Performed by West Texas Winds

16 1 2 15 Midland-Odessa Symphony & Chorale Presents

In A Land Far Away Performed By West Texas Winds

Sunday, February 3, 2019 3:00 PM

Wagner Noël Performing Arts Center Rea-Greathouse Recital Hall

14 3 degrees in Horn Performance from Indiana University. Following his time at IU, he served concurrently as a Graduate Teaching Assistant in Composition at the University of Hawaii in Manoa, a substitute hornist with the CONCERT SPONSOR Honolulu Symphony Orchestra, pianist for Honolulu Waldorf School eurythmics classes, and Choir Accompanist for First Unitarian-Universalist Church of Honolulu. Prior to his MOSC appointment in 2009, he served as Fourth Horn of the Arkansas Symphony Orchestra; he has also performed with Arkansas’s Opera in the Ozarks festival and the Lyrique-en-Mer opera festival on Belle- Ile, France. As a recent guest soloist for the Midland-Odessa Symphony MARIDELL FRYAR and Chorale, Mr. Millichamp performed Richard Strauss’s Horn Concerto No. 1.

PHILIP HILL - BASSOON

Philip Hill is principal bassoon of the Midland- Odessa Symphony and Chorale and bassoonist FRIENDS OF THE of West Texas Winds. He earned his Master of Music degree in Music Performance at the Fred Fox School of Music at WEST TEXAS WINDS the University of Arizona. During his time at UA he was principal bassoon of the Arizona Symphony Orchestra, as well as bassoonist in the Fred Fox Graduate Wind Quintet and the Drs. Richard & Roberta Case Saguaro Bassoon Ensembles. He earned his Steven Dojahn Bachelor of Music degree in Music Education at East Carolina University, where he studied Maridell Fryar bassoon under Christopher Ulffers and was Ann & Ken Hankins, Jr. principal bassoon of the ECU Symphony Orchestra. He also performed at times as principal bassoon of the ECU Wind Ronny & Carolina Keith Ensemble and ECU Opera, the latter known for performing a wide variety of works – from standard Mozart operas to world premieres. As part of the North Diann & John McKee Carolina New Music Initiative, formerly known as New Music @ ECU, Philip Connie May participated in many premieres, recordings, and new music projects. Most notable is his performance in the world premiere and recording of Travis Alford’s Ann Parish Loose Strands for chamber wind ensemble. In addition to private bassoon Betty Ann Prentice instruction in his hometown of Chesapeake, Virginia and touring with the ECU Symphony Orchestra, he also made an appearance with the North Carolina Joyce Sherrod Symphony Orchestra. Mark & Violet Singh Currently, Philip holds a private bassoon studio in the Midland-Odessa area Bryce Swinford and is committed with his colleagues to expanding the performance of chamber music repertoire to younger musicians. William & Patti Watson

4 13 CHRIS CHANCE - CLARINET PROGRAM Clarinetist Chris Chance enjoys a varied performing career as an orchestral musician, chamber musician, recitalist, and occasionally as a concert soloist. He has played across the U.S. as well as in Scherzo Felix Mendelssohn (1809-1847) Canada, Mexico, and Japan. arr. Friedrich Gabler

A student of Eli Eban, Chris earned a Bachelor of Clarinet Performance and a Performer Diploma in Clarinet at the Indiana University Jacobs School of Music. While at IU, he was awarded the prestigious Renaissance Suite arr. Ronald Roseman Performer's Certificate award for his Junior Recital, and received an unprecedented second I. Donna, di dentro dalla tuo casa (Lady, within your house) nomination for his Senior Recital. II. J’ay pris amours (I have taken love) III. Il est bel et bon (He is handsome and good) In addition to currently serving as Principal Clarinet of the Midland-Odessa IV. Ricercar bello – Canzon sopra ‘Il est bel et bon’ Symphony and clarinetist of the MOSC’s West Texas Winds woodwind quintet, (A ricercar using the melody of ‘He is handsome Chris is also Principal Clarinet of the Missouri Symphony Orchestra, a summer- and good’) festival orchestra based in Columbia, Missouri. In the past, he has been a V. In meinen Sinn (In my mind) member of the Columbus Indiana Philharmonic and the Ohio Light Opera, and was offered a position in 2001 with the Orquesta Sinfónica UANL of Monterrey, Mexico. Gavotte with Six Doubles Jean-Philippe Rameau (1683-1764) arr. Ryohei Nakagawa Chris has performed as a substitute with the New Mexico Philharmonic, the

Lubbock Symphony Orchestra, the Big Spring Symphony, and as substitute Principal Clarinet for Arizona Opera. He has also been a guest chamber artist at the Hot Springs music festival in Hot Springs, Arkansas. - INTERMISSION - As a concert soloist, Chris has performed with both the Missouri Symphony and the Midland-Odessa Symphony in recent years. In 2015 he and the MOSC gave the Texas premiere of Oscar Navarro's “II Concerto” for clarinet and orchestra.

Wind Quintet, Op. 10 Pavel Haas (1899-1944) SCOTT MILLICHAMP - HORN I. Preludio Scott Millichamp is Co-Principal Horn of the II. Preghiera Midland-Odessa Symphony Orchestra, hornist III. Ballo Eccentrico with the MOSC’s Lone Star Brass quintet, Fourth IV. Epilogo Horn with Abilene Philharmonic, Principal Horn with the summertime Missouri Symphony Orchestra, Instructor of Music Theory and Aural Skills at University of Texas of the Permian Wind Quintet no. 1 Endre Szervánszky (1911-1977) Basin, and Co-Music Director at the Unitarian- I. Adagio, Allegro moderato Universalist Church of Midland. II. Allegro scherzoso III. Andante A native of Detroit, he graduated from IV. Allegro Vivace Interlochen Arts Academy with a Fine Arts Award in Horn and received his Bachelor and Master

12 5 KATHERINE VELASQUEZ - FLUTE PROGRAM NOTES Ms. Velasquez holds the position of Principal Flute with the Missouri Symphony and the Midland-Odessa Scherzo Felix Mendelssohn (1809-1847) Symphony & Chorale, where she is a member of the arr. Friedrich Gabler West Texas Winds. She has performed as a guest with the San Antonio Symphony and serves on the faculty at the University of Texas of the Permian Basin and

Odessa College. Scherzo from A Midsummer Night’s Dream is part of Opus 61, a collection of Originally from Austin, Texas, Ms. Velasquez holds a music that acts as a sequel to the original overture, Opus 21. Bachelor’s of Music degree magna cum laude from A Midsummer Night’s Dream is a comedy in five acts created by William Boston University and a Master’s of Music degree Shakespeare. Felix Mendelssohn took an early interest in Shakespeare, and from West Texas A&M University. She has also attended the New England wrote his overture to the comedy in 1826, when he was just seventeen years Conservatory of Music and the University of Southern California Thornton old. In 1843, by the King of Prussia’s request, Mendelssohn created a series of School of Music. She is indebted to her mentors Helen Blackburn, Jim Walker, other music meant to capture the essence of some characters and events Linda Toote, Elizabeth Rowe, Paula Robison and Ann Kjerulf Knien. Ms. from the comedy. From this collection comes the Scherzo, which represents Velasquez has performed with orchestras throughout Europe and the United Puck, the troublemaking servant to Oberon, king of the fairies. Not only does States under conductors Gary Lewis, Kirk Trevor, Carlos Miguel Prieto, the Scherzo represent Puck from A Midsummer Night’s Dream, but it is also a Benjamin Zander, Robert Spano, Carl St. Clair, and David Newman. She fantastic example of Mendelssohn’s light and wispy style of composition. has been the First Prize winner of the National Flute Association’s Orchestral Excerpts Competition and has received top awards from the Yamaha Young By the time Mendelssohn started composing, the stereotype of the “tortured Performing Artists Competition, U.S. Marine Band Concerto Competition, and artist” – a tragic life filled with emotional turmoil, financial insecurity, disease, the National Flute Association’s High School Soloist Competition. Her festival domestic complications – was quite common, but not for Mendelssohn. He experience includes fellowships with the YOA Orchestra of the Americas, the lived a very privileged and happy life. His parents converted the family from National Symphony Orchestra’s Summer Music Institute, the Hot Springs Judaism to Christianity to escape persecution of the day and made sure that Music Festival, and the National Music Festival. he and his sister were well educated in many regards – music, reading, writing, language, and so on. He had wonderful relationships with his immediate family members, who all seemed to be in great health, and as far as we know CARYN CRUTCHFIELD - OBOE today, he eventually was happily married with five children. Caryn Crutchfield, oboe, is beginning her twenty-third Despite his wonderful life, Mendelssohn died at the very young age of 38 in season with the Midland-Odessa Symphony. She Leipzig because of a ruptured blood vessel. He was very close with his sister, holds a Bachelor of Music degree and a Master of who had died the year before. This devastated him and caused his health to Music degree in Oboe Performance from West Texas A&M University in Canyon, TX where she studied with deteriorate rapidly, his strenuous career of traveling not helping the situation. Robert Krause. Felix Mendelssohn lived from 1809 to 1847 and is one of the first significant Caryn was privileged to be the guest soloist with the composers of the Romantic era. Mendelssohn was a child prodigy and gave his MOSC in 2012. She has performed at the Texas Music debut recital at age nine in Berlin. By age ten he joined the Singakademie and Educators’ Association Convention on three occasions began composing rapidly and became a conductor. He had already and with the WTAMU Director’s Band at the Texas composed a handful of operas and symphonies by his twenties, and before Bandmasters’ Association Convention twice. She the end of his short life, had founded the Leipzig Conservatory of Music and performs regularly as a member of the West Texas Winds woodwind quintet worked as conductor of the Gewandhaus Orchestra in Leipzig, among other and teaches at The University of Texas, Permian Basin, Odessa College, and prestigious jobs and accomplishments. the West Texas A&M Band Camp.

Caryn currently teaches private lessons to students throughout the Permian Basin and has a thriving reed making business. She is married to Kevin, a violinist in the Midland-Odessa Symphony & Chorale, and has three children.

6 11 Wind Quintet no. 1 Endre Szervánszky (1911-1977) Renaissance Suite arr. Ronald Roseman

Hungarian composer Endre Szervánszky (1911-1977) began his musical career as a clarinetist. After spending some time performing with various Renaissance Suite is a collection of sacred and secular songs from the orchestras Szervánszky returned to the Budapest Academy of Music to study sixteenth century arranged by Ronald Roseman. composition. He was greatly influenced by fellow Hungarian composers Bartók and Kodály. Szervánszky's published work spans almost 40 years across the “Donna, di dentro dalla tuo casa” – Heinrich Isaac (c. 1450-1517) was a middle of the 20th century and includes pieces for clarinet, flute, orchestra, composer from the Netherlands who had a great impact on his contemporaries chamber music (including two wind quintets), piano, and choral works. He is and on the future development of western music, especially in Germany. He one of the only composers (if not the only) to be awarded "Righteous among also worked in several northern Italian cities, including Florence, where he the Nations". This was an award given by the State of Israel to non-Jews for composed numerous “carnival songs” that were performed in the weeks of risking their own lives to help Jews escape from the Nazis in World War II. His festivities leading up to Lent. “Donna, di dentro dalla tuo casa” is song that musical style ranges from Hungarian folk-influenced music to pure serialism, would have been used at the carnivals, and is also an example of a quodlibet, though his Quintet No. 1 for Winds represents the former. a type of medley in which several popular tunes of the day were combined in a contrapuntal style. The first movement of the piece, Adagio – Allegro moderato, begins with a slow, quiet introduction before the main theme is stated by the oboe. “J’ay pris amours” – The second movement of this suite utilizes another Throughout the first movement Szervánszky uses the inverted dotted rhythm composition from Heinrich Isaac’s Florence period. French chansons were (a short note followed by a long note) that is often associated with Hungarian popular in 15th century Florence, and there was also a tradition among music. The second movement, Allegro scherzoso, opens with a fast, virtuosic composers of reworking the songs of others, both as homage to the original gypsy-like dance characterized by energetic swirls of sixteenth notes and and as a way to show off and compete with one another. “J’ay pris amours,” percussive accompaniment. A softer, smoother Trio section in triple time was originally written by an unknown French composer a few decades earlier, provides a vibrant contrast before the opening material returns to finish the and was reworked at least 27 times by various composers, including three movement. Some of the most beautiful writing for the woodwind quintet is versions by Isaac. These new renderings involved taking one or two voices from found in the third movement, Andante. It opens with a soft, simple tune played the original contrapuntal song and composing new voices to fit in with them. by the clarinet, establishing the movement's tender character. The music builds to a passionate climax before relaxing and returning to the opening “Il est bel et bon” – Pierre Passereau (unknown, active ca. 1509-1547) wrote aesthetic. The final movement, Allegro vivace, is another dance movement. It light-hearted chansons almost exclusively. His works are full of fun and is full of energy with driving eighth notes throughout, Hungarian folk tunes, and energy, and he enjoyed the use of onomatopoeia and nonsense-syllables in his characteristic flourishes in this exciting finale. songs. Notably in “Il est bel et bon” the lyrics imitate the clucking of chickens, as do the sharp, dry articulations of this arrangement.

“Ricercar bello – Canzon sopra 'Il est bel et bon'” – Girolamo Cavazzoni (ca. 1525-1577) was an organist who wrote liturgical music, as well as some well known ensemble works based on popular themes by other composers. Here Cavazzoni takes Passereau's sprightly “Il est bel et bon” and turns it into a complex, flowing, highly-ornamented work for several voices.

“In meinem Sinn” – For the final movement of the Renaissance Suite, the arranger returns to Heinrich Isaac and celebrates his Germanic works. Although Florence became Isaac’s most beloved city (and burial place), his most famous and enduring composition was “Innsbruch, ich muss dich lassen”, which was later used as a Lutheran chorale, and also by Bach and Brahms. The piece used in this suite, “In meinem Sinn” was originally a canonic work for four instruments or voices, here arranged for the five voices of the wind quintet.

10 7 Gavotte with Six Doubles Jean-Philippe Rameau (1683-1764) completed his studies with Janáček, the piece was written early in Haas's most arr. Ryohei Nakagawa successful period of composition and likely during the happiest years of his life. However there is a sense of gravity and angst to be found in the piece, Jean-Phillipe Rameau lived and worked in France at the turn of the 17th in addition to the light and joy. It is a quickly changing work that paints with century in a world far removed from what we know today. From 1683-1764, so many colors that it manages to express the heights and depths of human Rameau worked to become the dominant French composer of his time with experience within its short duration. specializations in harpsichord composition and French opera. His book “Treatise on Harmony” (1722) solidified his position as an early expert in the The first movement, “Preludio,” displays a quirky sense of optimism as it sets field of music theory, and music students today still study the pioneering ideas the stage for the subsequent movements. Short, ornamented motives mingle he offered. His music reflected his exceptional ability to organize harmony and with longer, more continuous melodies, and different groups within the even caused controversy because of its innovation. ensemble often carry a different pulse simultaneously. This creates an unstable yet ever forward-moving drive throughout. Gavotte with Six Doubles (Variations) comes from Rameau’s larger work “Nouvelles suites de pièces de clavecin” (New Suites for the Harpsichord) “Preghiera” (“Prayer”) opens with an immediate change of mood, from (1726/27) and is one of Rameau’s most well known compositions. The energetic to desolate. Throughout the second movement Haas conveys his work is so popular that many transcriptions have been made, such as the Jewish faith and upbringing, as the members of the quintet trade passionate, arrangement you will hear today. In Rameau’s era, the instruments of the heavily ornamented melodies like the cantor in a synagogue leading prayer. woodwind quintet were still in their more primitive forms, so the woodwind The mood of oppression grows into urgency as the prayer builds throughout quintet had not yet emerged as a standard genre. Therefore, Rameau’s choice the movement. “Preghiera” is particularly poignant given the violence in to never write for the woodwind quintet was not a surprising one. Europe during World War 2 and the death of Haas himself at Auschwitz.

In the original harpsichord work, Rameau changes the main theme a little for “Ballo Eccentrico” (“Eccentric Dance/Ballet”) completely changes the mood each new variation, while keeping the same harmonies in the bass. In this once again, but in the direction of playful good humor. The piccolo and E-flat transcribed version, each variation features a different solo instrument, clarinet make an appearance here, adding their chirping voices to the fun. bringing to the work a unique blend of tone colors not present in the original. Ever more energetic music builds and suddenly contrasts with sagging, drooping sighs, suggesting a comedic or even slapstick performance in this imagined ballet.

Wind Quintet, Op. 10 Pavel Haas (1899-1944) The closing “Epilogo” is certainly more serious than the “Ballo,” but retains some of the hope that the “Preghiera” might have lacked. Proud, clanging chorales alternate with folk-inspired pastoral segments. Slow counterpoint in The story of the life of Czech composer Pavel Haas (1899-1944) is one of unusual meter gives a feeling of an eastern European dance, and this piece of talent and promise struggling through the cruelty and violence of World War 2, many moods closes with confident hope. and meeting a tragic end because of it. Haas studied composition at the Brno

Conservatory, and afterward studied with Leoš Janáček. Haas, like Brahms and many great composers, was quite self-critical, and only felt that 18 of his more than 50 compositions were legitimate and worth preservation.

A few years after he won the Smetana Foundation award for his opera Šarlatán, Haas was arrested and sent to the concentration camp at Terezin, in Nazi-controlled Czech Protectorate of Bohemia and Moravia. There he struggled to continue composing, and produced several compositions, including the Study for Strings (1943), Haas's most famous work. The next year 18,000 prisoners, including Haas, were sent from Tseresienstadt to Midland-Odessa Symphony & Chorale Auschwitz, where they were executed.

Haas's intriguing and colorful Wind Quintet, op. 10 has earned a place of Enriching Lives Through Music! growing prominence in the repertoire. Finished in 1929, shortly after Haas

8 9 Gavotte with Six Doubles Jean-Philippe Rameau (1683-1764) completed his studies with Janáček, the piece was written early in Haas's most arr. Ryohei Nakagawa successful period of composition and likely during the happiest years of his life. However there is a sense of gravity and angst to be found in the piece, Jean-Phillipe Rameau lived and worked in France at the turn of the 17th in addition to the light and joy. It is a quickly changing work that paints with century in a world far removed from what we know today. From 1683-1764, so many colors that it manages to express the heights and depths of human Rameau worked to become the dominant French composer of his time with experience within its short duration. specializations in harpsichord composition and French opera. His book “Treatise on Harmony” (1722) solidified his position as an early expert in the The first movement, “Preludio,” displays a quirky sense of optimism as it sets field of music theory, and music students today still study the pioneering ideas the stage for the subsequent movements. Short, ornamented motives mingle he offered. His music reflected his exceptional ability to organize harmony and with longer, more continuous melodies, and different groups within the even caused controversy because of its innovation. ensemble often carry a different pulse simultaneously. This creates an unstable yet ever forward-moving drive throughout. Gavotte with Six Doubles (Variations) comes from Rameau’s larger work “Nouvelles suites de pièces de clavecin” (New Suites for the Harpsichord) “Preghiera” (“Prayer”) opens with an immediate change of mood, from (1726/27) and is one of Rameau’s most well known compositions. The energetic to desolate. Throughout the second movement Haas conveys his work is so popular that many transcriptions have been made, such as the Jewish faith and upbringing, as the members of the quintet trade passionate, arrangement you will hear today. In Rameau’s era, the instruments of the heavily ornamented melodies like the cantor in a synagogue leading prayer. woodwind quintet were still in their more primitive forms, so the woodwind The mood of oppression grows into urgency as the prayer builds throughout quintet had not yet emerged as a standard genre. Therefore, Rameau’s choice the movement. “Preghiera” is particularly poignant given the violence in to never write for the woodwind quintet was not a surprising one. Europe during World War 2 and the death of Haas himself at Auschwitz.

Haas's intriguing and colorful Wind Quintet, op. 10 has earned a place of Enriching Lives Through Music! growing prominence in the repertoire. Finished in 1929, shortly after Haas

8 9 Wind Quintet no. 1 Endre Szervánszky (1911-1977) Renaissance Suite arr. Ronald Roseman

10 7 KATHERINE VELASQUEZ - FLUTE PROGRAM NOTES Ms. Velasquez holds the position of Principal Flute with the Missouri Symphony and the Midland-Odessa Scherzo Felix Mendelssohn (1809-1847) Symphony & Chorale, where she is a member of the arr. Friedrich Gabler West Texas Winds. She has performed as a guest with the San Antonio Symphony and serves on the faculty at the University of Texas of the Permian Basin and

6 11 CHRIS CHANCE - CLARINET PROGRAM Clarinetist Chris Chance enjoys a varied performing career as an orchestral musician, chamber musician, recitalist, and occasionally as a concert soloist. He has played across the U.S. as well as in Scherzo Felix Mendelssohn (1809-1847) Canada, Mexico, and Japan. arr. Friedrich Gabler

12 5 degrees in Horn Performance from Indiana University. Following his time at IU, he served concurrently as a Graduate Teaching Assistant in Composition at the University of Hawaii in Manoa, a substitute hornist with the CONCERT SPONSOR Honolulu Symphony Orchestra, pianist for Honolulu Waldorf School eurythmics classes, and Choir Accompanist for First Unitarian-Universalist Church of Honolulu. Prior to his MOSC appointment in 2009, he served as Fourth Horn of the Arkansas Symphony Orchestra; he has also performed with Arkansas’s Opera in the Ozarks festival and the Lyrique-en-Mer opera festival on Belle- Ile, France. As a recent guest soloist for the Midland-Odessa Symphony MARIDELL FRYAR and Chorale, Mr. Millichamp performed Richard Strauss’s Horn Concerto No. 1.

PHILIP HILL - BASSOON

4 13 Midland-Odessa Symphony & Chorale Presents

In A Land Far Away Performed By West Texas Winds

Sunday, February 3, 2019 3:00 PM

Wagner Noël Performing Arts Center Rea-Greathouse Recital Hall

14 3 2 15 16 1