Welcome .
Table of Contents OCTOBER 5, 2014
Program Program Notes David Felberg Krzysztof Zimowski Ruxandra Simionescu-Marquardt Ruxandra Simionescu-Marquardt violin OCTOBER 11, 2014
Program Program Notes Grant Cooper Janet Brown Mariel van Dalsum Robert Allen Edmund Connolly New Mexico Philharmonic Collaborative Choir Maxine Thévenot YOUR NMPHIL
Match for the Music Report to the Community Meet the Musicians Orchestra Board of Directors, Advisory Board, Staff Sponsors Donor Circles The Legacy Society Thank You Upcoming Concerts ADVERTISE TODAY Interested in placing an ad in the NMPhil program book? Contact Christine Rancier:
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Match for the Music Your contribution is now twice as nice. The New Mexico Philharmonic Board Challenge. The New Mexico Philharmonic Board of Directors has collectively pledged $50,000 to the orchestra for a working capital fund and will match donations from the community on a dollar-for-dollar basis. This challenge is for contributions made in addition to those that are made annually by our donors. This exciting new campaign, entitled Match for the Music, will address vital NMPhil programs including statewide outreach, music education programs for the children of New Mexico, and the ongoing financial health and stability of the organization. The Match for the Music campaign will continue through the middle of November 2014. Marian Tanau, NMPhil’s Executive Director, said, “The Match for the Music campaign is a great way for the NMPhil to work together with New Mexicans who enjoy great music and help ensure its future here. Even the smallest additional contribution to the orchestra becomes twice as meaningful with this kind of commitment and challenge from our board members.” As a 501(c)(3) corporation, your donation to the New Mexico Philharmonic is tax deductible. Please use the addressed envelope to make your contribution, or you may also call (505) 323-4343 or visit nmphil.org. Envelopes will be collected by volunteers in the lobby at intermission, and before and after the concert.●
NMPhil .
Report to the Community Celebrating our Fourth Season
Good evening and welcome to the opening concert of your New Mexico Philharmonic’s fourth season. Your generosity, support, and presence at our concerts have made our success story possible. Thank you so much! This upcoming season will include thrilling performances by the NMPhil with some of classical music’s greatest works by composers including Mozart, Beethoven, Tchaikovsky, Mahler, and many more. Guest stars will include violin phenomenon Fumiyaki Miura and world-renowned pianist Olga Kern. The NMPhil’s five Popejoy Pops concerts will include the annual “Home for the Holidays” performance and a special appearance by guitar virtuoso Ottmar Liebert with Luna Negra. The season also features three specialty themed concerts at the Rio Grande Zoo, along with a free Zoo concert on Mother’s Day weekend. Annually, we report to the community about the current artistic and financial health of the New Mexico Philharmonic. We are happy to be able to tell you, our audience and sponsors, that the report is good. The NMPhil completed its third performance season in a positive financial situation. Ticket sales in the 2013/14 season were particularly strong with over 70 percent of available seats sold, significantly exceeding industry norms of 50 percent. Subscriptions for classics concerts for the 2014/15 season are up substantially from last year with onehalf of the seats at Popejoy Hall pre-sold, again exceeding industry norms. The NMPhil is comprised of seventy-four professional classical musicians, most of whom played in the former New Mexico Symphony Orchestra which declared bankruptcy in April 2011. Today, the NMPhil operates under an entirely new management team focused on highly efficient business practices, cost control, and fiscal realism. The NMPhil’s management and Board have used the Baldrige Criteria for Performance Excellence for structuring and improving the organization. The Baldrige standards promote business-focused practices, using data for decision making and conserving NMPhil’s resources. The result is a very lean, fiscally careful operation which offers the best hope for a sustainable symphony orchestra in Albuquerque. The NMPhil continues to excel as an artistic and educational endeavor. We
The New Mexico Philharmonic
“The arts are no longer a luxury that follows prosperity—they have become an essential precondition of prosperity. They are essential to attract the labor force and to establish an innovative and entrepreneurial environment.” — Dr. Jeffrey Mitchell Director of the Bureau of Business & Economic Research University of New Mexico
have enjoyed increased ticket sales and concert attendance. Survey results reflect unusually high ratings for artistic excellence (91 percent) and audience satisfaction (87 percent). The NMPhil is succeeding in its “core” mission of bringing first-rate live classical music to the people of New Mexico. That mission takes the NMPhil to concert halls, schools, churches, the Albuquerque Zoo, and community centers across the state. We have an exciting series of worldclass performers coming to Popejoy Hall in our fourth season, including local favorite Olga Kern.
91% ratings for artistic excellence NMPhil’s educational program, including its innovative Young Musician Initiative (YMI), is flourishing. At Dolores Gonzales Elementary School, teachers report striking improvements in the academic performance and social development of the student musicians. Due to the tremendous success of YMI, it has become necessary to expand the program to a second Title I school, Reginald Chavez Elementary. Another fine moment in our educational program last season was the Symphony for
Autism. The NMPhil coordinated closely with APS Special Education Department to present a concert performance at Popejoy Hall of Prokofiev’s Peter and the Wolf for APS children with autism. This groundbreaking concert, the first of its kind in the nation or elsewhere, was a logistical, artistic, and educational success. We plan to present another Symphony for Autism in the upcoming season. We cannot thank you enough for the kindness, generosity, and encouragement you extended to the NMPhil at every event and beyond the concert hall. We pledge that the NMPhil will always be the source of great symphonic music for Albuquerque and New Mexico. That is good news that can bring us together and lift our souls. Based on a recently completed 18-month study of New Mexico and national data, Dr. Jeffrey Mitchell, Director of the Bureau of Business & Economic Research at UNM, stated, “The arts are no longer a luxury that follows prosperity—they have become an essential precondition of prosperity. They are essential to attract the labor force and to establish an innovative and entrepreneurial environment.” The New Mexico Philharmonic is a large part of creating that environment for our community and our state. On Behalf of the Board, Maureen Baca President Tom Bird, Esq. Secretary-Treasurer Marian Tanau Executive Director
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Small school feel. Large school opportunities.
Meet Prep
Sunday, October 20 @ 2:00 p.m.
sandiaprep.org • 505.338.3000 • admission@sandiaprep.org
During Intermission, take a look!
You see it within your child. At Albuquerque Academy your child’s innate curiosity, determination, and eagerness for knowledge thrive in a place where there are no limits on learning.
DAVID MAISEL/BLACK MAPS: American Landscape
and the Apocalyptic Sublime
BEAUTIFUL DISINTEGRATING OBSTINATE HORROR DRAWING and Other Recent Acquisitions
and Selections from the UNM Art Museum’s Permanent Collection
THE GIFT: John Tatschl Woodcut Prints We want to meet your son or daughter. Call 505-828-3208 or learn more at WithinReach.aa.edu
Open House on Sunday, October 26, 1:30 to 3:30 We admit students in grades 6-12 for the fall of each year.
LUZ RESTIRADA: Latin American Photography from the
UNM Art Museum
On view from September 13 - December 20, 2014 more info: www.unmartmuseum.org
Hung Liu (b. 1948 in China, currently lives and works in California); Butterfly Dreams: Thinking, 2011; Nine color lithograph, gold leaf and chine collé; 44 x 30 inches; The Tamarind Archive Collection; University of New Mexico Art Museum, Albuquerque; © Hung Liu.
Concert Program .
Sunday, October 5, 2014, 2 p.m.
NHCC Classics: Mostly Bach
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David Felberg conductor Krzysztof Zimowski violin Ruxandra Simionescu-Marquardt violin
National Hispanic Cultural Center
Brandenburg Concerto No. 2 in F Major, BWV 1047 I. [Allegro] II. Andante III. Allegro assai
Johann Sebastian Bach (1685–1750)
Making a Difference
Concerto for Two Violins in d minor, BWV 1043 I. Vivace II. Largo, ma non tanto III. Allegro
Johann Sebastian Bach
Albuquerque Community Foundation
Concerto for Two Violins in a minor, Op. 3, No. 8, RV 522 I. Allegro II. Larghetto e spiritoso III. Allegro
This performance is made possible in part by the generosity of the following businesses and individuals:
Antonio Vivaldi (1678–1741)
Krzysztof Zimowski violin Ruxandra Simionescu-Marquardt violin
I N T E R M I S S I O N
Brandenburg Concerto No. 4 in G Major, BWV 1049 I. Allegro II. Andante III. Presto
Johann Sebastian Bach
Brandenburg Concerto No. 5 in D Major, BWV 1050 I. Allegro II. Affettuoso III. Allegro
Johann Sebastian Bach
The New Mexico Philharmonic
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Program Notes .
Program Notes Lori Newman
Johann Sebastian Bach Born 1685, Eisenach, Germany Died 1750, Leipzig, Germany
Brandenburg Concerto No. 2 in F Major, BWV 1047 (1721) The Brandenburg Concerti of Johann Sebastian Bach reflect the musical realities of the time: composers, even successful and brilliant composers such as Johann Sebastian Bach, were at the mercy of the aristocracy. This is never more evident than when studying Bach’s Brandenburg Concerti. The six concerti were written in effect, as a musical job application or instrumental résumé. The intended employer was Margrave Christian Ludwig of Brandenburg-Schwedt. Bach’s dedication page begins as follows: As I had the good fortune a few years ago to be heard by Your Royal Highness, at Your Highness’s commands, and as I noticed then that Your Highness took some pleasure in the little talents which Heaven has given me for Music, and as in taking Leave of Your Royal Highness, Your Highness deigned to honour me with the command to send Your Highness some pieces of my Composition: I have in accordance with Your Highness’s most gracious orders taken the liberty of rendering my most humble duty to Your Royal Highness with the present Concertos, which I have adapted to several instruments; begging Your Highness most humbly not to judge their imperfection with the rigor of that discriminating and sensitive taste, which everyone knows Him to have for musical works, but rather to take into benign Consideration the profound respect and the most humble obedience which I thus attempt to show Him. Sycophancy aside, Bach was rewarded neither with a job, a fee, nor even a performance of the works. It appears that the score was never used and remained in the Margrave’s library
The Concerto for Two Violins, also . known as the “Bach Double,” is among Bach’s most famous.. and beloved works.. until his death in 1734. At that time, it was sold for twenty-four groschen (about $22.00) and not published until 1850, a year after its rediscovery in the Brandenburg archives. While the date on the concerti is listed as 1721, it is widely believed that they were written much earlier and perhaps over a significant period of time while at the courts of either Weimar (1708–1717) or Köthen (1717–1723) or a combination thereof. Because of this, it is doubtful that the works were conceived as a set of concerti, but rather assembled as such when Bach sent them to the Margrave. The original title of the set is Six Concerts à plusieurs instruments, and the dedication page describes them as “Concerts avec plusieurs instruments” (“Concertos with several instruments”). The Brandenburg Concerto No. 2 in F Major uses possibly the most varied, and some would say oddest, group of soloists of the six concerti. In Bach’s time, the solo instruments would have consisted of a clarino (a valveless trumpet), recorder, oboe, and violin. Most present day performances use a piccolo trumpet, flute, oboe, and violin. What makes this combination of instruments somewhat questionable? Well, most notably, there is the use of four treble instruments whose dynamic abilities vary wildly, thereby making the proper balance of individual lines quite difficult. This is especially true with regards to the trumpet: the piccolo trumpet is much louder than the Baroque clarino would have been, and, therefore, no matter how skilled the trumpeter, the concerto (especially the third movement) often ends up sounding like a trumpet concerto, not a work with four soloists. The trumpet does not play in
It appears that the score was never used and remained in the library until 1734. 6
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the slow second movement, giving the other solo instruments their chance to shine. Bach writes a slow movement for the flute, oboe, and violin that resembles chamber music, with only continuo as the accompaniment.●
Johann Sebastian Bach
Concerto for Two Violins in d minor, BWV 1043 (c. 1718–20) The Concerto for Two Violins, also known as the “Bach Double,” was written while at the court of Prince Leopold of Anhalt-Köthen. It was at this post where Bach wrote most of his secular instrumental music; the post was Calvinist, and, therefore, did not include any sacred compositional duties. It was here that he wrote at least some (if not all) of the Brandenburg Concerti, the Orchestral Suites, the first book of the Well-Tempered Clavier, and several concerti for violin, of which only the “Double” and the Violin Concertos in E Major and a minor survive. The Concerto for Two Violins is among Bach’s most famous and beloved works and is considered an optimal example of a concerto of the late Baroque period. The first movement begins with an energetic tutti introduction, but once the soloists begin, the accompaniment is greatly reduced and the movement is driven by the solo voices. The second movement is one of Bach’s most sublime works. It is almost “romantic” in the treatment of its thematic material and the interaction of the soloists. The movement switches to the relative major key, and there are very few perfect authentic cadences that would offer any harmonic release or satisfaction. Instead, Bach just continues to layer imitative theme upon theme for the soloists, and provides the most austere and simple of accompaniment from the orchestra. The third movement succeeds in breaking the listener out of the relaxed trance the second movement had created. It returns to
Program Notes . the minor mode and is filled with sixteenthnote passagework for the soloists–both in imitative sections and where the two play the same rhythmic passages in harmony. Again, the orchestra takes a back seat to the virtuosity of the solo lines.●
Antonio Vivaldi
Born 1678, Venice, Italy Died 1741, Vienna, Austria
Concerto for Two Violins in a minor, Op. 3, No. 8, RV 522 (1711) In 1703, Vivaldi was appointed as maestro di violino to the Ospedale della Pietà, one of four homes in Venice that served orphaned, abandoned, and poor children. The girls of the Pietá who showed musical aptitude were musically trained as a way to provide them with a skill and break the cycle of poverty. Most of Vivaldi’s more than 500 concertos were written for the Pietà concerts, which drew large audiences attended by nobility and important foreign dignitaries. Most of Vivaldi’s instrumental concertos follow the same fast-slow-fast tempo structure; a structure that was later adopted by Handel, J.S. Bach, and Telemann. The Concerto for Two Violins in a minor is found in a collection of concerti entitled L’estro armonico (Harmonic Inspiration); this collection was one of the most popular and oft-performed group of concerti of the 18th century. The Vivaldi concerto’s violin writing
is far more virtuosic than Bach’s, a generality that applies not just to the two concerti being played today. The first movement opens with an exuberant introduction by the orchestra, and this exuberance is maintained throughout the movement. The solo writing employs both unison and imitative sections, with the second violin’s part often playing higher than the first’s. The second movement remains in the minor mode (d minor) instead of moving to the more expected relative major. The octave sigh that opens the second movement is a unifying theme throughout. Again, the soloists alternate between solo lines, imitation, and unison writing. The third movement is easily the most virtuosic; it is written in 3/4 time with a descending scale and repeated note pattern as the melodic material’s jumping-off point. This is followed by a dizzying array of sixteenth-note passages by the soloists. The middle section offers an interesting juxtaposition: the first violin is busy with its fast passagework, while the second violin plays a soaring and cantabile (singing) melody.●
Johann Sebastian Bach
Brandenburg Concerto No. 4 in G Major, BWV 1049 (1721) The fourth Brandenburg Concerto is scored for a trio of soloists–violin and two recorders, with most modern performances substituting flutes for the recorders. This
The girls of the Pietá who showed musical aptitude were musically trained as a way to provide them with a skill and break the cycle of poverty. Most of Vivaldi’s more than 500 concertos were written for the Pietà concerts. The New Mexico Philharmonic
particular concerto stands out from the other five in several ways: it is the only one to maintain the same instrumentation throughout all three movements; the first movement is one of the longest and most elaborate movements in all of Bach’s orchestral works, combining a ritornello movement with that of a da capo aria form; it was one of the first to be performed after the concerti were rediscovered and unearthed from the Margrave’s library; and it was this concerto that Bach chose to rework as a concerto grosso for harpsichord and two recorders—the Harpsichord Concerto No. 6 in F Major, BWV 1057.●
Johann Sebastian Bach
Brandenburg Concerto No. 5 in D Major, BWV 1050 (1721) The fifth installment of the Brandenburg concerti features the flute, violin, and harpsichord as its soloists. While music director at the court of Leopold of AnhaltKöthen, Bach was sent on a mission to Berlin to bring back a harpsichord for use at the Köthen court. He completed his mission and then began composing music for the harpsichord, which was no longer relegated to the role of accompaniment, but rather promoted to soloist. The first movement opens with an energetic tutti theme, eventually giving way to the trio of soloists. Small motives are passed between the soloists and the occasional technical flourish from the violin and flute lends surprise excitement. The real star, however, is the harpsichord. While the harpsichord is used in all of the Brandenburgs, the Fifth uses the harpsichord as the cohesive unit of the entire piece, especially the first movement. The movement ends with a lengthy cadenza-like section for the harpsichord which ultimately yields to the opening tutti theme that drives to the end of the movement. The second movement offers a lovely repose between the frenetic first and third movements. It is scored for only the trio of soloists and no string accompaniment. The third movement is a jaunty number in 6/8 time which highlights the contrapuntal genius of Bach.● Program Notes ® Lori Newman
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Concert Program .
Saturday, October 11, 2014, 6 p.m. / 5 p.m. Pre-Concert Talk
Popejoy Classics: The Greatest: Beethoven’s Ninth
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Grant Cooper conductor Janet Brown soprano Mariel van Dalsum mezzo-soprano Robert Allen tenor Edmund Connolly baritone New Mexico Philharmonic Collaborative Choir Maxine Thévenot chorus master
Akademie, 1824
Popejoy Hall
Grant Cooper (b. 1953)
Symphony No. 9 in C Major, Hob. I:9 Joseph Haydn I. Allegro molto (1732–1809) II. Andante III. Finale: Minuetto e Trio, Allegretto
I N T E R M I S S I O N
Making a Difference This performance is made possible by:
The Computing Center Inc., Maureen & Stephen Baca Additional support is provided by: Dr. & Mrs. Albert Westwood The Honorable & Mrs. James A. Parker
Symphony No. 9 in d minor, Op. 125 Ludwig van Beethoven I. Allegro ma non troppo, un poco maestoso (1770–1827) II. Scherzo: Molto vivace–Presto III. Adagio molto e cantabile IV. Presto; Allegro molto assai (Alla marcia); Andante maestoso; Allegro energico, sempre ben marcato
s s • r r
Pre-Concert Talk sponsored by Keleher & McLeod, P.A.
Computing Center Inc. cciofabq.com
The New Mexico Philharmonic
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Program Notes .
Program Notes Lori Newman
Grant Cooper
Born 1953, Wellington, New Zealand
Akademie, 1824 (2014) Composer Grant Cooper writes: This work, which is as much a theater piece as it is music, takes its title from the concerts that composers of Beethoven’s time organized both to raise their public profile and to fund their livelihood. Back then, an Akademie often consisted of several hours of music that would today be considered more a marathon than a concert. I have often pondered how the Viennese musical public of the early nineteenth century must have preferred to spend their cold winter evenings in the relative warmth of a public gathering, being entertained by the latest music of their day, rather than staying in their homes. This was a time that saw the beginning of a process that one might call the democratization of music. Composers were no longer beholden to princes and clergy who could hold complete domain over them and their musical creations. The new challenge was this: if the public were to become the supporters of music, they must be courted and be offered something they valued. Public opinion mattered, but so did furthering the art of music which, for Beethoven, meant the quest to fulfill Romantic ideals, placing the art (and the artist) firmly in the center of the argument. But what if one went too far and the public became confused–seeing the composer not as a forward musical thinker but as a madman? I tried to imagine the reaction to the première of Beethoven’s Ninth Symphony. Contemporary reports of that event abound, describing a bewildered composer, whose hearing loss was total, somehow muddling
Haydn would establish himself as.. the “Father of the Symphony.” through, “leading” a hastily prepared performance (although, “prepared” is perhaps too optimistic a characterization?). A single symphonic work of this length was unprecedented in the history of music. Had Beethoven gone crazy? Or, worse, had the composer recklessly abandoned the bedrock principles of symphonic form so rigorously developed by Vienna’s most revered musical genius, Franz Joseph Haydn? In fact, Beethoven’s Ninth is, for all its length and rapture, extremely carefully organized along Classical principles. I decided to organize my own Akademie as Beethoven’s advocate, both to demonstrate this fact and to assure you, Beethoven’s loyal public, that this brave new venture was a natural geniusinspired development in the history of music. The whole of this evening is, in effect, an Akademie. On the program are symphonies by both Haydn and Beethoven but we will first address the confusion that surrounded the première performance, in our fair city, just five months ago, on May 7th, 1824, of Beethoven’s latest symphonic work. Welcome to tonight’s Akademie— the date: October 11, 1824.●
Joseph Haydn
Born 1732, Rohrau, Austria Died 1809, Vienna, Austria
Symphony No. 9 in C Major, Hob. I:9 (1762) Haydn’s Symphony No. 9 was written during the beginning of his tenure with the Esterházy family. This relationship would continue for close to forty years, and Haydn
“A single symphonic work of this length was unprecedented in the history of music. Had Beethoven gone crazy?” — Grant Cooper
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would establish himself as the “Father of the Symphony” several years later. In 1762, however, he was just starting out as a symphonist. The concept and form of the symphony were hardly concrete at the time, and the terms “symphony,” “overture,” and “sinfonia” were somewhat indistinguishable. Haydn’s Ninth Symphony is quite compact, both in thematic development and actual timing: clocking in at a mere twelve-and-ahalf minutes. In the early stages of symphonic writing, it was not unusual to have only three movements instead of the usual four, as does the Symphony No. 9. The first movement is filled with crackling sixteenth-note scalar passages and elegant use of trills. The melodic material used is the same in both halves of the movement, although with the expected modulations to the dominant and back. This clearly precedes the extensive development sections that would follow in Haydn and later composers’ symphonies. The second movement uses flutes instead of oboes, and while the flutes merely double the first violins an octave higher, it is their color that draws the listener to this lovely andante. The third movement is a minuet characterized by arpeggiated and scalar passages with very little counterpoint. The principal oboe owns the trio with a charming solo accompanied very simply by the strings. The horns join the oboe in the second strain of the trio, providing an increased level of warmth to the melodic material.●
Ludwig van Beethoven Born 1770, Bonn, Germany Died 1827, Vienna, Austria
Symphony No. 9 in d minor, Op. 125 (1824) After the completion of Beethoven’s Symphony No. 8 in 1812, the composer took a bit of a hiatus from writing orchestral music. His brother had died and Beethoven was fighting for, and winning, custody of his nephew. The relationship between Beethoven and his nephew seemed to be how all of Beethoven’s relationships were: stormy and complicated. In addition, by the time he began writing the Ninth, he was
Program Notes .
nearly completely deaf. The bulk of his last symphony was written between 1822 and 1824, although sketches have been identified as early as 1812. The idea to include Friedrich Schiller’s poem “An die Freude” (“Ode to Joy”) into one of his works, however, had been on his mind since as early as 1793. Since Beethoven had been “out of the game,” so to speak, for a while, he had decided to premiere his latest symphony in Berlin, instead of his usual place for such occasions, Vienna. When the Vienna elite caught wind of this, they sent him a petition that said, in part: “Need we tell you with what regret your retirement from public life has filled us?” This was enough to stroke Beethoven’s ego and convince him to hold the premiere at Vienna’s Kärntnertor Theater. The Symphony No. 9 premiered on May 7, 1824, and this was the composer’s first on-stage appearance in twelve years. Having seen near disastrous results of the deaf Beethoven’s conducting in the past, it was decided that the premiere would be conducted by Michael Umlauf, the theater’s Kapellmeister. Umlauf, however, shared the stage with Beethoven who was there presumably to give tempos, but he ended up conducting and enthusiastically gesturing as well. The orchestra and soloists were apprised in advance not to follow the composer, but rather Umlauf. The symphony was given only two rehearsals before its premiere–not nearly enough time to learn and polish a brand new work, especially one of this size and scope. There are numerous reports that the orchestra was ragged at best, and that the choir, especially the sopranos, was not up to the challenge of the Ninth. Regardless, the crowd seemed quite pleased with the new work. One anecdote that always surfaces when discussing the Ninth is when the audience erupted into applause (some accounts have this occurring at the end of the Scherzo, others at the end of the piece) while Beethoven continued to conduct an orchestra he could not hear. The contralto for the evening, Caroline Unger, graciously walked over to the composer and turned him around so he could see and receive the audience’s accolades that were so richly deserved. The reviews, however, were mixed. The Ninth was no different than any other groundbreaking work (e.g. Berlioz’s Symphonie Fantastique, Brahms’s First Symphony, or Stravinsky’s Rite of Spring), either the critics were going to “get it” or they weren’t.
The audience erupted into applause while Beethoven continued to conduct an orchestra he could not hear. Perhaps no two other symphonies in the history of music have such ballyhooed openings as Beethoven’s Fifth and Ninth Symphonies. The Fifth speaks for itself; the first sixteen measures of the Ninth, however, are simplicity and complexity combined. The orchestra starts from nothing, in an unspeakably hushed tone. The only two notes played are an A and an E–sustained, offering no sense of meter or key. The open fifth gives the illusion that the orchestra is merely tuning and that the symphony has yet to begin. It is close to thirty seconds before Beethoven finally, and thunderously, establishes the key of d minor.
The Ninth was no different than any other groundbreaking work, either the critics were going to “get it” or they weren’t. Beethoven flip-flops the Scherzo with the slow movement, so the intensity continues with the energetic and seemingly endless Scherzo. Beethoven avoids almost all cadences in his Scherzo, so there is a continual feeling of impellent force. The middle section’s folk tune offers a slight sense of quietude from the frenzy, but there is still always a sense of “waiting for the other
shoe to drop,” which it invariably does. The Scherzo returns as enthusiastic and driving as ever. Listen for Beethoven’s joke at the very end: he leads us to believe he is going to repeat the entire Scherzo and middle section, but instead just quotes a snippet of the middle section, breaks it off in mid-phrase, and then ends resoundingly in d minor. The slow movement is one of Beethoven’s most stunning, with its sinuous and windingly long phrases. It is a set of variations, a favorite form of Beethoven’s, in the relative major key of B-flat, and later, the parallel major of D (with a few brief stops along the way in other tonalities). The peace is shattered about a third of the way through with some foreboding trumpet fanfares. These are quickly dispersed, but the harmonic rhythm increases and the previously secure serenity is now tenuous and questioning as to what will come next. Who would have imagined what would come next would be the dissonant conflation of two chords? The two chords are B-flat Major—the key of the previous movement— and d minor–the key of the symphony. Wagner would dub this the Schreckensfanfare, or “fanfare of terror.” While the rest of the Ninth Symphony stretches the boundaries of previous symphonic movements, the Finale breaks all the rules and succeeds in doing so. The music writer Charles Rosen has convincingly called the Finale a “symphony within a symphony” and designated four “movements” within the Finale. The “first movement” opens with the Schreckensfanfare and the unexpected recitative-like passage in the cellos and basses. Beethoven then takes us on a musical trip down memory lane by quoting each of the previous movements of the symphony. The winds foreshadow the “Ode to Joy” theme which is eventually realized in its entirety by the cellos and basses and then the entire orchestra. This leads to the most innovative aspect of Beethoven’s Ninth: the addition of the human voice in a symphony. After another appearance of the continued on 12
The New Mexico Philharmonic
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Program Notes . continued from 11
Schreckensfanfare, the Bass soloist sings the text: “Oh friends, not these sounds! Let us instead strike up more pleasing and more joyful ones! Joy!” The words that the Bass sings in his entrance are those of Beethoven, not Schiller. As if the addition of one voice weren’t shocking enough, Beethoven adds three other soloists and a full choir to sing Schiller’s words of brotherhood. The “second movement” begins when the theme is transformed into 6/8 time and Beethoven replicates classical music’s version of a “Turkish” band for accompaniment, including piccolo, cymbals, triangle, and bass drum. The “third movement” begins at the slower section on the words “Be embraced, you millions.” The “fourth movement” begins at the fugato which uses themes from the “first” and “third” movements of the Finale. After the first few performances of the Ninth, it fell out of favor and was deemed too difficult to play and to successfully program. By the mid-19th century, however, it had returned to the orchestra’s repertoire and has remained there ever since. The legacy of Beethoven’s Ninth is immeasurable; in its absence we cannot be assured that there would be the works of Schumann, Bruckner, Brahms, or Mahler as we know them today. Beethoven’s message of brotherhood and magnanimity from his Ninth (concepts he was unable to reap the benefits from in his own life) have musically influenced the worldover. His most trusted biographer, Maynard Solomon, put it into words: “If we lose the dream of the Ninth Symphony, there remains no counterpoise against the engulfing terrors of civilization, nothing to set against Auschwitz and Vietnam as a paradigm of humanity’s potentialities."● Program Notes ® Lori Newman
Meet the Musicians Richard White tuba NMPhil principal tubist Richard White’s musical journey is filled with turmoil, twists, turns, and ultimately, triumph. Richard’s life began precariously in Baltimore, Maryland, being born at a mere one-and-ahalf pounds. For the first four years of his life, he and his mother were often homeless and found shelter wherever they could, including under trees and in abandoned buildings. He was forced to forage for food in trash cans, unsure from where his next meal would come. During a bad snowstorm, he somehow became separated from his mother and was found sleeping and cold in the vestibule of a house. When the police became involved, it was obvious that Richard’s mother was in no position to care for herself, let alone her young son. Richard was placed into the foster care system. His foster parents, Richard and Vivian McClain, turned out to be every foster child’s dream; they quickly became his legal guardians and welcomed him into their home. After a period of initial adjustment, Richard began to flourish, especially after discovering the trumpet in the fourth grade. As anyone who has ever played a musical instrument and been moved by its indescribable powers, Richard found that the trumpet allowed him to express himself in ways that words could not. He later switched to the tuba and learned of an afterschool music program at the Baltimore School for the Arts. He would have to audition, and one Saturday morning he showed up to do just that, only to learn that the auditions had been the previous week. The director of the school agreed to hear him; Richard won him over with his eagerness and drive and was admitted to the school.
“If we lose the dream of the Ninth Symphony, there remains no counterpoise against the engulfing terrors of civilization …” — Maynard Solomon
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Richard is currently the principal tubist for the New Mexico Philharmonic, Assistant Professor of Tuba and Euphonium at UNM, and the first African-American to obtain his doctorate in tuba performance from Indiana University. Dr. White sums up his instrument, career, and early life most eloquently: “The tuba, it’s misjudged. It’s bulky. People don’t think it can make beautiful sounds. It’s very much like me and a lot of homeless people on the streets. There’s a misconception in our society that if you haven’t made it, you didn’t try hard enough. Some people need a little more help.” ●
Artists .
David Felberg conductor David Felberg, Assistant Director of the UNM Symphony Orchestra and Instructor of Violin, is currently the Associate Concertmaster of the New Mexico Philharmonic. A native of Albuquerque, he performs regularly throughout the Southwest as concerto soloist, recitalist, and chamber musician. He has appeared as a soloist with the New Mexico Symphony Orchestra, Albuquerque Philharmonic Orchestra, Noisy Neighbors Chamber Orchestra, Tucson Symphony, and the Chautauqua Music School Festival Orchestra. David has performed solo recitals in Albuquerque, Santa Fe, Los Alamos, Clovis, Portales, and most recently, on the Outstanding Artists Recital Series for the Emerald City Opera in Steamboat Springs, Colorado. In June of 2005, he made his New York City recital debut in Merkin Hall. Also active as a conductor, David has conducted the New Mexico Symphony Orchestra in its annual performances of The Nutcracker, and has guest-conducted the Santa Fe Symphony and the Beaux Arts Festival Orchestra in Steamboat Springs. In the summer of 2003, he made his operatic conducting debut in The Emerald City Opera’s production of The Magic Flute. He is currently the musical director of the Albuquerque Philharmonic Orchestra, and is the founder and conductor of Chatter, a chamber ensemble dedicated to performing 20th and 21st century music.●
The New Mexico Philharmonic
Krzysztof Zimowski violin Krzysztof Zimowski was born in Wroclaw, Poland. He began his musical studies when he was just six years old. Participating in various music camps and schools organized by La Federation International des Jeunesses Musicales, Mr. Zimowski performed as a Concertmaster of the Symphony Orchestra of Weikersheim and Bayreuth in Germany, with Franz Paul Decker, the music director of the Montreal Symphony at the time. In the fall of 1986, he moved to the United States, where he helped to form the Helios String Quartet, an ensemble-in-residence at the Placitas Artists Series in Albuquerque’s north community of Placitas. Mr. Zimowski has performed with the Phoenix Symphony, Santa Fe Opera Orchestra, Santa Fe Symphony, and Santa Fe Pro Musica. He was also the Concertmaster and soloist of the Chamber Orchestra of Albuquerque. In October of 1986, Krzysztof Zimowski began playing with the New Mexico Symphony Orchestra and became an Associate Concertmaster in 1995. He was appointed Concertmaster and soloist of the New Mexico Symphony Orchestra in 1999. Currently, he is Concertmaster of the New Mexico Philharmonic and was appointed a Concertmaster of the Opera Southwest Orchestra. Each summer since 1994, Mr. Zimowski has performed with the Grant Park Symphony Orchestra in the renowned International Music Festival in Millennium Park in Chicago.●
Ruxandra Simionescu-Marquardt violin Romanian-born violinist Ruxandra Simionescu-Marquardt attended the “George Enescu” School of Music and Conservatory of Music in Bucharest, where she was profoundly influenced by professors Stefan Gheorghiu and Modest Iftinchi. As a young musician, she won several prizes and medals in international competitions such as “Concertino” Prague (1981), Henri Wieniawski (1983), Tibor Varga (1985), AllRomania Prize (1981, 1982), and participated in the Yehudi Menuhin Competition. In 1986, she left Communist Romania to participate in the Indianapolis Violin Competition, defecting to the U.S. immediately afterward. She continued her studies at Indiana University with Joseph Gingold and at Syracuse University, where she joined the faculty from 1990 to 1998. She was also Principal Second Violin and Concertmaster (2008-2009) of the Jacksonville Symphony in Florida from 2002 to 2012 and appeared as guest Concertmaster of the Rhode Island Philharmonic and the New Mexico Philharmonic (2013). She has played under many noted conductors, including Kazuyoshi Akiyama, Fabio Mechetti, James DePriest, Raymond Leppard, and Andrew Litton. Ms. Simionescu-Marquardt’s solo performances include appearances with the Bucharest Philharmonic, the Bucharest Radio Symphony Orchestra, the Syracuse Symphony, Jacksonville Symphony, Gainesville Chamber Orchestra, Boston Virtuosi, Coastal Symphony of Georgia, and the San Marco Chamber Society. As a chamber musician, she has participated in the Bayreuth Festival, Skaneateles Music Festival, Eastern Music Festival, and the Grand Teton Music Festival.● nmphil.org
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Artists .
Grant Cooper conductor Grant Cooper, Artistic Director and Conductor of the West Virginia Symphony Orchestra, was named to the position in March 2001, and officially began his duties as the ninth conductor in the WVSO’s history on July 1, 2001. From 1997-2007, Mr. Cooper served as Resident Conductor of the Syracuse Symphony, where he gave over 600 performances with that orchestra, appearing to critical acclaim on all the major series. Mr. Cooper is also Artistic Director of the Bach and Beyond Festival in Fredonia, New York. Mr. Cooper was born in Wellington, New Zealand, the son of a professional opera singer. He sang and acted in his first opera at age four, and studied piano and music theory prior to college. After completing his degree in Pure Mathematics at the University of Auckland, his performing career took him to many of the major concert halls of the world, from Beijing to London. Following a performance at the Henry A. Wood Promenade Concerts at the Royal Albert Hall under conductor Claudio Abbado, Mr. Cooper was invited by Maestro Abbado to join the orchestra of La Scala as solo trumpet. Instead, Mr. Cooper accepted a fellowship from the Queen Elizabeth II Arts Council for study with Bernard Adelstein and Gerard Schwarz in the United States. This, in turn, led to performances at New York’s Carnegie Hall and at Tanglewood under Arthur Fiedler, where he also performed as principal trumpet under conductors Leonard Bernstein, Seiji Ozawa, and Sir Neville Marriner. Mr. Cooper was guest conductor of the XIVth Commonwealth Games closing ceremonies, appearing with Dame Kiri Te 14
2014/15 Season
Kanawa as soloist. In Europe, his engagement as guest conductor for the Mozart Wochen of the Heidelberger Schlossfestspiele prompted high critical praise. His appearances with the West Virginia Symphony Orchestra have generated considerable enthusiasm and acclaim across the whole gamut of programs, showing his deep affinity for repertoire of enormous stylistic range. Mr. Cooper’s collaborations with artists such as Hilary Hahn, Midori, Elmar Oliviera, and Deborah Voigt have, similarly, prompted critical praise for his skills as an accompanist. In past seasons, Mr. Cooper has appeared regularly as guest conductor of the Philharmonic Orchestras of Buffalo and Rochester. In recent years, he has made his debuts with the Houston Symphony Orchestra, the Spokane Symphony, the Erie Philharmonic, the Kansas City Symphony, as well as with the Stamford (CT), Modesto (CA), and Youngstown (OH) Symphony Orchestras. He returned to New Zealand to conduct the millennium celebrations with the Auckland Philharmonia. He appeared as guest conductor to Ottawa’s Thirteen Strings for many seasons and conducted several engagements with Syracuse Opera, including Così fan tutte, The Barber of Seville, and The Marriage of Figaro. With the WVSO, Cooper’s operatic repertoire has also included Tosca, Carmen, and La bohème. In their March 2009 Pops Concerts, the WVSO premiered Mr. Cooper’s original scores for two Charlie Chaplin films: The Immigrant and Easy Street. Mr. Cooper’s original concert work for soprano and orchestra entitled A Song of Longing, Though … , with poetry by Tom Beal, was premiered by the orchestra in April 2007 and was performed by the Chautauqua Symphony in 2010. Cooper was awarded the National Symphony Orchestra Chamber Music Commission following competitive adjudication as part of the 2010 American Residency program of the NSO. His new work premiered premiered at the Kennedy Center in Washington, DC in 2012. Mr. Cooper is especially passionate about creating works designed to introduce young audiences to the orchestra, including such works as Rumpelstiltzkin for Narrator and Orchestra, Goldilocks and the Three Bears, Boyz in the Wood for Coloratura Soprano and Rap Singer, and Song of the Wolf. His educational music is an eclectic blend of modern and established styles with interactive participation of the audience, a compositional style that
reflects his belief that orchestral music is a living, vital, and relevant part of our society, able to be appreciated by all. Mr. Cooper’s first arrangement for the West Virginia Symphony Orchestra, “Take Me Home, Country Roads,” was premiered at Symphony Sunday in June 2002 and has found a permanent place in the orchestra’s repertoire. Further arrangements celebrating our Appalachian heritage and the WVSO’s role in honoring our shared cultural values include “West Virginia’s Home to Me” and “The West Virginia Hills.” Many of these works are featured on an audio CD released in the spring of 2011 titled Tales from the West Virginia Hills. The WVSO has also released a CD, Home for the Holidays, in December 2008, which features the orchestra’s performance of Mr. Cooper’s original and arranged music composed for the holiday season. Mr. Cooper has recorded for Delos International, Atoll, Ode, Mark, and Kiwi Pacific recordings. As a conductor, a CD devoted to the premier recordings of the string music of New Zealand composer Douglas Lilburn has been enthusiastically received. Recently, Mr. Cooper released Points in a Changing Circle, featuring himself as trumpet soloist in works by New Zealand composers and a CD featuring three of his own works recorded with the Cayuga Chamber Orchestra on a disc titled Boyz in the Wood. With this, Mr. Cooper has reached the milestone of having CD recordings of him as conductor, performer, and composer, all currently available in the catalogue. Mr. Cooper resides in Charleston with his wife, Margie, and daughters, Jessica and Rachel.●
Artists .
Janet Brown soprano Soprano Janet Brown has been praised by critics for her warm, clear voice and direct expression. Richard Dyer of the Boston Globe has called her “… one of our most treasurable artists.” Ms. Brown has performed roles with the Syracuse Opera Company, the American Repertory Theatre, the Boston Early Music Festival, and the Pepsico Summerfare Music Festival. On the concert stage, she has performed the major oratorio roles with the Syracuse Symphony, West Virginia Symphony, the Cantata Singers of Boston, the Spectrum Singers of Boston, the New England Bach Festival, the Northwest Bach Festival, the Handel & Haydn Society, Emmanuel Music of Boston, the Tallahassee Symphony, and the Wichita Symphony. Ms. Brown is also a frequent recitalist with the Skaneateles Chamber Music Festival and has appeared in concerts of new music with the Syracuse-based Society for New Music, and Boston’s Collage New Music. In addition to her critically acclaimed CD release of selections from Spanisches Liederbuch of Hugo Wolf, she can be heard on a recording entitled Fond Affection: Music of Ernst Bacon, available through the Ernst Bacon Society. Janet Brown received her Bachelor of Music from the Crane School of Music, SUNY Potsdam, and her Master of Music from Syracuse University. Ms. Brown’s concert schedule can be found at janetbrownsoprano.com. Ms. Brown is a Professor of Practice in Voice at the Setnor School of Music, Syracuse University.●
The New Mexico Philharmonic
Mariel van Dalsum mezzo-soprano Mariel van Dalsum came to the United States from the tiny country of the Netherlands to pursue a degree in Comparative Literature. After a Bachelor’s and a Master’s degree in French and Latin American poetry, she would not give up the idea of singing and enrolled in the New England Conservatory of Music in Boston. She studied with Susan Clickner and Helen Hodam before graduating from NEC with a Bachelor’s and Master’s degree in vocal performance. Ms. van Dalsum has performed in The Marriage of Figaro with opera director Peter Sellers at the Boston Opera. She has performed Louise in The Duenna, Adele in Die Fledermaus, and Ms. Wordsworth in Albert Herring, all under the direction of John Moriarty. She sang Vespina in L’infedeltà delusa at the Academy of the West in Santa Barbara and sang Papagena in The Magic Flute at Opera North. Under the baton of Maestro Grant Cooper, she has sung Maria in West Side Story, Berta in The Barber of Seville, Micaëla in Carmen, and Barbarina in The Marriage of Figaro. She also sang Josephine in H.M.S. Pinafore at Huntington Theatre in Boston. Ms. van Dalsum appeared as the Mother in Amahl and the Night Visitors with Seneca Chamber Orchestra multiple times, and she has performed in Seneca’s production of The Mikado, H.M.S. Pinafore, and The Pirates of Penzance. She has also appeared as Despina in Così fan tutte and as Musetta in La bohème.●
Robert Allen tenor Tenor Robert Allen is an active concert, oratorio, and operatic soloist. He has performed with orchestras and opera companies across central and northern New York, throughout New England, and along the Eastern seaboard. Professional highlights include the roles of Cassio in Verdi’s Otello (for which he received the Syracuse Opera’s award for “Outstanding Performance by a Singer in a Featured Role” in 2005), Danilo in Lehar’s The Merry Widow, and Frederick and Nanki-Poo in the Gilbert and Sullivan classics The Pirates of Penzance and The Mikado, all with the Syracuse Opera Company. More recently, Robert performed the role of Simon Rosedale in the world premiere production of LILY, A Musical Portrait with the Empire State Lyric Theater. The tenor is also featured on the CD release of Tales from the West Virginia Hills with the West Virginia Symphony Orchestra, Grant Cooper conducting. Robert has spent a large part of his professional career as a teaching artist, presenting age-appropriate versions of operatic works and children’s fairy tales set to music of great composers in schools and libraries across New York State as part of the Syracuse Opera Ensemble, The Empire Opera Theater, and The Oswego Opera Theater. He currently serves on the voice and theory faculties of the Music Department of the SUNY College at Oswego, and is a soughtafter choral/orchestral conductor, choral clinician, and voice teacher.●
nmphil.org
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Artists .
Edmund Connolly baritone Edmund Connolly, baritone, was born in London, England, and brought up in Oxfordshire. He holds degrees from Cambridge University (MA), and the Guildhall School of Music & Drama (MMus). From 2004–2011, he was a Music Professor at the Guildhall School, teaching history, theory and aesthetics of music. During his time in London, Edmund enjoyed a varied career as an opera and concert singer, organist, pianist, and teacher. In opera he performed major roles around the UK, in France, and the Netherlands, and worked with conductors including Vladimir Jurowski, Sir Mark Elder, and David Parry; in concert he was baritone soloist for Sir David Willcocks, David Hill, and Bob Chilcott, and continuo organist for Sir John Eliot Gardiner, amongst others. Edmund also performed, and recorded frequently with professional ensembles such as the BBC Singers, the Gabrieli Consort, and the Dmitri Ensemble. In February 2012, Edmund moved to Albuquerque, taking up the post of Assistant Organist-Choir Director at the Episcopal Cathedral of St. John. In 2013, he was appointed Upper School Chorus Director at Albuquerque Academy. He continues to perform frequently as a soloist with the New Mexico Philharmonic (Brahms Ein Deutsches Requiem, Bach Johannes Passion), with Polyphony: Voices of New Mexico (Handel Messiah, Donald McCullough Holocaust Cantata), and in recital with the duo Air & Hammers. Edmund maintains a private voice studio in Albuquerque. edmundconnolly.com.●
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New Mexico Philharmonic Collaborative Choir Beethoven’s Symphony No. 9 is a lifeaffirming masterpiece. The joyful message of the Ninth, an anthem for humanity, has inspired millions of listeners and performers around the world. That fact, coupled with the sheer joy of singing, is why 120 voices have assembled before you. Singing in a group enhances feelings of trust and bonding: brotherhood. These people represent many different walks of life, from young professional musicians to astronomers, physicists, nutritionists, teachers, chefs, students of life. Members of Polyphony: Voices of New Mexico form the professional core joining members of The Choir & Chorale of the Cathedral of St. John; members of the women’s choir, Las Cantantes and the University Chorus from the University of New Mexico; members of the New Mexico Gay Men’s Chorus; the Sangre de Cristo Chorale, Santa Fe, the Albuquerque Civic Chorus, New Mexico Symphonic Chorus and members of our community to sing this acknowledged masterpiece of the symphonic repertoire.●
Maxine Thévenot chorus master Chorus Master Maxine Thévenot serves as Director of Cathedral Music & Organist at the Cathedral of St. John, Albuquerque; Artistic Director of Polyphony: Voices of New Mexico–New Mexico’s first resident professional vocal ensemble; and Director of UNM’s Women’s Choir–Las Cantantes. She also performs with her husband, Edmund Connolly, as a duo, Air & Hammers. This past summer she was honored to lead two of her choirs on tour–Las Cantantes to New York City and The Cathedral Choir to the UK as the invited choir in residence at both Winchester Cathedral and Westminster Abbey. Her first published composition (Paraclete Press) received its UK premiere at Westminster Abbey. Dr. Thévenot has had the pleasure of serving as Chorus Master for the NMPhil’s recent large-scale chorus and orchestra performances–Ein Deutsches Requiem, (2012) Holiday Pops, (2012, 2013) St. John’s Passion (2013), and looks forward to more such community collaborations. A native of Saskatchewan, Canada, Dr. Thévenot received her Bachelor’s degree in Music Education from the University of Saskatchewan (summa cum laude), and her Master of Music and Doctor of Musical Arts degrees from the Manhattan School of Music. At Manhattan School she was twice awarded the Bronson Ragan Award for “Most Outstanding Organist.” Maxine is an Associate of the Royal Canadian College of Organists and the Royal Conservatory of Music, Toronto, and was made an Honorary Fellow of the National College of Music, London, UK in 2006 for her “services to music.”●
BOARD OF DIRECTORS
Maureen Baca President
Thomas C. Bird
New Mexico Philharmonic
Secretary Treasurer
The Musicians
FIRST VIOLIN Krzysztof Zimowski Concertmaster David Felberg Associate Concertmaster Ruxandra Simionescu-Marquardt Assistant Concertmaster Phillip Coonce + Joan Wang Jonathan Armerding Steve Ognacevic Kerri Lay Linda Boivin Barbara Rivers Nicolle Maniaci Barbara Scalf Morris SECOND VIOLIN Anthony Templeton • Carol Swift-Matton •• Julanie Lee Justin Pollak Michael Shu Ting Ting Yen Iris McDowell Roberta Branagan Sheila McLay Susan French Brad Richards VIOLA Gary Logsdon •+ Kimberly Fredenburgh •++ Allegra Askew •• ++ Christine Rancier Sigrid Karlstrom Willy Sucre Joan Hinterbichler Lisa DiCarlo
Ruth Bitsui
Vice President for Operations CELLO Joan Zucker • Carol Pinkerton •• Carla Lehmeier-Tatum Joel Becktell Dana Winograd David Schepps Lisa Collins Peggy Wells BASS Jean-Luc Matton • Mark Tatum •• Katherine Olszowka Terry Pruitt Derek DeVelder FLUTE Valerie Potter • Sara Tutland Jiyoun Hur ••• PICCOLO Sara Tutland OBOE Kevin Vigneau • Amanda Talley ENGLISH HORN Melissa Peña ••• CLARINET James Shields • Lori Lovato •• Sunshine Simmons E-FLAT CLARINET Lori Lovato BASS CLARINET Sunshine Simmons
BASSOON Stefanie Przybylska • Denise Turner HORN Peter Erb • Nathan Ukens Dana Sherman Niels Galloway •••• Julia Erdmann Hyams ++ TRUMPET John Marchiando • Mark Hyams Brynn Marchiando ••• TROMBONE Debra Taylor • Byron Herrington David Tall BASS TROMBONE David Tall TUBA Richard White • TIMPANI Douglas Cardwell • PERCUSSION Jeff Cornelius • Kenneth Dean Emily Cornelius HARP Anne Eisfeller •
Dr. Larry Lubar Vice President for Development
Anne Eisfeller Ronald Gerencer Marc Powell Al Stotts Anthony Trujillo Nathan Ukens Richard White ADVISORY BOARD Joan Allen Lee Blaugrund Clarke Cagle Robert Desiderio Steve Paternoster Evan Rice Heinz Schmitt Steve Schroeder STAFF Marian Tanau Executive Director Chris Rancier Executive Assistant & Media Relations Alexis Corbin Operations Coordinator & Personnel Manager Mancle Anderson Production Manager Kenneth Dean Assistant Production Manager Rachael Brown Head Librarian & Office Manager Danielle Frabutt Artistic Coordinator Byron Herrington Payroll Services Marti Wolf Marketing Advisor, PR & Promotions Mary Montaño Grants Manager
Principal • Assistant Principal •• Associate Principal ••• Assistant •••• Leave + One year position ++
The New Mexico Philharmonic
Joan Olkowski Design Lori Newman Website Maintenance & Editor Sara Tutland Ensemble Visits Coordinator
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Thank You .
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Sheila & Bob Bickes Ruth Bitsui Jane Ann Blumenfeld David Brooks Gordon Cagle Dawn & Joseph Calek Jose & Polly Canive Edith Cherry & Jim See Betty Chowning Claudia Crawford, in memory of Clifford S. Crawford Gail Cunningham Marjorie Cypress The Divas of '56, in memory of Stewart Graybill Stephen R. Donaldson ExxonMobil Foundation Virginia & Richard Feddersen Joan Feldman The Financial Maestro, LLC, Joann MacKenzie Pauline Garner & J. William Vega David & Tanner Gay Barb & Larry Germain Robert & Maria Goldstein A. Elizabeth Gordon Jean & Bob Gough Dr. Kirk & Janet Gulledge Lois Hall Janet & Donald Harris Richard Henry Jonathan & Ellin Hewes Martha Hoyt Sue Johnson & Jim Zabilski Joyce D. & M. Russell Jolly John & Julie Kaltenbach La Vida Llena Rita Leard Jae Lee Harry & Elizabeth Linneman Myra & Richard Lynch Tyler M. Mason Kathy & John Matter Thomas & Edel Mayer Bob & Susan McGuire Kathryn McKnight John & Kathleen Mezoff Martha Miller Rebecca Okun Jerald & Cindi Parker Judyth Parker Howard & Frederica Paul John Provine Dan Rice Deborah Ridley & Richard S. Nenoff Don & Barbara Rigali Ruth Ronan Nancy Scheer Stephen Schoderbek Norman Segel Sharon Sharrett Mary & John Sparks Conrad & Marcella Stahly Jeanne & Sid Steinberg Patricia & Luis Stelzner Charles & Flossie Stillwell Arthur & Sandra Vall-Spinosa Margaret Vining Richard Vivian Barbara & Eugene Wasylenki Patricia & Robert Weiler Judy B. & Peter Weinreb Carl G. & Janet V. Weis Patrick Wilkins Lance Woodworth David Worledge Andrea Yannone Michael & Jeanine Zenge
PRINCIPALS CIRCLE Donation of $125–$499
Fran A'Hern Smith John B. Aidun & Joan M. Harris Ed Alelyunas ALH Foundation Inc. Gerald Alldredge American Endowment Foundation John Ames Jo Marie & Jerry Anderson Anonymous Anonymous Marilyn & Robert Antinone Patrick & Leslie Apodaca Janice J. Arrott Joel A. & Sandra S. Baca Toni Baca, in memory of Sylvester Baca Genevieve & Stanley Baker Robert P. & Charlene Baker Margaret Barker & Clark Varnell Elinore M. Barrett Ellen Bayard & Jim O'Neill William Bechtold Edie Beck Janice & Bryan Beck Helen Benoist Debra & Kirk Benton Richard J. & Maria E. Berry June Best Douglas Binder Leonie Boehmer Rod & Genelia Boenig Dr. David & Sheila Bogost Henry M. & Jennifer L. S. Bohnhoff Peter Bond Joan Bowden Susan Brake Charles J. Brandt Sheldon & Marilyn Bromberg Ronald Bronitsky, MD Carolyn Brooks Astrid Brown Mary & Jim Brown Susanne B. Brown B. L. Brumer Mary Letty Buchholz Miriam Burhans Lynne Byron Louise Campbell-Tolber & Steve Tolber Glo Cantwell Douglas Cardwell James Carroll Ann Carson Shirley & Ed Case Edward B. Cazzola Elaine & Wayne Chew John & Barbara Chickosky Kathy & Lance Chilton Joan Chism Tanya Christensen Kathleen & Hugh Church Frankie Clemons Kenneth Cole Monica Collier Bethany & Christopher Confessore Martin & Susan Conway Marion Cottrell Douglas D. Cox Bob Crain Alyce Cummins Mollie & Bob Custer Stephen Czuchlewski Hubert O. Davis Jr.
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Donor Circles . continued from 19 George deSchweinitz Jr. Cdr. Jamie & Carol Deuel Fran DiMarco Catie S. Dixon Raymond Doberneck Gale Doyel & Gary Moore James C. Drennan Patricia & Leonard Duda Duganne Family, in memory of Paul Duganne Susan & Daniel Dunne Patsy Duphorne Paul & Catherine Eichel Anne C. Eisfeller Eleanor D. Eisfeller Carol & John Ellis Mildred & Richard Elrick David & Frankie Ewing Jo Margaret & John Farris Leonard & Arlette Felberg Winifred & Pelayo Fernandez Janice Firkins Heidi Fleischmann & James Scott Mary Kay & Thomas Fleming Denise Fligner Edmund & Agnes Franzak Kim Fredenburgh Melissa Freeman & Dr. Brad Raisher Louis Fuchs Gwen & Charles Gallagher Daniel & Elena Gallegos Lind Gee GE Foundation Chuck & Judy Gibbon Marc A. Gineris Mark Gorham Carmoline & Bing Grady Matthew & Amy Greer Peter Gregory Sharon Gross Dick & Suzanne Guilford Ron Halbgewachs Samuel & Leila Hall Roger Hammond & Katherine Green Hammond Harris L. Hartz Margaret Harvey & Mark Kilburn Dorothy D. Hawkins John & Diane Hawley Stephen & Aida Ramos Heath Mary Herring & Robert Stamm, in memory of Robert D. Taichert Frank Hesse Fred Hindel Guy & Nina Hobbs Bud & Holly Hodgin Kiernan Holliday David & Bonnie Holten Suzanne Hood Mark Hoover Carol Horner Lorna & Henry Howerton Carolyn Hudson Janet & Vincent Humann Margaret Hutchinson IBM International Foundation Olivia Jaramillo Robert Jones Mary Julyan Carol Kaemper Thomas & Greta Keleher Ann King Toni & Robert Kingsley Marlin Kipp Allene & Walter Kleweno Meredith & Noel Kopald
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2014/15 Season
Asja Kornfeld, MD & Mario Kornfeld, MD Jennifer C. Kruger Susan KubiĂŠ Karen M. Kupper Henry & Judith Lackner Nick Landers R. Jeffery & Jane W. Lawrence Linda Lewis Madeleine Lewis Sherry Rabbino Lewis Robert & Judith Lindeman Michael Linver Thomas & Donna Lockner Verne Loose Major & Mrs. Kenneth Luedeke Bruce F. Malott Marita Marshall Audrey Martinez & Paul Getz John & Glenda Mathes Dr. & Mrs. Jack D. McCarthy Sallie & Denis McCarthy Sallie & Denis McCarthy, in memory of Ellie Sanchez & Jane McDonald Ronald & Barbara McCarty Pete & Lois McCatharn Kathleen McCaughey Randall & Monica McComus Karen McKinnon & Richard A. Stibolt Cynthia & Paul McNaull Bernard & Mary Metzgar Virginia & Stephen Meyer Bruce A. Miller Joyce Miller Peggy Sanchez Mills & Jim Mills Jan Mitchell Michael Mitnik Barbara Scalf Morris Edward & Nancy Naimark Michael & Patricia Nelson Sharon & Richard Neuman Donald & Carol Norton Bernard Nurry Wendy & Ray Orley Del & Barbara Packwood Stuart & Janice Paster The Ralph & Ella Pavone Family Trust Dr. Ole & Sheila Peloso, in memory of Robert Taichert Calla Ann Pepmueller Richard Perry Lang Ha Pham Herbert & Judi Pitch Quinten Plikerd Prudential Foundation Matthew & Lisa Pullen & Family Jane Rael Christine & Jerry Rancier Russell & Elizabeth Raskob Veronica Reed & LeRoy Lehr Robert Reinke Clifford & Sandra Richardson Steve Ridlon & Casey Scott Erika Rimson & David Bernstein Margaret E. Roberts Shelly Roberts & Dewey Moore Joan Robins & Denise Wheeler, in honor of Melvin Robins Jeffrey Romero Kletus Rood
Edward Rose Elizabeth Rose Darryl & Jan Ruehle Jennifer A. Salisbury & Fred Ragsdale Rosemary Saur Stephen Saxe John Schlue Howard & Marian Schreyer Kathleen Schulz Justine Scott Carolyn Sedberry Barbara & Daniel Shapiro Frederick & Susan Sherman R. J. & Katherine Simonson Walt & Beth Simpson Carol Smith Patty & Bill Snead Jane Snyder Steven & Keri Sobolik Susan Soliz SonicSEO.com, Inc., Becky & Arvind Raichur Eric & Maggie Hart Stebbins David & Rebecca Steele Dorothy Stermer Dodie Stevens Robert St. John John Stover Strategic Management Solutions, LLC, Sarah Dunn, in memory of Paula Basile David Stryker & Lee A. Reynis James Stuart Mary Ann Sweeney & Edward Ricco Laurence Tackman Robin Thompson Larry Titman Yetta & Zach Tropp Wayne & Maryann Trott Joan & Len Truesdell Marit Tully & Andy Thomas Jay Ven Eman Kevin Vigneau E. M. Wachocki Marianne Walck Cynthia & Bill Warren Jan Armstrong Watts Rob Weinstein Jamie L. Welles & Thomas Dellaira Jeffrey West Kay West Liza White Bill & Janislee Wiese Bronwyn Wilson Karen & Johnny Wilson, in memory of Sylvester Baca Phyllis S. Wilson Sylvia Wittels & Joe Alcorn Sylvia Wittels & Joe Alcorn, in honor of Adrianna Belen Gatt Walter Wolf Ann & Thomas Wood Daniel & Jane Wright Sue Wright Janice & Harvey Yates Mae S. Yee Yummi House Nancy & Michael Zwolinski
FRIENDS OF THE PHILHARMONIC Donation of $25–$124 Bill & Sall Aber Albertsons Community Partners Program
Kelly Aldridge Jerry & Nadine Allen Arthur Alpert Roger Ames Judith & Chilton Anderson APU Solutions, in memory of Paula Basile Carolyn Aragon Ian & Denise Arthur Lynn Asbury & John Wronosky Leslie Atler Betty Baca David Baca George Baca Jackie Baca & Ken Genco Justin Baca Mary E. Baca Patrick J. & Marie M. Baca Thomas J. & Helen K. Baca Wendy E. & Mark C. Baca Melanie Baise Christopher & Ellen Baker, in memory of Zach Tropp Jan Bandrofchak & Cleveland Sharp Laura & Kevin Banks E. Patricia Barbier Joyce Barefoot, in memory of Joan Parker Lois Barraclough Graham Bartlett James F. & Yvonne G. Beckley Hugh & Margaret Bell Benchmark Real Estate Investments, Margaret Orona Richard Bernal Dorothy & Melbourne Bernstein Peggy Blackburn Katherine Blaker Rol & Samantha Blauwkamp Barbara & Philip Bock, in memory of Robert Taichert Katie Bock Paula & James Bonnell, in memory of Louise Coonce Joyce Bortner Henry & Nancy Botts Julia B. Bowdich Tim & Jackie Bowen Brad Boyce Enid Bradley Roberta Branagan Charles Brandt, in memory of Jennifer K. Brandt Elinore Bratton James & Ann Bresson Monica & Lee Brown Dr. Lisa M. Brunacini & Rita M. Giannini Susan Burgener Jeanne Burgess Sherri Burr Charles Campbell Mary Ann Campbell-Horan & Tom Horan Elizabeth Canfield Elizabeth & Maria Canfield Camille Carstens Mary Casarez & T. Paul Apodaca Joseph Cella Barbara & Roscoe Champion Scott & Landa Chapman, in memory of Zachary Tropp Suzy Charnas Judith Chazin-Bennahum &
David Bennahum Betty Chowning, in memory of Ken Chowning Judith & Thomas Christopher Ralph & Elizabeth Churchill Paul Citrin Barbara & Aaron Clark Peggy Clark, in memory of Robert Clark Robert Clark Fredric & Rosalyn Cohen Randall & Valerie Cole Henry & Ettajane Conant Janelle Conaway Philip & Kathryn Cooper Ralph Cover Claudia Crawford, in memory of Zach Tropp Dianne Cress & Jon McCorkell Mark Curtis Daniel P. Davis Joan Davis Jan & Jerry DeLange Margaret DeLong Candice & Daniel Demar Donald DeNoon Desert Double Reeds, Rebecca L. Ray Elizabeth & Thomas Dodson Darryl Domonkos Joanne Donsbach Ernest Dorko Janice Dosch E. Josephine Drummond Betty & Stuart Dubois Stephen Dunaway Jeff Duray Deborah Barba Eagan Sarah Earlow East Range Piedra Vista Neighborhood Association, in memory of Paula Basile Sondra Eastham John Eckert Ida Edward Helen Elliott Robert & Dolores Engstrom Roger C. Entringer Stephanie Eras Carlos Esparza Marie Evanoff David & Regan Eyerman Bill Fanning Marie E. Fellin, in memory of Blaine Eatinger Alan & B.J. Firestone Margaret Fischer Rona Fisher Rona Fisher, in memory of Louise Coonce Stephen J. Fisher Robert & Diane Fleming Hahn Fletcher Walter Forman, MD James & Jean Franchell J. Arthur Freed Susan Freed Dan Friedman Aanya Adler Friess Jack Fuller Clarence Gallegos & Anna Y. Vigil Ann Garcia William Garrison Jim & Margaret Gates Duane & Janet Gilkey Galen Gisler Todd A. Goldblum, MD Laurence Golden
Donor Circles . Donald & Diane Goldfarb Donald & Diane Goldfarb, in memory of Robert D. Taichert The Very Rev. J. Mark Goodman Thomas & Linda Grace Alice Graybill Erna Sue Greening Justin M. & Blanche G. Griffin Sharon Gross, in memory of Robert D. Taichert Virginia Grossetete Mina Jane Grothey Charles & Betsy Gunter Herman Haase Vaux & Hilda Hall Bennett A. Hammer Marjorie Hardison Janet Harrington Marilyn & Edward Hartig John Harvey Arthur G. Hassall Nancy Hayden, in memory of Paula Basile Deborah L. Helitzer Rosalie & Leon Heller Rogene Henderson Holland Hendrix Sara Henning Mary Herring, in memory of Margaret Glasebrook Jonathan & Ellin Hewes, in memory of Robert D. Taichert Donna Hill Linda Hill & Peter Gordinier, in memory of Paula Basile Kristin Hogge Barbara Holt Lisa Hooper Tom Hopkins Helen & Stanley Hordes Cecilia & Mark Horner William Howe Rafael Howell Rick Hudson Rosemary Hunter & Eugene McGuire Constance Hyde & James Houle Lois Jackson, in honor of Brynn & John Marchiando Joan Jander Jerry Janicke Bette A. Johnson Eldon Johnson Nancy M. Johnson Judy Jones Pamela Jones Wilbur & Justin Kahn Summers & Norty Kalishman Julius & Robin Kaplan Ira & Sheri Karmiol Joyce Kaser Greta & Thomas Keleher, in memory of Jackie Maisel Channing & Ida Kelly James Kelly Evy Kimmell Barbara Kleinfeld, in memory of Robert D. Taichert Karen & Bill Knauf Michael & Malva Knoll Larry & Diana Koester Rosemary Koffman Katherine Kraus Ethel & Edward Lane, in memory of Sylvester Baca David Lawrence
Becky Lee Carla Lehmeier-Tatum Susan Lentz Greg Linde Ronald Loehman George Loehr Nancy D. Loisel Joel Lorimer Los Amapolas Garden, in memory of Richard Kavet Carol Lovato Betty Lovering Thomas Luley, in memory of Zach Tropp William Lynn Martha MacDonald Margaret Macy Ronald P. & Monica M. Manginell Susan Margison, in memory of Paula Basile Walt & Ruth Marshall Brenda & Robert Maruca Paul & Judith Matteucci Joseph McCanna Andrew McDowell James McElhane Thomas McEnnerney Carol & David McFarland, in memory of Paula Basile Virginia McGiboney Donna McGill Jane & David McGuire Leroy C. McLaren Elizabeth McMaster Cynthia & Paul McNaull Bonita Melcher & Dale Ferguson, in memory of Zach Tropp Sterrett & Lynette Metheny Phyllis Metzler Sandra Lee Meyer Celia Michael Thomas Miles Carol Mills Nancy Mills Christine & Russell Mink Marcia Miolano Mohinder & Deborah Mital Beatriz Mitchell William Moffatt Elaine Monaghan Mary Kay Moore Carlos Garcia Moral, in memory of Zach Tropp James B. & Mary Ann Moreno Shirley Morrison & Cornelis Klein Dorothy Morse, in memory of Joe Zoeckler Ted & Mary Morse Paula A. Mortensen Karen Mosier John & Patsy Mosman Carolyn Muggenburg Deborah Muldawer Brian Mulrey Pauline & James Ney Betsy Nichols & Steve Holmes Anne E. Nokes Jack Norris David & Audrey Northrop David & Marilyn Novat Richard & Marian Nygren Si Scott Obenshain Marilyn Jean O’Hara Judith Oliva, in memory of Paula Basile Gloria & Greg Olson
The New Mexico Philharmonic
Gloria & Greg Olson, in memory of Louise Coonce Estherella Olszowka Margaret Palumbo Margaret & Doyle Pargin Diane & Mark Parshall Joan & L. Parsons, in memory of Robert Taichert Marjorie Patrick & Michael Van Laanen Larry Pearsall Margery Pearse Ann Pedone Ole A. Peloso, MD, in memory of Alan S. King, MD Sheila & Ole Peloso, in memory of Dr. Omar Legant Claire M. Peoples Anna Perea Maria Pereyra Timothy Peterson Barbara Pierce, in memory of Richard Kavet Dorothy Pierson Harvey J. Pommer Gladys & Glenn Powell Bettye Pressley Carol & George Price Shirley Puariea Gerard & Ellen Quigley, in memory of Zach Tropp Therese Quinn Tari Radin, in memory of Louise Coonce Richard Rail Chris Rancier, in memory of Charlyn Anderson Mary Ellen Ratzer Marit Rawley David & Tracey Raymo Marjorie & Robert Reed Ray Reeder Carol Renfro, in memory of Pat Fairchild Patricia Renken Diane Reuler Glenda Richardson Herbert Richter Margaret Rickert Sandy Rierson, in memory of Zachary Tropp Hilda Ripley, in memory of Zach Tropp Jacob H. Rittenhouse Barbara Rivers Matthew Robertson Gwenn Robinson, MD & Dwight Burney III, MD Norman Roderick Alice & Larry Rodgers Barbara & Joseph Roesch Lorraine Roff Lorraine Roff, in memory of Louise Coonce Ralph Rogers Estelle H. Rosenblum Bryan L. & Lisa Wood Ruggles Nancy Ruggles Harvey & Laurie Ruskin Ellen Ann Ryan, in memory of Robert Taichert Scott & Margaret Sanders Daniel Savrin, in memory of Zachary Tropp Frederick & Annette Schaefer, in memory of Zach Tropp Elaine Schepps Roger Schluntz Donald L. Schmierbach &
Nancy Huning Schmierbach David A. Schnitzer Luann Schuhler, in memory of Zach Tropp Frederick Schwab Judith Schwartz Joan Scott Betty Cobey Senescu Margaret & Frank Seusy Richard Shagam Donea Shane Donea Shane, dedicated to William D. Shane Jr. Dan Shawver Arthur & Colleen M. Sheinberg Robert & Lelia Shepperson Leslie N. Shultis Catherine Siefert Janet Simon Marion Simon Marsha & Don Simonson Raymond & Carolyn Sinwell, in memory of Zach Tropp Norbert F. Siska Vivian Skadron MaryDee Skinner Terrence Sloan Mr. & Mrs. Matthew Sloves Eleanor Slutts Harry & Patricia Smith Kirk Smith Smith's Community Rewards Frederick Snoy Linda Snyder Vera Snyder Enid Solin Jean & Allen Spalt Spectra Energy Gwyn & Tracy Sprouls Jack Stamm Charlie & Alexandra Steen Donald Stehr Geny Stein Daphne Stevens Sally Stevens Grace & Sigurd Stocking Roberta Stolpestad, in memory of Paula Basile Andrew & Katie Stone Carmen & Lawrence Straus Donald & Jean Ann Swan George Ann & Tom Tabor, in memory of Paula Basile David & Jane Tallant Richard & Carolyn Tecube Nina & Gary Thayer Elisabeth Thibault Patricia & George Thomas Richard Thompson Phyllis Taylor & Bruce Thomson Michael Thuot Julie Tierney Jack Tischhauser Jack Tischhauser, in memory of Sylvester Baca Marilyn Toler John Tondl Dean & Bonita Tooley Marian Trainor & David Dixon United Bank of Switzerland Nancy Vandevender & J. Pace David Vaughan Barbara Vayda, in memory of Zach Tropp Adriana Villar John J. Vittal Arun Wahi Cheryl Walker Harry Wallingford
Sherry & Michael Walls, in memory of Paula Basile David Walsh Joan Wang, in memory of Charlyn Anderson Marilyn Warrant Barbara Waserman Paul & Suzanne Weber Jean & Dale Webster Iris Weinstein Thomas Wellems Justin Welter Alan D. & Elaine Weisman Debbie Wesbrook Maryann & Eugene Wewerka Sandra J. White Trudy & Robert White Roland Wiele William & Vicky Wilhelm, in memory of Zach Tropp John L. Wilson James Wilterding & Craig Timm Rosemary Winkler Kathryn Wissel Margaret Wolak Helmut Wolf Beulah Woodfin Dot & Don Wortman Helen Wright Donna Yannias Anne Yegge Diana Zavitz, in honor of Pat & Ray Harwick Albert & Donna Zeman Dr. Linda R. Zipp Andrew A. Zucker 9/12/2014
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JOIN A CIRCLE Donate Today. (505) 323-4343 nmphil.org/support
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Thank You .
The Legacy Society Giving for the Future.
Your continued support makes this possible. The Legacy Society represents people who have provided long lasting support to the New Mexico Philharmonic through wills, retirement plans, estates, and life income plans. If you included the NMPhil in your planned giving and your name is not listed, please contact (505) 323-4343 to let us know to include you. Maureen & Stephen Baca Nancy Berg Edison & Ruth Bitsui Dr. & Mrs. Larry Lubar Brooke E. Tully & Thomas C. Bird William A. Wiley
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SUPPORT YOUR NMPHIL TODAY Donate. Volunteer. Advertise. Planned Giving. (505) 323-4343 nmphil.org/support
Thank You for Your Generous Support Volunteers. Expertise. Services. Equipment.
The New Mexico Philharmonic would like to thank the following people for their support and in-kind donations of volunteer time, expertise, services, product, and equipment.
CITY & COUNTY APPRECIATION
SUPPORT YOUR NMPHIL TODAY Donate. Volunteer. Advertise. Planned Giving. (505) 323-4343 nmphil.org/support
American Federation of Musicians, Local 618 Central United Methodist Church Classical 95.5 KHFM Natural Touch Photography, Guillermo Quijano-Duque Parsons Brinckerhoff Popejoy Hall St. John’s United Methodist Church St. Luke’s Lutheran Church
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2014/15 Season
Mayor Richard J. Berry & the City of Albuquerque Trudy Jones & the Albuquerque City Council Maggie Hart Stebbins & the Bernalillo County Board of Commissioners Betty Rivera & the Albuquerque Cultural Services Department Mayling Armijo & the Bernalillo Economic Development & Cultural Services Amanda Colburn & the Bernalillo County Cultural Services Maryann Torrez & the Albuquerque BioPark Zoo
BUSINESS & ORGANIZATION APPRECIATION
INDIVIDUAL APPRECIATION
Lee Blaugrund & Tanager Properties Management Billy Brown Luis Delgado Robert Desiderio Rosemary Fessinger Jerrilyn Foster Ben Heyward Chris Kershner Rose Maniaci Jackie McGehee Robby Rothchild David Steinberg Brent Stevens Mike Swick Bob Tillotson Tom Tkach Gary van Zals
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NMPhil .
Popejoy Classics Popejoy Hall (505) 925-5858 unmtickets.com
Neighborhood Concerts Albuquerque (505) 323-4343 nmphil.org
Popejoy Pops Popejoy Hall (505) 925-5858 unmtickets.com
Saturday, November 1, 2014, 6 p.m. Bouchez & Vieaux: Spanish Gold (El Oro Español) Hélène Bouchez conductor Jason Vieaux guitar Stravinsky Petrushka Rodrigo Concierto de Aranjuez Márquez Danzón No. 2 Saturday, November 22, 2014, 6 p.m. Rachmaninoff Rhapsody Oriol Sans conductor Alexander Gavrylyuk piano Hindemith Symphonic Metamorphosis Rachmaninoff Rhapsody on a Theme of Paganini Sibelius Symphony No. 2
Sunday, November 16, 2014, 3 p.m. St. John’s United Methodist Church Matthew Greer conductor Amy Greer piano Chancel Choir of St. John’s United Methodist Church Mozart Divertimento in D Major Mozart Piano Concerto No. 23 Haydn “Lord Nelson” Mass Friday, December 5, 2014, 6 p.m. Central United Methodist Church David Felberg conductor Michael Hix baritone Ingela Onstad soprano André García-Nuthmann tenor Jacqueline Zander-Wall mezzo-soprano Central United Methodist Chancel Choir Handel Messiah
Saturday, October 25, 2014, 6 p.m. Halloween Spooktacular: Breaking Boo! Byron Herrington conductor Jeremiah Bitsui narrator Eldorado High School Choir V. Sue Cleveland High School Choir
Saturday, January 24, 2015, 6 p.m. Fumi Plays Tchaikovsky Andrew Grams conductor Fumiaki Miura violin Enescu Romanian Rhapsody No. 1 Tchaikovsky Violin Concerto No. 1 Bartók Concerto for Orchestra Saturday, February 28, 2015, 6 p.m. Wolfgang Amadeus: A Night of Mozart Robert Tweten conductor Valerie Potter flute Mozart Overture to The Marriage of Figaro Mozart Flute Concerto No. 1 Mozart Symphony No. 41, “Jupiter” Saturday, March 7, 2015, 6 p.m. Spartacus Ballet Grant Cooper conductor New Mexico Ballet Company Khachaturian Spartacus Ballet Saturday, March 28, 2015, 6 p.m. Mahler’s Colossal 5th Philip Mann conductor Ilya Kaler violin Mozart Overture to Don Giovanni Paganini Violin Concerto No. 2 Mahler Symphony No. 5 Saturday, April 18, 2015, 6 p.m. Welcome Back Olga Teddy Abrams conductor Olga Kern piano Strauss Don Juan Grieg Piano Concerto in a minor Debussy La Mer
Sunday, February 8, 2015, 3 p.m. First United Methodist Church Daniel Cummings conductor & piano Chancel Choir of First United Methodist Church Mozart Symphony No. 29 in A Major Bach Concerto No. 4 for Piano Haydn Missa Sancti Nicolai Saturday, March 14, 2015, 6 p.m. Central United Methodist Church Byron Herrington conductor Central United Methodist Chancel Choir Handel Selections from the “Chandos” Anthems Schumann Requiem Saturday, March 21, 2015, 6 p.m. St. John’s United Methodist Church Matthew Greer conductor Quintessence: Choral Artists of the Southwest Crafts The Tree Not the Pyramid Jackie McGehee Young Artists’ Competition Winners’ Concertos Duruflé Requiem Sunday, April 26, 2015, 3 p.m. St. Luke’s Lutheran Church David Felberg conductor Frederick Frahm organ Handel Concerto Grosso in a minor Frahm Concerto for Organ and Strings Respighi Ancient Airs and Dances, Suite No. 3 Corelli Concerto Grosso in D Major
2014/15 Season
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The New Mexico Philharmonic
Saturday, November 8, 2014, 6 p.m. Hooray for Hollywood! Stuart Chafetz conductor Saturday, December 20, 2014, 6 p.m. Home for the Holidays Pops! Thomas Wilkins conductor Manzano Day School Chorus Rio Rancho High School Choir Bosque School Choirs Saturday, February 14, 2015, 6 p.m. A Perfect Valentine John Morris Russell conductor Jennifer Perez soprano Svetlana Petkovic tango dancer William Gruner tango dancer Saturday, April 4, 2015, 6 p.m. Ottmar Liebert & Luna Negra A Night of Nouveau Flamenco David Felberg conductor
NHCC Classics National Hispanic Cultural Center (505) 724-4771 nationalhispaniccenter.org Sunday, January 11, 2015, 2 p.m. The Seasons David Felberg conductor & violin Vivaldi The Four Seasons Barber Adagio for Strings Grieg “Holberg” Suite Sunday, February 15, 2015, 2 p.m. Amalfi Coast Festival Protégé Series Bradley Ellingboe conductor Umi Garrett piano Deborah Domanski mezzo-soprano, “Orfeo” Jennifer Perez soprano, “Euridice” Sarah Ihlefeld mezzo-soprano, “Amore” UNM Concert Choir Chopin Piano Concerto No. 1 Gluck Selections from Orfeo ed Euridice Sunday, April 12, 2015, 2 p.m. NMPhil Stars Timothy Muffitt conductor Peter Erb horn Haydn Symphony No. 43 Mozart Horn Concerto No. 4 Beethoven Symphony No. 1
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