New Mexico Philharmonic 2014/15 Season Program Book 5 by New Mexico Philharmonic

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2014/15 Season

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Welcome .

Table of Contents JANUARY 11, 2015

Program Program Notes David Felberg JANUARY 24, 2015

Program Program Notes Andrew Grams Fumiaki Miura YOUR NMPHIL

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Concert Program .

Sunday, January 11, 2015, 2 p.m.

NHCC Classics: The Seasons

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David Felberg conductor and violin

National Hispanic Cultural Center

The Four Seasons Concerto No. 1 in E Major, Op. 8, RV 269, “La primavera” (Spring) I. Allegro II. Largo e pianissimo sempre III. Allegro pastorale

Antonio Vivaldi (1678–1741)

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

The Meredith Foundation

Concerto No. 2 in g minor, Op. 8, RV 315, “L’estate” (Summer) I. Allegro non molto II. Adagio e piano–Presto e forte III. Presto Concerto No. 3 in F Major, Op. 8, RV 293, “L’autunno” (Autumn) I. Allegro II. Adagio molto III. Allegro Concerto No. 4 in f minor, Op. 8, RV 297, “L’inverno” (Winter) I. Allegro non molto II. Largo III. Allegro

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Adagio for Strings

“Holberg” Suite, Op. 40 I. Praeludium II. Sarabande III. Gavotte IV. Air V. Rigaudon

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Samuel Barber (1910–1981)

Edvard Grieg (1843–1907)

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Program Notes .

Program Notes Lori Newman

Antonio Vivaldi

Born 1678, Venice, Italy Died 1741, Vienna, Austria

The Four Seasons (1723) Antonio Vivaldi was one of the most prolific composers of the Baroque period. Most of his works were instrumental including over 500 concerti for various instruments, with approximately 350 for solo instruments, primarily the violin. In addition to being Italy’s most famous composer, he was also a violin virtuoso and greatly respected teacher in the early 18th century. The Four Seasons (Le quattro stagioni) is a set of four violin concerti written to accompany four sonnets, presumably written by Vivaldi himself, named after the seasons. They were written in 1723, and in 1725, were published with eight other concerti in a collection entitled, Il cimento dell’armonia e dell’inventione (The Contest Between Harmony and Invention). Vivaldi’s three-movement concerto format of fast/slow/fast became the model for future generations of composers. The Four Seasons is a classic example of program music–music which contains an extra-musical narrative or “program.” Each sonnet is written in three parts, corresponding to the three movements of each concerto. Vivaldi masterfully creates several musical effects and affects to express various events and moods of the sonnets. He conjures bird calls, gentle breezes, a sleeping shepherd, and a bagpipe dance in “Spring”; oppressive heat, insects, and a storm in “Summer”; the harvest and a hunting expedition in “Autumn”; and falling ice, a windstorm, and warming up by the fireplace in “Winter.”

SPRING

AUTUMN

SUMMER

WINTER

I. Allegro Springtime is upon us. The birds celebrate her return with festive song, and murmuring streams are softly caressed by the breezes. Thunderstorms, those heralds of Spring, roar, casting their dark mantle over heaven, Then they die away to silence, and the birds take up their charming songs once more. II. Largo e pianissimo sempre On the flower-strewn meadow, with leafy branches rustling overhead, the goat-herd sleeps, his faithful dog beside him. III. Allegro pastorale Led by the festive sound of rustic bagpipes, nymphs and shepherds lightly dance beneath the brilliant canopy of spring. I. Allegro non molto Beneath the blazing sun’s relentless heat men and flocks are sweltering, pines are scorched. We hear the cuckoo’s voice; then sweet songs of the turtle dove and finch are heard. Soft breezes stir the air….but threatening north wind sweeps them suddenly aside. The shepherd trembles, fearful of violent storm and what may lie ahead. II. Adagio e piano—Presto e forte His limbs are now awakened from their repose by fear of lightning’s flash and thunder’s roar, as gnats and flies buzz furiously around. III. Presto Alas, his worst fears were justified, as the heavens roar and great hailstones beat down upon the proudly standing corn.

Vivaldi masterfully creates several musical effects and affects to express various events and moods of the sonnets.

I. Allegro The peasant celebrates with song and dance the harvest safely gathered in. The cup of Bacchus flows freely, and many find their relief in deep slumber. II. Adagio molto The singing and the dancing die away as cooling breezes fan the pleasant air, inviting all to sleep without a care. III. Allegro The hunters emerge at dawn, ready for the chase, with horns and dogs and cries. Their quarry flees while they give chase. Terrified and wounded, the prey struggles on, but, harried, dies. I. Allegro non molto Shivering, frozen mid the frosty snow in biting, stinging winds; running to and fro to stamp one’s icy feet, teeth chattering in the bitter chill. II. Largo To rest contentedly beside the hearth, while those outside are drenched by pouring rain. III. Allegro We tread the icy path slowly and cautiously, for fear of tripping and falling. Then turn abruptly, slip, crash on the ground and, rising, hasten on across the ice lest it cracks up. We feel the chill north winds coarse through the home despite the locked and bolted doors … this is winter, which nonetheless brings its own delights. ●

Samuel Barber

Born 1910, West Chester, Pennsylvania Died 1981, New York, New York

Adagio for Strings (1936) Dear Mother: I have written this to tell you my worrying secret. Now don’t cry when you read it because it is neither yours nor my fault. I suppose I will have to tell it now without any nonsense. To begin with I was not meant to be an athlet [sic]. I was meant to be a composer, and will be I’m sure. I’ll ask you one more thing. Don’t ask me to try to forget this unpleasant thing and go play football … please. The preceding was written by the nine-yearold Samuel Barber, who very clearly knew continued on 6

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Program Notes . continued from 5 what he wanted his future to hold. Born into a musical family, Barber began singing and playing the piano at an early age; he was composing by age seven. At the age of fourteen, he entered the prestigious Curtis Institute of Music, studying piano, voice, and composition. The Adagio for Strings is Barber’s most celebrated and famous work. The piece originated as the second movement of his String Quartet, Op. 11, which was written in 1936 while Barber traveled throughout Europe accompanied by his longtime companion and fellow composer Gian Carlo Menotti. The same year, Barber arranged the movement for string orchestra. In 1938, he sent the version for string orchestra (along with his First Essay) to Arturo Toscanini. Toscanini had recently made a call for new music to be performed at the Salzburg Festival. Both scores were returned to Barber without any comment from Toscanini. Barber was irritated, but soon all was forgiven when he got word that Toscanini planned to perform both works, not only in Salzburg, but he would also premiere them in South America and throughout a European tour. The premiere of the Adagio for Strings took place on November 5, 1938, with Toscanini conducting the NBC Orchestra at Studio 8H in Rockefeller Center. The concert was a live radio broadcast in front of an invited audience. The work is written in arch form (e.g., ABCBA), and is characterized by impossibly long phrases, harmonic suspensions, and frequent meter changes. Barber’s Adagio for Strings has been performed at many funerals and memorial services of famous people including: Franklin Delano Roosevelt, Albert Einstein, and Princess Grace of Monaco. The Monday after the assassination of John F. Kennedy Jr., Jackie Kennedy organized a concert with the National Symphony Orchestra, which included the Barber, a favorite of the slain president. The concert

“I can see it all before me, snow, hail, storm and every kind of foul weather … Oh well, it’s one way of dying for one’s country!” —Edvard Grieg

was played to an empty concert hall and was broadcast over the radio. The Adagio for Strings was also famously used for memorials and tributes of the September 11th terrorist attacks. When asked about the use of his work for such occasions, Barber replied, “They always play that piece. I wish they’d play some of my other pieces.” The work has also made it into both film and television, making it a pop culture mainstay. It has appeared in serious films such as Platoon and The Elephant Man and in comedic turns such as Seinfeld, The Simpsons, and South Park. ●

Edvard Grieg

Born 1843, Bergen, Norway Died 1907, Bergen, Norway

“Holberg” Suite, Op. 40 (1885) Grieg’s From Holberg’s Time: A Suite in Olden Style was written to celebrate the 200th anniversary of the birth of DanishNorwegian writer Ludvig Holberg (1684– 1754). The city of Bergen (both Grieg and Holberg’s birthplace) commissioned two works from Grieg for the occasion, a cantata for male voices which was quickly forgotten, and the “Holberg” Suite. The cantata was to be performed outdoors surrounding the new Holberg monument, while the suite was to be performed in the concert hall. The celebration was in December and Grieg wrote

“Dear Mother: … don’t cry when you read … I was not meant to be an athlet [sic]. I was meant to be a composer.” —Samuel Barber

2014/15 Season

of the potential for disaster with an outdoor cantata in the midst of a Norwegian winter. He wrote, “I can see it all before me, snow, hail, storm and every kind of foul weather, huge male choir with open mouths, the rain streaming into them, myself conducting with waterproof cape, winter coat, galoshes, and umbrella! And a cold afterwards, of course, or goodness knows what kind of illness! Oh well, it’s one way of dying for one’s country!” Since Holberg’s life coincided with the great Baroque masters Bach and Handel, Grieg chose the Baroque form of the suite for his tribute. He infuses the work with contemporary writing and style within the confines of Baroque dance forms. The “Holberg” Suite was originally written for piano and following its success after the premiere, Grieg transcribed it for string orchestra the following year. The “Holberg” Suite is unified by a central key (the norm for Baroque Suites) of “G”–G Major for all movements, save the Air, which is in g minor. The Praeludium gives the illusion of “moto perpetuo,” written in toccata style with figuration and running scales throughout. The Sarabande is an elegant and stately dance in 3/4 time, which is a stunning contrast to the animated state of the first movement. The Gavotte includes the contrasting dance of a Musette; a French dance typically danced to bagpipe accompaniment. Grieg mimics this bagpipe characteristic by writing a drone in the lower strings. The Air is not a dance, but rather an Andante religioso, often compared to Bach’s “Air on the G String.” The final movement is a Rigadoun, a lively French dance in duple meter, whose ebullient character bookends a lyrical middle section. In the fast sections, Grieg writes the violin and viola soloists as imitations of the Norwegian Hardanger fiddle, used in much of the country’s folk music. ● Program Notes ® Lori Newman

Concert Program .

Saturday, January 24, 2015, 6 p.m. / 5 p.m. Pre-Concert Talk

Popejoy Classics: Fumi Plays Tchaikovsky

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Andrew Grams conductor Fumiaki Miura violin

Popejoy Hall

Romanian Rhapsody No. 1 in A Major, Op. 11 George Enescu (1881–1955)

Violin Concerto in D Major, Op. 35 I. Allegro moderato II. Canzonetta: Andante III. Finale: Allegro vivacissimo

Peter Ilyich Tchaikovsky (1840–1893)

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

Southwest Gastroenterology Associates Cynthia & Thomas Gaiser

Fumiaki Miura violin

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Concerto for Orchestra I. Introduzione: Andante non troppo II. Presentando le coppie: Allegro scherzando III. Elegia: Andante non troppo IV. Intermezzo interrotto: Allegretto V. Finale: Pesante–Presto

Béla Bartók (1881–1945)

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

The New Mexico Philharmonic

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Program Notes .

Program Notes Lori Newman

George Enescu

Born 1881, Liveni Vîrnav, Romania Died 1955, Paris, France

Romanian Rhapsody No. 1 in A Major, Op. 11 (1901) Arguably Romania’s most prized composer, George Enescu began his musical studies on the violin at the age of four. At the tender age of seven, he entered the Vienna Conservatory, and by age eleven, he was considered a violin virtuoso. He entered the Paris Conservatory at age fourteen and began studying composition with two French greats: Jules Massenet and Gabriel Fauré. Throughout his life, Enescu alternated between living in Romania and Paris, although after the Soviets occupied Romania, he remained in Paris. Enescu wrote his two Romanian Rhapsodies when he was just nineteen and twenty years old, respectively, and unfortunately for the composer, they would eclipse all of his later works. His Romanian Rhapsody No. 1 is the more popular of the two, and its lively dance tunes and frenetic tempos make the piece a concert hall crowd pleaser. Enescu is quoted as saying that the melodic material for the Rhapsody No. 1 is “just a few tunes thrown together without thinking about it.” This was perhaps a way for him to shrug off and distance himself from the popularity of his early work, in the hopes that his later compositions would be taken more seriously. In looking at the sketches of the work, however, it is clear that Enescu meticulously laid out the order of the folk tunes and their instrumentation. The Romanian Rhapsody No. 1 premiered on March 8, 1903, with the composer conducting his two Romanian Rhapsodies and his First Suite for Orchestra, Op. 9. The premiere took place at the Romanian Athenaeum in Bucharest. Enescu never achieved much acclaim outside of Romania, and the composer has a theory as to why. He states: People have been puzzled and annoyed because they have been unable to catalogue and classify me in the usual way. They could not decide exactly what type of music mine was. It was not

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The Concerto was initially dedicated to the great Hungarian violinist and teacher Leopold Auer, who assessed it as “unplayable” and refused to premiere the work. French after the manner of Debussy, it was not exactly German, they declared. In short, while it did not sound outlandish, it did not closely resemble anything familiar, and people are annoyed when they cannot readily classify one. That, I feel sure, comes from the fact that my musical education was not confined to one locality. ●

Pyotr Ilyich Tchaikovsky Born 1840, Votkinsk, Russia Died 1893, St. Petersburg, Russia

Violin Concerto (1878) Tchaikovsky’s Violin Concerto was written during a very tumultuous time in the composer’s life. In 1878, he found himself in Clarens, Switzerland, recovering from a disastrous marriage and subsequent suicide attempt, albeit a rather half-hearted one. The story of Tchaikovsky’s brief and ill-conceived marriage begins in May of 1877, when a former student of Tchaikovsky, Antonina Miliukov, sent a letter espousing her undying love for the composer. To be clear, Miliukov had never been a private student of Tchaikovsky’s, but merely one of many he had taught in a large lecture-style classroom. It is believed that they never had much direct contact, just a face in the crowd. Tchaikovsky handled the letter poorly. He was conflicted in many ways: Since his mother’s death, he had yearned for a home life and sense of stability that her death had taken from him; he was fighting his own feelings of sexuality and what to do with them; and he wanted to quell the rumors of homosexuality that surrounded him. His response to the letter was ambivalent, and he eventually agreed to meet Antonina in June and within the week, they were engaged. In a whirlwind “romance,”

they were married in July; Tchaikovsky had fled by September. His brother Anatoly stepped in and took the weary and shell-shocked composer on a tour of Europe. Tchaikovsky had returned to composing, finishing his Fourth Symphony in January of 1878 and the opera Eugene Onegin in February. By March of 1878, Tchaikovsky had settled into Switzwerland, where he was joined by a young violinist named Yosif Kotek. Kotek was a former student of Tchaikovsky’s at the Moscow Conservatory, a brilliant violinist, and most likely Tchaikovsky’s one-time lover. It is assumed that Kotek’s presence was the inspiration for Tchaikovsky composing his Violin Concerto. Soon after Kotek’s arrival, the pair had read through Lalo’s violin concerto, Symphonie espagnol, which possibly started Tchaikovsky thinking about writing a violin concerto of his own. It was written in short order, taking a mere eleven days to complete, save the orchestration. Kotek helped Tchaikovsky with many of the technical aspects of his Violin Concerto, and it is believed that Tchaikovsky had wanted to dedicate the work to him but thought that might shine too strong a light on their relationship. Kotek would have to settle as dedicatee of another work for violin and orchestra, the Valse-Scherzo in C Major, on which he also served as technical advisor. The Concerto was initially dedicated to the great Hungarian violinist and teacher Leopold Auer, who assessed it as “unplayable” and refused to premiere the work. Tchaikovsky was quite pained at this assessment and further worried that his Violin Concerto would fall into oblivion, saying, “Coming from such an authority, [the rejection] had the effect of casting this unfortunate child of my imagination into the limbo of the hopelessly forgotten.”

Program Notes .

Auer would later lament his decision and eventually became an ardent supporter of the piece. He said, “I have often deeply regretted it, and before his death received absolution from him [Tchaikovsky].” The concerto finally premiered in Vienna in 1881 with Adolf Brodsky (the new dedicatee) as soloist and Hans Richter conducting. The premiere was somewhat calamitous as it was under-rehearsed and the orchestra parts were filled with errors. The premiere performance procured the ire of several critics, but none as caustic as the review from the esteemed music critic Eduard Hanslick. He wrote: Tchaikovsky is surely no ordinary talent, but rather, an inflated one … lacking discrimination and taste. … The same can be said for his new, long, and ambitious Violin Concerto. … Tchaikovsky’s Violin Concerto raises for the first time the ghastly idea that there are pieces of music that one can hear stinking. … The violin is no longer played; it is tugged about, torn, beaten black and blue. Of the third movement, Hanslick wrote, “[the Finale] transports us to the brutal and wretched jollity of a Russian church festival. We see a host of savage, vulgar faces, we hear crude curses, and smell the booze.” Hanslick’s assessment is not without prejudice: He was a champion of Johannes Brahms, who did not like Tchaikovsky or his music. The feeling was mutual. Tchaikovsky was crushed by the review, nonetheless; he read and reread it so often that he eventually committed it to memory. The bad premiere notwithstanding, Brodsky went on to a successful performance in London and the concerto eventually secured itself a place in the violin repertoire. ●

“Coming from such an authority, [the rejection] had the effect of casting this unfortunate child of my imagination into the limbo of the hopelessly forgotten.” —Pyotr Ilyich Tchaikovsky

Béla Bartók

Born 1881, Nagyszentmiklós, Hungary Died 1945, New York, New York

Concerto for Orchestra (1943) Bartók’s Concerto for Orchestra is arguably in the “top ten” of any music scholar’s list of the most influential works of the 20th century. Its composition, however, would never have materialized if not for equal doses of synchronicity and serendipity. Béla Bartók came to the United States in 1940 to escape the encroachment of Nazi forces into his native Hungary. In Hungary, Bartók was a well-respected composer, pianist, and authority on the folk music traditions of Eastern Europe. In America, he was just another refugee; a casualty of war. His compositions, finances, and health quickly declined; he was forever worrying about money and was forced to take a small, part-time research job at Columbia University to support himself and his wife. He performed numerous piano recitals that he felt were tepidly received. He wrote in 1942, “My career as a composer is as much as finished; the

“I have often deeply regretted it, and before his death received absolution from him [Tchaikovsky].” —Leopold Auer

quasi-boycott of my works by the leading orchestras continues; no performances of either old works or new ones. It is a shame—not for me, of course.” He was discouraged, depressed, and downtrodden: Béla Bartók composed no new music for the first three years he was in America. Bartók’s health had declined to such a critical state that in 1943, he was hospitalized and underwent a battery of tests to determine the cause of his failing health. While in the hospital, a most unlikely visitor appeared at his door: none other than Serge Koussevitzky, the conductor of the Boston Symphony Orchestra. He brought with him a commission for a new orchestral work to be written for the Koussevitzky Music Foundation. This news revitalized Bartók, and he wrote the Concerto for Orchestra quickly, from August to October 1943, while recovering at a resort in Saranac Lake, New York, in the Adirondack Mountains. The work premiered on December 1, 1944, with Serge Koussevitzky conducting the Boston Symphony Orchestra. Bartók was in attendance at the premiere and wrote: “We went there for the rehearsals and performances—after having obtained the grudgingly granted permission of my doctor for this trip … The performance was excellent. Koussevitzky says it is the ‘best orchestra piece of the last 25 years’ (including the works of his idol, Shostakovich!).” For the Boston premiere, Bartók provided program notes that he entitled “Explanation to Concerto for Orchestra.” They begin: “The general mood of the work represents— apart from the jesting second movement—a gradual transition of the first movement and the lugubrious death song of the third, to the life-assertion of the last one. The title of this symphony-like orchestral work is explained by its tendency to treat the single instruments or continued on 11

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Program Notes . continued from 9 instrument groups in a concertant or soloistic manner. The ‘virtuoso’ treatment appears, for instance, in the fugato sections of the development of the first movement (brass instruments) or in the perpetuum-mobile-like passages of the principal theme in the last movement (strings), and, especially, in the second movement, in which pairs of instruments consecutively appear with brilliant passages.” The Concerto for Orchestra is a symphony in all but name. It contains five movements (as opposed to the usual symphonic four-movement archetype) and is palindromic in nature: the central third movement is bookended by scherzo-type movements, which are in turn bookended by large-scale outer movements. Bartók uses this same schematic in his Fourth String Quartet of 1928. Many of Bartók’s Hungarian friends have stated that the Concerto for Orchestra was written to express the homesickness the composer felt for Hungary. While Bartók did not include this information in his notes for the premiere, there is a pervasive sense of loss and sadness throughout the work, and especially in the opening of the first movement. The movement is written in modified sonata form and begins tentatively and darkly. The first true theme begins with the lamenting flute solo which is characterized by sighing uses of the minor second interval. Fragments of this theme are then passed to the trumpets and violins. Through an accelerando, the orchestra is propelled into the allegro vivace section, which alternates between fast, exciting passages and lyrical, slower ones. The second movement takes a respite from any allusions to the nostalgia from which Bartók may have been suffering. In this charming scherzo-like movement, entitled “Game of Pairs” or “Presenting the Couples,” various themes are presented by pairs of winds. The themes are unrelated and virtuosic for each instrument pair. Bartók states: The main part of the second movement consists of a chain of independent short sections, played by wind instruments consecutively introduced in pairs (bassoons, oboes, clarinets, flutes, and muted trumpets). Thematically, the five sections have nothing in common and could be symbolized by the letters A, B, C, D, E.

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A kind of ‘trio’—a short chorale for brass instruments and side drum—follows, after which the five sections are recapitulated in a more elaborate instrumentation. The third movement is the heart and soul of the Concerto for Orchestra. Bartók says of his third movement: “The structure of the third movement is chain-like: three themes appear successively. These constitute the core of the movement, which is enframed by a misty texture of rudimentary motives. Most of the thematic material of this movement derives from the introduction to the first movement.”

Bartók’s Hungarian friends have stated that the Concerto

for Orchestra

was written to express the homesickness the composer felt for Hungary. The fourth movement is again scherzo-like in nature. It is marked “Intermezzo interroto” or “Interrupted intermezzo,” and Bartók describes the form as ABA–interruption, BA. The first theme, presented in the oboe, is an off-kilter melody that alternates between 2/4 and 5/8, leaving the listener confused as to where the beat lies. The second theme, introduced by the violas, is an expansive cantabile theme that again returns us to the yearning disposition of the first and third

movements. The interruption begins with the clarinet solo after the second statement of the opening oboe theme. The interruption theme is “borrowed” from Shostakovich’s Seventh Symphony, “Leningrad.” During the time of Bartók’s hospitalization, this symphony received a lot of air time on the classical radio station. In Bartók’s mind, it received too much air time. Remember, during his hospitalization, Bartók couldn’t get his music performed, so perhaps a bit of jealousy was at play. Nonetheless, a portion of the “invasion” theme from the first movement of the Shostakovich is borrowed and used as the main germ for the interruption. This section can certainly be interpreted as farcical, and it can’t be a coincidence that multiple circus and raspberry sounds are included, perhaps allowing Bartók to blow off some steam regarding the Shostakovich’s ubiquity. The movement ends in a truly unsatisfying manner. Following the flute cadenza, the winds begin to play fragments of the opening theme. It sounds as if there will be another full statement, but instead the music just stops, as the oboe hands off three eighth notes to no one. The Finale is a raucous and rollicking movement in sonata form. It is perhaps the most Hungarian of all the movements, employing bagpipe-like ostinato and Hungarian dance rhythms. At the behest of Maestro Koussevitzky, Bartók added a twenty-two measure coda at the end of the Finale after the premiere. Both versions are performed in modern performances of the work. With the exception of the Sonata for Solo Violin, the Concerto for Orchestra was the last work that Bartók was able to finish in its entirety before his death. He left his Third Piano Concerto mostly finished, albeit not completely orchestrated, and his Viola Concerto was in shambles at the time of his passing. If not for the Koussevitzky commission, it is likely that Bartók would not have composed another work after his arrival in America in 1940. The commission resuscitated the composer and his career, but the illness that put him in the hospital where Koussevitzky found him, would eventually take the composer’s life, and with him, the possibility of more works in the vein of the astounding Concerto for Orchestra. ● Program Notes ® Lori Newman

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Artists .

David Felberg conductor and violin Praised by The Santa Fe New Mexican for his “fluid phrases; rich, focused tone; rhythmic precision; and spot-on intonation.” Albuquerque native, violinist and conductor David Felberg is Associate Concertmaster of the New Mexico Philharmonic. He also serves as Artistic Director and co-founder of Chatter Sunday, Chatter 20-21, and Chatter Cabaret. He is Concertmaster of the Santa Fe Symphony and Music Director of the Albuquerque Philharmonic. He also teaches contemporary music at the University of New Mexico. His robust conducting career has included conducting the New Mexico Symphony Orchestra, New Mexico Philharmonic, Santa Fe Symphony, and many performances of contemporary music with Chatter. David performs throughout the southwest as concert soloist, recitalist, and chamber musician. He made his New York debut in Merkin Hall in 2005. He received a Bachelor of Arts in History from the University of Arizona and a Master of Music in Conducting from the University of New Mexico. He has taken advanced string quartet studies at the University of Colorado with the Takacs Quartet and was awarded a fellowship to attend the American Academy of Conducting at the Aspen Music Festival. David plays an 1829 J.B. Vuillaume violin. ●

2014/15 Season

Andrew Grams conductor As one of America’s most promising and talented young conductors, Andrew Grams has already appeared with many of the great orchestras of the world including the Cleveland Orchestra, the Philadelphia Orchestra, the Chicago Symphony, the St. Louis Symphony, the Detroit Symphony, the National Symphony Orchestra of Washington D.C., and the orchestras of Baltimore, Dallas, Houston, New Jersey, and others in the United States. On the international arena, he has conducted the Montreal Symphony, the Vancouver Symphony, the Orchestre National de Lyon, the Orchestra of the Beethovenhalle Bonn, the BBC Symphony Orchestra London, the City of Birmingham Symphony Orchestra, the BBC National Orchestra of Wales, the Melbourne Symphony, the Orchestra of Santa Cecilia Rome, the Netherlands Radio Philharmonic, the Residentie Orchestra of the Hague, the Hamburg Symphony, and the Malmo Symphony. Maestro Grams was a protégé of Franz Welser-Moest and served as Assistant Conductor of the Cleveland Orchestra from 2004 to 2007. Mr. Grams made his first subscription series appearance with the Cleveland Orchestra in May 2006, conducting Schoenberg’s Second Chamber Symphony, and conducted his first series of full-length subscription concerts with the Cleveland Orchestra in November 2006. He also led programs with the orchestra at the Blossom Music Center in 2006 and 2007 and returned to lead the orchestra again at the Blossom Music Center in July 2010. The 2011/12 season brought major subscription debuts for Mr. Grams with the BBC Scottish Symphony Orchestra, the Oslo Philharmonic, the Bergen

Philharmonic, the Cincinnati Symphony Orchestra, the Indianapolis Symphony Orchestra, the Netherlands Philharmonic (Amsterdam), the Sydney Symphony Orchestra, and the New Zealand Symphony Orchestra. He also made debut appearances with the Slovenian Philharmonic, the Zagreb Philharmonic, the Belgrade Philharmonic, the Orchestra della Svizzera Italiana Lugano, the North Carolina Symphony, the Adelaide Symphony, the Tasmanian Symphony Orchestra, and the Winnipeg Symphony Orchestra. He returned no fewer than three different times to the Residentie Orchestra (The Hague), the RTE Symphony Orchestra Ireland (Dublin), the Limburgs Symphony, and the Louisville Orchestra. He also made debuts with the summer festivals of Chautauqua and the Music Academy of the West in Santa Barbara. The 2010/11 season witnessed a major debut for Grams with the BBC Symphony Orchestra in London, which was highly acclaimed alongside debut appearances with the Netherlands Radio Philharmonic, the Orchestra of the Beethovenhalle Bonn, State Symphony Orchestra of Sao Paulo, the Louisville Orchestra, the Colorado Symphony, the Grand Rapids Symphony, and several others including an appearance at the Grant Park Festival in Chicago. Grams returned to the podium with the Residentie Orchestra several times, including a Concertgebouw Hall appearance with that orchestra and also made welcome repeat visits with the Hamburg Symphony, the Malmo Symphony, the National Arts Centre Orchestra Ottawa, and the Utah Symphony. ●

Artists .

Fumiaki Miura violin Fumiaki Miura, the 2009 First Prize Winner of the International Joseph Joachim Violin Competition in Hannover, Germany, was born in Japan in 1993. He comes from a musical family; his father is a concertmaster and his sister is studying the piano. Fumiaki Miura began to play the violin at the age of three. In 2008, he was admitted to the Toho Gakuen School of Music in Tokyo as one of the most promising future talents and until recently, studied with Tsugio Tokunaga. Since the beginning of the 2009/10 winter semester, he continued his studies at the Vienna Conservatory with Professor Pavel Vernikov. He regularly attends master classes with Pavel Vernikov, Jean-Jacques Kantrow, and Zakhar Bron. He has already performed with many orchestras including the NDR Radiophilharmonie, Polish Amadeus Chamber Orchestra, Vienna Chamber Orchestra, NHK Symphony Orchestra, Tokyo Symphony Orchestra, Tokyo Philharmonic, Ensemble Kanazawa, Osaka Philharmonic, Sapporo Symphony Orchestra, and the Nagoya Philharmonic Orchestra. Performances in 2011 and 2012 included concerts at the Mozartfest Würzburg, Menuhin Festival Gstaad, Schleswig-Holstein Musikfestival, Laeiszhalle Hamburg and the festival “Julian Rachlin and Friends.” In 2012, he soloed on a tour of Japan with the Prague Philharmonia under the baton of Jakub Hrusa. The 2012/13 concert season saw Fumiaki give his debut with the NDR Sinfonieorchester Hamburg, Konzerthaus Vienna with the Vienna Chamber Orchestra, and also his first appearance in the United States with the Utah

The New Mexico Philharmonic

Symphony. A particular highlight was the Polish premiere of Penderecki’s Concerto for Viola and Violin, in November 2012 with Julian Rachlin and the Poznan Philharmonic. Fumiaki Miura not only won First Prize at the 2009 Hannover Violin Competition, he also won the Music Critics’ Prize and the Audience Prize. He is, therefore, not only the youngest winner in the history of the competition, but also the most decorated winner. In both 2003 and 2004—as an elementary student—Fumiaki Miura won Second Prize in the All Japan Students’ Music Competition. In 2006, he was awarded Second Prize at the Yehudi Menuhin International Violin Competition for Young Violinists. When participating in the Music Academy in Miyazaki, he was awarded as one of the best performers in 2008 and 2009. In May 2011, Sony Japan released Fumiaki’s first recording of both Prokofiev Sonatas with Itamar Golan. ●

Meet the Musicians Ken Dean percussion Born in Madrid, New Mexico, Ken Dean has lived in Albuquerque since the age of five. He joined the percussion section of the New Mexico Symphony when he was 18. He attended the University of New Mexico, studying percussion with Robyn Schulkowsky. Ken also plays timpani in The Santa Fe Symphony. He is happy to be a Plank Owner of the New Mexico Philharmonic. One of his lifelong passions has been competitive shooting, attending the National Championships numerous times since the mid-1970s. Other interests include history and exploring New Mexico.

●

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New Mexico Philharmonic

BOARD OF DIRECTORS Maureen Baca President

The Musicians

Thomas C. Bird Secretary Treasurer 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 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

Ruth Bitsui Vice President for Operations

BASSOON Stefanie Przybylska • Denise Turner

Dr. Larry Lubar Vice President for Development

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

Anne Eisfeller Roland Gerencer, MD Eric Herrera Marc Powell Steve Schroeder Al Stotts Anthony Trujillo Nathan Ukens Richard White ADVISORY BOARD Lee Blaugrund Clarke Cagle Robert Desiderio Steve Paternoster Evan Rice Heinz Schmitt

BASS TROMBONE David Tall

STAFF Marian Tanau Executive Director

TUBA Richard White •

Chris Rancier Executive Assistant & Media Relations

TIMPANI Douglas Cardwell •

Alexis Corbin Operations Coordinator & Personnel Manager

PERCUSSION Jeff Cornelius • Kenneth Dean Emily Cornelius HARP Anne Eisfeller •

Mancle Anderson 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 & Marketing Lori Newman Website Maintenance & Editor Sara Tutland Ensemble Visits Coordinator

nmphil.org

Donor Circles .

Donor Circles Thank You for Your Support

BENEFACTOR CIRCLE Donation of $50,000+ Albuquerque Community Foundation Anonymous Lee Blaugrund City of Albuquerque

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

CHOPIN CIRCLE Donation of $3500–$4999

BEETHOVEN CIRCLE Donation of $25,000– $49,999

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

Anonymous Bank of Albuquerque Eugenia & Charles Eberle Eye Associates of New Mexico Cynthia & Thomas Gaiser Mary & Sam Goldman Howard Henry The Law Firm of Keleher & McLeod Diane M. Mueller Marian & Jennifer Tanau Barbara & Richard VanDongen

MOZART CIRCLE Donation of $10,000– $24,999

GRACE THOMPSON CIRCLE Donation of $1933–$3499

Anonymous 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

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 Hunt Family Foundation Virginia Lawrence Dr. & Mrs. Larry Lubar John Moore & Associates, Inc. Bob & Bonnie Paine Jerald & Cindi Parker 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

Albuquerque Community Foundation, Chester French Stewart Endowment Fund George Boerigter Paula & William Bradley Coleman Vision, Stephen C. Coleman, MD Richard & Margaret Cronin Bob & Greta Dean Virginia & Richard Feddersen Firestone Family Foundation Bob & Fran 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 Kathleen & David Waymire

BACH CIRCLE Donation of $1000–$1932 Leah Albers & Thomas Roberts Dave & Maureen Anderson Kirsten J. Anderson Anonymous Christopher Apblett Ruth & Edison Bitsui 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 The Collister Family, in memory of Joan Allen Cathy Conrad Krys & Phil Custer D’Addario Foundation Clare W. Dreyer Clare W. Dreyer, in memory of Joan Allen David & Ellen Evans Joan Feldman The Financial Maestro, LLC, Joann MacKenzie Frank & Christine Fredenburgh French’s Funerals Gertrude J. Frishmuth, MD Kate Fry & Robert Bower Katherine Garland David & Tanner Gay GE Foundation Barbara & Berto Gorham Helen A. Grevey & Jay D. Hertz, in memory of Joan Allen Madeleine Grigg-Damberger & Stan Damberger Stuart Harroun Jonathan & Ellin Hewes The Hubbard Broadcasting Foundation Innovative Business Controls, Tom Gautsch Chris & Karen Jones Stephanie & David Kauffman Connie Krelle Stephanie & Ken Kuzio Lieber’s Luggage Myra & Richard Lynch Kathy & John Matter Joan McDougall Jackie & C. Everett McGehee Ina S. Miller Mark & Susan Moll Claudia Moraga Lynn Mostoller 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 Conrad & Marcella Stahly Patricia & Luis Stelzner 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

Joan Allen Carl & Linda Alongi John Ames 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 Hugh & Margaret Bell, in memory of Joan Allen Gay & Stan Betzer Sheila & Bob Bickes Nancy & Cliff Blaugrund, in memory of Joan Allen Jane Ann Blumenfeld David Brooks Susanne B. Brown M. Susan Burgener & Steve Rehnberg Gordon Cagle Dawn & Joseph Calek Jose & Polly Canive Edith Cherry & Jim See Betty Chowning Margaret & Tze-Yao Chu David & Mary Colton Claudia Crawford, in memory of Clifford S. Crawford Gail Cunningham Marjorie Cypress Ann DeHart & Robert Milne, in memory of Joan Allen The Divas of ‘56, in memory of Stewart Graybill Stephen R. Donaldson ExxonMobil Foundation Pauline Garner & J. William Vega Barb & Larry Germain A. Elizabeth Gordon Jean & Bob Gough Sharon Gross Dr. Kirk & Janet Gulledge Lois Hall Bill & Carolyn Hallett Janet & Donald Harris Harris L. Hartz Richard Henry Pamelia S. Hilty Martha Hoyt Carolyn & Hal Hudson Sue Johnson & Jim Zabilski John & Julie Kaltenbach Marlin Kipp Susie Kubié La Vida Llena Rita Leard Jae Lee Maureen & Richard Lincoln Harry & Elizabeth Linneman Tyler M. Mason Thomas & Edel Mayer Kathryn McKnight John & Kathleen Mezoff Martha Miller George & Mary Novotny

Rebecca Okun Steve Ovitsky John Provine Dan Rice Clifford & Sandra Richardson Deborah Ridley & Richard S. Nenoff Don & Barbara Rigali Ruth Ronan Edward Rose Nancy Scheer Stephen Schoderbek Norman Segel Sharon Sharrett Mary & John Sparks Jeanne & Sid Steinberg Charles & Flossie Stillwell Eberhard H. Uhlenhuth Patrick Villella Margaret Vining Richard Vivian Barbara & Eugene Wasylenki Patricia & Robert Weiler Judy B. & Peter Weinreb Carl G. & Janet V. Weis Patrick Wilkins Sylvia Wittels & Joe Alcorn, in honor of Adrianna Belen Gatt David Worledge Andrea Yannone

PRINCIPALS CIRCLE Donation of $125–$499 Dr. Fran A’Hern Smith John B. Aidun & Joan M. Harris Albertsons Community Partners Program Ed Alelyunas ALH Foundation Inc. Gerald Alldredge American Endowment Foundation Jo Marie & Jerry Anderson Anonymous Anonymous Anonymous Paul & Mary Lee Anthony Marilyn & Robert Antinone Patrick & Leslie Apodaca Janice J. Arrott Lynn Asbury & John Wronosky B2B Bistronomy Joel A. & Sandra S. Baca Toni Baca, in memory of Sylvester Baca Genevieve & Stanley Baker Margaret Barker & Clark Varnell Elinore M. Barrett Ellen Bayard & Jim O’Neill William Bechtold Edie Beck Janice & Bryan Beck Helen Benoist 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 Richard & Iris Brackett Susan Brake Charles J. Brandt

continued on 18 16

2014/15 Season

Musical Fiestas

Join us for Sunday afternoon fund raising events at private homes that feature our guest artists in an intimateÂ performance setting, which includes dinner and wine. This is your chance to meet the guest artists in 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

Donor Circles . continued from 16 Sheldon & Marilyn Bromberg Ronald Bronitsky, MD Carolyn Brooks Astrid Brown Mary & Jim Brown B. L. Brumer Fred Bryant Mary Letty Buchholz Miriam Burhans Drs. Kathleen L. Butler & M. Steven Shackley Lynne Byron Louise Campbell-Tolber & Steve Tolber Glo Cantwell Douglas Cardwell 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 Nancy Cutter, in memory of Joan Allen Stephen Czuchlewski Hubert O. Davis Jr. George deSchweinitz Jr. Cdr. Jamie & Carol Deuel Fran DiMarco Catie S. Dixon 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 Stephanie Eras & Robert W. Hammerstein III David & Frankie Ewing Jo Margaret & John Farris Leonard & Arlette Felberg Winifred & Pelayo Fernandez Janice Firkins Rona Fisher 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 Chuck & Judy Gibbon

2014/15 Season

Marc A. Gineris Drs. Robert & Maria Goldstein Mark Gorham Carmoline & Bing Grady Paul & Marcia Greenbaum Matthew & Amy Greer Julie Gregory Peter Gregory Dick & Suzanne Guilford Ron Halbgewachs Samuel & Leila Hall Roger Hammond & Katherine Green Hammond Margaret Harvey & Mark Kilburn Dorothy D. Hawkins John & Diane Hawley Martha Heard, in honor of Dorothy Pierson 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 Janet & Vincent Humann Margaret Hutchinson IBM International Foundation Olivia Jaramillo Ken & Cindy Johns, Johns Family Foundation, in memory of Joan Allen 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 Karen M. Kupper Henry & Judith Lackner Nick Landers R. Jeffery & Jane W. Lawrence Rebecca Lee & Daniel Rader 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 Roger & Kathleen McClellan Bob & Susan McGuire

Karen McKinnon & Richard A. Stibolt Cynthia & Paul McNaull Bernard & Mary Metzgar Bruce A. Miller Joyce Miller Peggy Sanchez Mills & Jim Mills Christine & Russell Mink Jan Mitchell Michael Mitnik William Moffatt James B. & Mary Ann Moreno Barbara Scalf Morris Shirley Morrison & Cornelis Klein Lynn Mullins, in memory of Joan Allen Edward & Nancy Naimark Michael & Patricia Nelson Sharon & Richard Neuman Donald & Carol Norton Bernard Nurry Wendy & Ray Orley Joyce & Pierce Ostrander Del & Barbara Packwood The Honorable James A. & Janice Parker, in memory of Joan Allen Stuart & Janice Paster The Ralph & Ella Pavone Family Trust James & Ann Pedone Dr. Ole & Sheila Peloso, in memory of Robert Taichert Calla Ann Pepmueller Ross B. Perkal Richard Perry Lang Ha Pham Herbert & Judi Pitch Quinten Plikerd Prudential Foundation Matthew & Lisa Pullen & Family Jane Rael Dick & Andy Rail Christine & Jerry Rancier Russell & Elizabeth Raskob Maureen Reed Veronica Reed & LeRoy Lehr Robert Reinke Lee A. Reynis & David W. Stryker Steve Ridlon & Casey Scott Erika Rimson & David Bernstein Margaret E. Roberts Shelly Roberts & Dewey Moore Joan Robins & Denise Wheeler, in honor of Melvin Robins A. Rolfe & Dorothy Black, in memory of Joan Allen Jeffrey Romero Kletus Rood Elizabeth Rose Darryl & Jan Ruehle Jennifer A. Salisbury & Fred Ragsdale Christine Sauer Warren & Rosemary Saur Stephen Saxe Brigitte Schimek & Marc Scudamore Karen & John Schlue Howard & Marian Schreyer Kathleen Schulz Justine Scott Carolyn Sedberry

Barbara & Daniel Shapiro Frederick & Susan Sherman Frederick & Susan Sherman, in memory of Joan Allen 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 Mary Ann Sweeney & Edward Ricco Laurence Tackman Robin Thompson Larry Titman Wayne & Maryann Trott Joan & Len Truesdell Marit Tully & Andy Thomas Jay Ven Eman Kevin Vigneau E. M. Wachocki Marianne Walck Jan Armstrong Watts Rob Weinstein Jamie L. Welles & Thomas Dellaira Jeffrey West Kay West Liza White Trudy & Robert White Bill & Janislee Wiese Bronwyn Wilson Karen & Johnny Wilson, in memory of Sylvester Baca Phyllis S. Wilson Sylvia Wittels & Joe Alcorn Walter Wolf Ann & Thomas Wood David & Evy Worledge 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 Edward & Nancy Alley, in memory of Joan Allen Carl & Linda Alongi, in memory of Joan Allen Arthur Alpert Jo Anne Altrichter & Robin Tawney AmazonSmile Roger Ames Judith & Chilton Anderson APU Solutions, in memory of Paula Basile Carolyn Aragon Eugene Aronson

Ian & Denise Arthur Emil Ashe Leslie Atler Rosa & Joseph Auletta 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 Charlene Baker 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 Sheila Barnes, in memory of Joan Allen Lois Barraclough Graham Bartlett Mary Beall James F. & Yvonne G. Beckley Hugh & Margaret Bell Benchmark Real Estate Investments, Margaret Orona Debra & Kirk Benton Sarah & Joshua Benton, in memory of Joan Allen Richard Bernal Dorothy & Melbourne Bernstein Judy Binder Peggy Blackburn Katherine Blaker Alan & Bronnie Blaugrund, in memory of Joan Allen Ann Blaugrund, in memory of Joan Allen 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 Karen Bovinette, in memory of Joan Allen Julia B. Bowdich Julia B. Bowdich, in memory of Joan Allen Tim & Jackie Bowen Brad Boyce Enid Bradley Roberta Branagan Jeffrey & Teresa Brandon 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 Sandy Buffett Elaine Burgess Jeanne Burgess Sherri Burr Charles Campbell

Donor Circles . Mary Ann Campbell-Horan & Tom Horan Elizabeth Canfield Elizabeth & Maria Canfield James Carroll 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 Jay & Carole Christensen, in memory of Joan Allen Judith & Thomas Christopher Ralph & Elizabeth Churchill Paul Citrin Barbara & Aaron Clark Peggy Clark, in memory of Robert Clark Robert Clark Fredric & Rosalyn Cohen James & Joan Cole Randall & Valerie Cole Henry & Ettajane Conant Janelle Conaway Martha Cook, in memory of Lewis & Ruth Cook Philip & Kathryn Cooper Ralph Cover Claudia Crawford, in memory of Zach Tropp Mark Curtis Margaret Davidson & James Barbour, in memory of Joan Allen Daniel P. Davis Joan Davis Ann Dehart Jan & Jerry DeLange Margaret DeLong Candice & Daniel Demar Donald DeNoon Desert Double Reeds, Rebecca L. Ray Jerry & Susan Dickinson Elizabeth & Thomas Dodson Darryl Domonkos Joanne Donsbach Ernest & Betty Dorko J.R. & Peggy Dotson, in memory of Joan Allen Gale Doyel & Gary Moore, in memory of Joan Allen Woodie Dreyfuss, in memory of Joan Allen E. Josephine Drummond Betty & Stuart Dubois Ken Duckert Stephen Dunaway Jeff Duray Deborah Barba Eagan Sarah Earlow East Range Piedra Vista Neighborhood Association, in memory of Paula Basile Sondra Eastham Sondra Eastham, in memory of Joan Allen David Ted Eastlund Joy Eaton, in memory of C.J. Meg Patten Eaton, in memory of Joan Allen John Eckert

Ida Edward Sylvia & Ron Eisenhart Helen Elliott Stefanie English Robert & Dolores Engstrom Roger C. Entringer Carlos Esparza Marie Evanoff Cheryl A. Everett David & Regan Eyerman Bill Fanning Marie E. Fellin, in memory of Blaine Eatinger Rosario Fiallos Alan & B.J. Firestone Margaret Fischer Rona Fisher, in memory of Louise Coonce Stephen J. Fisher Robert & Diane Fleming Hahn Fletcher Elizabeth & Blake Forbes Walter Forman, MD James & Jean Franchell J. Arthur Freed Susan Freed Dan Friedman Aanya Adler Friess Jack Fuller Patrick & Patricia Gallacher Clarence Gallegos & Anna Y. Vigil Ann & Michael Garcia William Garrison Jim & Margaret Gates Karen Gatlin Paula Getz Duane & Janet Gilkey Galen Gisler Todd A. Goldblum, MD Laurence Golden Donald & Diane Goldfarb Donald & Diane Goldfarb, in memory of Robert D. Taichert Jim L. Gonzales Janice K. Goodman The Very Rev. J. Mark Goodman Dr. Thomas & Linda Grace Dr. Thomas & Linda Grace, in memory of Joan Allen Alice Graybill Erna Sue Greening Justin M. & Blanche G. Griffin Craig Griffith Insurance Agency Sharon Gross, in memory of Robert D. Taichert Virginia Grossetete Virginia Grossetete, in memory of Joan Allen Mina Jane Grothey Ellen Guest Charles & Betsy Gunter Herman Haase Vaux & Hilda Hall Bennett A. Hammer Marjorie Hardison Janet Harrington Joan & Fred Hart Marilyn Hartig John Harvey Arthur G. Hassall Allan Hauer Nancy Hayden, in memory of Paula Basile James Headley, in memory of Joan Allen 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 Nancy Jacobson Joan Jander Jerry Janicke Bette A. Johnson Eldon Johnson Nancy M. Johnson Joyce D. Jolly Judy Jones Lawrence Jones Pamela Jones Robert Jones Robert & Mary Julyan Wilbur & Justin Kahn Summers & Norty Kalishman Julius & Robin Kaplan Clayton Karkosh Joyce Kaser Greta & Thomas Keleher, in memory of Jackie Maisel Channing & Ida Kelly James Kelly C.R. Kemble David & Leslie Kim, in memory of Joan Allen Judith Allen Kim, in memory of Joan Allen Evy Kimmell Barbara Kleinfeld Barbara Kleinfeld, in memory of Robert D. Taichert Michael & Malva Knoll Larry & Diana Koester Rosemary Koffman Katherine Kraus Flora Kubiak, in memory of Joan Allen 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 Rhonda Loos & Neal Piltch, in memory of Joan Allen Quinn Lopez 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 Robert & Linda Malseed Ronald P. & Monica M. Manginell Susan Margison, in memory of Paula Basile Walt & Ruth Marshall Carolyn Martinez Carolyn Martinez, in memory of Joan Allen Brenda & Robert Maruca Paul & Judith Matteucci Joseph McCanna Andrew McDowell James McElhane Thomas McEnnerney Carol & David McFarland, in memory of Paula Basile Jackie & C. Everett McGehee, in memory of Joan Allen Virginia McGiboney Donna McGill Jane & David McGuire Leroy C. McLaren Millie & John McMahon, in memory of Joan Allen 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 John Mims Marcia Miolano Mohinder & Deborah Mital Beatriz Mitchell Elaine Monaghan Mary Kay Moore Carlos Garcia Moral, in memory of Zach Tropp Letitia Morris Dorothy Morse, in memory of Joe Zoeckler Ted & Mary Morse Paula A. Mortensen Karen Mosier John & Patsy Mosman Carolyn Muggenburg Deborah Muldawer Brian Mulrey Jennie Negin & Harold Folley Bruce & Ruth Nelson 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 Oâ&#x20AC;&#x2122;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 Howard Paul Larry Pearsall Margery Pearse 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 Charles & Theresa Pribyl, in memory of Joan Allen Carol & George Price Shirley Puariea Noel Pugach, in memory of Joan Allen Gerard & Ellen Quigley, in memory of Zach Tropp Therese Quinn Tari Radin, in memory of Louise Coonce 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 Ira J. Rimson 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 Rebecca Rose & Susan Matthew, in memory of Joan Allen Estelle H. Rosenblum Bryan L. & Lisa Wood Ruggles Nancy Ruggles Harvey & Laurie Ruskin Ellen Ann Ryan, in memory of Robert Taichert

continued on 20 The New Mexico Philharmonic

nmphil.org

Thank You . continued from 19 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 George & Vivian Skadron MaryDee Skinner Terrence Sloan Conrad & Shirley Sloop Mr. & Mrs. Matthew Sloves Eleanor Slutts Donald Smith 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 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 Debra Taylor Phyllis Taylor & Bruce Thomson Richard & Carolyn Tecube Nina & Gary Thayer Elisabeth Thibault Patricia & George Thomas Alice Thompson Richard Thompson Michael Thuot

2014/15 Season

Julie Tierney Jack Tischhauser Jack Tischhauser, in memory of Sylvester Baca Marilyn Toler John Tondl Dean & Bonita Tooley Marian Trainor & David Dixon Deborah & Richard Uhrich United Bank of Switzerland Arthur & Sandra Vall-Spinosa Nancy Vandevender & J. Pace Walter Vandevender Jean & Ross Van Dusen 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 Cynthia & Bill Warren Barbara Waserman Paul & Suzanne Weber Jean & Dale Webster Iris Weinstein Alan D. & Elaine Weisman Thomas Wellems Justin Welter Debbie Wesbrook Nicolette Westphal Maryann & Eugene Wewerka Mary White Sandra J. White Wendy & Roland Wiele William & Vicky Wilhelm, in memory of Zach Tropp John L. Wilson James Wilterding & Craig Timm Rosemary & William Winkler Kathryn Wissel Margaret Wolak Helmut Wolf Beulah Woodfin Dot & Don Wortman Helen Wright Donna Yannias Anne Yegge Janet Youngberg, in memory of Joan Allen Diana Zavitz, in honor of Pat & Ray Harwick Albert & Donna Zeman Willie & Lisa Zimberoff, in memory of Joan Allen Dr. Linda R. Zipp Andrew A. Zucker 12/13/2014

JOIN A CIRCLE Donate Today. (505) 323-4343 nmphil.org/support

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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 Thomas C. Bird & Brooke E. Tully Edison & Ruth Bitsui Dr. & Mrs. Larry Lubar William A. Wiley

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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

INDIVIDUAL APPRECIATION

BUSINESS & ORGANIZATION APPRECIATION

SUPPORT YOUR NMPHIL TODAY Donate. Volunteer. Advertise. Planned Giving. (505) 323-4343 nmphil.org/support

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

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

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 .

Charitable Giving

Alternative Chartiable Gifts Options. We would like to invite you to consider an alternative way to make a charitable gift that might be very beneficial to you as well as to your New Mexico Philharmonic: the gift of stock. Gifting stock can provide huge tax advantages. Stock which you may have purchased at a very low cost can be gifted and be taken as a deduction at fair market value which can be much, much higher. You do not have to sell it nor pay capital gains tax on it, you simply gift it and receive a significant tax deduction. The NMPhil has an account with the Morgan Stanley/Smith Barney Brokerage Firm in Albuquerque, into which charitable gifts of stock may be received on our behalf. Several donors have already given the New Mexico Philharmonic shares of stock from their financial portfolios, based on their individual financial counseling. Perhaps the most meaningful benefit you will receive is knowing that you are helping to ensure that great symphonic music, performed by world-class artists, will continue to touch the souls of tens of thousands of music lovers as well as new generations of young musicians who will benefit from all the educational programs the NMPhil has to offer.

New Mexico Philharmonic is First Arts Group to Receive Quality New Mexico Piñón Recognition

Honored for Performance Excellence. We are delighted to announce that the NMPhil has received Piñón Recognition from Quality New Mexico’s Performance Excellence program. This recognition acknowledges that we are using systematic processes to attain excellence in our outcomes. The NMPhil is the first arts organization in New Mexico to receive Piñón Recognition. We have used systematic processes to create and establish the NMPhil and to manage it as a business focused on our audiences, our donors, and our results. Quality New Mexico, its practices, and its recognition of excellence are very well established across New Mexico, especially in the business community. This external recognition of our organization and its results has resonated extremely well with our business sponsors and partners. It is another confirmation that the NMPhil will be here for our audiences, patrons, and community for the long term. ●

CONTACT INFORMATION FOR THE NMPHIL BROKERAGE ACCOUNT DTC #0015, Account #234-134510-113 Morgan Stanley/Smith Barney Account manager: Andrew Vannis (505) 889-2811

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“I cannot imagine Albuquerque, a city that strongly supports the arts, without a top-rate orchestra. We support them in creating a new and exciting option for music lovers.” —Richard J. Berry Mayor of Albuquerque

The New Mexico Philharmonic

nmphil.org

Thank You .