ADA, Okla. — When Zach Garcia was asked to write a Chickasaw-inspired symphony for the University of Central Oklahoma (UCO) Symphony Orchestra, he was excited for the opportunity. Audiences at East Central University’s (ECU) Ataloa Theatre March 9, 2026, were treated to the world premiere of “Chintaloowali' (I Sing to You).”
Garcia is a pianist, guitarist, composer, vocalist and Chickasaw citizen. He serves as the performing arts programming coordinator for the Chickasaw Nation Performing and Visual Arts Division, where he oversees the Chickasaw Nation School of Music and regularly composes new symphonic works with Chickasaw Nation partners.
Maestro Alexander Mickelthwate, the Oklahoma City Philharmonic’s conductor and music director, is also an artist in residence at UCO, conducting their symphony orchestra. After many previous collaborations with t h e Chickasaw Nation, Mickelthwate approached Garcia in the summer of 2025, asking him to compose a symphony for his orchestra at UCO. “Chintaloowali'” was the result of these conversations.
“Chintaloowali'” was the grand finale of UCO’s “America 250” program, celebrating the 250th anniversary of the U.S. by performing music by American composers. The performance began with Aaron Copland’s “Fanfare for the CommonMan,” followed by an original work by former UCO student Kangwa Mundende, jazz-inspired pieces by Leroy Anderson and Samuel Barber’s “First Essay for Orchestra,” which was a musical exploration related to World War II.
The concert concluded with Garcia’s “Chintaloowali',” a three-movement symphony. He said the title translates to “I sing to you” in the Chickasaw language, reflecting his intent to share his experience with the Chickasaw Nation through the music. Though the symphony has no words, its lyrical quality expresses the excitement, energy, love and pride he feels for his tribe.
Garcia described the first movement as “the adventure movement,” representing the exhilaration he feels when he sees the progress of his tribe. This feeling is reflected in the music, which begins with a steady beat and whimsical melodies that push forward until the piece breaks free, gliding up and down the scale. The steady beat returns with heightened intensity, driving the listener forward and inviting them to join the adventure. Challenges are indicated as the music shifts briefly into darker passages, which quickly resolve as the trials are conquered with a musical message that is both hopeful and optimistic, concluding with a softer, more peaceful tone.
The end of the first movement provides a musical transition to the second movement, which Garcia described as slower, more lyrical and captivating.
“To me, this movement represents what I hold beautiful about my tribe,” Garcia said at the performance. “There are several tribal employees in here today, and all of us serve with something in mind — something that we care most about, that we aim to safeguard, that we want to preserve for those that come after us — something that we hold dear. For me, who I hold dear are my students. I have the privilege of managing and looking after the Chickasaw Nation School of Music, and this movement reflects my feelings toward the community we have built there.”
The second movement evokes feelings of love, friendship and camaraderie through the overwhelming sense of peace and joy reflected throughout the composition. Some passages are restrained, like the quiet joy felt while admiring a sunset, while others are more up-tempo passages, bringing to mind images of joyful dancing. The movement culminates in grand sweeping melodies, reminiscent of a bird being carried on the wind.
Garcia described the final section of the symphony as the “triumph movement,” which represents the pride he feels when he sees the Chickasaw Nation overcome obstacles with their unconquerable spirit. It begins with heavy chords, underscored by delicate xylophone passages, providing a continuous progressive movement until the melody breaks free, illustrating Garcia’s vision. These themes return throughout the movement, eventually evoking a grand victory as the music moves in and out of minor keys — the darker melodies quickly vanquished by the more joyful and triumphant ones.
According to Jamie Davis, director of event management for ECU, more than 500 people attended the premiere of “Chintaloowali',” including Chickasaw Nation Governor Bill Anoatubby, Lt. Governor Chris Anoatubby, ECU President Wendell Godwin and UCO President Todd Lamb. Garcia said he was moved by the response from the community.
“I felt so grateful to be a part of our Chickasaw music community,” Garcia said. “To be surrounded by so many friends, family, students and colleagues while I shared a project that was that special to me just made me feel so thankful for the artistic culture we have in the Chickasaw Nation. I hope the evening inspired my students to continue their studies and opened their eyes as to how great it is to share their art with others.”