Issuu

2016 - 2017 Season

Book 1

TABLE OF CONTENTS

FROM YOUR SYMPHONY & CHORALE From the Board President From the Executive Director From the Music Director Music Director Biography 2016-2017 Board of Directors & Staff Midland Symphony Guild Odessa Symphony Guild Ticket Pricing Symphony SoundBites Symphony Young Professionals

8 9 10 11 13 14 16 23 24 46

OUR SEASON 2016-2017 Season Series Opening Night: Orchestral Blockbusters Wicked Divas Scheherazade Sounds of the Season

18 28 40 48 58

OUR ENSEMBLES 2016-2017 Chamber & Choral Concerts MOSC Orchestra MOSC Chamber Ensembles

20 21 22

OUR CONTRIBUTORS / DONORS 2016-2017 Sponsors 2016-2017 Fund Contributors Endowment Fund Contributors Advertiser Index

66 67 70 90

FROM THE BOARD PRESIDENT As I reflect back to how I became interested in symphonic music, I think back to my childhood years in Artesia, NM. We rarely had live professional music performances, but we did have a Community Concert organization that would bring in live music, often classical symphony orchestras. Over the years, I was exposed to new music, grew to appreciate these concerts and began the process of making music an important part of my life. My experiences clearly showed me the importance of music as an incredible way to enrich our daily lives and the need to expose all children to a life-time filled with music. This is what MOSC strives for, to educate and to share quality performances for all ages through the symphony, chorale and chamber concerts. It is with these memories of my younger years that I enthusiastically usher in MOSC’s 2016-2017 season. What an honor to lead this great organization and work with such a professional staff and wonderful board members. So from the youngest to the most mature, we have something of joy for you. Our mission includes growing our audience and we hope to share our music with more people in the Permian Basin. To do this, we need your help. When you attend one of our performances, bring a friend with you. With such an excellent concert hall to perform in, it makes for a wonderful evening. We even offer a bite of dinner prior to our Masterworks concerts, along with remarks from our Music Director and guest artists regarding the evening’s performance. Share your experiences with others and let them know what a great symphony we have in the basin. Let’s grow and help our music reach even more people. Finally, we would like to acknowledge the critical support of our sponsors. We could not bring you this professional symphony orchestra, choirs or ensembles without our sponsors. The cost associated with this endeavor is only partially covered by ticket sales, and we rely on sponsors to sustain us. We ask that you too might consider this at any level. We appreciate you, our audience, because you are what this is all about. With regards,

Jay Reynolds

FROM THE EXECUTIVE DIRECTOR Dear Friends, The Midland – Odessa Symphony & Chorale is very proud to present our 54th Season providing you with the highest quality music that our audiences have come to expect. Though our community is currently facing challenging economic times the MOSC continues to provide a full eight-concert season along with our choral and chamber concerts, education programs in the schools for elementary students and student concerts at the Wagner Noël Performing Arts Center. The expense of producing such a season comes with a large cost that is not covered by ticket sales. I would like to share with you a few facts: • MOSC musicians are paid professionals who auditioned for and won their position in the orchestra • Producing a single concert could cost as much as $70,000 • Costs for producing a concert may include: • Orchestra Personnel and Travel • Guest Artist(s) • Music Acquisition • Piano Tuning • Instrument Transport and Fuel • Venue Rental and Venue Staff Support Additional Operating expenses include salaries for the Music Director & Conductor, Executive Director, Development Director, Marketing Director, Office Administrator, Operations Manager/Librarian, Personnel Managers, Ensemble Musicians, Chorale Conductor, Voices of the Permian Basin Director, as well as marketing, music performance licenses, insurance and other general business operation expenses. From its founding in 1962 to the present, the supporters of the MOSC have demonstrated a strong tradition of giving throughout the historical economic ups and downs. Your presence here tonight indicates your support through the purchase of your ticket and we appreciate you are delighted that you are here to share the music. Additionally we request that you consider supporting your symphony orchestra though a variety of giving opportunities. • Annual Fund Drive – individual and corporate gifts support the annual concerts and operations • Concert Sponsorship – individual and corporate concert sponsorships are still available starting at the $500 level. Consider sharing a sponsorship to receive shared benefits. • Program Advertisement – available for the winter/spring program book MOSC is a 501(c)(3) with a mission to enhance the quality of life in Midland, Odessa and the surrounding area by presenting outstanding symphonic, choral and chamber music performances, and music education programs. Please help us meet our mission through your financial support. Every gift, no matter the amount, is greatly appreciated. Sincerely, Jeannette Kolokoff

FROM THE MUSIC DIRECTOR Dear Patrons, Greetings, and welcome to the 2016-2017 season of the Midland-Odessa Symphony Orchestra! We are very excited to share this season of incredible music with you. It all begins with Opening Night, featuring the winner of the Concert Artists Guild International Competition, Ko-Eun Yi, performing Prokofiev’s extraordinary Piano Concerto No. 3. Elgar’s iconic Enigma Variations is also on the first program. November brings the vivid Sheherazade and our own principal violist, Melissa Madura, performing Vaughan-Williams’ Suite for Viola and Orchestra. We’re breaking down barriers in January combining Symphony No. 4 of Beethoven with jazz saxophonist John Gunther performing Focus, one of the finest examples of third-stream jazz written for the great jazz artist Stan Getz. Our Masterworks series comes to a rousing close with Stravinsky’s Firebird Suite and solo dancers from Ballet Arkansas performing the grand pas from Paquita and Gershwin’s Who Cares?. Once again, we have engaged an amazing group of artists and programs in our Pops and Family Series. Featuring Wicked Divas, performing showstoppers from Broadway, opera and popular music, our annual tradition of “Sounds of the Season,” Five by Design, with music from the Mad Men Era, and a return of the audience favorite “Disney in Concert,” this series will prove to be an all-time great! We are extremely grateful for your support and patronage! We simply cannot bring such great music to the Permian Basin without your help. 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! Please plan to subscribe to these wonderful series of concerts. Bring a friend to join us for this season of great music as we continue our mission to change lives in the Permian Basin through great music. I look forward to meeting you at the concert! Sincerely,

Gary Lewis Music Director and Conductor

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.

2016-2017 BOARD OF DIRECTORS & STAFF OFFICERS Jay Reynolds, President Carol Chandler, Executive Vice President Brad Bullock, Immediate Past President David Lauritzen, Vice President, Fundraising Rebecca Young, Vice President, Finance Scott Long, Vice President, Sponsorships Ann Parish, Secretary

DIRECTORS Maridell Fryar Linda George Mike Germer Dr. Thomas A.Hyde Carolina Keith Lura Kirkland Jane Knox LaDoyce Lambert Mark Lyon Connie May Edward McPherson

Dr. Anne Acreman Penny Angelo Dana Ashton John Barkley Sheilagh Bassett Pat Canty Dee Carter Nash Dowdle Thomas Elrod Barbara Faubion Dr. Paul Feit

Janet Pollard Betty Ann Prentice Suzanne Rathbun Kathleen Rector Floyd Rountree Melissa Rowland Deb Shaw Dave Sutter Ludie Warner Mike Willson

HONORARY MEMBERS Mrs. Lois Rochester (dec’d) Ms. Mary Harrington (dec’d) Mr. Don Williams (dec’d) Mr. Fred Trout Jr. (dec’d)

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)

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 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

2016 - 2017 PRESIDENT, MIDLAND SYMPHONY GUILD Midland Symphony Guild (MSG) is proud to begin its 54th 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 â€“ 12th grade. Each young lady volunteers service for local events and also learns the quality value of giving back to her community. Friendships are made and life lessons learned. Belles work at great community organizations like Safe Place, Midland Festival Ballet, Museum of the Southwest, Arts Council of Midland, Midland Community Theatre, Mission Center Adult Day Service and The Wagner Noel Performing Arts Center. Guild members and our Symphony Belles provide approximately 21,000 hours of community service each year which means we have provided over 1 million hours since our organization began in 1962. In February 2017, we will host our Diamond Gala Weekend starting with a black tie dinner and dance on Friday, February 3rd to present our Senior Belles and honor their 4 years of service. On Saturday, February 4th, we introduce our incoming Freshmen Belles with a luncheon and fashion style show. On Saturday night, we conclude the weekend festivities with the Belle Ball for all our Belles as a thank you for their service. It is my privilege this year to serve as president of the 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 fosters the talent of our local 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 2016-2017 President, Midland Symphony Guild 14

2016-2017 MIDLAND SYMPHONY GUILD BOARD OF DIRECTORS OFFICERS President Belle VP Community VP Projects VP Finance VP Membership VP Correspondence Sec. Recording Sec. Parliamentarian Immediate Past Pres.

Thomas W. Elrod Debbie Hightower Leslie Wilson Karisa Danley Amanda Bledsoe Cheryl Spotts Raquel Padilla Corrine Roberson Jill Pennington Leslie Rhodes ELECT OFFICERS

Belle VP Elect Community VP Elect Projects VP Elect Finance VP Elect Membership VP Elect

Debbie Hightower Leslie Wilson Cindee Dietrich Natalie Branco Cheryl Spotts

STANDING COMMITTEE CHAIRS Advisory Planning / Bylaws Jill Pennington Community Liason Leslie Wilson Concert Hospitality Mikell Abney Finance Amanda Bledsoe Gala Cindee Dietrich Guild Arrangments Gina Campagna Long Range Planning Leslie Rhodes Mailing Karen Sparks Membership Cheryl Spotts MIT (Member in Training) Susanne Kennedy Nominating Committee Shelley Harper Patron Liason Adrianne Clifton Publicity Co-chairs Robin Hall (Social Media) Dedee Boring (Website) Symphony Belle Debbie Hightower Symphony Office Katherine Jones Vintage Harmony (Special Events) Allison Gramentine Yearbook Billye Louder

2016 - 2017 PRESIDENT, ODESSA SYMPHONY GUILD The Odessa Symphony Guild is entering into its 58th year of continued support of the Midland-Odessa Symphony & Chorale to bring the gift of fine music to the Permian Basin. The MOSC has supported and broadened the musical education of West Texans by offering free concerts to the communities, instructing Youth Choir and honoring numerous other events. First class musicians have been performing with the symphony to enrich our lives through their music at concerts and performances, but also by serving in the public schools by teaching the children of the next generation to be amazing musicians. Since the Odessa Symphony Guild began in 1958, it has provided opportunities for Active members, Patrons and Belle/Beaux volunteers to support the MOSC through contributions, ushering, attending concerts, working at the concerts and hosting receptions. The Belle/Beaux volunteer group begins in the 9th grade and each student has a parent or sponsor that is a member of the Odessa Symphony Guild. If you and your child are interested, please do not hesitate to contact us at www.odessasg.org to learn more about the wonderful program our City is so blessed to have in our reach. The Odessa Symphony Guild will again host the Annual Symphony Gala Ball at the Odessa County Club on Saturday, January 28, 2017. The Ball is the main fundraiser for the OSG to provide the financial support to the MOSC. This is also a time to honor our Senior Belles and Beaux who have faithfully served the Symphony throughout their high school careers. The Odessa Symphony Guild will introduce the freshman, s ophomore and junior Belles and Beaux along with the special time of celebration and recognition for the Senior Belles and Beaux. The Odessa Symphony Guild would like to personally invite you to attend this fun and spectacular event as we honor the hard work these students have sacrificed, and at the same time raise funds to support the Midland Odessa Symphony and Chorale. This yearâ€™s theme will be: ALL THAT FANFARE ~ A Black Tie Affair. Please join us!

Lura Kirkland 2016-2017 President, Odessa Symphony Guild

2016-2017 ODESSA SYMPHONY GUILD OFFICERS AND COMMITTEE CHAIRS OFFI CERS President President Elect VP Membership VP Projects VP Tickets Recording Secretary Treasurer Assistant Treasurer Parliamentarian Corresponding Secretary

Lura Kirkland Heather Butler Sherry Adams Heather Hutson Cami Simmons Jacqui Gore DeeAnna Arellano Vanessa Dunn Mary Morton Heather Butler COMMI TTEE CHAIR S

Arrangements Belles/Beaux By-Laws Historian/Public Relations Membership Nominating Projects Tickets Yearbook Patron Liaison Communications

Ashli Tate Heather Bland/Heather Kirk Mary Morton Kellye Lewis Sherry Adams Lisa Steen Heather Hutson Cami Simmons Ashli Tate Carla Haston Candy Thompson

MOSC 2016-2017 ORCHESTRA GARY LEWIS, MUSIC DIRECTOR AND CONDUCTOR VIOLIN John Madura, Concertmaster Dorothy Croft Chair Endowed by the Midland Symphony Guild Erin Weber, Principal Second Violin Paula Beard Kevin Crutchfield Xavier DeGrate Nikesha Hailey Lowell Hohstadt Laurel Lawshae Karen McAfee Robert Meinecke Corey Metcalf Turner Partain Lucy Proctor Abi Rhoades Yaesolji Shin Jason Snider VIOLA Melissa Madura, Principal Laura PeÃ±a, Associate Principal Beau Garza Kathy Hohstadt 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

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 Julie Ann Link, Principal Bill Harden, Associate Principal

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

CLARINET Chris Chance, Principal Sarah Demy, Associate Principal Mande Gragg

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

TROMBONE Nicholas Conn, Principal Darin Cash BASS TROMBONE Jon James, Principal TUBA Kevin Young, Principal TIMPANI Tim Mabrey, Principal PERCUSSION Erin Martysz, Principal Nathaniel Collins HARP Vincent Pierce, Principal PIANO Shari Santorelli, Principal

5;/2*10; 5170&$+6'5 Join us before each Masterworks performance by purchasing a ticket to the pre-concert supper in the Rea-Greathouse Recital Hall in the WNPAC. Dine with your friends as Maestro Gary Lewis and the guest artist(s) provide you with an insider’s view of the evening’s program. Bring your friends and make new ones as you learn about the music and enhance your symphony experience!

November 5, 2016 - SCHEHERAZADE Wild Herb Crusted Chicken Breast January 21, 2017 - BEETHOVEN Grilled Pork Chops April 8, 2017 - THE FIREBIRD Chicken Stuffed with Mushrooms & Peppercorns

All Suppers include salad, bread & butter, dessert, iced water, iced tea or coffee. Cash bar is available.

7LFNHWV DUH OLPLWHG DQG EDVHG RQ D ¿UVW FRPH ¿UVW VHUYH EDVLV TO PURCHASE TICKETS 432-552-4439 | MOSC.ORG SPONSORED BY: JEANNETTE & MARK KOLOKOFF

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

Presents

Opening Night: Orchestral Blockbusters

©Nikki Smith, GuitarSiren.com

KO-EUN YI, PIANO WINNER OF THE CONCERT ARTISTS GUILD INTERNATIONAL COMPETITION

SATURDAY, SEPTEMBER 10, 2016 7:30 P.M. WAGNER NOËL PERFORMING ARTS CENTER THIS CONCERT PROUDLY SPONSORED BY

DRS. RICHARD AND ROBERTA CASE MARTHA AND PAUL CRUMP 28

OPENING NIGHT: ORCHESTRAL BLOCKBUSTERS

Opening Night: Orchestral Blockbusters 7:30 p.m. Saturday, September 10, 2016 Wagner Noël Performing Arts Center Gary Lewis, conductor KO-EUN YI, PIANO WINNER OF THE CONCERT ARTISTS GUILD INTERNATIONAL COMPETITION Overture to Ruslan and Lyudmila, op. 5 Piano Concerto No. 3, op. 26

Mikhail Glinka (1804 – 1857) Sergei Prokofiev (1891 – 1953) Ko-Eun Yi, piano

• Andante – Allegro • Tema con variazioni • Allegro ma non troppo – Meno mosso – Allegro

~INTERMISSION~ Variations on an Original Theme, “Enigma,” op. 36

Sir Edward Elgar (1857 – 1934)

Theme: Andante Variation I: “C.A.E.” (L’istesso tempo) Variation II: “H.D.S-P.” (Allegro) Variation III: “R.B.T.” (Allegretto) Variation IV: “W.M.B.” (Allegro di molto) Variation V: “R.P.A.” (Moderato) Variation VI: “Ysobel” (Andantino) Variation VII: “Troyte” (Presto) Variation VIII: “W.N.” (Allegretto) Variation IX: “Nimrod” (Adagio) Variation X: “Dorabella” (Intermezzo: Allegretto) Variation XI: “G.R.S.” (Allegro di molto) Variation XII: “B.G.N.” (Andante) Variation XIII: “***” (Romanza: Moderato) Variation XIV: “E.D.U.” (Finale: Allegro presto) 29

A B O U T T H E A R T I S T Ko-Eun Yi, piano Winner, 2013 Concert Artists Guild Victor Elmaleh Competition Korean pianist Ko-Eun Yi, a winner of the 2013 CAG Victor Elmaleh Competition, has earned praise for playing with “élan and fire and a surplus of bravura technique” (Cincinnati Enquirer). She has garnered numerous top prizes in her young career, with recent successes at the 2010 World Piano Competition in Cincinnati and the 2011 Wideman International Piano Competition in Jackson, Mississippi. The Washington Post applauded her recent debut recital in DC: “a masterful technician ... Her finger-work was immaculate, inner voices were keenly drawn out, and there was no lack of power when needed.” At the October 2013 CAG competition, Ko-Eun was also awarded the Victor & Sono Elmaleh Piano Prize, and her 2014-15 itinerary includes her February 2015 New York recital debut at Weill Recital Hall at Carnegie Hall on the CAG New York Series. Other upcoming engagements resulting from her CAG victory include concerto engagements with the Dupage Symphony Orchestra near Chicago and the Roswell Symphony in New Mexico, as well as recitals for the Trust Performing Arts Center in Harrisburg, PA and the Art Trail Gallery in South Carolina. The Cincinnati Enquirer praised her Gold medal-winning concerto performance at the World Piano Competition: “…a fantasy world of shimmering sounds and colors. Her playing was at once flawless and dazzling…” Additional recent concerto highlights for Ko-Eun include performances with the Barcelona, Jerusalem, and Boston Symphony Orchestras, the Seoul Philharmonic Orchestra, and the Aspen Concert Orchestra, working with such conductors as Lawrence Foster, Leon Fleisher, and Christopher Wilkins. She toured South America playing Saint-Saëns concerto No. 2 with the New England Youth Philharmonic Orchestra conducted by Benjamin Zander. A compelling recitalist, Ko-Eun has given solo concerts around the US at Alice Tully Hall in NYC, the Phillips Collection in Washington, DC, the Dame Myra Hess Series in Chicago, the Bossier ‘Jam’n Bread’ Chamber Series in Shreveport, LA, and at Mount Holyoke College in Massachusetts, as well as internationally in Spain and Korea. Born in Seoul, Korea, Ko-Eun Yi began her piano studies at the age of three. She earned her Bachelor and Master of Music degrees at The Juilliard School studying with Jerome Lowenthal and completed her Professional Studies degree with André-Michel Schub at Manhattan School of Music. She is now pursuing a Doctor of Musical Arts degree at Stony Brook University with Christina Dahl.

OPENING NIGHT: ORCHESTRAL BLOCKBUSTERS Overture to Ruslan and Lyudmila, op. 5

Mikhail Ivanovich Glinka b. June 1, 1804 Novospasskoye, Russian Empire d. February 15, 1857 Berlin, Germany Premiered: December 9, 1842 at the Bol’shoy Theatre in St. Petersburg Approximate duration: 5 minutes Timeline Connections • 1835: Siege of Béxar (Texan Army captured San Antonio) • 1836: The Alamo • 1837: Queen Victoria ascended to British throne • 1842: Glinka premiered his Ruslan and Lyudmila • 1844: First electronic telegram (Samuel Morse) • 1845: Invention of the Rubber Band (Stephen Perry) • 1845: Texas became the 28th state of the USA Hailed as the preeminent icon of Russian Romanticism, Glinka contributed a unique voice that would influence generations to come. Glinka’s work affected notable composers such as Rimsky-Korsakov and others of The Mighty Handful (also known as The Five, counting Borodin and Mussorgsky amongst their group). It could also be claimed that Tchaikovsky (of the famous Swan Lake and The Nutcracker) as well

as Stravinsky were influenced by the groundwork laid by Glinka’s bricks as well. A fundamental ingredient in marking Glinka’s influence is the quintessential Russian voice – an aspect that, in the late 19th century, was particularly attractive in the face of widespread nationalistic trends throughout the Western world. Ironically, however, Glinka’s “Russianness” was more a byproduct than an impetus for his artistic process. The bricks of his own foundation were heavily mixed with European stones, sparkling with possibility. His Russian roots undeniably served as the clay and mortar, but the genius in his artistry lies in the synthesis of European compositional techniques. In fact, musicologists claim that Glinka is the founding father of this new ideology: a clearly Russian voice merged with the Western classical model. Unlike many who came before, Glinka embraced the sparkling European stones and mixed them in with his Russian clay. The resulting bricks were spectacular, and for the first time, a Russian composer gained a European reputation within the Western art music world – laying the foundation for many more to come. As an active participant in Western tradition, Glinka was cited as clearly influenced by Italian, French, and German composers, and Ruslan and Lyudmila was certainly no exception. Many list Beethoven and Mozart amongst his general influences, and one would be hard pressed to deny the connection between Ruslan and Rossini’s Italian operatic style, particularly The Barber of Seville (one of Glinka’s favorite works). Hector Berlioz once wrote of the obvious German tinge in Ruslan, namely in the sheer prominence of the orchestra, the remarkable instrumentation, and the “beauty of the harmonic fabric.” The various influences have even led musicologists to describe this work as (at least) trilingual; Glinka used a Russian idiom as his clay, Italian sparkling stones, and even threw in a few precocious gems of whole-tone scales and other bits of exoticism. The overture to Ruslan and Lyudmila was written last, reportedly in between rehearsals for the premiere. (Another connection to Mozart may come to mind; he completed the overture to his 31

OPENING NIGHT: ORCHESTRAL BLOCKBUSTERS (continued) Don Giovanni less than 24 hours before the premiere.) Glinka’s Ruslan overture particularly foreshadows the music of the final number of the final act, providing a framework for the cyclic effect utilized throughout the entire opera. In each of the five acts, Glinka foreshadows the finale for the respective act. Musicologist Richard Taruskin describes the result as a “spacious, enclosed, quasi-palindromic structure [that] became a hallmark of Russian opera.” A later example of this structure is Mussorgsky’s Boris Godunov. Once more, the firmness of Glinka’s bricks is clear despite the irony; Mussorgsky and other members of The Mighty Handful sought to establish a uniquely Russian school, influenced by Russian composers who came before them, vehemently and distinctly without general European trends. Regardless, Glinka’s sparkling European stones remain in his Russian clay, and the effect in Ruslan and Lyudmila is remarkably exciting. Piano Concerto No. 3, op. 26

Sergei Prokofiev b. April 23, 1891 Sontsovka, Russian Empire d. March 5, 1953 Moscow, USSR Premiered: December 16, 1921 in Chicago with Prokofiev at the piano Approximate duration: 28 minutes

Timeline Connections • 1888: Tchaikovsky premiered his Symphony No. 5 • 1889: Starry Night (Vincent van Gogh) • 1899: Premiere of Elgar’s Enigma Variations • 1917: Russian Revolution • 1921: Prokofiev premiered his Piano Concerto No. 3 • 1922: USSR established • 1947: Cold War began • 1953: Deaths of both Stalin and Prokofiev -on the same day in Moscow Prokofiev’s Piano Concerto No. 3 is a difficult work to categorize in any concrete way. It features dripping stacks of dissonance but is still accessible, still palatable. The melodies flirt with various extremes – some are lushly lyrical and often evoke Russian folksong, serving as clear echoes of Prokofiev’s roots in late Russian Romanticism. Other melodies feature stark registral contrasts or grinding tension more akin to modernist movements such as expressionism. The dissonance alone may tempt a listener to simply label this work as modernism, and yet, with virtuosic twists and turns, it also features traditional techniques (clear, regular meters, for example). Prokofiev’s fierce adherence to traditionalism is, in fact, a common thread through virtually all of his oeuvre. He is even accredited as a leading force in the creation and solidification of neoclassicism – his essentially concurrent Classical Symphony (op. 25, composed 1915-17) is exemplary to this end. However, within his palate of accessible traditionalism, there is a unique and heavily permeating spice: using traditionalism to the point of exaggerated caricature. His Classical Symphony is not exempt from this flavor; many contemporary avant-garde musicians perceived it as little more than an esoteric joke. In this work, however, the flavor is more pungent: Prokofiev described the spice as caustic humor. Perhaps it is within this caustic humor that we understand Prokofiev. His vehemence is filled with a ferocity that viscerally exudes an element of the human condition: grinding conflict. Who cannot relate to conflict? Prokofiev himself certainly had

OPENING NIGHT: ORCHESTRAL BLOCKBUSTERS (continued) his fair share of conflict, particularly after settling back into his native land not long after Stalin officially came to power. Prokofiev’s early years were spent in the relative luxury of privilege, however. His father managed an estate, and his mother was a patron for the arts (she began piano lessons with Prokofiev at the age of four). Prokofiev was the last of three children, but his two elder sisters died in infancy. As their precious only child, Prokofiev’s parents endeavored to provide as much as possible, employing various governesses to supplement an education for their young son. His playmates in these early years were the children of the employees – whom he addressed with the informal “you” while they addressed him with the formal form. Musicologist Dorothea Redepenning claims that this “contributed to giving him a sense, from an early age, of being privileged, indeed invulnerable and immune to criticism.” His years at university did little to manipulate his confidence, but the October Revolution of 1917 forced a change that would forever shift his perspective. Like so many artists, Prokofiev fled the country just after the October Revolution. He traveled east for several months, ultimately landing in the United States in the early 1920s with the hopes of concertizing in a manner akin to his countryman Rachmaninoff. However, after only one full season of numerous disappointments and accompanying financial hardships, Prokofiev relocated to Europe. His Piano Concerto No. 3 was a product of this time, finished on a holiday in Brittany during the summer of 1921 (though sketches date back to at least 1917). One could claim that the virtuosic showmanship of this piece was intentionally designed with American audiences in mind. With this thought at hand, his self-proclaimed label of “caustic humor” may take on a new shape, but one cannot deny that this spice is present before and after this difficult time. It became even more pronounced under the iron fist of Stalin after Prokofiev returned home in 1936. Regardless, Prokofiev’s voice carries vehemence born of the level of intimacy he had with his craft – music was a vehicle for his own visceral voice,

and an integral part of his identity. Indeed, Prokofiev’s music is heartbreakingly passionate, anguished and fervent to the last caustically humorous breath. Variations on an Original Theme, “Enigma,” op. 36

Sir Edward Elgar b. June 2, 1857 Broadheath, England d. February 23, 1934 Worchester, England Premiered: June 19, 1899 at the St. James’s Hall in London Approximate duration: 35 minutes Timeline Connections • 1853: Steinway & Sons (of Steinway Pianos) founded in New York • 1861–1865: American Civil War • 1865: Alice's Adventures in Wonderland (Lewis Carroll) • 1867: Alaska is purchased from Russia for $7.2 million • 1876: Alexander Graham Bell invented the telephone • 1889: World Fair in Paris (world music such as Javanese Gamelan influenced Parisian composers - notably Debussy) • 1899: Premiere of Elgar’s Enigma Variations • By the end of the century, the Britain Empire would extend to over a fifth of the earth’s total land area, controlling nearly a quarter of the world’s population. 33

OPENING NIGHT: ORCHESTRAL BLOCKBUSTERS (continued) The work of Edward Elgar heralded a significant chapter in English music history; his oeuvre is easily amongst the most valued since that of Henry Purcell in the Baroque era. His milieu had humble beginnings, however, and his fame was hard won. The piece that is most often cited as his claim to fame is his Variations on an Original Theme, known now as the Enigma Variations. Interestingly, the subtitle “enigma” refers only to the theme itself, and was added in pencil by Elgar’s friend and publisher, August Jaeger.

the theme through the personality (as it were) of another Johnny,” and dedicated the work to his “friends pictured within.” Although he was initially reluctant to reveal the identities of each friend, he eventually published descriptive notes.

As a whole, Elgar’s voice is uniquely individual. Richard Strauss once spoke of him as the “first English progressivist,” and indeed, there is a tumultuously revolutionary tinge to his work. The turmoil was personal rather than political, however, as British imperialism was at its zenith. Elgar struggled personally, like so many other artists; he battled with balancing external confidence and internal despondence. Perhaps this balancing act is in some ways responsible for the visceral opulence in his music.

Elgar later privately admitted that the “enigma” – with its “dark saying”– could be considered a reference to his own character. Many musicians cite the main motive as the melodic representation of his name: Ed-ward El-gar.

The Variations display this richness with fervor. In 1911, Elgar recalled the compositional process as one that “commenced in a spirit of humour and continued in deep seriousness.” Elgar further explained that within the variations, he had “sketched portraits of my friends –a new idea, I think– that is, in each Variation I have looked at

Theme: Andante “Enigma” Since the theme is an “enigma,” Elgar not only refused to offer an explanation, but tempted future musicians with a riddle: “The enigma I will not explain – its ‘dark saying’ must be left unguessed.”

Variation I: “C.A.E.” (L’istesso tempo): Elgar’s wife, C. Alice Elgar “The variation is really a prolongation of the theme with what I wished to be romantic and delicate additions; those who knew C.A.E. will understand this reference to one whose life was a romantic and delicate inspiration.” Variation II: “H.D.S-P.” (Allegro): chamber music partner, pianist Hew David Steuart-Powell “His characteristic diatonic run over the keys before beginning to play is here humorously travestied in the semiquaver passages; these

OPENING NIGHT: ORCHESTRAL BLOCKBUSTERS (continued) should suggest a Toccata, but chromatic beyond H.D.S.-P.’s liking.” Variation III: “R.B.T.” (Allegretto): vocalist Richard Baxter Townshend “R.B.T.’s presentation of an old man in some amateur theatricals—the low voice flying off occasionally into ‘soprano’ timbre.” While Townshend was at Oxford, he rode his bicycle around town frequently, the bell ringing constantly. The pizzicato in the strings and the woodwind counterparts represent the bicycle bell. Variation IV: “W.M.B.” (Allegro di molto): William Neath Baker Baker was “a country squire, gentleman, and scholar. In the days of horses and carriages, it was more difficult than in these days of petrol to arrange the carriages for the day to suit a large number of guests. The Variation was written after the host had, with a slip of paper in his hand, forcibly read out the arrangements for the day and hurriedly left the music-room with an inadvertent bang of the door…. [There] are some suggestions of the teasing attitude of the guests.” Variation V: “R.P.A.” (Moderato): son of a poet Mathew Arnold, Richard Penrose Arnold Richard Arnold “was a great lover of music, which he played (on the pianoforte) in a self-taught manner, evading difficulties but suggesting in a mysterious way the real feeling. His serious conversation was continually broken up by whimsical and witty remarks.” The expansive melody in the strings represents Arnold’s nobility of mind and his deeply truthful way of playing music.

Variation VI: “Ysobel” (Andantino): Elgar’s violin student, Isabel Fitton Due to a shortage of violists in the neighborhood, “Ysobel” (as Elgar called her) eventually switched to viola, hence the prominent feature of that instrument here. Forever her teacher, the opening “is an ‘exercise’ for crossing the strings—a difficulty for beginners.” Elgar was also aware of Isabel’s charm and beauty; this variation is “pensive and, for a moment, romantic.” Variation VII: “Troyte” (Presto): architect and close friend, Arthur Troyte Griffith “The uncouth rhythm of the drums and lower strings was really suggested by some maladroit essays to play the pianoforte; later the strong rhythm suggests the attempts of the instructor (E.E.) to make something like order out of chaos, and the final despairing ‘slam’ records that the effort proved to be in vain.” Variation VIII: “W.N.” (Allegretto): Worchester Philharmonic Society, Winifred Norbury “The gracious personalities of the ladies are sedately shown. W.N. was more connected with music than others of the family, and her initials head the movement; to justify this position a little suggestion of a characteristic laugh is given.” Variation IX: “Nimrod” (Adagio): dearest friend, critic, and publisher August J. Jaeger “Jaeger” is German for “hunter,” and the biblical Nimrod was the mighty hunter. “Something ardent and mercurial, in addition to the slow movement, would have been needed to portray the character and temperament of A.J. Jaeger. The Variation…is the record of a long summer evening talk, when

OPENING NIGHT: ORCHESTRAL BLOCKBUSTERS (continued) my friend discoursed eloquently on the slow movements of Beethoven and said that no one could approach Beethoven at his best in this field, a view with which I cordially concurred. It will be noticed that the opening bars are made to suggest the slow movement of the Eighth Sonata (Pathétique).” Variation X: “Dorabella” (Intermezzo: Allegretto): friend, Dora Penny Dora was the step-niece of Billy Baker (Variation IV), and a cheerful music lover. Elgar nicknamed Dora “Dorabella” in reference to Mozart’s Così fan tutte. “The movement suggests a dance-like lightness.” In addition, there is a suggestion of a stammer, representing a younger Dora. Variation XI: “G.R.S.” (Allegro di molto): cathedral organist, George Robert Sinclair Elgar admits to a bit of injustice here, as this variation has “nothing to do with organs or cathedrals or, except remotely, with G.R.S. The first few bars were suggested by his great bulldog Dan (a well-known character) falling down the steep bank into the River Wye…his paddling up stream to find a landing place…and his rejoicing bark on landing…. G.R.S. said, ‘Set that to music.’ I did; here it is.” Variation XII: “B.G.N.” (Andante): chamber music partner and cellist, Basil G. Nevinson “The Variation is a tribute to a very dear friend whose scientific and artistic attainments, and the wholehearted way they were put at the disposal of

his friends, particularly endeared him to the writer.” The variation features a cello solo, calling to mind the chamber music collaborations of Nevinson and Elgar, alongside H.D.S-P. (Variation II). Variation XIII: “***” (Romanza: Moderato) “The asterisks take the place of the name of a lady who was, at the time of composition, on a sea voyage. The drums suggest the distant throb of the engines of a liner over which the clarinet quotes a phrase from Mendelssohn’s Calm Sea and Prosperous Voyage.” Although the asterisks (particularly coupled with Romanza) conjure up quite the mystery, this was a simple matter of not being able to ask permission at the time of publication. Nonetheless, the affect speaks to a poignant longing for one who is far away. Variation XIV: “E.D.U.” (Finale: Allegro presto) If pronounced as one word (“Edoo”), these initials sound like Alice Elgar’s nickname for her husband Edward Elgar. He paints himself as “bold and vigorous in general style.” As discussed above, this was only part (perhaps even less than half) of him. Near the end, Elgar brings back his Alice and Nimrod once more. At the end of the score, Elgar also set words adapted from Tasso, a 16th century Italian poet: Bramo assi, poco spero, nulla chieggio. I long for much, I hope for little, I ask for nothing.

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

and Lissa Noël Wagner with Frances Brown Present

SATURDAY, OCTOBER 8, 2016 7:30 P.M. WAGNER NOËL PERFORMING ARTS CENTER FEATURING KATIE ROSE CLARKE AND NICOLE PARKER THIS CONCERT PROUDLY SPONSORED BY

WICKED DIVAS

WICKED DIVAS featuring Katie Rose Clarke and Nicole Parker Overture (Gypsy)

Julie Styne/arr. Robert Russell Bennett

Selections (Carmen)

Georges Bizet Prelude to Act I, from Suite No. 1 Aragonaise, from Suite No. 1 Habanera, from Suite No. 2 Les Toreadors, from Suite No. 1

All That Jazz (Chicago)

John Kander/Orch. Paul McKibbins

I Could Have Danced All Night (My Fair Lady)

Fredrick Lowe

Don’t Rain On My Parade (Funny Girl)

Julie Styne

Ragtime (Ragtime)

Stephen Flaherty/arr. Steven Reineke

Think Of Me (Phantom of the Opera) Ring Them Bells

Andrew Lloyd Webber/arr. D. Cullen John Kander & Fred Ebb/arr. Paul McKibbins

Conga

Enrique Garcia/arr. Steven Reineke

~INTERMISSION~ I Hear a Symphony: Symphonic Sounds of Diana Ross No More Tears (Enough is Enough) My Heart Will Go On (Titanic)

arr. Steven Reineke

Paul Jabara & Bruce Roberts/arr. Steven Reineke James Horner & Will Jennings/arr. Steven Reineke

Diva’s Lament (Spamalot)

Du Pruz/Eric Idle/arr. T. Firth

Over the Rainbow (The Wizard of Oz)

Harold Arlen & Yip Haraburg /arr. Skitck Henderson/Dick Lieb

Popular (Wicked) Defying Gravity (Wicked) For Good (Wicked)

Stephen Schwartz/arr. William David Brohn Stephen Schwartz/ arr. Randall Craig Fleischer Stephen Schwartz/Orch. Torrie Ziyo 41

A B O U T T H E A R T I S T Katie Rose Clarke Katie Rose Clarke was most recently seen in the Broadway production of Wicked as “Glinda the Good”. She also played the role for nearly two years in the first national touring company. Clarke made her Broadway debut as Clara Johnson in the Lincon Center Theatre’s production of The Light in the Piazza under the direction of Bartlett Sher. Also as Clara, Katie appeared in the National broadcast Live from Lincoln Center presents The Light in the Piazza, as well as in the first National touring production of The Light in the Piazza. Also under the direction of Bartlett Sher, Clarke appeared in the East Coast debut of Craig Lucas’ play Prayer For My Enemy as Marianne Noone at the Long Wharf Theatre Company in Connecticut. Katie holds a BFA from Sam Houston State University. Katie is also an active soloist with many Symphony Orchestras. Her past and upcoming engagements include San Antonio Symphony, Flagstaff Symphony, North Carolina Symphony, Buffalo Philharmonic, Shreveport Symphony, Naples Philharmonic, Pueblo Symphony, and West Virginia Symphony.

Nicole Parker Nicole Parker is best known for her portrayal of Elphaba in the Broadway production of Wicked. Since playing the green witch in the Broadway company, she has reprised the role for the First National Tour of Wicked. Nicole’s other Broadway credits include Martin Short: Fame Becomes Me and The People in the Picture with Donna Murphy. Regionally, Nicole played Juliet in The Second City's Romeo and Juliet Musical at Chicago Shakespeare Theater, for which she received a Jeff Award nomination. She also appeared as Rosemary in How to Succeed In Business Without Really Trying at Reprise Theater, and Pamina in The Magic Flute at the Falcon Theater. For six years, Nicole was also a cast member and contributing writer on Fox's MADtv. For two years, Nicole was a performer and write for Boom Chicago, an all American sketch and improvisation theater in Amsterdam. Nicole’s film credits include Funny People, directed by Judd Apatow as well as the short films Weathered and Sitting Babies. This year she was featured as a guest star on the mock game show Bunk on IFC, as well as on ABC in Trust Us With Your Life, an improvisation show from the creators of Whose Line Is It Anyway? She is also a founding member or Waterwell, a non-profit theater company in New York. A frequent soloist with orchestras around the country, recent and upcoming performances include Peter Nero and the Philly Pops, Houston Symphony, Phoenix Symphony, Utah Symphony and Opera, Colorado Symphony, Greensboro Symphony (where she will return in 2014), Kalamazoo Symphony, Santa Rosa Symphony, Pueblo Symphony, Charleston Symphony, Sarasota Symphony, Orlando Symphony, North Carolina Symphony, San Antonio Symphony, Dayton Philharmonic, Idaho Civic Symphony, Hamilton Philharmonic, and Fresno Philharmonic.

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

Presents

Scheherazade

MELISSA MADURA, VIOLA

SATURDAY, NOVEMBER 5, 2016 7:30 P.M. WAGNER NOÃ‹L PERFORMING ARTS CENTER THIS CONCERT PROUDLY SPONSORED BY

DR. JAMES AND SHARON HUMPHREYS 48

SCHEHERAZADE

Scheherazade 7:30 p.m. Saturday, November 5, 2016 Wagner Noël Performing Arts Center Gary Lewis, conductor Melissa Madura, viola Prince Igor: Polovtsian Dances Suite for Viola and Orchestra

Alexander Borodin (1833 – 1887) Ralph Vaughan Williams (1872 – 1958)

Melissa Madura, viola Group 1 No. 1: Prelude No. 2: Carol No. 3: Christmas Dance Group 2 No. 1: Ballad No. 2: Moto Perpetuo Group 3 No. 1: Musette No. 2: Polka Melancolique No. 3: Galop

~INTERMISSION~ Scheherazade, op. 35

Nikolai Rimsky-Korsakov (1844 – 1908) The Sea and Sinbad’s Ship The Story of the Kalender Prince The Young Prince and the Young Princess Festival in Bagdad – The Sea – Shipwreck 49

A B O U T

T H E

A R T I S T S

Melissa Madura, viola Melissa Madura grew up on a small farm in Viroqua, WI. She began playing the viola when she was 14 years old and now holds a Bachelor’s degree in Viola Performance from Lawrence University Conservatory of Music, a Masters of Music from Texas Tech University and has begun her doctoral studies at Texas Tech University. Mrs. Madura enjoys playing in solo, orchestral, and chamber music settings. This is her eighth year as Principal Violist in the Midland-Odessa Symphony and Violist in the Permian Basin String Quartet. She has been playing with the Midland-Odessa Symphony for eleven years. She plays in the Abilene Philharmonic Orchestra and has also played with Lubbock Symphony Orchestra, Chamber Music Amarillo, Big Spring Symphony, Green Bay Symphony Orchestra, LaCrosse Symphony Orchestra and was principal violist for her undergraduate and graduate institution orchestras. She was also the violist for the Texas Tech University Graduate String Quartet, Lubbock Symphony Orchestra String Quartet and Lawrence University Community Outreach Resident Ensemble with which she was invited on an international tour to Vietnam. She has appeared as a soloist with the Caprock Pro Musica Chamber Ensemble playing Mozart’s Sinfonia Concertante under the baton of Gary Lewis and was also invited to play as a soloist with her teacher, Renee Skerik, playing the Bach Brandenburg Concerto No. 6. Mrs. Madura loves to teach and is in her sixth year of teaching at UTPB as Adjunct Professor of Viola. She maintains a large studio of private students in the Midland-Odessa area and is also Orchestra Director for St. Ann’s School in Midland. She has been invited to teach masterclasses at institutions such as Texas Tech University and Abilene Christian University. Mrs. Madura’s principal teachers include Renee Skerik and Dr. John Gilbert at Texas Tech University and Matthew Michelic of Lawrence University Conservatory of Music.

MASTERWORKS: SCHEHERAZADE PROGRAM NOTES Masterworks: Scheherazade Program Notes Dr. Melissa Graham © 2016 All three composers on tonight’s program feature a unifying trait: each had a great love affair with nationalism. Each man looked within his own culture for the answer to the question essentially every musician asked by the end of the 19th century: where do we go from here? The general ideological goal in the Western world was to seek unique ways to gain freedom from convention. How can this be done? How does one find a distinctively original voice? There are two obvious answers (amongst many less obvious). First, look far away; consider that the viable path may pass through foreign cultures. The Western culture as a whole has often been fascinated by the exotic – Mozart enjoyed the Turkish craze, for instance. Distinctive originality may also be birthed of a synthesis of these different worlds with one’s own. This trend was extremely popular after the famous 1889 World Fair in Paris, where composers such as Debussy were first exposed to new and excitingly exotic sound worlds such as that of the Javanese gamelan. Second, look inwards; consider that the answer to a unique path lies within a revival of one’s roots. For most, this is also tied to a particular brand of nationalism, such as found in post war culture within a single native land. In addition to the time period at hand, this is relevant in today’s cultures as well – especially in the face of increasing globalization. In an age where country lines are blurred due to easier travel, ever-advancing technology, and industrialization in general, one may be aware of an increasing extinction rate of cultural subtleties – in many ways, the human race is perpetually becoming more about sameness rather than celebrating and prizing differences. Sociologists call this process McDonaldization, using the McDonald’s restaurant model as an archetype. Isn’t it strange that one can enjoy a Big Mac in Japan that essentially tastes the same as here in Texas? Or a Vanilla Latte from Starbucks at any one of the millions of worldwide locations – is

there any variety? Is the predictability desirable? Should this sameness be perpetuated? In the music world, particularly in the Romantic period, the answer is simply no. For many, finding a distinctive voice via one’s own roots is a more attractive answer than compositionally breeding out the uniqueness of their culture. Prince Igor: Polovtsian Dances

Alexander Borodin b. November 12, 1833 St. Petersburg d. February 27, 1887 St. Petersburg Premiered: March 11, 1879 at the Free School of Music in St. Petersburg Approximate duration: 4 minutes Timeline Connections • 1862: The Free School of Music founded • 1862: Borodin joins Balakirev’s Circle • 1871: Aida premiere (Verdi) • 1873: Blue jeans patented (Davis & Levi Strauss) • 1875: Carmen premiere (Bizet) • 1876: The Little Bighorn / Custer’s Last Stand • 1879: Polovtsian Dances (Borodin) • 1887: Borodin passes, leaving Prince Igor unfinished • 1888: Scheherazade (Rimsky-Korsakov) • 1890: Prince Igor premiered (completed by Rimsky-Korsakov & Glazunov) Medical doctor and professor of chemistry by day, 51

MASTERWORKS: SCHEHERAZADE PROGRAM NOTES (continued) Borodin called himself a “Sunday composer” – he only wrote music during his free time. Regardless, his work earned him a respected place within The Mighty Handful, a group of revered Russian composers. Also called Balakirev’s Circle or The Five, the composers were allied for a time by the nationalistic goal of returning to Russian roots, notably by seeking to eradicate overt Western influence from their music. In other words, they sought to create a distinctly Russian school of music, and looked to composers such as Mikhail Glinka (1804-1857) for inspiration. Ironically, (as may be remembered from the previous MOSC Masterworks concert) Glinka himself was fascinated by numerous European sound worlds, and wrote quite freely in tribute to many. Beyond Borodin and Mily Balakirev (1837-1910), the other members of this circle include César Cui (1835-1918), Modest Mussorgsky (1839-1881), and Nikolai Rimsky-Korsakov (1844-1908). Borodin was the last to join the alliance. The circle’s ties (of varying strengths) lasted for around 20 years. It could be noted that none of these composers received “formal” training, though the reasons for this are twofold: first, they believed that conservatory-style schools stifled artistic creativity; second, the first Russian conservatory (St. Petersburg) wasn’t founded until 1862. Above all, during their alliance, these composers sought to develop a clear Russian sound world through a varied palate of particular traits. This certainly featured folksong, including village songs and peasant songs, the latter of which Glinka himself called the “soul of Russian music.” Church bells and melismatic lyricism are key traits, and the bells in particular were used so much that they now border on cliché. Russian

folksong additionally features an interesting tactic described as tonal “mutability” – a technique of modulating that is very different from Western tonality. Additional compositional techniques may include heterophonic textures, parallel 5ths, and exotic scales such as octatonic, whole tone, and pentatonic. Borodin’s Polovstian Dances serve as an example of many of these traits, particularly in its Russian-themed impetus. This work was intended for his opera, Prince Igor. Borodin, forever a “Sunday composer,” had quite the compositional journey with this opera: he began the process in 1869, and left it unfinished at the time of his death in 1887. His colleagues Rimsky-Korsakov and Glazunov picked up where Borodin left off, contributing where needed. The largest gap was in the third act – Glazunov wrote over 1200 measures of music to complete what was needed for the libretto. The Mighty Handful was mighty helpful in encouraging the premieres of Borodin’s work on numerous occasions, and the piece at hand is a prime example. Balakirev had founded The Free School of Music in 1862 (in direct opposition to the St. Petersburg Conservatory), and concerts at this institution often pointedly distinguished the differences between Russian and Western. What better stage for this Circle? Rimsky-Korsakov served as the director beginning in 1874, and urged Borodin to return to his Prince Igor work. Polovstian Dances was composed between October of 1874 and the end of 1875, and was premiered alongside the Final Chorus (a pairing that often stands as a concert closer on the orchestral stage today). It is a fiery work, and perhaps a familiar one – jazz musicians Paul

MASTERWORKS: SCHEHERAZADE PROGRAM NOTES (continued) Whiteman and Artie Shaw arranged portions in the 1930s, and it was even adapted for a Broadway musical (Kismet) in 1953. Suite for Viola and Orchestra

Ralph Vaughan Williams b. October 12, 1872 Down Ampney, Gloucestershire, England d. August 26, 1958 London, England Premiered: November 12, 1934 with Lionel Tertis as soloist and the London Philharmonic Approximate duration: 26 minutes Timeline Connections • 1903: First modern World Series in Major League Baseball • 1912: Sinking of the Titanic • 1914-1918: World War I • 1919: 19th Amendment passes (women’s right to vote) • 1925: The Great Gatsby (F. Scott Fitzgerald) • 1930: Gandhi’s Salt March • 1933: Hitler elected Chancellor of Germany • 1934: Suite for Viola & Orchestra (Vaughan-Williams) • 1939: Wizard of Oz premiere Alongside a short list of composers such as Sir Edward Elgar and Gustav Holst, Ralph Vaughan Williams is considered one of the most important English composers of his time. Particularly at the turn of the century and into the 1910s, these few folks were responsible for the rebirth of British music. Vaughan Williams recognized the need for this revival in the midst of creative hardship, and believed that his artistic “salvation” would not be

found in imitating foreign models. This nationalistic perspective was a common one in the late Romantic era – an interesting counterpart to the ever-growing trend of globalization. Vaughan Williams joined the faculty of the Royal College of Music in 1919. He spent his days teaching composition and conducting various ensembles in London. In the 1920s and onwards, he was extremely sought after for his multifaceted skills of composer, conductor, and pedagogue. As his leading role as a British musician increased, Vaughan Williams was even offered a knighthood. In an interesting twist, however, he turned it down: “I have always refused all honours and appointments which involved obligation to anyone in authority.” After his Fourth Symphony premiered in 1935, Vaughan Williams did accept the prestigious Order of Merit, as this honor does not carry any obligation. To be clear, his continual avoidance of obligation was birthed of valuing artistic freedom – not from rebellion. In the same vein, he was forever an advocate for human rights (and not shy about personal political perspectives, though they are rarely discussed). Vaughan Williams’ 1939 efforts on behalf of the German refugees led to his music being banned by the Nazis. Although the same connection cannot be made for every composition, the Suite for Viola and Orchestra speaks to Vaughan Williams as a humanist – this work is designed around color and virtuosity rather than the logical force often found in a works featuring a solo instrument. In other words, there is a profound sense of prizing collaboration over potential pretentiousness or grandeur. The work contains eight miniatures divided into three groups, giving the soloist an opportunity for at least three different options for performance: to perform the entire work, a single group of movements, or a single stand-alone movement. Each miniature is essentially written in ternary form (ABA), and each features a unique atmosphere. However, there is a unifying thread for each of the three groups: Group1 is centered on the theme of Christmas (Prelude, Carol, and Christmas Dance), Group 2 is often described as 53

MASTERWORKS: SCHEHERAZADE PROGRAM NOTES (continued) character-centric (Ballad, Moto Perpetuo), and finally, Group 3 is a collection of dances (Musette, Polka Melancolique, and Galop). In a review just after the premiere (performed by commissioner and dedicatee Lionel Tertis), the Suite was described as “a set of short pieces, lively, peaceful, jocular, wistful—anything but portentous—with the voice of folksong slipping in, as if by right, at every other breath. […] Vaughan Williams has never written a work more crowded with points of musical interest, sudden gleams of beauty, inspired simplicities, and telling subtleties.” Indeed, this work requires a mature sense of artistry and willingness—of all parties— to converse and collaborate intimately.

• • • • •

1887: Borodin passed 1888: Tchaikovsky’s Symphony No. 5 1888: Scheherazade (Rimsky-Korsakov) 1889: World Exposition in Paris 1889: Starry Night (Vincent van Gogh)

In addition to his affiliation as a composer with Balakirev’s Circle as described above, Rimsky-Korsakov was an avid educator and brilliant orchestrator. He deeply believed in the artistry of orchestration; in his Principles of Orchestration, he explains: “to orchestrate is to create, and this cannot be taught.” As a composer, his earlier works bare obvious connection to the ideology shared with his Mighty colleagues, but by the late 1880s, his path had pulled away from the Circle perspective.

Scheherazade, op. 35 After his dear friend Alexander Borodin passed in 1887, Rimsky-Korsakov put other projects on hold for the sake of working on Prince Igor with Glazunov. Perhaps it was this world—dancing Polovstian maidens, Turkish invaders, exotic love and war—that sparked the idea for his own oriental fantasy. In the winter of 1887, Rimsky-Korsakov immersed himself in exotic world of The Arabian Nights, a collection of Arabic, Persian, and Indian tales.

Nikolai Rimsky-Korsakov b. March 18, 1844 Tikhvin, near Novgorod, Russia d. June 21, 1908 Liubensk, near St. Petersburg, Russia

Scheherazade was composed the following summer, and in his words, consists of “separate, unconnected episodes and pictures” from The Arabian Nights. In the score, he sets the stage with this preface: “The Sultan Shahriar, convinced of the duplicity and infidelity of all women, vowed

Premiered: November 3, 1888 St. Petersburg Approximate duration: 47 minutes Timeline Connections • 1876: Der Ring des Nibelungen (Wagner) • 1881: American Red Cross founded • 1881: Mussorgsky passed • 1884: The Adventures of Huckleberry Finn (Mark Twain) • 1886: Coca Cola invented (Pemberton) • 1887: Contact lenses (Adolph Fick)

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MASTERWORKS: SCHEHERAZADE PROGRAM NOTES (continued) to slay each of his wives after the first nigh. The Sultana Scheherazade, however, saved her life by the expedient of recounting to the Sultan a succession of tales over a period of one thousand one nights. Overcome by curiosity, the monarch postponed the execution of his wife from day to day, and ended by renouncing his sanguinary resolution altogether.” Each individual movement is meant to evoke rather than retell these captivating tales, as Rimsky-Korsakov later explained: “in composing Scheherazade I meant these hints [the movement titles] to direct only slightly the listener’s fancy on the path that my own fancy had traveled, and to leave more minute and particular conceptions to the will and mood of each. […] All I wanted was

that the hearer, if he liked the piece as symphonic music, should carry away the impression that it is undoubtedly an oriental narrative of numerous and varied fairy-tale marvels, and not merely four pieces played one after the other and based on themes common to all four.” Although Rimsky-Korsakov may not have intended for overt leitmotifs, he did concede that the violin solos are meant to delineate Scheherazade as she tells her stories. Many claim that the consistencies of the brash themes (such as at the very beginning of the bookend movements) are meant to be the Sultan. A conversation ensues amongst the fantasies, ending—most appropriately—with Scheherazade, triumphant at last.

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

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

and Lissa Noël Wagner with Frances Brown Present

EMILY BAKER, SOPRANO AND ERIC BAKER, TENOR GARY LEWIS, CONDUCTOR

SATURDAY, DECEMBER 3, 2016 7:30 P.M. WAGNER NOËL PERFORMING ARTS CENTER Featuring the MOSC Orchestra, Symphony 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

Emily Baker Emily grew up in Azle, TX and received her B.M. in Music Education from the University of Texas at Arlington. Emily taught general music and choir full time for five years before resigning to become a stay-at-home mom in 2009. She has sung with the Grammy award winning gospel group, “God’s Property” and beat pop superstar Kelly Clarkson in solo auditions for a place in Texas All-State Choir auditions while in high school. While working as a singing waitress during college, Emily convinced Eric to work alongside her as a singing waiter. The couple realized how much they loved performing together and have been singing together ever since. In early 2014, in response to a challenge from a friend, Emily and Eric recorded a video of themselves singing “Love is an Open Door” from Disney’s Frozen. To date, that video has received over 1.6 million views on youtube. This video has convinced Emily’s three girls, Piper, Keller and Harper that she is in fact “cool” and she plans on enjoying the perks until they figure out otherwise. Emily teaches music at Midland Classical Academy, directs the MOSC’s Voices of the Permian Basin Youth Choir, and performs regularly with The Jumping Giants, a local, highly sought after rock cover band.

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Eric Baker Eric Baker grew up in a music-filled home. Both of his parents toured the country in a music and drama troupe during the early years of their marriage, and Eric grew up listening to multiple genres of music. Eric's mother plays piano and organ, and his father studied classical voice throughout college. Eric knew from an early age that he wanted to pursue music as a career. He started singing in church and school groups, and started playing the trumpet at age 11. Throughout high school and college Eric balanced his singing and playing opportunities. He worked as a singing waiter at "The Italian Inn," a popular restaurant in Ft. Worth, TX. He and his wife, Emily worked there together, and it was there that Eric proposed. Although Eric chose to focus on trumpet for his Master's degree at Arizona State University, he never stopped singing. He regularly sings and plays in jazz combos, the Sipriano Swing Band, and is a backup vocalist for The Jumping Giants. Eric made his theatre debut when he was cast in the Permian Playhouse production of "In The Heights" in 2014. Eric and Emily have appeared as background vocalists for several country and western charts recorded at Mudrock Studios in Midland, TX. They can be heard on the self-titled debut album by country artist Caleb Young. Eric finds a perfect blend of playing and singing when performing the music of jazz legend Chet Baker (no relation!). Eric has developed his "Baker Plays Baker" program that tells the story of Chet Baker's life through the music that he recorded. Eric and his wife Emily have three beautiful daughters, Piper, Keller, and Harper who will one day rule the world with their close harmony singing, dynamic stage presence, and impeccable comedic timing!

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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) FirstCapital Bank of Texas Midland Symphony Guild Odessa Symphony Guild GOLD ($5,000) Concho Resources Shamrock Steel Sales Claire & Jim Woodcock SILVER ($3,500) Cotton, Bledsoe, Tighe & Dawson P.C. BRONZE ($2,500) Aghorn Energy Drs. Roberta & Richard Case Carol & Tom Chandler Martha & Paul Crump Frost Bank Ann & Ken Hankins, Jr. Dr. James & Sharon Humphreys PhyTEx Rehabilitation, LLC CHAMBER & CHORAL CONCERTS ($500) Community National Bank KWEL AM 1070 & FM 107.1 (Craig & Dori Lynn Anderson)

Shamrock Steel Sales Shafer Davis O’Leary & Stoker West Texas Natinal Bank Penny & Ernie Angelo Dee and Susan Carter Dr. Thomas A. Hyde and Anne B. Hyde Chris & Fred Newman Sue Wikelski 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

THANK YOU to all sponsors of this remarkable 54th 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 for the upcoming 54th season please contact Development Director Violet Singh at development@mosc.org or (432) 563-0921. 66

2016 - 2017 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 54th season. Listed below are gifts and pledges received for the 2016-2017 season as of July 1, 2016.

DIAMOND BATON SOCIETY ($10,000+) FMH Foundation J.C. Ferguson Foundation Midland Symphony Guild Odessa Symphony Guild GOLDEN BATON SOCIETY ($5,000+) Maridell Fryar George & Kay Smith Warren Charitable Foundation Claire & Jim Woodcock SILVER BATON SOCIETY ($2,500+) Michael and Dana Ashton Benita Bermingham Dr. Ed and Suzanne Rathbun Jay Reynolds Max and Rosemary Wright FORTISSIMO ($1,000+) Anonymous Brazos Door & Hardware/Diann McKee Exploration Geophysics, Inc. / Lee Miller James & Cynthia Bobo Karmen & Billy Bryant Mary de Compiegne Roger Corzine Martha & Paul Crump Betty Rae & Paul Davis Robert and Marion Frazier Betty P. Gulledge Ann & Ken Hankins, Jr. Patricia & Leon Jeffcoat Mary B. Kennedy Craig & Mary Payken

Randee and Jack Rathbone Red and Juandelle Lacy Roberts FORTE ($500+) Anonymous Chaparral Bolt & Supply / Keith Binam Ernie & Penny Angelo Brad and Crista Bullock Dee and Susan Carter Julie Z. Edwards Elaine Eiland Lou Nelle & Jeff George Reed and LuAnn Gilmore Dr. Thomas A. & Anne B. Hyde Dianne and William Jones Virginia & Bob Jones

David and Sarah Lauritzen Ed Magruder Chris & Fred Newman Betty Ann Prentice Joyce & Cliff Sherrod David and Rebecca Sutter Denise and Watts MEZZO FORTE ($250+) Anonymous (2) Mike and LaNelle Agee Barry and Cliffy Beal Freda & Frank Benton Andy & Michelle Cobb Betty Dale Lynn and Earl Freeman Dee Griffin Charlotte Harris 67

2016 - 2017 FUND DRIVE CONTRIBUTORS Patty & Tevis Herd Kim & Richard Hatchett Caroline Ater Howard Steve & Hilde Kroger Gloria & LaDoyce Lambert Joyce Leach Edward McPherson Lynn S. Mashburn Wes and Jean Pittman Bob and Ruth Price Jim and Kathleen Rector Judy Reigle Neva Rousselot Ron Schwisow Violet & Mark Singh Jamie & Alison Small Phil and Kay Szenasi Charles & Schatzie Tighe Jont and Anne Tyson Ludie and Eben Warner Mr. & Mrs. Richard Werner Michael J. Willson

CRESCENDO ($125) John and Cindy Barkley Frank and Gretchen Bell Harold and Leann Brenner Thomas and Carol Chandler Amy Darg Jane & Keith Dial Monsignor Larry Droll Barbara Faubion Paul Feit Linda K. Fox Mary & Bill Garay Linda George Mark Germer Victoria Gilkerson Elizabeth Greaves Sarah & David Grimes Judith Hayes Dr. William & Edna Hibbitts Joanie Holt Sue & Ted Kerr Jack and Carolyn Laschkewitsch Joan McCown

Rhonda & Raymond Oâ€™Neal Melissa and Mark Rae Kathy & Floyd Rountree Dr. and Mrs. Tulsi Singh Earlene Smith Herbert and Patricia Stanley PIANO ($75+) Anonymous (1) Thais Ahlstrand Arlen Edgar Mrs. Phyllis Grimland Barbara Hartwell David and Linda Hedges James and Linda Hicks Rod and Patti MacDonald Drs. Arun & Zeeba Mathews Ann Parish Bob Parish Bob Poer Sammie Rogers Sue Solari Patricia & James Stahlbaum Ronald and Lavonn Thomas Susan Winn

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

Mr. & Mrs. Louis Rochester

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 Honorariums: 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

ENDOWMENT FUND CONTRIBUTORS (continued) 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 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 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 Martha Lewis The Midland Musicians Club 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 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 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 and Mark Kolokoff 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 Perry Davis Melissa Burnett & Wayne Warren Opal Dobbs Ludie & Eben Warner Gretchen Estes The Midland Musicians Club Marie Finical Chris Newman John Foster Kay & Robert Bivens Fay Griffin Betty & Stuart Awbrey Marshall C. Gulledge Marilyn J. Craig Mr. & Mrs. Robert M. Neill Frankie Simmons Mary Harrington Odessa Council for the Arts & Humanities Odessa Symphony Guild Nancy Anguish Karen & Spencer Beal Bobby & Denise Burns Emma H. Burnett Melissa Burnett & Wayne Warren

ENDOWMENT FUND CONTRIBUTORS (continued) 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 & 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 Thomas Welch Schatzie & Charles Tighe Bill J. Whitfield Dee Griffin Rita Williams Ronald & Dortha J. Bennett

ENDOWMENT FUND CONTRIBUTORS (continued) 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 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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Medical Center Health System Medical Spa of Midland MHBT Consultants Midland College Midland Community Theatre Midland Festival Ballet Midland Living Midland Reporter-Telegram Midland Symphony Guild My Community Federal Credit Union Nikki Smith Art N-Tune Music & Sound Odessa College Odessa American Odessa Symphony Guild Odessan Magazine, The Orchard Park Patches & Scraps Permian Basin Area Foundation Permian Basin Opera Permian Eye Associates Permian Pediatrics PhyTEx Rehabilitation Premier Parking Rogers Ford Lincoln Mercury Shamrock Steel Sales Sherrod's Piano Service Sims & Guess, Realtors Spring Water Conditioning St. John's Episcopal School St. Nicholas' Episcopal Church Studio Fine Furnishings & Interiors, The Susie's South 40 Trinity School UTPB Village at Manor Park, The Wagner Noël Performing Arts Center Wells Fargo West Texas Plastic Surgery West Texas Radio Group Woodcock, Claire & Jim

47 73 79 92 38 45 25 82 63 62 39 61 2 89 64 78 80 57 74 27 35 87 76 52 21 84 88 54 84 84 55 3 68 85 75 37 30 87 44 86 43