Mosc program

You can now easily access any of our website information on your phone or tablet, allowing you to conveniently donate to MOSC and link to the WNPAC to order concert tickets, in addition to loads of information at your fingertips.

All of this could not be possible without your generous support for all we do. I hope our 53rd Season of music brings you as much joy as we have bringing it to you. It is an honor to welcome you to the season of the Midland-Odessa Symphony Orchestra. We have prepared for you an amazing lineup of great music and wonderful artists.

Thank you for joining us for this season of great music! Your support is greatly appreciated. I hope you will subscribe and bring a friend to join us for this very special season as we continue our mission to enrich lives in the Permian Basin through great music. I look forward to meeting you at the concert! 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 is equally at home with professional, university, and youth ensembles. 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 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. Paul Feit Bert Ferrara. Thomas A. James A. Josh H. Lois Rochester Ms.

Fred Trout Jr. Frank A. Hunt - August 31, Mary Harrington - May 16, Our Symphony Belles are girls, eighth through twelfth grade, from all area schools that are learning the importance of community service and volunteerism by serving in our organization. We estimate that our members and our Symphony Belles provide approximately 21, hours of community service each year which means we have provided over 1 million hours since our organization began in In February , we will host our Diamond Gala Weekend starting with a black tie dinner and dance on Friday, February 5 to present our Senior Belles and honor their 4 years of service.

On Saturday, February 6, we introduce our incoming Freshmen Belles with a luncheon and 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. As residents of the greater Permian Basin, 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 that are usually only available in metropolitan areas.

We look forward to a new season and to continue to support MOSC in their endeavor to enrich our lives through music for many years to come! The MOSC musicians are vital to the Arts programs in our schools and West Texas is fortunate to be a home for these talented musicians. Odessa Symphony Guild provides opportunities for members to support the MOSC through fundraising, monetary contributions, ushering, working and attending concerts and hosting receptions.

Look for our Belles and Beaux at various concerts. They do a great job and are learning how to Share The Music in the process. The Odessa Symphony Guild would like to extend an invitation to all to come and Share the Music as we travel into the beauty of a mystical garden and raise money to support the Midland-Odessa Symphony and Chorale. I am privileged to serve as the president this year of the Odessa Symphony Guild and to work with such an enthusiastic group of volunteers.

Kenneth Anderson and Dr. Edward Dusinberre was born in in Leamington Spa, England, and has enjoyed playing the violin from a young age. His early experiences as concertmaster of the National Youth Orchestra of Great Britain encouraged him to choose music as a profession.

Edward lives in Boulder, Colorado with his wife Beth, an archeologist who teaches at the University of Colorado, and their son Sam. He enjoys hiking in the mountains near Boulder and going to the theatre. The work of French composer Hector Berlioz embodies the bold innovations of the nineteenth century; his approach was saturated with fantasy, imagination, dreams, and originality. In addition to the work of Shakespeare, other literary inspirations were particularly in vogue throughout Europe.

Mendelssohn who was close friends with Goethe admitted such influence, whereas others set this story to music in more direct ways, such as Liszt with his Faust Symphony. Wagner toyed with using Faust as a subject in his early 20s, though only the overture remains as testament to such musings. Even the great Beethoven was not immune to the craze; it is said that on his deathbed, he expressed remorse for not setting Faust.

I read it incessantly, at meals, at the theater, in the street, everywhere. Anxiously, he sent a copy to Goethe, who in turn shared it with Carl Friedrich Zelter, a trusted musician friend.

It could be noted that the correspondence from Zelter was deficient in, shall we say, social grace; his words were extremely harsh. Disheartened by the ordeal, Berlioz turned away from this work, and in a fevered state of angst, even tried to locate and destroy all of the existing copies. He later published his Waverly Overture as his official opus 1. The year was , and Berlioz was in the midst of yet another highly active European tour. I wrote it when and where I could: in coaches, in trains, on steamboats, and even during my stay in cities, despite the various obligations which arose from the concerts I was giving.

One example of his originality is the inclusion of the Hungarian March, which Berlioz skillfully worked into the plot by changing the setting of the opening scene — mostly, he openly admitted, just for the sake of including this highly favored and deeply nationalistic music.

News of this plan traveled fast, and Berlioz alongside his publisher fielded many inquires about his setting of this beloved theme.

By the night of the premiere, it was with a modicum of apprehension that Berlioz took the stage for the last piece: the highly anticipated march.

The audience stayed quiet and silent at this unexpected opening. Sir, sir! Yes, yes… big battle… German dogs! Frenchman… Its fervor is still felt by modern audiences, regardless of any nationalistic knowledge; the unabashed confidence of the slow but relentless build is enough to stir even the most reluctant listener. Violin Concerto in D, op. Though accounts vary, Beethoven was likely beginning to notice signs of hearing loss by He did not admit this openly for several more years; it is probable that the onset was insidious enough to deny the signs.

For almost two years I have ceased to attend any social functions, just because I find it impossible to say to people: I am deaf. If I had any other profession it would be easier, but in my profession it is a terrible handicap. As for my enemies, of whom I have a fair number, what would they say? Thankfully, through the support of his loyal friends, and no shortage of self-perseverance, Beethoven continued to work. My poor hearing haunted me everywhere like a ghost; and I avoided all human society.

I was forced to seem a misanthrope, and yet I am far from being one. This change has been brought about by a dear charming girl who loves me and whom I love … and for the first time I feel that marriage might bring me happiness.

Unfortunately she is not of my class. Such happiness, as well as his intense anguish over the haunting ghost of his hearing were characteristic of his conflicting moods at this time. Over the course of the next five years, Beethoven produced a myriad of masterworks, notably including three symphonies with work toward his famous Fifth Symphony , several concertos, sonatas, string quartets, Lieder German songs , and his opera Fidelio, with its popular Leonore overtures.

Amongst these great works, in the midst of these drastic though vehemently heroic times, Beethoven wrote his Violin Concerto in D, op. This lengthy concerto premiered on December 23, , featuring violinist Franz Clement. The folklore surrounding this premiere is interesting, to say the least; the timeline between completing the composition and the concert was so short that The first movement, marked Allegro ma non troppo, opens with a simple five-stroke call of a drum before the woodwinds enter with a sweet and gentle melody in D.

The strings respond, entering with an echo of the drum articulation, but oddly, on a D-sharp. This note is conflicting with the secure warmth established by the woodwinds, yet is placed so purposefully that a conversation ensues, floating between major and minor tonalities, punctuated by the percussive motive.

When the violinist finally enters with a graceful lilt of tenderness, the lyricism of this piece begins to bloom, like rays of sunshine through a passing cloud, gliding with an ebb and flow of intensity.

The second movement Larghetto is sublimely subtle in its refined grace. The hymn-like theme is carried almost exclusively by the orchestra, allowing the violinist to provide intricate and heart-throbbing commentary. The daydream is abruptly broken when the third movement begins without pause.

Symphony No. He aided in perpetuating the nationalistic sound world of his native land as well as that of others; he could be called a predecessor of ethnomusicology to some degree.

Few of his contemporaries were as prolific and successful across such a wide range. His path to international fame was hard won, however, in part due to political turmoil between his native country and others that beckoned with promises of success.

Additionally, England was far enough removed from the continental bickering that he was able to produce works while remaining true to his heritage; he wrote on numerous Czech subjects without fear of the arrogance, preconceptions, and prejudice displayed by many of his continental circles. Compositionally, these years specifically are sometimes labeled as his second Slavonic period.

The new aspects of his works which separates them from earlier periods is a fundamental and quintessentially Romantic element of a poetic, picturesque musical language of implication and association. Interestingly, this symphony was known as Symphony No. It is to this end that his famous New World Symphony is sometimes listed as No.

Regardless of whether this symphony is called the fourth or the eighth, it is a work that stands apart from all of the rest in terms of its pastoral, idyllic nature. With orchestration and adjustments, Symphony No. This pastoral effect is carried throughout the work, particularly utilizing the woodwinds as soloists for the disarmingly and emotionally direct themes. By the finale however, it is clear that the predominate atmosphere will indeed be light.

Asleep at the Wheel has seen miles and miles of Texas. They got their kicks on Route And, in , the band clicked another milestone on the odometer — their 40th anniversary. The Wheel keeps rolling! They began with a simple goal: to play and help revive American roots music. At the height of Vietnam, many Americans were using their choice of music to express their stance on the conflict in southeast Asia. We were too country for the rock folks and we were too long-haired for the country folks.

But everybody got over it once the music started playing. I reached out to every great singer we knew. I just kept asking folks who I felt would fit in. What followed was a two-year quest to track down the right songs and the collaborators to play them. Our no list was pretty awesome, Seifert laughed when asked about the process of contacting musicians for Still the King.

That being said, we really got the majority of who we wanted. We would kind of get artists in batches, it was very laborious We were working all throughout and to the end. The process may have been laborious at times, but the finished product displays a fine balance between the nostalgic and the new; artists in their twenties play alongside those who have been onstage for decades.

Benson saw the album as an opportunity to include some younger musicians and to bring Wills work to new generations. The result is an album that should please both western swing neophytes and lifelong listeners. Saturday, November 7, p.

At the height of his career, he was producing a new opera ever y nine months, most of which were highly successful; Verdi was the most famous and frequently performed Italian opera composer in all of Europe, displacing the extremely popular Rossini and Donizetti. Alongside German composer Richard Wagner — , Verdi was the most influential opera composer of the 19th centur y.

As early as the s, secret societies were formed with the goal of unifying the Italian states, essentially launching the Risorgimento. It was this time period that birthed beloved operas such as Macbeth, Rigoletto, Il trovatore, and La traviata to name only a few.

After the crowning of the King, Verdi was even elected as a member of the new Chamber of Deputies, and later made a Senator of the Kingdom by the King himself. The work at hand ser ves as a prime example.

Premiered in , Nabucco is based on the biblical stor y of the plight of the Jewish people as King Nebuchadnezzar exiles them from their native land. Though perhaps not a completely intentional parallel, the connection to the Italian people would not have gone unnoticed. The moment in the opera is heart wrenching: the slaves have just lost important parts of their city, and are full of longing and despair for their homeland. In , Verdi and his wife of the time had lost a child. Only a year later, another infant passed.

Less than a few months later, Verdi premiered his second opera Un giorno de regno — a complete failure. It reportedly only had one performance before closing. Verdi fell into a deep depression, believing for the first time that it was possible he was not meant to be on the path he was pursuing. Perhaps giving up composition would be better. The theme of national independence, with all of its coinciding implications for the Italians, made Nabucco an instant success. Verdi later described this turning point in his life as the moment he really became a musician — the true beginning of his career.

As to be expected, the overture or sinfonia draws from themes of opera itself. Verdi skillfully sets themes against one another to foreshadow the conflict to come, including the chorus theme that would become so meaningful to so many. Richard Strauss — Horn Concerto No. His notable presence emerged around the time of the deaths of Richard Wagner — and Johannes Brahms — Strauss was also prolific in a wide array of genres. In particular, his tone poems and operas are the most prized bits of his legacy, including works such as Til Eulenspiegel, Der Rosenkavalier, and Salome.

Before achieving any semblance of status that would lead to his legacy, however, like any other artist, Strauss had to work to find his own voice. His path differed from some in that he came from a musical family; his father, Franz Strauss — was the principal horn player in the Munich Court Orchestra.

This is the same Joachim whose artistic work with the Beethoven Violin Concerto —on the MOSC program in September— led to that concerto gaining the revered respect it deser ves. Franz Strauss was also an extreme conser vative when it came to his musical taste, and by extension, the music he chose to expose to his son. While some may consider this scope limiting, it cannot be claimed that Strauss the younger was not given a strong foundation from which to work — without this foundation, his voice would undoubtedly have developed differently.

It is said that as a baby, Richard would smile and laugh when he heard the sound of a horn — and scream and cr y when he heard a violin.

It From this, his first and only violin concerto was born , alongside his first horn concerto Beyond these two concertos, Strauss obviously had a clear passion for the sound of the horn throughout his career despite his personal —perhaps rebellious— choice of the violin, in addition to early education on the piano.

However, the concerto at hand is the first of only two horn concertos Richard Strauss would write, though the second one would not be written until the s, dedicated to the memor y of his father. The concerto is youthful in its affect and melodic ardor, and conser vative in its harmonic language.

One may be reminded of Brahms in the traditional lyricism of the time, or perhaps Mendelssohn or even Mozart in the lightness of the finale.

However, regardless of the somewhat neophyte status of Strauss at this young age, the voice is still clearly his own, if only in its unapologetically radiance. Modern listeners surely will think of the later works of Strauss; the calling card of the horn is an undeniable connection.

Cast in a traditional three-movement structure that unfolds almost without pause, the work is unified by its thematic motives. The most notable of these is, in fact, the opening fanfare of the soloist: a simple yet grandly heralding ascending triad. Strauss skillfully manipulates this motive into the poetic lyricism of the slow movement before twisting it into the perpetually blooming bravura of the finale.

Johannes Brahms — Symphony No. When he wrote again in , his headliner article caused quite the stir. And he is come, a young creature over whose cradle graces and heroes stood guard. Brahms did prove to be the rightful successor of Beethoven in the larger forms of orchestral music, and of Schubert and even his herald, Schumann in the miniature genres of solo pieces and songs. Others saw the brilliance in this synthesis, and considered him revolutionar y.

In a time when originality and freedom from convention were highly revered, this was a brave path regardless of any other label. Through a modern lens, it would never be claimed that Brahms was anything less than a master; his music is the epitome of intentional conviction, at once bluntly controlled and so passionately lush that the result is undeniably and expansively human. The path to this success was not without his own struggles, however, and the symphony was a genre that eluded and plagued him early in his career.

Although it is known that Brahms began sketching a symphony as early as , his first symphony was not completed until ; Brahms was already in his early 40s. The modern perception of this age is still impressive, of course, given the depth of this work.

However, it should be noted that this was rather late for most masters of the older eras. Mozart was still a boy when writing in this genre, and Beethoven produced his Symphony No. University, 1A 1 before turning Nonetheless, the Odessa, TX carefully crafted work was well worth Office: Cell: the wait. After this point, it was only E-mail: simsguess cableone. It begins almost mid-thought, as though we are dropped into the middle of a dream.

Scholarship shows that Brahms toyed with a few bars of chords to precede this gesture, but he ultimately and wisely omitted them. The result provokes the sensation of joining an already heated conversation. This conversation is soaked with questions and sighs, dripping with passion before allowing any forcefulness to invade the expressive content.

Although it is cast in essentially the same traditional four-movement structure of his earlier symphonies, this work is unified not only by its per vasive emotional duality but by a refined sense of motivic consistency, specifically that of a third.

This motivic consistency extends itself to both vertical and horizontal dimensions, as well as to the harmonic axes of the movements themselves: the first movement is in E minor, the second in E major, the third in C major a third away from home , and finally back to E minor.

The melodic thirds are frequently minor, but are sometimes repeatedly major, extending to an augmented triad particularly in the first movement. It could be noted that Schoenberg, though his music seems so vastly distant, believed with dutiful conviction that his progression was the necessar y evolutionar y path, taken directly from his German predecessors. Beyond this sense of consistency and in addition to many more aspects , Brahms shaped a true master work through synthesizing the old and new in his fourth symphony.

Formally, the first movement implies a traditional Sonata-Allegro a form established in the Classical period , but upon the traditional repeat of the exposition, Brahms completes only eight measures before altering a chord, plunging directly into the new harmonic meadows of the development. The end of the development is recognizable as well, through its effect of a conversation petering out, amorphously slowing and losing a partner to distraction.

This is one of the softest moments in the When the strings finally respond, they signal the start of the recapitulation, and the listener is once again dropped into the same dream as from the start, still spinning with sighing heartbeats of progress.

The second movement begins in a medieval church mode Phr ygian with clear declamation before once again presenting the duality of emotions found in the first movement. The ominous illusion of darkness seems to permeate this movement more than the previous, despite its major tonality. The third movement is a scherzo, filled with echoes of Beethoven in form and Haydn in its humor. The Neurologic Specialty Council oversees and defines neurologic specialty practice.

They play an integral role in the recertification process of neurologic specialists by defining standards and reviewing applications and have a key role in the development of the new Maintenance of Specialty Certification MOSC program.

This team also reviews and updates the Description of Specialty Practice every 10 years. Each member of the council serves a 4-year term that begins in January of the calendar year. Currently, the council members are:. Be on the lookout if you are interested in becoming an item writer! SACE Application cycles typically open in early spring. Membership is free to all SIGs with a current section membership.