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Welcome .
Table of Contents October 18, 2015
Program Program Notes Grant Cooper Ruxandra Simionescu-Marquardt Melissa PeĂąa October 24, 2015
Program Program Notes Tania Miller Zuill Bailey your nmphil
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Musical Fiestas 2 Meet the Musicians 14 Sponsor a Musician 15 Sponsors 16 Orchestra 17 Board of Directors, Advisory Board, Staff 17 Upcoming Concerts 18 Donor Circles 20 Thank You 22 The Legacy Society 23
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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 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 of Teresa & Jim Edens $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.
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Concert Program .
Sunday, October 18, 2015, 2 p.m.
Sunday Afternoon Classics at the NHCC: Bach to Bach! Grant Cooper conductor Ruxandra Simionescu-Marquardt violin Melissa Peña oboe
Orchestral Suite No. 1 in C Major, BWV 1066 I. Ouverture II. Courante III. Gavotte I/II IV. Forlane V. Minuet I/II VI. Bourrée I/II VII. Passepied I/II Concerto for Violin and Oboe in c minor, BWV 1060R I. Allegro II. Adagio III. Allegro
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National Hispanic Cultural Center
Johann Sebastian Bach (1685–1750)
Making a Difference This performance is made possible in part by the generosity of the following: Albuquerque Community Foundation
J.S. Bach
Ruxandra Simionescu-Marquardt violin Melissa Peña oboe
I n t e rmission
Brandenburg Concerto No. 6 in B-flat Major, BWV 1051 I. [Allegro] II. Adagio ma non tanto III. Allegro
J.S. Bach
Orchestral Suite No. 4 in D Major, BWV 1069 I. Ouverture II. Bourrée I/II III. Gavotte IV. Menuet I/II V. Réjouissance
J.S. Bach
The New Mexico Philharmonic
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Program Notes .
Program Notes Lori Newman
Johann Sebastian Bach Born 1685, Eisenach, Germany Died 1750, Leipzig, Germany
Orchestral Suite No. 1 in C Major, BWV 1066 (c. 1723) Orchestral Suite No. 4 in D Major, BWV 1069 (c. 1730) The term “suite” has many meanings and purposes in classical music, mainly dependent upon the period in which the suite was written. Its meaning in relation to the Bach Orchestral Suites Nos. 1–4, BWV 1066–1069 is quite specific. These works fall under the category of “overture-suites,” a genre particularly popular by German composers such as Telemann, Handel, and J.S. Bach. This form is derived from the 17th century French “classical-suite” made popular by Johann Jakob Frohberger. The classical suite consisted of the dance movements allemande, courante, sarabande and gigue, in that order, all unified by a central key. As the form developed other dance movements were used in addition, or in substitution, of the central dance movements. These included the minuet, bourrée, gavotte, rondeau, polonaise, and passepied. This, coupled with the addition of an overture, or sometimes a prelude, became the orchestral overturesuites of Bach’s time. The four Orchestral Suites of Bach were most likely written between 1723 and 1739, but the Suites’ numbering is not chronological. It is believed that they were written in the following order: 1, 4, 3, 2. Since no original manuscript has survived, much of the information we have is scholarly conjecture. The orchestral suite is a form which is much lighter than most
These were versatile pieces that could be played for various functions and that also satisfied the European royalty’s appetite for French affectation within the confines of German culture. of Bach’s music, not bearing the weight of his sacred works or the fugal nature of much of his works for keyboard. Bach did not care for this type of music, considering it frivolous; however, it was good for business. These were versatile pieces that could be played for various functions and that also satisfied the European royalty’s appetite for French affectation within the confines of German culture. ●
J.S. Bach
Concerto for Violin and Oboe in c minor, BWV 1060R (unknown) The wealth of instrumental music of J.S. Bach can be attributed to his time served as Kapellmeister at the court of Prince Leopold at Köthen (1717–1723). During this time, Bach’s compositional efforts were freed of the weekly church music that he was required to churn out at his many other posts. Köthen was a Calvinist court, led by a Prince who had a great appreciation for music, as well as a passing talent as a violinist, keyboardist, and gambist. Bach was afforded an orchestra of talented musicians for which to write his secular, instrumental music, including most of the
Bach’s Brandenburg Concerti were written, in effect, as a musical job application or instrumental résumé. The New Mexico Philharmonic
Brandenburg Concertos, the first volume of The Well-Tempered Clavier, and the Cello Suites, among many others. The Concerto for Violin and Oboe is an excellent example of the kind of “repurposing” that occurred with regularity for Baroque composers. The Concerto in its original form (violin, oboe) did not survive, but rather, only a reworking of it for two harpsichords, BWV 1060, survived. Bach scholars are certain the Concerto was originally written for the violin and oboe, as the ranges of the two harpsichord parts fit completely within the ranges of these instruments. The concerto is written in the typical three-movement concerto form of fast-slowfast. The first movement is stately and bright with lots of technical passagework for both soloists. The second movement features the soloists in a grand duet featuring long lines and imitation. The third movement is lively and spry, not to mention a technical tour de force for the violin. ●
J.S. Bach
Brandenburg Concerto No. 6 in B-flat Major, BWV 1051 (1721) The Brandenburg Concerti of Johann Sebastian Bach reflect the musical realities of the time: composers, even successful and brilliant composers such as Johann Sebastian Bach, were at the mercy of the aristocracy. This is never more evident than when studying Bach’s Brandenburg Concerti. The six concerti were written, in effect, as a musical job application or instrumental résumé. The intended employer was Margrave Christian Ludwig of Brandenburg-Schwedt. continued on 7 nmphil.org
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Program Notes . continued from 5 Bach’s dedication page begins as follows: As I had the good fortune a few years ago to be heard by Your Royal Highness, at Your Highness’s commands, and as I noticed then that Your Highness took some pleasure in the little talents which Heaven has given me for Music, and as in taking Leave of Your Royal Highness, Your Highness deigned to honour me with the command to send Your Highness some pieces of my Composition: I have in accordance with Your Highness’s most gracious orders taken the liberty of rendering my most humble duty to Your Royal Highness with the present Concertos, which I have adapted to several instruments; begging Your Highness most humbly not to judge their imperfection with the rigor of that discriminating and sensitive taste, which everyone knows Him to have for musical works, but rather to take into benign Consideration the profound respect and the most humble obedience which I thus attempt to show Him. Sycophancy aside, Bach was rewarded neither with a job, a fee, nor even a performance of the works. It appears that the score was never used and remained in the Margrave’s library until his death in 1734. At that time, it was sold for twenty-four groschen (about $22.00) and not published until 1850, a year after its rediscovery in the Brandenburg archives. While the date on the concerti is listed as 1721, it is widely believed that they were written much earlier and perhaps over a significant period of time while at the courts of either Weimar (1708–1717) or Köthen (1717–1723) or a combination thereof. Because of this, it is doubtful that the works were conceived as a set of concerti, but rather assembled as such when Bach sent them to the Margrave. The original title of the set is Six Concerts à plusieurs instruments, and the dedication page describes them as “Concerts avec plusieurs instruments” (“Concertos with several instruments”). The Brandenburg Concerto No. 6 was written for two each of the viola da braccio and viola da gamba, one cello, one violone, and harpsichord. The viola da braccio is the viola we use in modern orchestras; the viola da gamba is no longer used in modern ensembles, only those using period instruments in early music ensembles; and the violone is another obsolete instrument in the range of the cello and from the gamba family. Modern performances of the work, like you will hear this afternoon, substitute cellos for the gamba parts and a double bass for the violone part.
The New Mexico Philharmonic
Bach was rewarded neither with a job, a fee, nor even a performance of the works. It appears that the score was never used. As with all of the Brandenburg Concerti, we find Bach using interesting and unlikely combinations of instruments. Here we have an all-string ensemble but without the expected and traditional leader, the violin. Also of interest is that Bach puts the viola da braccio as the lead instrument. In Bach’s day, the viola da braccio would have been played by a lower class of musician, often a servant, whereas the gamba would have been played by a member of the aristocracy. It is also believed that Bach’s employer Prince Leopold would most likely have played the first gamba part. This is a role reversal not only in instrumentation, but one of class and caste. Make of that what you will regarding Bach’s feelings of the social hierarchy of the day. The first movement opens in typical Bach form, with rich and inventive counterpoint. However, the opening canon is written so closely together (a mere eighth note apart) that it is not immediately apparent that a canon exists; this also creates a distortion of the placement of the beat. Eventually, the distance of the counterpoint expands and we can hear individual voices more clearly. The second movement is a trio sonata written only for the violas da braccio and continuo. The melodic duet is filled with impossibly long and glorious phrases for the underappreciated viola. The third movement is the most recognizable of the three, written in a typical rondo format which has the feel of a gigue to it. Bach writes the traditional rondo in a perfect palindrome with the form of A-B-A-C-A-B-A. ● Program Notes ® Lori Newman
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Concert Program .
Saturday, October 24, 2015, 6 p.m. / 5 p.m Pre-Concert Talk
Popejoy Classics: The Most Beautiful Cello: Bailey Plays Dvořák
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Tania Miller conductor Zuill Bailey cello
Popejoy Hall
Circuits
Cindy McTee (b. 1953)
Cello Concerto in b minor, Op. 104 Antonín Dvořák I. Allegro (1841–1904) II. Adagio, ma non troppo III. Finale: Allegro moderato—Andante—Allegro vivo Zuill Bailey cello
Making a Difference This performance is made possible in part by the generosity of the following: Sandia Laboratory Federal Credit Union Menicucci Insurance Agency
Pre-Concert Talk Pre-Concert Talk with conductor Tania Miller and Classical 95.5 KHFM host Brent Stevens sponsored by:
I n t e rmission
Keleher & McLeod, P.A.
Symphony No. 6 in b minor, “Pathétique,” Op. 74 I. Adagio—Allegro non troppo II. Allegro con grazia III. Allegro molto vivace IV. Adagio lamentoso
The New Mexico Philharmonic
Peter Ilyich Tchaikovsky (1840–1893)
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Program Notes .
Program Notes Lori Newman
Cindy McTee
Born 1953, Tacoma, Washington, USA
Circuits (1990) Notes by Cindy McTee
Circuits was written in 1990 for the Denton Chamber Orchestra of Denton, Texas. The title, Circuits, is meant to characterize several important aspects of the work’s musical language: a strong reliance upon circuitous structures such as ostinatos; the use of a formal design incorporating numerous, recurring short sections; and the presence of an unrelenting, kinetic energy achieved through the use of 16th notes at a constant tempo of 152 beats per minute. The inclusion of jazz elements and the playful manipulation of musical materials using syncopation, sudden transposition, and juxtaposition are also characteristic of the work. ●
Antonín Dvořák
Born 1841, Nelahozeves, near Kralupy, Bohemia Died 1904, Prague, Czech Republic
Cello Concerto in b minor, Op. 104 (1894-5)
“The cello is a beautiful instrument, but its place is in the orchestra and in chamber music. As a solo instrument it isn’t much good.” Dvořák had resisted the notion of a cello concerto for some time, considering the instrument’s top register “nasal” and believing the bottom register “mumbles.” He had begun work on a Cello Concerto in A Major earlier in his career, but didn’t believe in the work enough to orchestrate it, and it wasn’t even discovered until 1925, two decades after his death.
“ … the concerto was my father’s tribute to and final departure from his last love.” —Otakar Dvořák
Dvořák’s good friend Hanuš Wihan had pestered him for years to write a cello concerto, but he always demurred, citing the above “failings” of the cello as a solo instrument. All this changed in March of 1894, when he heard his National Conservatory colleague Victor Herbert (Babes in Toyland) premiere Herbert’s Cello Concerto No. 2 in e minor. Dvořák was so taken with the work and the performance, he decided to finally take a serious stab at writing a cello concerto of his very own. He enlisted the help of Wihan for technical advising during the composition period. The two butted heads severely as Wihan envisioned a much different work than Dvořák, complete with multiple cadenzas. The disagreement became so intense that Dvořák had to issue a directive to his publisher: “I will give you my work only if you promise not to allow anybody to make changes—friend Wihan not excepted.” Although Dvořák’s Cello Concerto in b minor was written during one of the composer’s American stints, it bears no likeness to the “Americanisms” of the “New World” Symphony; it is decidedly Czech, as well as being a very personal work for Dvořák. During the Concerto’s composition, Dvořák learned that his sister-in-law, Josefina Kaunitzová, was gravely ill. Josefina was not only his sister-in-law, she was also a former student with whom Dvořák had fallen in love three decades prior. Learning of her illness, Dvořák incorporated her favorite song, “Kéž duch můj sám” (“Leave me alone.”) from his Four Songs, Op. 82, into the second
“Why on earth didn’t I know one could write a cello concerto like this? If I’d only known, I’d have written one long ago!” —Johannes Brahms
movement. In May of 1895, Dvořák learned of Josefina’s death and rewrote the ending of the third movement to include an elegiac section devoted to her. His son Otakar wrote, “This impressive ending to the concerto was my father’s tribute to and final departure from his last love.” The Concerto is dedicated to Wihan who was the intended soloist at the premiere performance; however, scheduling conflicts prevented this. Instead, the English cellist Leo Stern was the soloist at the premiere performance on March 19, 1896, at Queen’s Hall in London, with Dvořák conducting. The Cello Concerto in b minor was an immediate success, and despite Dvořák’s protestations that the cello was unsuitable as a solo instrument, it has secured itself a place in the cello’s concerto repertoire alongside the works of Haydn, Schumann, Saint-Saëns, Elgar, and Shostakovich. It was so revered that even the great Johannes Brahms was quoted as saying, “Why on earth didn’t I know one could write a cello concerto like this? If I’d only known, I’d have written one long ago!” ●
Peter Ilyich Tchaikovsky Born 1840, Votkinsk, Russia Died 1893, St. Petersburg, Russia
Symphony No. 6 in b minor, “Pathétique,” Op. 74 (1893) The details surrounding Tchaikovsky’s death are often mentioned in the same sentence as the Symphony No. 6, “Pathétique.” While it is true that Tchaikovsky conducted the premiere just nine days before his death, there is no evidence to support the notion that he wrote his Sixth as a swan song or that he knew the end was near. Much has been made of the subtitle, “Pathétique,” being a clue as to how Tchaikovsky was feeling in the months leading up to his death. Was he suicidal? Depressed? Schumannesque? All roads seem to point to no. In fact, Tchaikovsky was entering an exciting continued on 12
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Program Notes . continued from 11 point in his career as one of the first Russian composers to achieve international acclaim. In addition, the moniker that accompanies the Sixth Symphony was not even Tchaikovsky’s word: “Pathétique” has been attributed to Tchaikovsky’s brother, Modest, after he heard the premiere of the work. Perhaps if Tchaikovsky’s death were not shrouded in mystery and supposition, we would be less likely to try and link the Sixth Symphony with his untimely demise. Un-boiled water, ingested accidentally, is most likely the composer’s cause of death, but other theories exist as well. During a cholera outbreak, Tchaikovsky purportedly drank a glass of un-boiled water, got sick, and died. It’s not a real sexy way to go, nor is it a great Hollywood plot twist, but it would seem that this is exactly what brought down our hero. Other theories include suicide by his own hand or a Socratic suicide, forced upon him by either a “court of honor” or on orders from the Tsar, in an effort to cover up a homosexual affair with an underage nobleman. The forced suicide theory gained traction in the late 1970s and early 80s but has since come into question due to a lack of conclusive evidence. A suicide at his own hand is also less likely, as there is nothing in any of his letters leading up to his death that suggest he was any unhappier then than at any other time in his life. Tchaikovsky was a fairly angst-filled sort, but he seemed happier around the time of the premiere of his Sixth. Three days after its premiere, Tchaikovsky was part of a conversation that included topics like spirituality and death. His brother, Modest, relayed that Tchaikovsky said, “There is plenty of time before we need reckon with this snub-nosed horror [death]; it will not come to snatch us off just yet! I feel I shall live a long time.” Musicologist Roland John Wiley writes, “The polemics over [Tchaikovsky’s] death have reached an impasse ... We do not know how Tchaikovsky died. We may never find out.” The Sixth Symphony premiered on October 28, 1893, in St. Petersburg. The audience
“… that would remain an enigma to all—let them guess.” —Peter Ilyich Tchaikovsky
reaction to the Symphony is perhaps best described as ambivalent. Tchaikovsky would say, “It is very strange about this symphony. It was not exactly a failure, but it was received with some hesitation.” This is untrue of the next time the Symphony was performed: a memorial concert twelve days after Tchaikovsky’s death in St. Petersburg, conducted by Eduard Napravnik. Here, the audience wept for the loss of their beloved composer—proving again that one is never more popular than in death. We know that Tchaikovsky wrote the Sixth fairly quickly and was excited to be doing so. In February of 1893, he wrote to his nephew “Bob” Vladimir Davydov, to whom the work is dedicated, that he had written the first movement in a mere four days and that he had a firm plan laid out for the rest. He also said that the Sixth would have a program attached to it. He wrote that it would be “a program of a kind that would remain an enigma to all—let them guess, but the symphony will just be called Program Symphony (No. 6). This program is saturated with subjective feeling, and often … while composing it in my mind, I shed many tears … Do not speak of this to anyone but Modest.” Tchaikovsky previously had a bad experience with the program for his Fourth Symphony which ended up detracting from the musical experience, and for years the work was not taken seriously by critics because of it. So, he must have felt strongly about the program of the Sixth to consider jumping into the fray again. Not strongly enough to keep it, however. A mere day after the premiere, Tchaikovsky had given up on the idea of an unpublished program and was searching for a subtitle. It was then that Modest suggested “pathétique.” What
“… while composing it in my mind, I shed many tears … Do not speak of this to anyone.” —Peter Ilyich Tchaikovsky
he suggested, however, was the Russian word “patetichesky,” a term conjuring more suffering and pathos than the English translation of the French, “pathetic.” Tchaikovsky would say of his Sixth, “I certainly regard it as easily the best—and especially the most ‘sincere’—of all my works, and I love it as I have never before loved one of my musical offspring.” The first movement’s Adagio begins in the lowest depths of the orchestra, with the bassoon playing a mysterious rising and falling melody. Immediately, the tone of the “Pathétique” is set. The opening melody is then used as the thematic material for the first theme of the Allegro non troppo. The gorgeous second theme is based on the “Flower” aria from Tchaikovsky’s favorite opera, Carmen. The first movement’s scope dwarfs the others in the symphony, its timing coming in at twice that of any of the remaining three movements. Tchaikovsky forgoes a traditional symphonic slow second movement and replaces it with an off-kilter waltz in 5/4 time. The main theme is lyrical and affable, in stark contrast to the mood of the first movement. The middle section features an undulating theme in the minor mode which is far more in the spirit of the pathétique theme. The third movement Scherzo features winds and strings scurrying about chasing after each other and a martial and heroic main theme, again in direct contrast to the opening movement. The fourth movement returns to the tenor of the first with its weeping string melodies and somber wind themes. Tchaikovsky goes against the expected symphonic archetype and features a finale that is devoid of the usual technical and dynamic fireworks. Instead, he features a brooding symphonic slow movement, but places it last for ultimate dramatic effect. It is certainly possible that this was the reason audiences did not laud the symphony at its premiere. Audiences undoubtedly find it much easier to jump to their feet in enthused appreciation at the end of a barn burner than to do so when the orchestra simply fades into the abyss as in Tchaikovsky’s Finale of the Sixth Symphony. ● Program Notes ® Lori Newman
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Artists .
Grant Cooper conductor
Grant Cooper, Artistic Director and Conductor of the West Virginia Symphony Orchestra, was named to the position in March 2001, and officially began his duties as the ninth conductor in the WVSO’s history on July 1, 2001. From 1997 to 2007, Mr. Cooper served as Resident Conductor of the Syracuse Symphony, where he gave over 600 performances with that orchestra, appearing to critical acclaim on all the major series. Mr. Cooper is also Artistic Director of the Bach and Beyond Festival in Fredonia, New York. In past seasons, Mr. Cooper has appeared regularly as guest conductor of the Philharmonic Orchestras of Buffalo and Rochester. In recent years, he has made his debuts with the Houston Symphony Orchestra, the Spokane Symphony, the Erie Philharmonic, the Kansas City Symphony, as well as with the Stamford (CT), Modesto (CA), and Youngstown (OH) Symphony Orchestras. He returned to New Zealand to conduct the millennium celebrations with the Auckland Philharmonia. Mr. Cooper is especially passionate about creating works designed to introduce young audiences to the orchestra, including such works as Rumpelstiltzkin for Narrator and Orchestra, Goldilocks and the Three Bears, Boyz in the Wood for Coloratura Soprano and Rap Singer, and Song of the Wolf. His educational music is an eclectic blend of modern and established styles with interactive participation of the audience, a compositional style that reflects his belief that orchestral music is a living, vital, and relevant part of our society, able to be appreciated by all. ●
The New Mexico Philharmonic
Ruxandra Simionescu-Marquardt violin
Romanian-born violinist Ruxandra Simionescu-Marquardt attended the “George Enescu” School of Music and Conservatory of Music in Bucharest, where she was profoundly influenced by professors Stefan Gheorghiu and Modest Iftinchi. As a young musician, she won several prizes and medals in international competitions such as “Concertino” Prague, Henri Wieniawski, Tibor Varga, AllRomania Prize, and participated in the Yehudi Menuhin Competition. In 1986, she left Communist Romania to participate in the Indianapolis Violin Competition, defecting to the U.S. immediately afterward. She continued her studies at Indiana University with Joseph Gingold and at Syracuse University, where she joined the faculty from 1990 to 1998. She was also Principal Second Violin and Concertmaster (2008–2009) of the Jacksonville Symphony in Florida from 2002 to 2012 and appeared as guest Concertmaster of the Rhode Island Philharmonic and the New Mexico Philharmonic (2013). She has played under many noted conductors, including Kazuyoshi Akiyama, Fabio Mechetti, James DePriest, Raymond Leppard, and Andrew Litton. Ms. Simionescu-Marquardt’s solo performances include appearances with the Bucharest Philharmonic, the Bucharest Radio Symphony Orchestra, the Syracuse Symphony, Jacksonville Symphony, Gainesville Chamber Orchestra, Boston Virtuosi, Coastal Symphony of Georgia, and the San Marco Chamber Society. As a chamber musician, she has participated in the Bayreuth Festival, Skaneateles Music Festival, Eastern Music Festival, and the Grand Teton Music Festival. ●
Melissa Peña oboe
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 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. ●
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Artists .
Meet the Musicians Shanti Randall viola
Shanti Randall, viola, has played frequently with both the Los Angeles Philharmonic and Los Angeles Opera, under such conductors as Zubin Mehta, Esa-Pekka Salonen, Mstislav Rostropovich, and Michael Tilson Thomas. As a first call violist of the Hollywood Studio Symphony, Mr. Randall has recorded over 250 major motion picture scores. Chamber performances include Los Angeles’s “Sundays Live” Series, performances at the Museum of Modern Art, and The Ojai Chamber Music Festival. Nationally and internationally, Randall has performed as violist of The Coolidge Quartet in recitals at Carnegie’s Weill Recital Hall, The Festival of Mecklenburg, Germany, and Guatemala’s country-wide classical youth program—through funding of the European Mozart Academy. Locally, Mr. Randall plays frequently with Chatter, Abiquiu Chamber Music Festival, Taos Chamber Music Group, Performance Santa Fe, Albuquerque Chamber Soloists, and Serenata of Santa Fe. Shanti attended the New England Conservatory of Music under full scholarship and was admitted into the honorary Performance Diploma Program by Walter Trampler. ●
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2015/16 Season
Tania Miller conductor
In 2015/16 Tania Miller celebrates her thirteenth season as Music Director of the Victoria Symphony in a position that she has occupied with great distinction and growing acclaim. As the first Canadian woman to be Music Director of a major Canadian symphony orchestra, Tania Miller and the Victoria Symphony will celebrate the orchestra’s 75th anniversary in 2015/16 by touring Canada with performances in Vancouver, Ottawa, Quebec City, and Toronto. On the podium, Maestra Miller projects authority, dynamism, and sheer love of the experience of making music. As one critic put it, she delivers “a calm intensity … expressive, colourful and full of life … her experience and charisma are audible.” Others call her performances “technically immaculate, vivid, and stirring.” She has been a driving force behind new growth, innovation, and quality for the Victoria Symphony and has gained a national reputation as a highly effective advocate and communicator for the arts. As curator, she has distinguished herself in Canada as a visionary leader and innovator. Tania Miller has appeared as a guest conductor in Canada, the United States, and Europe, with such orchestras as the Toronto Symphony, Seattle Symphony, Bern Symphony Orchestra (Switzerland), Oregon Symphony, Calgary Philharmonic, National Arts Centre Orchestra (Ottawa), Orchestre Métropolitain du Grand Montréal, Vancouver Symphony, Manitoba Chamber Orchestra, Naples Philharmonic, Hartford Symphony, and Wroclaw Philharmonic (Poland). Maestra Miller’s early passion was opera; she conducted numerous productions for Michigan Opera Works in Ann Arbor (where she served as Artistic Director) and Opera
McGill in Montréal. She obtained her doctoral and Master’s degrees in conducting from the University of Michigan. Recently, Maestra Miller received an honorary Doctor of Laws degree from Royal Roads University in Victoria in recognition of her exemplary work as a leader and for her extraordinary artistic achievements in the community. Tania lives in Vancouver with her husband and two boys (8 and 10). ●
Artists .
Sponsor a Musician We invite you to engage more deeply with the orchestra and its musicians.
Zuill Bailey cello
Zuill Bailey, widely considered one of the premiere cellists in the world, is a distinguished soloist, recitalist, Artistic Director, and teacher. His rare combination of celebrated artistry, technical wizardry, and engaging personality has secured his place as one of the most sought-after and active cellists today. A consummate concerto soloist, Mr. Bailey has been featured with symphony orchestras worldwide, including Los Angeles, Chicago, San Francisco, Detroit, Indianapolis, Dallas, Louisville, Honolulu, Milwaukee, Nashville, Toronto, Colorado, Minnesota, Utah, Israel, Cape Town, and the Bruchner Orchestra in Linz, Austria. He has collaborated with such conductors as Itzhak Perlman, Alan Gilbert, Andrew Litton, James DePriest, Jun Markl, Carlos Kalmar, Andrey Boreyko, Krzysztof Urbanski, Jacques Lacombe, Grant Llewellyn, and Stanislav Skrowaczewski. He also has been featured with musical luminaries Leon Fleisher, Jaime Laredo, the Juilliard String Quartet, Lynn Harrell, and Janos Starker. Mr. Bailey has appeared at Disney Hall, the Kennedy Center, the United Nations, Alice Tully Hall, the 92nd St. Y, and Carnegie Hall, where he made his concerto debut performing the U.S. premiere of Miklos Theodorakis’ Rhapsody for Cello and Orchestra. In addition, he made his New York recital debut in a sold-out performance of the complete Beethoven Cello Sonatas at the Metropolitan Museum of Art. Bailey also presented the U.S. premiere of the Nico Muhly Cello Concerto with the Indianapolis Symphony Orchestra. World premieres include works by composers such as Lowell Lieberman, Phillip Lasser, Roberto Sierra, Benjamin Wallfisch, and Michael Daugherty.
The New Mexico Philharmonic
Network television appearances include a recurring role on the HBO series Oz, NBC’s Homicide, A&E, NHK TV in Japan, a live broadcast and DVD release of the Beethoven Triple Concerto performed in Tel Aviv with Itzhak Perlman conducting the Israel Philharmonic, and a performance with the National Symphony Orchestra of Mexico City. Mr. Bailey is also featured in the televised production of the Cuban premiere of Victor Herbert’s Cello Concerto No. 2 with the National Orchestra of Cuba. He has been heard on NPR’s Morning Edition, Tiny Desk Concert, Performance Today, Saint Paul Sunday, BBC’s In Tune, XM Radio’s Live from Studio II, Sirius Satellite Radio’s Virtuoso Voices, the KDFC Concert Series, KUSC, Minnesota Public Radio, WQXR’s Cafe Concert, WFMT, and RTHK Radio Hong Kong. Mr. Bailey received his Bachelor’s and Master’s Degrees from the Peabody Conservatory and the Juilliard School. His primary teachers include Loran Stephenson, Stephen Kates, Mosa Havivi, and Joel Krosnick. Mr. Bailey performs on the “rosette” 1693 Matteo Gofriller Cello, formerly owned by Mischa Schneider of the Budapest String Quartet. In addition to his extensive touring engagements, he is the Artistic Director of El Paso Pro-Musica (Texas), the Sitka Summer Music Festival/ Series and Cello Seminar, (Alaska), the Northwest Bach Festival (Washington), guest Artistic Director of the Mesa Arts Center (Arizona) and Professor of Cello at the University of Texas at El Paso. ●
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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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
NMPhil .
New Mexico Philharmonic
Board of Directors Maureen Baca President
The Musicians
Al Stotts Secretary Treasurer First Violin Krzysztof Zimowski Concertmaster David Felberg Associate Concertmaster Ruxandra Simionescu-Marquardt Assistant Concertmaster Sarah Tasker 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 Elizabeth Young Brad Richards Viola Shanti Randall • 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 Bass Jean-Luc Matton •+ Mark Tatum •• Katherine Olszowka Terry Pruitt Derek DeVelder Frank Murry Flute Valerie Potter • Sara Tutland Jiyoun Hur ••• Piccolo Sara Tutland Oboe Kevin Vigneau • Amanda Talley English Horn Melissa Peña ••• Clarinet James Shields • Lori Lovato •• Timothy Skinner E-flat Clarinet Lori Lovato
Bass Clarinet Timothy Skinner
Ruth Bitsui Vice President for Operations
Bassoon Stefanie Przybylska • Denise Turner
Dr. Larry Lubar Thomas C. Bird Vice President for Development
Horn Peter Erb • Nathan Ukens Julia Erdmann Hyams++ Susie Fritts ++ Niels Galloway •••• Trumpet John Marchiando • Mark Hyams Brynn Marchiando ••• Trombone Debra Taylor • Byron Herrington David Tall Bass Trombone David Tall Tuba Richard White • Timpani Douglas Cardwell •
Roland Gerencer, MD Marc Powell Nancy Pressley-Naimark Steve Schroeder 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
Percussion Jeff Cornelius • Kenneth Dean Emily Cornelius
Alexander Onieal Head Librarian & Office Manager
Harp Anne Eisfeller •
Byron Herrington Payroll Services
Danielle Frabutt Artistic Coordinator
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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Upcoming Concerts 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 Popejoy Pops Popejoy Hall 203 Cornell Dr NE Albuquerque, NM 87106 (505) 925-5858 unmtickets.com NHCC Sunday Classics National Hispanic Cultural Center 1701 4th Street SW Albuquerque, NM 87102 (505) 724-4771 nationalhispaniccenter.org Neighborhood Concerts Venues in Albuquerque (505) 323-4343 nmphil.org
2015/16 Season
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2015/16 Season
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
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2015/16 Season
Chopin Circle Donation of $3500–$4999 Anonymous Bank of Albuquerque Bob & Fran Fosnaugh 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 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 Deborah Borders 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 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 Christine & Jerry Rancier 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 Elaine & Wayne Chew Kathleen & Hugh Church Martin & Susan Conway Dianne Cress & Jon McCorkell Nancy Cutter, in memory of Joan Allen
Donor Circles . Stephen & Stefani Czuchlewski George deSchweinitz Jr. Janice Dosch Gale Doyel & Gary Moore, in memory of Joan Allen 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 Jan Mitchell Hossein Mojtahed William Moffatt James B. & Mary Ann Moreno James & Margaret Morris Rick Morrison Shirley Morrison & Cornelis Klein 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 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 Janice B. Yates 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 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 Elizabeth Brower Billy Brown 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 Stephen R. Donaldson Joanne Donsbach Ernest & Betty Dorko J.R. & Peggy Dotson, 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 Ida Edward Sylvia & Ron Eisenhart Wolfgang Elston Robert & Dolores Engstrom Roger C. Entringer Helen Erb Cheryl A. Everett Helene K. Fellen Rosario Fiallos Stephen Fisher Elizabeth & Blake Forbes Beverly Forman & Walter Forman, MD Danielle Frabutt 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 Walton & Ruth 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 Virginia McGiboney 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
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Donor Circles . continued from 21 Letitia Morris Carolyn Muggenburg Brian Mulrey Marilee Nason Jennie Negin & Harold Folley Bruce & Ruth Nelson Betsy Nichols & Steve Holmes 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 Vera Snyder Jean & Allen Spalt Geny Stein David & Jane Tallant Debra Taylor Phyllis Taylor & Bruce Thomson Emily Terrell Nina & Gary Thayer
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2015/16 Season
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 John Vittal & Deborah Ham 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 9/25/2015
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. 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
9/25/2015
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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 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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