New Mexico Philharmonic 2014/15 Season Program Book 3 by New Mexico Philharmonic

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2014/15 Season

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Welcome .

Match for the Music

Table of Contents November 8, 2014

Program Stuart Chafetz November 16, 2014

Program Program Notes Matthew Greer Amy Greer Ingela Onstad Darci Lobdell Seth Hartwell Michael Hix The Quintessence Festival Chorus November 22, 2014

Program Program Notes Oriol Sans Alexander Gavrylyuk your nmphil

Match for the Music Musical Fiestas Calendar Meet the Musicians Orchestra Board of Directors, Advisory Board, Staff Sponsors The Legacy Society Thank You Donor Circles Upcoming Concerts Update your address books

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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. ●

Concert Program .

Saturday, November 8, 2014, 6 p.m.

Popejoy Pops: Hooray for Hollywood!

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Stuart Chafetz conductor

Popejoy Hall Also sprach Zarathustra Fanfare from 2001: A Space Odyssey Richard Strauss (1864–1949) “Tara’s Theme” from Gone With the Wind Max Steiner (1888–1971) “Lara’s Theme” from Dr. Zhivago Maurice Jarre (1924–2009) Mission Impossible

Making a Difference This performance is made possible in part by the generosity of the following: Bernalillo County

Lalo Shifrin (b. 1932)

Psycho Prelude Bernard Herrmann (1911–1975) (arr. P. Lavender) “Moon River” from Breakfast at Tiffany’s Henry Mancini (1924–1994) (arr. Moss) Theme from The Good, the Bad, and the Ugly

Ennio Morricone (b. 1928) (arr. T. Berens)

Themes from 007 arr. Calvin Custer (1939–1998) I n termissi o n

Star Trek Through the Years Lord of the Rings Pirates of the Caribbean “Gabriel’s Oboe” from The Mission

arr. Calvin Custer Howard Shore (b. 1946) Hans Zimmer (b. 1957) (arr. T. Ricketts) Ennio Morricone

Jurassic Park

John Williams (b. 1932)

Theme from JFK

John Williams

“Duel of the Fates” from Star Wars Episode I: The Phantom Menace

John Williams

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Concert Program .

Sunday, November 16, 2014, 3 p.m.

Neighborhood Concert: Mozart & Haydn

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Matthew Greer conductor Amy Greer piano Ingela Onstad soprano Darci Lobdell mezzo-soprano Seth Hartwell tenor Michael Hix baritone The Quintessence Festival Chorus

Divertimento in D Major, K. 136 I. Allegro II. Andante III. Presto

Piano Concerto No. 23 in A Major, K. 488 I. Allegro II. Adagio III. Allegro assai

St. John’s United Methodist Church

Wolfgang Amadeus Mozart (1756–1791)

Wolfgang Amadeus Mozart

Making a Difference This performance is made possible in part by the generosity of the following: St. John’s United Methodist Church

Amy Greer piano

I n termissi o n

Missa in angustiis (“Lord Nelson” Mass), Hob. XXII:11 I. Kyrie eleison II. Gloria in excelsis Qui tollis Quoniam tu solus III. Credo in unum Deum Et incarnatus est Et resurrexit IV. Sanctus V. Benedictus VI. Agnus Dei Dona nobis pacem

The New Mexico Philharmonic

Joseph Haydn (1732–1809)

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Program Notes .

Program Notes Lori Newman

Wolfgang Amadeus Mozart Born 1756, Salzburg, Austria Died 1791, Vienna, Austria

Divertimento in D Major, K. 136 (1772) Very little is known of the circumstances surrounding the composition of Mozart’s three Divertimenti, K. 136-138. We do know that they were written in Salzburg in 1772, after Mozart had returned from Italy. There is no information for what specific purpose the Divertimento in D Major may have been composed. Incidental instrumental works like this, divertimenti, serenades, nocturnes, and the like, were written for various, fairly mundane occasions: weddings, engagements, birthdays, or name-day celebrations. By definition, the Divertimento means “diversion” and was probably used for a run-of-the-mill event for a wealthy resident of Salzburg. The Divertimento in D Major is written for four parts, specifically two violins, viola, and a bottom part marked “basso.” It is unclear if the bottom line was intended for a string bass instead of cello (there is precedence for this instrumentation), or whether it simply is marked that way because it is the bass line. Curiously, it is written for four strings but is not categorized as a string quartet in Mozart’s catalogue. “Divertimento” is written in someone else’s handwriting on the manuscript, so it is unclear how Mozart envisioned future performances of this work. In Mozart’s time, the Divertimento would have offered several performing possibilities—string quartet, string quartet with bass instead of cello, small ensemble, or full orchestral complement of strings— which would have made it appealing for the musical needs of the day. Most modern

[Mozart] had become the city’s leading musician—a far cry from the servant-like treatment he had received from his former employer, the PrinceArchbishop of Salzburg. day performances of the work are for string orchestra with the celli and bassi doubling the bottom line at the octave. The three Divertimenti are sometimes referred to as the “Salzburg Symphonies,” because when played with a full string section, they can pass for early symphonies or sinfonias. The D Major is in three movements in the typical fast-slow-fast configuration. The first movement is a jubilant allegro in sonata form whose principal melodic material belongs to the violins. The celli and bassi are rarely used for anything other than a rhythmic motor or sparse accompaniment to the violin flourishes. The movement ends with an imperfect cadence (the first violin ending on the third instead of tonic, in this case, D), which leaves the listener unsettled. This makes for an interesting and satisfying transition into the second movement when the first violin begins on the missing D from the previous movement. The second movement is an affable andante with two central themes that employ Italian-style ornamentation; perhaps a nod to Mozart’s recent Italian excursions. The presto, also in sonata form, is light and elegant. The middle section contains a brief fugue, another possible wink to Mozart’s time in Italy, as he had studied counterpoint with Giovanni Martini while in Bologna. While Mozart

… the work shows a surprising maturity and points toward the composer’s soon-to-be realized genius. 6

2014/15 Season

was a mere sixteen years old at the time of the Divertimento in D Major’s composition, the work shows a surprising maturity and points toward the composer’s soon-to-be realized genius. ●

Wolfgang Amadeus Mozart

Piano Concerto No. 23 in A Major, K. 488 (1786) Mozart was his most happy and productive during the period in Vienna from 1780– 1788. He had become the city’s leading musician—a far cry from the servantlike treatment he had received from his former employer, the Prince-Archbishop of Salzburg. Between 1782 and 1786 alone, he wrote fifteen piano concertos, all used as agents for Mozart’s performing career, as he was most assuredly the soloist for the works’ premieres. The winter of 1785–86 was a particularly generative period for Mozart: He wrote The Piano Concertos Nos. 22–24, the one-act opera The Impresario, and finished The Marriage of Figaro. The Piano Concerto No. 23 was completed on March 2, 1786, but nothing is known of the premiere performance. It is probable that it was premiered soon after its completion for a Viennese Lenten concert, with Mozart serving as soloist and possibly even conductor (from the piano) as well. The Piano Concerto No. 23 is not nearly as flashy from a pianistic perspective as many of Mozart’s other piano concertos, and the accompaniment is warmer and lighter (save a few moments in the third movement). Mozart chooses an accompaniment of one flute, two clarinets, two bassoons, two horns, and strings. Noticeably missing are oboes, trumpets, and timpani. The use of clarinets

Program Notes . instead of oboes makes for a darker wind sound overall, and the choice is probably in honor of Mozart’s good friend, the Viennese clarinetist Anton Stadler. The first movement opens with a lengthy orchestral introduction in which two themes are presented. These themes, more similar than not, are lyrical and singing; however, they contain just a hint of dolefulness. This underlying sadness, regardless of the major key of the work, begins immediately with a G natural in the first measure of the second violin part (G natural not being a chord tone in the key of A major). This pattern of subtly introducing strife within an ostensibly carefree movement of A major continues throughout. The second movement is one of Mozart’s most heart-wrenching. It is the only movement in f-sharp minor in the entire vast catalogue of Mozart’s works, and generally, minor mode slow movements are very rare in the composer’s writing. The movement opens with a statement of the tragic theme by the piano, senza accompaniment. It is written in the style of a siciliano, a Baroque tradition in the minor key featuring dotted rhythms and a lilting feel. Mozart chooses to label this “adagio” instead of the more expected “andante” to add to the pathos in this movement. Of most interesting note: only the piano plays the dotted siciliano theme, never the orchestra. The third movement offers some relief from the turbulent first movement and the emotional second. Written in rondo form, it is the showiest of the movements and allows the orchestra to finally come out of its shell and accompany the soloist on a grander scale. ●

The moniker “Lord Nelson” was not added to the work by. Haydn, but rather the public. Joseph Haydn

Born 1732, Rohrau, Austria Died 1809, Vienna, Austria

Missa in angustiis (“Lord Nelson” Mass), Hob. XXII:11 (1798) The last six masses of Joseph Haydn are considered crowning achievements in the composer’s repertoire. They encompass influences from Handel’s oratorios, especially Israel in Egypt and Messiah, and Haydn’s mature works, especially the London Symphonies. Due to these influences, the masses provide “equal billing” between the orchestra, soloists, and choir. The last six masses were commissioned by the powerful Esterházy family, to whom Haydn had served for close to thirty years. He was released from his post in 1790, due to a new Esterházy leader and concerns over the family’s finances. Haydn was then able to explore the various freelance opportunities that would have been afforded him as one of the nation’s premiere composers. The Esterházys kept him on retainer, however, and asked only one thing of him: to write a mass each year to commemorate the nameday of Princess Esterházy.

The Missa in angustiis, translated as Mass for Troubled Times, is the only of the late six masses to be written in a minor key, showing the fear the composer felt for the fate of his beloved Austria. The New Mexico Philharmonic

The commission for Missa in angustiis came in 1798, a particularly dark period in Austria’s history. Napoleon had continued to win battles against Austria, including crossing the Alps and threatening Vienna the previous year. The Missa in angustiis, translated as Mass for Troubled Times, is the only of the late six masses to be written in a minor key, showing the fear the composer felt for the fate of his beloved Austria. Since the mass was a celebratory work, however, Haydn does not create a completely dire composition; there are flashes of brilliance and major mode movements to balance out the piece. The moniker “Lord Nelson” was not added to the work by Haydn, but rather the public, after the efforts of Napoleon were thwarted by Admiral Horatio Lord Nelson at the Battle of the Nile. This battle occurred in August of 1798 and Haydn’s mass premiered in September of the same year. Communication being what it was in the day, it is doubtful that word had spread to Haydn in enough time for the epic battle to be depicted in the work, but audiences nevertheless claimed to have heard such. In 1800, Lord Nelson and his mistress Lady Hamilton (quite the scandal for the day!) visited the Esterházys in Eisenstadt, and presumably, the Missa in angustiis, among other works, was performed for the duo. An anecdote exists that Lord Nelson requested the pen in which Haydn had used to write the “Lord Nelson” Mass (other iterations of the legend state that Nelson requested the pen used to compose the cantata Haydn wrote especially for Lady Hamilton), and in return, Lord Nelson presented Haydn with his very expensive gold watch. ● Program Notes ® Lori Newman

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Concert Program .

Saturday, November 22, 2014, 6 p.m. / 5 p.m. Pre-Concert Talk

Popejoy Classics: Rachmaninoff Rhapsody

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Oriol Sans conductor Alexander Gavrylyuk piano

Popejoy Hall

Symphonic Metamorphosis of Themes by Carl Maria von Weber I. Allegro II. Turandot, Scherzo III. Andantino IV. Marsch

Paul Hindemith (1895–1963)

Making a Difference This performance is made possible in part by the generosity of the following: Anonymous Donor

Rhapsody on a Theme of Paganini, Op. 43 Sergei Rachmaninoff (1873–1943) Alexander Gavrylyuk piano

I n termissi o n

Symphony No. 2 in D Major, Op. 43 Jean Sibelius I. Allegretto (1865–1957) II. Tempo andante, ma rubato III. Vivacissimo IV. Finale: Allegro moderato

Pre-Concert Talk sponsored by Keleher & McLeod, P.A.

The New Mexico Philharmonic

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Program Notes .

Program Notes Lori Newman

Paul Hindemith

Born 1895, Hanau [near Frankfurt], Germany Died 1963, Frankfurt, Germany

Symphonic Metamorphosis of Themes by Carl Maria von Weber (1943)

It is hard to imagine the music of Hindemith’s Symphonic Metamorphosis as a ballet score, but that is indeed how the piece was originally conceived. The dancer and choreographer Léonide Massine approached Hindemith in 1940 with a concept to set a ballet to the music of the nineteenth-century German composer Carl Maria von Weber (1786–1826). Hindemith had just emigrated from Germany to the U.S. after finding dealings with the Nazi party untenable—his music deemed as “degenerate”—so he was looking to make a name for himself in his new country. Carl Maria von Weber is mostly remembered for his operas Der Freischütz, Oberon, and Euryanthe, but not much else (save, perhaps, his works for clarinet). Hindemith was familiar with some of Weber’s lesser-known works and agreed to the project. He wrote what would become the first and third movements of the Metamorphosis in piano form for Massine to hear and approve for use as the ballet score. Approve she did not. She requested that the music be truer to that of Weber’s. Between Massine’s thoughts that Hindemith’s score was “too personal;” her plan to use backdrops by Salvador Dalí in the production, which Hindemith deemed bizarre; and the fact that Hindemith watched one of her other productions and greatly disliked it, the project as originally intended never got off the ground. Instead, Hindemith used what he had already written for portions of the Symphonic Metamorphosis of Themes by Carl Maria von Weber. The first movement’s music is based on Eight Piano Duets, Op. 60, No. 4. The opening possesses a Hungarian flavor in Hindemith’s treatment of Weber’s theme. The middle section oboe solo is the Weber piano duet melody almost verbatim. The two moods that Hindemith creates in this movement are striking: one, dramatic and bombastic, the other, light and frivolous.

2014/15 Season

The second movement uses incidental music that Weber wrote for Friedrich Schiller’s adaptation of Turandot; the same Turandot of Carlo Gozzi upon which Puccini wrote his final opera. The tale which is set in China employs scales and sounds that might be heard in Chinese music, or at least a German’s version thereof. The melody first heard in the opening flute solo and passed throughout the orchestra is a perfect example of this use of chinoiserie.

Hindemith takes the Weber melody and expands it considerably, bringing the piece to a thrilling and spirited end. The third movement borrows the Andantino con moto of Weber’s Six Pièces for Two Pianos, Op. 10, No. 2. The extended flute obbligato toward the end is Hindemith’s music alone. The movement four Marsch uses No. 7 of the Op. 60 works from the first movement as its melodic basis, and this movement is perhaps the most well-known of the Symphonic Metamorphosis. Hindemith

takes the Weber melody and expands it considerably, bringing the piece to a thrilling and spirited end. Despite the rocky genesis of the piece, the Symphonic Metamorphosis was a great success. It premiered on January 24, 1944, with the New York Philharmonic and Artur Rodzinski conducting. Hindemith took great care in retaining Weber’s themes, so that they could be heard and recognized even after Hindemith took liberties with harmony, tempo, phrase structure, and the addition of his own melodies atop Weber’s. ●

Sergei Rachmaninoff

Born 1873, Semyonovo, Russia Died 1943, Beverly Hills, California

Rhapsody on a Theme of Paganini, Op. 43 (1934) If not for a specialist in the field of neuropsychotherapy, it is entirely possible that the history books would not include Rachmaninoff's name, nor would the classical music repertoire contain his two compositional cornerstones: The Second Piano Concerto in c minor and his Rhapsody on a Theme of Paganini, Op. 43. The labyrinthine tale began in 1897 with the disastrous premiere of his First Symphony in St. Petersburg. It would not be unfair to say the critics and audience were waiting with bated breath for Rachmaninoff's demise. He had left the St. Petersburg Conservatory to study in Moscow, and the locals did not take kindly to such perceived acts of defiance. The most crushing review came from the composer and critic César Cui, who likened the symphony to the music one would hear in a “Conservatory in Hell.” What was not mentioned in the feral attacks was the performance itself. Allegedly, the conductor, Alexander Glazunov, misused

Rachmaninoff was not oblivious to the widespread appeal Variation XVIII would have, and quipped, “That one is for my manager.”

Program Notes .

“I asked who he could be again and again—but there was no answer. I tried to make him laugh but he remained silent. At last the stranger began to sing—then Don Juan knew who it was. It was death.” — Jean Sibelius

rehearsal time for the three world premieres that were programmed on the concert, and most disturbingly, Glazunov seemed to be visibly and cripplingly drunk at the performance. Following the debacle, Rachmaninoff believed he was not suited for composition, sunk into a deep depression, and turned to alcohol for solace. His situation was so dire that by the end of 1899 he was a full-fledged alcoholic; his hands shook uncontrollably, limiting his ability to perform as a piano soloist—the career path (along with conducting) he chose upon abandoning composition. Enter Dr. Nikolai Dahl. Dr. Dahl was a specialist in the aforementioned neuro-psychotherapy, and Rachmaninoff began seeing him daily in January of 1900. Rachmaninoff's “assignment” under hypnosis was to compose a new piano concerto. By way of trance therapy, Rachmaninoff rebounded from his depression and self-doubt with the Piano Concerto No. 2 in c minor, dedicated to Dr. Dahl. Rachmaninoff would live for more than forty years following the composition of his Second Piano Concerto, never again suffering from the all-consuming depression that almost ruined his career. Some thirty years, and many compositions later, came his brilliant Rhapsody on a Theme of Paganini, showing the composer retained no ill-effects from his previous psychological illness. The work was written at an accelerated pace from July 3–August 18, 1934, in his villa in Switzerland. It premiered on November 7, 1934, at the Lyric Opera House in Baltimore, with the Philadelphia Orchestra conducted by Leopold Stokowski and Rachmaninoff as piano soloist. Rhapsody on a Theme of Paganini is a piano

concerto in all but name, and the variations can easily be divided into three sections that would mirror a traditional piano concerto format: the Introduction and Variations I-X, acting as the first movement; Variations XI-XVIII the second, and Variation XIX to the end, the rousing finale. The Rhapsody on a Theme of Paganini opens with an Introduction, followed by Variation I, and only then are we introduced to the Theme (Variation II). The theme on which the work is based comes from Paganini’s Caprice No. 24 in a minor for Solo Violin. The variations after the theme is introduced are energetic and propulsive. Variation VI is slightly relaxed, setting up the “Dies irae” theme introduced in Variation VII (introduced here, but also employed in Variations X and XXIV). The “Dies irae” is from the Gregorian Mass for the Dead and is used by several composers to evoke eeriness, death, and general uneasiness: among them Berlioz’s Symphonie Fantastique, Liszt’s Totentanz, Saint-Saëns’s Danse macabre, and several other Rachmaninoff works including Isle of the Dead. The crowning achievement, and perhaps the sole reason for the work’s extreme popularity, is Variation XVIII. It is the most recognizable variation and often found on classical music compilation recordings (types like “One Hundred of the Most Relaxing Classical Music Themes,” and the like) without the rest of the work attached. It is expansive, and some could even argue indulgent, as it clocks in at close to twice as long as any of the other variations. Rachmaninoff was not oblivious to the widespread appeal Variation XVIII would have, and quipped, “That one is for my

manager.” After the tranquility offered in Variation XVIII, the rest of the work drives to the frenzied and virtuosic conclusion. Rachmaninoff was not accustomed to his works resulting in immediate success, but the Rhapsody on a Theme of Paganini was the exception. The work is as popular today as it was at its premiere, and it has found a permanent place as one of the most programmed piano works in concert halls throughout the world. ●

Jean Sibelius

Born 1865, Hämeenlinna, Finland Died 1957, Järvenpää, Finland

Symphony No. 2 in D Major, Op. 43 (1901–02) “You have been sitting at home for quite a while, Mr. Sibelius; it is high time for you to travel. You will spend the late autumn and the winter in Italy, a country where one learns cantabile, balance and harmony, plasticity and symmetry of lines, a country where everything is beautiful—even the ugly. You remember what Italy meant for Tchaikovsky’s development and for Richard Strauss.” In 1900, Sibelius received this rather odd (possibly even slightly menacing) letter from the Baron Axel Carpelan, who would later become the dedicatee of Sibelius’s Second Symphony. While the Baron was interested in taking on the role of benefactor for Sibelius’s Italian sojourn, he lacked the one thing that defines a benefactor: money. Nevertheless, he was able to secure funds from another patron for Sibelius and his family to travel to Italy between February and April of 1901. Sibelius rented a studio in Rapallo, and that seems to be where much of his Second Symphony was composed. Sibelius had previously established himself as a Finnish nationalist composer, so unlike Mendelssohn’s “Italian” Symphony, Berlioz’s Harold in Italy, or Tchaikovsky’s Capriccio Italien, Sibelius’s time in Italy did not produce a work inspired by Italy, just a work that was mainly composed in Italy. Early sketches for what would eventually become the Second Symphony can be found at least two years earlier, but it seems Sibelius had intended the sketches to be used for numerous different works, not a single symphony. While in Rapallo, Sibelius took to the idea of writing a tone poem based on the legend of Don Juan. Sibelius completely immersed himself in this idea; so much so, that he maintained continued on 12

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Program Notes . continued from 11 a fantasy that he himself was the nefarious character and his lodgings in Rapallo were Don Juan’s palace. He writes in his diary: “Don Juan. I was sitting in the dark in my castle when a stranger entered. I asked who he could be again and again—but there was no answer. I tried to make him laugh but he remained silent. At last the stranger began to sing—then Don Juan knew who it was. It was death.” Following the vignette that Sibelius had created, was a sketch of the principal theme of the second movement. Another theme, also found in the second movement, has the word “Christus” written at the top, perhaps pointing to redemption for the flawed and amoral Don Juan. At some point, Sibelius abandoned the Don Juan scenario and opted for the idea to write four tone poems based on Dante’s Divine Comedy; this idea is again abandoned when the composer realizes all of his ideas and sketches thus far would be better served as a symphony. He completed the first draft of the Second Symphony in Finland in November of 1901 and then extensively revised the work in 1902. The turn of the century for Finland was fraught with conflict and a newfound sense of national pride, as the Finns battled against their Russian occupiers. The Russification of Finland program that Nicholas II laid out in 1899 was especially disconcerting, so the Finns sought out an autonomous Finnish identity in culture, art, and music. Much to Sibelius’s chagrin, the Second Symphony was cast in the role of portraying this political conflict between Russian domination and Finnish independence. Sibelius vehemently claimed no such program was attached to his Second Symphony. The founder and conductor of the Helsinki Philharmonic Orchestra, Robert Kajanus, however, finds a clear programmatic element and lays out his case as follows: The Andante strikes one as the most brokenhearted protest against all the injustice that threatens at the present time to deprive the sun of its light and our flowers of their scent. … The scherzo gives a picture of frenetic preparation. Everyone piles his straw on the haystack, all fibers are strained and every second seems to last an hour. One senses in the contrasting trio section with its oboe motive in G-flat major what is at stake. The finale develops towards a triumphant conclusion intended to rouse in the listener a picture of lighter and confident prospects for the future. Sibelius’s Second Symphony premiered on March 8, 1902, performed by the Helsinki Philharmonic Society with Sibelius 12

2014/15 Season

… melodic seeds are sewn together to produce works of great depth and profoundness. conducting, and the revised version, on November 10, 1903, in Stockholm. The symphony is written in the traditional fourmovement format, and while his Second Symphony has been compared to symphonies of Beethoven, Brahms, and Tchaikovsky, his compositional process and resultant works seem to differ greatly. The writer Burnett James, known for several books on composers and their music, writes the following of Sibelius’s writing technique: Though a natural melodist, Sibelius does not invariably begin with broad melodic statements, at least in his larger and more complex designs. … More often he works from handfuls of thematic nuclei which by a subsequent process of organic growth and fusion evolve into complete structures. And this, of course, is virtually a reversal of the standard classical procedure where a theme or group of themes is first stated (exposition), then subjected to some form of extension or analysis (development), finally to be restated in their original form or a variant of it (recapitulation) within a general pattern of tonal and harmonic evolution. … But with Sibelius the whole does not exist until its basic parts, its active nuclei, have been brought together and placed in a new and unexpected relationship. The “nuclei” of which James speaks are abundantly clear, even in the opening bars of the first movement. This is why Sibelius’s works, the symphonies especially, can seem to have a meandering quality to them, and seemingly lack unity and cohesion. It is only upon further listenings that one can understand the true genius of the way in which the melodic seeds are sewn together to produce works of great depth and profoundness. ● Program Notes ® Lori Newman

Musical Fiestas

Join us for Sunday afternoon fund raising events at private homes that feature our guest artists in an intimate performance setting, which includes dinner and wine. This is your chance to meet the guest artists in person. November 23, 2014 Alexander Gavrylyuk pianist North Albuquerque Acres home of Jo Margaret & John Farris $150/person January 25, 2015 Fumiaki Miura violinist home to be announced $150/person April 19, 2015 Olga Kern pianist Sandia Heights home of Dr. Frederick & Elaine Fiber $200/person Part of the ticket cost is tax deductible to the extent allowed by the law. Call or email for more information and to reserve your seats. Reserved Seats

(505) 323-4343 crancier@nmphil.org

Artists .

Stuart Chafetz conductor Stuart Chafetz is a conductor with an affable podium demeanor and a keen sense of audience engagement. Increasingly in demand with orchestras across the continent, this season Chafetz will be on the podium in Baltimore, Houston, Indianapolis, Milwaukee, Columbus, Jacksonville, Louisiana, Modesto, and others. Previous conducting appearances include the orchestras of Buffalo, Chicago, Detroit, San Francisco, Toronto, Calgary, Edmonton, Florida, Houston, Indianapolis, Baltimore, Jacksonville, Kansas City, Louisiana, Naples, New Mexico, Phoenix, San Francisco Ballet, and Virginia. He’s had the privilege to work with renowned artists such as George Benson, Richard Chamberlain, The Chieftains, Jennifer Holliday, John Denver, Marvin Hamlisch, Thomas Hampson, Wynonna Judd, Jim Nabors, Randy Newman, Jon Kimura Parker, and Bernadette Peters. Chafetz maintains an ongoing special relationship with the Naples Philharmonic Orchestra and annually leads a variety of their concerts including holiday, Memorial Day, parks, and subscription pops. In the summers, Chafetz spends his time at the Chautauqua Institution, where he conducts the annual Fourth of July and Opera Pops concerts with the Chautauqua Symphony Orchestra, in addition to his role as that orchestra’s timpanist. When not on the podium, Chafetz makes his home near San Francisco, CA, with his wife, Ann Krinitsky. Chafetz holds a Bachelor’s degree in music performance from the College-Conservatory of Music at the University of Cincinnati and a Master’s degree from the Eastman School of Music. ●

The New Mexico Philharmonic

Matthew Greer conductor Matthew Greer is Director of Music and Worship Ministries at St. John’s United Methodist Church in Albuquerque, where he directs several choirs and oversees a comprehensive music program. He also serves as Artistic Director for Quintessence: Choral Artists of the Southwest. At St. John’s, he founded the highly successful “Music at St. John’s” concert series, and “Thursday Evening Musicales,” an annual series of benefit concerts for Albuquerque Healthcare for the Homeless. In recent years, he has conducted performances of Mozart’s Requiem, Duruflé’s Requiem, Handel’s Messiah, and Karl Jenkins’s The Armed Man: A Mass for Peace. In addition, Greer has lectured on and conducted the music of Brahms, Bach, Copland, and Barber. In spring of 2012, he was among the recipients of Creative Albuquerque’s Bravos! Awards, honoring artistic innovation, entrepreneurship, and community impact. A native of Kansas City, Greer holds degrees in Music and Theology from Trinity University and Boston University. His teachers have included Ann Howard Jones, Daniel Moe, Jane Marshall, and Alice Parker. ●

Amy Greer piano Amy Greer is a pianist, writer, and teacher living in Albuquerque, New Mexico. She has maintained successful piano studios in New Mexico, Massachusetts, Texas, and Missouri and has been recognized for her creative approach to traditional piano teaching. Over the years, her students have been recognized with awards in performance and composition. A frequent contributor to various music publications, she has been a regular columnist for American Music Teacher. Her article entitled “Risking Aunt Rhody,” was named AMT’s “Article of the Year” in 2001. She has given workshops on issues of pedagogy, creativity, performing and practicing, and regularly coaches other musicians and teachers on such topics. Ms. Greer is an active performer, both as a soloist and in collaboration with singers and instrumentalists. She has worked as an accompanist at Dallas Baptist University, Texas Christian University, Texas Wesleyan University, and The Boston Conservatory, and works regularly with faculty and students at the University of New Mexico. She performs frequently with flutist Jerome Jim as part of The JimGreer Duo and has performed with the Santa Fe Symphony and the New Mexico Symphony Orchestra. Ms. Greer holds a Master of Arts in Educational Psychology from the University of New Mexico, a Master of Music degree in Piano Performance from the University of Missouri-Kansas City Conservatory of Music, and a Bachelor of Music degree in Piano Performance from the University of Missouri-Columbia. Her teachers have included Jane Allen, Joanne Baker, and William Westney. She shares her home, garden, and brightly colored studio with her husband, two cats, three betta fish, and a thousand books and plants. ● nmphil.org

Artists .

Ingela Onstad soprano Soprano Ingela Onstad, a native of Santa Fe, has enjoyed a varied international career in opera, concert work, and contemporary music. Operatic highlights include performances at Dresden’s Staatsoperette, Oldenburgisches Staatstheater, Landestheater Schleswig-Holstein, UNM Opera Theatre, and Santa Fe Opera, in roles including Musetta in La bohéme, Pamina and Papagena in Die Zauberflöte, Nannetta in Falstaff, Mabel in Pirates of Penzance, and the title role in Suor Angelica. She also sang the roles of Merab and Michal in the staged production of Handel’s oratorio Saul in Oldenburg, Germany. Highlights of her career as an oratorio soloist include Orff’s Carmina Burana, Charpentier’s Te Deum, Haydn’s The Creation, and Bach Cantatas 84 and 140. She recently completed a recital tour of Germany with Dr. Michael Hix and Professor Michael Schuetze. A sought-after interpreter of contemporary works, she has sung Kristine in Antonio Bibalo’s Fräulein Julie, Bubikopf in Viktor Ullman’s Der Kaiser von Atlantis, and created the role of Andia in Gordon Kampe’s ANOIA. She performed Schoenberg’s Pierrot Lunaire and Joseph Schwantner’s Sparrows with New Music New Mexico, and Feldman’s Rothko Chapel with Chatter. She was also recently featured with songs of Hilda Paredes with New Music New Mexico at the Robb Composers’ Symposium. Her 2014/15 season includes Haydn’s “Lord Nelson” Mass, Handel’s Messiah, and Bach Cantatas 32, 209, and 140. Onstad completed her undergraduate degree at McGill University, where she studied with Professor William Neill. She earned a Master of Music degree at the University of New Mexico, where she studied with Professor Leslie Umphrey. She maintains private voice studios in Albuquerque and Santa Fe. ● 14

2014/15 Season

Darci Lobdell mezzo-soprano Darci Lobdell has an undergraduate degree from the University of New Mexico in vocal performance. With choral groups including Quintessence, Santa Fe Desert Chorale, Albuquerque Civic Chorus, and the University Concert Choir, she performed as a mezzo-soprano soloist in works such as John Rutter’s Dancing Day, Brahms’s Liebeslieder-Waltzes, Vivaldi’s Gloria, Brad Ellingboe’s Requiem, and Corigliano’s Fern Hill. She is featured as a soloist on the UNM Concert Choir’s recording of Brad Ellingboe’s Requiem. In 2013, she performed as the mezzo-soprano soloist for Bach’s Magnificat with the New Mexico Philharmonic and Quintessence. In 2009, she performed the opera role of Diana in La Calisto with La Musica Lirica, for her international debut in Italy. Over the course of her undergraduate study with the UNM opera, she performed the roles of Miss Pinkerton in The Old Maid and the Thief, Cherubino in Le nozze di Figaro, Dorabella in Così fan tutte, and Terentia in The Beautiful Bridegroom. In 2015, Darci will be performing the role of Mercedes in Bizet’s Carmen with the Boulder Symphony. Darci is constantly exploring her love for music. At UNM, she studied under the direction of Leslie Umphrey. She now studies with Nina Hinson in Santa Fe and with Adriana Hardy in Washington, D.C. Currently, she is in a training program to become an Alexander Technique teacher with the Alexander Alliance. She is also in a certification program with the Vox Mundi Project for Yoga of the Voice. Darci teaches voice in Albuquerque at the New Mexico School of Music. ●

Seth Hartwell tenor Seth Hartwell has performed Baroque oratorio with such groups as VocalEssence, Santa Fe Pro Musica, and the Valparaiso University Chorale under the baton of worldrenowned Bach scholar Helmuth Rilling. He has performed with Desert Chorale II, The Santa Fe Opera, Opera Southwest, and the Royal Norwegian Opera. Seth has a Master’s degree in Vocal Performance from the University of New Mexico and a Bachelor’s degree in Music Education from Valparaiso University (Indiana). He maintains a private voice studio and is the Music Director of St. Paul Lutheran Church in Albuquerque. ●

The Quintessence Festival Chorus The Quintessence Festival Chorus is made up members of several different local choruses, all of whom participated in the 2nd annual Quintessence Summer Choral Festival. The ensemble includes both adult and student singers and forms each summer to present a masterwork of the choral/ orchestral literature in a short, intensive rehearsal period. The Summer Choral Festival is an initiative of Quintessence: Choral Artists of the Southwest. Founded in 1986, Quintessence strives to provide the Albuquerque community with opportunities to hear choral music, delivered with professionalism and a dose of quirkiness. ●

Artists .

Michael Hix baritone Baritone, Michael Hix has been praised by critics for his “expressive voice” and “commanding stage presence.” Dr. Hix’s career highlights include performances at Tanglewood Music Center, a solo appearance with the Boston Pops in “Bernstein on Broadway,” and his Carnegie Hall debut as the baritone soloist in Rutter’s Mass of the Children. Recent European performances include the bass solos in Haydn’s “Lord Nelson” Mass and Heiligmesse at the International Haydn Festival in Vienna, Austria, and song recitals in Dresden and Leipzig, Germany. A frequently sought after concert soloist, his repertoire includes over 35 oratorios/cantatas. Hix has been featured in concerts with the Boston Pops, Orlando Philharmonic Orchestra, Georgia Symphony, New Mexico Philharmonic, Canticum Novum, Tallahassee Symphony, Tupelo Symphony, Montgomery Symphony, and Tallahassee Bach Parley. Included among his over 20 stage roles are Falke in Die Fledermaus, the Drunken Poet in The Fairy Queen, Grosvenor in Patience, Germont in La traviata, and Noye in Noye’s Fludde. His 2014/15 season includes Brahms’s Requiem in Dallas, Noye in Britten’s opera Noye’s Fludde in Washington, a Christmas Pops concert with the Montgomery Symphony, and Bach Cantatas 54 and 32. Hix was recently presented the Thomas Hampson Award from the American Musicological Society, and a Research Visit Grant from the DAAD to support his continued research on the Lieder of East German composer Paul Dessau. Dr. Hix is an Assistant Professor of Vocal Studies at the University of New Mexico. ●

The New Mexico Philharmonic

Oriol Sans conductor Oriol Sans was born in Catalonia, Spain, where he began his musical studies when he was five years old. At the age of nine, he began to study violin and piano when he became a member of the Escolania de Montserrat. He graduated in Orchestral and Choral Conducting from the Barcelona Conservatory, and received the school’s Honors Award in both specialties. In 2006, Oriol became a student in Orchestral Conducting at the University of Michigan School of Music,Theatre and Dance, where he studied with Professor Kenneth Kiesler as the recipient of the Dorothy Greenwald Scholarship for promising instrumentalists, conductors, and composers. In December 2007, the Agustí Pedro i Pons Foundation in Barcelona granted him a scholarship for upper level musical studies. He received his Master’s degree in Orchestral Conducting (2008) and his Doctorate in Musical Arts (2011) from the University of Michigan. Oriol has complemented his musical studies with masterclasses in Spain, Austria, Germany, England, France, Canada, and the United States with Professors George Hurst, Denise Ham, Rodolfo Saglimbeni, Robert Houlihan, Salvador Mas, Jörg Bierhance, Jesús López-Cobos, David Effron, Gennady Rozhdestvensky, and Gustav Meier. He also holds a degree in Humanities from the Pompeu Fabra University in Barcelona, and he completed graduate courses in musicology at the Autònoma of Barcelona University. Oriol was music director of the Mollerussa String Youth Orchestra, guest conductor of the La Noguera Chamber Orchestra, guest conductor of the Diputació de Tarragona Youth Symphony Orchestra, assistant conductor of the

Feminine Choir of Barcelona Conservatory, and music director of the Eurídice Choir and the Lleida University Choir. He taught at the Mollerussa School of Music and at the Lleida Conservatory where he conducted the Lleida Conservatory Symphony Orchestra among other ensembles. In addition, he was a faculty member at Lleida University where he collaborated with the Aula de Música and the Musicology Laboratory. He has been assistant conductor to maestros Kenneth Kiesler, John Nelson, Jerry Blackstone, and Martin Katz with several orchestras and projects, including a production of the Damnation of Faust by Berlioz in Lisbon with the Gulbenkian Orchestra, and the Ensemble Orchestral de Paris for their concerts in the Festival de Saint-Denis and in the Théatre des Champs-Elysées. While a doctoral student, he conducted performances of two opera productions, Eugene Onegin in 2008 and The Marriage of Figaro in 2009, and in November 2011, he was appointed the music director of a production of Verdi’s Falstaff. Oriol was the music director of the University of Michigan Campus Philharmonia and Campus Symphony Orchestras from 2008 to 2010, and he currently holds the music director position of the Life Sciences Orchestra. In 2012, he was a guest conductor of the San Juan Symphony in Durango (Colorado) and the Orquesta Filarmónica de Jalisco in Guadalajara (Mexico). He also works as the score reader for the Detroit Symphony Orchestra for their webcast series. ●

nmphil.org

Artists .

Alexander Gavrylyuk piano The Ukrainian pianist Alexander Gavrylyuk began his piano studies at the age of seven and gave his first concerto performance when he was nine years old. In 1996, he was a prize winner in Senigalia, Italy, and in 1997, was a 2nd prize winner at the Second Horowitz International Piano Competition in Kiev. The next big step for Alexander was going back to compete at the 3rd Horowitz International Piano Competition and winning the coveted First Prize and Gold medal in 1999. He was proclaimed “the best sixteen-year-old-pianist of the late twentieth-century” by Japanese critics in November 2000 after winning First Prize in the prestigious 4th Hamamatsu International Piano Competition in Japan. He was 16 years old in a field of competitors ranging in age from 16 to 32. Alexander returns regularly, touring Japan and performing to a full house in Suntory Hall and Tokyo Opera City Hall. He recorded his first two CDs in Japan. Alexander Gavrylyuk lived in Sydney, Australia from 1998 to 2006. His Australian performances include the “Stars of the Future” series at Government House in 1998, Proms Concert for the Festival of Sydney (1999), and the Sergei Rachmaninoff and Prokofiev Festivals of Piano Concertos (1998, 1999). He has numerously performed for both radio (ABC Classic FM) and television (ABC and SBS). His Australian concert activities in more recent years have included recitals at the Sydney Opera House, City Recital Hall in Sydney, as well as performances with the Melbourne Symphony and the West Australian Symphony Orchestras in 2006. In April 2005, Alexander Gavrylyuk won the First Prize, Gold Medal, as well as the Best Performance of a Classical Concerto, in 16

2014/15 Season

the internationally renowned 11th Arthur Rubinstein International Piano Masters Competition. That year, VAI International recorded his live performance at the Miami Piano Discoveries Festival, USA, for international DVD release which went on to receive four and five star ratings in the international press. Alexander Gavrylyuk has performed with the Russian National Orchestra, Israel Philharmonic Orchestra, Tokyo Symphony Orchestra, Osaka Philharmonic, Warsaw Philharmonic Orchestra, Israeli Chamber Orchestra, Kiev Philharmonic Orchestra, Melbourne Symphony, and the Western Australia Symphony. He has performed with conductors Vladimir Spivakov, Leif Segerstam, Vlamidir Fedoseyev, Igor Gruppman, and Dan Ettinger. In January 2007, Alexander Gavrylyuk had his solo debut recital at the Great Hall of the Moscow Conservatorium at the invitation of Nikolay Petrov. Currently based in Moscow, he has also performed a solo recital at the Kremlin. ●

Meet the Musicians Barbara Morris violin Barbara Morris was born in Albuquerque, New Mexico, and as a child, watched her father, Richard Scalf, play the violin in the Albuquerque Civic Symphony. Thus, at an early age, she knew that playing the violin was what she wanted to do. After high school, Barbara played in the Festival of Three Cities Orchestra in Vienna, Austria, and won a college scholarship for her solo performance. Barbara holds a Bachelor’s degree in Music Performance from the University of New Mexico. Barbara played with the New Mexico Symphony Orchestra for 38 years and looks forward to watching the New Mexico Philharmonic continue to grow and expand. She also plays with the Santa Fe Symphony, Opera Southwest, and the San Juan Symphony in Durango, Colorado. Barbara also holds a Master’s degree in Education from the University of New Mexico specializing in Learning Disabilities and Full Inclusion classrooms. She teaches in the Albuquerque Public Schools and was selected as the APS Teacher of the Month in September of 2011. She currently teaches history at Grant Middle School. Barbara is also an adjunct professor for the University of New Mexico and teaches education classes to undergraduate and graduate level teacher candidates. The music gene continues on in Barbara’s family. Her son, Thomas, has two successful rock bands named the “Coma Recovery” and “Bathhouse.” Their third commercial CD was released in July of 2011, and they have traveled extensively throughout the United States. ●

Board of Directors Maureen Baca President Thomas C. Bird Secretary Treasurer

New Mexico Philharmonic

Ruth Bitsui Vice President for Operations

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

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

Second Violin Anthony Templeton • Carol Swift-Matton •• Julanie Lee Justin Pollak Michael Shu Ting Ting Yen Roberta Branagan Sheila McLay Susan French Brad Richards

Flute Valerie Potter • Sara Tutland Jiyoun Hur •••

Viola Gary Logsdon •+ Kimberly Fredenburgh •++ Allegra Askew •• ++ Christine Rancier Sigrid Karlstrom Virginia Lawrence Willy Sucre Joan Hinterbichler Lisa DiCarlo

English Horn Melissa Peña •••

Piccolo Sara Tutland Oboe Kevin Vigneau • Amanda Talley

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

Dr. Larry Lubar Vice President for Development Anne Eisfeller Ronald Gerencer Eric Herrera Marc Powell Steve Schroeder Al Stotts Anthony Trujillo Nathan Ukens Richard White Advisory Board Joan Allen Lee Blaugrund Clarke Cagle Robert Desiderio Steve Paternoster Evan Rice Heinz Schmitt Staff

Marian Tanau

Executive Director

Bass Trombone David Tall

Chris Rancier

Tuba Richard White •

Alexis Corbin

Timpani Douglas Cardwell • Percussion Jeff Cornelius • Kenneth Dean Emily Cornelius Harp Anne Eisfeller •

Executive Assistant & Media Relations 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

nmphil.org

Thank You .

Sponsors

Sound Applause

The concerts of the New Mexico Philharmonic are supported in part by the City of Albuquerque Department of Cultural Services, the Bernalillo County, the Albuquerque Community Foundation, and the McCune Foundation. Interested in becoming a sponsor of the NMPhil? Call Today (505) 323-4343.

albuquerque community Foundation albuquerquefoundation.org

bank of albuquerque bankofalbuquerque.com

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bnsF railway Foundation bnsffoundation.org

city of albuquerque cabq.gov

cliff’s amusement park cliffs.net

computing center inc. cciofabq.com

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eye associates of new mexico eyenm.com

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holman’s usa holmans.com

home2 suites by hilton abqdowntown.home2suites.com

hunt Family Foundation huntfamilyfoundation.com

John moore & associates johnmoore.com

keleher & mcleod keleher-law.com

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menicucci insurance agency mianm.com

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2014/15 Season

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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.

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support your nmphil today Donate. Volunteer. Advertise. Planned Giving. (505) 323-4343 nmphil.org/support

Phone 505 32 Fax 34 5 05 323 343 E m 3997 a il in www.n fo@nmphil. org mphil .org

William A. Wiley

Your generosity and support have allowed us to complete three wonderful seasons and start a spectacular fourth. By making a donation to our Annual Fund you will help support our concert series and community-based programs as well as our wonderful orchestra. We can do this only with your support. Thank you so much for your generosity.

Mailin g PO Bo x2 Albu u 1428 q erque, NM 87 154 Office s 500 C o p p e r Avenu Albuqu e NW, erque, Suite 1 NM 87 02 102

Maureen & Stephen Baca Nancy Berg Thomas C. Bird & Brooke E. Tully Edison & Ruth Bitsui Dr. & Mrs. Larry Lubar

NMPhil Annual Fund

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 First United Methodist Church Natural Touch Photography, Guillermo Quijano-Duque Popejoy Hall Southwest Security St. John’s United Methodist Church St. Luke’s Lutheran Church

The New Mexico Philharmonic

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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Donor Circles .

Donor Circles Thank You for Your Support

Benefactor Circle Donation of $50,000 + Albuquerque Community Foundation Anonymous Lee Blaugrund Linda Buffett City of Albuquerque Marilyn & Ben Heyward

Beethoven Circle Donation of $25,000– $49,999

Bernalillo County Commission The Meredith Foundation McCune Charitable Foundation Marc Powell & Holland Sutton

Mozart Circle Donation of $10,000– $24,999

Anonymous APS Foundation The Computing Center Inc., Maureen & Stephen Baca Suzanne S. DuBroff, in memory of Warren DuBroff Holman’s USA, LLC, Anthony D. Trujillo Lockheed Martin/Sandia National Laboratories Music Guild of New Mexico & Jackie McGehee Young Artists’ Competition for Piano & Strings The Honorable & Mrs. James A. Parker PNM Resources Foundation Popejoy Hall Vein Center of New Mexico, Dr. Ole & Sheila Peloso Wells Fargo

Brahms Circle Donation of $5000–$9999

Anonymous BNSF Railway Foundation Andrea Escher & Todd Tibbals Elaine & Frederick Fiber Ann & Gordon Getty Foundation Hancock Family Foundation F. Michael Hart Home2 Suites by Hilton, Roxanne Schumaker Virginia Lawrence Dr. & Mrs. Larry Lubar John Moore & Associates, Inc. Bob & Bonnie Paine Payday, Inc. Real Time Solutions, Steve Schroeder Sandia Foundation, Woodward Grant Sandia Laboratory Federal Credit Union, Robert Chavez Scalo Northern Italian Grill, Steve Paternoster Southwest Gastroenterology Associates

2014/15 Season

Melissa & Al Stotts U.S. Bank Foundation Dr. & Mrs. Albert Westwood William Wiley Dr. Dean Yannias

Chopin Circle Donation of $3500–$4999 Anonymous Bank of Albuquerque Eugenia & Charles Eberle Eye Associates of New Mexico Cynthia & Thomas Gaiser Mary & Sam Goldman Howard Henry Diane M. Mueller Marian & Jennifer Tanau

Grace Thompson Circle Donation of $1933–$3499

Paula & William Bradley Coleman Vision, Stephen C. Coleman, MD Richard & Margaret Cronin Bob & Greta Dean Firestone Family Foundation Frances & Robert Fosnaugh Eiichi Fukushima Roland Gerencer, MD Keith Gilbert Helen A. Grevey & Jay D. Hertz Mary Herring & Robert Stamm Lexus of Albuquerque Erika Blume Love Marriott Albuquerque Menicucci Insurance Agency Microsoft Sara Mills & Scott Brown Marvin Moss Ruth & Charles Needham Cynthia Phillips & Thomas Martin Beverly Rogoff Ellen Ann Ryan Alicia & Russell Snyder Barbara & Richard VanDongen Kathleen & David Waymire

Bach Circle Donation of $1000–$1932

Dave & Maureen Anderson Anonymous Nancy & Cliff Blaugrund Deborah Borders Dr. Marythelma Brainard & Dick Ransom Pat & Carter Broyles Bueno Foods, Jacqueline Baca & Ana Baca Bill Byers Jonathan Miles Campbell Barbara & David Cappel Century Bank Fred & Lori Clark Cliff’s Amusement Park, Linda & Gary Hays Krys & Phil Custer D’Addario Foundation Clare W. Dreyer David & Ellen Evans Frank & Christine Fredenburgh French’s Funerals Gertrude J. Frishmuth, MD

Kate Fry & Robert Bower Katherine Garland Barbara & Berto Gorham Madeleine Grigg-Damberger & Stan Damberger Stuart Harroun The Hubbard Broadcasting Foundation Innovative Business Controls, Tom Gautsch Chris & Karen Jones Stephanie & David Kauffman Connie Krelle Stephanie & Ken Kuzio Lieber’s Luggage Kathy & John Matter Joan McDougall Jackie & C. Everett McGehee Ina S. Miller Mark & Susan Moll Claudia Moraga Lynn Mostoller George & Mary Novotny Carol & Gary Overturf Julia Phillips & John Connor PNM Resources Foundation, Matching Grants William P. Poteet, in memory of Horace Monroe Poteet Matthew Puariea Carolyn Quinn & John Crawford Mary Raje, in memory of Frederick C. Raje Jacquelyn Robins, in honor of Melvin Robins’s 92nd birthday Melvin Robins James & Sandee Robinson Barbara & Heinz Schmitt Stephen Schroeder Thomas Seamon Meryl & Ron Segel Serafian’s Oriental Rugs Katharine & Gregory Shields Janet & Michael Sjulin Vernon Smith Susan Spaven Jane & Doug Swift Lynett & David Tempest Brooke Tully & Thomas Bird Betty Vortman Tony & Susan Waller Jane & Scott Wilkinson Lance Woodworth

Concertmaster Circle Donation of $500–$999

Leah Albers & Thomas Roberts Joan Allen Carl & Linda Alongi Anderson Organizing Systems Judith & Otto Appenzeller Mary & John Arango Stephanie & Leonard Armstrong Sally Bachofer Daniel Balik Dorothy M. Barbo Richard K. Barlow Sheila Barnes Holly Barnett-Sanchez & David Foster Dennis Basile Gay & Stan Betzer Sheila & Bob Bickes Ruth Bitsui Jane Ann Blumenfeld David Brooks

Susanne B. Brown Gordon Cagle Dawn & Joseph Calek Jose & Polly Canive Edith Cherry & Jim See Betty Chowning Margaret & Tze-Yao Chu 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 Marlin Kipp La Vida Llena Rita Leard Jae Lee Maureen & Richard Lincoln Harry & Elizabeth Linneman Myra & Richard Lynch Tyler M. Mason Thomas & Edel Mayer Kathryn McKnight John & Kathleen Mezoff Martha Miller Rebecca Okun Jerald & Cindi Parker Howard & Frederica Paul John Provine Dan Rice Clifford & Sandra Richardson 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 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 David Worledge Andrea Yannone

Principals Circle Donation of $125–$499 Fran A’Hern Smith John B. Aidun & Joan M. Harris

Albertsons Community Partners Program 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 B. L. Brumer Fred Bryant 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 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 Dianne Cress & Jon McCorkell Alyce Cummins Mollie & Bob Custer Stephen Czuchlewski Hubert O. Davis Jr. George deSchweinitz Jr. Cdr. Jamie & Carol Deuel Fran DiMarco Catie S. Dixon

Donor Circles . Raymond & Anne Doberneck Janice Dosch 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 Paul & Marcia Greenbaum Matthew & Amy Greer Peter Gregory Sharon Gross Dick & Suzanne Guilford Ron Halbgewachs Samuel & Leila Hall Robert W. Hammersrein III Roger Hammond & Katherine Green Hammond Harris L. Hartz Margaret Harvey & Mark Kilburn Dorothy D. Hawkins John & Diane Hawley Martha Heard 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 Mary Julyan Carol Kaemper Ira & Sheri Karmiol Thomas & Greta Keleher Ann King Toni & Robert Kingsley Allene & Walter Kleweno Karen & Bill Knauf Meredith & Noel Kopald

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 Kathleen McCaughey Randall & Monica McComus Bob & Susan McGuire Karen McKinnon & Richard A. Stibolt Cynthia & Paul McNaull Bernard & Mary Metzgar Virginia & Stephen Meyer Bruce A. Miller Joyce Miller Peggy Sanchez Mills & Jim Mills Christine & Russell Mink 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 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 Michael & Jeanine Zenge Nancy & Michael Zwolinski

Friends of the Philharmonic Donation of $25â&#x20AC;&#x201C;$124 Bill & Sall Aber

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 Judy Binder 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 Diane & Douglas Brehmer Bailey 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 Kathy & Lance Chilton 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 Mark Curtis Daniel P. Davis Joan Davis Ann Dehart 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 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 Sylvia & Ron Eisenhart 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 Rosario Fiallos 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 & Michael Garcia William Garrison

continued on 22 The New Mexico Philharmonic

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Donor Circles . continued from 21 Jim & Margaret Gates Duane & Janet Gilkey Galen Gisler Todd A. Goldblum, MD Laurence Golden 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 Robert Jones Wilbur & Justin Kahn Summers & Norty Kalishman Julius & Robin Kaplan 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 Michael & Malva Knoll Larry & Diana Koester

2014/15 Season

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 Pete & Lois McCatharn 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 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 Elizabeth Norden 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 Gloria & Greg Olson, in memory of Louise Coonce Estherella Olszowka Margaret Palumbo Margaret & Doyle Pargin Judyth Parker Diane & Mark Parshall Joan & L. Parsons, in memory of Robert Taichert Marjorie Patrick & Michael Van Laanen Larry Pearsall Margery Pearse James & 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 Barbara Pierce, in memory of Richard Kavet Barbara Pierce, in memory of Elise Schoenfeld 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 John Salathe 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 David Srite Jack Stamm Charlie & Alexandra Steen Donald Stehr Geny Stein Patricia & Luis Stelzner Andrea Sterling 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 Phyllis Taylor & Bruce Thomson Richard & Carolyn Tecube Nina & Gary Thayer Elisabeth Thibault Patricia & George Thomas Richard Thompson 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 Walter Vandevender David Vaughan Barbara Vayda, in memory of Zach Tropp Jean Villamarin 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 Alan D. & Elaine Weisman Thomas Wellems Justin Welter 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 10/15/2014

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Upcoming Concerts

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Popejoy Classics Popejoy Hall (505) 925-5858 unmtickets.com

Popejoy Pops Popejoy Hall (505) 925-5858 unmtickets.com

Neighborhood Concerts Albuquerque (505) 323-4343 nmphil.org

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, 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

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, 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

Phone 505 32 Fax 34 5 05 323 343 E m 3997 a il in www.n fo@nmphil. org mphil .org

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

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 Mailin g PO Bo x2 Albu u 1428 q erque, NM 87 154 Office s 500 C o p p e r Avenu Albuqu e NW, erque, Suite 1 NM 87 02 102

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”

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

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

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PRESENTING RC 350 COMING SOON TO LEXUS OF ALBUQUERQUE AND LEXUS OF SANTA FE