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Welcome .
HERE WE ARE
Table of Contents SEPTEMBER 26, 2015
Program Stuart Chafetz Joan Hess Kirby Ward OCTOBER 10, 2015
Program Program Notes Marcelo Lehninger Awadagin Pratt YOUR NMPHIL
5 14 14 14
7 9 15 16
Board President Report 3 Musical Fiestas 3 Sponsor a Musician 15 Meet the Musicians 16 Orchestra 17 Board of Directors, Advisory Board, Staff 17 Sponsors 18 Donor Circles 19 Thank You 21 The Legacy Society 21 Upcoming Concerts 22
CELEBRATING FIVE YEARS OF YOUR NEW MEXICO PHILHARMONIC An amazing journey that was successful because of your belief, made visible by your support, that this community should have a major symphony orchestra where all of us can experience sublime orchestral music in a live setting. I would like to say a special “Thank You” to the musicians of the New Mexico Philharmonic for pouring their souls out through music and performing amazing concerts, for being loyal to an upstart orchestra, and enduring the growing pains of the new organization. And I would like to say a huge thanks to all of you in the audience. We and the music are here because of you. I invite you to celebrate this fabulous fifth season by enjoying and attending as many orchestra concerts as possible with your New Mexico Philharmonic. We are bringing to the stage mostly new conductors this season with the goal of selecting from them, and ones from past seasons, the finalists which will let us identify the Music Director who will best suit the orchestra and the community. The final search to fill the position of Music Director will take place in one of our future seasons.
THE NEW MEXICO PHILHARMONIC OFFICES
At an organizational level, we continue to lead by our values:
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Excellence in all our practices. Responsibility in all our actions. Service to our communities—centered around our musicians and patrons.
3035 Menaul NE #2 Albuquerque, NM 87107
Interested in placing an ad in the NMPhil program book? Contact Christine Rancier: (505) 323-4343 crancier@nmphil.org CONNECT WITH US
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We continue to be flexible, and we govern by meticulous pre-planning based on the best practices and effective processes. The proof of our actions is the Piñón Recognition from Quality New Mexico presented to your New Mexico Philharmonic last season. Thank you for doing your part. We love you! Sincerely,
Marian Tanau Executive Director
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BOARD PRESIDENT
REPORT
Welcome to our fifth season! It has become the practice of your Board of Directors to annually report to you about the artistic and financial health of the New Mexico Philharmonic. We are delighted to be able to tell you once again that the report is good.
38,678 CONCERT AUDIENCE
17,200 STUDENTS REACHED
95.9% ARTISTIC EXCELLENCE
95%
AUDIENCE SATISFACTION
The NMPhil completed our fourth performance season in a positive financial situation. Ticket sales in the 2014/15 season were particularly strong with regular concert audience at 38,678. Subscriptions for the 2015/16 season are up, with more than one-half of the seats at Popejoy Hall pre-sold. The NMPhil continues to excel artistically. We are receiving accolades from the international music community. We were cited this spring in Symphony, The Magazine of the League of American Orchestras that is distributed around the world, as a successful young orchestra. When I was in Europe this summer, I had the opportunity to meet with counterparts in France, Croatia, and Romania and was delighted to learn that our success is known there. As a result, we continue to be able to attract world-class guest performers and conductors. In our audience satisfaction survey just completed, you rated the artistic excellence of the NMPhil at 95.9% and your overall satisfaction with us was 95%. Our education programs continue to serve the public school students of this community at no cost to the students or their parents. In 2014/15 we reached 17,200 students, most of whom have little to no other access to orchestral music. These programs are recognized for excellence by Mission: Graduate of Central New Mexico for producing outstanding results, especially our Young Musician Initiative at Dolores Gonzales and Reginald Chavez Elementary Schools and now Tohajiilee Community School in Western Bernalillo County. We cannot thank you enough for the kindness, generosity, and encouragement you extend to the musicians, staff, and Board of the NMPhil at every opportunity. Once again, your Board pledges to you that the NMPhil will always be the source of great symphonic music for Albuquerque and New Mexico. That is good news that brings all of us together and nourishes our spirits.
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. October 11, 2015, 4 p.m. Awadagin Pratt piano Private Home of Roz Hurley $200/person October 25, 2015, 4 p.m. Zuill Bailey cello Private Home of Anna & Joseph Santangelo $150/person March 20, 2016, Time TBD Olga Kern piano Private Home TBA $200/person May 1, 2016, 4 p.m. Rachel Barton Pine violin Private Home TBA $150/person Part of the ticket cost is tax deductible to the extent allowed by the law. Call for more information and to reserve your tickets.
Reserve Tickets
(505) 323-4343
On Behalf of the Board, Maureen Baca President
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Concert Program .
Saturday, September 26, 2015, 6 p.m.
Popejoy Pops: Dancing & Romancing!
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Stuart Chafetz conductor Joan Hess singer/dancer Kirby Ward singer/dancer
Popejoy Hall
Overture to Girl Crazy (1930) “I Won’t Dance” (1934)
George Gershwin (1898–1937) Kern/Hammerstein
“Johnny One Note” (1937)
Rodgers/Hart
“They Can’t Take That Away From Me” (1937)
Gershwin/Gershwin
“The Song Is You” (1932)
Kern/Hammerstein
MAKING A DIFFERENCE This performance is made possible in part by the generosity of the following: Albuquerque Community Foundation
Overture to 42nd Street (1933) Harry Warren (1893–1981) “Cheek to Cheek” (1935) Irving Berlin (1888–1989) “Sing, Sing, Sing (With a Swing)” (1936) Louis Prima (1910–1978) “Chattanooga Choo-Choo” (1941)
Warren/Gordon
“In The Mood” (1939) Glenn Miller (1904–1944) I N T E R M I S S I O N
Overture to Chicago / “All That Jazz” (1975) “I Could Have Danced All Night” (1956) “You’re Just in Love” (1950)) “Carioca” (1933)
Kander/Ebb Lerner/Loewe Irving Berlin Youmans/Eliscu-Kahn
Overture to West Side Story (1957) Leonard Bernstein (1918–1990) “Singin’ in the Rain” (1929) “I’m Gonna Live Till I Die” (1954)
Brown/Freed Hoffman/Kent/Curtis
“Begin the Beguine” (1934) Cole Porter (1891–1964) “Shall We Dance?” (1951)
The New Mexico Philharmonic
Rodgers/Hammerstein
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Concert Program .
Saturday, October 10, 2015, 6 p.m. / 5 p.m Pre-Concert Talk
Popejoy Classics: Brahms, Beethoven & Pratt Marcelo Lehninger conductor Awadagin Pratt piano
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Hungarian Dance No. 6 in D Major Johannes Brahms (1833–1897)
Piano Concerto No. 1 in d minor, Op.15 I. Maestoso II. Adagio III. Rondo. Allegro non troppo
Johannes Brahms
The Computing Center Inc.
Keleher & McLeod, P.A.
I N T E R M I S S I O N
Symphony No. 5 in c minor, Op. 67 I. Allegro con brio II. Andante con moto III. Scherzo: Allegro IV. Allegro
MAKING A DIFFERENCE This performance is made possible in part by the generosity of the following:
PRE-CONCERT TALK Pre-Concert Talk with conductor Marcelo Lehninger and Executive Director Marian Tanau sponsored by:
Awadagin Pratt piano
The New Mexico Philharmonic
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Ludwig van Beethoven (1770–1827)
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Program Notes .
Program Notes Lori Newman
Johannes Brahms
Born 1833, Hamburg, Germany Died 1897, Vienna, Austria
Hungarian Dance No. 6 in D Major (1869) The twenty-one Hungarian Dances of Johannes Brahms are among his most popular works, although by his own admission, are not really his works at all. He referred to them as merely “arrangements” and refused to assign opus numbers to them. He stated, “I offer them as genuine Gypsy children which I did not beget, but merely brought up with bread and milk.” Brahms’s affection for Hungarian or Gypsy music (a distinction between the two did not exist in Brahms’s mind) began in the early 1850s when he was introduced to the Hungarian violinist Eduard Reményi. The two gigged together in various settings for two years, and in 1853, they toured Northern Germany, always ending their sets with rousing Gypsy-inspired numbers. The two musicians parted ways soon thereafter, but Brahms continued to enjoy the charms of Hungarian music throughout his life. Brahms originally wrote the Hungarian Dances for piano, four hands, but since their publications, they have been transcribed for many instrumental forces and all have been orchestrated; however, only three of them were orchestrated by Brahms himself (Nos. 1, 3, and 10). The Dances were written in two sets, one published in 1869 and the other in 1880. Brahms had never intended to write a second set, but the huge popularity and profitability of the first set convinced him otherwise. ●
“I offer [the Hungarian Dances] as genuine Gypsy children which I did not beget, but merely brought up with bread and milk.” —Johannes Brahms
Johannes Brahms
Piano Concerto No. 1 in d minor, Op.15 (1854–1858) Johannes Brahms was born in Hamburg, Germany, in 1833. At the tender age of twenty, he was cast into the public eye via his introduction to the Viennese musical powerhouses Robert and Clara Schumann. Robert Schumann was a well-respected member of musical polite society; more importantly for Brahms, he was the founder and a contributor to the journal Neue Zeitschrift für Musik (New Journal of Music). Robert was so taken by the young composer that he took to his publication in 1853 to publish the article “Neue Bahnen” (“New Paths”) which hailed Brahms as the next “big thing” in classical music. Schumann even went so far as to call Brahms a viable successor to Beethoven. Schumann wrote of Brahms: After such an antecedent [Beethoven] there would and must appear quite suddenly one who was called to articulate the highest expression of the age in an ideal manner, one who would bring us mastery not in a process of step-bystep development, but would instead spring fully-armored, like Minerva, from the head of Cronus. And he has come, a new blood at whose cradle the graces and heroes stood guard.
“[Brahms] carried with him all the characteristics that proclaimed to us: This is One who has been called.” — Robert Schumann
His name is Johannes Brahms; he came from Hamburg, where, working in dark stillness, he was nevertheless educated by an excellent and enthusiastic teacher in the most difficult elements of the art, and he was recently recommended to me by a venerated and wellknown master. Even in his external appearance, he carried with him all the characteristics that proclaimed to us: This is One who has been called. Sitting at the piano, he began to reveal the most wonderful regions. We were drawn into an increasingly magic circle. There we heard the most genial playing, which made an orchestra out of the piano, with lamenting and jubilant voices. There were sonatas, more like disguised symphonies; songs, whose poetry one would understand without knowing the words, although there was through all of them a profound vocal line; individual piano pieces, some of a demonic nature in the most daring form; … and each so different from the other that they all seemed to flow out of different sources. Brahms would spend years trying to live up to Schumann’s paean, especially with regards to writing in the symphonic genre. The Piano Concerto No. 1 was Brahms’s first foray into large-scale orchestral writing. Luckily, Brahms persevered in writing for orchestra, as the First Piano Concerto was widely panned by audiences and critics alike. One shudders to consider the symphonic canon minus the four magnificent symphonies of Johannes Brahms had the reviews and audience reaction to his First Piano Concerto deterred him from further orchestral endeavors. The events between 1854 and 1856 had a dramatic effect on both Brahms the man and the work that would eventually become the First Piano Concerto. In February of 1854, Robert Schumann, to whom Brahms had become very close since his introduction the preceding year, succumbed to his struggles with mental illness and attempted suicide by flinging himself into the Rhine River. He survived, but was institutionalized for the continued on 10
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Program Notes . continued from 9 rest of his life; the rest of his life only being another two years. During this time, Brahms struggled with the decline and eventual loss of his mentor and friend, as well as the growing feelings he developed for said friend’s wife, Clara Schumann. All of this while trying to become the next Beethoven. The first sketches of the d minor work began as a sonata for two pianos in 1854, soon after Schumann’s suicide attempt. By July of the same year, Brahms had decided he would turn it into a symphony, perhaps in an attempt to fulfill Schumann’s lofty prophecy in “New Paths.” By 1855–6, it had been slated as a piano concerto. Brahms had yet to master writing for the orchestra and sought help from many sources, among them his friends Julius Otto Grimm, Joseph Joachim, and Clara Schumann. There are scores of correspondence with the various incarnations of the d minor work which went between the composer and his team of advisors. Eventually the hesitant symphonist within would emerge, but it would not be for another twenty years or so that his First Symphony would premiere. The Piano Concerto No. 1 in d minor premiered on June 22, 1859, in Hanover, Germany, with Brahms as soloist. While it was not received well, nothing could prepare Brahms for the reaction that would occur just a few days later in Leipzig with the Gewandhaus Orchestra. Leipzig and its audiences were notoriously conservative, having had Felix Mendelssohn as director of the Gewandhaus for many years. Mendelssohn placed a premium on works of the masters (read: traditional and conventional), and the only new compositions performed were his own. Since Mendelssohn’s death in 1847, Leipzig audiences struggled with the contemporary compositions they felt were being foisted upon them. Brahms’s Piano Concerto was particularly disliked. In a letter to his friend Joseph Joachim, Brahms wrote of the Leipzig
premiere, “No reaction at all to the first and second movements. At the end, three pairs of hands tried slowly to clap, whereupon a clear hissing from all sides quickly put an end to any such demonstration.” The particularly cranky critic Edward Bernsdorf had this to say: [The concerto] dragged to its grave. This work cannot give pleasure … it has nothing to offer but hopeless desolation and aridity … for more than three quarters of an hour one must endure this rooting and rummaging, this straining and tugging, this tearing and patching of phrases and flourishes! Not only must one take in this fermenting mass, one must also swallow a dessert of the shrillest dissonances and most unpleasant sounds. Herr Brahms has deliberately made the pianoforte part as uninteresting as possible … finally, Herr Brahms’s piano technique does not satisfy the demands we have a right to make of a concert soloist today. Why was what is now one of the most beloved concertos in the piano repertoire so hated at the time the time of its premiere? Brahms scholar Jan Swafford sums it up succinctly: “[Audiences expected piano concertos of the day to have] virtuosic brilliance, dazzling cadenzas, not too many minor keys, [and be] not too tragic. To the degree that these were the rules, the d minor Concerto violated every one of them.” Violated in spades. First off, the Concerto was decidedly and unabashedly not virtuosic. The orchestra and soloist were placed on a level playing field. This is in strict contradiction to typical 19th century piano concertos in which the soloist gets all the flashy passagework and the orchestra is relegated to mere accompaniment with an occasional tutti flourish. Critics felt this work was not so much a piano concerto, but an orchestral work that happened to have a piano part. Strike one. There was no cadenza, dazzling or otherwise, in the
“[The concerto] dragged to its grave. This work cannot give pleasure … it has nothing to offer but hopeless desolation.” —Edward Bernsdorf
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Why was what is now one of the most beloved concertos so hated at its premiere? expected place in the first movement. Strike two. And strike three comes not only in the choice of d minor as its key, but the tragic nature the concerto evokes as Brahms strove to musically work through the death of Robert Schumann and his burgeoning feelings for Clara. In addition, critics complained that the scope was too large and that formal and thematic elements of established music theory were treated haphazardly. According to Leipzig, Brahms had struck out. The Piano Concerto in d minor has Robert and Clara Schumann’s footprints everywhere. The first movement opens in dramatic fashion with a timpani roll and lots of Sturm und Drang from the orchestra. The orchestra plays for more than three minutes before the piano makes its first appearance, and when it does enter, the fireworks of the orchestral opening are nowhere to be found. Many have taken the tenor of this entire movement as Brahms’s way of portraying Schumann’s suicide attempt, descent into madness, and eventual death. Brahms writes in the score at the beginning of the hymn-like second movement, “Benedictus qui venit in nomine Domini” or “Blessed is he who comes in the name of the Lord.” Brahms was not known for being a terribly God-fearing individual, so this certainly points to the inscription being a reference to Robert Schumann, to whom he and Joachim referred to as “Mynheer Domini.” Brahms also wrote to Clara Schumann and confessed that he considered this movement “a lovely portrait of you.” The third movement Rondo has dancelike qualities to it, but the pain and tragedy of the preceding years are never far from the fore. ●
Program Notes .
Ludwig van Beethoven Born 1770, Bonn, Germany Died 1827, Vienna, Austria
Symphony No. 5 in c minor, Op. 67 (1804–1808) Beethoven’s Fifth Symphony is perhaps the most famous piece of classical music in existence, or at the very least, it begins with the most recognizable four notes of any classical work. Even those with no knowledge of the art, immediately identify the opening measures of this symphony, and with it, they pair an image of its composer, complete with wild hair and formidable scowl. Popular culture has used the opening measures to evoke drama, mystery, danger, and intrigue. Once we as listeners get past all that, it becomes painstakingly obvious what a masterpiece the symphony is, regardless of its familiarity and any preconceived notions that may bring with it. The Symphony No. 5 of Beethoven is the symphony that most historians and musicologists would choose as the first allencompassing Romantic symphony, and it was the first Beethoven symphony to gain popularity not only with the public, but with those outside of Germany and Vienna. There are hints of Romanticism in many of Beethoven’s earlier works, but Symphony No. 5 begins the Romantic era and paves the way for composers such as Mendelssohn, Schumann, Brahms, Tchaikovsky, and into the 20th century by way of Mahler. Beethoven’s Fifth was composed between 1804 and 1808. It premiered on December 22, 1808, in an interminably long concert that featured an all-Beethoven program. The roster of works consisted of: Symphony No. 6, “Pastoral” The aria “Ah! perfido” “Gloria” from the Mass in C Piano Concerto No. 4 (with Beethoven as piano soloist) Symphony No. 5 “Sanctus” from the Mass in C Piano improvisation by Beethoven Choral Fantasy This extravaganza at the Theater an der Wien in Vienna lasted for more than four hours; however, it suffered several complications in addition to the concert’s length. The theater was absolutely freezing
Popular culture has used Beethoven’s Fifth Symphony to evoke drama, mystery, danger, and intrigue … it is painstakingly obvious what a masterpiece it is. in the Vienna winter; Beethoven had a spat with his soprano and replaced her at the last minute with a seventeen-yearold girl who had little to no performance experience, making “Ah! perfido” a cringeworthy experience; and the orchestra did not play well, having had only one rehearsal to put together such monstrous works as the Fourth Piano Concerto and the Fifth and Sixth Symphonies. The German composer Johann Friedrich Reichardt famously stated, “There we sat from 6:30 till 10:30 in the most bitter cold, and found by experience that one might have too much even of a good thing.” The premiere of the Fifth Symphony went relatively unnoticed, even after everyone had thawed out. It was not until the following year that a glowing review catapulted the work into the public’s consciousness. E.T.A. Hoffmann, best known as the writer of The Nutcracker and the Mouse King on which the famous holiday classic is based, was also an influential music critic. His review of Beethoven’s Fifth found in the Allgemeine musikalische Zeitung (General Music Newspaper, the leading European music journal of the time) combined the usually expected analysis of the work with a rave review and effusive praise. This review made its way throughout the musical hotspots of the time–including London and Paris, as did Beethoven’s name and his music. Hoffmann’s review focuses on the affects, or emotions, that Beethoven’s music stirs in the listener. He stated: How this wonderful composition, in a climax that climbs on and on, leads the listener imperiously forward into the spirit world of the infinite!...No doubt the whole rushes like an ingenious rhapsody past many a man, but the soul of each thoughtful listener is assuredly stirred, deeply and intimately, by a feeling that is none other than that unutterable portentous longing, and until the final chord—indeed,
even in the moments that follow it—he will be powerless to step out of that wondrous spirit realm where grief and joy embrace him in the form of sound. This review secured Beethoven’s place in music history. What makes the Fifth Symphony so revolutionary for its time? Let’s start with that recognizable opening motive–four notes in a short-short-short-long pattern. To the casual observer, it appears that this fragment opens the symphony and is an important figure throughout the first movement. Upon further review, we can see that not only is all of the rhythmic and melodic material of the first movement spun from the opening four notes, but this rhythm is used as a unifying element throughout the entire symphony. It is used in either a melodic, rhythmic, or accompanimental manner in every movement. It changes from fore to background so effortlessly, that it is easy to miss the fact that this rhythm is present even during many of the lyrical and decidedly unrhythmic portions of the symphony. In his Fifth, Beethoven expanded the orchestra and used instruments that were heretofore overlooked by the most famous symphonic composers of the time– the contrabassoon, the piccolo, and the trombones. Beethoven introduces these instruments to the orchestra in the fourth movement only. He writes the contrabassoon as mainly an enhancement of the bass section, but its sound adds a new depth and color to the orchestra. Conversely, Beethoven writes the piccolo soaring above the orchestra with solo flourishes. And the addition of the trombones gives the brass section a rounder and heftier sound. Beethoven also changed the roles of wind instruments and how they related to the rest of the orchestra. Composers prior to Beethoven often used the winds as merely supporting players to the strings; the woodwinds often doubled continued on 13
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Program Notes . continued from 11 the strings without much independence or identity of their own, and the brass were often relegated to mainly rhythmic support or the occasional fanfare. Beethoven changed all this by writing the winds and strings as opposing forces. The symphony is written in the traditional four-movement symphonic archetype. The opening motif, those famous first four notes, represents fate knocking at the door, or so Beethoven’s secretary/ biographer Anton Schindler would have you believe. Schindler’s accounts of his boss are at best sketchy, and at worst, fabricated, as he is occasionally known to have made false entries into Beethoven’s journals. Schindler seemed to wholeheartedly believe in the saying “never let the truth get in the way of a good story.” We’ll never know if Beethoven actually said, “Thus fate knocks at the door!” about the opening of his Fifth, as Schindler stated, but the legend and lore have stuck. Composers after Beethoven are saddled with the real or imagined burden of using the “Fate motif” whenever they include a “short-short-short-long” pattern in their compositions. This pattern was not an innovation of Beethoven’s, as it is often found in the music of Mozart and others, but Beethoven’s treatment of the simple pattern is what makes the first movement of the Fifth a revelation. When listening to the opening, two things are immediately unclear–the tonality and the rhythm. Is it in the major mode of E-flat or the minor mode of c? The first four measures alone do not provide us with that information, nor are we privy to the rhythm or time signature. Is the
Beethoven’s theme portrays dark to light, defeat to victory, tragedy to triumph. first note of the motive on the beat or the upbeat? Is the time signature 6/8, 3/8, 4/4, 2/4? The use of rhythmic and tonal anomalies is one of Beethoven’s most interesting compositional techniques. He uses this technique in his First Symphony all the way through his Ninth. The Fifth Symphony was written during Beethoven’s “Heroic” period, and we find evidence of this heroic affect throughout the symphony, but perhaps nowhere more obvious than the horn proclamation used as a bridge between the first and second themes in the first movement. If you listen carefully, you will hear that even during the soaring beauty of this melodic second theme, the Fate motive is still interwoven throughout. The second movement is in theme and variations form, but in this case, Beethoven employs a double variation, with two distinct themes–one lyrical and one majestic. Beethoven chooses the form of a scherzo and trio for his third movement as opposed to the more commonly used minuet and trio. While the word “scherzo” technically means “joke,” it tends to hold a little more gravitas than the courtly and civilized, not to mention danceable, minuet and trio form. The movement opens with a foreboding introduction before the horns
“… the soul of each thoughtful listener is assuredly stirred, deeply and intimately [ … ] powerless to step out of that wondrous spirit realm where grief and joy embrace him in the form of sound.” —E.T.A. Hoffmann
The New Mexico Philharmonic
once again proclaim the heroic theme echoing the four-note rhythmic pattern from the first movement. This rhythm can be found throughout the scherzo. The trio opens with a tour de force for the basses and cellos, with the theme repeated at times rhythmically and at times lyrically before the return to the scherzo. One of Beethoven’s most oft-used themes in much of his music is the idea of music portraying dark to light, defeat to victory, tragedy to triumph. This was repeated by many future composers, most notably Mahler in the late 19th and early 20th centuries. Nowhere is this technique more gloriously implemented than in Beethoven’s transition from movement III to movement IV of his Fifth Symphony. In a typical ternary form of the scherzo-trio movement, we would expect an exact repeat of the scherzo material following the trio. Beethoven avoids this and instead creates tension and mystery by using fragmented portions of the introduction and the melody, alternately played by pizzicato strings and winds, all played pianissimo or very softly. This leads to the introductory material played by the first violins over a pedal tone C in the timpani. The symphony is of course in c minor so this is perhaps to be expected; however, in actuality, this pedal tone is setting up the joyous C Major triad that will open the fourth movement. This triad and tonality will grow out of a crescendo in the final bars of the third movement to the first three notes of the fourth movement’s opening melody. Beethoven’s final movement of his Fifth is grand in scope and emotion. The majority is written in the heroic style, representative of his middle period, but he borrows a few elements from past movements of the Fifth as well. We hear the rhythm of the first movement’s famous opening motif played by the brass and the theme from the third movement scherzo, when Beethoven again brings us on a collision course with C Major for the recapitulation of the final movement.
● Program Notes ® Lori Newman
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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, Chafetz has been 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, Kansas City, Naples, New Mexico, Phoenix, San Francisco Ballet, and Virginia. He’s had the privilege of working 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, California, 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. ●
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Joan Hess singer/dancer
Joan Hess just completed her fifth Broadway show, playing the role of the wealthy and hilarious Tanya in Broadway’s Mamma Mia. She was also seen as Jessica (the “Leggy Blonde”) in HBO’s Grammy Award-winning comedy series, Flight of the Conchords. She recently had the great honor of working with television’s iconic director Jay Sandrich (Mary Tyler Moore, The Bob Newhart Show, Get Smart) when she played Doris in Same Time, Next Year and Jennie in Neil Simon’s semiautobiographical play Chapter Two. Prior to that, she had the great fortune of playing the plum role of Billie Dawn in Garson Kanin’s classic play Born Yesterday. She appeared at the Lincoln Center in the lead role in Dessa Rose, the powerful new Lynn Ahrens/ Stephen Flaherty piece, directed by 10-time Tony Award-nominee, Graciela Daniele. She appeared as Betty in the First National Tour of Sunset Boulevard, Polly in the First National Tour of Crazy for You, and she toured the country with 42nd Street and Beehive as well. Ms. Hess was featured in the PBS Great Performances series in My Favorite Broadway: The Love Songs, hosted by Julie Andrews. She has performed with numerous symphonies around the world, from Houston, Atlanta, North Carolina, and Detroit, to the Winnipeg Symphony and the Hong Kong Philharmonic.
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Kirby Ward singer/dancer
Kirby Ward has been in the entertainment industry for over thirty-five years and is a veteran of over sixty theatrical productions. He’s performed for The Queen of England and appeared as Bob Hope at the Library of Congress’s 100th birthday celebration of the comic’s life. As the original Bobby Child in the London West End premier of Crazy for You, he received an Olivier Award nomination. You can hear his performance on the London cast recording. He was also featured in the Broadway revival of Show Boat directed by Hal Prince, as well as numerous other Broadway shows. Kirby has played many of the world showrooms with luminaries such as Debbie Reynolds, Phyllis Diller, and Shecky Green. Mr. Ward has appeared in concert at the Hollywood Bowl and with renowned symphonies in Hollywood, Hong Kong, Buffalo, Virginia, New Mexico, Atlanta, Maryland, Winnipeg, Houston, and Naples. Kirby has written for television and film, most recently winning Best Short Film at the Kent Film Festival for a film he wrote and directed, Down in the Mouth. His original new musical, The Gypsy King, has been produced at the Village Theatre in Issaquah, WA. ●
Artists .
SPONSOR A MUSICIAN We invite you to engage more deeply with the orchestra and its musicians.
Marcelo Lehninger conductor
Brazilian-born conductor Marcelo Lehninger is in his third season as Music Director of the New West Symphony Orchestra in Los Angeles. In 2014, he received the Helen Thompson Award for his outstanding work with the orchestra at the League of American Orchestras Annual Conference in Seattle. Mr. Lehninger was appointed Assistant Conductor of the Boston Symphony Orchestra by James Levine. After three successful seasons, he renewed his contract for two more seasons as the Orchestra’s new Associate Conductor. Mr. Lehninger made his BSO debut in 2010 with the violinist Pinchas Zukerman as soloist, and in 2011, he stepped in for Maestro James Levine on very short notice to conduct the world premiere of Harrison Birtwistle’s Violin Concerto and Bartok’s 2nd Violin Concerto with Christian Testzlaff. In 2012, Mr. Lehninger filled in for Andris Nelsons, conducting a program that included the American premiere of Mark-Anthony Turnage’s Trumpet Concerto, “From the Wreckage” with Håkan Hardenberger as well as Strauss’s Also sprach Zarathustra. He also successfully conducted a program, without any rehearsals, that included Stravinsky’s Piano and Winds Concerto with Peter Serkin and Shostakovich’s 5th Symphony. On the occasion of his highly praised debut at Carnegie Hall with the BSO in 2011, critic Anthony Tommasini wrote in The New York Times: “He was terrific, conducting all three works with impressive technique, musical insight and youthful energy.” Maestro Lehninger’s other BSO appearances include his Tanglewood debut
The New Mexico Philharmonic
in the summer of 2012 with pianist Nelson Freire, a subscription week in the 2012/13 season with violinist Joshua Bell, the 2013/14 Season Opening Gala with violinist Augustin Hadelich, a 2014 Tanglewood concert with pianist Jean-Yves Thibaudet, and the 2014/15 Season Opening concerts. In February 2014, Mr. Lehninger successfully replaced Maestro Pierre Boulez, conducting the Chicago Symphony in a program that included Stravinsky’s Symphony in Three Movements and Suite No. 2, as well as Ravel’s Une barque sur l’ocean and Alborada del Gracioso. As a guest conductor in the United States, he has led the Baltimore, Boston, Chautauqua, Chicago, Fairfax, Grand Rapids, Indianapolis, Hartford, Houston, Jacksonville, Louisville, Milwaukee, National (Washington, DC), New Jersey, Omaha, and Seattle Symphony Orchestras, as well as the Florida Orchestra and the Rochester Philharmonic. In Canada, Mr. Lehninger conducted the Toronto Symphony, Hamilton Philharmonic, and Calgary Philharmonic. Future guest conducting engagements include concerts with the Florida Orchestra, New Mexico Philharmonic and the Detroit, Fort Worth, Grand Rapids, KitchenerWaterloo, Knoxville, North Carolina, Pittsburgh, and Winnipeg Symphonies. A dual citizen of Brazil and Germany, Marcelo Goulart Lehninger was born in Rio de Janeiro in 1979 into a family of musicians. Before dedicating his career to conducting, Mr. Lehninger studied violin and piano. He holds a Master’s degree from the Conductors Institute at New York’s Bard College, where he studied conducting and composition under Harold Farberman. ●
This new program comes with wonderful benefits that give you a chance to develop a personal relationship with one of our stellar musicians. Please call (505) 323-4343 to find out the benefits and cost of sponsorship.
Sponsor Today
(505) 323-4343
George & Sibilla Boerigter Concertmaster Sponsor
“I am very excited to sponsor Krzysztof our Concertmaster. It will give my wife and me the opportunity to form a lifetime friendship that is surrounded by music.”
—George Boerigter
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Artists .
Awadagin Pratt piano
Among his generation of concert artists, pianist Awadagin Pratt is acclaimed for his musical insight and intensely involving performances in recital and with symphony orchestras. Born in Pittsburgh, Awadagin Pratt began studying piano at the age of six. Three years later, having moved to Normal, Illinois, with his family, he also began studying violin. At the age of sixteen, he entered the University of Illinois where he studied piano, violin, and conducting. He subsequently enrolled at the Peabody Conservatory of Music where he became the first student in the school’s history to receive diplomas in three performance areas–piano, violin, and conducting. In recognition of this achievement and for his work in the field of classical music, Mr. Pratt recently received the Distinguished Alumni Award from Johns Hopkins. Recent and upcoming appearances include recital engagements at the New Jersey Performing Arts Center in Newark and in Baltimore, La Jolla, Los Angeles, and at Duke University, as well as appearances with the orchestras of Cincinnati, Indianapolis, Seattle, Colorado, Portland (ME), Utah, Richmond, Grand Rapids, Winston-Salem, Springfield (IL), and Mobile. He played a recital in Carnegie Hall for the Naumburg Foundation in November 2010 and appeared at the 2012 Ravinia Festival in a duo recital with Zuill Bailey. A great favorite on college and university performing arts series, and a strong advocate of music education, Awadagin Pratt participates in numerous residency and outreach activities wherever he appears; these activities may include master classes, children’s recitals, play/ talk demonstrations, and question/answer sessions for students of all ages.
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Awadagin Pratt has been the subject of numerous articles in the national press, including Newsweek, People Magazine, and New York Newsday. He was named one of the 50 Leaders of Tomorrow in Ebony Magazine’s special 50th anniversary issue and has been featured on National Public Radio’s Performance Today, and St. Paul’s Sunday Morning and Weekend Edition. On television, Mr. Pratt has performed on the Today Show, Good Morning America, and Sesame Street, been profiled on CBS Sunday Morning, and was one of the featured soloists on PBS’s “Live from the Kennedy Center—A Salute to Slava.” In November 2009, Mr. Pratt was one of four artists selected to perform at a White House classical music event that included student workshops hosted by First Lady Michelle Obama and performing in concert for guests including President Obama. He has performed two other times at the White House, both at the invitation of President and Mrs. Clinton. Mr. Pratt’s recordings for Angel/EMI include A Long Way from Normal, an allBeethoven Sonata CD, Live from South Africa, Transformations, and an all-Bach disc with the St. Lawrence String Quartet. His most recent recordings are the Brahms Sonatas for Cello and Piano with Zuill Bailey for Telarc and a recording of the music of Judith Lang Zaimont with the Harlem Quartet for Navona Records. Mr. Pratt is currently Professor of Piano and Chairman of the Piano Department at the College Conservatory of Music at the University of Cincinnati. He is also the Artistic Director of the World Piano Competition in Cincinnati as well as the Artistic Director of the Art of the Piano Festival at CCM. ●
Meet the Musicians Melissa Peña oboe/English horn
Melissa Peña is currently Associate Principal Oboe/English Horn with the New Mexico Philharmonic and Assistant Professor of Oboe at the University of Oregon. Peña previously held positions with the New Mexico Symphony Orchestra (2002–2010) and the Sarasota Orchestra (2001–2002). She has recently performed with the Santa Fe Opera, Seattle Symphony, Opera Colorado, Oregon Symphony, Oregon Bach Festival, and the Astoria Music Festival. Additionally, Peña has performed with such organizations as the Kansas City Symphony, Jacksonville Symphony, Florida Orchestra, Santa Fe Chamber Music Festival, Sphinx Symphony Orchestra, and Music from Angel Fire among others. An active chamber musician, Peña is a core member of Albuquerque’s innovative chamber music series, Chatter, and is a member of the Oregon Wind Quintet. She has appeared as a soloist with the New Mexico Symphony, Southwest Florida Symphony, and New Mexico Philharmonic. Peña received her Master of Music degree from the The University of Missouri-Kansas City, where she was a student of Barbara Bishop, and her Bachelor of Music degree from the University of Illinois, where she studied with Nancy Ambrose-King. ●
NMPhil .
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 Joan Wang Jonathan Armerding Steve Ognacevic Kerri Lay Linda Boivin Barbara Rivers Nicolle Maniaci Barbara Scalf Morris SECOND VIOLIN Anthony Templeton • Carol Swift •• Julanie Lee Justin Pollak+ Michael Shu Ting Ting Yen+ Roberta Branagan Sheila McLay Brad Richards VIOLA Kimberly Fredenburgh •• Allegra Askew Christine Rancier Sigrid Karlstrom Virginia Lawrence Willy Sucre Joan Hinterbichler Lisa DiCarlo
CELLO Joan Zucker • Carol Pinkerton •• Carla Lehmeier-Tatum Joel Becktell Dana Winograd David Schepps Lisa Collins Peggy Wells
BASSOON Stefanie Przybylska • Denise Turner
BASS Jean-Luc Matton •+ Mark Tatum •• Katherine Olszowka Terry Pruitt Derek DeVelder
TRUMPET John Marchiando • Mark Hyams Brynn Marchiando •••
FLUTE Valerie Potter • Sara Tutland Jiyoun Hur ••• PICCOLO Sara Tutland OBOE Kevin Vigneau • Amanda Talley ENGLISH HORN Melissa Peña ••• CLARINET James Shields • Lori Lovato •• E-FLAT CLARINET Lori Lovato
HORN Peter Erb • Nathan Ukens Julia Erdmann Hyams ++ Niels Galloway ••••
TROMBONE Debra Taylor • Byron Herrington David Tall BASS TROMBONE David Tall TUBA Richard White • TIMPANI Douglas Cardwell • PERCUSSION Jeff Cornelius • Kenneth Dean Emily Cornelius HARP Anne Eisfeller •
Ruth Bitsui Vice President for Operations Dr. Larry Lubar Vice President for Development Roland Gerencer, MD Marc Powell Nancy Pressley-Naimark Steve Schroeder Al Stotts David Tall Anthony Trujillo Nathan Ukens Richard White ADVISORY BOARD Lee Blaugrund Clarke Cagle Robert Desiderio Steve Paternoster Evan Rice Heinz Schmitt STAFF Marian Tanau Executive Director Chris Rancier Executive Assistant & Media Relations Alexis Corbin Operations Coordinator & Personnel Manager Mancle Anderson Production Manager Alexander Onieal Head Librarian & Office Manager Danielle Frabutt Artistic Coordinator Byron Herrington Payroll Services Mary Montaño Grants Manager Joan Olkowski Design & Marketing
Principal • Assistant Principal •• Associate Principal ••• Assistant •••• Leave + One year position ++
The New Mexico Philharmonic
Lori Newman Website Maintenance & Editor Sara Tutland Ensemble Visits Coordinator
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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
Bernalillo County bernco.gov
City of Albuquerque cabq.gov
Computing Center Inc. cciofabq.com
D’Addario Foundation daddariofoundation.org
Elaine’s Restaurant elainesnobhill.com
Hancock Family Foundation nmhff.org
Holman’s USA holmans.com
Hunt Family Foundation huntfamilyfoundation.com
John Moore & Associates johnmoore.com
Keleher & McLeod keleher-law.com
Lexus of Albuquerque lexusofalbuquerque.com
Lockheed Martin lockheedmartin.com
New Mexico Arts nmarts.org
PNM pnm.com
Real Time Solutions rtsolutions.com
Recarnation recarnationabq.com
Sandia Laboratory Federal Credit Union slfcu.org
Sandia National Laboratories sandia.gov
Scalo Northern Italian Grill scalonobhill.com
SWGA, P.C. southwestgi.com
U.S. Bank usbank.com
Vein Center of New Mexico veincenternm.com
Wells Fargo wellsfargo.com
Zia Trust, Inc. ziatrust.com
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2015/16 Season
Menicucci Insurance Agency mianm.com
you’re going to love your site. www.rtsolutions.com
SUPPORT YOUR NMPHIL Donate. Sponsor. Advertise. (505) 323-4343 nmphil.org/support
Music Guild of New Mexico musicguildofnewmexico.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
BEETHOVEN CIRCLE Donation of $25,000– $49,999
Bernalillo County Commission The Computing Center Inc., Maureen & Stephen Baca The Meredith Foundation McCune Charitable Foundation Marc Powell & Holland Sutton
MOZART CIRCLE Donation of $10,000– $24,999
Anonymous Anonymous George & Sibilla Boerigter Suzanne S. DuBroff, in memory of Warren DuBroff Holman’s USA, LLC, Anthony D. Trujillo Lockheed Martin/Sandia National Laboratories The Lumpkin Family Foundation John Moore & Associates, Inc. Music Guild of New Mexico & Jackie McGehee Young Artists’ Competition for Piano & Strings The Honorable & Mrs. James A. Parker Cynthia Phillips & Thomas Martin Popejoy Hall Vein Center of New Mexico, Dr. Ole & Sheila Peloso Wells Fargo
BRAHMS CIRCLE Donation of $5000–$9999
BNSF Railway Foundation Paula & William Bradley Eugenia & Charles Eberle Andrea Escher & Todd Tibbals Ann & Gordon Getty Foundation Hunt Family Foundation Virginia Lawrence Dr. & Mrs. Larry Lubar Bob & Bonnie Paine Jerald & Cindi Parker Payday, Inc. PNM Resources Foundation Sandia Foundation, Woodward Grant Sandia Laboratory Federal Credit Union, Robert Chavez Scalo Northern Italian Grill, Steve Paternoster William Wiley Dr. Dean Yannias Zia Trust
CHOPIN CIRCLE Donation of $3500–$4999 Anonymous Bank of Albuquerque Cynthia & Thomas Gaiser Mary & Sam Goldman Hancock Family Foundation The Law Firm of Keleher & McLeod Southwest Gastroenterology Associates Marian & Jennifer Tanau Barbara & Richard VanDongen
GRACE THOMPSON CIRCLE Donation of $1933–$3499
Albuquerque Community Foundation, Chester French Stewart Endowment Fund Douglas Allen APS Foundation Nancy M. Berg Thomas Bird & Brooke Tully Fred & Lori Clark Richard & Margaret Cronin D’Addario Foundation Bob & Greta Dean Virginia & Richard Feddersen Firestone Family Foundation Bob & Fran Fosnaugh Frank & Christine Fredenburgh Eiichi Fukushima Yolanda Garcia Roland Gerencer, MD Keith Gilbert Helen A. Grevey & Jay D. Hertz Madeleine Grigg-Damberger & Stan Damberger Lexus of Albuquerque Erika Blume Love Menicucci Insurance Agency Microsoft Sara Mills & Scott Brown Ruth & Charles Needham Beverly Rogoff Ellen Ann Ryan Alicia & Russell Snyder Melissa & Al Stotts Jane & Doug Swift Kathleen & David Waymire Dr. & Mrs. Albert Westwood Lance Woodworth
BACH CIRCLE Donation of $1000–$1932 Leah Albers & Thomas Roberts Albuquerque Community Foundation, Robert J. Stamm & Mary Herring Stamm Fund Kirsten J. Anderson Anonymous Anonymous Christopher Apblett Nancy & Cliff Blaugrund Dr. Marythelma Brainard & Dick Ransom Pat Broyles Bill Byers Jonathan Miles Campbell The Collister Family, in memory of Joan Allen
Daniel & Brigid Conklin, in memory of Dr. C.B. Conklin Cathy Conrad John Crawford Krys & Phil Custer Clare W. Dreyer Clare W. Dreyer, in memory of Joan Allen David & Ellen Evans Joan Feldman Elaine & Frederick Fiber Gertrude Frishmuth David & Tanner Gay GE Foundation Barbara & Berto Gorham Helen A. Grevey & Jay D. Hertz, in memory of Joan Allen Stuart Harroun Mary Herring & Robert Stamm Jonathan & Ellin Hewes The Hubbard Broadcasting Foundation Chris & Karen Jones Stephanie & David Kauffman Stephen Kaufman Stephanie & Ken Kuzio Dr. Benjamin D. Lane Myra & Richard Lynch Kathy & John Matter Joan McDougall Jackie & C. Everett McGehee Ina S. Miller Mark & Susan Moll George & Mary Novotny Julia Phillips & John Connor, in honor of Ilya Kaler Matthew Puariea Carolyn Quinn & John Crawford Mary Raje, in memory of Frederick C. Raje Steve Ridlon, in memory of Casey Scott Jacquelyn Robins, in honor of Melvin Robins James & Sandee Robinson Barbara & Heinz Schmitt Steven Schroeder Janet & Michael Sjulin Vernon Smith Susan Spaven Conrad & Marcella Stahly Jeanne & Sid Steinberg Patricia & Luis Stelzner Lynett & David Tempest Patrick Villella Betty Vortman Tony & Susan Waller Barbara & Eugene Wasylenki Walter WM White & Julia Carson White Dolly Yoder
CONCERTMASTER CIRCLE Donation of $500–$999 John B. Aidun & Joan M. Harris Joan Allen Carl & Linda Alongi John Ames Judith & Otto Appenzeller Mary & John Arango Stephanie & Leonard Armstrong Sally Bachofer Daniel Balik Dorothy M. Barbo Richard K. Barlow
Sheila Barnes 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 Edward B. Cazzola Edith Cherry & Jim See Betty Chowning Margaret & Tze-Yao Chu Judith Clem David & Mary Colton Claudia Crawford, in memory of Clifford S. Crawford Gail Cunningham Marjorie Cypress & Philip Jameson Ann DeHart & Robert Milne, in memory of Joan Allen The Divas of ‘56, in memory of Stewart Graybill Stephen R. Donaldson ExxonMobil Foundation The Financial Maestro, LLC, Joann MacKenzie Pauline Garner & J. William Vega Jean & Bob Gough Sharon Gross Dr. Kirk & Janet Gulledge Lois Hall Bill & Carolyn Hallett Janet Harris Harris L. Hartz Margaret Harvey & Mark Kilburn Richard Henry Pamelia S. Hilty Martha Hoyt Carolyn & Hal Hudson Sue Johnson & Jim Zabilski John & Julie Kaltenbach Karen Kehe Marlin Kipp Meredith & Noel Kopald Susie Kubié La Vida Llena Rita Leard Jae Lee Maureen & Richard Lincoln Harry & Elizabeth Linneman Thomas & Edel Mayer Donna McGill Bob & Susan McGuire Kathryn McKnight John & Kathleen Mezoff Martha Miller Diane M. Mueller Toots & Scott Obershain Steve Ovitsky John Provine Dan Rice Deborah Ridley & Richard S. Nenoff Don & Barbara Rigali The Rodey Law Firm Ruth Ronan Edward Rose Nancy Scheer Norman Segel Sharon Sharrett
Patty & Bill Snead Mary & John Sparks Charles & Flossie Stillwell Eberhard H. Uhlenhuth Tina Valentine Margaret Vining Patricia & Robert Weiler Judy Basen Weinreb & Peter Weinreb Carl G. & Janet V. Weis Patrick Wilkins Jane & Scott Wilkinson Drs. Bronwyn Wilson & Kurt Nolte Sylvia Wittels & Joe Alcorn, in honor of Adrianna Belen Gatt David Worledge Andrea Yannone Michael & Jeanine Zenge
PRINCIPALS CIRCLE Donation of $125–$499
Albertsons Community Partners Program Ed Alelyunas ALH Foundation Inc. Gerald Alldredge Jo Marie & Jerry Anderson Anderson Organizing Systems Anonymous Anonymous Anonymous Paul & Mary Lee Anthony Myrna T. Arguello & Genaro M. Roybal Janice J. Arrott Lynn Asbury & John Wronosky Atkinson & Co. B2B Bistronomy David Baca Joel A. & Sandra S. Baca Mary E. Baca Thomas J. & Helen K. Baca Toni Baca Jan Bandrofchak & Cleveland Sharp Holly Barnett-Sanchez & David Foster Elinore M. Barrett Ellen Bayard & Jim O’Neill Edie Beck Helen Benoist Ruth & Edison Bitsui Leonie Boehmer Richard & Iris Brackett Susan Brake Carolyn Brooks Mary & Jim Brown Fred Bryant Mary Letty Buchholz Miriam Burhans Drs. Kathleen L. Butler & M. Steven Shackley Clarke Cagle Thomas Cagle Laurel Callan Glo Cantwell Ann Carson Camille Carstens Shirley & Ed Case Kathleen & Hugh Church Martin & Susan Conway Dianne Cress & Jon McCorkell Nancy Cutter, in memory of Joan Allen Stephen & Stefani Czuchlewski
continued on 20 The New Mexico Philharmonic
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Donor Circles . continued from 19 George deSchweinitz Jr. Janice Dosch Patricia & Leonard Duda Jeff & Karen Duray Mary Lou Edward Paul & Catherine Eichel Anne C. Eisfeller Eleanor D. Eisfeller Carol & John Ellis Mildred & Richard Elrick Stefanie English Stephanie Eras & Robert Hammerstein David & Frankie Ewing Jo Margaret & John Farris Winifred & Pelayo Fernandez Rona Fisher Heidi Fleischmann & James Scott Edmund & Agnes Franzak Louis Fuchs Barb & Larry Germain Chuck & Judy Gibbon Drs. Robert & Maria Goldstein A. Elizabeth Gordon Carmoline & Bing Grady Paul & Marcia Greenbaum Julie Gregory Peter Gregory Dick & Suzanne Guilford Ron Halbgewachs Roger Hammond & Katherine Green Hammond Betty Hawley & Donald Robbins John & Diane Hawley Stephen & Aida Ramos Heath Susan Hinchcliffe Fred Hindel Bud & Holly Hodgin David & Bonnie Holten Noelle Holzworth Lorna Howerton William B. Hughes Janet & Vincent Humann Joan Jander Ken & Cindy Johns, Johns Family Foundation, in memory of Joan Allen Nancy M. Johnson Carol Kaemper Ira & Sheri Karmiol Thomas & Greta Keleher Ann King Karen & Bill Knauf Asja Kornfeld, MD & Mario Kornfeld, MD Jennifer C. Kruger Karen M. Kupper Henry & Judith Lackner Rebecca Lee & Daniel Rader Linda Lewis Michael Linver Thomas & Donna Lockner Aabbee Mann Tyler M. Mason Carolyn Martinez Paul & Judith Matteucci Sallie & Denis McCarthy Ronald & Barbara McCarty Roger & Kathleen McClellan Monica McComas Karen McKinnon & Richard A. Stibolt Bernard & Mary Metzgar Phyllis Metzler Peggy Sanchez Mills & Jim Mills John Mims Christine & Russell Mink Mohinder & Deborah Mital
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Jan Mitchell Hossein Mojtahed William Moffatt James B. & Mary Ann Moreno James & Margaret Morris Shirley Morrison & Cornelis Klein Rick Morrison Lynn Mostoller Sharon Moynahan Lynn Mullins, in memory of Joan Allen Edward & Nancy Naimark Donald & Carol Norton Wendy & Ray Orley Joyce & Pierce Ostrander Carol & Gary Overturf The Honorable James A. & Janice Parker, in memory of Joan Allen The Ralph & Ella Pavone Family Trust James & Ann Pedone Ross B. Perkal Richard Perry Lang Ha Pham Herbert & Judi Pitch Dan & Billie Pyzel Jane Rael Dick & Andy Rail Christine & Jerry Rancier Russell & Elizabeth Raskob T.D. Raymond Robert Reinke Lee A. Reynis & David W. Stryker Clifford & Sandra Richardson Erika Rimson & David Bernstein Shelly Roberts & Dewey Moore Gwenn Robinson, MD & Dwight Burney III, MD A. Rolfe & Dorothy Black, in memory of Joan Allen Paul Romo Kletus Rood Stuart & Mimi Rose, in honor of the wedding of Paul Silverman & Susan Mesuda Christine Sauer Warren & Rosemary Saur Brigitte Schimek & Marc Scudamore Stephen Schoderbek Howard & Marian Schreyer Kathleen Schulz Carolyn Sedberry Barbara & Daniel Shapiro Xiu-Li Shen Frederick & Susan Sherman, in memory of Joan Allen Walt & Beth Simpson Norbert F. Siska Carol Smith Dr. Fran A’Hern Smith Jane Snyder Steven & Keri Sobolik Robert St. John Carmen & Lawrence Straus Suzanne Taichert Larry Titman Joan & Len Truesdell Anna Y. Vigil & Clarence Gallegos Richard Vivian E. M. Wachocki Marianne Walck Harry Wallingford Jan Armstrong Watts Jeffrey West
Kay West Trudy & Robert White Bill & Janislee Wiese Bill & Janislee Wiese, in honor of Joan Allen Walter Wolf David & Evy Worledge Mae S. Yee Albert & Donna Zeman
FRIENDS OF THE PHILHARMONIC Donation of $25–$124
Ron Abramshe Kelly Aldridge Edward & Nancy Alley, in memory of Joan Allen Carl & Linda Alongi, in memory of Joan Allen Jo Anne Altrichter & Robin Tawney AmazonSmile Eugene Aronson Emil Ashe Edward & Leslie Atler Rosa & Joseph Auletta George Baca Jackie Baca & Ken Genco Renee Baca Diane & Douglas Brehmer Bailey Charlene Baker E. Patricia Barbier Joyce Barefoot Sheila Barnes, in memory of Joan Allen Lois Barraclough Graham Bartlett Julian Bartlett Mary Beall Susan Beard Carla Beauchamp Debra & Kirk Benton Sarah & Joshua Benton, in memory of Joan Allen Mark & Beth Berger Dorothy & Melbourne Bernstein Alan & Bronnie Blaugrund, in memory of Joan Allen Ann Blaugrund & Bill Redak, in memory of Joan Allen Henry Botts Karen Bovinette, in memory of Joan Allen Julia B. Bowdich, in memory of Joan Allen J. M. Bowers Jeffrey & Teresa Brandon Charles Brandt, in memory of Jennifer K. Brandt Richard & Karla Bressan, in memory of Joan Allen James & Ann Bresson Billy Brown Elizabeth Brower Dr. Lisa M. Brunacini & Rita M. Giannini Sandy Buffett Elaine Burgess Mary Ann Campbell-Horan & Tom Horan James Carroll Joseph Cella Barbara & Roscoe Champion Ralph Chapman Kathy & Lance Chilton Jay & Carole Christensen, in memory of Joan Allen Judith & Thomas Christopher
Paul Citrin James & Joan Cole Valerie Cole Henry & Ettajane Conant Martha Cook, in memory of Lewis & Ruth Cook Ralph Cover Betsy Cuneo Catherine Cunningham Barbara David Margaret Davidson & James Barbour, in memory of Joan Allen Joan Davis Margaret DeLong Jerry & Susan Dickinson Thomas Domme 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 Dr. James & Julie Drennan Woodie Dreyfuss, in memory of Joan Allen Ken Duckert Susan & Daniel Dunne Patsy Duphorne 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 Sylvia & Ron Eisenhart Wolfgang Elston Robert & Dolores Engstrom Roger C. Entringer Helen Erb Cheryl A. Everett Helene K. Fellen Rosario Fiallos Elizabeth & Blake Forbes Beverly Forman & Walter Forman, MD James & Jean Franchell Douglas & Nancy Francis J. Arthur Freed Ron Friederich Jack Fuller Robert & Diana Gaetz Patrick & Patricia Gallacher Ann Gateley Karen Gatlin Paula Getz Duane & Janet Gilkey Donald & Diane Goldfarb Jim L. Gonzales Janice K. Goodman Dr. Thomas & Linda Grace, in memory of Joan Allen Erna Sue Greening Justin M. & Blanche G. Griffin Craig Griffith Insurance Agency Virginia Grossetete Virginia Grossetete, in memory of Joan Allen Mina Jane Grothey Ellen Guest Charles & Betsy Gunter Herman Haase Janet Harrington Joan & Fred Hart Marilyn Hartig Allan Hauer James Headley, in memory of Joan Allen
Rosalie & Leon Heller Robert & Sara Henning Eileen Grevey Hillson & Dr. David Hillson, in memory of Joan Allen Barbara Holt Suzanne Hood Tom Hopkins Helen & Stanley Hordes Linda Hummingbird Nancy Jacobson Jerry Janicke Olivia Jaramillo Eldon Johnson Eric R. Johnson Joyce D. Jolly Judy Jones Lawrence Jones Robert Jones Robert & Mary Julyan Phyllis Kaplan Clayton Karkosh James Kelly C.R. Kemble David & Leslie Kim, in memory of Joan Allen Judith Allen Kim, in memory of Joan Allen Gerald Kiuttu Barbara Kleinfeld Sushilla Knottenbelt Herb & Shelley Koffler, in memory of Joan Allen Philip Kolehmainen Katherine Kraus Flora Kubiak, in memory of Joan Allen Hareendra & Sanjani Kulasinghe Stephen & Isadora Kunitz Susan Lentz Robert & Judith Lindeman William J. Lock George Loehr Richard & Christine Loew, in memory of Joan Allen Rhonda Loos & Neal Piltch, in memory of Joan Allen Quinn Lopez Betty Lovering Stephen Maechtlen Robert & Linda Malseed Jim Marquez Marita Marshall Carolyn Ross Martin, in memory of Joan Allen Carolyn Martinez, in memory of Joan Allen Pete & Lois McCatharn Stephen McCue James McElhane Jackie & C. Everett McGehee, in memory of Joan Allen Eugene McGuire David McKinney, in memory of Joan Allen Millie & John McMahon, in memory of Joan Allen Cynthia & Paul McNaull Bruce A. Miller James Moffitt Carolyn Mohoric Claude Morelli Letitia Morris Carolyn Muggenburg Brian Mulrey Marilee Nason Jennie Negin & Harold Folley Bruce & Ruth Nelson Betsy Nichols & Steve Holmes
Donor Circles . Anne E. Nokes Richard & Marian Nygren Scott Obenshain Marilyn Jean O’Hara Rebecca Okun Gloria & Greg Olson Margaret & Doyle Pargin Judyth Parker Howard Paul Larry Pearsall Margery Pearse Timothy Peterson Barbara Pierce Barbara Pierce, in memory of Elise Schoenfeld Dr. Ed & Nancy Pierce, in memory of Joan Allen Beverly Pinney Judy & Orville Charles & Theresa Pribyl, in memory of Joan Allen Shirley Puariea Noel Pugach, in memory of Joan Allen Therese Quinn Mary Ellen Ratzer Marit Rawley David & Tracey Raymo Marjorie & Robert Reed Patricia Renken Diane Reuler Ira J. Rimson Margaret E. Roberts Matthew Robertson Bruce Roginson Beverly Rogoff, in memory of Joan Allen Rebecca Rose & Susan Matthew, in memory of Joan Allen Stuart & Mimi Rose, in honor of Cliff Blaugrund’s 70th birthday Bryan L. & Lisa Wood Ruggles John Salathe Evelyn E. & Gerhard L. Salinger Scott & Margaret Sanders Steve A Schaefer David A. Schnitzer Laura Scholfield Ralph Schwab Judith Schwartz Arthur & Colleen M. Sheinberg Robert & Lelia Shepperson Barbara Shiller George & Vivian Skadron Conrad & Shirley Sloop Donald Smith Smith’s Community Rewards Frederick Snoy Jean & Allen Spalt Geny Stein David & Jane Tallant Debra Taylor Phyllis Taylor & Bruce Thomson Emily Terrell Nina & Gary Thayer Patricia & George Thomas Alice Thompson Richard Thompson Jack Tischhauser Marilyn Toler John Tondl Hy Tran Deborah & Richard Uhrich Arthur & Sandra Vall-Spinosa
Jean & Ross Van Dusen Jean Villamarin Cynthia & Bill Warren Cynthia Weber Jean & Dale Webster Nicolette Westphal Mary White Wendy & Roland Wiele James Wilterding & Craig Timm Rosemary & William Winkler Kathryn Wissel Mary Young Janet Youngberg, in memory of Joan Allen Diana Zavitz, in honor of Lois Harwick Diana Zavitz, in honor of Pat & Ray Harwick Willie & Lisa Zimberoff, in memory of Joan Allen Andrew A. Zucker 9/3/2015
JOIN A CIRCLE Donate Today. (505) 323-4343 nmphil.org/support
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The New Mexico Philharmonic
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. Jo Anne Altrichter & Robin Tawney Maureen & Stephen Baca Nancy Berg Thomas C. Bird & Brooke E. Tully Edison & Ruth Bitsui
Peter Gregory Dr. & Mrs. Larry Lubar Jeanne & Sid Steinberg Betty Vortman William A. Wiley
9/3/2015
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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
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 Central United Methodist Church First United Methodist Church St. John’s United Methodist Church St. Luke’s Lutheran Church
INDIVIDUAL APPRECIATION Lee Blaugrund & Tanager Properties Management Billy Brown Luis Delgado Robert Desiderio Rosemary Fessinger Jerrilyn Foster Chris Kershner Rose Maniaci Jackie McGehee Brent Stevens
SUPPORT YOUR NMPHIL TODAY Donate. Volunteer. Advertise. Planned Giving. (505) 323-4343 nmphil.org/support
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Popejoy Classics
Popejoy Classics
MAR
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THE MOST BEAUTIFUL CELLO
Upcoming Concerts
BAILEY PLAYS DVOŘÁK
Reserved Seats.
CELEBRATE THE ELECTRIFYING
FIFTH ANNIVERSARY SEASON OF THE NEW MEXICO PHILHARMONIC Popejoy Classics Popejoy Hall 203 Cornell Dr NE Albuquerque, NM 87106 (505) 925-5858 unmtickets.com
OLGA ROCKS RACHMANINOFF Popejoy Classics
Popejoy Classics
APR
NOV
9
7
Alice inWonderland
MAHLER
THE TITAN
Popejoy Pops Popejoy Hall 203 Cornell Dr NE Albuquerque, NM 87106 (505) 925-5858 unmtickets.com
B A L L E T
Popejoy Classics
Popejoy Classics
JAN
APR
23
30
MOZART MOZART MOZART
NHCC Sunday Classics National Hispanic Cultural Center 1701 4th Street SW Albuquerque, NM 87102 (505) 724-4771 nationalhispaniccenter.org
SAINT-SAËNS
THE ORGAN SYMPHONY
Neighborhood Concerts Venues in Albuquerque (505) 323-4343 nmphil.org Popejoy Classics
Popejoy Pops
FEB
OCT
27
31
H AL LLLOOW W E E NN PPO OP SP S HA
2015/16 Season
nmphil.org
A NIGHT WITH
NAKAMATSU
ARTS MANAGEMENT GROUP
AA FF RR I G HH TT FF UU LL LY LY GG OO O D N II GGHHTT
Popejoy Pops
DEC
19
NHCC
Neighborhood
JAN
DEC
10
4
THE FOUR SEASONS
HANDEL’S
MESSIAH
OF BUENOS AIRES
H LIDAY P PS Popejoy Pops
MAR
5
NHCC
Neighborhood
FEB
FEB
21
12
PROTÉGÉ
AN EVENING WITH
BOBBY SHEW
SERIES
BACH & MENDELSSOHN Popejoy Pops
MAR
26
NHCC
Neighborhood
APR
MAR
17
13
HAYDN’S
CIRQUE DE LA
SYMPHONIE
ORGAN CONCERTO
¡ZARZUELAS! REDISCOVERED ROMANCE
NHCC
Neighborhood
Neighborhood
OCT
NOV
APR
18
15
24
BACH TO HCAB MOZART & BEETHOVEN
HAYDN CUMMINGS
& JACKIE MCGEHEE YOUNG ARTISTS’ COMPETITION WINNERS