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TABLE OF CONTENTS

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FROM YOUR SYMPHONY & CHORALE From the Board President From the Executive Director From the Music Director Music Director Biography 2017-2018 Board of Directors & Staff Midland Symphony Guild Asleep at the Wheel Fundraiser Odessa Symphony Guild Ticket Pricing Symphony SoundBites Symphony Young Professionals

8 9 10 11 13 14 17 18 27 28 46

OUR SEASON 2017-2018 Season Series Symphonie Fantastique A Symphonic Night At The Movies “Oz With Orchestra” Shostakovich Sounds of the Season

22 30 40 48 58

OUR ENSEMBLES 2017-2018 Chamber & Choral Concerts MOSC Orchestra MOSC Chamber Ensembles

24 25 26

OUR CONTRIBUTORS / DONORS 2017-2018 Sponsors 2017-2018 Annual Fund Contributors Endowment Fund Contributors Advertiser Index

64 65 69 90


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FROM THE BOARD PRESIDENT I would like to personally thank you for your attendance of the Midland-Odessa Symphony & Chorale’s concert this evening. Since 1962, when two struggling orchestras in Midland and Odessa came together as MOSC, we have given generous supporters like you throughout the Permian Basin opportunities to help put on performances such as the one you are enjoying tonight. Please know that you are extending our mission of “Enriching lives through Music” in the Permian Basin when you take advantage of one or more of the following opportunities such as sponsoring one of many concerts, advertising in our program book, making a qualified charitable donation from an IRA or giving appreciated stocks to our Endowment Fund or Fund Drive (operating budget) and purchasing concert tickets. Take a moment to look through the program book and if you see someone you know or places you frequent, please take time to thank them for their support. It is through this generous support, whether it be $100, $1000 or a major gift, that will allow MOSC to be around for another 55 years. This 55th year continues the rich history of providing excellent concert music and music education to the Permian Basin. Whether you are attending a Masterworks or Pops & Family Concert in the marvelous Wagner Noël Performing Arts Center, you are sure to have an enjoyable experience. You may also want to consider attending one or more of the Chamber or Choral Series concerts. All of these are made possible because of an outstanding professional orchestra, a dedicated chorale, MOSC staff and Board of Directors. Gary Lewis is a dynamic music director and conductor, Greg Pysh directs our chorale and Emily Baker directs the Voices of the Permian Basin. Our amazing staff is guided by our executive director Jeannette Kolokoff. The Board of Directors oversees the organizations efforts. I am honored and humbled to lead the Board as president during our 55th Season. We are glad you are here and thank you for your support; enjoy your evening. Carol Chandler MOSC Board President

We will make your sewing machine sing at

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From Fabric to Memories 2420 W. Illinois Ave Midland, TX 79705 432-695-9961

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FROM THE EXECUTIVE DIRECTOR As I begin my sixth season with MOSC I reflect on the exciting achievements of the past five years. Having our concerts at the Wagner Noël Performing Arts Center increases the level of our artistry and provides the opportunity for exciting and innovative concerts that would not otherwise be possible. Our strategic plan has led us to launch many exciting programs that will continue to enrich and broaden our audience for years to come including the establishment of the Symphony Young Professionals, Symphony Soundbites Suppers, a special fundraiser-concert and an educational concert at the Wagner Noël Performing Arts Center for students. Symphony Young Professionals: Our Symphony Young Professionals (SYP) offers music-lovers between the ages of 21 and 40 the opportunity to network and enjoy special events surrounding MOSC and the arts community in the Basin. Growing with each new event SYP is becoming a vital component of our organization by solidifying future MOSC audiences and leaders. Symphony Soundbites Suppers: The convenience of having dinner and experiencing a concert in one venue is so appreciated by Soundbite patrons. The intimate atmosphere created at the Soundbite Suppers allows patrons to see and hear Maestro Lewis “up-close and personal” as he provides the ‘inside scoop” surrounding the evening’s concert. Soundbite patrons also have the opportunity to hear directly from the concert’s guest artist(s) to answer questions and engage in a very personal way. Immediately following the supper, Soundbite patrons enter the concert hall knowing what to expect and await the performance with great anticipation. Fundraiser Concert: Our fundraiser concert last season with Home Free was a great success. This season we are excited to bring you a great holiday show, “Asleep at the Wheel – A MERRY TEXAS CHRISTMAS Y'ALL"! Expect a wonderful evening that combines Asleep at the Wheel’s most popular songs, new material, and holiday favorites such as “Christmas in Jail” and “Merry Texas Christmas Y’all.”Don't miss a fun-filled evening with these Texas legends performing holiday music inspired by the Lone Star State! Music Education: As a very important part of our mission, music education inspires students to make music a life-long enriching part of their lives. Four years ago we began a program that includes a special concert for students at the Wagner Noël Performing Arts Center. 5,000 students each year have had the opportunity to experience a live professional symphonic performance. The excitement expressed by the students as they first enter the concert hall and especially with the first downbeat of the orchestra is beyond description. Most importantly, none of this can continue without you, our audience. Please make this year the best ever by bringing a friend to a concert, donating to the Annual Fund, sponsoring a concert and including us in your planned giving. Join me in making this season the best ever as we continue making incredible music in the Basin! Jeannette Kolokoff MOSC Executive Director

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FROM THE MUSIC DIRECTOR Dear Patrons: Welcome to the 2017-2018 season of the Midland-Odessa Symphony Orchestra! I am so glad you can join us for what will be an exciting season of great music. We can’t wait to share it with you! Violinist Stephen Rose, former principal second violin of the MOSC and now in the same position with the Cleveland Orchestra, will help us kick off the season on a program which also features Berlioz’ epic Symphonie Fantastique. In November we bring you an all-time audience favorite, Dvorak’s “New World” Symphony while our own Principal Cellist Amy Huzjak will thrill you with her performance of the Shostakovich Cello Concerto No. 1. We’ll feature the majestic Symphony No. 6, “Pathétique” by Tchaikovsky in January along with works by two American composers, a rare timpani concerto by William Kraft and Joan Tower’s Fanfare for the Uncommon Woman. Our Masterworks Series closes in a most fascinating way with a program featuring Debussy’s thrilling symphonic impression of the sea, La Mer, and the two-time Grammy winning composition by John Corigliano, Mr. Tambourine Man, based on the poetry of Bob Dylan, legendary songwriter and winner of the 2016 Nobel Prize in Literature. Our Pops and Family Series begins with a first for the Permian Basin. The orchestra will perform the score live along with a screening of the iconic film, The Wizard of Oz. You don’t want to miss seeing this restored classic on the screen along with the live performance of the score in our wonderful concert hall! The “Sounds of the Season” will once again get the holiday season started in a festive way, Brass Transit brings the energy and music of the great rock band Chicago, and we pay tribute to our veterans and first responders in “Celebrating Our Heroes” to bring the season to an end. We are so very grateful for your support and patronage! We simply cannot bring this great music to the Permian Basin without your help. Please be sure to also attend 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! We hope you will subscribe to all of these wonderful series of concerts. Bring a friend and join us for this season of great music as we pursue our mission to enrich lives in the Permian Basin through great music. I look forward to meeting you at the concert! Gary Lewis Music Director and Conductor, Midland-Odessa Symphony Orchestra

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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 Director of Orchestral Studies and the Bob and Judy Charles Professor of Conducting in the College of Music at the University of Colorado Boulder, where he conducts the University Symphony Orchestra and oversees the entire orchestra program. At CU-Boulder Mr. Lewis also leads the graduate program in orchestral conducting including both the masters and doctoral level. His former students are currently enjoying success as conductors with professional orchestras and opera companies, university and public school ensembles, and youth orchestras. Prior to his appointment at Colorado, Lewis served on the faculties of Texas Tech University, The Ohio State University, The University of Michigan, and Abilene Christian University. He is equally at home with professional, university, and youth ensembles. He is the Principal Guest Conductor of the Boulder Philharmonic and has appeared with the Colorado Symphony Orchestra, the Colorado Music Festival, Boulder Ballet, Midland Ballet Theater, Ballet Lubbock, the Lubbock Symphony Orchestra, the Abilene Philharmonic Orchestra, the Quad Cities Symphony Orchestra, the New Symphony Orchestra (Sofia, Bulgaria), and the Western Plains Opera Theater. His work with summer music festivals has also been noteworthy including the Interlochen Center for the Arts, Pine Mountain Music Festival (opera and symphonic) and Rocky Ridge Music Center. As a strong advocate of music education, Mr. Lewis has presented many in-service workshops for public school educators, as well as numerous presentations at state and regional music education association conferences. In addition, he has conducted All-State Orchestras and Bands in many states along with the ASTA National Honor Orchestra and the Honor Orchestra of America. In 2010 Mr. Lewis became the founding Artistic Director of the Greater Boulder Youth Orchestras and also served as conductor of the Symphony Orchestra until 2016. Mr. Lewis is also a strong proponent of new music. He has been instrumental in the development and production of contemporary music festivals and his interest in new music has led him to collaborations with composers such as Dan Kellogg, Carter Pann, George Crumb, William Bolcom, John Harbison, Chen Yi, Michael Daugherty, Stephen Paulus, and many others. Gary Lewis is a Yamaha Master Educator.

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The mission of the Midland-Odessa Symphony & Chorale is to enhance the quality of life in Midland, Odessa and the surrounding area by providing outstanding symphonic, choral and chamber music performances and music education programs. The vision of the Midland-Odessa Symphony & Chorale is to Enrich Lives in Midland, Odessa and the surrounding area Through Music.

MISSION & VISION

Enriching Lives Through Music! Play your part with the MOSC by contributing to the Annual Fund or help insure your symphony’s future by a contribution to the MOSC Endowment Fund.

Contact the DEVELOPMENT OFFICE development@mosc.org | 432-563-0921 12


2017-2018 BOARD OF DIRECTORS & STAFF OFFICERS Carol Chandler, President David Lauritzen, Executive Vice President Jay Reynolds, Immediate Past President Mark Germer, Vice President Finance Maridell Fryar, Vice President Fundraising Ann Parish, Secretary

DIRECTORS Dr. Anne Acreman Kent Alexander Dana Ashton John Barkley Sheilagh Bassett Heather Butler Pat Canty Dee Carter Nash Dowdle Nicole Dragisic Thomas Elrod Wes Faris

Suzanne Rathbun Kathleen Rector Robin Richey Floyd Rountree Melissa Rowland Deb Shaw David Sutter Bryce Swinford Lynda Webb Mike Willson Dr. Deborah York Rebecca Young

Barbara Faubion Dr. Paul Feit Linda George Carolina Keith Jane Knox Marc Kondrup Scott Long Mark Lyon Connie May Edward McPherson Vincent Pierce Betty Ann Prentice

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 (dec’d) 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 Radford, Marketing Director

Melissa Graham and Caryn Crutchfield, Personnel Managers 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. Ted Hale - April 14, 2007 Frank A. Bell - May 21, 1997 Grace Osadchuk - October 13, 2007 The Beal Family - May 19, 1999 Scott W. Long - May 18, 2013 Robert E. Hunt - August 31, 2000 Mary Harrington - May 16, 2001 13


2017 - 2018 PRESIDENT, MIDLAND SYMPHONY GUILD Midland Symphony Guild (MSG) is proud to begin its 55th year continuing in support of the Midland-Odessa Symphony & Chorale (MOSC). MSG was created to support and raise funds for our local symphony music program. That effort has grown over the decades as a non-profit organization and now supports MOSC and all the fantastic music events it produces. From choral and ensemble performances to the full symphony events, MOSC is a shining example of how fine arts enrich our culture. Our Guild is made up of members who invest time and money supporting our local community. We believe the effort is not only worthwhile, but that partnering with an organization like MOSC grows and sustains our communities and cities. Midland Symphony Guild established a Symphony Belle program to encourage this effort. Daughters of guild members volunteer in the Belle program from 8th – 12th grade. Each young lady volunteers service for local events and learns the value of giving back to her community. Friendships are made and life lessons learned. In addition to serving our symphony, Belles work with other great community organizations like Safe Place, Midland Festival Ballet, Museum of the Southwest, Arts Council of Midland, Permian Basin Opera, Midland Community Theatre, and The Wagner Noel Performing Arts Center. In February 2018, we will host our Gala Weekend. This annual tradition continues a long heritage supporting our community and celebrating the guild’s connection to Midland and fine arts in our area. A black-tie dinner provides our opportunity to present our Senior Belles and honor their four years of service. We also proudly recognize the efforts of our adult members and patrons. Without their support and encouragement, our Belles and our fundraising efforts could not be as successful. Additionally, please join us in welcoming our incoming Freshmen Belle class. They will be introduced at the MOSC Masterworks concert on November 4th. It is my privilege again this year to serve as president of Midland Symphony Guild. I am honored to work with such an enthusiastic group of volunteers. It is our mission to support the musical arts while continuing to build and grow our organization. Leadership, volunteerism, and love of community are encouraged and strengthened. From our Belles through all the guild membership, we proudly support MOSC. We are incredibly fortunate to have an organization in our midst that displays the talent of distinguished musicians and provides us access to musical performances and educational programs. Congratulations to the Midland-Odessa Symphony & Chorale on another season of enriching our lives through music! Thomas W. Elrod 2017-2018 President Midland Symphony Guild

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2017-2018 MIDLAND SYMPHONY GUILD OFFICERS & BOARD OF DIRECTORS ELECT OFFICERS President President Elect Belle VP Community VP Finance VP Membership VP Projects VP Correspondence Sec. Recording Sec. Parliamentarian

Thomas W. Elrod Jill Pennington Debbie Hightower Laurie Boldrick Natalie Branco Cheryl Spotts Shelley Harper Riki Daniels Ann Folger Billye Louder

STANDING COMMITTEE CHAIRS Advisory / Bylaws Billye Louder Concert Hospitality Michelle St. Peters Finance Natalie Branco Gala Shelley Harper Long Range Planning Laurie Boldrick Membership Cheryl Spotts MIT (Member in Training) Blanche Wheeless Nominating Committee Carmen Stewart Patron Liason Adrianne Clifton Publicity (co-chair, website) Dedee Boring Publicity (co-chair, social media) Robin Hall Symphony Belle Debbie Hightower Symphony Office Katherine Jones Yearbook Susanne Kennedy Website: www.midlandsg.com Facebook: Midland Symphony Guild Midland Symphony Guild is a 501(c)(3) charitable organization. Our mission is twofold. We support MOSC financially and through volunteer methods, we also work to impact this community via our Belle program. To support MSG or join our mission, please contact us through our website.

Serving the Permian Basin for over 55 Years Lisa Crenshaw 615 E. 8th Street - Odessa, TX 79761 - 432-580-6385 15


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FUNDRAISER FUNDRA AISER

for the Midland-Odessa Miidland-Odessa Symphony Symphon ny & Chorale

DEC 14 7:30PM Wagner NoĂŤl Performing Arts Center

TICKETS $25-75

MOSC.ORG 800-514-3849 WAGNER NOĂ‹L BOX OFFICE M-F, NOON-5PM

Expect a wonderful eveni evening ing that combines Asleep at the Wheel’s most mo ost popular songs, y favorites such new material, and holida holiday as “Christmas in Jailâ€? and d “Merry Texas 'RQ¡WPLVVVDIXQĂ€OOHGHYHQLQJ Christmas Y’all.â€? 'RQ¡WPLVVDIXQĂ€OOHGHYHQLQJ with these Texas legends performing holiday i inspired i i d by b the th Lone L e Star St State! St t ! music

Back by popul popular lar demand Asleep At The Wheel is delighted d to perform for the community as the e annual fundraising Midland-Odessa event for the Midland-O dessa Symphony & &KRUDOHD F  QRQSURĂ€WRUJDQL]DWLRQ. QSURĂ€WRUJDQL]DWLRQ. &KRUDOHD F  QRQ

SPONSORSHIP SPON NSORSHIP OPPORTUNITIES OPPORTUNITIIES Sponsorship packages are a available & include tickets. tickkets. Call (432)563-0921 17


2017 - 2018 PRESIDENT, ODESSA SYMPHONY GUILD The Odessa Symphony Guild is entering in to its 59th year of continuous support for the Midland-Odessa Symphony & Chorale. The MOSC has supported and broadened the musical education in Midland-Odessa and surrounding communities by presenting free concerts to our community, instructing Youth Choir and honoring numerous other events. First class musicians have been performing with the symphony to enhance and enrich our lives through their music at concerts, as well as serving in the public schools by teaching our youth to appreciate music and become the next generation’s amazing musicians. Beginning in 1958 when Odessa Symphony Guild was formally organized, it has provided opportunities for all active members, Patrons and Belle/Beaux volunteers to support the MOSC through contributions, ushering, attending concerts, working at the concerts, and hosting receptions. OSG Belle/Beaux volunteer opportunities begin freshman year of their high school career, with both student and parent giving of their time to support the MOSC. If you or your child is interested in our program, please visit odessasg.org to learn more about our enriching program. The Odessa Symphony Guild will host our Annual Symphony Gala Ball at the Odessa Country Club on Saturday, February 3, 2018. The Ball is the main fundraiser for the OSG to provide financial support to the MOSC. This is also a time to honor our Senior Belles and Beaux who have devotedly served the OSG throughout their high school careers. The Odessa Symphony Guild takes this opportunity to introduce freshmen, sophomores, and junior Belles and Beaux, along with a special celebration of Senior Belles and Beaux. The Odessa Symphony Guild invites you to attend this sensational event as we honor the hard work these students have contributed, and at the same time raise funds to support the MOSC. Odessa Symphony Guild is thrilled to announce this year’s theme will be Fire and Ice . OSG will be thrilled to have you join us at this elegant affair! Heather Butler 2017-2018 President Odessa Symphony Guild

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2017-2018 ODESSA SYMPHONY GUILD OFFICERS AND COMMITTEE CHAIRS OFFI CERS President President Elect VP Membership VP Projects Ball Presentation Fundraising Asst. Fundraising VP Tickets Asst. Tickets Recording Secretary Treasurer Asst. Treasurer Parliamentarian/Bylaws Corresponding Secretary

Heather Butler Lura Kirkland Stacie Pruitt Cary Dobbs and Erin Berridge Staci Ashley Kevin Gray Jason Cotton Mandi Higgins Jaime Miller Jacqui Gore Vanessa Dunn Sandra Rose Joni Robinson Sherry Adams COMMI TTEE CHAIR S

Arrangements Belles/Beaux Historian/Public Relations Nominating Yearbook Communications

Leslie Hankins Heather Bland and Heather Kirk Donna Watson Heather Hutson April Ward Connie Grewell

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2017 - 2018 ODESSA SYMPHONY GUILD SENIOR BELLES/BEAUX

Front Row: Kailey Tate, Brinlee Dunn Middle Row: Kristin Morton, Claire Adams, Brooklyn Patterson, Abigail Carrasco Back Row: Lauren Simmons, Allison Kirk, Sydney Gore, Peyton Hutson

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2017-2018 SEASON Gary Lewis | Conductor & Music Director

Masterworks Series SYMPHONIE FANTASTIQUE Saturday, September 9, 2017 Stephen Rose, violin Berlioz | Mozart

SHOSTAKOVICH Saturday, November 4, 2017 Amy Huzjak, cello Verdi | Shostakovich | Dvorak

FANFARE Saturday February 3, 2018 Michael Tetreault, timpani Tower | Kraft | Tchaikovsky

MR. TAMBOURINE MAN Saturday, April 7, 2018 Amy Burton, soprano Corigiliano | Debussy Ms. Burton’s performance generously sponsored by Permian Basin Opera

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LISSA NOËL WAGNER WITH FRANCES BROWN & MIDLAND–ODESSA SYMPHONY & CHORALE PRESENT

Pops & Family Series A SYMPHONIC NIGHT AT THE MOVIES

OZ WITH ORCHESTRA Saturday, October 7, 2017

View the 1939 classic “The Wizard of Oz� while the MOSC Symphony Orchestra performs the beloved soundtrack!

Souofntheds Season

SOUNDS OF THE SEASON Saturday, December 2, 2017 Brian Gravelle, tenor Celebrate the holidays with MOSC!

BRASS TRANSIT Saturday, March 3, 2018 The musical legacy of Chicago!

CELEBRATING OUR HEROES Saturday, May 12, 2018 Gene Collins, narrator A musical celebration of America!

800-514-3849

:DJQHU1RsO%R[2IĂ€FH0)1RRQ

MOSC.ORG

Programs and individuals scheduled to perform are subject to change.

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CHAMBER SERIES All Chamber concerts are in the Rea-Greathouse Recital Hall at 3:00pm LAST NOTES PERMIAN BASIN STRING G QUARTET | Sunday, Sept September tember 24, 2017 VIVE LE FRANCAIS! WEST TEXAS WINDS | Sunday, S October 22, 2017 JINGLE BRASS LONE STAR BRASS | Su Sunday, unday, December 17, 2017 7 WEST TEXAS WINDS AND AN ND FRIENDS WEST TEXAS WINDS | Sunday, S February 11, 2018 SOUNDS OF SOUTH AM AMERICA MERICA PERMIAN BASIN STRING G QUARTET | Sunday, Febr February ruary 25, 2018 CLASSIC BRASS LONE STAR BRASS | Su Sunday, unday, March 25, 2018

CHORAL SERIES AN AMERICAN CELEBRATION MOSC CHORALE | Saturday, October 28, 2017 | 7:30pm First Presbyterian Church of Midland,, 800 W Texas Ave y WE SING! VOICES OF THE PER PERMIAN MIAN BASIN | Sunday, Ap April pril 15, 2018 2018 | 3:00PM First Presbyterian Pre esbyterian Church of Midland, Midla and, 800 W Texas Ave SOUNDS FR FROM ROM THE CONTINENT MOSC C CHORALE | Saturday, Ap April pril 28, 2018 | 7:30PM First Presbyterian Pre esbyterian Church of Midland, Midla and, 800 W Texas Ave

MOSC.ORG 24

800-514-3849


MOSC 2017-2018 ORCHESTRA GARY LEWIS, MUSIC DIRECTOR AND CONDUCTOR VIOLIN John Madura, Concertmaster
 Dorothy Croft Chair
 Endowed by the Midland Symphony Guild Yaesolji Shin, Associate Concertmaster Kevin Crutchfield Nikesha Hailey Lowell Hohstadt Laurel Lawshae Karen McAfee Robert Meinecke Corey Metcalf Turner Partain Abi Rhoades Jason Snider Erin E. Weberer VIOLA Melissa Madura, Principal Laura Peña, Associate Principal Catherine Chen Beau Garza Kathy Hohstadt Gil Jarvis Miriam Oddie

CELLO Amy Huzjak, Principal Endowed in memory of Walter Osadchuk by Dr. and Mrs. Michael Miller Danny Mar, Associate Principal Ilia De la Rosa Elizabeth Purvis Aurelia Rocha David Thomas

OBOE Caryn Crutchfield, Principal Robert Krause, Associate Principal Ann Hankins CLARINET Chris Chance, Principal Tyler Webster, Associate Principal & E-flat Mande Gragg, Bass Clarinet

TROMBONE Nicholas Conn, Principal Darin Cash

BASS Bill DeLavan, Principal Christine Craddock, Associate Principal Christopher Arcy Endowed in memory of Mary June Rasmussen by Mr. Kenneth Anderson and Dr. Anne Acreman, MD

BASSOON Philip Hill, Principal Bill Harden, Associate Principal

TIMPANI Tim Mabrey, Principal

FLUTE Katherine Velasquez, Principal Kate Martin, Associate Principal Julia Barnett, Piccolo

HORN Sonja K. Millichamp, Co-Principal Scott Millichamp, Co-Principal Norma Binam Susan Kelley TRUMPET Eric Baker, Co-Principal Michael Santorelli, Co-Principal John Irish

BASS TROMBONE Jon James, Principal TUBA Kevin Young, Principal

PERCUSSION Erin Martysz Thies, Principal Jacob Garcia Matt Richards HARP Vincent Pierce, Principal PIANO Shari Santorelli, Principal

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-Ų4Ųű .Ų John Madura, violin TBD, violin Melissa Madura, viola Amy Huzjak, cello The Permian Basin String Quartet is the resident string quartet of the MOSC, and is comprised of the principal string players of the orchestra. The quartet members have developed a loyal audience and a reputation as a leading ensemble in the Permian Basin.

)űŲ4Ų Mike Santorelli, trumpet Eric Baker, trumpet Scott Millichamp, horn Nicholas Conn, trombone Kevin Young, tuba

The Lone Star Brass presents concerts that display the consummate technical skill of each performer and the expertise involved in working together as an ensemble. From New York to New Mexico, this seasoned ensemble offers programs of classical music, jazz, original works and even opera - complete with wigs and costumes. They perform to have fun, and it rubs off on their audiences at each and every concert. Don’t miss the annual Lone Star Christmas Concert!

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.DWKHULQH9HODVTXH]Ă XWH &DU\Q&UXWFKĂ€HOGRERH Chris Chance, clarinet Sonja Millichamp, horn Philip Hill, bassoon

In May of 2002, the West Texas Winds gained national recognition when WKH\DGYDQFHGWRWKHVHPLĂ€QDOVRI7KH)LVFKRII1DWLRQDO&KDPEHU0XVLF Competition in South Bend, Indiana. As the resident woodwind quintet of the Midland-Odessa Symphony & Chorale, the West Texas Winds are busy bringing quality chamber music to audiences young and old alike. From avant-garde to timeless classics, a West Texas Winds performance is like no other.

MOSC ENSEMBLES For information regarding instrumental teachers or to hire an ensemble, please call MOSC at 432-563-0921 26


MIDLAND-ODESSA SYMPHONY & CHORALE

2017-2018 SEASON

TICKET PRICING MASTERWORKS CONCERTS FIRST FLOOR SECOND FLOOR THIRD FLOOR

ADULTS $33 $28 $23

POPS & FAMILY CONCERTS FIRST FLOOR SECOND FLOOR THIRD FLOOR

ADULTS $50 $40 $30

CHAMBER CONCERTS General Admission

ADULTS $15

CHORAL CONCERTS General Admission

ADULTS $15

STUDENTS FREE FREE FREE STUDENTS $17 $17 $17 STUDENTS FREE STUDENTS FREE

Groups of 10 or more receive a 10% discount per concert. All tickets are sold through the Wagner Noël Performing Arts Center. Price includes handling fee.

800-514-3849

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

Presents

Symphonie Fantastique

Stephen Rose, violin

SATURDAY, SEPTEMBER 9, 2017 7:30 P.M. WAGNER NOËL PERFORMING ARTS CENTER THIS CONCERT IS PROUDLY SPONSORED BY

ANN AND KEN HANKINS, JR. 30


SYMPHONIE FANTASTIQUE

Symphonie Fantastique 7:30 p.m. Saturday, September 9, 2017 Wagner Noël Performing Arts Center Gary Lewis, conductor Stephen Rose, violin Roman Carnival Overture, op. 9

Hector Berlioz (1803 – 1869)

Violin Concerto No. 5, K. 219

Wolfgang Amadeus Mozart (1756 – 1791) Stephen Rose, violin I. Allegro aperto II. Adagio III. Rondeau: Tempo di menuetto

~INTERMISSION~ Symphonie fantastique, op. 14

Hector Berlioz (1803 – 1869) I. Rêveries – Passions (Daydreams – Passions) II. Un bal (A Ball) III. Scène aux champs (Scene in the Country) IV. Marche au supplice (March to the Scaffold) V. Songe d’une nuit de sabbat (Dream of a Witches’ Sabbath)

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A B O U T T H E A R T I S T Stephen Rose, violin Stephen Rose is Principal Second Violin of The Cleveland Orchestra, a position he has held since 2001. He joined the Orchestra in 1997 as a member of the first violin section and made his solo debut with the Orchestra in 2011. He again appeared as a soloist with the orchestra in 2013. He has also been heard in solo appearances and chamber music concerts throughout North America, Europe, Asia and Australia. From 1992-96, Mr. Rose was the first violinist of the Everest Quartet, top prizewinners at the 1995 Banff International String Quartet Competition. The quartet was in residence with the Midland-Odessa Symphony and Chorale in Midland, TX where Stephen held the Principal Second Violin position. Stephen Rose is a faculty member at The Cleveland Institute of Music, where he maintains a studio and directs the orchestral violin repertoire classes. He also serves on the faculty of Kent/Blossom Music, The National Orchestral Institute, and The New World Symphony. A participant at many summer music festivals, Mr. Rose regularly appears at the Seattle Chamber Music Festival, Mimir Chamber Music Festival, Colorado College Music Festival, Orcas Island Chamber Music Festival and Pacific Music Festival in Japan. In 1994 Stephen Rose received the Masters of Music degree and Performers’ Certificate from the Eastman School of Music, preceded by the Bachelor of Music degree in 1992 from the Cleveland Institute of Music. He was honored with the Alumni Achievement Award from CIM in 2005.

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SYMPHONIE FANTASTIQUE Masterworks: Symphonie Fantastique Program Notes Dr. Melissa Graham © 2017

Hector Berlioz b. December 11, 1803 in La Côte-Saint-André, France d. March 8, 1869 in Paris

Wolfgang Amadeus Mozart

• 1784: Benjamin Franklin invented bifocals • 1785: Napoléon graduated from the military academy in Paris • 1787: United States Constitution is adopted • 1788: First edition of The Times is published in London • 1789–1799: The French Revolution • 1800: Napoléon marched into Austria • 1804: Lewis & Clark Expedition began • 1808: Beethoven premiered his Symphony No. 5 • 1813: Jane Austen’s Pride and Prejudice • 1824: Beethoven’s Symphony No. 9 • 1830: Berlioz premiered his Symphonie fantastique • 1835: Siege of Béxar (Texan Army captured San Antonio) • 1836: The Alamo • 1837: Queen Victoria ascended to British throne • 1844: First electronic telegram (Samuel Morse) • 1844: Berlioz premiered his Roman Carnival Overture • 1845: Texas became the 28th state of the USA Roman Carnival Overture, op. 9 Hector Berlioz

b. January 27, 1756 in Salzburg d. December 5, 1791 in Vienna

Premiered: February 3, 1844 in Paris Approximate duration: 10 minutes

Timeline Connections • 1756: Birth year of Wolfgang Amadeus Mozart • 1764: Mozart composed his first symphony • 1770: Birth year of Ludwig van Beethoven • 1775: Mozart composed his Violin Concerto No. 5 • 1776: United States Declaration of Independence • 1781: Serfdom abolished in the Austrian Empire

The work of French composer Hector Berlioz embodies the bold innovations of the nineteenth century; his approach was saturated with fantasy, imagination, dreams, and originality. His unique output, however, was often recycled for various purposes. If he liked something he had written but did not yet have a suitable place for it, Berlioz would stow it away until an opportunity arose. This “green” approach also applied to music in works that were less than well received, as was the case with the material for the overture at hand. 33


SYMPHONIE FANTASTIQUE (continued) The musical foundation of Le carnaval romain (The Roman Carnival) comes from his opera Benvenuto Cellini, which premiered in Paris in 1838. In his memoirs, Berlioz recalled that the music used in this overture was received with “exaggerated applause,” but unfortunately, the rest was “hissed with admirable energy and unanimity.” Berlioz endeavored to rework his opera, but few revivals occurred. In 1843, Berlioz recycled the favored music and wrote this now-beloved overture.

Berlioz, we will leave off for to-day. You can go.’ And there the rehearsal ended.”

One of the recycled themes is a saltarello from the opera. This particular theme carried interesting memories for Berlioz, as it was an issue for François Antoine Habeneck, the conductor for the opera’s premiere. When Berlioz wrote about these memories years later, his distaste for this conductor was still vivid:

Regardless of its original form, the material found in the Roman Carnival Overture is the epitome of his compositional brightness. The soaring lyricism and lively flare certainly make this work a memorable one. For tonight’s program, the overall lightness found here will provide a stark contrast to the darkness in Symphonie fantastique.

“When we came to the orchestral rehearsals, the musicians, seeing Habeneck’s sulky air, treated me with the most distant reserve. They did their duty, however, but Habeneck did not do his. He never could catch the lively turn of the saltarello danced and sung on the Piazza Colonna in the middle of the second act. The dancers, not being able to adapt themselves to his dragging time, complained to me, and I kept on repeating, ‘Faster, faster! Put more life into it!’ Habeneck struck the desk in irritation, and broke one violin bow after another. Having witnessed four or five such outbursts, I ended at last by saying, with a coolness that exasperated him: ‘Good heavens! If you were to break fifty bows, that would not prevent your time from being too slow by half. It is a saltarello that you are conducting!’ At that Habeneck stopped, and, turning to the orchestra, said: ‘Since I am not fortunate enough to please M. 34

Berlioz also provided a footnote in his memoirs in this section, clarifying with further disdain that “in France, authors are not allowed to direct their own works in the public theatres, and therefore I could not conduct the rehearsals of Cellini myself.” Berlioz did, however, conduct the premiere of this overture in the Salle Herz concert hall of Paris six years later.

Violin Concerto No. 5, K. 219 Wolfgang Amadeus Mozart Composed: 1775 Approximate duration: 28 minutes Out of the entirety of Western music history, Mozart may be the most recognized name. His prolific oeuvre and early musical start may be examples of impetuses for his long-standing fame; both are particularly fascinating facets. Indeed, for one who lived such a short time, the sheer amount of music in Mozart’s hand is nothing short of astounding. This is in part due to his equally shocking early start with music. Wolfgang Amadeus Mozart was performing publically by age six; it is believed he could learn pieces of music extraordinarily fast even at this age. He began composing at the same time, writing full symphonies within a few years. His father, Leopold Mozart (1719-1787) began booking full-scale tours for the young Mozart by


SYMPHONIE FANTASTIQUE (continued) age seven; for the next decade, Mozart spent roughly half of his time touring, giving concerts (often of his own music), and soaking up every bit of the various musical scenes along the way. In this way, his mature compositional style emerged by age 18. In 1775 (at age 19), Mozart composed four violin concertos (K. 211, 216, 218, and 219) – in addition to an incredible amount of other works, of course. The concerti were produced in quick succession from April to December, and are often compared to one another as a microcosm of the development of Mozart’s compositional voice. The earliest violin concerti (No. 1 was likely written in 1773) clearly show Baroque and Rococo stylistic influence. By the fifth, Mozart’s individuality shines through experimentation that was nothing short of shocking for the time. As an example, audiences would have expected the first movement to be in a particular form, within which the soloist would enter with the same style and thematic material displayed by the orchestra’s introductory exposition. Instead, the violin enters with a style change that would have been jarring for audiences of the day – though perhaps not as disconcerting as possible; the moment is breathtakingly beautiful. Aside from equally avant garde contortions of the themes, the rest of the movement proceeds within the framework of the expected form. The same experimentation with thematic manipulation, however, does extend into the following movements. Another interesting moment of experimentation is found within the finale: near the end of this final movement, Mozart evokes the sound world of Turkish bands. Mozart features this fashionable alla turca theme with such audacious boldness that the concerto itself is often called the Turkish Concerto. When compared to the main theme of the movement (visited again and again, as is expected in a

rondeau), these Turkish band interjections seem brilliantly and rakishly violent. He even goes so far as to indicate that the cellos and basses are to play coll’ arco al rovescio (literally “with the bow reversed”), meaning to strike the strings with the wood of their bows in order to achieve a percussive sound. Berlioz also uses this technique in his Symphonie fantastique, though marked with the now-traditional col legno indication, and with a flair for eeriness rather than rakish intensity. After the Turkish band interjections, the main theme returns, bringing the concerto to a quiet and poised finish.

Symphonie fantastique, op. 14 Hector Berlioz Premiered: December 5, 1830 at the Paris Conservatory with François Antoine Habeneck conducting Published: 1845 Approximate duration: 55 minutes As previously stated, Berlioz was an incredibily individualistic composer – a trait highly revered in his day. Few works exemplify this more than his Symphonie fantastique. Even this unique musician was not without influence, however; Berlioz was inspired both by literature and individuality in the music world, particularly realizing the effects of Beethoven’s far-reaching shadow. Berlioz once explained, “Beethoven opened before me a new world of music, as Shakespeare had revealed a new universe of poetry.” These obsessions undeniably influenced Berlioz, but this symphony –his first– is inarguably revolutionary. It may be viewed as particularly revolutionary when compared to the great Beethoven’s oeuvre; the premiere of Symphonie fantastique took place only six years after Beethoven’s Symphony No. 9. Symphonie fantastique is a “program” symphony, meaning it has a specific storyline 35


SYMPHONIE FANTASTIQUE (continued) (and is, in fact, the most often cited symphony when discussing programmatic works). Berlioz himself provided the story, but later modified the extent of his prose on more than one occasion. His original program was extensive, and in hindsight, Berlioz believed that it detracted from the brilliance of the music itself. This is one of the most common arguments against the greatness of “program” music; some claim it is not as strong as “absolute” music (works without an extramusical program), as it could theoretically crumble without the program. Few could claim this work would be diminished without a program, however, as it so vividly carries listeners on a journey.

guillotine for his crime of passion. Part five: still hallucinating, boy witnesses his grotesque funeral, and sees girl partaking in wickedness.

Before diving into the program, there is one crucial element to note. This piece features an idée fixe (fixed idea) that permeates the entire work, and is a musical representation of Shakespearean thespian Harriet Smithson – a woman whom Berlioz fell in love with from afar. The theme is always meant to be recognizable, but it is transformed as the piece progresses to express the shifting emotions. His obsession with Smithson is an interesting story in and of itself, though it may be enough to sadly note that Berlioz later theorized that he might have been in love with Harriet as a muse rather than Harriet herself (despite their marriage three years after the premiere of this work).

*The distribution of this program to the audience, in the concerts where this symphony appears, is indispensable to the complete understanding of the dramatic plan of the work. [HB]

Regardless of his failed relationship with Smithson (she had moved out by 1843), Berlioz revised this work and its program several times. The published version of 1845 featured the following program (translated here from its French form), though one could note that Berlioz published yet another in 1855. In its barest outline, the story proceeds as follows. Part one: boy meets girl. Part two: boy’s obsession grows. Part three: boy convinces himself girl does not love him back. Part four: boy despairs, endeavors to poison himself, but instead sparks a horrific dream in which he kills his girl and is sent to the 36

Hector Berlioz’s 1845 Program: “The composer's aim has been to develop various episodes, expressing through music the life of an artist. As an instrumental drama is deprived of spoken word, the program needs to be exposed beforehand. The following program* must therefore be considered as the spoken text of an opera, used to introduce pieces of music whose character and expression it motivates.

First part: Daydreams – Passions The author supposes that a young musician, affected by that moral malady which a celebrated writer calls the vague passions, sees for the first time a woman who unites all of the charms found in the ideal woman of his dreams and imagination, and becomes madly enamored. By a singular oddity, the beloved image never appears to the mind of the artist except in connection with a musical thought, within which he finds a certain passionate

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SYMPHONIE FANTASTIQUE (continued) character, and yet with noble and timid attributes that he credits to the object of his love. This melodic reflection and its model haunt him like a double idée fixe. Such is the reason for the constant appearance of the melody in all the parts of the symphony, beginning with the first allegro. The transitions from this state of melancholic reverie, interrupted by a few bouts of joy without aim, to that of a delirious passion, with its outpourings of fury, jealousy, tenderness, tears, and religious consolations – this is the subject of the first movement. Second part: A Ball The artist finds himself in the most varied circumstances of life – in the midst of the tumult of a festival, in the peaceful contemplation of the beauties of nature; but everywhere, in the city or in the fields, the cherished image comes to mind and troubles his soul. Third part: Scene in the Country One evening in the country, he heard in the distance two shepherds calling a “ranz des vaches” [a simple melody used by herdsmen as they drove their cattle]. This pastoral duet, the scene of the setting, the slight rustling of the trees gently agitated by the wind, and some recently conceived motives of hope, all contribute to rejuvenate his heart with an

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unaccustomed calmness, and give a more pleasing color to his ideas. He reflects on his isolation; he hopes he will not be alone for much longer. But if she deceived him! This mixture of hope and fear, these ideas of happiness, disturbed by some dark premonitions, form the subject of the Adagio. At the end, one of the shepherds resumes his “ranz des vaches,” but the other no longer answers ... distant sound of thunder ... loneliness ... silence ... Fourth part: March to the Scaffold Having acquired the certainty that his love is misunderstood, the artist poisons himself with opium. The dose of the narcotic, too weak to give him death, plunges him into a sleep accompanied by the strangest visions. He dreams that he has killed his beloved, that he is condemned, led to execution, and that he is present in his own execution. The procession advances to the sounds of a march sometimes sombre and fierce, sometimes brilliant and solemn, in which a dull sound of grave steps succeeds without transition to the most noisy outbursts. At the end of the march, the first four measures of the idée fixe reappear as a last thought of love interrupted by the fatal blow. Part Five: Dream of a Witches’ Sabbath He sees himself at a witches’ sabbath, in the midst of a dreadful band of shadows, sorcerers, and monsters of all kinds gathered together for his funeral. He hears strange sounds, groans, bursts of laughter, and distant cries to which other cries seem to respond. The beloved melody reappears, but it has lost its character of nobility and timidity; it is nothing but an air of an ignoble, trivial, and grotesque dance; it is she who comes to the sabbath ... Rise of joy on her arrival ... She mingles with diabolical orgy ... The funeral bell tolls a burlesque parody of the Dies irae**… the dance of the witches. The dance of the witches and the Dies irae together.** Hymn sung in the funeral ceremonies of the Catholic Church. [HB]

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Midland-Odessa Symphony & Chorale and Lissa Noël Wagner with Frances Brown Present A SYMPHONIC NIGHT AT THE MOVIES

“Oz with Orchestra”

SATURDAY, OCTOBER 7, 2017 7:30 P.M. WAGNER NOËL PERFORMING ARTS CENTER THIS CONCERT GENEROUSLY SPONSORED BY Carol and Tom Chandler 40


“OZ WITH ORCHESTRA” A SYMPHONIC NIGHT AT THE MOVIES

“Oz with Orchestra”

Film Credits CAST Judy Garland Frank Morgan

Ray Bolger Bert Lahr Jack Haley Billie Burke Margaret Hamilton Charley Grapewin Clara Blandick and The Munchkins

Dorothy Gale Prof. Marvel / Emerald City doorman / The cabbie / The Wizard’s guard / The Wizard of Oz Hunk / The Scarecrow Zeke / The Cowardly Lion Hickory / The Tin Man Glinda, the Good Witch Miss Gulch / The Wicked Witch Uncle Henry Auntie Em

SCREENPLAY BY Noel Langley Florence Ryerson Edgar Allan Woolf DIRECTED BY Victor Fleming PRODUCED BY Mervyn LeRoy MUSIC BY Harold Arlen (songs) Herbert Stothart

Film Courtesy of Warner Bros. Entertainment Inc. Production Credits Producer: John Goberman Original orchestrations reconstructed by: John Wilson and Andrew Cottee The producer wishes to acknowledge the contributions and extraordinary support of John Waxman (Themes & Variations). A Symphonic Night at the Movies is a production of PGM Productions, Inc. (New York) and appears by arrangement with IMG Artists. 41


A B O U T

T H E

A R T I S T S

JOHN GOBERMAN, Producer JOHN GOBERMAN is probably best known as the creator and founding producer of LIVE FROM LINCOLN CENTER. This award-winning series of television specials has brought the finest of the performing arts to American audiences for over 35 years. To produce the series, Mr. Goberman developed the video and audio techniques and technology by which concerts, opera, ballets and plays can be telecast during live performances without disruption of performers and audiences. He has produced more than 200 national performing arts specials with the constituents of Lincoln Center, from the New York City Ballet to the New York Philharmonic with programs ranging from Genius has a Birthday: Stravinsky and Balanchine to Marsalis on Armstrong. As Executive Producer/Television for Lincoln Center, he also produced a companion series, BACKSTAGE\LINCOLN CENTER, as an introduction to the performing arts including “This Old Cello”, with Yo-Yo Ma and “Stagefright” with Luciano Pavarotti. He is also the creator of a new form of film/concert presentation, symphonic cinema, performing 20th century symphonic works composed for film and orchestra, consisting of the film classics ALEXANDER NEVSKY and SCENES FROM IVAN THE TERRIBLE, selected offerings from Hollywood films in the presentation of A SYMPHONIC NIGHT AT THE MOVIES (A Night at the Oscars, Great Loves of the Silver Screen, Screen Classics, Hitchcock, Gotta Dance! and Rodgers and Hammerstein at the Movies) and the latest additions, the full-length feature films Wizard of Oz and Psycho, Casablanca and Singin’ in the Rain. He co-produced the theatrical film, DISTANT HARMONY: PAVAROTTI IN CHINA, and has made films for museums across the country, ranging from the Metropolitan Museum of Art to the Mariners’ Museum. He has produced numerous opera, ballet and concert telecasts from major performing arts institutions both here and abroad and produced The White House: In Tune with History a film for PBS about the history of music at the White House. For his work on public and commercial television, Mr. Goberman has received 13 National Emmy Awards; 3 Peabody Awards; 8 Sigma Alpha Iota awards; the first Television Critics Circle Award for Achievement in Music and has 53 Emmy Award nominations. He received an Honorary Doctorate from the University of Bridgeport and was cited by Symphony Magazine as one of the fifty most important people who have made a difference in the history of American music.

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

Presents

Shostakovich

Amy Huzjak, cello

SATURDAY, NOVEMBER 4, 2017 7:30 P.M. WAGNER NOËL PERFORMING ARTS CENTER THIS CONCERT PROUDLY SPONSORED BY

DR. JAMES AND SHARON HUMPHREYS 48


SHOSTAKOVICH

Shostakovich 7:30 p.m. Saturday, November 4, 2017 Wagner Noël Performing Arts Center Gary Lewis, conductor Amy Huzjak, cello Overture to La forza del destino

Giuseppe Verdi (1813 – 1901)

Cello Concerto No. 1, op. 107

Dmitri Shostakovich (1906 – 1975) Amy Huzjak, cello I. Allegretto II. Moderato III. Cadenza IV. Allegro con moto

~INTERMISSION~ Symphony No. 9, op. 95 “From the New World”

Antonín Dvořák (1841 – 1904)

I. Adagio – Allegro molto II. Largo III. Scherzo: Molto vivace IV. Allegro con fuoco


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A B O U T

T H E

A R T I S T S

Amy Huzjak, cello Originally from Colorado, cellist Amy Huzjak has been a member of the Midland-Odessa Symphony & Chorale since September 2011, serving as Principal Cellist and as cellist of the Permian Basin String Quartet. Amy also plays with the Abilene Philharmonic Orchestra, Amarillo Symphony, Big Spring Symphony, and freelances throughout West Texas. Recent solo appearances include the Adagio of the Dvorak Cello Concerto with the University of Texas-Permian Basin, Shostakovich Cello Concerto with the Abilene Christian University Orchestra and a duo recital in Dallas. She has a studio of over 30 students in the Midland/Odessa area and is the Adjunct Professor of Cello at the University of Texas-Permian Basin, Abilene Christian University, Midland College, and Odessa College. Before moving to Texas, Amy was the Principal Cellist of the Huntington (WV) Symphony Orchestra and played with several D.C area orchestras including the Fairfax (VA) Symphony Orchestra, Apollo Chamber Orchestra (MD), and the Prince William (VA) Symphony. She was a faculty member at the International School of Music in Bethesda, MD and had a private studio in College Park, MD. Amy received her Masters degree in Music Performance at the University of Maryland in May 2011. During her time there, Amy served as an Orchestral Graduate Assistant, studying with David Teie and Evelyn Elsing. She received her Bachelors degree Summa Cum Laude from Arizona State University in May of 2009 where she studied with Thomas Landschoot. Amy has participated in numerous summer festivals including the Aspen Music Festival, National Orchestral Institute, and Killington Music Festival, studying with Michael Mermeguen, Andrew Schulman, and Brinton Smith.

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SHOSTAKOVICH PROGRAM NOTES Masterworks: Shostakovich Program Notes Dr. Melissa Graham © 2017

Giuseppe Verdi b. October 9, 1813 in Roncole, Italy d. January 27, 1901 in Milan, Italy Overture to La forza del destino Opera premiere: November of 1862 in St. Petersburg Composed: 1869 during opera revision Approximate duration: 8 minutes Timeline Connections • 1851: Moby-Dick (Herman Melville) • 1853: Steinway & Sons (of Steinway Pianos) founded in New York • 1861: Official beginning of American Civil War • 1862: Verdi premiered his La forza del destino • 1865: Alice's Adventures in Wonderland (Lewis Carroll) • 1867: Alaska is purchased from Russia for $7.2 million • 1869: Wyoming granted women the right to vote • 1869: Verdi composed his Overture to La forza del destino • 1893: Dvořák premiered his New World Symphony

Italian composer Giuseppe Verdi composed nearly thirty operas in his active theater days (which spanned sixty years), and at least half of these remain at the core of today’s opera repertoire. At the height of his career, he was producing a new opera every nine months, most of which were highly successful; Verdi was the most famous and frequently performed Italian opera composer in all of Europe, displacing the remarkably popular Rossini and Donizetti. Alongside German composer Richard Wagner (1813 – 1883), Verdi was the most influential opera composer of the 19th century. An especially interesting aspect of Verdi’s influence was his involvement in politics. Although the type of nationalism within his work was politically charged, it may surprise modern audiences to know the extent to which he served in political offices. Verdi first acted as a representative of Busseto in the provincial parliament, was subsequently elected to the national parliament, and ultimately served as a senator. It is believed that each step of his political ladder climbing was at the pressing request of others; his influence was so great that his involvement in this realm clearly mattered to the public. As the political scene grew more heated with the nearing Risorgimento (the movement for Italian unification, culminating with the consolidation of the states into the Kingdom of Italy in 1861), it was not uncommon to hear the slogan “Viva Verdi.” The meaning of this slogan was twofold. First, literally for Verdi’s music and its nationalistic flavors in favor of Italian unification, and second, as an acronym for the King: Vittorio Emmanuele Re D’Italia. In the aftermath of this environment, Verdi composed his La forza del destino. At the time of its premiere in 1862, this lyric opera had four acts and began with a concise prelude. When Verdi reworked the opera a few years later, he added this full-scale overture. As one would expect with an operatic overture from this era (particularly when composed years after the original premiere), it is complete with themes from the opera. Of particular note, the overture features the so-called “fate” motive (three powerful strikes, as though fate is knocking at the door) as first heard at the very beginning. A rising four-note scalar motive is also featured and is associated with the leading lady of the opera (Donna Leonora). Overall, however, this overture is fairly free in structure and features a potpourri of tunes from the opera.

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SHOSTAKOVICH PROGRAM NOTES (continued) Shostakovich’s deep emotional response to witnessing such anguish was once described by cellist Rostropovich, the dedicatee of this concerto:

Dmitri Shostakovich b. September 25, 1906 in St. Petersburg d. August 9, 1975 in Moscow Cello Concerto No. 1, op. 107 Premiered: October 4, 1959 with the dedicatee, Mstislav Rostropovich, as the soloist and Evgeny Mravinsky conducting the Leningrad Philharmonic Approximate duration: 30 minutes Timeline Connections • 1953: Stalin passed • 1954: The words “under God” were added to the Pledge of Allegiance • 1954: First mass inoculation against polio with Salk vaccine (Dr. Jonas Salk), nationwide test of vaccine begins • 1954: Texas Instruments Inc. announces the first transistor radio • 1956: Elvis Presley’s first hit song • 1959: Shostakovich premiered his Cello Concerto No. 1 • 1959: Alaska and Hawaii officially 49th and 50th states in the U.S. • 1961: The Peace Corps is created • 1962: The Beatles released their first single In this midst of post-Stalin life, one would expect that Dmitri Shostakovich was composing more freely and with more elation. His countrymen were still in anguish at the time of this concerto, however, despite the somewhat less oppressive “de-Stalinization” campaign of Khrushchev. 52

“Shostakovich suffered for his whole country, for his persecuted colleagues, for the thousands of people who were hungry. After I played the Cello Concerto for him at his dacha in Leningrad [in August of 1959], he accompanied me to the railway station to catch the overnight train to Moscow. In the big waiting room we found many people sleeping on the floor. I saw his face, and the great suffering in it brought tears to my eyes. I cried, not from seeing the poor people but from what I saw in the face of Shostakovich…” The depth of emotion in Shostakovich’s music is undoubtedly a reflection of such anguish and suffering. The extent to which it is saturated in a visceral and wide spectrum of emotion, however, speaks volumes to his skill as a composer. His musical language is pristinely clear and yet deceivingly sophisticated; one could relate this near paradox to the clarity of labeling an emotion as “anger” or “joy” – and yet realizing these emotions run much deeper than mere words can describe. Such is the case in his Cello Concerto No. 1, written for cellist Mstislav Rostropovich. Shostakovich first met Rostropovich as a student in one of his classes at the Moscow Conservatory (Rostropovich, who lived from 1927 to 2007, was just over twenty years younger than Shostakovich). At first, Rostropovich seemed to be nothing more than another star-struck student, but when Shostakovich heard him play, the admiration was quickly balanced to mutual respect. The two were great friends for the time Rostropovich resided in Russia. The account Rostropovich provided for the private premiere of this concerto speaks to their friendship: “Shostakovich gave me the manuscript of the First Cello Concerto on August 2, 1959. On August 6, I


SHOSTAKOVICH PROGRAM NOTES (continued) played it for him from memory, three times. After the first time he was so excited, and of course we drank a little bit of vodka. The second time I played it not so perfect, and afterwards we drank even more vodka. The third time I think I played the Saint-Saëns Concerto, but he still accompanied his concerto. We were enormously happy…” Despite the apparently joyous environment of this private premiere, the music itself can hardly be described with such festive words. This concerto is revered as one of the most difficult works in the entire cello repertoire –a true tour de force– and is a deeply emotional journey rather than a flashy showpiece (as is often the case with concerti). Listeners may be reminded of the journey within Shostakovich’s Symphony No. 5, which was written in the late 1930s during intense Stalin oppression. The arduous emotional depth is nothing short of piercing, visceral and moving. It is, quite frankly, not meant to put listeners at ease. Instead, it seems to peek into all the dark

and guarded places within us, pulling and pushing with insistence. The concerto begins with a four-note motive that will be revisited again and again. Shostakovich even skillfully writes this motive into the final movement, creating a cyclically monothematic grand scheme not unlike Beethoven’s Symphony No. 5. The texture is sparse and clear, but the mood is immediately sinister and foreboding. The second movement features folk-like melodies, and is heart wrenchingly poignant. It gives way to the cadenza, written as its own movement (an aside: although the compositional tactic of writing the cadenza as its own movement may seem bizarre and unique, Shostakovich had used a similar technique in his Violin Concerto No. 1 a decade before this work). The cadenza bridges the intense lyricism of the second movement to the fierce energy of the finale, again continuing without pause, as though movement breaks would allow levity to seep into the relentless –and deeply human– emotional charge.

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SHOSTAKOVICH PROGRAM NOTES (continued)

Antonín Dvořák b. September 8, 1841 in Nelahozeves, Bohemia (now the Czech Republic) d. May 1, 1904 in Prague, Czechoslovakia Symphony No. 9 “From the New World,” op. 95 Composed: January 10, 1893 to May 24, 1893 Premiered: December 15, 1893 by the New York Philharmonic Approximate duration: 40 minutes Timeline Connections • 1869: Verdi composed his Overture to La forza del destino • 1884: The Adventures of Huckleberry Finn (Mark Twain) • 1889: Starry Night (Vincent van Gogh) • 1889: World Fair in Paris (world music such as Javanese Gamelan influenced Parisian composers - notably Debussy) • 1891: Carnegie Hall opened • 1891: Birth of Basketball • 1893: Dvořák premiered his New World Symphony • 1901: First US speed limits for automobiles (10 MPH in cities, 15 in villages, and 20 MPH in rural areas)

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Perhaps most often remembered for this symphony in the orchestral world, Czech composer Antonín Dvořák is regarded as one of the great nationalist composers of the nineteenth century. He aided in perpetuating the nationalistic sound world of his native land as well as that of others; he could be called a predecessor of ethnomusicology to some degree. An extremely diverse composer, Dvořák earned international admiration through works in nearly every genre of his time (from the symphony to operas and oratorios; chamber music to solo piano music; secular choral works and songs). Few of his contemporaries were as prolific and successful across such a wide range. He is additionally celebrated for the extent to which his late works bridged the politically charged gap between Brahmsian conservatism and Wagnerian experimentalism. In June of 1891, Dvořák began correspondence with Jeannette Thurber, founder of the National Conservatory of Music in New York. Thurber insistently wooed Dvořák with the hope that he would accept a post at the Conservatory. After settling on a salary of $15,000 (three times that of a US Senator in those days), Dvořák moved to New York City to begin his position in September of 1892. The years spent in the United States (1892-1895) birthed new flavors for Dvořák’s compositional palette. He once said that “the influence of America can be felt by anyone who had a ‘nose,’” and indeed, much of his output from this period has a distinctly American tinge. In addition to the symphony at hand, his String Quartet in F Major (the “American,” op. 96) is an excellent example. Precisely what makes this sound world so “American,” however, is quite the debate. Dvořák’s subtitle for this symphony certainly invites listeners to conceive a connection. In its infancy, audiences and critics claimed to hear American melodies throughout the piece, eventually leading Dvořák to emphatically instruct program annotators to “leave out the nonsense about my having made use of American melodies. I have only composed in the spirit of such American national melodies.” Indeed, while there is no


SHOSTAKOVICH PROGRAM NOTES (continued) denying that the influence of the American environment flavored his music in a new way, the style is still unique to Dvořák; he skillfully captures the spirit rather than merely restating it by utilizing preexisting melodies. Nonetheless, one may hear echoes of American folk tunes, such as the African American spiritual Swing Low, Sweet Chariot. In a frequently cited interview printed in the New York Herald on May 21, 1893 (mere days before he finished this symphony), Dvořák proclaimed the greatness of this type of music: “I am now satisfied that the future of music in this country must be founded upon what are called Negro melodies. This must be the real foundation of any serious and original school of composition to be developed in the United States. When I came here last year I was impressed with this idea and it has developed into a settled conviction. These beautiful and varied themes are the product of the soil... There is nothing in the whole range of composition that cannot be supplied with themes from this source.” The New York Daily Tribune printed an article discussing the symphony in prelude to its premiere, and lists “The Song of Hiawatha,” an epic poem by Henry Wadsworth Longfellow, as an inspiration for the slow movement. (This poem is meant to be Native American, but as was common

in this era, is a Romantic impression of the culture rather than sheerly authentic.) This article claims numerous connections to a myriad of other cultures as well. The premiere itself was received with enormous approval, as described in the New York Herald: “The famous Czech composer would be a difficult man to satisfy if he were not satisfied with the enthusiasm his new Symphony evoked in a very large audience. After the second movement he was given an enthusiastic ovation. Storms of applause resound… From all over the hall come cries of ‘Dvořák! Dvořák!’… Dr. Dvořák, hands trembling with emotion, indicates his thanks to Mr. Seidl, the orchestra, and the audience, whereupon he disappears into the background while the Symphony continues. After the conclusion of the work he is called for with stormy insistence. He bows again and again, and new storms of applause break out. And even when he has left his box and entered the foyer, the clapping continues. At last he returns to the gallery.... The whole orchestra and Mr. Seidl are clapping too…” In essence, the American “spirit” captured here by Dvořák is akin to the cultural “melting pot” that was –and still is– this country. In this light, it is a moving ride. Enjoy!

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SUNDAY WORSHIP 8:15 A.M. in the Sanctuary 11:00 A.M. in the Sanctuary 11:00 A.M. The Bridge in the Chapel SUNDAY SCHOOL 9:30 A.M. 11:00 A.M. Sanctuary Service is broadcast on KMCM-97 Gold (FM 96.9) Watch the 11:00 A.M. Sanctuary Worship Service Live at www.fpcmid.org

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

and Lissa Noël Wagner with Frances Brown Present

Brian Gravelle, tenor

SATURDAY, DECEMBER 2, 2017 7:30 P.M. WAGNER NOËL PERFORMING ARTS CENTER Featuring the MOSC Symphony Orchestra, Chorale, Voices of the Permian Basin, Lone Star Brass, Permian Basin String Quartet and West Texas Winds

THIS CONCERT PROUDLY SPONSORED BY

C LAIRE & J IM W OODCOCK 58


A B O U T

T H E

A R T I S T S

Brian Gravelle Brian Gravelle has been gracing stages across the world for over 15 years now. Born in Dallas but raised in Midland, Texas, Gravelle started singing when he was just 16 years old. He attended Texas Tech University, graduating Magna Cum Laude with a BM in Vocal Performance working with Karl Dent where he was lucky to perform under the batons of Dr. John Hollins and Dr. John Dickson for such works as I Capuleti e i Montecchi (Bellini) and ACDA with the Texas Tech University Chorale. Gravelle has also performed in operettas under Dr. Jim Waddelow with Pirates of Penzance (Gilbert and Sullivan) and Cox and Box (Burnand and Sullivan). After graduating in 2007 he ventured to Chicago to attend Northwestern working with Kurt Hansen and had the opportunity to work under director Jay Lesenger in The Merry Widow (Lehár). Texas brought him back home where you have probably seen him in the many productions he’s done at Midland Community Theatre including 25th Annual Putnam County Spelling Bee, Oklahoma!, Hairspray, Tommy, Guys and Dolls, Les Misérables, Disney’s the Little Mermaid, and Awesome 80’s Prom. He’s also worked with local production company MRRRP Productions on shows including Godspell, Forever Plaid, Into the Woods, and The Man of La Mancha. When not performing Brian is also on the voice faculty at Odessa College as well as having his own private studio. Gravelle also owns his own consulting company, Gravelle Consulting, LLC.

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S P O N S O R S

POPS & FAMILY SERIES SPONSOR LISSA NOËL WAGNER WITH FRANCES BROWN PLATINUM ($10,000) Midland Symphony Guild Odessa Symphony Guild GOLD ($5,000) Carol & Tom Chandler Concho Resources FirstCapital Bank of Texas Permian Basin Opera Shamrock Steel Sales Claire & Jim Woodcock SILVER ($3,500) Aghorn Energy Community National Bank Cotton, Bledsoe, Tighe & Dawson P.C. Dr. James & Sharon Humphreys Carter Financial / Dee & Susan Carter with KWEL AM 1070 & FM 107.1 / Craig & Dori Lynn Anderson Lithia All American Auto Group BRONZE ($2,500) Martha & Paul Crump Frost Bank Ann & Ken Hankins, Jr. PhyTEx Rehabilitation, LLC Viking Energy Corporation West Texas National Bank

CHAMBER & CHORAL CONCERTS ($500) Shamrock Steel Sales Penny & Ernie Angelo Dee & Susan Carter Maridell Fryar Dr. Thomas A. Hyde & Anne B. Hyde The McDaniel Company Midland Symphony Guild Chris & Fred Newman Elizabeth Prentice Ward and Myers, LLP Mike Willson MEDIA, LODGING & TRANSPORTATION SPONSORS DoubleTree by Hilton Hotels at Midland Plaza Midland Reporter-Telegram Odessa American Basin PBS CBS7 FOX24 Midland Living Magazine The Odessan West Texas Radio Group KWEL AM 1070 & FM 107.1 (Craig & Dori Lynn Anderson) Premier Parking Rogers Ford Lincoln

THANK YOU to all sponsors of this remarkable 55th season. The critical role played by our sponsors year after year allows the Midland-Odessa Symphony & Chorale to stay true to its mission of Enriching Lives Through Music. For sponsorship opportunities please contact MOSC Development Director Violet Singh at development@mosc.org or (432)563-0921. 64


2017 - 2018 FUND DRIVE CONTRIBUTORS The Midland-Odessa Symphony & Chorale is very pleased to acknowledge the generosity of those who value the presence of live symphonic, chamber and choral music in the Permian Basin. Through their monetary commitment or through other unique forms of support they enable the MOSC to fulfill its mission of Enriching Lives Through Music for a 55th season. Listed below are gifts and pledges received for the 2017-2018 season as of July 1, 2017.

DIAMOND BATON SOCIETY ($10,000+) J.C. Ferguson Foundation Midland Symphony Guild Odessa Symphony Guild GOLDEN BATON SOCIETY ($5,000+) Karen & Spencer Beal Maridell Fryar Scott Long George and Kay Smith Claire and Jim Woodcock SILVER BATON SOCIETY ($2,500+) Exploration Geophysics / Lee Miller Benita Bermingham Kay Bird Mary Kennedy Dr. Ed and Suzanne Rathbun Red & Juandelle Lacy Roberts Max and Rosemary Wright

FORTISSIMO ($1,000+) Brazos Door and Hardware/Diann Mckee Anne Acreman, MD & Ken Anderson Ernie and Penny Angelo Michael and Dana Ashton Dee and Susan Carter Mary de Compiegne Roger Corzine Martha and Paul Crump Paul and Betty Rae Davis Reed and LuAnn Gilmore Rosalind Redfern Grover Betty Gulledge Ann and Ken Hankins, Jr.

Dr. Thomas A. & Anne B. Hyde Leon and Patricia Jeffcoat Craig and Mary Payken Jack and Randee Rathbone Jay Reynolds Roberts Family Living Trust Douglas Scharbauer Dr, Carol Traut Dr. & Mrs. Terry Unruh Dr. Robert & Lynda Webb FORTE ($500+) Chaparral Bolt & Supply/Keith Binam Morris and Angie Brooks Russell L. Freeman, Inc.

Joseph and Mary Baker Gary Brednich and Robin Richey Brednich Mary Lou Cassidy Julia Edwards Elaine Eiland Tom Elrod Jeff and Lou Nelle George William and Diane Jones Ronny and Carolina Keith David and Sarah Lauritzen Chris and Fred Newman Elizabeth Prentice David and Becky Sutter Bryce Swinford Charles and Schatzie Tighe 65


2017 - 2018 FUND DRIVE CONTRIBUTORS MEZZO FORTE ($250+) Pioneer Natural Resources Tierra Company, L.P. Bill Musar Mike & LaNelle Agee Marilyn & Don Andjulis Agnes Biggs Richard & Sherry Buck Kirk & Suzie Boyd Betty Dale Paul Feit Lynn & Earl Freeman Muff Fregia Terry and DeLaura Gammage Linda George Dee Griffin Michael and Katherine Grella Patti and Tevis Herd T. Scott and Gladys Hickman Caroline Ater Howard Ted and Sue Kerr Elizabeth King Mark and Jane Knox Marc Kondrup Steve and Hilde Kroger Gloria and LaDoyce Lambert Edward McPherson Wes & Jean Pittman Kathleen & Jim Rector Floyd & Kathy Rountree Neva Rousselot

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Joyce Sherrod Gary P. Sims Mark & Violet Singh Jont & Anne Tyson Ludie & Eben Warner, III Mr. & Mrs Richard Werner Michael J. Willson Deborah York CRESCENDO ($125+) Jay and Kathy Anderson John and Cindy Barkley Alan and Bambi Byars Bassett Construction Billy and Sheilagh Bassett Tom and Carol Chandler Amy Darg Monsignor Larry Droll Barbara Faubion William & Mary Garay Mark Germer Elizabeth Greaves Judith Hayes Joanie Holt Jack & Carolyn Laschkewitsch Jack and Karen Lowder Rod & Patti MacDonald Joan McCown Zahir and Kerry Noormohamed

Billie & Lucy Proctor Mark and Melissa Rae Ron Schwisow Dr. & Mrs. Tulsi Singh Dick & Pat Snyder Herbert & Pat Stanley Elizabeth & Nick Taylor Karen and Roy C. Williamson, Jr. Daniel and Rebecca Young PIANO ($75) Julie Andreopulos Julie Norma Batchelor Barry and Cliffy Beal Fredda Louise Black Pat and Julie Canty Em Carnett James & Barbara Cox Philip Eager Arlen Edgar David & Sarah Grimes Connie May Leslie Millichamp Terry Lindsay Miller Ann Parish Jan Roden James and Patricia Stahlbaum Greg & Danna Thornton Jane M. Wolf


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AssuringMusic for the Future! For over 54 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 canceled. 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 investment in the MOSC Endowment Fund gives you that immediate return of providing critical funding for the quality programming the MOSC offers season after season for residents of all ages. Established in VSHFLÀFDOO\WRKHOSSURYLGHDÀQDQFLDOFXVKLRQ when economic activity in the Basin dips, the MOSC Endowment Fund currently accounts for about 8% of the annual budget. The MOSC invites you to consider a more impactful and meaningful gift. As you consult with your tax advisor, ÀQDQFLDOSODQQHURUDWWRUQH\SOHDVHOHWWKH026&EH WKDWHQWLW\DVDEHQHÀFLDU\RI\RXUSODQQHGJLYLQJRU 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, contact:

VIOLET SINGH

Development Director development@mosc.org

432-563-0921 68


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. 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

Mr. & Mrs. Louis Rochester

Dr. & Mrs. Bart Mayron Phil & Susan Parker Mr. & Mrs. C. Richard Sivalls Mr. & Mrs. George S. Smith Mr. & Mrs. Mark D. Wilson Bach Society ($1,000-$4,999) Memorials Anne K. Anson Robert D. Anson Robert D. Anson Drs. Richard & Roberta Case Tyler T. Burns Bobby & Denise Burns Johnny “Cactus Jack” Dowdle Nash Dowdle Marguerite W. Davis Ludie & Eben Warner John M. Grimland, Jr. Mrs. John M. Grimland, Jr Neal H. Johnson Berniece Johnson Vera Osadchuk Bea & Bob Angevine Walter Osadchuk Mr. & Mrs. Jerry Covington Josh H. Parr Anne & Jim McLaughlin Victoria Parr Ehrlich Mary June Rasmussen Dr. & Mrs. Terry Unruh Fred A. Stout, Jr. Kathlene N. Stout Martha Tompkins Dianne & Mark Tompkins Bob Winkler & Clayton Taylor Winkler Carolyn Winkler Honorariums Brad Bullock Karmen Bryant Dorothy Davis Dr. & Mrs. Terry Unruh ExxonMobil Foundation Marshall & Winston. Inc. Mobil Foundation, Inc. Shinn Industrial Sales/Barbara & Don Shinn TXU Electric The Midland Musicians Club Anonymous (3) Nelson Allison Dollie Neal Ballenger Dr. & Mrs. John E. Bauman

Karen & Spencer Beal Mr. & Mrs. Robert L. Boothe Mrs. M.O. Boring, Jr. David and Vicki Brown Bob & Julia Chandler Mr. & Mrs. K. Michael Conaway Paul & Martha Crump Betty & Albert Dale Mr. & Mrs. Roy H. Davidson Mary & Henri de Compiegne Kimberly B. Dollens Betty & Don Ewan Celeste Fasken Frances Gilliland Elizabeth A. Greaves 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

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ENDOWMENT FUND CONTRIBUTORS (continued) Jack “Dug” Belcher Dortha & Ronald Bennett Dortha & Ronald Bennett & Barbara Shinn Ms. Judy DeWees Brad Bullock MOSC Board of Directors Marin & Ashlin Bullock Brad & Crista Bullock Chris Chance Pamela Howell Jo Ann Collett The Midland Musicians Club Kimberly Corman Janet Williams Pollard Ann Countryman Larry & Gwen Roberts Mrs. D. Pat Darden Betty M. Scott Gary Edmiston Employees of Security State Bank Karen Elliott Jane Wolf Trisha Faubion Karen Watson Maridell Fryar Bea Angevine Jane & Don Samples Sue Solari Louise M. Garay Bill & Mary Garay Luis de la Garza, III Pamela Howell Richelle Gengler The Midland Musicians Club Dr. Ted Hale Anonymous Carol, John & Caroline Deats Edith C. Hardy The Midland Musicians Club Lee Harley Flo White Sharon Hickox Mark & Janet Krause Peggy C. Jones The Midland Musicians Club Abigail Kauffman Mary Macferran Jeannette Kolokoff Crystal Radford LaDoyce Lambert MOSC Board of Directors Martha Lewis The Midland Musicians Club

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Reba McHaney Mr. & Mrs. Stephen H. Parker Tim Young & Sharon Hickox Edward McPherson Jeannette & Mark Kolokoff 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 Jay Reynolds MOSC Board of Directors Red and Juandella Lacy Roberts Violet and Mark Singh Elizabeth Roweck The Midland Musicians Club Jane Samples Bea Angevine Shari Santorelli The MOSC Chorale Joyce and Cliff Sherrod Violet and Mark Singh Violet Singh Alynda Best Joanie Holt Rev. Jon & Dale Stasney 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 Memorial Christian Church Billy T. Schulze Beverly Wise The Midland Musicians Club Gene & JoAnn Wyatt Risa Brown Memorials Nelson Allison Michael & Dana Ashton Bob & Kay Bivens Karl & Cathy Herzog Joan McCown Sue & Buddy McDonald Violet & Mark Singh Dr. & Mrs. Steve Wiehle

Anne Anson Mr. & Mrs. Kevin D. Durham Arlen Edgar Betty & Clem George Robert D. Anson Thomas K. Anson Ms. Francene Breckenridge Edith Libson Andrew W. Austin & Cynthia K. Stewart Eldon Basney Midland Symphony Guild Ms. Beverly K. Cunningham Dr. E. Grace Osadchuk Mr. & Mrs. Michael Tandy Jack E. Brown Jeannette & Mark Kolokoff Emma Burnett Violet and Mark Singh Jane Wolf 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 Clarence E. Cardwell, Jr. Eric Leibrock Mrs. Ethel Chapman Truman & Doreen McCreless Wanda Campbell The Midland Musicians Club Dorothy Croft Caroline Ater Howard Chancy & Toni Croft Barbara Davis Alan & Susan Leshnower Mary McKeown Davis Pat & Herb Stanley Perry Davis Melissa Burnett & Wayne Warren Jean Grisham Dean Jeff & Lou Nelle George Opal Dobbs Ludie & Eben Warner Gretchen Estes The Midland Musicians Club Marie Finical Chris Newman John Foster Kay & Robert Bivens Fay Griffin Betty & Stuart Awbrey Marshall C. Gulledge Marilyn J. Craig


ENDOWMENT FUND CONTRIBUTORS (continued) Mr. & Mrs. Robert M. Neill Frankie Simmons Mary Harrington Odessa Council for the Arts & Humanities Odessa Symphony Guild Nancy Anguish Karen & Spencer Beal Bobby & Denise Burns Emma H. Burnett Melissa Burnett & Wayne Warren Karl & Cathy Herzog Tim Young & Sharon Hickox Melissa Hirsch Mr. & Mrs. Charles E. Jones Charles Milby Hartwell Barbara Hartwell Mayor Dan Hemphill Melissa Burnett & Wayne Warren Harriet Herd Midland Symphony Guild Alathea & Jim Blische Jeannine Donnelly Kenneth Herrick Elizabeth & Preston Black Myrna Herrick The Preston Black Family Mayor Bill Hext Bobby & Denise Burns Rose Ann Houghton Joanie Holt Robert Hudson Jane Wolf Billie Hunt Pam & Bob Leibrock Pat Innerarity Jim & Barbara Clack Mary B. Kennedy Rebecca Sawyer Janet & Paul St.Hilaire 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 & Harriet Herd Patty & Tevis Herd Sue Houghton Dan M.Leonard Jan & Bill Setzler Mrs. E.M. Seydell Barnie Snure Mrs. George Lovett Audrey Chartier Geraldine MacCabe Chastain Jheri Fleet Marjorie Sue McLelland Emma H. Burnett Maurice “Mo” Martel W.M. Champion Sammie K. Rogers 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 Dr. Jess Parrish Kay and Bob Bivens 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 Mary Lou Cassidy Permian Basin Landmen’s Association Violet & Mark Singh Nan & Alan Zeman Deane Stoltz & Susan Stoltz Tirey Kay & Robert Bivens Emma H. Burnett Wanda Campbell Kathleen Stout Midland Symphony Guild Twentieth Century Study Club Capt. & Mrs. William E. Clark Berniece Johnson Charlene Shults Kay & Robert Bivens 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

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ENDOWMENT FUND CONTRIBUTORS (continued) 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 Stanton Music Club Twentieth Century Study Club Anonymous (4) Dr. & Mrs. Clayton Alred Jim & Sandra Alsup Mr. & Mrs. George Alther Mr. & Mrs. John F. Armstrong Joyce R. Barthelemy Cliffy & Barry Beal Helen B. Beal Chrys & Kelly Beal Cheryl Becker Frank & Gretchen Bell Mr. & Mrs. Stanley Bellows Virginia Berry Elizabeth & Herb Blankinship Berry & Jane Breining Ken & Cathy Burgess Mr. & Mrs. William C. Bynum Mr. & Mrs. Frank Cahoon Mr. & Mrs. Jack C. Cartwright Edward & Cassandra Cheek Mr. & Mrs. Bill Clifton Mr. & Mrs. Robert S. Cooke Margaret Cowden Enid W. Davis Tom & Dorothy Davis Bill & Mary Anne Dingus Mary Margaret Donelson

Mr. & Mrs. Lynn D. Durham, Jr. Mr. & Mrs. Curtis Erwin, Jr. Paul Feit Iris & John Foster Mr. & Mrs. Robert H. Frazer Jeff & Lou Nelle George Richard D. & Iola Gillham Dan Green Sarah & David Grimes Mr. & Mrs. M.C. Gulledge, Jr. Barbara Hales Mr. & Mrs. Robert H. Halpert Billie C. Halstead Mrs. Thornton Hardie Phil & Judy Hayes Patty & Tevis Herd Dr. & Mrs. William M. Hibbitts Melissa Hirsch Brittie N. Holster Dr. Jim Huddleston & Sue Smith Dr. & Mrs. James Humphreys Patricia & Leon Jeffcoat Barbara J.H. Johnson Maureen Johnson & Todd Torczon Jo Ann Jonsson Al & Elayne Karickhoff Sherry Keisling Niran E. Kellogg Lee & Bob Kennedy Mary B. Kennedy Mr. & Mrs. William D. Kleine Jane Knox Pam & Bob Leibrock Edith H. Libson Buddy & Anita Lintzen Mr. & Mrs. J.K. Lytle Beverly Martin James H. Miller, D.D.S. Darla V. Mueller Kelvie Williams Muhlbauer Mr. & Mrs. Charles E. Nail

Mr. & Mrs. Jim Nelson Mr. & Mrs. Fred Newman James & Jerri Nickel Ann Parish Steve & Diane Parker Bill Peyton Rod & Jane Phares Margaret & James H. Purvis Jane B. Ramsland 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 Bill & Patti Watson Rev. & Mrs. Robert Walter Jenna H. Welch Mr. & Mrs. Richard Werner Jann & Dr. Stephen Wiesenfeld Mike Willson

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Nationally-Acclaimed Carden Curriculum • Small Classes, Music Classes, Choir, Band • Spanish Classes • Library P.E. & Competitive Sports • Computer Lab • Field Trips • Parent Involvement • Summer Camps After-School Classes: Guitar • Stretch and Grow • Dance • Tae Kwon-Do • Bricks4Kids • Golf Mrs. Emily McDoniel, Principal

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Kris L. Howard, M.D., P.A. Diplomate American Board of Dermatology Dermatology and Dermatologic Surgery

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Director of Visual Arts, Paige Gates, shares her passion for ceramics.

Director of Visual Arts, Paige Gates, has been instilling a love and appreciation for art in Trinity School students for nearly 20 years. Every instructional decision we make is predicated on creating an environment designed to educate the whole child. Our students are well prepared to be appreciative audiences for organizations like the Midland-Odessa Symphony & Chorale. Experience the difference. 3500 West Wadley | Midland, TX 79707 | 432-697-3281

trinitymidland.org

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WEST TEXAS RADIO GROUP Proudly Supports the Midland-Odessa Symphony & Chorale!

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Midland - Odessa Symphony & Chorale  
Midland - Odessa Symphony & Chorale  

2017/ 2018 Season - Book 1