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Welcome .
Table of Contents October 31, 2015
Program Byron Herrington Caleb James New Mexico Gay Men’s Chorus / Aaron Howe New Mexico Women’s Chorus / Sandra Keene November 7, 2015
Program Program Notes Rune Bergmann Philippe Quint November 15, 2015
Program Program Notes Matthew Greer Amy Greer Ingela Onstad Darci Lobdell Seth Hartwell Michael Hix The Chancel Choir of St. John’s United Methodist Church your nmphil
3 12 12 12 13 5 6 13 14 9 10 15 15 15 16 16 16 17
Meet the Musicians 17 Sponsor a Musician 17 Sponsors 18 Orchestra 19 Board of Directors, Advisory Board, Staff 19 Donor Circles 20 Thank You 22 The Legacy Society 22 Upcoming Concerts 23 Musical Fiestas 23 The New Mexico Philharmonic Offices
3035 Menaul NE #2 Albuquerque, NM 87107 connect with Us
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Interested in placing an ad in the NMPhil program book? Contact Christine Rancier: (505) 323-4343 crancier@nmphil.org
Donor Letter In the summer of 2011, I was asked by one of the NMPhil’s founding musician members if I would be interested in joining the Board. The Board was expanding into the community and new members were being recruited.
I immediately said “yes, if there is anything I can do,” and very shortly after I was voted onto the Board. A few months later, as I became more knowledgeable about the NMPhil and its needs, both short and long term, my husband, Steve, and I changed our estate plan to include the NMPhil and became one of the first members in what is now our Legacy Society. We both grew up here with the previous orchestra as a central cultural feature of our lives, and we wanted to help assure the music will always be here. In the course of the last four years, I have become deeply engaged with the NMPhil and each year understand more clearly how important personal giving and philanthropy are for this wonderful organization, its musicians, and its staff. We have steadily increased our annual donations and for the last two seasons have also been concert sponsors through our company, The Computing Center Inc. The NMPhil operates on a $2 million budget (with 14 percent overhead, extremely low), one half of which is earned from ticket sales, advertising, and related activities and one half comes from grants and individual donations. Almost all of the donated income is from individuals like you and me. Every one of our annual donations is important to the continued health and future of the NMPhil. Our annual fund drive is about to begin. Consider increasing your financial connection, whether it is through Legacy giving, increasing your regular donation, or involving your business as a sponsor. I have done all three—and see every day the positive impact our and your donations are making to the present and future health of the NMPhil. Maureen Baca Board President
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Concert Program .
Saturday, October 31, 2015, 6 p.m.
Popejoy Pops: A Frightfully Good Night!
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Byron Herrington conductor Caleb James Master of Ceremonies The New Mexico Gay Men’s Chorus / Aaron Howe director The New Mexico Women’s Chorus / Sandra Keene director
Popejoy Hall
March of the Little Goblins (2007)
Adam Glaser
“In the Hall of the Mountain King” from Peer Gynt (1875)
Edvard Grieg (1843–1907)
The Sorcerer’s Apprentice (1896–1897)
Paul Dukas (1865–1935)
The Wizard of Oz, Medley for Orchestra (1939)
Harold Arlen (1905–1986)
Making a Difference This performance is made possible in part by the generosity of the following: Bernalillo County
I n t e r mi s s i o n
Highlights from Wicked (2003)
Stephen Schwartz (b. 1948) (arr. T. Ricketts)
Harry Potter and the Sorcerer’s Stone, Suite for Orchestra (2001) II. The Sorcerer’s Stone III. Nimbus 2000
John Williams (b. 1932)
Harry Potter and the Prisoner of Azkaban (2004) V. Double Trouble
John Williams
Star Wars: Phantom Menace Suite (1999) IV. Duel of the Fates
John Williams
Music from The Nightmare before Christmas (1993) “Monster Mash” (1962)
“The Time Warp” from The Rocky Horror Show (1973)
The New Mexico Philharmonic
Danny Elfman (b. 1953) (arr. A. Billingsley) Bobby Pickett (1938–2007) (arr. Phillips) Richard O’Brien (b. 1942) (arr. B. Herrington)
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Concert Program .
Saturday, November 7, 2015, 6 p.m. / 5 p.m Pre-Concert Talk
Popejoy Classics: The Titan
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Rune Bergmann conductor Philippe Quint violin
Popejoy Hall
Concerto for Violin and Orchestra, Op. 14 I. Allegro II. Andante III. Presto in moto
Samuel Barber (1910–1981)
Pre-Concert Talk Pre-Concert Talk with conductor Rune Bergmann and Executive Director Marian Tanau.
I n t e r mi s s i o n
Symphony No. 1 in D Major, “Titan” I. Langsam. Schleppend II. Kräftig bewegt, doch nicht zu Schnell III. Feierlich und gemessen, ohne zu schleppen IV. Stürmisch bewegt
Making a Difference This performance is made possible in part by the generosity of the following: Albuquerque Community Foundation
Philippe Quint violin
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Gustav Mahler (1860–1911)
Pre-Concert Talk sponsored by Keleher & McLeod, P.A. Arts Management Group
The New Mexico Philharmonic
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Program Notes .
Program Notes Lori Newman
Samuel Barber
Born 1910, West Chester, Pennsylvania Died 1981, New York, New York
Concerto for Violin and Orchestra, Op. 14 (1939) The Violin Concerto of Samuel Barber was commissioned in 1939 by Samuel Fels, a wealthy businessman, for his adopted son Iso Briselli. Briselli was an excellent violinist who had graduated from the esteemed Curtis Institute in 1934, coincidentally the same year that Barber had graduated from Curtis. Barber was offered a $1,000 commission for the Violin Concerto—$500 upfront and $500 upon completion. Barber began the composition in SilsMaria, Switzerland, and then headed to Paris where he hoped to finish the Concerto. That was until the threat of war forced him to flee Europe. Upon his return to the U.S., he presented the first two movements of the Concerto to Briselli. There are varying accounts as to how it was received, but the prevailing opinion is that Briselli liked the first two movements, but felt there were not enough virtuosic passages contained within them. Barber assured him that the finale would deliver his quest for technical fireworks. Barber then holed up in the Pocono Mountains of Pennsylvania to complete the Violin Concerto and write a flashy third movement to end the work. Here is where accounts vary. Some say that when Briselli was presented with the third movement, he balked, saying the movement was too difficult. This seems unlikely as Briselli was a fine violinist capable of performing other difficult concerti in the violin’s vast repertoire. This story then states a student at Curtis was given two hours to learn the finale and performed it for Briselli and a panel of other Curtis dignitaries to show that the work was in fact not too difficult. This seemed to all be in an effort to receive the $500 balance that Barber was owed. The other story is that Briselli was more than capable of playing the finale, and that his objection lay in its musical merits. His feeling was that while it was indeed virtuosic as he requested, that was all it was. He claimed there was not enough musical substance to the movement and requested
“ … my friends bashfully avoided me afterward; nobody dared talk to me about the performance …” —Gustav Mahler
that Barber expand it, perhaps even turn it into a sonata-rondo form. Barber balked. It appears the balance was never paid to Barber, but Briselli lost out on the premiere performance of the work. Barber’s Violin Concerto premiered in Philadelphia on February 7, 1941, with Eugene Ormandy conducting the Philadelphia Orchestra and Albert Spalding as soloist. For the premiere, Barber provided the following program notes: The first movement—allegro molto moderato— begins with a lyrical first subject announced at once by the solo violin, without any orchestral introduction. This movement as a whole has perhaps more the character of a sonata than concerto form. The second movement—andante sostenuto—is introduced by an extended oboe solo. The violin enters with a contrasting and rhapsodic theme, after which it repeats the oboe melody of the beginning. The last movement, a perpetuum mobile, exploits the more brilliant and virtuosic character of the violin. ●
Gustav Mahler
Born 1860, Kalischt, Bohemia Died 1911, Vienna, Austria
Symphony No. 1, “Titan” (1887–1888) The reception of the Symphony was as divergent as the two halves of the work. Our concert audience … listened with alert interest to the first section, and Mahler, who also conducted, received warm applause after every movement. After the Death March the mood changed, and after the Finale there was slight but nevertheless audible opposition. —Review by critic August Beer in the Pester Lloyd, 1889 And so begins the tortured history of Mahler’s First Symphony. It would go through many incarnations before the final version we will hear this evening, and even after all his machinations to guide the audience into acceptance, the First
Symphony was never really the success that Mahler had hoped it would be. Fault lies both with Mahler himself and with the audiences who were not quite ready for what Mahler had to say symphonically. As with all of Mahler’s early symphonies, he culled sections of previously composed works to use as the basis for his symphonic writing. Lieder eines fahrenden Gesellen (Songs of a Wayfarer, 1883–1885) is the formative work from which the First Symphony grew, and it shows early in Mahler’s symphonic writing the desire to integrate song with symphony. It also began the struggle that Mahler had with program music versus absolute music. He maintained that all music was in some way programmatic, in that the composer’s innermost thoughts and emotions were contained within their compositions, but it was in the making the program public where Mahler struggled. Nowhere is this more evident than in the First Symphony. At the premiere in Budapest on November 20, 1889, the title of the First Symphony was not in fact the title we use today. Instead, it was entitled A Symphonic Poem in Two Sections. It was from this performance that the opening and unflattering quote was derived. Originally, the Symphonic Poem had five movements–three movements in the first section and two in the second. It was the disjointedness of the two sections that primarily had the audience befuddled; the first half in its original form was idyllic and pastoral, while the second half was dark and troubled. Mahler wrote of the premiere’s aftermath: “In Pest, where I performed it for the first time, my friends bashfully avoided me afterward; nobody dared talk to me about the performance and my work, and I went around like a sick person or an outcast. You can therefore imagine what the critiques looked like under such circumstances.” Crushed by the negative reception and reviews, he put away the First for several years. In 1893, Mahler was working in Hamburg and began revising the First Symphony. continued on 7
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Program Notes . continued from 6 Primarily, the revisions between the Budapest version and the Hamburg version were in the form of instrumentation and orchestration, but the big change came in the accompanying program that Mahler supplied. The elaborate program referenced the novels Titan and Siebenkäs by the German Romantic author Jean Paul, E.T.A. Hoffmann’s Fantasiestucke in Callots Manier, and Dante. The working title for the Hamburg version was “Titan,” A Tone Poem in Symphonic Form. This version premiered on October 27, 1893, to somewhat a positive response. Mahler then asked Richard Strauss to program the work in Weimar, and Strauss being a strong proponent of program music happily obliged. The Weimar premiere on June 3, 1894, still with the program attached, was a less successful endeavor. According to Mahler, “My symphony was received with furious opposition by some and with wholehearted approval by others. The opinions clashed in an amusing way, in the streets and in the salons!” The next performance in Berlin was on March 16, 1896, there was no program and Mahler had discarded the “Blumine” movement to make the resultant First Symphony in D Major. Mahler said on the removal of the program, “Originally, my friends persuaded me to supply a kind of program, in order to facilitate the understanding of the D major [Symphony]. Thus, I had subsequently invented this title and explanations. That I omitted them this time was caused not only by the fact that I consider them inadequate, but also because I found out how the public has been misled by them.” It seems that no amount of reworking the First Symphony allowed Mahler the critical and audience acceptance that he craved. The First was finally published in 1899, with no program and under the title Symphony No. 1 in D Major. As late as 1903, Mahler was still perplexed as to why his first foray into the symphonic genre was not appreciated. He would write to his wife, Alma: “….I played my First with the orchestra, which behaved splendidly and was obviously well prepared.
“My symphony was received with furious opposition by some and with wholehearted approval by others. The opinions clashed in an amusing way, in the streets and in the salons!” —Gustav Mahler
Several times I had chills running down my back. Confound it, where do the people have their ears and hearts that they don’t get this!” Most of the material in the exposition of the first movement is taken from the second Wayfarer song, “Ging heut morgen uber’s Feld” (“Went this morning across the field”), save the slow introduction. It is written in irregular sonata form, and the introduction opens with a seven-octave “A” in the strings evoking the infinitude of nature. The movement as a whole evokes the mood of the Wayfarer song, that of the link between life and nature. Throughout the movement, instruments take on the guise of nature sounds, e.g. cuckoo calls and fanfares. The introduction holds the germinal motive that unites the symphony: the interval of the fourth. In the second movement, Mahler borrows again from himself by quoting his 1880 song “Hans und Grete.” This movement is a scherzo that contains the dance rhythms of the ländler and waltz to give the feel of a peasant dance. There are strong accents and evocations of yodeling throughout. The third movement is an ironic funeral march, and the use of tragic irony is one that Mahler will revisit often in his later symphonic works. The opening is a perverse rendering of the children’s tune “Frère Jacques” or “Bruder Martin,” as Mahler would have known it. In a 1900 conversation
“Confound it, where do the people have their ears and hearts that they don’t get this!” —Gustav Mahler
The New Mexico Philharmonic
with Natalie Bauer-Lechner, Mahler offers this insight on the movement: On the surface one might imagine this scenario: A funeral procession passes by our hero, and the misery, the whole distress of the world, with its cutting contrasts and horrible irony, grasps him. The funeral march of “Bruder Martin” one has to imagine as being played in a dull manner by a band of very bad musicians, as they usually follow such funeral processions. The roughness, gaiety, and banality of this world then appear in the sounds of some interfering Bohemian musicians heard at the same time as the terribly painful lamentation of the hero. When examined closer we see that the entrances of the canon of “Bruder Martin” are often introduced by unique tone colors, e.g. basses in a high register, muted cellos, bass tuba, muted violas, violas and cellos an octave apart, four muted horns and harp. The unusual registration and instrument choices seem to be a direct attempt to sound like “a band of very bad musicians” within the context of the symphony orchestra. In the fourth movement, Mahler symbolizes inferno and paradise with different musical motifs borrowed from Liszt’s Dante Symphony and Wagner’s Parsifal. F minor is the key for inferno and D major characterizes paradise. Mahler borrowed the aural symbol of the cross from Liszt which appears in two versions– minor (minor second, major third) and major (major second, minor third). In the inferno, the symbol always appears in the minor version. Paradise is represented by a chorale in D Major which is merely a modified version of the nature theme from the first movement. ● Program Notes ® Lori Newman
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Concert Program .
Sunday, November 15, 2015, 3 p.m.
Neighborhood Concert
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Matthew Greer conductor Amy Greer piano Ingela Onstad soprano Darci Lobdell mezzo-soprano Seth Hartwell tenor Michael Hix bass The Chancel Choir of St. John’s United Methodist Church
Eine kleine Nachtmusik, K. 525 I. Allegro II. Romanze: Andante III. Menuetto: Allegretto IV. Rondo: Allegro
St. John’s United Methodist Church
Wolfgang Amadeus Mozart (1756–1791)
Making a Difference This performance is made possible in part by the generosity of the following: St. John’s United Methodist Church
Piano Concerto No. 2 in B-flat Major, Op. 19 I. Allegro con brio II. Adagio III. Rondo. Molto allegro
Ludwig van Beethoven (1770–1827)
Amy Greer piano
I n t e r mi s s i o n
“Coronation” Mass in C Major, K. 317 I. Kyrie II. Gloria III. Credo IV. Sanctus V. Benedictus VI. Agnus Dei
The New Mexico Philharmonic
W.A. Mozart
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Program Notes .
Program Notes Lori Newman
Wolfgang Amadeus Mozart Born 1756, Salzburg, Austria Died 1791, Vienna, Austria
Eine kleine Nachtmusik (1787) The opening bars of Mozart’s Eine kleine Nachtmusik are undoubtedly the most recognizable of all of Mozart’s works, and with a catalog that contains more than 600 pieces, that is quite an honor. An honor for a work about which we know relatively little. There is no evidence as to why the work was written or commissioned, there is no information on its premiere, and even the intended instrumentation is up for grabs. And while the title translates in English to “a little night music,” this was never meant to be an implicative title: when Mozart entered it into his catalog on August 10 of 1787, he merely wrote “a short serenade” in German, but “Nachtmusik” has been literally translated into “night music” in English, thereby creating a title that was not the composer’s intent. Here’s what we do know: It was written soon after Mozart had moved to Vienna and just a few months after his father Leopold’s death. Generally, music of this type (serenades) would have been written as some type of entertainment for a social occasion, often in a “one and done” performance, not meant to be used again. The work was not even published until 1827, decades after Mozart’s death, found mixed in with other pieces that his widow had sold to a publisher in 1799. We know based on Mozart’s meticulous cataloguing that he was working on the serenade at the same time as he was composing the second act of the brilliant opera Don Giovanni. We also know that Eine kleine Nachtmusik originally had a fifth movement, a Minuet and Trio placed after the opening Allegro, that has been lost. The first movement, containing those immediately recognizable opening bars, is written in textbook sonata-allegro form. It is
bright and compact, and no matter how hard one tries, it is nearly impossible to not smile while hearing this masterpiece of an Allegro. The Romanze is a warm and inviting rondo, following an A-B-A-C-A-coda format. The stately Minuet and Trio contains a punctuated Minuet followed by a more lyrical Trio section. The Finale contains more technical flourishes than the other movements, but never loses the charm that Mozart outlined in the previous three movements. ●
Ludwig van Beethoven Born 1770, Bonn, Germany Died 1827, Vienna, Austria
Piano Concerto No. 2 in B-flat Major, Op. 19 (1795) “I don’t consider it one of my best works.” Beethoven may have been less than impressed with his Piano Concerto in B-flat Major as evidenced by these words to his publisher, but generations of pianists would gladly disagree. The Second Piano Concerto of Beethoven was written as a vehicle for the composer/performer who had recently moved from Bonn to Vienna and was trying to make a name for himself in his new city. The work premiered on March 29, 1795, at Vienna’s Burgtheater with Beethoven serving as both conductor and soloist in a concert that was his introduction to the Viennese public; prior to this, Beethoven had only performed privately for Viennese nobility. The B-flat Major Concerto was actually written before the Concerto No. 1 in C Major, but published second, thus the numbering discrepancy. Beethoven continued to revise the Second Piano Concerto until 1801, when the definitive version was published. One can immediately hear the influence of Mozart in Beethoven’s first offering in the piano concerto genre. However, one can also hear flashes of the Sturm und Drang that we associate with Beethoven interspersed with Mozartean gaiety. Beethoven writes for a small orchestra: one flute, two each oboes, bassoons, and horns, and strings; there are no clarinets, trumpets or timpani
“… arguably Mozart’s finest Salzburg composition …” —Maynard Solomon
“I don’t consider it one of my best works.” —Ludwig van Beethoven
included. The first movement is written in double exposition sonata form, meaning the orchestra has an exposition of its own, as does the soloist. The brilliant cadenza, written by Beethoven himself years after the premiere, is the high point of this movement. The second movement is written in ternary form and is a gem of Beethoven’s slow movement style. The finale is a brilliant Rondo with an off-kilter rhythmic motif that makes it one of Beethoven’s most thrilling and memorable concerto movements. ●
Wolfgang Amadeus Mozart
“Coronation” Mass in C Major, K. 317 (1779) Mozart’s “Coronation” Mass was written during a time of great professional embarrassment for the composer. He had just returned to Salzburg after a failed attempt to try and secure employment befitting a composer of his talents in Paris and Mannheim. He came home and was forced to take a position that his father obtained for him as the Kapellmeister for the Archbishop of Salzburg, Count Hieronymus von Colloredo, an odious man who had no respect for Mozart or his extraordinary gift. To be fair to Colloredo, Mozart was no saint in the pair’s strained relationship. Mozart’s contract stated that he “unbegrudgingly and with great diligence discharge his duties both in the cathedral and at court and in the chapel house, and as occasion presents, to provide the court and church with new compositions of his own creation.” It was perhaps the “unbegrudging” part at which Mozart seemed to bristle. The “Coronation” Mass was completed and entered into Mozart’s catalog on March 23, 1779, and it was most certainly premiered on Easter Sunday of that year, April 4. However, it was not catalogued with the moniker of “Coronation” at that time. It is believed that the work got its name from a performance for the coronation of Austria’s Emperor Francis I a few months after Mozart’s death, and quite possibly, although continued on 11
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continued from 10 not proven, at a performance for the 1791 coronation of Leopold II in Prague while Mozart was still alive. Mozart’s “Coronation” Mass is considered a missa brevis, or short mass, as opposed to the lengthier High Mass, e.g. Mozart’s Great Mass in c minor. This is mainly due to Colloredo’s personal preference. In a letter, Mozart sums up his employer’s requirements: Our church music is very different to that of Italy, all the more so since a mass with all its movements, even for the most solemn occasions when the sovereign himself reads the mass, must not last more than three quarters of an hour. One needs a special training for this kind type of composition, and it must also be a mass with all instruments - war trumpets, tympani etc. So, Mozart needed to compose a Mass that was solemn, and everything that entailed including wind parts, but short and sweet and to the point. The “Coronation” Mass meets the criteria perfectly. So much so, that the musicologist Maynard Solomon wrote that the work “is arguably Mozart’s finest Salzburg composition in this genre.” ● Program Notes ® Lori Newman
The New Mexico Philharmonic
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Artists . The New Mexico Gay Men’s Chorus
Byron Herrington conductor
Byron Herrington has lived in Albuquerque since 1981 but was born and raised in the dusty flatlands near Lubbock, Texas. He attended schools in Port Isabel, Texas, and Ada, Oklahoma. After attaining a trombone performance degree at the University of Oklahoma, where he studied trombone arts with Dr. Irvin Wagner and conducting with Guy Fraser Harrison, Byron won a position with the New Mexico Symphony Orchestra. He performed with the NMSO and occasionally conducted them for 30 years until the orchestra’s demise in April 2011. He is a founding member of the New Mexico Philharmonic and is Principal Trombonist with the Santa Fe Symphony.●
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Caleb James Master of Ceremonies
Caleb James is an award-winning journalist for KOB Eyewitness News 4 in Albuquerque, New Mexico. A Boulder, Colorado, native, Caleb began his TV career at age 11 hosting a public access show on Sunday afternoons. Later, he attended the University of Colorado–Boulder and worked as an intern for KDVR 31 in Denver. Before moving to Albuquerque, he worked for the ABC affiliate in Idaho Falls, Idaho; and yes, he ate a lot of potatoes. Caleb enjoys spending time with his dogs, Wilma and Buddy, eating lots of green chili, and exploring all of the magical places in the Land of Enchantment. His job allows him to meet many interesting people all across the state and sharing their stories is his favorite part of being a reporter. He’s covered a wide variety of news events from the disaster in the Animas River to a local man who started his own pet ambulance service. Caleb says that, “the best stories in our incredible state help highlight the good, and change what needs changing. And all of that starts with a conversation.” ●
The New Mexico Gay Men’s Chorus began in 1981 with the name The Brash Ensemble. It started as a sixteen-member group and has varied in size from eight to forty members. As one of the country’s first gay men’s choruses, the new ensemble functioned as a performing group within its parent organization, Common Bond. As surprising as it may seem today, early members worried about being openly gay and often found it hard to find a director willing to conduct an openly gay group. The brave conductors during its first decade were Bill Boyer, Alan Stringer, Bob Morris, John Roberts, David Arellanes, Sean Dougherty, and Stephen Montoya. For more than half its history, the chorus rehearsed in both Santa Fe and Albuquerque, with members driving between the two cities and from as far away as Los Alamos and the East Mountains. No other gay chorus in the country ranged over such a wide geographic area. NMGMC was honored as “Honorary Dignitaries” at PrideFest 2007. In 2013, the Metropolitan Community Church recognized the Chorus with an award for “Recognition of Music.” In 2013, Albuquerque’s LGBTIQ community voted to select NMGMC to receive Albuquerque Pride’s “OUTstanding Performing Group” award.● Aaron Howe director
Aaron Howe has been making music with people in New Mexico for the last 20 years. He received his Bachelor of Music Education from Eastern New Mexico University and his Master of Music from the University of New Mexico. He has served as Music Director for Heights First Church of the Nazarene and Community of Joy Lutheran Church. He also directed the choral program at St. Pius X High School. In addition, he has worked as music director for many community theaters, including Musical Theater Southwest, Albuquerque Little Theater, and Play Conservatory. Since 2010, Aaron has served as the Artistic Director of The New Mexico Gay Men’s Chorus, arranging and conducting four concert series per year, along with many additional community performances. In 2013, Aaron co-founded The Rio Rancho Youth Chorus as its first Artistic Director. He is proud and honored to be a part of the wonderful arts community here in New Mexico.●
Artists . The New Mexico Women’s Chorus
The New Mexico Women’s Chorus has been singing for audiences of all types since 1994. They pride themselves on including nontraditional music that will not be heard performed by other choruses in New Mexico. Recent concerts have focused on Broadway, Peace and Social Justice, and World Music (in several languages). A feminist chorus, it is unique in that the chorus members themselves drive the choice of music. NMWC has traveled around the state singing not only in Albuquerque, but also in Santa Fe and Las Cruces, as well as nationally/ internationally, as it has participated in GALA International Choral Festivals, held every four years. The chorus is currently under the direction of Sandra Keene and directorial intern, Alison Duncan.● Sandra Keene director
Sandra Keene is NMWC’s Artistic Director. Hailing originally from Michigan, she came to New Mexico in 1968, as an elementary teacher, and also became choir director at St. Mary’s School in Belen. Earning her Bachelor of Music Education at UNM, she taught in the Los Lunas Consolidated Schools, later moving to the Albuquerque Public Schools from which she retired in 2006. She has over 40 years of choral directing experience from elementary school age to the Enchanted Mesa Chapter of the Sweet Adelines. She is a member of Sigma Alpha Iota International Music Fraternity for Women and while teaching, was a member of the Music Educator’s National Conference, NM Music Educators Association, American Choral Directors Association, Modern Music Masters, National and NM Education Associations, American Orff-Schulwerk Association, and the NM Chapter of AOSA.●
The New Mexico Philharmonic
Rune Bergmann conductor
Norwegian conductor Rune Bergmann is quickly gaining a reputation as an inspiring and profound musician and is considered “one of the most talented Scandinavian conductors.” He is praised as a dynamic and versatile conductor with an extensive classical, romantic, operatic, and contemporary repertoire. To date, he has conducted many European orchestras, such as the Oslo Philharmonic Orchestra, Norwegian National Opera, Augsburger Philharmoniker, Mainfranken Theater Würzburg, Kuopio Symphony, Malmö Symphony Orchestra, Helsingborg Symphony Orchestra, as well as the Symphony Orchestras of Bergen, Kristiansand, Stavanger, Trondheim, Karlskrona, and Odense. In addition to symphonic masterworks, he masters a large choral repertoire including Requiems by Mozart, Brahms, and Verdi. Performances of works by Sibelius, Svendsen, Nielsen, Halvorsen, and Grieg have also earned him acclaim. Rune Bergmann studied conducting at the Sibelius Academy in Helsinki with Leif Segerstam, where he graduated with the highest honors. Prior to the Sibelius Academy, he studied choir and orchestral conducting at the Royal College of Music in Stockholm with professors Anders Eby, Jin Wang, and Jorma Panula. He is a proud recipient of the Kjell Holm Foundation Culture Prize 2010 and the SMP Press 2009 culture award. He was awarded the second prize of the Nordic Conducting Competition in Helsingborg in 2002. As a guest professor in conducting, Rune Bergmann has been engaged at several universities and has until recently had the position as First Kapellmeister with the
Augsburger Philharmoniker and Theater Augsburg in Germany. Currently, Rune Bergmann holds the position as principal guest conductor of the Kaunas City Symphony Orchestra and music director of the Fjord Cadenza Festival.●
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Artists .
Philippe Quint violin
Award-winning American violinist Philippe Quint is a multifaceted artist whose wide range of interests have led to several Grammy nominations for his albums, performances with major orchestras throughout the world at venues ranging from the Gewandhaus in Leipzig to Carnegie Hall in New York, a leading role in a major independent feature film called Downtown Express, and explorations of Astor Piazzolla’s music and Nuevo Tango with his band The Quint Quintet. Philippe Quint plays the magnificent 1708 “Ruby” Antonio Stradivari violin on loan to him through the generous efforts of The Stradivari Society®. A recent winner of the “Ambassador of Arts” award presented to Philippe by Brownstone and Gateway Organizations at the United Nations, his 2013/14 season included debuts with the London Philharmonic, Rochester Philharmonic, Phoenix Symphony, and San Antonio Symphony, among others. This season’s highlights include debuts with the Los Angeles Philharmonic, Milwaukee Symphony, Seattle Symphony, Vancouver Symphony, Kansas City Symphony, and returns to Indianapolis, San Diego, Oklahoma, and Santa Barbara Symphony Orchestras. His recording of the Tchaikovsky Violin Concerto with the Sofia Philharmonic led by conductor Martin Panteleev, paired with Anton Arensky’s String Quartet No. 2, Op. 35 (for violin, viola, and two cellos), featuring cellists Claudio Bohorquez, Nicolas Altstaedt, and violist Lily Francis, was released in September 2014 on Avanticlassic, which Gramophone described as a “conspicuously persuasive, dazzlingly assured” performance.
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Constantly in demand worldwide, Quint’s most recent appearances include performances with the orchestras of London, Los Angeles, Chicago, Detroit, Indianapolis, New Jersey, Minnesota, Bournemouth, Houston, Weimar Staatskapelle, Royal Liverpool, China National, Orpheus, Berlin Komische Oper, and Leipzig’s MDR at the Gewandhaus. He has performed under the batons of Marin Alsop, Carl St. Clair, Daniel Hege, Andrew Litton, Cristian Mace laru, Kurt Masur, Jorge Mester, Edo de Waart, Jahja Ling, Krzysztof Urbanski, Ludovic Morlot, Marco Parisotto, Martin Panteleev, Carlos Miguel Prieto, Klauspeter Seibel, Christopher Seaman, Kenneth Schermerhorn, Steven Sloane, Michael Stern, Bramwell Tovey, and Martin Yates among many others. Philippe Quint is the first classical artist to star in the lead role of a major independent film, Downtown Express, co-starring Nellie McKay, from producer Michael Hausmann (Gangs of New York, Brokeback Mountain, and Amadeus), and multi-Emmy winning director David Grubin. This 2012 film premiered in New York and Los Angeles as well as at a number of national and international film festivals, including Woodstock, New York; Houston (Opening Night); Mons (Belguim); Cuba; Vermont; and Florida. Quint’s live performances and interviews have been broadcast on television by CBS, CNN, ABC, BBC World News, NBC, Reuters, Bloomberg TV, as well as by radio stations nationwide, including NPR, WNYC, and WQXR. His recordings have received multiple “Editor’s Choice” selections in Gramophone, The Strad, Strings, and the
Daily Telegraph. His remarkable degree of lyricism, poetry, and impeccable virtuosity have gripped the eyes and ears of audiences in Asia, Australia, Latin America, Africa, Europe, and the U.S., with what The Times (London) describes as his “bravura technique, and unflagging energy.” Philippe Quint studied at Moscow’s Special Music School for the Gifted with the famed Russian violinist Andrei Korsakov and made his orchestral debut at the age of nine, performing Wieniawski’s Concerto No. 2. After moving to the United States, he earned both Bachelor’s and Master’s degrees from the Juilliard School. His distinguished pedagogues and mentors included Dorothy Delay, Cho-Liang Lin, Masao Kawasaki, Isaac Stern, Itzhak Perlman, Arnold Steinhardt, and Felix Galimir. The Chicago Tribune proclaimed, “Here is a fiddle virtuoso whose many awards are fully justified by the brilliance of his playing.” Among his many honors, Quint was the winner of the Juilliard Competition and Career Grant Recipient of Salon de Virtuosi, Bagby and Clarisse Kampel Foundations. ● Arts Management Group
Artists .
Matthew Greer conductor
Matthew Greer is Director of Music and Worship Ministries at St. John’s United Methodist Church in Albuquerque, where he directs several choirs and oversees a comprehensive music program. He also serves as Artistic Director for Quintessence: Choral Artists of the Southwest. At St. John’s, he founded the highly successful “Music at St. John’s” concert series, and “Thursday Evening Musicales,” an annual series of benefit concerts for Albuquerque Healthcare for the Homeless. In recent years, he has conducted performances of Mozart’s Requiem, Duruflé’s Requiem, Handel’s Messiah, and Karl Jenkins’s The Armed Man: A Mass for Peace. In addition, Greer has lectured on and conducted the music of Brahms, Bach, Copland, and Barber. In spring of 2012, he was among the recipients of Creative Albuquerque’s Bravos! Awards, honoring artistic innovation, entrepreneurship, and community impact. A native of Kansas City, Greer holds degrees in Music and Theology from Trinity University and Boston University. His teachers have included Ann Howard Jones, Daniel Moe, Jane Marshall, and Alice Parker. ●
The New Mexico Philharmonic
Amy Greer piano
Amy Greer is a pianist, writer, and teacher living in Albuquerque, New Mexico. She has maintained successful piano studios in New Mexico, Massachusetts, Texas, and Missouri and has been recognized for her creative approach to traditional piano teaching. Over the years, her students have been recognized with awards in performance and composition. A frequent contributor to various music publications, she has been a regular columnist for American Music Teacher. Her article entitled “Risking Aunt Rhody,” was named AMT’s “Article of the Year” in 2001. She has given workshops on issues of pedagogy, creativity, performing and practicing, and regularly coaches other musicians and teachers on such topics. Ms. Greer is an active performer, both as a soloist and in collaboration with singers and instrumentalists. She has worked as an accompanist at Dallas Baptist University, Texas Christian University, Texas Wesleyan University, and The Boston Conservatory and works regularly with faculty and students at University of New Mexico. She performs frequently with flutist Jerome Jim as part of The JimGreer Duo, and has performed with the Santa Fe Symphony and the New Mexico Symphony Orchestra. Ms. Greer holds a Master of Arts in Educational Psychology from the University of New Mexico, a Master of Music degree in Piano Performance from the University of Missouri–Kansas City Conservatory of Music, and a Bachelor of Music degree in Piano Performance from the University of Missouri–Columbia. Her teachers have included Jane Allen, Joanne Baker, and William Westney. She shares her home, garden, and brightly colored studio with her husband, two cats, three betta fish, and a thousand books and plants. ●
Ingela Onstad soprano
Soprano Ingela Onstad, a native of Santa Fe, has enjoyed a varied international career in opera, concert work, and contemporary music. Operatic highlights include performances at Dresden’s Staatsoperette, Oldenburgisches Staatstheater, Landestheater SchleswigHolstein, UNM Opera Theatre, and Santa Fe Opera, in roles including Musetta in La bohéme, Pamina and Papagena in Die Zauberflöte, Nannetta in Falstaff, Mabel in Pirates of Penzance, and the title role in Suor Angelica. She also sang the roles of Merab and Michal in the staged production of Handel’s oratorio Saul in Oldenburg, Germany. Highlights of her career as an oratorio soloist include Orff’s Carmina Burana, Charpentier’s Te Deum, Haydn’s The Creation, and Bach Cantatas 84 and 140. She recently completed a recital tour of Germany with Dr. Michael Hix and Professor Michael Schuetze. A sought-after interpreter of contemporary works, she has sung Kristine in Antonio Bibalo’s Fräulein Julie, Bubikopf in Viktor Ullman’s Der Kaiser von Atlantis, and created the role of Andia in Gordon Kampe’s ANOIA. She performed Schoenberg’s Pierrot Lunaire and Joseph Schwantner’s Sparrows with New Music New Mexico, and Feldman’s Rothko Chapel with Chatter. She was also recently featured with songs of Hilda Paredes with New Music New Mexico at the Robb Composers’ Symposium. Her 2014/15 season included Haydn’s “Lord Nelson” Mass, Handel’s Messiah, and Bach Cantatas 32, 209, and 140. Onstad completed her undergraduate degree at McGill University, where she studied with Professor William Neill. She earned a Master of Music degree at the University of New Mexico, where she studied with Professor Leslie Umphrey. She maintains private voice studios in Albuquerque and Santa Fe. ● nmphil.org
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Artists .
Darci Lobdell mezzo-soprano
Darci Lobdell has an undergraduate degree from University of New Mexico in vocal performance. She has sung with several choral groups in New Mexico, including Quintessence, Santa Fe Desert Chorale, University of New Mexico Concert Choir, Albuquerque Civic Chorus, Albuquerque Madrigal Singers, and Las Cantantes. Within these groups, she performed as an alto soloist in works such as John Rutter’s Dancing Day, Brahms’s LiebesliederWalzes, Vivaldi’s Gloria, and Brad Ellingboe’s Requiem. Her principal roles include Diana in La Calisto performed with La Musica Lirica in Italy. With the UNM opera she performed the roles of Miss Pinkerton in The Old Maid and the Thief, Cherubino in Le nozze di Figaro, Dorabella in Cosi fan tutte, and Terentia in The Beautiful Bridegroom. She is featured as a soloist on the Las Cantantes recording, Dancing Day, and the UNM Concert Choir’s recording of Brad Ellingboe’s Requiem. She is currently studying the Alexander Technique with Alexander Alliance Southwest and studies with vocal technique teachers around the world to further her skill as a teacher and vocalist. She is the chair of the vocal department at New Mexico School of Music. ●
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2015/16 Season
Seth Hartwell tenor
Seth Hartwell has performed Baroque oratorio with such groups as VocalEssence, Santa Fe Pro Musica, and the Valparaiso University Chorale under the baton of worldrenowned Bach scholar Helmuth Rilling. He has performed with Desert Chorale II, The Santa Fe Opera, Opera Southwest, and the Royal Norwegian Opera. Seth has a Master’s degree in Vocal Performance from the University of New Mexico and a Bachelor’s degree in Music Education from Valparaiso University (Indiana). He maintains a private voice studio and is the Music Director of St. Paul Lutheran Church in Albuquerque. ●
Michael Hix bass
Baritone Michael Hix has been praised by critics for his “expressive voice” and “commanding stage presence.” Dr. Hix’s career highlights include performances at Tanglewood Music Center, a solo appearance with the Boston Pops in “Bernstein on Broadway,” and his Carnegie Hall debut as the baritone soloist in Rutter’s Mass of the Children. Recent European performances include the bass solos in Haydn’s “Lord Nelson” Mass and Heiligmesse at the International Haydn Festival in Vienna, Austria, and song recitals in Dresden and Leipzig, Germany. A frequently soughtafter concert soloist, his repertoire includes over 35 oratorios/cantatas. Hix has been featured in concerts with the Boston Pops, Orlando Philharmonic Orchestra, Georgia Symphony, New Mexico Philharmonic, Canticum Novum, Tallahassee Symphony, Tupelo Symphony, Montgomery Symphony, and Tallahassee Bach Parley. Included among his over 20 stage roles are Falke in Die Fledermaus, the Drunken Poet in The Fairy Queen, Grosvenor in Patience, Germont in La traviata, and Noye in Noye’s Fludde. His 2014/15 season included Brahms’s Requiem in Dallas, Noye in Britten’s opera Noye’s Fludde in Washington, a Christmas Pops concert with the Montgomery Symphony, and Bach Cantatas 54 and 32. Hix was recently presented the Thomas Hampson Award from the American Musicological Society and a Research Visit Grant from the DAAD to support his continued research on the Lieder of East German composer Paul Dessau. Dr. Hix is an Assistant Professor of Vocal Studies at the University of New Mexico. ●
Artists .
Sponsor a Musician We invite you to engage more deeply with the orchestra and its musicians.
The Chancel Choir of St. John’s United Methodist Church
The 80-voice Chancel Choir of St. John’s United Methodist Church sings in worship each Sunday. In recent years, the ensemble has performed works such as the Duruflé Requiem, the Mozart Requiem, and Karl Jenkins’s The Armed Man: A Mass for Peace. In 2005, the Chancel Choir traveled to New York City to perform Messiah at Carnegie Hall. They have performed with mezzo-soprano Barbara Smith Conrad and premiered works by K. Lee Scott and Bradley Ellingboe. They are directed by Matthew Greer and accompanied by Maribeth Gunning. ●
Meet the Musicians Sarah Tasker violin
Sarah Tasker has been busily involved in the Albuquerque music community since arriving here in 2008. She has played with the New Mexico Philharmonic, Santa Fe Symphony, Santa Fe Opera, Santa Fe Pro Musica, Opera Southwest, San Juan Symphony, Albuquerque Chamber Soloists, and The Figueroa Music and Arts Project. Mentors instrumental in shaping her musicianship were Camilla Wicks from the San Francisco Conservatory, William Preucil and Linda Cerone at the Cleveland Institute of Music, where she received her Bachelor’s degree, and Masao Kawasaki at the Juilliard School, where she was a awarded a Master’s degree in violin performance. She has taken her seat in international orchestral performances in several cities in Western Europe, England, China, and Japan. While a member of the Cleveland Institute Intensive Quartet program, her foursome was chosen to study and perform with the Tokyo String Quartet. Ms. Tasker has received honors in competitions throughout the United States and Europe and has performed many times as soloist with the Utah Symphony. In addition to playing, she enjoys teaching and trying to keep up with her two energetic little girls! ●
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
The New Mexico Philharmonic
nmphil.org
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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
Bass Clarinet Timothy Skinner
Ruth Bitsui Vice President for Operations
Bassoon Stefanie Przybylska • Denise Turner
Dr. Larry Lubar 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
Thomas C. Bird 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
Bass Trombone David Tall
Staff Marian Tanau Executive Director
Tuba Richard White •
Chris Rancier Executive Assistant & Media Relations
English Horn Melissa Peña •••
Timpani Douglas Cardwell •
Alexis Corbin Operations Coordinator & Personnel Manager
Clarinet James Shields • Lori Lovato •• Timothy Skinner
Percussion Jeff Cornelius • Kenneth Dean Emily Cornelius
E-flat Clarinet Lori Lovato
Harp Anne Eisfeller •
Oboe Kevin Vigneau • Amanda Talley
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
nmphil.org
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Donor Circles .
Donor Circles
Thank You for Your Support Benefactor Circle Donation of $50,000 + Albuquerque Community Foundation Anonymous Lee Blaugrund 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 William Moffatt Hossein Mojtahed 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 David P. Sherry in memory of Rhoda Sherry 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 Stephen Tolber & Louise Campbell-Tolber
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 Don & Dot Wortman 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
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Donor Circles . continued from 21 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 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
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2015/16 Season
Vera Snyder 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 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 10/9/2015
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 Bob & Jean Gough
Peter Gregory Dr. & Mrs. Larry Lubar Jeanne & Sid Steinberg Betty Vortman William A. Wiley
10/17/2015
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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
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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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
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. 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.
2015/16 Season
nmphil.org
The New Mexico Philharmonic
Reserve Tickets
(505) 323-4343 nmphil.org
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