2019–2020 Program Book

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211 West San Francisco Street Santa Fe, NM 87501

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551 W Cordova Road Suite D, Santa Fe, NM 87505

Box 9692 Santa Fe, NM 87504

505.983.3530

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About The Cover

“Moonlight Sonnata”

by

b\

James Jensenoil on canvas; 11 � x 20 �

GALERIE ZÜGER

120 W San Francisco Street, Santa Fe, NM 87501

James Jensen was raised in Fort Collins, Colorado. Growing up with an artistic father in this creative environment encouraged his interest in both music and art. A brilliant painter, he is also a classically trained pianist. Color and structure create the vibrancy that defines his work.

In addition to James Jensen, Galerie Zuger represents a diverse group of local, national and international artists working in a wide variety of styles and mediums showing an exceptional level of skill and creativity. For over more than 20 years Galerie Zuger has featured classic and contemporary paintings and sculptures in both realistic and abstract styles.

art@galeriezuger.com | Phone 505.984.5099 | Fax 505.984.5087 | galeriezuger.com

Sisters’ Song of Songs, oil on canvas, 60" h x 60" w

E XECUTIVE director

Welcome to The Santa Fe Symphony. I am delighted to greet you as your new Executive Director and to join the fabric of this vibrant cultural community. My wife, Caroline, and I have felt so welcomed and embraced since our arrival this spring. We consider ourselves very fortunate to serve this diverse, historic, and artistic city—especially one with such a reputation for creativity and innovation in the arts.

The Symphony has accomplished so much throughout its 35-year history. It has commissioned countless premieres, from Pulitzer Prize winners to Mark O’Connor’s world-famous Fiddle Concerto. It has produced dynamic, educational co-productions with the Santa Fe Institute, the last of which was nationally broadcast through New Mexico PBS, as well as benefit concerts to support community members in need. The Symphony continues to offer a diverse array of music education and community engagement programs that have impacted tens of thousands of people since their inception. And it boasts a unique, musician-led governance structure where Board, staff, and musicians work hand-in-hand unlike any other orchestra in the country.

LET’S FORGE The Symphony’s next 35 years together!

In speaking with many of you over the last five months, I have come to understand that our goals are in alignment. We all envision a Symphony that actively promotes diversity and inclusion; that is fiscally sound and culturally vibrant; that embraces partnership and collaboration with likeminded institutions; that prioritizes the education of our children as the next generation of audiences. In sum, a Symphony that represents and welcomes all of Santa Fe.

Great news—we are already on our way. This October, alongside the League of American Orchestras, the Dallas Symphony Orchestra and more, we present the Southwestern US premiere of Forte, a featurelength documentary documentary celebrating three extraordinary women and their efforts to make their mark on the classical music world. We have joined the National Alliance for Audition Support, an initiative to increase diversity in American orchestras by offering mentorship, audition preparation, and financial support for Black and Latinx musicians across the country. This season marks our first collaboration with WildEarth Guardians, as we copresent a conservation-themed program focused on the planet we hope to hand to future generations. And finally, we take our re-branded chamber music series, SFS Strata, to new heights as we perform curated concerts at unique venues across town.

I invite you to join us in this endeavor. Tell us your bold ideas for the future. Introduce a friend to the wonder of symphonic music. Try a season subscription. Become a member of one of our giving circles, or underwrite a concert or artist. Make a gift to the Foundation for The Santa Fe Symphony, or include it in your estate plans.

With your help, this organization has already given so much to its community. And now, I look forward to offering even more—together.

Warm Regards,

Daniel M. Crupi Executive Director

OPERATIONS BOARD president

My thanks to all of you—attendees and donors—who made this season possible. Dynamic change has been the watchword of The Santa Fe Symphony Orchestra & Chorus over the past two and a half years. First, there was The Symphony’s selection of renowned maestro, Guillermo Figueroa, as our Principal Conductor. This was followed by the addition of highly capable new members to our Board of Directors, and most recently, the arrival of a talented new Executive Director, Daniel Crupi. The nationwide search, as many of you know, was triggered by the July, 2018, retirement of The Symphony’s Founder & Executive Director, Gregory W. Heltman. If not for Greg’s inspiring and effective leadership over the course of 35 years, we would not be here today to perform for you.

Daniel came to us from the Greensboro Symphony Orchestra in North Carolina, where he served as Director of Development & Public Relations from 2013 to 2016 and later, as Chief Operating Officer from 2016 to 2019. Daniel has expressed the belief that in order to thrive in the 21st century, symphony orchestras must reflect the culturally diverse and vibrant artistic communities they serve. His strong administrative experience and understanding of music and programming, together with his charming personality, convinced us that Daniel will provide the leadership we need not just today, but for years to come.

Here is what you may expect from us in the future:

A strengthened relationship between our musicians and our Board of Directors. The Symphony was founded in 1985 as a collaboration between the orchestra and a Board composed of non-musicians (75%) and musicians (25%). Internal revisions will assure high-quality and enjoyable musical performances for our audiences.

Programs, along with those of other fine musical organizations in Santa Fe, to make our city THE preeminent center in the Southwest for excellent and innovative music. Most important, we will offer not only the music that you have enjoyed in the past, but will also sprinkle these offerings with innovative programs and performance concepts to expand your appreciation of new music.

Finally, in order to accomplish all of this, we ask you to actively participate by giving us your suggestions, comments and ideas.

As we embark upon an exciting new era for The Symphony, I encourage you to …

Love the past, experience the new!

Thank you and enjoy the season,

E. Franklin Hirsch

E. Franklin Hirsch Board President

Pedro Paricio Bather

Acrylic

double CHOOI

SEPTEMBER 15—4:00 pm THE LENSIC PERFORMING ARTS CEDNTER

chooi nikki chooi

timothy

Pictures at an Exhibition

MODEST MUSSORGSKY

Born March 21, 1839, Karevo

Died March 28, 1881, St. Petersburg

Promenade

Gnomus

Promenade

Il Vecchio

Castello

Promenade Tuileries

Bydlo

Promenade

Ballet of the Chicks in Their Shells

Two Polish Jews, One Rich, the Other Poor Limoges, The Market Place atacombae, Sepulcrum Romanum

Con Mortuis in Lingua Mortua

er’s death), and did not really enter the standard piano repertory until several decades after that: the earliest recording of the piano version did not take place until 1942. Even early listeners were struck by the “orchestral” sonorities of this piano score, and in 1922 conductor Serge Koussevitsky asked Maurice Ravel to orchestrate it. Koussevitsky gave the first performance of Ravel’s version at the Paris Opera on October 19, 1922, and it quickly became one of the most popular works in the orchestral repertory: today over sixty different versions are available on compact disc.

The Hut on Fowl’s Legs (Baba-Yaga)

The Great Gate of Kiev

The Seyfried Double Concerto was made possible through the generosity of Charles and Judith Freyer. It was premiered at the Lake George Music Fes-

In the summer of 1873, Modest Mussorgsky was stunned by the sudden death of his friend Victor Hartmann, an architect and artist who was then only 39. The following year, their mutual friend Vladimir Stassov arranged a showing of over 400 of Hartmann’s watercolors, sketches, drawings, and designs. Inspired by the exhibition and the memory of his friend, Mussorgsky set to work on a suite of piano pieces based on the pictures and wrote enthusiastically to Stassov: “Hartmann is bubbling over, just as Boris did. Ideas, melodies, come to me of their own accord, like the roast pigeons in the story–I gorge and gorge and overeat myself. I can hardly manage to put it all down on paper fast enough.” He worked fast indeed: beginning on June 2, 1874, Mussorgsky had the score complete three weeks later, on June 22, just a few months after the premiere of Boris Godunov.

The finished work, which he called Pictures at an Exhibition, consists of ten musical portraits bound together by a promenade theme that recurs periodically–Mussorgsky said that this theme, meant to depict the gallery-goer strolling between paintings, was a portrait of himself. Curiously, Pictures spent its first half-century in obscurity: it was not performed publically during Mussorgsky’s lifetime, it was not published until 1886 (five years after its compos-

The opening Promenade alternates 5/4 and 6/4 meters; Mussorgsky marks it “in the Russian manner,” and Ravel assigns the famous opening to the solo trumpet, quickly joined by the full brass section. The Gnome is a portrait of a gnome staggering on twisted legs; the following Promenade is marked “with delicacy.” In Hartmann’s watercolor The Old Castle, a minstrel sings before a ruined castle. Ravel makes a daring (and very effective) choice by assigning his song to a solo saxophone, whose mournful sound feels exactly right in this context. Tuileries is a watercolor of children playing and quarreling in the Paris park; Ravel portrays them with chattering woodwinds. Bydlo returns to Eastern Europe, where a heavy ox-cart grinds through the mud. The wheels pound ominously along as the driver sings, and Ravel assigns his song to the tuba; the music rises to a strident climax as the cart draws near and passes, then diminishes as the cart moves on. Mussorgsky wanted the following Promenade to sound tranquillo, and Ravel begins with the clear sound of high flutes, but gradually this Promenade takes on unexpected power. The Ballet of the Unhatched Chicks depicts Hartmann’s costume design for the ballet Trilby, in which these characters wore egg-shaped armor–Ravel captures the sound of the chicks with chirping gracenotes in the woodwinds.

“I meant to get Hartmann’s Jews,” said Mussorgsky of Samuel Goldenberg and Schmuyle, a portrait of two Jews–one rich and one poor–in animated conversation. Ravel gives each of

them a particular sound: the rich voice of Goldenberg is heard in the strings, while Schmuyle’s rapid, high voice is depicted by a trumpet solo, one of the most famous ever composed for that instrument. The Marketplace at Limoges shows Frenchwomen quarreling furiously in a market, while Catacombs is Hartmann’s portrait of himself surveying the Roman catacombs by lantern light; Ravel makes effective use of deep brass and woodwinds here. This section leads into Cum mortuis in lingua mortua: “With the dead in a dead language.” Mussorgsky noted of this section: “The spirit of the departed Hartmann leads me to the skulls and invokes them: the skulls begin to glow faintly”; embedded in this spooky passage is a minor-key variation of the Promenade theme. The Hut on Fowl’s Legs shows the hut (perched on hen’s legs) of the vicious witch Baba Yaga, who would fly through the skies in a red-hot mortar. Ravel’s version depicts her with slashing attacks for full orchestra. Mussorgsky has her fly scorchingly right into the final movement, The Great Gate of Kiev. Hartmann had designed a gate (never built) for the city of Kiev, and Mussorgsky’s brilliant finale transforms the genial Promenade theme into a heaven-storming conclusion. Ravel gives the first statement to a noble brass choir, then gradually builds to one of the most exciting orchestral sounds ever created, full of ringing bells and massed attacks.

A NOTE ON

THE RAVEL ORCHESTRATION: So famous has Ravel’s orchestration become that it is regarded as a virtual treatise on orchestration all by itself, yet some observers have had doubts about it, and listeners may be surprised to learn that there are at least ten other orchestral versions by such varied names as Mikhail Touschmaloff, Sir Henry Wood, Leo Funtek, Leopold Stokowski, Serge Gortchakoff, and others. Pianist-conductor Vladimir Ashkenazy, who has prepared a version of his own, makes an interesting point: effective as Ravel’s orchestration is, it gives this essentially Russian music a distinctly “French” sound–light, bright, and brilliant. Ashkenazy set out to restore a “Russian” sound to Pictures, and his version is

timothy chooi double CHOOI

ketplace at Limoges shows Frenchwomen quarreling fu riously in a market, while Catacombs is Hartmann’s por trait of himself surveying the Roman catacombs by lan tern light; Ravel makes effective use of deep brass and woodwinds here. This section leads into Cum mortuis in lingua mortua: “With the dead in a dead language.” Mus sorgsky noted of this section: “The spirit of the departed Hartmann leads me to the skulls and invokes them: the skulls begin to glow faintly”; embedded in this spooky passage is a minor-key variation of the Promenade theme. The Hut on Fowl’s Legs shows the hut (perched on hen’s legs) of the vicious witch Baba Yaga, who would fly through the skies in a red-hot mortar. Ravel’s version depicts her with slashing attacks for full orchestra. Mus sorgsky has her fly scorchingly right into the final move ment, The Great Gate of Kiev. Hartmann had designed a gate (never built) for the city of Kiev, and Mussorgsky’s brilliant finale transforms the genial Promenade theme into a heaven-storming conclusion. Ravel gives the first statement to a noble brass choir, then gradually builds to

Nikki and Timothy Chooi are recipients of The Gene Witz Memorial Violin Fellowship at Ravinia Steans Music Institute.

nikki chooi

ketplace at Limoges shows Frenchwomen quarreling furiously in a market, while Catacombs is Hartmann’s portrait of himself surveying the Roman catacombs by lantern light; Ravel makes effective use of deep brass and woodwinds here. This section leads into Cum mortuis in lingua mortua: “With the dead in a dead language.” Mussorgsky noted of this section: “The spirit of the departed Hartmann leads me to the skulls and invokes them: the skulls begin to glow faintly”; embedded in this spooky passage is a minor-key variation of the Promenade theme. The Hut on Fowl’s Legs shows the hut (perched on hen’s legs) of the vicious witch Baba Yaga, who would fly through the skies in a red-hot mortar. Ravel’s version depicts her with slashing attacks for full orchestra. Mussorgsky has her fly scorchingly right into the final movement, The Great Gate of Kiev. Hartmann had designed a gate (never built) for the city of Kiev, and Mussorgsky’s brilliant finale transforms the genial Promenade theme into a heaven-storming conclusion. Ravel gives the first statement to a noble brass choir, then gradually builds to

SEPTEMBER 15 4:00 pm

Pictures at an Exhibition

MODEST MUSSORGSKY

Born March 21, 1839, Karevo

Died March 28, 1881, St. Petersburg

Promenade

Gnomus

Promenade

Il Vecchio

Castello Promenade

Ballet of the Chicks in Their Shells

Two Polish Jews, One Rich, the Other Poor Limoges, The Market Place atacombae, Sepulcrum Romanum

Con Mortuis in Lingua Mortua

The Hut on Fowl’s Legs (Baba-Yaga)

The Great Gate of Kiev

In the summer of 1873, Modest Mussorgsky was stunned by the sudden death of his friend Victor Hartmann, an architect and artist who was then only 39. The following year, their mutual friend Vladimir Stassov arranged a showing of over 400 of Hartmann’s watercolors, sketches, drawings, and designs. Inspired by the exhibition and the memory of his friend, Mussorgsky set to work on a suite of piano pieces based on the pictures and wrote enthusiastically to Stassov: “Hartmann is bubbling over, just as Boris did. Ideas, melodies, come to me of their own accord, like the roast pigeons in the story–I gorge and gorge and overeat myself. I can hardly manage to put it all down on paper fast enough.” He worked fast indeed: beginning on June 2, 1874, Mussorgsky had the score complete three weeks later, on June 22, just a few months after the premiere of Bo-

The finished work, which he called Pictures at an Exhibition, consists of ten musical portraits bound together by a promenade theme that recurs periodically–Mussorgsky said that this theme, meant to depict the gallery-goer strolling between paintings, was a portrait of himself. Curiously, Pictures spent its first half-century in obscurity: it was not performed publically during Mussorgsky’s lifetime, it was not published until 1886 (five years after its composer’s death), and did not really enter the standard piano repertory until several de-

cades after that: the earliest recording of the piano version did not take place until 1942. Even early listeners were struck by the “orchestral” sonorities of this piano score, and in 1922 conductor Serge Koussevitsky asked Maurice Ravel to orchestrate it. Koussevitsky gave the first performance of Ravel’s version at the Paris Opera on October 19, 1922, and it quickly became one of the most popular works in the orchestral repertory: today over sixty different versions are available on compact disc.

The opening Promenade alternates 5/4 and 6/4 meters; Mussorgsky marks it “in the Russian manner,” and Ravel assigns the famous opening to the solo trumpet, quickly joined by the full brass section. The Gnome is a portrait of a gnome staggering on twisted legs; the following Promenade is marked “with delicacy.” In Hartmann’s watercolor The Old Castle, a minstrel sings before a ruined castle. Ravel makes a daring (and very effective) choice by assigning his song to a solo saxophone, whose mournful sound feels exactly right in this context. Tuileries is a watercolor of children playing and quarreling in the Paris park; Ravel portrays them with chattering woodwinds. Bydlo returns to Eastern Europe, where a heavy ox-cart grinds through the mud. The wheels pound ominously along as the driver sings, and Ravel assigns his song to the tuba; the music rises to a strident climax as the cart draws near and passes, then diminishes as the cart moves on. Mussorgsky wanted the following Promenade to sound tranquillo, and Ravel begins with the clear sound of high flutes, but gradually this Promenade takes on unexpected power. The Ballet of the Unhatched Chicks depicts Hartmann’s costume design for the ballet Trilby, in which these characters wore egg-shaped armor–Ravel captures the sound of the chicks with chirping gracenotes in the woodwinds.

“I meant to get Hartmann’s Jews,” said Mussorgsky of Samuel Goldenberg and Schmuyle, a portrait of two Jews–one rich and one poor–in animated conversation. Ravel gives each of them a particular sound: the rich voice of Goldenberg is heard in the strings, while Schmuyle’s rapid, high voice is depicted by a trumpet solo, one of the most famous ever composed for that instrument. The Mar-

ketplace at Limoges shows Frenchwomen quarreling furiously in a market, while Catacombs is Hartmann’s portrait of himself surveying the Roman catacombs by lantern light; Ravel makes effective use of deep brass and woodwinds here. This section leads into Cum mortuis in lingua mortua: “With the dead in a dead language.” Mussorgsky noted of this section: “The spirit of the departed Hartmann leads me to the skulls and invokes them: the skulls begin to glow faintly”; embedded in this spooky passage is a minor-key variation of the Promenade theme. The Hut on Fowl’s Legs shows the hut (perched on hen’s legs) of the vicious witch Baba Yaga, who would fly through the skies in a red-hot mortar. Ravel’s version depicts her with slashing attacks for full orchestra. Mussorgsky has her fly scorchingly right into the final movement, The Great Gate of Kiev. Hartmann had designed a gate (never built) for the city of Kiev, and Mussorgsky’s brilliant finale transforms the genial Promenade theme into a heaven-storming conclusion. Ravel gives the first statement to a noble brass choir, then gradually builds to one of the most exciting orchestral sounds ever created, full of ringing bells and massed attacks.

A NOTE

ON THE RAVEL ORCHESTRATION: So famous has Ravel’s orchestration become that it is regarded as a virtual treatise on orchestration all by itself, yet some observers have had doubts about it, and listeners may be surprised to learn that there are at least ten other orchestral versions by such varied names as Mikhail Touschmaloff, Sir Henry Wood, Leo Funtek, Leopold Stokowski, Serge Gortchakoff, and others. Pianist-conductor Vladimir Ashkenazy, who has prepared a version of his own, makes an interesting point: effective as Ravel’s orchestration is, it gives this essentially Russian music a distinctly “French” sound–light, bright, and brilliant. Ashkenazy set out to restore a “Russian” sound to Pictures, and his version is much darker and heavier, making the music sound unexpectedly somber. Ashkenazy has a point, but it is difficult to separate this music from Ravel’s superb orchestration, which is a creative act fully worthy of Mussorgsky’s original score.

ida kavafian

handel MESSIAH

SEPTEMBER 15—4:00 pm

THE LENSIC PERFORMING ARTS

Pictures at an Exhibition

MODEST MUSSORGSKY

Born March 21, 1839, Karevo

Died March 28, 1881, St. Petersburg

Promenade

Gnomus

Promenade

Il Vecchio

Castello

Promenade Tuileries

Bydlo

Promenade

Ballet of the Chicks in Their Shells

Two Polish Jews, One Rich, the Other Poor Limoges, The Market Place atacombae, Sepulcrum Romanum

Con Mortuis in Lingua Mortua

The Hut on Fowl’s Legs (Baba-Yaga)

The Great Gate of Kiev

In the summer of 1873, Modest Mussorgsky was stunned by the sudden death of his friend Victor Hartmann, an architect and artist who was then only 39. The following year, their mutual friend Vladimir Stassov arranged a showing of over 400 of Hartmann’s watercolors, sketches, drawings, and designs. Inspired by the exhibition and the memory of his friend, Mussorgsky set to work on a suite of piano pieces based on the pictures and wrote enthusiastically to Stassov: “Hartmann is bubbling over, just as Boris did. Ideas, melodies, come to me of their own accord, like the roast pigeons in the story–I gorge and gorge and overeat myself. I can hardly manage to put it all down on paper fast enough.” He worked fast indeed: beginning on June 2, 1874, Mussorgsky had the score complete three weeks later, on June 22, just a few months after the premiere of Boris Godunov.

The finished work, which he called Pictures at an Exhibition, consists of ten musical portraits bound together by a promenade theme that recurs periodically–Mussorgsky said that this theme, meant to depict the gallery-goer strolling between paintings, was a portrait of himself. Curiously, Pictures spent its first half-century in obscurity: it was not performed publically during Mussorgsky’s lifetime, it was not published until 1886 (five years after its compos-

er’s death), and did not really enter the standard piano repertory until several decades after that: the earliest recording of the piano version did not take place until 1942. Even early listeners were struck by the “orchestral” sonorities of this piano score, and in 1922 conductor Serge Koussevitsky asked Maurice Ravel to orchestrate it. Koussevitsky gave the first performance of Ravel’s version at the Paris Opera on October 19, 1922, and it quickly became one of the most popular works in the orchestral repertory: today over sixty different versions are available on compact disc.

The opening Promenade alternates 5/4 and 6/4 meters; Mussorgsky marks it “in the Russian manner,” and Ravel assigns the famous opening to the solo trumpet, quickly joined by the full brass section. The Gnome is a portrait of a gnome staggering on twisted legs; the following Promenade is marked “with delicacy.” In Hartmann’s watercolor The Old Castle, a minstrel sings before a ruined castle. Ravel makes a daring (and very effective) choice by assigning his song to a solo saxophone, whose mournful sound feels exactly right in this context. Tuileries is a watercolor of children playing and quarreling in the Paris park; Ravel portrays them with chattering woodwinds. Bydlo returns to Eastern Europe, where a heavy ox-cart grinds through the mud. The wheels pound ominously along as the driver sings, and Ravel assigns his song to the tuba; the music rises to a strident climax as the cart draws near and passes, then diminishes as the cart moves on. Mussorgsky wanted the following Promenade to sound tranquillo, and Ravel begins with the clear sound of high flutes, but gradually this Promenade takes on unexpected power. The Ballet of the Unhatched Chicks depicts Hartmann’s costume design for the ballet Trilby, in which these characters wore egg-shaped armor–Ravel captures the sound of the chicks with chirping gracenotes in the woodwinds.

“I meant to get Hartmann’s Jews,” said Mussorgsky of Samuel Goldenberg and Schmuyle, a portrait of two Jews–one rich and one poor–in animated conversation. Ravel gives each of

them a particular sound: the rich voice of Goldenberg is heard in the strings, while Schmuyle’s rapid, high voice is depicted by a trumpet solo, one of the most famous ever composed for that instrument. The Marketplace at Limoges shows Frenchwomen quarreling furiously in a market, while Catacombs is Hartmann’s portrait of himself surveying the Roman catacombs by lantern light; Ravel makes effective use of deep brass and woodwinds here. This section leads into Cum mortuis in lingua mortua: “With the dead in a dead language.” Mussorgsky noted of this section: “The spirit of the departed Hartmann leads me to the skulls and invokes them: the skulls begin to glow faintly”; embedded in this spooky passage is a minor-key variation of the Promenade theme. The Hut on Fowl’s Legs shows the hut (perched on hen’s legs) of the vicious witch Baba Yaga, who would fly through the skies in a red-hot mortar. Ravel’s version depicts her with slashing attacks for full orchestra. Mussorgsky has her fly scorchingly right into the final movement, The Great Gate of Kiev. Hartmann had designed a gate (never built) for the city of Kiev, and Mussorgsky’s brilliant finale transforms the genial Promenade theme into a heaven-storming conclusion. Ravel gives the first statement to a noble brass choir, then gradually builds to one of the most exciting orchestral sounds ever created, full of ringing bells and massed attacks.

A NOTE ON THE RAVEL ORCHESTRA-

TION: So famous has Ravel’s orchestration become that it is regarded as a virtual treatise on orchestration all by itself, yet some observers have had doubts about it, and listeners may be surprised to learn that there are at least ten other orchestral versions by such varied names as Mikhail Touschmaloff, Sir Henry Wood, Leo Funtek, Leopold Stokowski, Serge Gortchakoff, and others. Pianist-conductor Vladimir Ashkenazy, who has prepared a version of his own, makes an interesting point: effective as Ravel’s orchestration is, it gives this essentially Russian music a distinctly “French” sound–light, bright, and brilliant. Ashkenazy set out to restore a “Russian” sound to Pictures, and his version is

ida kavafian

christmas TREASURES

SEPTEMBER 15 4:00 pm

THE LENSIC PERFORMING ARTS

Pictures at an Exhibition

Born March 21, 1839, Karevo Died March 28, 1881, St. Petersburg

In the summer of 1873, Modest Mussorgsky was stunned by the sudden death of his friend Victor Hartmann, an architect and artist who was then only 39. The following year, their mutual friend Vladimir Stassov arranged a showing of over 400 of Hartmann’s watercolors, sketches, drawings, and designs. Inspired by the exhibition and the memory of his friend, Mussorgsky set to work on a suite of piano pieces based on the pictures and wrote enthusiastically to Stassov: “Hartmann is bubbling over, just as Boris did. Ideas, melodies, come to me of their own accord, like the roast pigeons in the story–I gorge and gorge and overeat myself. I can hardly manage to put it all down on paper fast enough.” He worked fast indeed: beginning on June 2, 1874, Mussorgsky had the score complete three weeks later, on June 22, just a few months after the premiere of Boris Godunov.

The finished work, which he called Pictures at an Exhibition, consists of ten musical portraits bound together by a promenade theme that recurs periodically–Mussorgsky said that this theme, meant to depict the gallery-goer strolling between paintings, was a portrait of himself. Curiously, Pictures spent its first half-century in obscurity: it was not performed publically during Mussorgsky’s lifetime, it was not published until 1886 (five years after its composer’s death), and did not really enter the standard piano repertory until several decades after that: the earliest recording of the piano version did not take place until 1942. Even early listeners were struck by the “orchestral” sonorities of this piano score, and in 1922 conductor Serge Koussevitsky asked Maurice Ravel to orchestrate it. Koussevitsky gave the first performance of Ravel’s version at the Paris Opera on October 19, 1922, and it quickly became one of the most popular works in the orchestral repertory: today over sixty different versions are available on compact disc.

The opening Promenade alternates 5/4 and 6/4 meters; Mussorgsky marks it “in the Russian manner,” and Ravel assigns the famous opening to the solo trumpet, quickly joined by the full brass section. The Gnome is a portrait of a gnome staggering on twisted legs; the following Promenade is marked “with delicacy.” In Hartmann’s watercolor The Old

Castle, a minstrel sings before a ruined castle. Ravel makes a daring (and very effective) choice by assigning his song to a solo saxophone, whose mournful sound feels exactly right in this context. Tuileries is a watercolor of children playing and quarreling in the Paris park; Ravel portrays them with chattering woodwinds. Bydlo returns to Eastern Europe, where a heavy ox-cart grinds through the mud. The wheels pound ominously along as the driver sings, and Ravel assigns his song to the tuba; the music rises to a strident climax as the cart draws near and passes, then diminishes as the cart moves on. Mussorgsky wanted the following Promenade to sound tranquillo, and Ravel begins with the clear sound of high flutes, but gradually this Promenade takes on unexpected power. The Ballet of the Unhatched Chicks depicts Hartmann’s costume design for the ballet Trilby, in which these characters wore egg-shaped armor–Ravel captures the sound of the chicks with chirping gracenotes in the woodwinds.

“I meant to get Hartmann’s Jews,” said Mussorgsky of Samuel Goldenberg and Schmuyle, a portrait of two Jews–one rich and one poor–in animated conversation. Ravel gives each of them a particular sound: the rich voice of Goldenberg is heard in the strings, while Schmuyle’s rapid, high voice is depicted by a trumpet solo, one of the Pictures at an Exhibition

Promenade

Gnomus

Promenade

Il Vecchio

Castello

Promenade

Tuileries

Bydlo

Promenade

Ballet of the Chicks in Their Shells

Two Polish Jews, One Rich, the Other Poor Limoges, The Market Place

atacombae, Sepulcrum Romanum

Con Mortuis in Lingua Mortua

The Hut on Fowl’s Legs (Baba-Yaga)

The Great Gate of Kiev

.

christmas TREASURES

SEPTEMBER 15 4:00 pm

THE LENSIC PERFORMING ARTS

americana!

SEPTEMBER 15 4:00 pm THE LENSIC PERFORMING ARTS

Pictures at an Exhibition MODEST MUSSORGSKY

Born March 21, 1839, Karevo Died March 28, 1881, St. Petersburg

In the summer of 1873, Modest Mussorgsky was stunned by the sudden death of his friend Victor Hartmann, an architect and artist who was then only 39. The following year, their mutual friend Vladimir Stassov arranged a showing of over 400 of Hartmann’s watercolors, sketches, drawings, and designs. Inspired by the exhibition and the memory of his friend, Mussorgsky set to work on a suite of piano pieces based on the pictures and wrote enthusiastically to Stassov: “Hartmann is bubbling over, just as Boris did. Ideas, melodies, come to me of their own accord, like the roast pigeons in the story–I gorge and gorge and overeat myself. I can hardly manage to put it all down on paper fast enough.” He worked fast indeed: beginning on June 2, 1874, Mussorgsky had the score complete three weeks later, on June 22, just a few months after the premiere of Boris Godunov.

The finished work, which he called Pictures at an Exhibition, consists of ten musical portraits bound together by a promenade theme that recurs periodically–Mussorgsky said that this theme, meant to depict the gallery-goer strolling between paintings, was a portrait of himself. Curiously, Pictures spent its first half-century in obscurity: it was not performed publically during Mussorgsky’s lifetime, it was not published until 1886 (five years after its composer’s death), and did not really enter the standard piano repertory until several decades after that: the earliest recording of the piano version did not take place until 1942. Even early listeners were struck by the “orchestral” sonorities of this piano score, and in 1922 conductor Serge Koussevitsky asked Maurice Ravel to orchestrate it. Koussevitsky gave the first performance of Ravel’s version at the Paris Opera on October 19, 1922, and it quickly became one of the most popular works in the orchestral repertory: today over sixty different versions are available on compact disc.

The opening Promenade alternates 5/4 and 6/4 meters; Mussorgsky marks it “in the Russian manner,” and Ravel assigns the famous opening to the solo trumpet, quickly joined by the full brass section. The Gnome is a portrait of a gnome staggering on twisted legs; the following Promenade is marked “with delica-

cy.” In Hartmann’s watercolor The Old Castle, a minstrel sings before a ruined castle. Ravel makes a daring (and very effective) choice by assigning his song to a solo saxophone, whose mournful sound feels exactly right in this context. Tuileries is a watercolor of children playing and quarreling in the Paris park; Ravel portrays them with chattering woodwinds. Bydlo returns to Eastern Europe, where a heavy ox-cart grinds through the mud. The wheels pound ominously along as the driver sings, and Ravel assigns his song to the tuba; the music rises to a strident climax as the cart draws near and passes, then diminishes as the cart moves on. Mussorgsky wanted the following Promenade to sound tranquillo, and Ravel begins with the clear sound of high flutes, but gradually this Promenade takes on unexpected power. The Ballet of the Unhatched Chicks depicts Hartmann’s costume design for the ballet Trilby, in which these characters wore egg-shaped armor–Ravel captures the sound of the chicks with chirping gracenotes in the woodwinds.

“I meant to get Hartmann’s Jews,” said Mussorgsky of Samuel Goldenberg and Schmuyle, a portrait of two Jews–one rich and one poor–in animated conversation. Ravel gives each of them a particular sound: the rich voice of Goldenberg is heard in the strings, while Schmuyle’s rapid, high voice is depicted by a trumpet solo, one of the Pictures at an Exhibition

MODEST MUSSORGSKY

Pictures at an Exhibition

Promenade

Gnomus

Promenade

Il Vecchio

Castello

Promenade

Tuileries

Bydlo

Promenade

Ballet of the Chicks in Their Shells

Two Polish Jews, One Rich, the Other Poor Limoges, The Market Place

atacombae, Sepulcrum Romanum

Con Mortuis in Lingua Mortua

The Hut on Fowl’s Legs (Baba-Yaga)

The Great Gate of Kiev

.

new worlds

SEPTEMBER 15 4:00 pm THE LENSIC

Pictures at an Exhibition

MODEST MUSSORGSKY

Born March 21, 1839, Karevo

Died March 28, 1881, St. Petersburg

Promenade

Gnomus

Promenade

Il Vecchio

Castello

Promenade

Tuileries

Bydlo

Promenade

Ballet of the Chicks in Their Shells

Two Polish Jews, One Rich, the Other Poor Limoges, The Market Place atacombae, Sepulcrum Romanum Con Mortuis in Lingua Mortua

The Hut on Fowl’s Legs (Baba-Yaga)

The Great Gate of Kiev

In the summer of 1873, Modest Mussorgsky was stunned by the sudden death of his friend Victor Hartmann, an architect and artist who was then only 39. The following year, their mutual friend Vladimir Stassov arranged a showing of over 400 of Hartmann’s watercolors, sketches, drawings, and designs. Inspired by the exhibition and the memory of his friend, Mussorgsky set to work on a suite of piano pieces based on the pictures and wrote enthusiastically to Stassov: “Hartmann is bubbling over, just as Boris did. Ideas, melodies, come to me of their own accord, like the roast pigeons in the story–I gorge and gorge and overeat myself. I can hardly manage to put it all down on paper fast enough.” He worked fast indeed: beginning on June 2, 1874, Mussorgsky had the score complete three weeks later, on June 22, just a few months after the premiere of Boris Godunov.

The finished work, which he called Pictures at an Exhibition, consists of ten musical portraits bound together by a promenade theme that recurs periodically–Mussorgsky said that this theme, meant to depict the gallery-goer strolling between paintings, was a portrait of himself. Curiously, Pictures spent its first half-century in obscurity: it was not performed publically during Mussorgsky’s lifetime, it was not published until 1886 (five years after its composer’s death), and did not really enter the standard piano repertory until several de-

cades after that: the earliest recording of the piano version did not take place until 1942. Even early listeners were struck by the “orchestral” sonorities of this piano score, and in 1922 conductor Serge Koussevitsky asked Maurice Ravel to orchestrate it. Koussevitsky gave the first performance of Ravel’s version at the Paris Opera on October 19, 1922, and it quickly became one of the most popular works in the orchestral repertory: today over sixty different versions are available on compact disc.

The opening Promenade alternates 5/4 and 6/4 meters; Mussorgsky marks it “in the Russian manner,” and Ravel assigns the famous opening to the solo trumpet, quickly joined by the full brass section. The Gnome is a portrait of a gnome staggering on twisted legs; the following Promenade is marked “with delicacy.”

In Hartmann’s watercolor The Old Castle, a minstrel sings before a ruined castle. Ravel makes a daring (and very effective) choice by assigning his song to a solo saxophone, whose mournful sound feels exactly right in this context. Tuileries is a watercolor of children playing and quarreling in the Paris park; Ravel portrays them with chattering woodwinds. Bydlo returns to Eastern Europe, where a heavy ox-cart grinds through the mud. The wheels pound ominously along as the driver sings, and Ravel assigns his song to the tuba; the music rises to a strident climax as the cart draws near and passes, then diminishes as the cart moves on. Mussorgsky wanted the following Promenade to sound tranquillo, and Ravel begins with the clear sound of high flutes, but gradually this Promenade takes on unexpected power.

The Ballet of the Unhatched Chicks depicts Hartmann’s costume design for the ballet Trilby, in which these characters wore egg-shaped armor–Ravel captures the sound of the chicks with chirping gracenotes in the woodwinds.

“I meant to get Hartmann’s Jews,” said Mussorgsky of Samuel Goldenberg and Schmuyle, a portrait of two Jews–one rich and one poor–in animated conversation. Ravel gives each of them a particular sound: the rich voice of Goldenberg is heard in the strings, while Schmuyle’s rapid, high voice is depicted by a trumpet solo, one of the most famous ever composed for that instrument. The Market-

place at Limoges shows Frenchwomen quarreling furiously in a market, while Catacombs is Hartmann’s portrait of himself surveying the Roman catacombs by lantern light; Ravel makes effective use of deep brass and woodwinds here. This section leads into Cum mortuis in lingua mortua: “With the dead in a dead language.” Mussorgsky noted of this section: “The spirit of the departed Hartmann leads me to the skulls and invokes them: the skulls begin to glow faintly”; embedded in this spooky passage is a minor-key variation of the Promenade theme. The Hut on Fowl’s Legs shows the hut (perched on hen’s legs) of the vicious witch Baba Yaga, who would fly through the skies in a red-hot mortar. Ravel’s version depicts her with slashing attacks for full orchestra. Mussorgsky has her fly scorchingly right into the final movement, The Great Gate of Kiev. Hartmann had designed a gate (never built) for the city of Kiev, and Mussorgsky’s brilliant finale transforms the genial Promenade theme into a heaven-storming conclusion. Ravel gives the first statement to a noble brass choir, then gradually builds to one of the most exciting orchestral sounds ever created, full of ringing bells and massed attacks.

A NOTE ON THE RAVEL ORCHESTRATION: So famous has Ravel’s orchestration become that it is regarded as a virtual treatise on orchestration all by itself, yet some observers have had doubts about it, and listeners may be surprised to learn that there are at least ten other orchestral versions by such varied names as Mikhail Touschmaloff, Sir Henry Wood, Leo Funtek, Leopold Stokowski, Serge Gortchakoff, and others. Pianist-conductor Vladimir Ashkenazy, who has prepared a version of his own, makes an interesting point: effective as Ravel’s orchestration is, it gives this essentially Russian music a distinctly “French” sound–light, bright, and brilliant. Ashkenazy set out to restore a “Russian” sound to Pictures, and his version is much darker and heavier, making the music sound unexpectedly somber. Ashkenazy has a point, but it is difficult to separate this music from Ravel’s superb orchestration, which is a creative act fully worthy of Mussorgsky’s original score.

Program notes

SEPTEMBER 15—4:00 pm

THE LENSIC PERFORMING ARTS

Pictures at an Exhibition

MODEST MUSSORGSKY

Born March 21, 1839, Karevo

Died March 28, 1881, St. Petersburg

Promenade

Gnomus

Promenade

Il Vecchio

Castello

Promenade

Tuileries

Bydlo

Promenade

Ballet of the Chicks in Their Shells

Two Polish Jews, One Rich, the Other Poor Limoges, The Market Place atacombae, Sepulcrum Romanum

Con Mortuis in Lingua Mortua

The Hut on Fowl’s Legs (Baba-Yaga)

The Great Gate of Kiev

In the summer of 1873, Modest Mussorgsky was stunned by the sudden death of his friend Victor Hartmann, an architect and artist who was then only 39. The following year, their mutual friend Vladimir Stassov arranged a showing of over 400 of Hartmann’s watercolors, sketches, drawings, and designs. Inspired by the exhibition and the memory of his friend, Mussorgsky set to work on a suite of piano pieces based on the pictures and wrote enthusiastically to Stassov: “Hartmann is bubbling over, just as Boris did. Ideas, melodies, come to me of their own accord, like the roast pigeons in the story–I gorge and gorge and overeat myself. I can hardly manage to put it all down on paper fast enough.” He worked fast indeed: beginning on June 2, 1874, Mussorgsky had the score complete three weeks later, on June 22, just a few months after the premiere of Boris Godunov.

The finished work, which he called Pictures at an Exhibition, consists of ten musical portraits bound together by a promenade theme that recurs periodically–Mussorgsky said that this theme, meant to depict the gallery-goer strolling between paintings, was a portrait of himself. Curiously, Pictures spent its first half-century in obscurity: it was not performed publically during Mussorgsky’s lifetime, it was not published until 1886 (five years after its composer’s death), and did not really enter the standard piano repertory until several de-

cades after that: the earliest recording of the piano version did not take place until 1942. Even early listeners were struck by the “orchestral” sonorities of this piano score, and in 1922 conductor Serge Koussevitsky asked Maurice Ravel to orchestrate it. Koussevitsky gave the first performance of Ravel’s version at the Paris Opera on October 19, 1922, and it quickly became one of the most popular works in the orchestral repertory: today over sixty different versions are available on compact disc.

The opening Promenade alternates 5/4 and 6/4 meters; Mussorgsky marks it “in the Russian manner,” and Ravel assigns the famous opening to the solo trumpet, quickly joined by the full brass section. The Gnome is a portrait of a gnome staggering on twisted legs; the following Promenade is marked “with delicacy.”

In Hartmann’s watercolor The Old Castle, a minstrel sings before a ruined castle. Ravel makes a daring (and very effective) choice by assigning his song to a solo saxophone, whose mournful sound feels exactly right in this context. Tuileries is a watercolor of children playing and quarreling in the Paris park; Ravel portrays them with chattering woodwinds. Bydlo returns to Eastern Europe, where a heavy ox-cart grinds through the mud. The wheels pound ominously along as the driver sings, and Ravel assigns his song to the tuba; the music rises to a strident climax as the cart draws near and passes, then diminishes as the cart moves on. Mussorgsky wanted the following Promenade to sound tranquillo, and Ravel begins with the clear sound of high flutes, but gradually this Promenade takes on unexpected power.

The Ballet of the Unhatched Chicks depicts Hartmann’s costume design for the ballet Trilby, in which these characters wore egg-shaped armor–Ravel captures the sound of the chicks with chirping gracenotes in the woodwinds.

“I meant to get Hartmann’s Jews,” said Mussorgsky of Samuel Goldenberg and Schmuyle, a portrait of two Jews–one rich and one poor–in animated conversation. Ravel gives each of them a particular sound: the rich voice of Goldenberg is heard in the strings, while Schmuyle’s rapid, high voice is depicted by a trumpet solo, one of the most famous ever composed for that instrument. The Market-

place at Limoges shows Frenchwomen quarreling furiously in a market, while Catacombs is Hartmann’s portrait of himself surveying the Roman catacombs by lantern light; Ravel makes effective use of deep brass and woodwinds here. This section leads into Cum mortuis in lingua mortua: “With the dead in a dead language.” Mussorgsky noted of this section: “The spirit of the departed Hartmann leads me to the skulls and invokes them: the skulls begin to glow faintly”; embedded in this spooky passage is a minor-key variation of the Promenade theme. The Hut on Fowl’s Legs shows the hut (perched on hen’s legs) of the vicious witch Baba Yaga, who would fly through the skies in a red-hot mortar. Ravel’s version depicts her with slashing attacks for full orchestra. Mussorgsky has her fly scorchingly right into the final movement, The Great Gate of Kiev. Hartmann had designed a gate (never built) for the city of Kiev, and Mussorgsky’s brilliant finale transforms the genial Promenade theme into a heaven-storming conclusion. Ravel gives the first statement to a noble brass choir, then gradually builds to one of the most exciting orchestral sounds ever created, full of ringing bells and massed attacks.

A NOTE ON THE RAVEL ORCHESTRATION: So famous has Ravel’s orchestration become that it is regarded as a virtual treatise on orchestration all by itself, yet some observers have had doubts about it, and listeners may be surprised to learn that there are at least ten other orchestral versions by such varied names as Mikhail Touschmaloff, Sir Henry Wood, Leo Funtek, Leopold Stokowski, Serge Gortchakoff, and others. Pianist-conductor Vladimir Ashkenazy, who has prepared a version of his own, makes an interesting point: effective as Ravel’s orchestration is, it gives this essentially Russian music a distinctly “French” sound–light, bright, and brilliant. Ashkenazy set out to restore a “Russian” sound to Pictures, and his version is much darker and heavier, making the music sound unexpectedly somber. Ashkenazy has a point, but it is difficult to separate this music from Ravel’s superb orchestration, which is a creative act fully worthy of Mussorgsky’s original score.

Program notes

hope FOR THE PLANET

Carelle Flores Bio:

Increasingly noted for her exciting performances in both opera and concert work, soprano Carelle Flores recently debuted with Opera Southwest as Maria in their newly commissioned opera BLESS ME ULTIMA, with the Cambridge Symphony Orchestra as Maria WEST SIDE STORY, and with The Dallas Opera as Madrigal Singer MANON LESCAUT. In summer 2019 she will be a featured soloist with the MUSIC IN THE MOUNTAINS festival in Durango, CO, and continues work at The Dallas Opera. Notable previous engagements include Musetta LA BOHÈME and Barbarina LE NOZZE DI FIGARO at Palm Beach Opera, Musetta LA BOHÈME at Sarasota Opera, Mimi LA BOHÈME at Ashlawn Opera, Adele DIE FLEDERMAUS with Sarasota Opera, Lucia cover in Donizetti’s LUCIA DI LAMMERMOOR with Virginia Opera, Countess Ceprano RIGOLETTO with Opera Carolina, and Mimi LA BOHÈME, Constanze ABDUCTION FROM THE SERAGLIO, and Maria WEST SIDE STORY at Indiana University Opera. She has performed as a soloist with the Chicago Symphony Orchestra, the Central New Jersey Symphony, the St. Charles Singers, Orpheus Chamber Singers, and the Texas Voices. Ms. Flores was a Metropolitan Opera National Council Auditions Semi Finalist, and is a graduate of Indiana University School of Music.

As Musetta in Puccini’s La Boheme, “The standout performer of the evening was Carelle Flores, whose Musetta was enchanting, fun, lively and empathetic. Her energy and apparent joy in being on stage were like spotlights on talent. Her well-produced voice carried her above the vocal lines into the true character

Carelle Flores Bio:

Increasingly noted for her exciting performances in both opera and concert work, soprano Carelle Flores recently debuted with Opera Southwest as Maria in their newly commissioned opera BLESS ME ULTIMA, with the Cambridge Symphony Orchestra as Maria WEST SIDE STORY, and with The Dallas Opera as Madrigal Singer MANON LESCAUT. In summer 2019 she will be a featured soloist with the MUSIC IN THE MOUNTAINS festival in Durango, CO, and continues work at The Dallas Opera. Notable previous engagements include Musetta LA BOHÈME and Barbarina LE NOZZE DI FIGARO at Palm Beach Opera, Musetta LA BOHÈME at Sarasota Opera, Mimi LA BOHÈME at Ashlawn Opera, Adele DIE FLEDERMAUS with Sarasota Opera, Lucia cover in Donizetti’s LUCIA DI LAMMERMOOR with Virginia Opera, Countess Ceprano RIGOLETTO with Opera Carolina, and Mimi LA BOHÈME, Constanze ABDUCTION FROM THE SERAGLIO, and Maria WEST SIDE STORY at Indiana University Opera. She has performed as a soloist with the Chicago Symphony Orchestra, the Central New Jersey Symphony, the St. Charles Singers, Orpheus Chamber Singers, and the Texas Voices. Ms. Flores was a Metropolitan Opera National Council Auditions Semi Finalist, and is a graduate of Indiana University School of Music.

As Musetta in Puccini’s La Boheme, “The standout performer of the evening was Carelle Flores, whose Musetta was enchanting, fun, lively and empathetic. Her energy and apparent joy in being on stage were like spotlights on talent. Her well-produced voice carried her above the vocal lines into the true character

an appalachian

CHRISTMAS DECEMBER 24 5:00 pm

THE LENSIC PERFORMING ARTS CENTER

Pictures at an Exhibition

MODEST MUSSORGSKY

Born March 21, 1839, Karevo

Died March 28, 1881, St. Petersburg

Promenade

Gnomus

Promenade

Il Vecchio

Castello

Promenade

Tuileries

Bydlo

Promenade

Ballet of the Chicks in Their Shells

Two Polish Jews, One Rich, the Other Poor Limoges, The Market Place atacombae, Sepulcrum Romanum Con Mortuis in Lingua Mortua

The Hut on Fowl’s Legs (Baba-Yaga)

The Great Gate of Kiev

worked fast indeed: beginning on June 2, 1874, Mussorgsky had the score complete three weeks later, on June 22, just a few months after the premiere of Boris Godunov.

cades after that: the earliest recording of the piano version did not take place until 1942. Even early listeners were struck by the “orchestral” sonorities of this piano score, and in 1922 conductor Serge Koussevitsky asked Maurice Ravel to orchestrate it. Koussevitsky gave the first performance of Ravel’s version at the Paris Opera on October 19, 1922, and it quickly became one of the most popular works in the orchestral repertory: today over sixty different versions are available on compact disc.

The opening Promenade alternates 5/4 and 6/4 meters; Mussorgsky marks it “in the Russian manner,” and Ravel assigns the famous opening to the solo trumpet, quickly joined by the full brass section. The Gnome is a portrait of a gnome staggering on twisted legs; the following Promenade is marked “with delicacy.”

In the summer of 1873, Modest Mussorgsky was stunned by the sudden death of his friend Victor Hartmann, an architect and artist who was then only 39. The following year, their mutual friend Vladimir Stassov arranged a showing of over 400 of Hartmann’s watercolors, sketches, drawings, and designs. Inspired by the exhibition and the memory of his friend, Mussorgsky set to work on a suite of piano pieces based on the pictures and wrote enthusiastically to Stassov: “Hartmann is bubbling over, just as Boris did. Ideas, melodies, come to me of their own accord, like the roast pigeons in the story–I gorge and gorge and overeat myself. I can hardly manage to put it all down on paper fast enough.” He

In the summer of 1873, Modest Mussorgsky was stunned by the sudden death of his friend Victor Hartmann, an architect and artist who was then only 39. The following year, their mutual friend Vladimir Stassov arranged a showing of over 400 of Hartmann’s watercolors, sketches, drawings, and designs. Inspired by the exhibition and the memory of his friend, Mussorgsky set to work on a suite of piano pieces based on the pictures and wrote enthusiastically to Stassov: “Hartmann is bubbling over, just as Boris did. Ideas, melodies, come to me of their

The finished work, which he called Pictures at an Exhibition, consists of ten musical portraits bound together by a promenade theme that recurs periodically–Mussorgsky said that this theme, meant to depict the gallery-goer strolling between paintings, was a portrait of himself. Curiously, Pictures spent its first half-century in obscurity: it was not performed publically during Mussorgsky’s lifetime, it was not published until 1886 (five years after its composer’s death), and did not really enter the standard piano repertory until several decades after that: the earliest recording of the piano version did not take place until 1942. Even early listeners were struck by the “orchestral” sonorities of this piano score, and in 1922 conductor Serge Koussevitsky asked Maurice Ravel to orchestrate it. Koussevitsky gave the first performance of Ravel’s version at the Paris Opera on October 19, 1922, and it quickly became one of the most popular works in the orchestral repertory: today over sixty different versions are available on compact disc.

The opening Promenade alternates 5/4 and 6/4 meters; Mussorgsky marks it “in the Russian manner,” and Ravel assigns the famous opening to the solo trumpet, quickly joined by the full brass section. The Gnome is a portrait

In Hartmann’s watercolor The Old Castle, a minstrel sings before a ruined castle. Ravel makes a daring (and very effective) choice by assigning his song to a solo saxophone, whose mournful sound feels exactly right in this context. Tuileries is a watercolor of children playing and quarreling in the Paris park; Ravel portrays them with chattering woodwinds. Bydlo returns to Eastern Europe, where a heavy ox-cart grinds through the mud. The wheels pound ominously along as the driver sings, and Ravel assigns his song to the tuba; the music ris

place at Limoges shows Frenchwomen quarreling furiously in a market, while Catacombs is Hartmann’s portrait of himself surveying the Roman catacombs by lantern light; Ravel makes effective use of deep brass and woodwinds here. This section leads into Cum mortuis in lingua mortua: “With the dead in a dead language.” Mussorgsky noted of this section: “The spirit of the departed Hartmann leads me to the skulls and invokes them: the skulls begin to glow faintly”; embedded in this spooky passage is a minor-key variation of the Promenade theme. The Hut on Fowl’s Legs shows the hut (perched on hen’s legs) of the vicious witch Baba Yaga, who would fly through the skies in a red-hot mortar. Ravel’s version depicts her with slashing attacks for full orchestra. Mussorgsky has her fly scorchingly right into the final movement, The Great Gate of Kiev. Hartmann had designed a gate (never built) for the city of Kiev, and Mussorgsky’s brilliant finale transforms the genial Promenade theme into a heaven-storming conclusion. Ravel gives the first statement to a noble brass choir, then gradually builds to one of the most exciting orchestral sounds ever created, full of ringing bells and massed attacks.

A

NOTE ON THE RAVEL ORCHESTRATION: So famous has Ravel’s orchestration become that it is regarded as a virtual treatise on orchestration all by itself, yet some observers have had doubts about it, and listeners may be surprised to learn that there are at least ten other orchestral versions by such varied names as Mikhail Touschmaloff, Sir Henry Wood, Leo Funtek, Leopold Stokowski, Serge Gortchakoff, and others. Pianist-conductor Vladimir Ashkenazy, who has prepared a version of his own, makes an interesting point: effective as Ravel’s orchestration is, it gives this essentially Russian music a distinctly “French” sound–light, bright, and brilliant. Ashkenazy set out to restore a “Russian” sound to Pictures, and his version is much darker and heavier, making the music sound unexpectedly somber. Ashkenazy has a point, but it is difficult to separate this music from Ravel’s superb orchestration, which is a creative act fully worthy of Mussorgsky’s origi-

Program notes

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p e n e l o p e p e n l a n d

Licensed Psychologist p e n l a n d

SEPTEMBER 15 4:00 pm THE LENSIC PERFORMING

My thanks to all of you—attendees and donors—who made this season possible. Dynamic change has been the watchword of The Santa Fe Symphony Orchestra & Chorus over the past two and a half years. First, there was The Symphony’s selection of renowned maestro, Guillermo Figueroa, as our Principal Conductor. This was followed by the addition of highly capable new members to our Board of Directors, and most recently, the arrival of a talented new Executive Director, Daniel Crupi. The nationwide search, as many of you know, was triggered by the July, 2018, retirement of The Symphony’s Founder & Executive Director, Gregory W. Heltman. If not for Greg’s inspiring and effective leadership over the course of 35 years, we would not be here today to perform for you.

Daniel came to us from the Greensboro Symphony Orchestra in North Carolina, where he served as Director of Development & Public Relations from 2013 to 2016 and later, as Chief Operating Officer from 2016 to 2019. Daniel has expressed the belief that in order to thrive in the 21st century, symphony orchestras must reflect the culturally diverse and vibrant artistic communities they serve. His strong administrative experience and understanding of music and programming, together with his charming personality, convinced us that Daniel will provide the leadership we need not just today, but for years to come. inally, in order to accomplish all of this, we ask you to actively participate by giving us your suggestions, comments and ideas.

CHORAL DIRECTOR carmen florez-mansi Creating Possibility

For

Our Community Since 1870

PROUD SUPPORTER OF THE SANTA FE SYMPHONY

First National 1870 is committed to investing in and contributing to the economic, cultural, and social fabrics that make Santa Fe unique.

Our local Wealth Management* and Private Banking team possesses the expertise and resources to work for you, your family, and your business. We partner with you to help achieve your financial goals through innovative solutions.

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July 13 & August 31, 2019 ENCORE! February 22, 2020

December 14 & 15, 2019

JAMES MCGREW

SHAREN BRADFORD

CHORAL DIRECTOR

carmen florez-mansi

My thanks to all of you—attendees and donors—who made this season possible. Dynamic change has been the watchword of The Santa Fe Symphony Orchestra & Chorus over the past two and a half years. First, there was The Symphony’s selection of renowned maestro, Guillermo Figueroa, as our Principal Conductor. This was followed by the addition of highly capable new members to our Board of Directors, and most recently, the arrival of a talented new Executive Director, Daniel Crupi. The nationwide search, as many of you know, was triggered by the July, 2018, retirement of The Symphony’s Founder & Executive Director, Gregory W. Heltman. If not for Greg’s inspiring and effective leadership over the course of 35 years, we would not be here today to perform for you.

Daniel came to us from the Greensboro Symphony Orchestra in North Carolina, where he served as Director of Development & Public Relations from 2013 to 2016 and later, as Chief Operating Officer from 2016 to 2019. Daniel has expressed the belief that in order to thrive in the 21st century, symphony orchestras must reflect the culturally diverse and vibrant artistic communities they serve. His strong administrative experience and understanding of music and programming, together with his charming personality, convinced us that Daniel will provide the leadership we need not just today, but for years to come. inally, in order to accomplish all of this, we ask you to actively participate by giving us your suggestions, comments and ideas.

THE SYMPHONY CHORUS

The Santa Fe Symphony Chorus has a considerable history of musical excellence in choral performance. The Chorus of Santa Fe was founded in 1979, five years before The Santa Fe Symphony Orchestra. In 1986, that group joined The Santa Fe Symphony Orchestra to form the present organization known as The Santa Fe Symphony Orchestra & Chorus. As a result, The Symphony gained a choral component, and the choir acquired an orchestra to provide symphonic settings for choral music. Membership in The Santa Fe Symphony Chorus is voluntary, though members may audition for stipend positions. The Symphony Chorus is committed to polished, well-rehearsed performances, meeting the very highest standards. We welcome you to join! Learn more at santafesymphony.org/discover/chorus/

Special Events & Free Concerts

| Monday, December 3, 2018

Club House at Las Campanas

Enjoy the holiday season in the cozy company of your friends and neighbors with passed champagne and hors d’oeuvres, The Symphony Brass, a mouthwatering holiday buffet complemented by select wines, auctions, and much more … all proceeds support The Symphony’s award-winning Music Education Program and concerts in Santa Fe Public Schools.

CAROLS & CHORUSES | Tuesday, December 18, 2018

Cathedral Basilica of St. Francis of Assisi

Enjoy the angelic voices of The Symphony Chorus and sing along to some of the most beloved Christmas carols of all time, featuring The Symphony Brass and Organ and Guest Choral Director Carmen Flórez-Mansi. Admission is FREE (no tickets required). All ages welcome.

CONCERT SPONSORS:

CHORAL MASTERWORKS SERIES | Sunday, March 3, 2018

The Symphony Chorus will lift your spirits and feed your soul with an afternoon of beautiful choral masterworks. Admission is pay-what-you-wish (no tickets required). All ages welcome.

IN HONOR OF MEMORIAL DAY | Wednesday, May 29, 2018

Cathedral Basilica of St. Francis of Assisi

Join us as we salute those who served with an inspirational program featuring music by The Symphony Chorus and Chamber Ensemble. Admission is pay-what-you-wish (no tickets required). All ages welcome.

SPRING GALA | T O BE ANNOUNCED!

Hotel Santa Fe, The Hacienda & Spa

save the dates!

CONCERTMASTER david felberg

My thanks to all of you—attendees and donors—who made this season possible. Dynamic change has been the watchword of The Santa Fe Symphony Orchestra & Chorus over the past two and a half years. First, there was The Symphony’s selection of renowned maestro, Guillermo Figueroa, as our Principal Conductor. This was followed by the addition of highly capable new members to our Board of Directors, and most recently, the arrival of a talented new Executive Director, Daniel Crupi. The nationwide search, as many of you know, was triggered by the July, 2018, retirement of The Symphony’s Founder & Executive Director, Gregory W. Heltman. If not for Greg’s inspiring and effective leadership over the course of 35 years, we would not be here today to perform for you.

Daniel came to us from the Greensboro Symphony Orchestra in North Carolina, where he served as Director of Development & Public Relations from 2013 to 2016 and later, as Chief Operating Officer from 2016 to 2019. Daniel has expressed the belief that in order to thrive in the 21st century, symphony orchestras must reflect the culturally diverse and vibrant artistic communities they serve. His strong administrative experience and understanding of music and programming, together with his charming personality, convinced us that Daniel will provide the leadership we need not just today, but for years to come.

Capture the Moment . . .

Principal Conductor Guillermo Figueroa

Virtuoso violinist and recipient of a prestigious 2016 Avery Fisher Career Grant, shows his incredible technical range performing not only Haydn’s heroic Violin Concerto but also Dvořák’s delicate and passionate Romance.

Alexi Kenney, Violin, with Renana Gutman, Piano

's recital selections range from the longbeloved E Major Partita by Bach—a technical showstopper for solo violin—to rarer works like Crumb’s Four Nocturnes, a delicate and birdlike meditation, featuring the subtle integration of many of Crumb’s inspired extended techniques, like having the soloist tap the violin as a percussive element.

Thursday, April 12, 2018 — 7:00 pm

Guillermo Figueroa, Violin, and Ivonne Figueroa, Piano

Sunday, April 15, 2018 — 4:00 pm

Principal Conductor Guillermo Figueroa

CONCERT SPONSOR-IN-PART:

STORR FAMILY ENDOWMENT FUND AT THE SANTA FE COMMUNITY FOUNDATION

symphony chorus

thePerforming choral works at the highest level of mastery …

The Santa Fe Symphony Chorus has a considerable history of musical excellence in choral performance. The Chorus of Santa Fe was founded in 1979, five years before The Santa Fe Symphony Orchestra. In 1986, that group joined The Santa Fe Symphony Orchestra to form the present organization known as The Santa Fe Symphony Orchestra & Chorus. As a result, The Symphony gained a choral component, and the choir acquired an orchestra to provide symphonic settings for choral music.

Membership in The Symphony Chorus is voluntary, though members may audition for stipend positions. The Symphony Chorus is committed to polished, well-rehearsed performances, meeting the very highest standards.

We welcome you to join The Santa Fe Symphony Chorus!

Learn more at santafesymphony.org/discover/chorus/

Special Events & Free Concerts

| Monday, December 3, 2018

Club House at Las Campanas

Enjoy the holiday season in the cozy company of your friends and neighbors with passed champagne and hors d’oeuvres, The Symphony Brass, a mouthwatering holiday buffet complemented by select wines, auctions, and much more … all proceeds support The Symphony’s award-winning Music Education Program and concerts in Santa Fe Public Schools.

CAROLS & CHORUSES | Tuesday, December 18, 2018

Cathedral Basilica of St. Francis of Assisi

Enjoy the angelic voices of The Symphony Chorus and sing along to some of the most beloved Christmas carols of all time, featuring The Symphony Brass and Organ and Guest Choral Director Carmen Flórez-Mansi. Admission is FREE (no tickets required). All ages welcome.

CONCERT SPONSORS:

CHORAL MASTERWORKS SERIES | Sunday, March 3, 2018

The Symphony Chorus will lift your spirits and feed your soul with an afternoon of beautiful choral masterworks. Admission is pay-what-you-wish (no tickets required). All ages welcome.

IN HONOR OF MEMORIAL DAY | Wednesday, May 29, 2018

Cathedral Basilica of St. Francis of Assisi

Join us as we salute those who served with an inspirational program featuring music by The Symphony Chorus and Chamber Ensemble. Admission is pay-what-you-wish (no tickets required). All ages welcome.

SPRING GALA | T O BE ANNOUNCED!

Hotel Santa Fe, The Hacienda & Spa

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FOUNDATION BOARD

Welcome to the 36th Season of The Santa Fe Symphony! We would like to express our sincere thanks to all of our generous supporters for their many contributions to Foundation for The Santa Fe Symphony Orchestra over the years. With this help, The Foundation has raised almost $3 million—both from donations and from earnings on invested donations. These assets enable The Foundation to help support The Symphony’s performances, its many outreach programs, and its day to day operations.

The Symphony Foundation’s mission is to effectively manage its assets—to preserve, safeguard and conservatively grow its investments—so that it can make regular contributions to The Symphony.

Our thanks also go out to our talented musicians, dedicated staff, and supportive volunteers for all their efforts and hard work. These efforts would not be possible without the help of many others, people who choose to support The Symphony by attending concerts and fundraising events, giving gifts of time and money, and including The Santa Fe Symphony orchestra & Chorus in their estate plans.

Funds are required to put on great performances, such as those we are presenting this season. These concerts would not be possible without our loyal supporters—all of them. We continue to be grateful for your help. The Santa Fe Symphony Orchestra & Chorus is a sound, cherished organization that will continue to offer the very best music to our audience. Please continue to help support our activities.

Again—our thanks!

Brian McGrath Foundation President

Brian McGrath

Create a Legacy contributions FOUNDATION BOARD

By investing in The Foundation for The Santa Fe Symphony Orchestra & Chorus, you leave a perpetual, personal legacy, ensuring that our community continues to experience the incredible power of orchestral music for generations to come. Contributing to the Foundation enhances The Symphony’s mission of producing world-class music and music education programs in a permanent way. Over the past 20 years, the Foundation has reached nearly $3 million in total assets, and the annual distributions from these invested assets provide almost 10% of the Symphony’s annual operating budget.

Named Chairs

The Eddie & Peaches Gilbert Gregory W. Heltman Founder’s Chair ($1,000,000)

The Dr. Penelope Penland Principal Cello Chair ($150,000)

Lloyd & Virginia Storr Music Library Fund ($50,000)

The Boo Miller Assistant Concertmaster Chair ($200,000)

The Boo Miller Principal Percussion Chair ($150,000)

Designated Endowments

Forever Mentor Program

John & Marte Murphy

($50,000)

The Ann Neuberger Aceves Principal Conductor Podium ($500,000)

The Diane & Peter Doniger Principal Harp Chair ($150,000)

The Regan/Doniger Fund and The DeHaan National Orchestra Program for The American Pianists Association Fellow Presentation ($55,000)

There is no more powerful gift than one to future generations. Create your own permanent legacy through The Foundation The Santa Fe Symphony—contact Executive Director, Daniel Crupi, at 505-983-3530 for more information today!

community & learning

We are the music.

This past season, fourteen of The Santa Fe Symphony musicians traveled to nine different Santa Fe schools for the Kids’ Classical Concerts, close-up performances where small ensembles play classical and popular tunes, demonstrate different instruments, and even let students try their hand at conducting.

The Symphony continued to gather, refurbish, and gift instruments to deserving students in Santa Fe, Pojoaque, and Peñasco.

To learn more, volunteer, or donate to our award-winning music education program or see more letters from our kids, visit: santafesymphony.org/discover/community-learning

Got music. Will travel.

This past season, fourteen of The Santa Fe Symphony’s musicians traveled to nine different Santa Fe schools for the Kids' Classical Concerts, close-up performances where small ensembles play classical and popular tunes, demonstrate different instruments, and even let students try their hand at conducting.

This past season, fourteen Symphony musicians traveled to nine different Santa Fe schools for the Kids’ Classical Concerts, close-up performances where small ensembles play classical and popular tunes, demonstrate different instruments, and even let students try their hand at conducting.

These and all The Symphony’s programs advance into the 2016–2017 season—and our acclaimed mentoring program is set to expand, continuing professional instruction in public schools for strings, brass, winds, percussion, voice, and guitar, while adding keyboard instruments as well.

We accept donations of musical instruments, refurbish them, and provide them to promising middle and high school students in need. Nine times each year, small group ensembles of Symphony musicians visit nine Santa Fe public elementary schools for an hour of music, education, and fun.

The Symphony’s music education programs channel the talents of our orchestra, chorus members, and contributing music scholars into experiential learning opportunities for young and old. From musical instrument scholarships for local students, to mentoring programs in the public schools taught by our own Symphony musicians, to annual free concerts for schoolchildren and families generous volunteers, donors, and The Symphony’s Music Education Committee lead all these programs and more.

All of The Symphony’s music education programs advance into the 2016-2017 season-and our acclaimed mentoring program is set to expand, continuing professional instruction in public schools for strings, brass, winds, percussion, voice, and guitar, while adding keyboard instruments as well!

To learn more, volunteer, donate to our award-winning music education program, or see more letters from our kids, please visit: santafesymphony.org/discover/community-learning .

We accept donations of musical instruments, refurbish them, and provide them to promising middle and high school students in need. Nine times each year, small group ensembles of Symphony musicians visit nine Santa Fe public elementary schools for an hour of music, education, and fun. Besides all this, each fall finds fifteen hundred fourth graders and their teachers, from Santa Fe, Pojoaque, Española, and Pueblo schools, at The Lensic for our bilingual Discovery Concerts.

community & learning

Our annual Discovery Concerts at The Lensic, featuring local storyteller Joe Hayes and the entire Symphony Orchestra, thrill more than fifteen hundred fourth-grade students and their teachers from Santa Fe, Pojoaque, Española, and Pueblo schools.

I applaud this program as the most valuable resource we have from our performing arts organizations—child for child. Can’t thank you enough.

—Leanne DeVane, Music Education Coordinator, Santa Fe Public Schools

BELOW: Fourth-grade students mocking the “Bird” (Flute) during Peter and the Wolf (Pedro y el Lobo), narrated by Joe Hayes at The Lensic 2016.

PHOTO: KATHRYN NUN

Many thanks to our fabulous Volunteers!

We couldn't do it without you

Anne Alexander

Lorri Beauchamp

Annie Brady

Nan Brown

Lois Callaghan

Carlene Carey

Harry Cole

Charles DeMuth

Jim Derryberry

Donna Eagles

Carol Franco

Mathew Frauwirth

Muriel Frei

Gwen Fuller

Stephanie Greene

Sharon Gregory

Wanda How

Karen Huber

Anna Kersey

Joan Kessler

Ellie Leighton

Shanna MacLean

Anna Maekersey

Eileen Mandel

Margaret Merdler

Carly Mohler

Donald Percious

Mary Ann Roberts

Roberta Corwin Robinson

Richard Rudman

Nancy Schmitz

Johnnie de Schweinitz

Carol Toobin

Edelle Vartan

Penelope Vasquez

Cory Whitmore

Patsy & Jim Williamson

The Symphony has a great opportunity for anyone interested in volunteering. We’re always looking for new volunteers, as well as hoping to reconnect with those of you who may have volunteered in the past. All are welcome—as we have a variety of opportunities throughout the year.

If you’re interested in helping out, or would like to hear more about other opportunities with The Symphony in the future, please drop us a line and we’ll be in touch shortly!

Listed below are just a few of the many ways you can support The Symphony—annual memberships, program-specific contributions, gifts to The Foundation’s endowment, and more. You can find full descriptions and details of the special benefits you’ll receive with different ways of giving on the following pages and our website. All contributions are acknowledged in the Concert Insert for one year from the date of the donation.

MEMBERSHIPS

Annual direct/unrestricted gifts to The Symphony General Fund are vital to our day-to-day operations and support season programming. Different membership levels receive a variety of benefits.

FRIENDS OF MUSIC EDUCATION

By supporting or participating in our many music education and community outreach programs, you can help change the lives of nearly four thousand students and seniors each year.

FRIENDS OF THE CHORUS

the joy of giving Play your Part!

Our chorus will sing your praises! Your gift will fund workshops, coaching, and other educational tools to develop singing skills which will enable us to present more choral masterworks each season.

ENDOWMENT GIFTS

A gift to The Foundation is one of the most lasting and powerful resources a donor can offer, ensuring a sustained source of revenue for The Symphony into the future.

PLANNED GIVING — OVATION SOCIETY

Generous and farsighted supporters who make The Symphony or The Foundation a part of their estate planning become members of this extraordinary group.

BUSINESS PARTNERSHIPS

Businesses gain exposure to our sophisticated Symphony audience through a variety of marketing options, including the opportunity to sponsor concerts.

CONCERT DEDICATIONS

Dedicate a Symphony concert to honor or memorialize a loved one, or celebrate a friend or family member’s special occasion.

REACH FOR THE STARS

This is your opportunity to underwrite the performance of one of our acclaimed guest artists or guest conductors. Exclusive benefits are associated with this program.

ADOPT-A-MUSICIAN

When you Adopt-A-Musician you honor our individual musicians’s exceptional dedication and effort while helping to sustain high standards of professional support for our tenured musician members.

VOLUNTEER!

We welcome your time, help, and expertise for administrative support in The Symphony office and assistance at special events. If you’d like to be involved more frequently, we are also currently seeking year-round Events Committee members! Contact us today at volunteer@ santafesymphony.org.

To make a contribution to The Santa Fe Symphony Orchestra & Chorus or The Foundation for The Santa Fe Symphony, or to learn more about specific programs, please call 505.983.3530, Monday through Friday, 10:00 am to 4:00 pm or visit santafesymphony.org/support.

Highlighted Benefits

Through their generosity, our individual members bring great music to Santa Fe! Membership benefits acknowledge unrestricted annual gifts in support of The Symphony’s general operations and programming. In turn, our upper level donors enjoy many benefits and opportunities to engage with The Symphony family: behind-the-scenes access, Musicales, The Symphony Club Room events, and many more, all shared first—or exclusively—with Symphony donors.

MUSICALES

Members of Symphony Club, Musicians’ Circle, Conductors’ Circle, Angels’ Circle, Beethoven and Tchaikovsky Groups enjoy our most popular member benefit, the elegant Musicales—one-of-akind gatherings held throughout the year in some of Santa Fe’s finest homes and galleries. Visit with Symphony family and friends while enjoying hors d’oeuvres, fine wine, and a light gourmet supper buffet, followed by a musical performance by our highly accomplished Symphony musicians and some of the world’s most talented guest artists. Donors at higher levels receive invitations to increasingly more intimate gatherings. Special thanks to the members and galleries who host our Musicales, to Sotheby’s International Realty for underwriting the Musicale musicians, and to Casa Rondeña Winery for underwritting the wine.

Following each of our Sunday afternoon performances at The Lensic, we offer something unique—a private reception just a short walk from the theater. Still uplifted by the concert, members of our Symphony Club, Musicians’ Circle, Conductors’ Circle, and above gather with their guests at The Symphony Club Room at Galerie Züger. While relaxing with wine and hors d’oeuvres, you can meet our guest artists and conductors, chat with members of the orchestra and chorus, and mingle with our board members and other patrons. Many thanks to the owners of Galerie Züger and Art Advisor Mary Felton for their gracious hospitality.

he joy of giving

Principal Violist Kim Fredenburgh and Principal Cellist Dana Winograd performing at a Musicale.

Walter Burke Lensic

Lensic

DINING & COCKTAILS 5 - 10 PM anta Fe’s Most Enchanting Inn

BENEFITS

foundation contributors

We gratefully acknowledge the following individuals and organizations for their generous support of The Foundation. The following contributors are listed according to their cumulative non-designated giving since The Foundation’s inception in 1998:

The Tchaikovsky Society ($200,000+)

Ann Neuberger Aceves

Founding Members

Eddie & Peaches Gilbert Founding Members

Gladys & Julius Heldman

Founding Members

Boo Miller

Roy R. & Marie S. Neuberger Foundation

Founding Member

The Ellington Society ($50,000+)

Edwin Thorne Jr. & Melanie Peters

Thorne–Founding Members

Estate of Francis Essig

Richard & Claire Gantos

The Mendelssohn Society ($25,000+)

Helen & Bertram Gabriel

Founding Members

Estate of Mrs. Georges Dapples

The Bernstein Society ($10,000+)

Edwin Thorne Jr. & Melanie Peters

Thorne–Founding Members

Drs. Gilbert M. Maw & Jenny M. Auger Maw

Estate of Duane “Pete” Myers

Carl & Patricia Sheppard

The Gladys & Julius Heldman

Circle of Friends

Helen Gabriel ($50,000)

($5,000+)

Michael & Sheryl DeGenring

Diane & Peter Doniger

Ambassador David & Connie Girard-diCarlo

Joe & Marion Skubi

($2,000+)

John & Jean Cheek

Lee Dirks

Dr. James Fries

Cameron Haight

Dr. & Mrs. Beryl Lovitz

Brian McGrath & Carmen Paradis

Joyce Nicholson

Mick & Genie Ramsey

Frances E. Richards

($1,000+)

Charmay Allred

Keith Anderson & Barbara Lenssen

Ann Griffith Ash

David & Maggie Brown

Mike & Julie Dawson

Charles Gulick

Robert & Marian Haight

Gregory & Elaine Heltman

Evelyn & David Kloepper

Dr. & Mrs. James McCaffery

Dee & Bill Moore

Ted & Alice Oakley

Tom & Sarah Penland

Lee & Mimi Powell

Marion & Joe Skubi

James Sullivan

William & Nancy Zeckendorf

Everett & Janet Zlatoff-Mirsky

Other Foundation Friends

Rick & Kathy Abeles

George Aceves

Martha Albrecht

Ann Alexander & Richard Khanlian

Anonymous

Gerald Arnold

Susan Arnold & Ralph Poelling

William & Julia Ashbey

Julie & David Ashton

Hank Bahnsen

Sam & Ethel Ballen

Vera Barad & Edward Marks

F. K. Bateman

Linda & Bill Bein

Celia Berlin

Elliot Blum & Ann Reifman

Helen & Richard Brandt

Leona Bronstein

Harold & Norma Brown

Norma H. Burch

Raymond Burkard

Elva & Bob Busch

Julius & Helen Cahn

David & Lisa Caldwell

J. Susan Cedar & Gary Lowenthal

Aaron Clark & Barbara Schmidt Clark

Judith Margo Clark

Diane Copland

Diane Shaw Courtney

Zella & Larry Cox

Grover Criswell

& Kathryn Van der Heiden

Hugh & Haley Curtin

Brian F. Dailey & Florian Art Garcia

Edgar Foster Daniels

Josette & Volker De La Harpe

Joel & Janet DeLisa

Dorothy Dorsey

Al Dos Santos

Mary E. Eisenberg

Hal & Carole Eitzen

Helen Eubank

Bernard C. Ewell

Thomas & Nancy Feine

Stephen Flance

Jeffrey & Megan Fries

Stephen W. Gibbs & Lynn Matte-Gibbs

Elizabeth Glascock

Linda Goff

Charles & Diane Goodman

John Greenspan & Julianne Bodnar

Kurt & Maria Haegele

Marianne Hale

Kitty Carlisle Hart

Barbara Hays

Arthur Hemmendinger

Roth & Sarah Herrlinger

Thomas George David Hesslein

Ann & Jerry Hicks

Constance Hillis

C. W. & Gail Hornsby

Ira & Virginia Jackson

Medora & James Jennings

Colleen Jones

Patricia & Alfred Judd

Sara & Jim Killough

Sandra Kirmer

Dr. & Mrs. Joseph C. Kiser

Patricia Klock

Kay Delle Koch

Ronnie Koenig & Marc Feldman

Camille & David Kornreich

Susan Krueger

David & Jody Larson

Lynn F. Lee

Stanford & Phyllis Lehmberg

Ellie Leighton

Bill & Ann LeMay

Miranda & Ralph Levy

Carole Light & Alex Redmountain

Elizabeth Lubetkin Lipton

Martin & Mildred Litke

Harvey Litt

George & Norma Litton

Andrea London

Matthew Roy London

Patricia London

Linda Mack & Wynn Berven

Colleen Mahon-Powers

Paul & Nancy Malmuth

Dr. Marilyn Mason

John McCuskerKaren McGrath

Andre Michaudon

Audrey Miller

Ann Morgan

Margaret Morgan & David Cohn

Richard & Patricia Morris

Steve & Luanne Moyer

Pat Mueller-Vollmer

Ruth Nelson & Thomas Murphy

Jim Neuberger

Roy S. Neuberger

Betsy S. Nichols

Richard A. Nulman

Bob Nurock

Frank & Dolores Ortiz

Concha Ortiz y Pino de Kleven

Melinne Owen & Paul Giguere

Janet M. Peacock

J. Michael Pearce & Margaret M. Page

John Pedotto

Valerye Plath

William & Ronnie Potter

Joshua Quesada

Harriet Raff

Ronald Rinker

James M. C. Ritchie

Charles & Mara Robinson

Gerald & Kathleen Rodriguez

Brett Roorbach

Kimberly Roos

Barbara Rosenblum

Hilda Rush

Tony & Molly Russo

Donna Saiz

Dorothy Salant

Allen & Mary Anne Sanborn

Nancy Scheer

Beatrice & M. C. Schultz

Noel Schuurman

Edward Seymour

Donald Shina & Kevin Waidmann

Christine Simpson

Karen Sonn

Frank & Karen Sortino

Harold Steinberg

Emily & Peter Coates Sundt

Jeff & Georgann Taylor

Hunter & Priscilla Temple

Enid & Roy Tidwell

Connie Tirschwell

Patrick Toal

Sandy & Gene Tomlinson

Don & Emma Lou Van Soelen

Roberta Van Welt

Marlene Vrba

Suzanne Watkins

Bernard & Moira Watts

Joy S. Weber

Truel & Joan West

Dorian Wilkes

T. C. & Dora Williams

Barbara Windom & Victor di Suvero

Marilyn & Marvin Winick

Nancy Wirth

Marcia Wolf

Marilyn Worthington

Gilda Zalaznick

Nolan & Patricia Zisman

Foundations, Funds & Trusts

Anonymous

Dominion Foundation

Donald T. Regan Charitable Foundation

Bar-Levav Family Foundation

Garfield Street Foundation

The Harold Brown &

Norma C. Brown Revocable Trust

Lackner Family Endowment Fund

McCune Charitable Foundation, Santa Fe

Sidney & Sadie Cohen Foundation

Thorne Family Fund,

Santa Fe Community Foundation

Donations to The Foundation In Honor of:

Ann Aceves, by Ellie Leighton

My sister, Ann Neuberger Aceves, by Roy S. Neuberger

Ray Besing, by Joyce Nicholson

Greg & Elaine Heltman, by

Joyce Nicholson

Marian & Ernest Karlson, by

Gerald & Kathleen Rodriguez

Lori Lovato, by Zella & Larry Cox

Joyce Nicholson

Beth & Joel Scott, by Joyce Nicholson

Donations to The Foundation In Memory of:

Ann Mahon Bradstreet, by

Joyce Nicholson

Franz & Amalia Chrobok, by Kurt & Maria Haegele

Ken Coleman, by

Michael & Sheryl DeGenring

Ruthe Coleman, by Ann Neuberger Aceves

Michael Melody & Bonnie Binkert

Bertram Gabriel Jr., by Ann Neuberger Aceves

Helen Gabriel

David Grayson, by John & Peggy Polk

Samuel Grossman, by John & Jean Cheek

Chris Gulick, by Charles Gulick

Gladys & Julius Heldman, by Dee & Bill Moore

Gladys Heldman, by Ann Neuberger Aceves

Keith Anderson & Barbara Lenssen

Helen Gabriel

Joyce Nicholson

Harriet Heltman

Sally Joseph, by Harriet Raff

Bennett Marcus, by Enid & Roy Tidwell

Don & Emma Lou Van Soelen

Marielle McKinney, by

Edgar Foster Daniels

Lee Dirks

Josette & Volker de la Harpe

Gladys & Julius Heldman

Ira & Virginia Jackson

Miranda & Ralph Levy

Richard A. Nulman

Concha Ortiz y Pino de Kleven

Frank & Delores Ortiz

James M. C. Ritchie

Edward Seymour

Emily & Peter Coates Sundt

Suzanne Watkins

Barbara Windom & Victor di Suvero

Nancy & Bill Zeckendorf

Roy R. Neuberger, by Ann Neuberger Aceves

Jan Arleen Nicholson, by

Joyce Nicholson

Ambassador Frank Ortiz, by Ann Neuberger Aceves

Betty Rutledge, by Bill & Ann LeMay

Dona Haynes Schultz, by Charmay Allred

Pat Wismer, by Christine F. Wismer

Emily Zants

Business Donations to The Foundation In Kind

Eun K. Hong, CPA

The Symphony updates

The Foundation Contributors list in each Concert Insert.

foundation contributors

Thank you for sustaining our legacy!

We gratefully acknowledge the following individuals and organizations for their generous support of The Foundation. The following contributors are listed according to their cumulative non-designated giving since The Foundation’s inception in 1998:

Friends $25 - $124

Allegra Askew

Ana Ortiz-Harris and Dahl Harris

Angie and Larry Delgado

Ann and Bernard Rubenstein

Ann L. Mauzy

Ann Price

Anna Richards

Anne M. Culver

Anthony Marshall

Barbara and Aaron Clark

Barbara B. Watkins

Barbara Briggs

Barbara Hadley and John Burke

Bee and Elizabeth Zollo

Bertram Heil Household

Betsy S. Nichols

Bette K. Myerson

Beverly and Frederick Friedman

Calvin E. Klatt

Catherine Curland and John Serkin

Charles Ray De Muth

Colleen and Art Sheinberg

Corinne Willison

Cris Barnes

Cynthia Fowler and John Meligeni

David McNeel

Donald Rej

Dorothy Rogers

Doug and Patricia Peterson

Douglas Dworkin

Dr. Eugene Fontaine Still , MD

Edith Timken and Tony Wilkins

Edyne and Allen Gordon

Elizabeth and Vincent Faust

Elva and Robert Busch

Fran Salkin and Jonathan Beamer

Frank Sharpless

Fred Schott

Galina and Rudolph Vigil

Georgianna and Louis Hoffmann

Gerald Becker and Kathleen Holm-

ing

Glenn Conroy

Grant Lundberg

Helen Vanni

Ilia and Andrew Bradbury

Jack Seigel

James Lyons

Janet C. Melendez

Janette Bain

Janice Arrott

Jeannette Scott

Jennifer Schroeder

Jill M. Soens

Jill Porterfield

Joan Kessler

Joan Rogers

Judith Crocker

Kristen and Stephen Flance

LaVelle Martin

Leslie and Roger Simon

Linda Goodman

Loretta Armer

Maria Haegele

Martha Romero

Martin Schultz

MaryAnn Crowe and Paul Ganzenmuller

Melinne Owen and Paul Giguere

Michael Golden

Michael Pearce

Mike and Barbara List

Mr. John Boldt

Mr. Nicholas Potter

Nancy and Harro Ackermann

Nancy L. Scheer

Pam Parfitt and Brian Morgan

Patricia Emerson

Patsie E. Ross

Patsy and James Williamson

Paul Branstad

Peg Andre

Phil Fagan

Polly and John Barton

Polly Rose

Randi Lowenthal

Richard Rosenthal

Richard and Suzanne Molnar

Richard Henderson

Richard Klein

Robert Baumgartner

Roberta and William Richards

Robyn Toledo

Ronald Jepsen

Sarah Smith Orr

Sharon and Emil Mottola

Shirley B. Scott, M.D.

Sidney Morris

Stephen Schirmer

Stuart Brown

Susan Charly Drobeck and Samuel Berne

Ted Karpf

Toni and Scott Temple

Travis Scholten

Vera Russo Household

Virginia and Maurice Lierz

Vivien Ide

Associates $125 - $249

Ann and Jerry Hicks

Barbara Rugg

Brenda and Michael Jerome

Bruce Bradford

Carole and Hal Eitzen

Clarice Getz and Waldo Anton

Clint Hurt

Dee and Augustus Rush

Dee and James Russell

Doris Meyer and Richard Hertz

Dr. Ann LeMay

Frank Lawler

Gregory T. Davis

Gwendolyn and Thomas Paine

Hank Bahnsen

Gloria Holloway

Jan and Jim Patterson

Jerry Bork

Joan and Ruben Lamarque

Joyce Weiser

Kay and Jose Ofman

Kingston Residence of Santa Fe

Linda Bein

Lois Callaghan

Lynn Lee

Malcolm Cameron Morrison

Marja and Everett Springer

Martha Blomstrom and Hugh Balaam

Mary Anne and Allen Sanborn

Mary Mumford

Mary Walta

Mathew Frauwirth

Michael A Roybal

Mr. David W. Ruttenberg

Mr. Edward R Brown

Mr. Ralph Milnes

Nancy and Burton Cooper

Nancy and George Yankura

Nancy and Thomas Larson

Nancy Bellati

Norman George

Pamela Culwell and Charles Case

Pat and John Hamilton

Patricia and Nolan Zisman

Phyllis Russo and Skip Zinn

Renee and Arthur Goshin

Rev. Talitha Arnold

Robert Baumgartner

Robert Josephs

Robert Russell

Sharon Franco and Joe Hayes

Susan and Gary Katz

Susan Cedar and Gary Lowenthal

Vera Russo

William J. Lock

William Majorossy

William Rogers

Supporters $250 - $449

Barbara and Aaron Clark

Barbara and Wayne King

Brenda and Michael Jerome

Carol and Thomas Stephens

Carol Graebner

Dan Winske

Daniel Rusthoi

David Warren Geyer

Dee and Augustus Rush

Diane and Tom Arenberg

Elaine and William Chapman

Elizabeth VanArsdel

Esther and Ralph Milnes

Gary Thomas Lang

Georgia Loloma

Julio Blanco and David Manno

Kaiser Permanente

Jane Phillips-Conroy and Glenn

Conroy

Janet and Steven Schwarz

Jerry Watts

Joan and Robert Sobel

Joel DeLisa

John and Susan Shaffer

John Horning

Judith and L Henry Lackner

Kathryn McKnight

Linda Smith

Luanne and Steve Moyer

Marilyn J O’Brien

Merry Schroeder and David Matthews

Mikaela Barnes

Mr. David Matthews

Mr. David W. Ruttenberg

Mr. Ralph Milnes

Ms. Doris Bato

Nancy Newton and Dave Grusin

Rev. Douglas K Escue

Rosina Short

Roswitha and Werner Bohm

Sandra and James Fitzpatrick

Sylvia Wittels and Joe Alcorn

Stephen Schmelling

Steve Ovitsky

Werner Bohm

Benefactors $450 - $749

Alex Mitchell

Ann and Jerry Hicks

Anne and Bruce Legler

Brigit and Jorg Jansen

David W. Geyer

Debra Ayers & Greg DePrince

Dedria and Norbert Dickman

Doris Meyer and Richard Hertz

Dr. William Blumenthal

Gay and Graham Sharman

Greta and Robert Dean

John & Lisa Wilhelmsen

Julia Rhymes and Sally Whiteley

Kathleen and Brad Holian

Kathy and John Matter

Leah and Charles Wilkins

Linda Dean and John Kitzmiller

Linda Osborne

Marilyn and Scott Hebert

Marja and Everett Springer

Matt Poage

Merle and Franklin Strauss

Nancy L. Scheer

Patricia M. Klock

Sharon and Richard Cooper

Sheila and Edward Heighway

Susan and Michael Uremovich

Suzanne and James Brock

Valerie Turner and Guillermo

Figueroa

Verena and Hans Frauenfelder

Virginia and Morgan Boatwright

Virginia Lawrence

William Rogers

Symphony Club

Ann Griffith Ash

Anne Eisfeller

Bernard Ewell and Sali Randel

Cindi and Jerald Parker

Cynthia and Samuel Wolpert

David Frank and Kazukuni Sugiyama

Donald Percious

Eugene and Gwendolyn Gritton

Evelyn McClure

James and Allegra Derryberry

Jess Nicholas and Michael Grissom

Joan and Tom Dalbey

Joan Vernick

Joel M. Goldfrank

John Scully

Kay and Neel Storr

Laurel Westman

Leshek Zavistovski

Marion and Joe Skubi

Ms. Carol Raymond

Marcia Torobin

Marilyn Forbes

Mrs. Nancy Dickenson

Nancy Gardner

Patricia H. Kushlis

Musicians’ Circle

Audrey Miller

Bertram Heil

Beth and Joel Scott

Carmen Paradis and Brian McGrath

Carol and Richard Rudman

Dee Ann McIntyre

Eileen Mandel

Frances Richards

Henry Rivera & Bernadette McGuire-Rivera

James Webster & Karla Friedlich

Janet and Everett Zlatoff-Mirsky

Kathleen and Gerald Rodriguez

Katie Updike

Ken Stilwell

Kevin Waidmann & Don Shina

Ms. Carol Raymond

Nancy Zeckendorf

Nikki Schwartz and David Hofmann

Phyllis Lehmberg

Richard Leonardon

Robin Smith

Shane Cronenweth

Conductors’ Circle

Claire and Richard Gantos

Connie and David Girard-diCarlo

Dr. Penelope Penland

Evelyn and David Kloepper

Ginnie Maes

Ms. Mary Azcuenaga

Melanie Peters Thorne and Edwin

Thorne

Nancy Schwanfelder

Teresa Pierce and Mort Morrison

Zella and Lawrence Cox

Angels’ Circle

Diane and John Lenssen

Katherine Okeeffe

Laurie Rossi

Robert Giebeig

Beethoven Group

Susan Goldstein and Steven J. Goldstein, M.D.

Tchaikovsky Group

Anonymous Donor

Underwriters

Barbara Erdman Foundation

Dee Ann McIntyre

Reach for the Stars

Michael & Julie Dawson

David Pedowitz/Neuberger Berman

Suzanne M. Timble

Donations in Honor of Ann Aceves, by Ellie Leighton

Anne Eisfeller ♪ & Roger Thomas, by

Christine & Jerry Rancier ♪

Dr. Penelope Penland, by Nancy Baker

Dr. Richard & Carol Rudman, by Rona & Gary Kramer

Sabra & Doug Strasser

Elizabeth VanArsdel, by Rose VanArsdel

Donations in Memory of Carolyn Arnst, by Eileen & Mike Mabry

Lenny Felberg, by

Aaron & Barbara Clark ♪

Christine & Jerry Rancier ♪

Bill LeMay, by Ann Lemay

Paul Rubinfeld, by Daniel Rubinfeld

Jim Sullivan, by Patrick Toal

Dan White, by Hedi & Tom White

Jim Williamson, by Laurie Rossi & John Scully

Dr. Richard Rudman & Carol Rudman

Ed Willumsen, by Carleen Miller

Foundations, Donor Advised Funds, Estates & Trusts

ALH Foundation

Amazon Smiles Foundation

Evelyn L. Petshek Arts Fund at the Santa Fe

Community Foundation

GE Foundation

Graham Sharman Gift Fund at Fidelity Charitable

Lannan Foundation

The Mickey Inbody Charitable Foundation, Inc.

Mumford Family Foundation

Seahollow Family Fund

Storr Family Fund at the Santa Fe Community Foundation

Susan B. & Steven J. Goldstein Charitable Fund, Santa Fe Community Foundation

Susan & Gary Katz

Charitable Fund

Zia Trust, Inc.

Government Organizations

City of Santa Fe Arts Commission

New Mexico Arts, A Division of the Office of Cultural Affairs

Concert Underwriters

($25,000)

Ann Neuberger Aceves

Kathryn O’Keeffe

In-Kind

Barak Wolff

Barbara and David Larson

Ben Lazerle

Bob Jones

Carol and Richard Rudman

Cheryl Fossum Graham

Dana Lamberth

Donata Traverso

Elaine Olson

Erica Von Dielingen

Gary Lutz & Margaret Johnson

Hank Bahnsen

James and Allegra Derryberry

Janet and Everett Zlatoff-Mirsky

Joanne Birdwhistell

John and Diane Lennsen

Judith Kaye

Judith Williams and Elliot Stern

Julio Blanco and David Manno

Kathie and Gerald Cole

Kathleen and Brad Holian

Kathleen and Marvin Rowe

Kay and Neel Storr

Laurie Rossi & John Scully

Mangie Lopez

Martha Albrecht

Mathew and Meri Frauwirth

Michael & Julie Dawson

Milissa Spayde

Mr. Daniel Milton Crane

Nancy Scheer

Pat and John Hamilton

Patricia Emerson

Patricia Gessner

Perry Andrews, III

Preston Peaden

Richard Kinas

Richard Lindahl

Sheila Gershen

Shirley and E. Franklin Hirsch

Suzanne Breslauer

Teresa Pierce and Mort Morrison

Teri Kohl

Vincent and Elizabeth Faust

Foundations, Donor Advised Funds, Estates & Trusts

GE Foundation

Julie C. Berman

Mickey Inbody Charitable Foundation, Inc.

Mumford Family Foundation

Petshek Arts Fund

Seahollow Family Gift Fund

The Lannan Foundation

Donations in Support of the Adopt-A-Musician Program

Ann Neuberger Aceves adopted

James Holland, Cello

Perry C. Andrews III adopted

Alan Mar, Violin and Christine Rancier, Viola

Ann Alexander & Richard Khanlian adopted

Gloria Velasco, Violin II

Hank Bahnsen adopted

Lisa DiCarlo, Viola

Lois Callaghan and the “Row S” Ladies adopted

Rebecca Ray, Oboe

Gerry & Kathie Cole adopted

Gabriela Da Silva Fogo, Violin II

Jim & Allegra Derryberry adopted

Joel Becktell, Assistant Principal Cello

Friends of The Cathedral Basilica of St. Francis of Assissi adopted

Carmen Florez-Mansi, Choral Director

Frank & Christine Fredenburgh adopted

Kimberly Fredenburgh, Principal Viola

Tobias Vigneau, Bass

Helen Gabriel adopted

Laura Dwyer, Flute

Barbara Hays adopted

Carol Swift, Violin

E. Franklin & Shirley Hirsch adopted

Kathy Olszowka, Bass

Brad & Kathy Holian adopted

Dana Winograd, Principal Cello

Jack Kitzmiller, MD & Linda Dean adopted

Elaine Heltman, Principal Oboe

Emily Erb, Clarinet “La Rueda” adopted

Linda Boivin, Violin

Justin Pollak, Violin

Anne Karlstrom, Violin

David & Jody Larson adopted

David Tolen, Principal Percussion

Eileen Mandel adopted

Lori Lovato, Principal Clarinet

Sara Mills adopted

Sam Brown, Bass

Dr. Scott Norville &

Lauren Sims-Norville adopted

Erin Espinoza, Cello

Penelope Penland adopted

Katelyn Benedict, Principal Horn

Peter Erb, Horn

Gregory Heltman, Trumpet

Byron Herrington, Principal Trombone

Brynn Marchiando, Principal Trumpet

Lynn Mostoller, Trombone

Terry Pruitt, Principal Bass

David Tall, Principal Bass Trombone

Allison Tutton, Horn

Richard White, Principal Tuba

Teresa Pierce & Mort Morrison adopted

Jesse Tatum, Flute

Laurie Rossi adopted

Barbara Clark, Viola

Kathie Jarrett, Violin

Valerie Turner, Violin II

Dr. Richard & Carol Rudman adopted

Donna Bacon, Violin

John Scully adopted

Lisa Collins, Cello, and Virginia Lawrence, Viola

Stefanie Przybylska, Principal Bassoon

Elliot Stern & Judy Williams adopted

Guillermo Figueroa, Principal Conductor

Barbara Morris, Violin

Franklin & Merle Strauss adopted

David Felberg, Concertmaster

Suzanne Timble adopted

Allegra Askew, Viola

Anne Eisfeller, Principal

Harp

Russel Toal & Elizabeth McGown

adopted

Leslie Shultis, Bassoon

David Walther

adopted

Ken Dean, Principal Timpani

James Webster & Karla Friedlich adopted

Cherokee Randolph, Viola

Sylvia Wittels & Joe Alcorn adopted

Melinda Mack, Cello

Frank Murry, Bass

Everett & Janet Zlatoff-Mirksy adopted

Nicolle Maniaci, Principal Violin II

Friends of The Symphony Chorus

Angie and Larry Delgado

Bettina Milliken

James E. Roghair

Olinda Garcia

Donations in Support of 2019 Spring Gala OLE!

Brian McGrath & Carmen Paradis

Dick Schacht & Judy Rowan

Everett & Janet Zlatoff-Mirsky

Jim Webster & Karla Friedlich

Ken Stilwell

Laurie Rossi

Penelope Penland

Richard & Carol Rudman

Robin Smith

Shirley & E. Franklin Hirsch

Suzanne Timble

Teresa Pierce & Mort Morrison

In-Kind Donations in Support of the 2019 Spring Gala OLE!

Algodones Gallery

Andrea Holley

Anne Eisfeller

Array Home

Christopher Murphy

CK Cooper

Clafoutis

Cowboys & Indians

Dana Winograd

Daniel Crupi

David Felberg

David Geist

David Rothermel Gallery

Debbie Lujan

Dolina Bakery & Cafe

Drury Plaza Santa Fe

El Farol

Erik Speyer

Fine Art Framers

Fix My Roof / John Grisak

Galerie Zuger

Geronimo

Guillermo Figueroa

Hilton Santa Fe Buffalo Thunder Il Piatto

James Rutherford

Jane Barry

JC Penney

Jesse Friedin

Jesse Tatum

Jim Gautier

Jim Webster & Karla Friedlich

Joel Becktell

Joe Chavez

John Scully

La Casa Sena

Las Campanas

Laurel Westman

Laurie Rossi

Lejuene Chavez

Music in the Mountains

Nestor Romero

Peggy Gautier

Perry C. Andrews & Scott Baker

Raymond Carter

Reflective Jewelry

Richard Atwood

Running Hub

Santa Fe Chamber Music Festival

Santa Fe School of Cooking

Santa Fe Tennis

& Swim Club

Santa Fe THRIVE

Santa Fe Weaving Gallery

Singular Couture

Siri Hollander

Sorrel Sky Gallery

Stephanie Greene

Suzanne Timble

The Compound

The Santa Fe Opera

Total Wine

Vanessie

Vermejo Park Ranch

Donations in Support of Home for the Holidays 2018

Ann Aceves

Perry C. Andrews III

Zella & Larry Cox

Mike & Julie Dawson

Bernard Holzapfel

Phyllis Lehmberg

Barbara & Michael Levin

Marilyn J. O’Brien

Frances & Dale Richards

Patsie Ross

Laurie Rossi

Ken Stilwell

Suzanne Timble

Fred Vigil

James Webster & Karla Friedlich

In-Kind Donations in Support of Home for the Holidays 2018

Patsy & Jim Williamson

Laurie Rossi

Tomasita’s Restaurant

Reflective Jewelry

Santa Fe Salt Cave

Andiamo

Cafe Fina

Clafoutis

Petsmart

Kokoman Fine Wines & Liquors

Meow Wolf

Wild Birds Unlimited

Opuntia Cafe

Squeaky Clean Car Wash

Whoos Donuts

Harry’s Roadhouse

Il Vicino

Rio Chama Steak House

Cafe Sonder

Museum Hill Cafe

Array

Ulti Skin

Salon Puravida

Noisy Water Winery

Dolina Cafe & Bakery

The Rugman of Santa Fe

Black Mesa Winery

El Nido

Terra Cotta Wine Bistro

Midtown Bistro

Il Piatto

Total Wine & More

Vanessie

Ten Thousand Waves

Trader Joes

Santa Fe Bar & Grill

Josephs

Mamunia Cafe

Santa Fe Olive Oil

Leslie Flynt

Whole Foods

Santacafe

Sprouts

Ryan’s Sewing and Vacuum

Santa Fe Spirits

deBella Fine Gems & Jewelry Arts

Amy Stein

Susan’s Christmas Shop

Do something for tomorrow ... today.

The Ovation Society was established by the Board of Directors of The Foundation for The Santa Fe Symphony Orchestra & Chorus to recognize generous and future-minded donors who have designated The Foundation or The Symphony in their planned giving. The many options available include trusts, charitable gift annuities, life insurance, and 401(k) retirement saving plans. Please check with your financial advisor to determine what may be most appropriate for you.

Anonymous

Anonymous in Memory of Gladys & Julius Heldman

Ann Neuberger Aceves

Charmay Allred

Gregg Antonsen

Stephen & Amanda Apodaca

David & Maggie Brown

Raymond & Mary Ann Burkard

Marilyn Casabonne

Jean Cheek

Zella Kay Cox

Hugh & Haley Curtin

Helen C. Gabriel

Fred & Shelly Glantz

Gregory & Elaine Heltman

Eileen Mandel

Drs. Gilbert M. Maw &

Jenny M. Auger Maw

Joyce M. Nicholson

Dr. Penelope Penland

Mick & Genie Ramsey

Britt Ravnan & Michael Ebinger

Vera Russo

Donald Shina & Kevin Waidmann

Marian Skubi

Hunter & Priscilla Temple

Melanie Peters Thorne & Edwin Thorne Jr.

Elizabeth Van Arsdel

Bernice E. Weiss

Gretchen Witti

Nancy Zeckenorf

Janet Zlatoff-Mirsky

ovation society

Dr. Harold & Norma Brown

Mrs. George Dapples

Francis Essig

Margaret “Mickey” F. Inbody

Pete Myers

Evelyn Petshek

Anthony Russo

Patricia Sheppard

Emily Zants

Paul Rubinfeld

Don’t forget to shop your local businesses that support The Symphony!

Anne Alexander

Lorri Beauchamp

Annie Brady

Nan Brown

Lois Callaghan

Carlene Carey

Harry Cole

Charles DeMuth

Jim Derryberry

Donna Eagles

Carol Franco

Mathew Frauwirth

Muriel Frei

Gwen Fuller

Stephanie Greene

Sharon Gregory

Wanda How

Karen Huber

Anna Kersey

Joan Kessler

Ellie Leighton

Shanna MacLean

Anna Maekersey

Eileen Mandel

Margaret Merdler

Carly Mohler

Donald Percious

Mary Ann Roberts

Roberta Corwin Robinson

Richard Rudman

Nancy Schmitz

Johnnie de Schweinitz

Carol Toobin

Edelle Vartan

Penelope Vasquez

Cory Whitmore

Patsy & Jim Williamson

Symphony