music with young people, and in having a small part in their maturity to adulthood. He is also very grateful for the countless friendships that he has forged among his colleagues in the band directing profession. He counts himself as a most fortunate and blessed person.

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

Presents

SHAKESPEARE

IN

LOVE

Featuring performances by Carl Beery Moore, Daniel Ramirez, Scott Windham and Jami Witt

SATURDAY, APRIL 11, 2015 7:30 P.M. WAGNER NOﾃ記 PERFORMING ARTS CENTER This Concert Proudly Sponsored by:

James a nd S ha ro n H u m p h r e y s

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P R O G R A M Shakespeare in Love S ATURDAY, A PRIL 11, 2015 • 7:30 P. M .

WAGNER N OËL P ERFORMING A RTS C ENTER Gary Lewis, conductor Carl Beery Moore, narrator/Scott Windham, Friar Lawrence Romeo, Daniel Ramirez/Juliet, Jami Witt Overture to A Midsummer Night’s Dream, op. 21 Felix Mendelssohn (1809 – 1847) Selections from Romeo and Juliet, op. 64 Sergei Prokofiev (1891 – 1953) Montagues and Capulets Friar Laurence Death of Tybalt Masks Romeo at Juliet’s Tomb “Wedding March” from A Midsummer Night’s Dream, op. 61 Felix Mendelssohn (1809 – 1847)

~INTERMISSION~ S y m p h o n i c D a n c e s f r o m We s t S i d e S t o r y Leonard Bernstein (1918 – 1990) Prologue Somewhere Scherzo Mambo Cha-cha Meeting Scene Cool Fugue Rumble Finale

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Felix Mendelssohn (1809 – 1847) Incidental music to A Midsummer Night’s Dream, opp. 21 and 61 Overture and “Wedding March” Felix Mendelssohn’s incidental music to A Midsummer Night’s Dream is, in many ways, the epitome of imagination coupled with refinement. Indeed, Mendelssohn’s compositional style is continually full of grace and eloquence, and does not avoid imaginative flavors of fantasy and humor. Robert Schumann once said that Mendelssohn was “the Mozart of the nineteenth century, the most illuminating of musicians, who sees more clearly than others through the contradictions of our era and is the first to reconcile them.”

Mendelssohn’s upbringing afforded him many luxuries, including immersion in intellectual pursuits; his grandfather Moses was a revered philosopher of the Enlightenment, and his father Abraham was a very influential and wealthy banker. Though such luxuries are neither a requirement nor infallible recipe for success, Mendelssohn proved himself to be a powerfully significant musician. Like Mozart, Mendelssohn was a child prodigy. Some believed, however, that Mendelssohn developed more refinement at a younger age than Mozart. The famous Goethe even went so far as to state that the young Mendelssohn displayed “the same relation to the little Mozart that the perfect speech of a grown man does to the prattle of a child.”

Amongst his many intellectual influences as a young man, Mendelssohn had a particular love for Shakespeare. Alongside his siblings (notably including fellow composer Fanny), recitations and productions of Shakespearian works were not uncommon in the Mendelssohn household. At the age of 17 (1826), Felix Mendelssohn wrote an overture for Shakespeare’s play, A Midsummer Night’s Dream. The original instrumentation was a simple piano duet, written for himself and his sister Fanny. Upon realizing the potential of this music however, Mendelssohn quickly chose to orchestrate it. This orchestration is regarded as one of his best compositions.

In 1843, Mendelssohn was approached by the King of Prussia, Frederick William IV, who asked him to compose accompanying (incidental) music for a new production of A Midsummer Night’s Dream, to be performed with narration adapted from Shakespeare by Ara Guzelimian. Thus, his opus 61 was born, including the famous Wedding March. The full work interspersed the play with a variety of songs, dances, and other supporting music (such as melodramas, designed to support the spoken drama on stage). Through the entire process, Mendelssohn conscientiously connected the thematic material to his revered existing opus 21 overture. The result is a thoroughly unified work full of fantasy and imagination. The first standalone performance of this work (without accompanying the play) was in May of the following year in London.

Sergei Prokofiev (1891 – 1953) Selections from Romeo and Juliet 4526 E. University, #1A Odessa, TX 79762 Office: (432) 368-6800 Cell: (432) 528-1153 E-mail: simsguess@cableone.net Web: simsguessrealtors.com

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BROKER-OWNER Multi-Million Dollar Producer

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If a single 20th century composer could be defined as the leading contributor and driving force behind maintaining and extending the classic tradition of the symphony and concerto, Russian composer Sergei Prokofiev would be the answer. His fervent adherence to traditionalism (or the less controversial neoclassicism, as the case may be)

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could be considered ironic in the face of contemporaries such as Paul Hindemith, and indeed, his now famous and beloved Classical Symphony (op. 25, composed 1915-17) was perceived as little more than an esoteric joke. For those with this perception, the irony must have abounded as the popularity of this work spread; Prokofiev’s Classical Symphony remains an extremely popular piece still today.

Beyond his work in symphonies and concerti, Prokofiev was also prolific in the genres of opera and ballet. His popularity in the operatic world was particularly notable just after his death.

Perhaps if his environment had been different, he would have been more widely recognized for his contributions in these categories; although he did travel and live outside the Soviet Union early in his life (a luxury not afforded by many of his colleagues), Prokofiev was no less affected by Stalin’s iron fist, especially after returning as a permanent resident in 1936. Before this dramatic choice, Prokofiev’s early work with ballets had varying degrees of success – especially notable in his collaborations with Diaghilev (the same man with whom Stravinsky collaborated for ballets such as The Rite of Spring).

Although Shakespeare’s famous Romeo and Juliet has been the inspiration for a plethora of works in a myriad of genres, few composers rival Prokofiev’s ravishing artistry in his ballet. However, like the “star-cross’d lovers” of this story, the journey to this ballet’s point of success was fraught with strive. Prokofiev began his Romeo and Juliet journey in 1934 by discussing a choreographic setting with Sergey Radlov (of the famous Kirov ballet company). After much deliberation, the two men agreed upon a lengthy and detailed rendition of this Shakespearean cornerstone (the final product lasts nearly two and a half hours), and set out to produce their vision. As this was the first f ull-length ballet Prokofiev had written, one can only imagine the amount of dedication required for such a massive undertaking. Their dreams were snagged, however, upon numerous artistic and political issues, including the backlash of the oppressive political conditions of the time. After growing frustrated with these despotic dream catchers, Prokofiev decided to pull numbers out of his massive work to form a few orchestral suites. It would later become acceptable (and even arguably traditional) for orchestral artistic directors to act in the same manner; many conductors will design their own suite to suit their programmatic needs. Upon returning home in 1936, Prokofiev was commissioned to try once again with the story of the star-crossed pair, this time with choreographer Lavrovsky. After additional speed bumps, the work finally premiered in Czechoslovakia in 1938 and in Russia in 1940.

Throughout this journey, Prokofiev’s music remained true to his voice. His artistry was so ravishing, so breathtakingly poignant, even the headstrong choreographers were influenced to adjust their interpretations accordingly. This was particularly magnificent in the case of his collaboration with Radlov; the two men debated upon whether or not to allow the lovers to survive in their rendition. In a much-cited account, Prokofiev recalled that there was “quite a fuss about our attempt to give Romeo and Juliet a happy ending. The reason for this bit of barbarism was purely choreographic: the living can dance, the dying cannot… What really caused me to change my mind about the whole thing was a remark someone made to me: ‘your music does not express real joy at the end.’ That was quite true. After several conferences with the choreographer, it was found that the tragic ending 41

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could be expressed in dance after all.” Indeed, Prokofiev’s music is heartbreakingly passionate, anguished and fervent to the last breath.

Leonard Bernstein (1918 – 1990) Symphonic Dances from West Side Story The legacy of American composer, conductor, and educator Leonard Bernstein speaks to his prominence in every field in which he worked, his dedication to his craft, and his sheer artistry.

Bernstein’s varied accomplishments span across the world, from concert halls to musical theaters, and television to classrooms. As a conductor, his most famous contribution was his tenure as music director of the New York Philharmonic. Although his compositional output boasts numerous popular favorites, perhaps the most beloved is his score to the Broadway musical West Side Story, which was written and premiered within the same span of time as Candide. In fact, Bernstein worked on these scores simultaneously, leading to some bleed between the works. For instance, the West Side Story music for the songs “One Hand, One Heart” and “Gee, Officer Krupke!” originally appeared in the score for Candide.

After the premieres of these two shows (Candide in 1956; West Side Story in 1957), it was clear that while both would be crowning achievements, the latter would have a lengthier career of bringing down the house. Indeed, West Side Story was a smashing success both on Broadway (there were well over 700 performances in less than the first two years alone) and later on film.

The story is a modern rendition of Shakespeare’s Romeo and Juliet, and is regarded as amongst the most efficacious update to this timeless tale since the original premiered in the Globe Theater over 400 years ago. The stage is set in New York, and features gang warfare and ethnic rivalries, delinquent youngsters, and of course, as one would expect, star-crossed lovers.

In 1960-1, Bernstein revisited his score for West Side Story (alongside Sid Ramin and Irwin Kostal, who did most of the “grunt work” orchestration). Nine sections were extracted to stand alone as an orchestral piece – and thus, his Symphonic Dances entered the music world with profound success. Perhaps it is Bernstein’s humanitarian perspective that perpetuates such strong relatable affect through his music. Regardless, when coupled with the modern twists to Shakespeare’s monumental work, Bernstein’s Symphonic Dances from West Side Story paint a picture both thrillingly entertaining and heart wrenchingly memorable.

Melissa Graham © 2014

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

PRESENTS

CLASSICAL MYSTERY TOUR

S a t u r d a y, M a y 2 , 2 0 1 5 7:30 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 This concert proudly sponsored by:

C OTTON B LEDSOE T IGHE & D AWSON , PC

MIDLAND SYMPHONY GUILD 46

ODESSA SYMPHONY GUILD

C LASSICAL M YSTERY T OUR Gary Lewis, Conductor

Jim Owen - Rhythm guitar, piano, vocals Tony Kishman - Bass guitar, piano, vocals David John - Lead guitar, vocals Chris Camilleri - Drums, vocals Tonight’s concert will include the following songs (not in order): Beatles Medley Overture (arr. Martin Herman) A Day in the Life A Hard Day ’s Night All You Need is Love Eleanor Rigby Got to Get You Into My Life Here Comes the Sun I Saw Her Standing There Sgt. Pepper/Little Help From My Friends Yesterday

~INTERMISSION~ Come Together Golden Slumbers Good Night Hello, Goodbye I am the Walrus Imagine Live and Let Die ob-la-di, ob-la-da Something The Long and Winding Road Yellow Submarine

All songs are composed by John Lennon, Paul McCartney, or George Harrison.

ClassicalMysteryTour.com

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A B O U T

T H E

A R T I S T S

Chris Camilleri Drums/Vocals Born and raised on Long Island, New York, Chris Camilleri had a convenient drum teacher; his dad. He started listening to Beatles records at a young age, and for many years played drums and sang along to the recordings.

Gradually Chris gravitated to progressive rock bands, but retained a fondness for The Beatles and eventually formed the internationally-renowned Beatles cover band Liverpool, which still reunites to perform at the Fests For Beatles Fans (formerly Beatlefest). Chris has played drums for a variety of touring artists, including Peter Noone (of Herman’s Hermits fame), Badfinger, Micky Dolenz, Joe Walsh, and other Beatles-era bands. He became a good friend and musical associate to Harry Nilsson (who was a contemporary and close friend to all the individual Beatles).

In addition to The Beatles, his musical influences include Jethro Tull, Genesis, ELP, and David Bowie. When not playing music, Chris has an active commercial and voice-over career.

David John Lead Guitar, Vocals Originally from Nebraska, but now living in Salt Lake City, Utah, David has been performing in various musical acts since the age of 17. From rock, blues, and country to progressive and orchestra pit, he’s covered it all. David has shared the stage as an opening act with such notables as: Beach Boys, Chicago, Peter Noone & Herman’s Hermits, Young Rascals, Glen Campbell, America, Kansas, Styx, Peter Frampton, Night Ranger, Ted Nugent, Romantics, KC Sunshine band, Hall & Oats, Hootie & Blowfish, John Waite, Big Bad Voodoo Daddy, Buddy Guy and the Temptations. But David’s main musical love captured his attention when The Beatles preformed in America for the first time on the Ed Sullivan show. Inspired by what he saw and heard, David focused on singing and studying guitar and feels privileged to portray the “quiet, spiritual” one. Since 1993, he has taken the stage with a variety of Beatle tribute bands and traveled the world, but especially enjoys teaming up with a full orchestra to authentically reproduce the original recordings in a live concert setting. David loves to present George’s guitar arrangements in their articulate detail.

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A B O U T

T H E

A R T I S T S

Tony Kishman Bass Guitar, Piano, Vocals Singer-songwriter Tony Kishman was born in Tucson, Arizona where he began his musical career in the early 1970s. Although he had been playing guitar for a number of years, it was not until age 19 that Tony started performing seriously.

Kishman's early influences included Wishbone Ash, Bad Company and Peter Frampton.

Between 1973 and 1978, he played guitar in the group Cheap Trix, a cover band performing Top 40 as well as originals. Starting in 1979, Kishman played bass and guitar for six years as Paul McCartney in both the national and international tours of Beatlemania. He then went on to perform in Legends in Concert and produced shows that ran in Las Vegas and Lake Tahoe. He joined the classic supergroup Wishbone Ash for a tour of Europe and the recording of the group's 18th album.

Jim Owen Rhythm Guitar/Piano/Vocals Jim Owen was born and raised in Huntington Beach, California. He gained rich musical experience from his father, who played music from the classics for him on the piano and from his extensive library of recordings by the great classical artists. Owen began studying the piano at 6, and won honors in various piano performance competitions through his teenage years. He was 8 years old when he first heard The Beatles, and promptly decided to take up the study of the guitar. His first professional performance as a Beatle was at 16. Then, at age 18, he began touring internationally with various Beatles tribute productions, visiting Japan, Korea, China, Canada, Mexico, and much of South America. In 1996, Owen began working on his idea for a new show with orchestra. It has long been his dream to share with the public live performances of some of the greatest music ever written and recorded. Classical Mystery Tour was the result. Most recently, Jim became associate producer of the dance musical Shag With a Twist, which premiered in Los Angeles in 2005, and debuted in Las Vegas July, 2006.

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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 Penny and Ernie Angelo Kay Bivens – Legacy Real Estate Dee and Susan Carter Cathy Michalka Figert Dr. Thomas A. and Anne B. Hyde Chris and Fred Newman Permian Abstract Steve and Debbie Pruett Shamrock Steel Sales Sue and Karl Wikelski GUEST ARTIST SPONSORS Lissa Noël 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 December 2, 2014, 2014.

DIAMOND BATON SOCIETY ($10,000+) Abell Hanger Foundation Arts Council of Midland Beal Foundation Chevron Henry Foundation J.C. Ferguson Foundation Midland Symphony Guild Wayne & JoAnn Moore Charitable Trust Odessa Council for the Arts and Humanities Odessa Symphony Guild Rea Charitable Trust

*

GOLDEN BATON SOCIETY ($5,000+) Karen & Spencer Beal Beverly Pevehouse George & Kay Smith

*

SILVER BATON SOCIETY ($2,500+) Exploration Geophysics, Inc. / Lee Miller Benita Bermingham Drs. Roberta and Richard Case Maridell Fryar Ann and Ken Hankins, Jr. Mary B. Kennedy Dr. Ed & Suzanne Rathbun Doris Redfern Max and Rosemary Wright FORTISSIMO ($1,000+) Brazos Door & Hardware/Diane McKee Marshall & Winston, Inc. Standard Sales, LLP Anonymous (2) James & Cynthia Bobo Paula Cahoon J. Dan and Margaret Carpenter Mr. & Mrs. Robert H. Cole Roger Corzine Martha and Paul Crump Betty Rae and Paul Davis L. Decker Dawson Mary de Compiegne Julia Edwards Elaine Eiland Bob & Marion Frazier Betty P. Gulledge Joan Headlee Patricia and Leon Jeffcoat

Dr. Mark & Kim Johnson Dr. Bill McIntire John & Doris Mason Mary & Craig Payken Randee & Jack Rathbone Red and Juandelle Lacy Roberts Richard & Lura Sivalls Jont & Anne Tyson Mr. & Mrs. Richard C. Waddell FORTE ($500+) Betenbough Homes Chaparral Bolt & Supply / Keith Binam Supero Oil and Gas, Inc. Memorial Christian Church ConocoPhillips Anonymous Robert Altany Ernie & Penny Angelo Karmen & Billy Bryant

Alan and Bambi Byars Judy Devenport Tricia Elrod Susan & Bill Feuer DeLaura Gammage Jeff & Lou Nelle George Richard & Kim Hatchett Anne Herbig Patty & Tevis Herd Dr. Thomas A. & Anne B. Hyde Virginia & Bob Jones Stephanie & John Latimer Kati Lewis Edwin H. Magruder, Jr. Jim & Ann McLaughlin Chris & Fred Newman Betty Ann Prentice Margaret and James Purvis Judy & Gordon Reigle Jay Reynolds

*Funding made possible with a grant from the Texas Commission on the Arts.

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2014 - 2015 FUND CONTRIBUTORS Joyce & Cliff Sherrod Sue Solari M.L. Stout Ann & Jimmy Todd Mary Edith Waddell Drs. David & Denise Watts MEZZO FORTE ($250+) Campbell & Associates Securities Campbell Construction Company Nicholas Consulting Group, Inc. Pioneer Natural Resources USA, Inc Tierra Company, L.P. / Bill Musar Mike & LaNelle Agee Kathy Anderson Johnny & Dee Anna Arellano Rebecca C. Bell Freda and Frank Benton Suzie & Kirk Boyd Rosamaria Clark Kathleen Cornwell & Jim Rector Jim & Donna Cox Kim & Frank Cremer Betty Dale Nash Dowdle Jr. Diana & Gary Edmiston Linda Kester Fox Judy Gladden Dee Griffin Billy W. and Cathy A. Harris Mr. & Mrs. Ron Holcomb Helen Joan Holt Caroline Ater Howard Abbie & Cade Kauffman 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 Mary and Paul Summergill Charles & Schatzie Tighe Ludie & Eben Warner Mr. & Mrs. Richard Werner Phyllis White Michael J. Willson Jane Wolf CRESCENDO ($125+) Anonymous Beverly Alstrin Janice Archer Dottie & Norman Barker Harold & Leann Brenner Dale and Katie Brown Carol and Tom Chandler David and Jennifer Cole Dr. Srikanth & Haritha Deme Keith & Jane Dial

Monsignor Larry Droll Paul Feit Elizabeth Greaves Barbara Faubion Kathleen Freeman David & Sarah Grimes Dr. Joanna Hadjicostandi Anang Bob and Jo Halpert Judy Hayes Mack and Edna Hibbitts Janet Hughes Sue and Ted Kerr Jack & Carolyn Laschkewitsch Lynn S. Mashburn Joan McCown Rod & Patti McDonald Edward McPherson Ann & Gary Moore Khris O'Grady Stanley & Karen Parnell Lou & Mike Paulson William F. Pennebaker Janet Pollard Alison Porter Melissa & Mark Rae Robert & Joanna Sadler Liz and Nick Taylor Sandy & George Thomas Paul & La Donna Weaver Laura Wilson PIANO ($60+) Anonymous (3) Kevin & Julie Allen Juliette Andreopulos Tim & Chrystal Anuszkiewicz Angela Babcock Elaine Moore Bagwell Tahnee Baiano Mr. & Mrs. R. C. Banks Herbert F. Boles Jennifer Bowman Valerie Boyt Mr. & Mrs. John Brenner James & Stacy Bridges Stacy Brooks William & Allison Brown Ellen Bryant Leon G. Byerly Dana Canard Patrick & Julie Canty Darrell & Jennifer Carriger Lisa Cisneros Lana and John Cooper, IV James & Robin Corbitt James & Barbara Cox Beth Crawford Thomas & Jeanette Dragisic Arlen Edgar Mikel Erdwurm Dustin & Lisa Fellows

Bert Ferrara Burt & Karen Fisher Kenneth & Jana Ford Christie & Steve Gesell Jacqui Gore Jeff & Carla Gotcher Tina Greenlee Mr. & Mrs. Eric Griffin Mrs. John M. Grimland, Jr. Jami Haest Shelley Harper Barbara Hartwell Brit & Shelly Hayes Holly Herd Joe & Ana Hinojos Jenni & Dan Hord Lance & Dana Howard Kelly Hullender Carol Jeter Margaret A. Kepple Dee Ann Kay Lisa Kidwell Kimberly Lancaster Janell Lewallen Cecilia Long Mr. & Mrs. Paul Low Christi McCoy Kyle & DeAnn McGraw Lisa Moon Scott & Monica Parkison Shelli Parrish Jill Pennington Carole Pitchford Dolle Porter Dean & Amy Ports Mr. & Mrs. Joe Rhone Jill Rivera Ms. Sammie K. Rogers Ana Sanchez Kandis Sanders Liz & Ric Sevcik Michele Shelton Sharla & Tom Sloan Roger & Cheryl Spotts Ginger Stallings Samantha Strahan Becky Sutter Kay Szenasi Jason & Ja'Laun Wacker Orin Wade Pamela Walls Bradley A. & Kristina Watson Susan Winn Jill Wright Donor (Up to $59.99) Tommy & Gracie Evins Ann Parish Mr. & Mrs. Frank Vitrano

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For over 51 years, the music of the Midland-Odessa

Symphony & Chorale has been presented as planned; despite the economic conditions in the Permian Basin, the music continued and no season (or part of a season) has ever been cancelled. What a testament to residents of the Permian Basin and their determination to include live symphonic and choral music as an integral part of the cultural landscape of West Texas.

Your gift to the MOSC Endowment Fund allows you to join generous contributors whose gifts go immediately to work and provide critical funding for the quality programming the MOSC offers season after season for residents of all ages.

The MOSC invites you to consider a more impactful and meaningful gift. As you consult with your tax advisor, financial planner or attorney the MOSC can be that entity as a beneficiary of your planned giving or of your estate as your legacy continues to Enrich Lives Through Music for generations to come.

For further details on how you can play your part in assuring that the MOSC continues to Enrich Lives Through Music well into the future, please contact Violet Singh, Development Director at development @mosc.org (432) 563-0921.

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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 Marion E. Luper, Jr. Dr. & Mrs. William L. McGavran III Beverly Pevehouse Mr. & Mrs. T.G. Roden Mr. & Mrs. Earl Rodman Mozart Society ($5,000-$9,999) In Honor of Ted Hale Anonymous Memorials: Nelson Allison Marion E. Luper, Jr. Jared A. Barlage Marion E. Luper, Jr.

Mr. & Mrs. Louis Rochester

Roy E. Campbell Mrs. Wanda Campbell J.C. Ferguson Foundation The Midland Musicians Club Drs. Richard & Roberta Case Mr. & Mrs. Robert H. Cole Roger B. Corzine Dr. & Mrs. Bart Mayron Phil & Susan Parker Mr. & Mrs. C. Richard Sivalls Mr. & Mrs. George S. Smith Mr. & Mrs. Mark D. Wilson Bach Society ($1,000-$4,999) Memorials: Anne K. Anson Robert D. Anson Robert D. Anson Drs. Richard & Roberta Case Tyler T. Burns Bobby & Denise Burns Marguerite W. Davis Ludie & Eben Warner John M. Grimland, Jr. Mrs. John M. Grimland, Jr. Neal H. Johnson Berniece Johnson Vera Osadchuk Bea & Bob Angevine Walter Osadchuk Mr. & Mrs. Jerry Covington Josh H. Parr Anne & Jim McLaughlin Victoria Parr Ehrlich Mary June Rasmussen Dr. & Mrs. Terry Unruh Fred A. Stout, Jr. Kathlene N. Stout Martha Tompkins Dianne & Mark Tompkins Bob Winkler & Clayton Taylor Winkler Carolyn Winkler ExxonMobil Foundation Marshall & Winston. Inc. Mobil Foundation, Inc.

Shinn Industrial Sales/Barbara & Don Shinn TXU Electric The Midland Musicians Club Anonymous (3) Nelson Allison Dollie Neal Ballenger Dr. & Mrs. John E. Bauman Karen & Spencer Beal Mr. & Mrs. Robert L. Boothe Mrs. M.O. Boring, Jr. David and Vicki Brown Bob & Julia Chandler Mr. & Mrs. K. Michael Conaway Paul & Martha Crump Betty & Albert Dale Mr. & Mrs. Roy H. Davidson Mary & Henri 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

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ENDOWMENT FUND CONTRIBUTORS (continued) 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 Kimberly Corman Janet Pollard 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

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Lee Harley Flo White Sharon Hickox Mark & Janet Krause 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 Bill & Mary Garay Cindy Walton Amy A. Walton Jane Wolf Billy T. Schulze Memorial Christian Church Beverly Wise The Midland Musicians Club Gene & JoAnn Wyatt Risa Brown

Memorials Nelson Allison Michael & Dana Ashton Bob & Kay Bivens Karl & Cathy Herzog Joan McCown Sue & Buddy McDonald Violet & Mark Singh Dr. & Mrs. Steve Wiehle Anne Anson Mr. & Mrs. Kevin D. Durham Arlen Edgar Betty & Clem George Robert D. Anson Thomas K. Anson Ms. Francene Breckenridge 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 Campbell The Midland Musicians Club Clarence E. Cardwell, Jr. Eric Leibrock Mrs. Ethel Chapman Truman & Doreen McCreless 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

ENDOWMENT FUND CONTRIBUTORS (continued) 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 Robert Hudson Jane Wolf Billie Hunt Pam & Bob Leibrock 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 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 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 David Austin Stephens Davis, Gerald & Cremer Stubbeman, McRae, Sealy, Laughlin & Browder Permian Basin Landmen’s Association Violet & Mark Singh Nan & Alan Zeman Deane Stoltz & Susan Stoltz Tirey Kay & Robert Bivens Emma H. Burnett Wanda Campbell

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ENDOWMENT FUND CONTRIBUTORS (continued) 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

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Berry & Jane Breining Ken & Cathy Burgess Mr. & Mrs. William C. Bynum Mr. & Mrs. Frank Cahoon Mr. & Mrs. Jack C. Cartwright Edward & Cassandra Cheek Mr. & Mrs. Bill Clifton Mr. & Mrs. Robert S. Cooke Margaret Cowden Enid W. Davis Tom & Dorothy Davis Bill & Mary Anne Dingus Mary Margaret Donelson Mr. & Mrs. Lynn D. Durham, Jr. Mr. & Mrs. Curtis Erwin, Jr. Paul Feit Iris & John Foster Mr. & Mrs. Robert H. Frazer Jeff & Lou Nelle George Richard D. & Iola Gillham Dan Green Sarah & David Grimes Mr. & Mrs. M.C. Gulledge, Jr. Barbara Hales Mr. & Mrs. Robert H. Halpert Billie C. Halstead Mrs. Thornton Hardie Phil & Judy Hayes Patty & Tevis Herd Dr. & Mrs. William M. Hibbitts Melissa Hirsch Brittie N. Holster Dr. Jim Huddleston & Sue Smith Dr. & Mrs. James Humphreys Patricia & Leon Jeffcoat Barbara J.H. Johnson Maureen Johnson & Todd Torczon Jo Ann Jonsson Al & Elayne Karickhoff Sherry Keisling Niran E. Kellogg Lee & Bob Kennedy Mary B. Kennedy Mr. & Mrs. William D. Kleine Jane Knox 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 B. 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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in 10

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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