New Mexico Philharmonic Program Book • 2017/18 Season • Volume 7 • No. 2

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Roberto Minczuk Music Director

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VOLUME 7 / NO. 2

2017/18 Season

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LETTER FROM THE MUSIC DIRECTOR

NMPhil .

Table of Contents PROGRAMS

November 11, 2017 Program November 18, 2017 Program November 19, 2017 Program December 1, 2017 Program Program Notes ARTISTS

Roberto Minczuk Paul Huang Hannah Stephens Christopher Confessore Joshua Rupley David Felberg Ingela Onstad Jacqueline Zander-Wall Seth Hartwell Michael Hix Central United Methodist Chancel Choir Jonathan Davidson YOUR NMPHIL

Letter from the Music Director Upcoming Concerts Donor Circles Thank You Legacy Society Orchestra Board of Directors, Advisory Board, Staff Sponsors Musical Fiestas 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

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I am deeply honored to have been appointed the new Music Director for the New Mexico Philharmonic, and I welcome you to this evening’s performance.

I am excited to make music with the wonderful musicians of the NMPhil, and my goal in programming will be to make each concert a “must-see” event for our wonderful Albuquerque audiences. I, along with my wife and daughters, am looking forward to being in Albuquerque and meeting as many in our community as possible.

Let’s start this journey together with a message of happiness and positive light. This magnificent music, written by composers over hundreds of years, could make the world a more peaceful place to be.

Welcome!

Roberto Minczuk Music Director

UPCOMING CONCERTS Popejoy Pops

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Holiday Pops!

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WINDS & HORNS APLENTY Popejoy Pops

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LIGHTS! CAMERA! MUSIC! Popejoy Pops

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FROM BACH TO BACHIANAS & BRITTEN Popejoy Classics FEB

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CLASSICAL MYSTERY TOUR

A TRIBUTE TO THE BEATLES The New Mexico Philharmonic

TCHAIKOVSKY’S 1812 nmphil.org

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Concert Program .

Saturday, November 11, 2017, 6:00 p.m. / Pre-Concert Talk, 5 p.m.

Magnificent Mahler 4

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Roberto Minczuk Music Director Paul Huang violin Hannah Stephens soprano

Popejoy Hall

Scottish Fantasy in E-flat Major, Op. 46 I. Introduction: Grave. Adagio cantabile II. Scherzo: Allegro III. Andante sostenuto IV. Finale: Allegro guerriero Paul Huang violin

Max Bruch (1838–1920)

MAKING A DIFFERENCE This performance is made possible in part by the generosity of the following: The Verdes Foundation

PRE-CONCERT TALK Made possible by:

I N T E R M I S S I O N

Menicucci Insurance Agency

Symphony No. 4 in G Major I. Bedächtig, nicht eilen (Moderately, not rushed) II. In gemächlicher Bewegung, ohne Hast (Leisurely moving, without haste) III. Ruhevoll, poco adagio (Peacefully, somewhat slowly) IV. Sehr behaglich (Very comfortably)

Gustav Mahler (1860–1911)

Hannah Stephens soprano

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COMMUNITY. CANNABIS. CARING.

The Verdes Foundation cares for its community through charitable giving, cannabis education, and community outreach.

(505) 280-2814 • VerdesFoundation.org

Concert Program .

Saturday, November 18, 2017, 8 p.m.

Popejoy Pops: The Music of Led Zeppelin

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Popejoy Hall

Finally—top-notch rock musicians join your NMPhil for a symphonic rock experience you won’t soon forget!

From “Good Times Bad Times” to “Stairway to Heaven,” you’ll be thrilled by a massive array of favorites from the Zeppelin catalog. Performed tantalizingly close to the original recordings with the orchestra wrapped around the band, it’s an all-out rock show you won’t soon forget!

MAKING A DIFFERENCE This performance is made possible in part by the generosity of the following: Holman’s USA & Anthony Trujillo

Insurance Agency

Locally owned and operated 2116 Vista Oeste NW, Bldg. 5, Albuquerque, NM 87120 Phone: 505 923 9925 Fax: 505 883 2827 mianm.com

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Concert Program .

Sunday, November 19, 2017, 2 p.m.

Mendelssohn Meets Beethoven: Protégé Series Christopher Confessore conductor Joshua Rupley piano

The Hebrides (“Fingal’s Cave”) Overture, Op. 26 Felix Mendelssohn (1809–1847)

Piano Concerto No. 5 in E-flat Major, Op. 73, “Emperor” Ludwig van Beethoven I. Allegro (1770–1827) II. Adagio un poco mosso III. Rondo. Allegro Joshua Rupley piano

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National Hispanic Cultural Center

MAKING A DIFFERENCE This performance is made possible in part by the generosity of the following: Meredith Foundation

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Variations on an Original Theme (“Enigma”) Op. 36 Sir Edward Elgar Theme (1857–1934) Variations I-XIV

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COMING SOON

and the Magic Lamp SAT MAr 17, 2018, 6PM SUN MAR 18, 2018, 2PM POPEJOY HALL

The NM Philharmonic joins NMBC once again for a new fully staged story ballet.

A wicked sorcerer tries to trick Aladdin in order to get the Genie’s lamp, leaving Aladdin trapped in the cave of wonders. The enchanted story comes to life, and Aladdin realizes that true love has its own magic.

Reserve your seats now!

505-925-5858 NewMexicoBallet.org

Concert Program .

Friday, December 1, 2017, 7:30 p.m.

Neighborhood Concert: Handel’s Messiah

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David Felberg conductor Ingela Onstad soprano Jacqueline Zander-Wall mezzo-soprano Seth Hartwell tenor Michael Hix baritone Central United Methodist Chancel Choir / Jonathan Davidson director

Messiah

George Frideric Handel (1685–1759)

PART I

Overture, Instrumental Comfort ye my people, Tenor Every valley shall be exalted, Tenor And the glory of the Lord, Chorus Behold, a virgin shall conceive, Alto O thou that tellest good tidings, Alto & Chorus For behold, darkness shall cover the earth, Bass The people that walked in darkness, Bass For unto us a Child is born, Chorus Pastoral Symphony (Pifa), Instrumental There were shepherds abiding in the field, Soprano

And lo, the angel of the Lord came upon them, Soprano And the angel said unto them, Soprano And suddenly there was with the angel, Soprano Glory to God, Chorus Rejoice greatly, O daughter of Zion, Soprano Then shall the eyes of the blind be opened, Alto He shall feed His flock like a shepherd, Alto & Soprano His yoke is easy, Chorus

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Central United Methodist Church

MAKING A DIFFERENCE This performance is made possible in part by the generosity of the following: Albuquerque Community Foundation

I N T E R M I S S I O N

PART II

PART III

Behold the Lamb of God, Chorus He was despised, Alto Surely He hath borne our griefs, Chorus And with His stripes we are healed, Chorus All we like sheep have gone astray, Chorus Thy rebuke has broken His heart, Tenor But Thou didst not leave His soul in Hell, Soprano Lift up your heads, O ye gates, Chorus The Lord gave the word, Chorus How beautiful are the feet, Soprano Their sound is gone out into all lands, Chorus Why do the nations so furiously rage? Bass Let us break their bonds asunder, Chorus He that dwelleth in Heaven, Tenor Thou shalt break them, Tenor Hallelujah, Chorus

I know that my Redeemer liveth, Soprano Since by man came death, Chorus Behold, I tell you a mystery, Bass The trumpet shall sound, Bass Worthy is the Lamb that was slain—Amen, Chorus

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Program Notes .

Program Notes

Charles Greenwell & Lori Newman (Elgar notes)

Max Christian Friedrich Bruch Born January 6, 1838, in Cologne, Germany Died October 2, 1920, in Friedenau, Germany

Scottish Fantasy in E-flat Major, Op. 46 (1880)

Scored for solo violin, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, bass drum, cymbals, harp, and strings. Approx. 30 minutes.

Though he composed throughout his long and productive life, many of Bruch’s most rewarding professional experiences were as a conductor. From 1878 to 1890, he held conducting posts in Berlin, Liverpool, and Breslau, and then spent 20 years teaching at the University in Berlin, where among his students were Ottorino Respighi and Ralph Vaughan Williams. If it had not been for his relationships with some of the finest violinists of the day, namely Ferdinand David, Joseph Joachim, and Pablo de Sarasate, and the nine works he wrote for the violin, his output might well have been forgotten, and when he died, the musical world had virtually passed him by. He believed very strongly that a violin could “sing” a melody better than a piano, and his inspired use of folk tunes certainly proves this point. Highly regarded in his day as a teacher (and one of the most sought-after composition teachers in Europe), conductor, and composer, he traveled widely, including one visit to the US. Until around 1900, he was tremendously successful as a composer, having written over 100 works, including three operas, three symphonies, sacred and secular choral works, art songs, chamber music, and of course, those wonderful violin works. Curiously, his most successful work was not the First Violin Concerto that is so popular in our time, but a now-forgotten oratorio entitled Odysseus.

Sadly, he lived long enough to see his music go out of fashion, and he died a disappointed and bitter man. It would not be quite accurate to call Bruch a one-hit wonder, but performances of the First Violin Concerto so greatly outnumber everything else he wrote, that had it been the only piece he ever composed, his reputation today would be virtually unchanged.

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Bruch believed very strongly that a violin could “sing” a melody better than a piano, and his inspired use of folk tunes certainly proves this point.”

The present work was finished in 1880 in Berlin, and despite the dedication to Sarasate, it was Joachim who was involved in the fingering and bowing of the solo part before being published as Fantasy: for Violin with Orchestra and Harp freely based on Scottish Folk-Melodies, Op. 46. It was also Joachim who was the soloist in the premiere in Liverpool in February of 1881, with Bruch conducting. For some reason, Bruch was very unhappy with Joachim’s playing, going so far as to say that he had “ruined the work.”

The following year, Sarasate played the work with Bruch in Breslau, and the composer was then completely satisfied. In the late 18th century, as a full political union between Scotland and England seemed possible after the suppression of the Jacobite uprisings of 1715 and 1745, there was an upsurge of interest in Scottish history and culture. One product of this was an anthology known as The Scots Musical Museum, an ambitious, multi-volume publication containing some 600 such songs that was put together by a well-known music seller in Edinburgh in the late 1780s, and which quickly began attracting international notice and curiosity as the rage for Celtic lore became a widespread phenomenon. (For the record, the later volumes of the collection actually had the collaboration of Robert Burns.)

Haydn and Beethoven were the first major composers to publish arrangements of these Scottish tunes, and almost 100 years later Bruch turned to the material for his Scottish Fantasy. The title is somewhat misleading, as it is a substantial, four-movement work that has the dimensions of a concerto or symphony, and in fact Bruch at various times (including the first performance with Sarasate) called the work a concerto, well aware of the fact that in the 19th century

the term “fantasy” was usually applied to a loosely-constructed miniature. The inclusion of harp in the full title is purposeful, as the harp plays a prominent part in the work— almost as a second soloist—and Bruch gave it such prominence because of its Romantic associations with old ballads and specifically the folk music of the British Isles. As he began composing the Fantasy, the writings of Sir Walter Scott were very much on his mind, as he had just set aside his work on a dramatic cantata entitled The Cross of Fire, based on Scott’s The Lady of the Lake. The beautiful and brooding slow introduction to the work appears to have been inspired by the image of “an old bard contemplating a ruined castle while lamenting the glorious times of old.” The main tune of the first movement has usually been attributed to “Auld Rob Morris,” but Bruch had used that tune in an earlier work, and the actual source here is a song called “Through the Wood, Laddie.” The lively second movement is based on a dance tune called “The Dusty Miller,” and features bagpipe-like drones in the orchestra. The luxuriously beautiful third movement is based on “I’m a-doun for Lack o’ Johnnie,” in which Bruch, whose mother was a singer, shows his great love for the unaffected power of melody that he felt was best preserved in folk music. The finale is marked Allegro guerriero, or a Warlike Allegro, an unusual designation that Mendelssohn also used in the coda of the finale of his Third (“Scottish”) Symphony. It is built on a brilliant trumpet tune called “Hey tuttie tatie,” and incorporates the unusual rhythmic figure that is often called a “Scotch snap,” also used by Berlioz in his concert overture Rob Roy. The tune is often known as “Scots wha hae,” believed to date to the Middle Ages, which was associated by legend with

Program Notes .

Robert the Bruce and his improbable defeat of a much larger English army at the Battle of Bannockburn in 1314.This in turn inspired Robert Burns to write his poem “Scots wha hae wi’ Wallace bled,” his rendering of Robert the Bruce’s address to the clansmen before that epic battle. In this aggressive finale, the soloist is asked to perform heroic feats of virtuosity including double and triple stops.

Gustav Mahler

Born July 7, 1860, in Kalischt, Bohemia Died May 18, 1911, in Vienna, Austria

Symphony No. 4 in G Major (1899–1900)

Scored for soprano solo, 4 flutes, 2 piccolos, 3 oboes, English horn, 4 clarinets, bass clarinet, 3 bassoons, contrabassoon, 4 horns, 3 trumpets, timpani, percussion (bass drum, triangle, sleigh bells, glockenspiel, cymbals, and tam-tam), harp, and strings. Approx. 55 minutes.

In 1886, Mahler happened to see an anthology of German folk poetry entitled Des Knaben Wunderhorn (From the Boy’s Magic Horn, the word “horn” here referring to a cornucopia), and these marvelous poems would have an increasingly profound influence on him in one way or another for almost the next 20 years, particularly in the decade between 1890 and 1900.

“It contains the cheerfulness of a higher, and to us, an unfamiliar world that holds for us something eerie and horrifying.”

—Gustav Mahler

“… so mysterious, confused, and uncanny that it will make your hair stand on end.”

—Gustav Mahler

There had already been eight songs to Wunderhorn texts before this, and in this ten-year stretch he added fifteen more with orchestral accompaniment. Three of these songs are vocal movements in the 2nd, 3rd, and 4th symphonies, while others are alluded to in purely orchestral movements.

In addition, Mahler’s first sketch for the Eighth Symphony included such a song, but it was eventually scrapped. What fascinated him so greatly in these poems were the joys and sorrows of the young, especially the joyously unfettered and uncomplicated visions of paradise that can be found in a child’s imagination. A particular favorite in the anthology was “Das himmlische Leben” (Life in Heaven). It was originally set for voice and piano in 1892 and was then considered as the finale of the Third Symphony, but as that symphony grew to epic proportions, Mahler realized that there was no longer any room for it. It eventually became the last movement of the Fourth Symphony, but there are references to it in the fifth of the Third Symphony’s six movements. Mahler himself stated that this short song had helped to create no less than five different symphonic movements, but its influence during the Wunderhorn decade was even more pervasive.

In the summer of 1899, as was his custom, Mahler spent some time in his lovely country retreat hoping to find inspiration in nature for his compositional projects, but this time, for a number of reasons, not the least of which was unpleasant weather, he was not able to find the peace and quiet he normally enjoyed. As a result, he grew increasingly frustrated, and even began to wonder if he had lost his ability to create music. Then, miraculously, with just 10 days remaining in his holiday period, he suddenly found the inspiration he had been looking for, and the Fourth Symphony began to take shape.

Amazingly, in that short period of time, he managed to write out in piano score a major portion of the first three movements, and was bitterly disappointed that he had to stop working. Because of his duties at the Vienna Opera, Mahler had to wait until the following

summer before he could return to work on the symphony, but when he did he was startled to discover that his subconscious— what he liked to call his “second me”—had been at work all during the winter months, and that the symphony was now nearing completion in his mind. It was finished in early August in that summer of 1900, and given its premiere in Munich in November of the following year. Unfortunately, what he had hoped would be his most accessible, likeable and easily understood work to date turned out to be anything but. Among other things, the finale with the Wunderhorn song simply baffled many of the listeners, and most of the reviews were unkind, to say the least. According to Natalie Bauer-Lechner, a close friend of the composer, “… the hissing which followed the second movement was so loud that Mahler’s ardent young admirers could not drown it out with all of their clapping.” This movement was also singled out for considerable criticism because it instructs the concertmaster to play on a violin that has its strings tuned a whole tone higher than normal, giving the instrument a rather strident and rough sound, and then asks the violinist to play like a country or street fiddler, not one from the concert hall.

Shortly before completing the symphony, Mahler declared that from now on he wanted his symphonies to be considered as absolute music, i.e., without any programs connected to them, withdrew the programs of the earlier symphonies, and insisted that they should now be performed without any kind of extra-musical explanations. What is curious here is that the Fourth Symphony appears to have been based on a definite program that he shared with some of his friends, but never revealed publicly. He also said that he had created “the most beautiful titles” for each movement, as he had in the Third Symphony, but decided not to publish them to avoid any kind of misunderstandings. Nevertheless, from conversations he had with people close to him, among them his wife and conductor Bruno Walter, the whole work was informed by serious thoughts about an afterlife. In continued on 14

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Program Notes . continued from 13 a letter to Bauer-Lechner he explained, “It contains the cheerfulness of a higher, and to us, an unfamiliar world that holds for us something eerie and horrifying. In the final movement [“Das himmlische Leben”], although already belonging to this higher world, the child explains how everything is meant to be.” Elsewhere, he talked about the underlying mood of the symphony as being the unbroken blue of the sky where sometimes the atmosphere darkens and becomes terrifying, but that it is not the sky that grows dark, only that things seem somehow sinister to us. That sinister element obviously refers to the previously mentioned second movement, about which the composer once remarked that it is “… so mysterious, confused, and uncanny that it will make your hair stand on end, but in the following Adagio everything will be unraveled, and you will understand that no harm was meant at all.” The original plan of the symphony contained six movements, three of which (2, 4, and 6) would contain songs: 1. The World As Eternal Present 2. The Earthly Life 3. Caritas 4. Morning Bells 5. The World Without Gravity 6. The Heavenly Life As it turned out, only the final song was retained.

In its final form, the first movement is one of Mahler’s shortest initial movements, but it is rich in invention, very dense in its orchestration and remarkably complex.

Moreover, there are few movements in any of his works that contain so many tempo changes, each corresponding to a new musical idea. The second movement originally bore the title “Friend Hein strikes up the dance; Death strokes the fiddle most strangely and plays us up to heaven.” “Friend Hein” refers to a sinister figure in German folklore, who is rather like the Grim Reaper but with a violin.

There is really nothing grotesque about this music, but it is rather unsettling with some touches of wry humor. The third movement, which is a spacious and magnificent albeit very unconventional set of variations, was said by Mahler to have been inspired by “… a vision of a tombstone on which was carved an image of the departed with folded arms, in eternal sleep.” The final movement is the song about life in heaven, filled with elaborate but always telling preludes and interludes.

The opening music of the first movement

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is heard again, now shown to be about all of the animals in heaven. The symphony comes to its conclusion with the gentlest and most understated final music in any of the symphonies, as the soprano soloist sings, “…there is no music at all on earth that can ever compare with ours,” and once again we are amazed that in this simple and touching song Mahler found enough inspiration to create not one, but two large symphonies. ●

“there is no music at all on earth that can ever compare with ours.”

—Gustav Mahler

Felix Mendelssohn

Born February 3, 1809, in Hamburg, Germany Died November 4, 1847, in Leipzig, Germany

The Hebrides (“Fingal’s Cave”) Overture, Op. 26 (1833)

Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings.

Approx. 10 minutes.

Shortly after his 20th birthday, Mendelssohn’s father decided that a tour of Europe would broaden the young lad’s horizons and outlook on life, with the result that he spent most of the year 1829 in England, with an excursion into Scotland. He was already a recognized composer, and his reputation was enhanced on this occasion when he was made an honorary member of London’s Royal Philharmonic Society, following a successful performance of his First Symphony. Moreover, the young man was lionized both as a composer and piano virtuoso, and this first season in London was

nothing short of triumphant. In July, at the end of that concert season, Mendelssohn and his close friend Carl Klingemann embarked on a tour of Scotland, a journey that was to make a lasting impression. Arriving in Edinburgh, he received an introduction to Scottish music during a competition for Highland pipers. In August he made a journey by boat to the Inner Hebrides islands, during which he became terribly seasick, specifically to the tiny uninhabited Isle of Staffa that holds the extraordinary rock formation called Fingal’s Cave. In stormy seas, water rushes in and out of the cave and produces a kind of low whistling sound (rather like a gentle tugboat horn), and it was under such conditions that Mendelssohn experienced the cave and once again had his imagination fired. He made enough of a recovery from his seasickness, however, to jot down a 20-bar sketch that grew over the next year into this marvelous concert overture, which is not only one of his finest orchestral works, but one of the most popular and memorable short works in the entire orchestral repertoire.

It would be fair to say that no more compelling depiction of the Scottish mood and temperament, or more chilling distillation of Scotland’s storm-swept coast, has ever gone into a purely instrumental work. As a musical voyager, Mendelssohn was most interested in capturing the mood of the places he visited, and this he did wonderfully well, not only in this work but in its companion piece, the “Scottish” Symphony. Although he became acquainted with Scottish folk songs during his travels, he had no interest in incorporating them into his scores. In its original form, this overture was completed in December of 1830, and was initially entitled Die einsame Insel (The Lonely Island). Ever the perfectionist, the work was subjected to three major revisions during 1833, at which time Mendelssohn was satisfied with the results, and it was published late that year with the title of The Hebrides. The following year, his publisher issued a new edition of the work with the name Fingal’s Cave, and despite some initial confusion, this is the title that the work has been known by ever since. The form and content of the work are strikingly original: in spite of the designation as an overture, it does not usher in a stage work, but is an independent piece containing its own drama.

Although it is certainly program music,

Program Notes . it does not tell a story and is not “about” anything; instead, it sets a scene and depicts a mood, and for this reason has always been considered an early form of a musical tone poem. The title, by the way, seems to refer to Fingal, a hero in the Ossian cycle of poems by the Scottish writer, poet, and politician James McPherson, the first Scottish poet to gain an international reputation. ●

Ludwig van Beethoven

Born December 16, 1770, in Bonn, Germany Died March 26, 1827, in Vienna, Austria

Piano Concerto No. 5 in E-flat Major, Op. 73, “Emperor” (1809–1811)

Scored for piano solo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. Approx. 38 minutes.

During the Classical period, the concerto existed almost entirely as a virtuoso display piece for composer-pianists, although in the hands of a fine composer, it could also be a significant musical creation. The concertos of Mozart, for example, certainly fall into this category, as do the first three of Beethoven’s piano concertos. The last two function less as virtuoso displays and more as vehicles for the highest musical ideals, leaving the listener with the feeling that the music is the most important thing. In this way, the present concerto can be looked on as either the last great concerto in the Classical style, or the first of the great 19th-century Romantic concertos. It was begun during one of the most productive periods in Beethoven’s life, a period that saw the creation of dozens of works, among them the 5th and 6th Symphonies, the Razumovsky Quartets, the Leonore Overture No. 3, the incidental music to Goethe’s Egmont, and three marvelous Middle Period piano sonatas. This was also the only one of his piano concertos which he did not play in public, although he may have played it in private at the home of Archduke Rudolph, one of his pupils and benefactors.

It was begun in the spring of 1809, when Napoleon’s army was laying siege to Vienna, and when the whole Imperial family, the Archduke (who was the Empresses’ brother-in-law) among them, left the city.

On May 11, the French artillery, which had commandeered the hills of the surrounding countryside and invaded outlying portions of the city, opened fire. Beethoven’s house was dangerously close to the line of fire, and

“Beethoven … never writes for the multitudes. He demands understanding and feeling … and can receive these only at the hands of connoisseurs, who are not to be found at such functions.”

— Thalia Press Review

so he took temporary refuge in his brother’s house where he spent a miserable night in the cellar with a pillow over his head, trying to protect his ears, already compromised from his encroaching deafness, from further damage. The main reason he did not leave the city was that the Archduke, along with two of his aristocratic friends, had recently given Beethoven a contract that would support him for life as long as he promised to remain in Vienna or its immediate surroundings.

In addition, the French occupation placed a heavy tax on all of Vienna’s citizens, which meant that he had less financial freedom and limited movement and was therefore unable to spend time in the country during the summer months—something he dearly loved doing. Happily, at the end of this summer he was able to get away from the city for a while, and was able to finish the new concerto, and it appeared that the turmoil and stress of the preceding months had in no way diminished his creative powers. At the beginning of 1810, a general armistice had been signed, life was returning to some semblance of normalcy, and his circle of friends and supporters had returned to Vienna.

Unfortunately, there was no opportunity to present the new concerto, and so the first actual performance had to wait until January of 1811 at the home of Prince Lobkowitz (another of the composer’s patrons), at which time Archduke Rudolph played the piano solo. This was followed by a public concert in November at the celebrated Gewandhaus in Leipzig, when the soloist was one Friedrich Schneider, about whom little is known other than he had a friendly visit with Beethoven in Vienna early 1809 when he gave some

organ recitals in the city. Finally, in February of 1812, the concerto had its Viennese premiere when the soloist was Carl Czerny, Beethoven’s prize pupil who was not only a marvelous performer but went on to have a fine career as both pianist and composer.

The new concerto failed to make much of an impression, but this had little to do with the music or the performance, but rather the nature of the audience, the “Society of Noble Ladies of Charity,” who was expecting something light and not demanding! The one press review that survived noted that “Beethoven … never writes for the multitudes. He demands understanding and feeling … and can receive these only at the hands of connoisseurs, who are not to be found at such functions.” It was at this concert that one music-loving French army officer is purported to have shouted out loud, “this is an emperor among concertos!” and that this is where the work got its nickname.

This appears to be spurious, however, and most authorities say that it was the English publisher, Johann Baptist Cramer, who gave the concerto that designation in the middle of the 19th century, and so Beethoven himself obviously never knew of this.

As with so many of his compositions at this time, Beethoven was consciously exploring new pathways, but in many respects this grandiose work can be considered something of a throwback, especially in light of the supremely original and often subtle treatment of the pianoorchestra partnership in the Fourth Concerto. Here, by great contrast, we have a grand virtuoso showpiece with the soloist and the orchestra almost acting as continued on 16

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Program Notes . continued from 15 antagonists, and the piano part containing chords, trills, scales, and virtuoso 16thnote passages and arpeggios as never before—often in close succession with lyrical and expressive melodic motifs.

The middle movement, however, is one of Beethoven’s most deeply and dreamily Romantic meditations, containing music of often heartbreaking beauty. Later on, Czerny claimed that “religious songs of devout pilgrims” were in Beethoven’s mind when he wrote the hymn-like main theme. Whatever the case, with this work Beethoven created the first truly symphonic concerto. ●

Sir Edward Elgar

Born 1857, Broadheath, near Worcester, England Died 1934, Worcester, England

Variations on an Original Theme (“Enigma”) Op. 36 (1899) Scored for 2 flutes (one doubling piccolo), 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, percussion (side drum, triangle, bass drum, cymbals), organ, and strings. Approx. 31 minutes.

More than a decade after the Enigma Variations were composed, Elgar reflectively stated in 1911 that the variations started “in a spirit of humour, and continued in deep seriousness.” The story goes that after a long, grueling day of teaching, Elgar returned home and sat at his piano and began improvising a melody. His wife Alice was struck by the tune and as the evening continued he began improvising variations to go with the melody. In his exhaustion and playfulness with Alice, he began including characteristics of several of his friends and

colleagues in the variations. He sent what he had written to his publisher August Jaeger, himself an inspiration for one of the variations, with the following note: “I have sketched a set of Variations … on an original theme: the Variations have amused me because I’ve labeled ‘em with the nicknames of my particular friends—you are Nimrod.

That is to say I’ve written the variations each one to represent the mood of the ‘party’— I’ve liked to imagine the ‘party’ writing the var. him (or her) self … if they were asses enough to compose.”

To whom each variation refers, and why, is clearly outlined in Elgar’s words; the “enigma” however, is a mystery for the ages.

Elgar succeeded at the very definition of the word, made most clear by this note that accompanied the work to its first annotator: “The Variations should stand simply as a piece of music. I will not explain—its ‘dark saying’ must be left unguessed, and I warn you that the apparent connection between the variations and the theme is often of the slightest texture; further, through and over the whole set another larger theme ‘goes,’ but it is not played … So the principal theme never appears, even as in some late dramas … the chief character is never on the stage.”

Enigmatic indeed.

There is some debate as to the origin of the theme and whether or not the enigma is in relation to the theme, or if the theme is borrowed from a previous work. Since Elgar entitles his work Variations on an Original Theme and his story states that the melody developed out of an evening of fatigued improv, that would seem to be the answer. But some have argued that the puzzle of the enigma lies within the theme itself. Some conjectured origins of the

“The Variations should stand simply as a piece of music.

I will not explain—its ‘dark saying’ must be left unguessed … the chief character is never on the stage.”

—Sir Edward Elgar

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theme include “Auld Lang Syne,” “God Save the Queen,” “Rule, Brittania!,” a portion of Mozart’s “Prague” Symphony, and even “Pop Goes the Weasel.” In 1953, the Saturday Evening Review held a contest to identify the enigmatic theme. The results were interesting and varied, but again, nothing compelling enough for scholars to confirm. There is a camp that believes the enigma lies in a second theme that must be pieced together from the original theme and its variations; this has yet to be convincingly proven. Still others speculate as to whether the enigma has to do with a grander and larger-scoped idea throughout the work. Some suggest friendship as the “unplayed” theme; others suggest it is the composer’s feelings of loneliness and isolation; and there is a contingent that believes the work’s mystery could unlock a heretofore undiscovered literary reference.

Elgar’s Enigma Variations premiered on June 19, 1899, at St. James’s Hall in London with the esteemed Hans Richter conducting. After its premiere, Elgar was almost immediately hailed as the greatest English composer to date and his music gained worldwide recognition. The year after Enigma’s premiere, Elgar was awarded an honorary doctorate by Cambridge University and was subsequently knighted in 1904.

Elgar’s Enigma Variations was his first major success and his first (and some would argue only) truly successful full-scale orchestral work. Perhaps on a suggestion of Richter or August Jaeger (see Variation IX), Elgar reworked the last variation by adding 100 measures and an organ part. This revised version premiered at the Worcester Three Choirs Festival in September of 1899 with the composer conducting.

Elgar dedicated his Enigma Variations “to my friends pictured within” and begins with the theme, followed by fourteen variations.

The theme is broken into two parts: the first, a reflective theme in g minor that features the interval of the seventh, a particular favorite of Elgar’s; and the second, in G Major providing a more hopeful and uplifting sensibility.

Variation I (L’istesso tempo) “C.A.E.” Caroline Alice Elgar, the composer’s wife.

Elgar wrote, “The variation is really a prolongation of the theme with what I wished to be romantic and delicate additions; those who knew C.A.E. will understand this reference to one whose life was a romantic and delicate inspiration.”

Program Notes .

Variation II (Allegro) “H.D.S.-P.” Hew Died Steuart-Powell. Steuart-Powell played piano in Elgar’s trio. Elgar mimics the pianist’s trademark way in which he warmed up on the piano.

Variation III (Allegretto) “R.B.T.” Richard Baxter Townshend, the popular author of A Tenderfoot in Colorado. Elgar imitates his tendency to raise the pitch of his voice when excited.

Variation IV (Allegro di molto) “W.M.B.” William Meath Baker. Baker was a country squire with a gruff disposition and a propensity for making hasty exits, often slamming the door when doing so. Elgar says that he would “forcibly read out the arrangements for the day” to his guests.

Variation V (Moderato) “R.P.A.” Richard P. Arnold, son of the poet Matthew Arnold. He was a young philosopher who Elgar noted: “His serious conversation was continually broken up by whimsical and witty remarks.”

Variation VI (Andantino) “Ysobel” Isabel Fitton, a friend of Elgar who tried to learn the viola under the composer’s tutelage. It seems likely she was not a very good student and ended her lessons stating, “I value our friendship much too much.” The viola is the featured instrument of this variation and contains many string crossings, an homage to Isabel’s struggle with this particular aspect of playing a stringed instrument.

Variation VII (Presto) “Troyte” Arthur Troyte Griffith, another of Elgar’s less-than-successful students. According to Elgar, the variation depicts Troyte’s “maladroit essays to play the pianoforte; later the strong rhythm suggests the attempts of the instructor (E.E.) to make something like order out of chaos, and the final despairing ‘slam’ records that the effort proved to be in vain.”

Variation VIII (Allegretto) “W.N.” Winifred Norbury. This variation is less about Miss Norbury and more about her charming house that Elgar enjoyed so much. It was the site of many musical performances and musician gatherings.

Variation IX (Moderato) “Nimrod” August Jaeger, Elgar’s publisher and close friend. “Jaeger” is German for “hunter,” and Nimrod is one of the Old Testament’s fiercest hunters. According to Dora Penny

“I’ve written the variations each one to represent the mood of the ‘party’—I’ve liked to imagine the ‘party’ writing the var. him (or her) self … if they were asses enough to compose.”

—Sir Edward Elgar

(see Variation X), Elgar confided in her that this variation is not about Jaeger as much as a conversation with him. One day Elgar was very frustrated and considered giving up composing. Jaeger stepped in and compared Elgar’s struggles to those of Beethoven.

He asked the composer how he thought Beethoven must have felt, having to compose while going deaf. Jaeger then told Elgar that as Beethoven’s hearing got worse, his music became more beautiful, and encouraged Elgar to take that lesson to heart. Jaeger then sang the slow movement to Beethoven’s “Pathétique” Sonata for his depressed friend.

Elgar told Dora Penny that the opening of “Nimrod” suggests the “Pathétique.” He said, “Can’t you hear it at the beginning? Only a hint, not a quotation.”

“Nimrod” is the most famous of the variations and is often programmed without the rest of the work. It is most notably used in England for events such as funerals and memorial services, and is always played on Remembrance Sunday, a ceremony acknowledging the sacrifices of British servicemen and women in both World Wars and subsequent conflicts. In the United States, it has often been used for 9/11 tributes.

Variation X (Intermezzo) “Dorabella” Dora Penny. Ms. Penny was a young and vivacious friend of the Elgars who had a slight stutter that Elgar depicts in this variation. Dora was William Meath Baker’s (Variation IV) sister’s stepdaughter and Richard Baxter Townshend’s (Variation III) sister-in-law.

Variation XI (Allegro di molto) “G.R.S.” Dr. G.R. Sinclair. Dr. Sinclair was the organist at Hereford Cathedral who owned a dog for

which the variation is based. Elgar writes, “The first few bars were suggested by his great bulldog Dan (a well-known character) falling down a steep bank into the River Wye; his paddling upstream to find a landing place; and rejoicing bark on landing.”

Variation XII (Andante) “B.G.N.” Basil G. Nevinson, the cellist in Elgar’s trio.

This variation features the cello section in honor of Nevinson, Elgar’s “serious and devoted friend.”

Variation XIII (Romanza: Moderato) “***” Lady Mary Lygon. Elgar could not secure permission to use the initials “L.M.L” for this variation, so instead he used three asterisks in their place. His good friend Lady Lygon was in the midst of a sea voyage to Australia when the variations were being prepared for publication, so she was unavailable to give her permission. To evoke the mood of her journey, Elgar quotes Mendelssohn’s Calm Sea and Prosperous Voyage in the clarinet solo.

Another theory is that this variation is actually about Helen Weaver, a woman to whom Elgar was engaged for more than a year. She left him, also by boat, in 1885. This theory does not explain the use of three, rather than two, asterisks to represent the dedicatee’s initials, however. Although, it is plausible that Elgar wrote about Helen Weaver but was able to disguise this effortlessly by the voyage of his friend Lady Mary Lygon.

Variation XIV (Finale: Allegro) “E.D.U.” This stands for Edu or Edoo, Alice Elgar’s nickname for her husband. This variation is a portrait of Elgar himself. He brings together the themes from Variations I and IX (Alice continued on 18

The New Mexico Philharmonic

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Program Notes . continued from 17 Elgar and August Jaeger) to represent his two greatest supporters. He writes, “Written at a time when friends were dubious and generally discouraging as to the composer’s musical future, this variation is merely intended to show what E.D.U. intended to do.

References are made to two great influences upon the life of the composer: C.A.E. and Nimrod. The whole work is summed up in the triumphant broad presentation of the theme in the major.”

Sir Edward Elgar did such a masterful job of hiding the “enigma” part of his variations that it is still to this day unknown. Theories abound, but no one has been able to definitively or concretely state with complete certainty what the enigma is. In the early years after its composition, Elgar seemed to enjoy the endless speculation on the enigma.

He began to grow weary of this, however, and in his later years would merely refer to the work as “my Variations.” ●

George Frideric Handel

Born February 23, 1685, in Halle, Germany Died April 14, 1759, in London, England

Messiah (1741)

Scored for 2 oboes, 2 bassoons, 2 trumpets, timpani, continuo, strings, SATB soloists, and chorus. Approx. 120 minutes.

The oratorio, one of the great Baroque vocal forms, came from the religious play-withmusic of the Counter-Reformation and took its name from the Italian word for a place of worship. The first oratorios were actually sacred operas, and were produced as such. Then, around the middle of the 17th century, the oratorio gradually did away with

theatrical trappings and developed its own personality as a large-scale work for solo voices, chorus, and orchestra, usually—but not always—based on a biblical story. These new productions were usually performed in a church or hall without scenery, costumes, or acting, and what action there was developed with the use of a narrator and a series of recitatives, arias, duets, trios, and choruses, with the role of the chorus being quite prominent. Typical of this form are the oratorios of Handel, probably the finest composer of this popular vocal form. Handel came from the middle class and went on to make his career in England, where the middle class first achieved its strength. As he turned from standard opera to oratorio, he became part of an enormous social change, and in so doing, became one of the founders of a new culture and a creator of our modern mass public. He had very keen instincts and was able to understand the needs of his adopted country, and he produced oratorios that were steeped in the settings of the Old Testament, making them perfectly suited to the tastes of England’s middle class. He achieved this in part by making the chorus— in other words, the people—the center of the drama. Like Bach and other great Baroque masters, Handel’s rhythms were strong and unswerving, and he favored the direct language of diatonic harmony as opposed to Bach’s more ingenious idiom, which at times became highly chromatic. Handel’s melodies unfold in great majestic arches and reveal a depth of feeling that sets him apart from most of his contemporaries. Having grown up in the theatrical world, he was able to make use of tone color for a variety of moods and dramatic expression.

“Mr. Handel’s new Grand Sacred Oratorio called Messiah was rehearsed … and was allowed by the greatest Judges to be the finest Composition of Musick that was ever heard …”

— Dublin Journal

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Handel first came to England when he was 25 and already celebrated throughout Europe as an outstanding composer of Italian-style opera. His main reason in going to England was to repeat his successes as an opera composer, and he was able to achieve this—for a time. After 25 years of triumphs in this realm, two forces did him in: the inevitable changes in public taste and the rivalries and jealousies that have always been a part of theatrical life. As a result, his final season of opera in London in 1741 was such a disaster that he began to think seriously about returning to Germany. Fate intervened, however, when Charles Jennens, his English literary collaborator, seriously worried about losing this supremely gifted composer, gave Handel the libretto of a new oratorio called simply Messiah. Jennens hoped it would inspire the man to new heights, and specifically designed the work to be presented during Holy Week, when theaters would be closed, thus assuring a full house for some kind of benefit performance.

Jennens was correct: Handel thought the new libretto was inspired and could be used as part of a new venture that had come his way. He had recently been invited to Dublin to give a series of oratorio concerts and realized immediately that Messiah, performed as a benefit concert for charity, would be the perfect way to conclude the season.

Handel began work on the new score in late August of 1741, and in a phenomenal burst of virtually nonstop energy, finished the entire score, orchestration and all, in the amazing space of just 24 days! He set out for Ireland in early November, and arrived in Dublin on the 18th. The trip across the water proved to be a revitalizing experience, and in spite of the hard work that the new oratorio season would require, it was almost like a holiday, away from the financial, artistic, and personal problems that he had been dealing with in London. In addition, when he came to Dublin he was greeted with the kind of adulation that had greeted his arrival in London some 30 years previously, and once again he was idolized, fussed over, feted wherever he went, and in general, treated like some kind of royalty. The music-loving people of Ireland had in Dublin several musical societies that were unusual in that they were all organized for charitable purposes.

This was largely due to the terrible social conditions in the country, compared to the poor people of London and the inmates of its prisons and hospitals who were relatively

Program Notes . well off. The citizens of Dublin, appalled by the miserable conditions in their prisons and hospitals, wanted to do everything they could to alleviate this wretched state of affairs, and so they raised money for humanitarian purposes by sponsoring public concerts.

There was then a new Music Hall in the city that was built on order from the Charitable Music Society and their guiding light, a wealthy and influential music publisher named William Neale. He was also the secretary of Dublin’s Charities Commission, and he not only had a commanding position in all that was to follow, but in all likelihood had a hand in the invitation that brought Handel to Dublin and resulted in the production of Messiah.

On March 27, 1742, the Dublin Journal printed an announcement for a new benefit concert, stating that it would take place at the Music Hall on April 12, at which time would be performed “ … Mr. Handel’s new Grand Oratorio, called Messiah, in which the Gentlemen of the Choirs of both Cathedrals will assist, with some concertos on the Organ by Mr. Handel.” As it turned out, the concert did not take place until April 13, but there was a public rehearsal on April 9, about which the Journal had written: “Yesterday Mr. Handel’s new Grand Sacred Oratorio called Messiah was rehearsed … and was performed so well that it gave universal satisfaction to all present; and was allowed by the greatest Judges to be the finest Composition of Musick that was ever heard … .” In that article and again on the day of the performance there were requests to the audience that ladies come without hoops in their dresses and that gentlemen come without their swords, so that the greatest number of people could be squeezed into the hall. At the formal premiere this resulted in an audience of 700 pressed into a space designed to hold 600, but nobody seems to have been upset in the slightest. The premiere was an unqualified triumph, and the press notices outdid themselves in praising the work and its performance, with particular praise being given to the fact that everyone performed gratis, thereby helping to raise over 400 pounds for the advertised charities. Because of its great success, Handel was asked to repeat the work at his last Dublin concert, and so began the career of one of the most popular, beloved, and frequently performed works in the whole history of music.

Messiah was given its first performance in London in March of 1743, but it was not at The New Mexico Philharmonic

“Not from me—but from Heaven —comes all.”

—George Frideric Handel

all the great success it had been in Dublin.

It is possible that Handel anticipated certain objections to the work, as he advertised it as “a New Sacred Oratorio” without mentioning its title, but he was certainly unprepared for the hostility it received in some quarters.

There were many who were greatly upset that the Scriptures formed the basis for what was presented as secular entertainment and were very vocal in objecting to its having been presented in a theatre with several famous singers as soloists. Even librettist Jennens, after hearing the work for the first time, said that he was dissatisfied with what he called “some weak parts” in the score. As a result of this, Messiah was rarely performed in London in the mid-1740s, while at the same time it was being performed regularly in Dublin. In 1749, things made a dramatic turnaround, and once again the prime force was a connection with charity. Handel had always been known as a kind and generous man, and at the time he had become interested in the recently created Foundling Hospital for young orphans and children in dire need.

In May of 1749, he proposed a concert for the hospital’s benefit, and ultimately was appointed a governor of the establishment.

On May 27, the concert was given in the newly built chapel, and it was a great success.

The hospital received a considerable sum of money from the concert, and that sum was further increased by a very generous gift from the King. The following year, Handel put together a new season of oratorio, and Messiah played a prominent role. It was given at the Foundling Hospital on May 1, 1750, and the chapel was so packed with eager listeners that the work had to be repeated on May 15. These were successes on the scale of the Dublin premiere, and marked the beginning of the oratorio’s great popularity in London and elsewhere.

In the years to come, Handel made it a tradition to include Messiah in his oratorio seasons during Lent, and also performed it every year at the Foundling Hospital.

(Incidentally, although the Foundation still exists and thrives in London, the chapel in which Handel played, and to which he left a score and parts to Messiah in his will in

order that the performances might continue, was declared unsafe and demolished in 1926. It was the last remaining building in London in which he had promoted concerts.)

He continued to conduct performances of Messiah right up until his death, and in fact in March of 1759 gave three performances at Covent Garden. The annual Foundling Hospital performance was scheduled for May 3, but before the rehearsals could begin Handel was taken seriously ill. After a week of steady deterioration he finally succumbed on April 14, 1759—the day after Good Friday. He had asked to be given a private burial in Westminster Abbey, but because he was so famous and beloved a figure, he was accorded a very public ceremony on the occasion of his internment on April 20. Of all the memorial statues in the Abbey, his is one of the most striking and memorable: In his right hand is a sheet of music containing the opening bars of the great aria from Messiah, “I know that my Redeemer liveth.”

After the first London performance, Handel said to a friend, “My Lord, I should be sorry if I only entertained them. I wished to make them better.” He clearly intended the oratorio to mean something special to his audiences because it meant something special to him. At a Messiah performance in 1759 on the occasion of his 74th birthday, Handel responded to the very enthusiastic applause by saying, “Not from me—but from Heaven—comes all.” ●

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Artists .

Roberto Minczuk Music Director In 2017, Grammy® Award-winning conductor Roberto Minczuk was appointed Music Director of the New Mexico Philharmonic and of the Theatro Municipal Orchestra of São Paulo. He is also Music Director Laureate of the Calgary Philharmonic Orchestra (Canada) and Conductor Emeritus of the Orquestra Sinfônica Brasileira (Rio de Janeiro). In Calgary, he recently completed a 10-year tenure as Music Director, becoming the longest-running Music Director in the orchestra’s history.

Highlights of Minczuk’s recent seasons include the complete Mahler Symphony Cycle with the Calgary Philharmonic Orchestra; Bach St. John Passion, Bruckner Symphony No. 7, Fidelio, and The Damnation of Faust with the Theatro Municipal Orchestra of São Paulo; debuts with the Cincinnati Opera (Don Giovanni) and the Tokyo Metropolitan Symphony Orchestra; and return engagements with the Orchestra National de Lille and the New York City Ballet. In the 2016/2017 season, he made return visits to the Israel Symphony Orchestra, as well as the Teatro Colón Philharmonic and Orchestra Estable of Buenos Aires.

A protégé and close colleague of the late Kurt Masur, Minczuk debuted with the New York Philharmonic in 1998, and by 2002 was Associate Conductor, having worked closely with both Kurt Masur and Lorin Maazel. He has since conducted more than 100 orchestras worldwide, including the New York, Los Angeles, Israel, London, Tokyo, Oslo, and Helsinki Philharmonic Orchestras; the London, San Francisco, Dallas, and Atlanta Symphony Orchestras; and the National Radio (France), Philadelphia, and Cleveland Orchestras, among many others. In March 2006, he led the London Philharmonic 20

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Orchestra’s US tour, winning accolades for his leadership of the orchestra in New York, Los Angeles, and San Francisco.

Until 2010, Minczuk held the post of Music Director and Artistic Director of the Opera and Orchestra of the Theatro Municipal Rio de Janeiro, and, until 2005, he served as Principal Guest Conductor of the São Paulo State Symphony Orchestra, where he previously held the position of Co-Artistic Director. Other previous posts include Artistic Director and Principal Conductor of the Ribeirão Preto Symphony, Principal Conductor of the Brasília University Symphony, and a six-year tenure as Artistic Director of the Campos do Jordão International Winter Festival.

Minczuk’s recording of the complete Bachianas Brasileiras of Hector VillaLobos with the São Paulo State Symphony Orchestra (BIS label) won the Gramophone award of excellence in 2012 for best recording of this repertoire. His other recordings include Danzas Brasileiras, which features rare works by Brazilian composers of the 20th century, and the Complete Symphonic Works of Antonio Carlos Jobim, which won a Latin Grammy in 2004 and was nominated for an American Grammy in 2006. His three recordings with the Calgary Philharmonic Orchestra include Rhapsody in Blue: The Best of George Gershwin and Beethoven Symphonies 1, 3, 5, and 8. Other recordings include works by Ravel, Piazzolla, Martin, and Tomasi with the London Philharmonic (released by Naxos), and four recordings with the Academic Orchestra of the Campos do Jordão International Winter Festival including works by Dvořák, Mussorgsky, and Tchaikovsky. Other projects include a 2010 DVD recording with the Chamber Orchestra of Philadelphia, featuring the premiere of Hope: An Oratorio, composed by Jonathan Leshnoff; a 2011 recording with the Odense Symphony of Poul Ruders’s Symphony No. 4, which was featured as a Gramophone Choice in March 2012; and a recording of Tchaikovsky’s Italian Capriccio with the BBC National Orchestra of Wales, which accompanied the June 2010 edition of BBC Music Magazine. The Academic Orchestra of the Campos do Jordão Festival was the Carlos Gomes prize-winner for its recording from the 2005 Festival, which also garnered the TIM Award for best classical album.

Roberto Minczuk has received numerous awards, including a 2004 Emmy for the program New York City Ballet—Lincoln Center Celebrates Balanchine 100; a 2001 Martin

E. Segal Award that recognizes Lincoln Center’s most promising young artists; and several honors in his native country of Brazil, including two best conductor awards from the São Paulo Association of Art Critics and the coveted title of Cultural Personality of the Year. In 2009, he was awarded the Medal Pedro Ernesto, the highest commendation of the City of Rio de Janeiro, and in 2010, he received the Order of the Ipiranga State Government of São Paulo.

A child prodigy, Minczuk was a professional musician by the age of 13. He was admitted into the prestigious Juilliard School at 14 and by the age of 16, he had joined the Orchestra Municipal de São Paulo as solo horn. During his Juilliard years, he appeared as soloist with the New York Youth Symphony at Carnegie Hall and the New York Philharmonic Young People’s Concerts series. Upon his graduation in 1987, he became a member of the Leipzig Gewandhaus Orchestra at the invitation of Kurt Masur. Returning to Brazil in 1989, he studied conducting with Eleazar de Carvalho and John Neschling. He won several awards as a young horn player, including the Mill Santista Youth Award in 1991 and I Eldorado Music.

Roberto lives in both Calgary and São Paulo with his wife, Valéria and their four children, Natalie, Rebecca, Joshua, and Julia. ●

Artists .

Paul Huang violin Recipient of the​​​​prestigious 2015 Avery Fisher Career Grant and the 2017 Lincoln Center Award for Emerging Artists, violinist Paul Huang is quickly gaining attention for his eloquent music making, distinctive sound, and effortless virtuosity.

His recent and forthcoming engagements include debuts with the Mariinsky Orchestra with Valery Gergiev (St. Petersburg’s White Nights Festival), Berliner Symphoniker with Lior Shambadal (Philharmonie Berlin debut), Detroit Symphony with Leonard Slatkin, Houston Symphony with Andres OrozcoEstrada, Orchestra of St. Luke’s with Carlos Miguel Prieto, Seoul Philharmonic with Markus Stenz, Taipei Symphony with Gilbert Varga (both in Taipei and on a US tour), and the National Taiwan Symphony Orchestra with the late Christopher Hogwood. This season, he will also be making his Chicago orchestral debut at the Grant Park Music Festival, as well as performances with the Louisiana Philharmonic, Knoxville Symphony, North Carolina Symphony, New Mexico Philharmonic, Brevard Symphony, Windsor Symphony, and the Hilton Head Symphony.

During the 2017/18 season, Mr. Huang makes his recital debut at the Lucerne Festival in Switzerland and embarks on a recital tour in La Jolla, Chicago, Toronto, Palm Desert, Taiwan (Taipei, Hsinchiu, Tainan), New York, and culminating at the Kennedy Center in Washington DC. In addition, Mr. Huang continues his association with the Chamber Music Society of Lincoln Center for three separate tours in the US, Europe, and the Far East and returns to Camerata Pacifica as their Principal Artist.

During the 2014/15 season, he debuted on Lincoln Center’s “Great Performers” series and stepped in for Midori with

The New Mexico Philharmonic

Leonard Slatkin and the Detroit Symphony to critical acclaim. He has also made debuts at Wigmore Hall, Seoul Arts Center, and the Louvre in Paris.

His first solo CD, Intimate Inspiration, is a collection of favorite virtuoso and romantic encore pieces released on the CHIMEI label.

In association with Camerata Pacifica, he recorded “Four Songs of Solitude” for solo violin on their album of John Harbison works. The album was released on the Harmonia Mundi label in fall 2014.

A frequent guest artist at music festivals worldwide, he has performed at the festivals of Seattle, Music@Menlo, Caramoor, Bridgehampton, La Jolla, Moritzburg, Kissinger Sommer, Sion, Orford Musique, and the Great Mountains Music Festival in Korea. His collaborators have included Gil Shaham, Cho-Liang Lin, Nobuko Imai, Lawrence Power, Maxim Rysanov, Mischa Maisky, Jian Wang, Frans Helmerson, and Marc-Andre Hamelin.

Winner of the 2011 Young Concert Artists International Auditions, Mr. Huang made critically acclaimed recital debuts in New York and in Washington, DC at the Kennedy Center. Other honors include First Prize at the 2009 International Violin Competition Sion-Valais (Tibor Varga) in Switzerland, the 2009 Chi-Mei Cultural Foundation Arts Award for Taiwan’s Most Promising Young Artists, the 2013 Salon de Virtuosi Career Grant, and the 2014 Classical Recording Foundation Young Artist Award.

Born in Taiwan, Mr. Huang began violin lessons at the age of seven. He is a proud recipient of the inaugural Kovner Fellowship at The Juilliard School, where he earned his Bachelor’s and Master’s degrees under Hyo Kang and I-Hao Lee. He plays on the 1742 ex-Wieniawski Guarneri del Gesù on loan through the generous efforts of the Stradivari Society of Chicago. For more information, visit paulhuangviolin.com.​ ●

Hannah Stephens soprano Lyric coloratura soprano Hannah Stephens resides in Albuquerque, New Mexico, and performs regularly both locally and in the San Francisco Bay area. Miss Stephens recently sang her debut of Poppea in Handel’s Agrippina with West Edge Opera in Berkeley.

Critic Victor Cordell for AllEvents wrote, “Hannah Stephens’s soprano is as light and bright as Poppea. The opera is replete with challenging coloratura and staccato passages for which her voice is particularly effective.”

Another recent success was her touching and heartfelt performance of Gorecki’s Symphony of Sorrowful Songs with the Albuquerque Philharmonic. Some past highlights of her operatic career include the roles of Queen of the Night (The Magic Flute), Musetta (La bohème), and Gilda (Rigoletto). Miss Stephens enjoys the challenge of contemporary music and is working with several composers on new works. She has sung with West Bay Opera, Pocket Opera, and Spreckels Performing Arts Center. Hannah’s successes in concert include Strauss’s Vier letzte Lieder, Schoenberg’s String Quartet No. 2, and Villa-Lobos’s Bachianas Brasileiras. She sang the role of Nella (Gianni Schicchi) at the Jacobs School of Music at Indiana University and the roles of Zerlina (Don Giovanni) and Susanna (Le nozze di Figaro) in Weimar, Germany. Miss Stephens was selected by the opera department of the Jacobs School to sing both Königin der Nacht arias from Mozart’s Die Zauberflöte for public concert. She performed the US premiere of Lorenzo Palomo’s Mi jardín solitario. Born in the United Kingdom, Miss Stephens is a dual citizen and received her Master’s degree in Vocal Performance from Indiana University, studying with Carlos Montané, and her Bachelor’s degree from the University of New Mexico, studying with Marilyn Tyler. ● nmphil.org

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Artists .

Christopher Confessore conductor Christopher Confessore currently serves as Music Director and Principal Conductor of the Brevard Symphony Orchestra and Principal Pops Conductor of the Alabama Symphony Orchestra. During his tenure in Brevard, the orchestra has enjoyed a dramatic and sustained period of artistic excellence and has been praised for its innovative programming, spirited performances, and broad repertoire. Mr. Confessore joined the Alabama Symphony Orchestra as its Associate Conductor in 2000 and currently serves as the ASO’s Principal Pops Conductor.

His appearances on the ASO’s Masterworks series have garnered rave reviews for his “special talent for drawing the broadly lyrical out of his orchestra.” He also leads the orchestra in a wide variety of educational and outreach performances.

Mr. Confessore’s schedule as a guest conductor has included appearances with the Houston Symphony, Florida Orchestra, Jacksonville Symphony Orchestra, Naples Philharmonic, and the Musicians of the Detroit Symphony Orchestra. He made his international debut in June of 2004, conducting the Sibiu Philharmonic Orchestra in Romania, returning for additional performances in 2009.

During the 1999/2000 Season, Mr. Confessore served as Interim Education and Outreach Conductor of the Houston Symphony, conducting multiple performances on the orchestra’s Lollipops, Discovery, and First Concerts series, as well as other community outreach concerts. In June of 2007, he conducted eight performances on the Houston Symphony’s Sounds Like Fun Community Outreach series.

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From 1992–2000 Mr. Confessore served as Associate Conductor of the Florida West Coast Symphony in Sarasota. From 1990– 1995 he served as Education Director of the Florida West Coast Symphony, administering one of the most intensive orchestral education programs in the country.

Heralded as a sensitive accompanist and inspiring collaborator, Christopher Confessore has accompanied a distinguished list of artists, including Itzhak Perlman, Joshua Bell, and Lang Lang. As a Pops conductor, he has appeared with a diverse group of superstars, including GRAMMY Award winners Art Garfunkel, Roberta Flack, Judy Collins, Whoopi Goldberg, Marvin Hamlisch, Chris Botti, LeAnn Rimes, Peabo Bryson, and Charlie Daniels, and Tony Award winners Idina Menzel, Debbie Gravitte, and Michael Maguire.

In April of 2005, music columnist Mary Colurso of The Birmingham News remarked “Anyone who regards the symphony as stuffy and elitist hasn’t been to a SuperPops show when Confessore’s in charge. He exudes niceguy appeal on stage, along with real warmth, a sense of humor, and smarts to spare.”

Mr. Confessore has studied with internationally acclaimed conductor Leonard Slatkin and has attended workshops and seminars led by Gustav Meier, Harold Farberman, and Lawrence Leighton Smith.

He holds a Master of Music degree in Instrumental Conducting from the University of Southern California and the Bachelor of Music degree in Bassoon Performance from Florida State University. ●

Joshua Rupley piano Born in 1993, Albuquerque native Joshua Rupley has performed in New Mexico, Colorado, New York, Switzerland, Italy, and in much of Germany. His large and varied repertoire ranges from the Baroque to the 21st century and includes numerous pieces composed for him or that he premiered.

His playing is marked by great vitality and sensitivity: “a heavenly avalanche of notes” and “a fortissimo as mighty as a cathedral organ,” or at times “balsam for the soul and the ears.” In addition to a budding solo career, he is in demand as a German Lied pianist and regularly accompanies Lied singers in many of Germany’s important recital halls.

Joshua began his piano studies with Lisa Francis at the age of 11. Homeschooling allowed him great flexibility in his schedule, so he was able to practice piano as much as he wanted as well as try out his other interests, including composing, creative writing, and theater. In high school, he took lessons in piano and composition with Michael Mauldin and studied conducting with former AYS Music Director Gabriel Gordon. Starting at age 16, he began to organize his own piano recitals, and a few months later he was invited to join the studio of Falko Steinbach at UNM. After performing at the Klavierfestival Lindlar in Germany in the summer of 2011, he was determined to return someday and study in Germany. The opportunity came in 2013 in the form of a study abroad at the Würzburg University of Music, where he encountered many new and exciting influences, facing greater challenges and higher musical standards than ever before. After a year as an exchange student, Joshua chose to remain in Würzburg and continue studying with Inge Rosar, then with

Artists .

Silke-Thora Matthies. He studies German Lied accompanying with Gerold Huber and chamber music with Denise Benda. He has also received important musical impulses from Markus Bellheim, András Hamary, Markus Schirmer, and Andrej Jasinski. ●

David Felberg conductor Praised by The Santa Fe New Mexican for his “fluid phrases; rich, focused tone; rhythmic precision; and spot-on intonation.”

Albuquerque native, violinist, and conductor David Felberg is Associate Concertmaster of the New Mexico Philharmonic. He also serves as Artistic Director and cofounder of Chatter Sunday, Chatter 20-21, and Chatter Cabaret. He is Concertmaster of the Santa Fe Symphony and Music Director of the Albuquerque Philharmonic. He also teaches contemporary music at the University of New Mexico. His robust conducting career has included conducting the New Mexico Symphony Orchestra, New Mexico Philharmonic, Santa Fe Symphony, and many performances of contemporary music with Chatter. David performs throughout the Southwest as concert soloist, recitalist, and chamber musician. He made his New York debut in Merkin Hall in 2005. He received a Bachelor of Arts in history from the University of Arizona and a Master of Music in conducting from the University of New Mexico. He has taken advanced string quartet studies at the University of Colorado with the Takács Quartet and was awarded a fellowship to attend the American Academy of Conducting at the Aspen Music Festival. David plays an 1829 J.B. Vuillaume violin. ●

The New Mexico Philharmonic

Ingela Onstad soprano Soprano Ingela Onstad, a native of Santa Fe, has enjoyed a varied international career in opera, concert work, and contemporary music. Operatic highlights include performances at Dresden’s Staatsoperette, Oldenburgisches Staatstheater, Landestheater Schleswig-Holstein, UNM Opera Theatre, and Santa Fe Opera, in roles including Musetta in La bohéme, Pamina and Papagena in Die Zauberflöte, Nannetta in Falstaff, Mabel in Pirates of Penzance, and the title role in Suor Angelica. She also sang the roles of Merab and Michal in the staged production of Handel’s oratorio Saul in Oldenburg, Germany. Highlights of her career as an oratorio soloist include Orff’s Carmina Burana, Charpentier’s Te Deum, Haydn’s The Creation, and Bach Cantatas 84 and 140.

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 .

Jacqueline Zander-Wall mezzo-soprano Jacqueline Zander-Wall has more than fifty recital credits that include the Stuttgart Hugo Wolf Gesellschaft, the Hamburg Mahler Verein, the Villa-Lobos Ensemble, the Goethe Institute in Moscow and Boston, and the Isabella Stewart Gardner Museum.

She has performed Chamber Music with the New York Skaneateles Music Festival, the Aspen Music Festival, and the Warebrook Contemporary Music Festival in Vermont and throughout Germany. A proponent of new music, Ms. Zander-Wall has sung with L’art pour l’art in Frankfurt, Chaosmas in Moscow, and Boston and Hamburg’s improvisatory Scala Theater.

As an oratorio soloist, she has performed with Robert Shaw, Canticum Novum, the Flensburger Bach-Chor, and cathedrals in Hamburg, Wismar, and Lubeck. She has sung the role of Proserpina with Monteverdi Festival at the Brooklyn Academy of Music and the Chicago Opera Theater. Other opera credits include the Boston Lyric Opera, Arizona Opera, Utah Festival Opera, Opera Southwest, and the Hamburg Opera.

After receiving a Master’s of Arts from the University of California at Santa Barbara, she received a diploma from Boston University’s Opera Institute. Her primary teacher is Elizabeth Mannion. She has also worked extensively with Phyllis Curtin, Dietrich Fischer-Dieskau, Suzanne Danco, and Jane Snow.

Ms. Zander-Wall is also the founder and director of the Vocal Artistry Art Song Competition, to aid students of singing in the state of New Mexico. vocalartistryartsong.com. ●

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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.

Hartwell 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 baritone Baritone Michael Hix has been praised by critics for his “expressive voice” and “commanding stage presence.” His career highlights include performances at Carnegie Hall, Tanglewood Music Center, Boston’s Symphony Hall, and Vienna’s Musikverein.

Hix is a sought-after performer of concert/orchestral works with more than 50 oratorio/cantata/concert roles in his repertoire. 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 Leipzig and Dresden, Germany. He has been featured as a soloist in concerts with the Boston Pops, Oregon Bach Festival, Arizona Bach Festival, Orlando Philharmonic Orchestra, Georgia Symphony, New Mexico Philharmonic, Tallahassee Symphony, Tupelo Symphony, Montgomery Symphony, Brevard Symphony Orchestra, New York City’s Trinity Lutheran Bach Vespers Series, and the Tallahassee Bach Parley among others.

Included among his more than 20 stage roles are Falke in Die Fledermaus, the Drunken Poet in The Fairy Queen, Grosvenor in Patience, Lord Mountararat in Iolanthe, Germont in La traviata, Don Alfonso in Cosí fan tutte, Nick Shadow in The Rake’s Progress, Scaramba in El Capitan, Noye in Noye’s Fludde, and Bertouf in the world premiere of A Friend of Napoleon by Pulitzer Prize-winning composer Robert Ward.

Dr. Hix holds a Bachelor of Music degree in music theory from Furman University, Master’s degrees in both voice and historical musicology from Florida State University and a Doctorate of Music in Voice Performance from Florida State University. He is an Associate Professor of Voice, the Coordinator of Vocal Studies, and the Associate Chair of the Department of Music at the University of New Mexico. ●

Artists .

Central United Methodist Chancel Choir The 35-voice Central United Methodist Chancel Choir sings every Sunday and for special celebrations—approximately 45 services a year. In recent years, these singers have performed works such as Handel’s Messiah, Vivaldi’s Gloria, Lauridsen’s Lux Aeterna, Britten’s Ceremony of Carols, Schubert’s Mass in G, Ellingboe’s Requiem, and Schumann’s Requiem. The choir has more than 500 anthems in its repertoire and has sung in a variety of foreign languages and musical styles. We celebrate the gospel music tradition by combining with Fellowship Baptist gospel choir for our Easter Saturday celebration—Great Gettin’ up Morning and a Thanksgiving service in November. The choir sings with our 24-piece church orchestra for Christmas, Easter, and special services. They performed Robert Schumann’s Requiem with the Symphony Orchestra of Albuquerque. The choir can be seen every week on KAZQ TV— Sundays at 11 a.m. and 7 p.m. ●

The New Mexico Philharmonic

Jonathan Davidson director Jonathan Davidson, tenor, is the current Director of Choral Activities and Performing Arts at Mountain View Middle School in Rio Rancho, New Mexico. He also serves as Interim Director of Music at Central United Methodist Church and Assistant Conductor with Albuquerque’s Coro Lux, under the direction of Bradley Ellingboe.

Jonathan has served as conductor and coconductor of the University of New Mexico Chamber Singers and Dolce Suono and Graduate Assistant for the Concert Choir and the University Chorus. Prior, he served as assistant conductor for the Grande Ronde Community Chorus and as intern choral director with Disciples of Christ Church in La Grande.

Jonathan has performed the roles of Alfred in Die Fledermaus, Papa Bear in The Trial of Goldilocks, as well as soloist with Quintessence: Choral Artists of the Southwest, Polyphony: Voices of New Mexico, and the New Mexico Philharmonic. Jonathan has performed as tenor soloist for works such as Haydn’s Seven Last Words of Christ, Mendelssohn’s Elijah, Schubert’s Requiem Mass and Mass in E-flat, Handel’s Messiah, and Mozart’s Requiem Mass. Jonathan holds a Bachelor of Music in Vocal Performance from Eastern Oregon University and a Master’s degree in both Vocal Performance and Choral Conducting from the University of New Mexico.

Jonathan studied conducting with Dr. Rodney Eichenberger, Bradley Ellingboe, and Dr. Peter Wordelman, and voice with Leslie Umphrey, Jamie Jacobsen, and Dr. Peter Wordelman. ●

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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 Howard A. Jenkins Living Trust The Meredith Foundation

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

Anonymous E. Blaugrund Family Fund George & Sibilla Boerigter Deborah Borders Art Gardenswartz Holmans USA, LLC, Anthony D. Trujillo McCune Charitable 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 Patricia & George Thomas United Way of Central New Mexico Vintage Albuquerque

BRAHMS CIRCLE Donation of $5000–$9999

Anonymous Anonymous Paula & William Bradley Eugenia & Charles Eberle Andrea Escher & Todd Tibbals Mary & Sam Goldman Hancock Family Foundation Hunt Family Foundation Chris & Karen Jones The Law Firm of Keleher & McLeod Henry & Judith Lackner Harry & Elizabeth Linneman Lockheed Martin/Sandia National Laboratories Dr. & Mrs. Larry Lubar Menicucci Insurance Agency Microsoft New Mexico Arts New Mexico Gas Company Bob & Bonnie Paine Dr. Ole & Sheila Peloso PNM Resources Foundation Sandia Foundation, Hugh & Helen Woodward Fund Sandia Laboratory Federal Credit Union, Robert Chavez Scalo Northern Italian Grill, Steve Paternoster Melissa & Al Stotts

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U.S. Bank Foundation Wells Fargo Dr. Helmut Wolf, in memory Mrs. M. Jane Wolf Dr. Dean Yannias

CHOPIN CIRCLE Donation of $3500–$4999

Anonymous Bob & Greta Dean The Estate of H.L. Floyd Bob & Fran Fosnaugh Eiichi Fukushima & Alice Hannon Cynthia & Thomas Gaiser Tanner & David Gay Barbara & Heinz Schmitt Steven Schroeder Southwest Gastroenterology Associates Marian & Jennifer Tanau Barbara & Richard VanDongen

GRACE THOMPSON CIRCLE Donation of $1933–$3499

Thomas Bird & Brooke Tully Jonathan Miles Campbell Century Bank Richard & Margaret Cronin D’Addario Foundation Suzanne S. DuBroff, in memory of Warren DuBroff D. Ted Eastlund Virginia & Richard Feddersen Firestone Family Foundation Frank & Christine Fredenburgh Roland Gerencer, MD Keith Gilbert Madeleine Grigg-Damberger & Stan Damberger Jonathan & Ellin Hewes The Hubbard Broadcasting Foundation Robert & Elisa Hufnagel Erika Blume Love Myra & Richard Lynch, in memory of Orval E. Jones Linda S. Marshall Bob & Susan McGuire Sara Mills & Scott Brown Moss-Adams LLP Ruth & Charles Needham George & Mary Novotny Scott Obenshain, in memory of Toots Obenshain Sandra P. & Clifford E. Richardson III, in loving memory of Priscilla L. & Clifford E. Richardson Jr. & Josephine A. & A.J. Asciolla Steve Ridlon, in memory of Casey Scott Beverly Rogoff Ellen Ann Ryan Terrence Sloan Vernon & Susannah Smith Kathleen & David Waymire Dr. & Mrs. Albert Westwood Drs. Bronwyn Wilson & Kurt Nolte Lance Woodworth

BACH CIRCLE Donation of $1000–$1932

Leah Albers & Thomas Roberts Anonymous Margaret Atencio & Don Degasperi Richard & Linda Avery

2017/18 Season / Volume 7 / No. 2

Bank of Albuquerque Ellen Bayard & Jim O’Neill Gay & Stan Betzer Craig Billings Nancy & Cliff Blaugrund Ann Boland Robert Bower & Kathryn Fry Ronald Bronitsky, M.D. Pat Broyles Dawn & Joseph Calek David & Mary Colton John Crawford Nance Crow & Bill Sullivan Krys & Phil Custer Marjorie Cypress & Philip Jameson Clare Dreyer, in memory of Joan Allen David & Ellen Evans Gertrude Frishmuth GE Foundation Dennis & Opal Lee Gill Claudia & Leonard Goodell, in memory of Brandon Lynn Crotty Barbara & Berto Gorham Roger Hammond & Katherine Green Hammond Stuart Harroun Mary Herring Martha Hoyt Rosalyn Hurley Sue Johnson & Jim Zabilski Stephanie & David Kauffman Virginia Lawrence, in memory of Jean Sharp Virginia LeRoy, in memory of Jack LeRoy Jean & William Mason Tyler M. Mason Kathy & John Matter Edel & Thomas Mayer Foundation Joan McDougall Jackie & C. Everett McGehee Ina S. Miller Mark Moll Judy & Michael Muldawer Carol & Gary Overturf Jerald & Cindi Parker Marc Powell Matthew Puariea Carolyn Quinn & John Crawford Mary Raje, in memory of Frederick C. Raje Dr. Barry & Roberta Ramo Dick Ransom & Marythelma Brainard Deborah Ridley & Richard S. Nenoff Gregory Shields Susan Spaven Conrad & Marcella Stahly Jane & Doug Swift Fund for Art & Education Lynett & David Tempest Betty & Luke Vortman Endowment Michael Wallace Barbara & Eugene Wasylenki Judy Basen Weinreb & Peter Weinreb Dolly Yoder

CONCERTMASTER CIRCLE Donation of $500–$999

William & Ona Albert John Ames Christopher Apblett Atkinson & Co., Clarke Cagle

George Baca Sally Bachofer Daniel Balik Dorothy M. Barbo Hugh & Margaret Bell, in memory of Joan Allen Sheila & Bob Bickes Rod & Genelia Boenig Suzanne Brown Michael Bustamante & Cheryl Hall Drs. Kathleen L. Butler & M. Steven Shackley Bill Byers Clarke Cagle Camille Carstens Edith Cherry & Jim See Betty Chowning Beth Clark, in celebration of Matt Puariea Judith & Paul Clem Daniel & Brigid Conklin, in memory of Dr. C.B. Conklin Thomas & Martha Domme Gale Doyel & Gary Moore Patricia & Leonard Duda Mildred & Richard Elrick Jeffrey & Laura Erway Marie Evanoff David Ferrance Fifty ‘n Fit, Inc., George & Pat Fraser Helen Fuller Ann Gebhart Chuck & Judy Gibbon Laurence Golden Jean & Bob Gough Kellie & Bing Grady Grief Resource Center Dr. Kirk & Janet Gulledge Ron & Nancy Halbgewachs Steve Hamm & Mary Kurkjian Harris L. Hartz Margaret Harvey & Mark Kilburn Guy & Nina Hobbs Kory I. Hoggan, CPA Noelle Holzworth Lorna Howerton Betty & Pete Humphrey Ira & Sheri Karmiol Joyce S. Kaser, in memory of Gene W. Taylor Bonnie & Hank Kelly Marlin Kipp Susie Kubié Stephanie & Ken Kuzio R. Jeffrey & Jane W. Lawrence Rita Leard Jae Lee Terrence & Kristina Linton Judith Matteucci Roger & Kathleen McClellan John & Kathleen Mezoff Martha Miller Ranne Miller Miller Stratvert P.A. Deborah & Louis Moench Robert & Claudia Moraga Mardelle Morrow Dick & Sharon Neuman David & Audrey Northrop Stuart & Janice Paster David Peterson Mike Provine Ken & Diane Reese Donald Rigali John & Faye Rogers Jeffrey Romero Ruth Ronan Nancy Scheer Howard & Marian Schreyer

Frederick & Susan Sherman, in memory of Joan Allen Janet & Michael Sjulin Charles & Flossie Stillwell Betsey Swan & Christopher Calder Larry Titman Arthur & Sandra Vall-Spinosa Margaret Vining Richard Vivian, in memory of Zanier Vivian Patricia & Robert Weiler Carl G. & Janet V. Weis Bill & Janislee Wiese, in honor of Joan Allen Jane & Scott Wilkinson David & Evy Worledge Vince & Anne Yegge Michael & Jeanine Zenge Zia Trust

PRINCIPALS CIRCLE Donation of $125–$499

Wanda Adlesperger Dr. Fran A’Hern-Smith John B. Aidun & Joan M. Harris Albertsons Community Partners Program Carol & Mike Alexander Gerald Alldredge Jo Marie & Jerry Anderson Anderson Organizing Systems Anonymous Anonymous Anonymous, in honor of Adrianna Belen Gatt Robert J. & Marilyn R. Antinone Judith & Otto Appenzeller Janice J. Arrott Edward & Leslie Atler Joel & Sandra Baca L.G. & M.S. Baca Mary E. Baca Thomas J. & Helen K. Baca Toni Baca Charlene Baker Gail Baldacchino, in memory of Mr. Herbert Floyd E. Patricia Barbier Sarah Barlow Sheila Barnes Elinore M. Barrett Steve Bassett William Bechtold Joe Bentley Leonie Boehmer Dr. David & Sheila Bogost Susan Brake Ann & James Bresson Marcia Bumkens Gordon Cagle Jonathan Campbell Dante & Judith Cantrill Christopher & Maureen Carusona Robert Case Shirley & Ed Case M. David Chacon Don & Tina Chan Judith & Thomas Christopher Kathleen & Hugh Church Paul & Susan Citrin, in honor of David Felberg Jane & Kenneth Cole James Connell John & Sarah Curro Stephen & Stefani Czuchlewski George deSchweinitz Jr. Jerry & Susan Dickinson Fran DiMarco Raymond & Anne Doberneck

Donor Circles .

Carl & Joanne Donsbach Ernest & Betty Dorko Janice Dosch Gale Doyel & Gary Moore, in honor of Sibilla & George Boerigter Susan & Daniel Dunne Reverend Suzanne Ebel Mary Lou Edward Paul & Catherine Eichel Eleanor D. Eisfeller Carol & John Ellis Roger C. Entringer Stephanie Eras & Robert Hammerstein Harry Ettinger David & Frankie Ewing Helen Feinberg Winifred & Pelayo Fernandez The Financial Maestro, LLC, Joann MacKenzie Heidi Fleischmann & James Scott Thomas & Mary Kay Fleming James & Jean Franchell Howard Friedman Caroline Gaston Paul Getz Drs. Robert & Maria Goldstein Yvonne Gorbett A. Elizabeth Gordon Paul & Marcia Greenbaum Peter Gregory Justin M. & Blanche G. Griffin Stanley Griffith Sharon Gross Mina Jane Grothey Bennett A. Hammer Janet Harris Joan Harris John & Diane Hawley Dennis & Jan Hayes Stephen & Aida Ramos Heath Rosalie & Leon Heller Susan & Glenn Hinchcliffe Fred Hindel Bud & Holly Hodgin David & Bonnie Holten John Homko Constance & James Houle Carolyn & Hal Hudson Janet & Vincent Humann Jerry & Diane Janicke Sandra & Michael Jerome Nancy M. Johnson & Bob Tillotson, in memory of Doug Swift Ruth Johnson Anne & Lawrence Jones Robert & Mary Julyan Carol Kaemper Summers & Norty Kalishman Julius & Robin Kaplan Julia Kavet, in memory of Margaret Birmingham Carl & Jeanette Keim Thomas & Greta Keleher Ann King Neva King Blossom Kite Noel & Meredith Kopald Asja Kornfeld, MD & Mario Kornfeld, MD Elizabeth Kubie Woody & Nandini Kuehn Karen & George Kupper Lacey & Berweida Learson Rebecca Lee & Daniel Rader Robert & Judith Lindeman Thomas & Donna Lockner

Dr. Julianne Lockwood Dr. Ronald & Ellen Loehman Bruce & Lesle Loughridge Frank & Judy Love Betty Lovering Maureen & Robert Luna Robert & Linda Malseed Avigael Mann John & Brynn Marchiando Carolyn Martinez Andrew Mason, in honor of Jean Mason Linda Mayo Jack & Victoria McCarthy Sallie McCarthy Ronald & Barbara McCarty Jon McCorkell & Diane Cress Bernard & Mary Metzgar Phyllis Metzler Bruce & Jill Miller Peggy Sanchez Mills & Jim Mills Christine & Russell Mink Mohinder & Deborah Mital Jan Mitchell Dr. William Moffatt James B. & Mary Ann Moreno James & Margaret Morris Shirley Morrison & Cornelis Klein Paula Mortensen Lynn Mostoller & Kathryn McKnight Sharon Moynahan Brian Mulrey Edward & Nancy Naimark Donald & Carol Norton Ben & Mary Lee Nurry Suzanne Oakdale & David Dinwoodie Rebecca Okun Bethe Orrell Joyce & Pierce Ostrander Deborah Peacock & Nate Korn Calla Ann Pepmueller Richard Perry Judi Pitch Dan & Billie Pyzel Therese Quinn Robert Reinke Lee A. Reynis & David W. Stryker Erika Rimson & David Bernstein 200.00(8/27/17 Match the Mag) Erica Roesch Justin Roesch Edward Rose Salazar, Sullivan, & Jasionowski Oscar Sander Scott & Margaret Sanders Alicia Santos Christine Sauer Warren & Rosemary Saur Dewey Schade John & Karen Schlue Laura Scholfield Norman Segel Archbishop Michael Sheehan Ronald & Lisa Shibata Ronald & Claudia Short, in memory of Susie Kubie R.J. & Katherine Simonson Walt & Beth Simpson Gary Singer Norbert F. Siska George & Vivian Skadron Carol Smith Harry & Patricia Smith Smith’s Community Rewards Mr. & Mrs. William E. Snead Steven & Keri Sobolik

Anne Coleman Speer Marilyn & Stanley Stark Jennifer Starr Patricia & Luis Stelzner Daphne Stevens Maria & Mark Stevens Alexander & Mary Ann Stone John & Patricia Stover Carmen & Lawrence Straus Martha Strauss, in memory of Richard Strauss Laurence Tackman Suzanne Taichert, in memory of Robert D. Taichert David & Jane Tallant Debra Taylor Phyllis Taylor & Bruce Thompson Nina & Gary Thayer David Ther Maxine Thevenot & Edmund Connolly Marit Tully & Andy Thomas Jay Ven Eman Tatiana Vetrinskaya, New Mexico School of Music Marianne Walck Cynthia & William Warren Alfred Watts & Jan Armstrong Marie Weingardt Margaret Wente Jeffrey West Kay West Marybeth White Trudy & Robert White Helen Whitesides William & Dianne Chalmers Wiley Phyllis Wilson Walter Wolf Marian Wolff Stanley Yager Mae S. Yee & Eric Brock Albert & Donna Zeman Andrew A. Zucker Carol Zulauf

FRIENDS OF THE PHILHARMONIC Donation of $25–$124

Nancy & Harro Ackerman David & Elizabeth Adams Natalie Adolphi & Andrew McDowell Kelly Aldridge Carol Allen Jo Anne Altrichter & Robin Tawney AmazonSmile Judith Anderson Ben Andres David Baca Jackie Baca & Ken Genco A. Robert Balow Diane & Douglas Brehmer Bailey Jan Bandrofchak & Cleveland Sharp Graham Bartlett Joanne Bartlett Julian & Margaret Bartlett Donna Bauer, in memory of Susie Kubie Susan Beard Edie Beck Debra & Kirk Benton Mark Berger Barry Berkson Dorothy & Melbourne Bernstein Jerome & Susan Bernstein

Cliff & Nancy Blaugrund, in memory of Andrew Lackner Cliff & Nancy Blaugrund, in memory of Paul Matteucci Dusty & Gay Blech Bosque School Henry Botts Joan Bowden J.M. Bowers & B.J. Fisher Charles Brandt, in memory of Jennifer K. Brandt Marilyn Bromberg Carolyn Brooks Gloria Brosius, in memory of John Cory Carolyn Brown Carolyn Rose Brown Jeanette Buffett Elaine Burgess Robert & Suzanne Busch Glo Cantwell James Carroll Joseph Cella Barbara & Roscoe Champion Jean Cheek Kathy & Lance Chilton Wendy Cieslak, in memory of Richard Strauss Barry Clark Donald & Sonja Clark Virginia Clark Francine Cogen Randall & Valerie Cole Aleli & Brian Colon Lloyd Colson III Henry & Ettajane Conant Marcia Congdon Patrick Conroy Bertha Cory, in memory of John Cory Nancy Covalt, in memory of Paul Matteucci John & Mary Covan Ralph Cover Mark Curtis Rosalie D’Angelo Barbara David William Davidson Joan Davis Jeanpaul Dedam & Tamara Trejo-Perez David del Castillo Winnie Devore Thomas & Elizabeth Dodson Patricia Dolan Stephen R. Donaldson Sheila Doucette Dr. James & Julie Drennan Michael & Jana Druxman Jeff & Karen Duray Sondra Eastham, in memory of Dr. Andrew Lackner Joy Eaton, in memory of C.J. Eaton Lestern Einhorn Jeannine Encinas, Alicia & Roland Fletcher, in memory of Chela Hatch Robert & Dolores Engstrom Ronald & Christine Escudero Irma Espat, in memory of Celia Hatch Cheryl Everett David & Regan Eyerman Leonard & Arlette Felberg Helene K. Fellen Mary Filosi Rona Fisher Stephen Fisher Robert & Diane Fleming

Michael Floyd, in memory of Mr. Herbert Floyd Jr. Cheryl & William Foote, in honor of Susan Patrick & Don Partridge Beverly Forman & Walter Forman, MD Martin & Ursula Frick Cynthia Fry Gigi Galassini Patricia Gallacher, in memory of Susie Kubie Yolanda Garcia Karen Gatlin Mary Day Gauer T. David & Ilse Gay, in memory of Susie Kubie Paula Getz Rosalind Gibel Global Organization for EPA & DHA Omega-3s, in memory of Susan Kubie Allen Gold David Goldheim Lois Gonzales Maria & Ira Goodkin, in memory of Susan Kubie Mr. & Mrs. Thomas Grace Erna Sue Greening Charles Gregory Carl & Nancy Guist Herman Haase Linda Lalita Habib Michael Hall Donald Harrison Joan & Fred Hart John & Madeline Harvey E. R. Haskin Rogene Henderson Robert & Sara Henning Patricia Henning Duane & Yongtae Henry Pamelia S. Hilty Nancy Hoffman Diane & Joe Holdridge Tom & Linda Holley Kiernan Holliday Theresa Homisak Suzanne Hood Tom & Vinita Hopkins Helen & Stanley Hordes Stephanie Horoschak & Paul Helman Timothy Howard William & Sylvia Hughes John & Karla Ice Joan Jander Olivia Jaramillo Eldon Johnson Judy & Scott Jones Pamela Jones Peggy Jones Robert Jones Paul Karavas Margaret Keller James Kelly Sue Kil Gerald F. Kiuttu Barbara Kleinfeld Gerald Knorovsky Sushilla Knottenbelt Philip Kolehmainen & Vivian Waldron Katherine Kraus Phil Krehbiel Deborah Krichels Roger & Marcia Brumit Kropf, in memory of Richard Strauss Jennifer C. Kruger Janice Langdale

continued on 28 The New Mexico Philharmonic

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Donor Circles . continued from 27 Karin Lanin Molly Lannon Gerard Lavelle & Cathy Drake Madeleine Lewis Byron & Tania Lindsey Carl Litsinger William J. Lock Joel Lorimer Carol Lovato Kenneth Luedeke Audrey Macdonald William Majorossy Fred & Joan March Maria Teresa Marquez Jeffrey Marr Marita Marshall Walton & Ruth Marshall Michael Mauldin John & Carolyn McCloskey Mary Kay McCulloch Brian McDonald Virginia McGiboney David McGuire Eugene McGuire & Rosemary Hunter Paul & Cynthia McNaull Sterrett Metheny Patricia Meyer Sandra Lee Meyer Kathleen Miller Robert F. Miller John & Mary Mims Kenneth Moorhead Claude Morelli Shirley Morrison Baker H. Morrow & Joann Strathman John Morrow & Harriette Monroe Ted & Mary Morse Bruce & Carolyn Muggenburg Bruce & Ruth Nelson Betsy Nichols & Steve Holmes Elizabeth Norden Marilyn Jean O’Hara Ruth Okeefe Gloria & Greg Olson, in memory of Celia Hatch H. George Oltman Jr. Diane Orchard Wendy & Ray Orley Daniel O’Shea Pete & Anita Palmer, in memory of Richard Strauss Judyth Parker Howard Paul Brian Pendley Oswaldo & Victoria Pereira Sergio & Isabelle Hornbuckle Perez, in memory of Chela Hatch Phil & Maggie Peterson Timothy Peterson Lang Ha Pham Barbara Pierce Regina & Daniel Puccetti Jane Rael Dr. Lidio Rainaldi Russell & Elizabeth Raskob David & Tracey Raymo Ray Reeder Patricia Renken Kerry Renshaw John Reynolds Kathryn & Chris Rhoads Judith Ribble & Clark Bussey Barbara & Herbert Richter Dr. Eugene M. Rinchik Cher Rivera Margaret E. Roberts Matthew Robertson Gwenn Robinson, MD & Dwight Burney III, MD Ralph, Stella & Stephen Rogers

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Socorro Ruddy Diane & William Rueler Harvey & Laurie Ruskin Robert Sabatini Glen & Beverly Salas John Salathe Evelyn E. & Gerhard L. Salinger Esperanza Sanchez Elaine G. Schepps David A. Schnitzer Stephen Schoderbek Kathleen & Wallace Schulz Roland & Justine Scott Arthur & Colleen M. Sheinberg Howard Sherry Beverly Simmons Marion & Andy Simon Marsha & Don Simonson Diane & Matthew Sloves Carl & Marilyn Smith Donald Smith & Patricia Fleming Katherine Smith, in memory of Craig Smith Frederick Snoy Enid Solin Gwyneth & Tracy Sprouls Linda Srote William Stanley Bill Stanton Charlie & Alexandera Steen Donald & B. Joan Stehr Geny Stein Alice Stephens & Robert Bruegger, in memory of Celia Hatch Elizabeth C. Stevens Judge Jonathan Sutin Christine Swanson William Swift Alice Thieman Max Thrasher Betty Tichich & Fred Bunch Julie Tierney Valerie Tomberlin Jacqueline Tommelein Dean & Bonita Tooley Hy Tran Karen & John Trever Jorge Tristani Stephen Turner Ross Van Dussen John Vittal & Deborah Ham Marmion Walsh Wendy Weygandt, in memory of Joe Zoeckler Carol Whiddon Leslie White Ellen Whitman Katherine Whitman Keith & Jane Wilkinson Kathryn Wissel & Robert Goodkind Don & Dot Wortman Daniel & Jane Wright Kenneth Wright Diana Zavitz, in honor of Pat & Ray Harwick Linda R. Zipp Vita Zodin 10/29/2017

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2017/18 Season / Volume 7 / No. 2

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 Dana Feldman & 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 The Cognitive Behavioral Institute of Albuquerque First United Methodist Church St. John’s United Methodist Church

INDIVIDUAL APPRECIATION

Lee Blaugrund & Tanager Properties Management Billy Brown Anne Eisfeller Rosemary Fessinger Chris Kershner Jim Key Rose Maniaci Jackie McGehee Brad Richards Brent Stevens 10/21/2017

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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 George Richmond Eugene Rinchik Jeanne & Sid Steinberg Betty Vortman Maryann Wasiolek William A. Wiley Dot & Don Wortman 10/21/2017

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BOARD OF DIRECTORS Maureen Baca President Anthony Trujillo Vice President

New Mexico Philharmonic

David Peterson Secretary

The Musicians

FIRST VIOLIN Krzysztof Zimowski Concertmaster David Felberg Associate Concertmaster Sarah Tasker Assistant Concertmaster Joan Wang Jonathan Armerding Steve Ognacevic Kerri Lay + Bradford Richards ++ Linda Boivin Barbara Rivers Nicolle Maniaci Barbara Scalf Morris SECOND VIOLIN Anthony Templeton • Carol Swift •• Julanie Lee Justin Pollak Michael Shu Donna Bacon Gabriela Da Silva Fogo Roberta Branagan Sheila McLay Eric Sewell ++ Elizabeth Young + Juliana Huestis ++ VIOLA Kimberly Fredenburgh •• Allegra Askew Christine Rancier Sigrid Karlstrom + Laura Steiner ++ Virginia Lawrence Willy Sucre Joan Hinterbichler Lisa DiCarlo

CELLO Joan Zucker • Carol Pinkerton •• Carla Lehmeier-Tatum Lisa Donald Dana Winograd David Schepps Lisa Collins Peggy Wells Bass Jean-Luc Matton • Mark Tatum •• Katherine Olszowka Terry Pruitt Oswald Backus V Frank Murry FLUTE Valerie Potter • Sara Tutland Jiyoun Hur •••

BASSOON Stefanie Przybylska • Denise Turner HORN Peter Erb • Nathan Ukens Katelyn Benedict ••• Allison Tutton Niels Galloway •••• TRUMPET John Marchiando • Mark Hyams Brynn Marchiando ••• TROMBONE Byron Herrington David Tall BASS TROMBONE David Tall

PICCOLO Sara Tutland

TUBA Richard White •

OBOE Kevin Vigneau • Amanda Talley +

TIMPANI Douglas Cardwell • PERCUSSION Jeff Cornelius • Kenneth Dean Emily Cornelius

ENGLISH HORN Melissa Peña ••• CLARINET Marianne Shifrin • Lori Lovato •• Timothy Skinner

HARP Anne Eisfeller •

Kory Hoggan Treasurer Ruth Bitsui Michael Bustamante Thomas Domme Roland Gerencer, MD Emily Cornelius David W. Peterson Nancy Pressley-Naimark Barbara Rivers Jeffrey Romero Chris Schroeder Al Stotts David Tall Marian Tanau Michael Wallace ADVISORY BOARD Thomas C. Bird Lee Blaugrund Clarke Cagle Robert Desiderio Larry Lubar Steve Paternoster Heinz Schmitt William Wiley STAFF Marian Tanau Executive Director Roberto Minczuk Music Director Chris Rancier Executive Assistant & Media Relations

E-FLAT CLARINET Lori Lovato

Alexis Corbin Co Operations Coordinator, Co Personnel Manager & Development Assistant

BASS CLARINET Timothy Skinner

Katelyn Benedict Co Operations Coordinator, Co Personnel Manager Mancle Anderson Production Manager Danielle Frabutt Artistic Manager & Social Media Coordinator Byron Herrington Payroll Services

Principal • Assistant Principal •• Associate Principal ••• Assistant •••• Leave + One year position ++

The New Mexico Philharmonic

BOARD OF THE FUTURE Erin Gandara Stephen Segura Calisa Griffin Chris Schroeder Cailyn Kilcup

Mary Montaño Grants Manager Joan Olkowski Design & Marketing Lori Newman Editor Sara Tutland Ensemble Visits Coordinator

nmphil.org

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Thank You .

Sponsors & Grants Sound Applause

Albuquerque Community Foundation albuquerquefoundation.org

Bank of Albuquerque bankofalbuquerque.com

The concerts of the New Mexico Philharmonic are supported in part by the City of Albuquerque Department of Cultural Services, the Bernalillo County, and the Albuquerque Community Foundation.

Bernalillo County bernco.gov

Century Bank mycenturybank.com

GARDENSWARTZ REALTY City of Albuquerque cabq.gov

Computing Center Inc. cciofabq.com

D’Addario Foundation daddariofoundation.org

Gardenswartz Realty

Holmans 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

New Mexico Gas Company nmgco.com

RBC Wealth Management rbcwealthmanagement.com

Sandia Foundation sandiafoundation.org

Sandia Laboratory Federal Credit Union slfcu.org

Sandia National Laboratories sandia.gov

Scalo Northern Italian Grill scalonobhill.com

SWGA, P.C. southwestgi.com

United Way of Central New Mexico uwcnm.org

Urban Enhancement Trust Fund cabq.gov/uetf

U.S. Bank usbank.com

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The Verdes Foundation verdesfoundation.org

2017/18 Season / Volume 7 / No. 2

Menicucci Insurance Agency mianm.com

Olga Kern International Piano Competition olgakerncompetition.org

Wells Fargo wellsfargo.com

Music Guild of New Mexico musicguildofnewmexico.org

PNM pnm.com

SUPPORT YOUR NMPHIL Interested in becoming a sponsor of the NMPhil?

Call Today! (505) 323-4343.

NMPhil .

NMPHIL MUSICAL FIESTAS Join us for fundraising events at private homes that feature our guest artists in an intimate performance setting, which includes dinner and wine. This is a chance to meet the guest artists in person.

SPONSOR A MUSICIAN

WE INVITE YOU TO ENGAGE MORE DEEPLY WITH THE ORCHESTRA AND ITS MUSICIANS. 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

Sponsor Today

(505) 323-4343

Sunday, January 28, 2018, 4 p.m.

Marie Weingardt will open her Sauvignon home overlooking the Tanoan Golf Course to host the Olga Kern International Competition Audience Favorite winner, pianist Anna Dmytrenko. $200 Sunday, February 25, 2018, 4 p.m.

Dr. Ashwani and Sunita Rajput welcome you to their beautiful, art-filled home in North Albuquerque Acres to hear internationally renowned violinist Karen Gomyo. $200 Sunday, March 25, 2018, 4 p.m.

Albuquerque favorite, Olga Kern and her brilliant son will perform at the lovely North Valley home of Dr. Charles and Eugenia Eberle. $250 Call for more information and to reserve your tickets.

Reserve Tickets

(505) 323-4343 The New Mexico Philharmonic

nmphil.org

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‘18 NX 300

Proud sponsor of the New Mexico Philharmonic 4821 Pan American Fwy., Albuquerque, NM 87109 | 505.341.1600 | lexusofalbuquerque.com