New Mexico Philharmonic Program Book • 2017/18 Season • Volume 7 • No. 5 by New Mexico Philharmonic

VOLUME 7 / NO. 5

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17/18

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2017/18 Season

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LETTER FROM THE MUSIC DIRECTOR

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Table of Contents PROGRAMS

March 17 & 18, 2018 Program March 24, 2018 Program April 7, 2018 Program April 21, 2018 Program April 28, 2018 Program Program Notes ARTISTS

David Felberg Robbie Rodriguez Amanda Rohr Natalie Harris Roberto Minczuk Olga Kern Vladislav Kern Bradley Ellingboe Rebecca Brunette Kim Kraut Jonathan Davidson Alfredo Beltran Spencer Beckwith Fumiaki Miura Kristin Ditlow John Yuan University of New Mexico Chamber Singers YOUR NMPHIL

Letter from the Music Director Musical Fiestas Orchestra Board of Directors, Advisory Board, Staff Sponsors Donor Circles Thank You Legacy Society Zoo Concerts NMPhil Music & Arts Festival Match the Magnificance THE NEW MEXICO PHILHARMONIC OFFICES

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2017/18 Season / Volume 7 / No. 5

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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.

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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 mustsee 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

2 10 27 27 28 29 31 31 32 33 34 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. ●

Concert Program .

Saturday, March 17, 2018, 6:00 p.m. Sunday, March 18, 2018, 2:00 p.m.

Popejoy Classics: Aladdin & the Magic Lamp Ballet David Felberg conductor Robbie Rodriguez “Aladdin” Amanda Rohr “Princess Jasmine” Natalie Harris NMBC Artistic Director & Choreographer New Mexico Ballet Company

ACT I

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17/18 Popejoy Hall

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

Scene 1—In the Market Place Scene 2—The Rejected Prince Scene 3—Aladdin Meets Jasmine Scene 4—Confrontation With Jafar Scene 5—The Cellmate

Albuquerque Community Foundation

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

ACT II

Scene 6—Cave of Wonders

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

ACT III

Scene 7—Prince Ali Scene 8—A New Master Scene 9—Defeating Evil Scene 10—The Third Wish Scene 11—A Royal Wedding

The New Mexico Philharmonic

Performed to the music of Nikolai Rimsky-Korsakov.

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POSSIBILITY RISES IN THE WEST When we share a common goal, the sun rises on endless opportunity. That’s why we believe in the great promise of a better tomorrow for our clients and communities. We’re proud to support the New Mexico Philharmonic.

RISE WITH THE WEST.

Parade of Gardens in Los Ranchos

Saturday, June 16, 2018

8:00 to 4:00

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The Council of Albuquerque Garden Clubs, Inc. A 501c(3) non-profit organization

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9 Gardens Art Show 9 Artists Painting Musicians in the Gardens For Tickets and info:

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Concert Program .

Saturday, March 24, 2018, 6:00 p.m. / 5 p.m. Pre-Concert Talk

Popejoy Classics: Double Delights: Mozart & the Kerns Roberto Minczuk Music Director Olga Kern piano Vladislav Kern piano

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Popejoy Hall

Concerto in E-flat Major for Two Pianos, K. 365 I. Allegro II. Andante III. Rondo

Piano Concerto No. 1 in D-flat Major, Op. 10 I. Allegro brioso II. Andante assai III. Allegro scherzando Olga Kern piano Vladislav Kern piano

Wolfgang Amadeus Mozart (1756–1791)

Sergei Prokofiev (1891–1953)

MAKING A DIFFERENCE This performance is made possible in part by the generosity of the following: Drs. Cynthia Phillips & Thomas Martin

ADDITIONAL SUPPORT Made possible by:

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

Southwest Gastroenterology Associates

Symphony No. 7 in A Major, Op. 92 I. Poco sostenuto—Vivace II. Allegretto III. Presto IV. Allegro con brio

The New Mexico Philharmonic

Ludwig van Beethoven (1770–1827) PRE-CONCERT TALK Sponsored by: Menicucci Insurance Agency

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Concert Program .

Saturday, April 7, 2018, 6:00 p.m.

Neighborhood Concert: Passionate Strings & Voices Bradley Ellingboe conductor Rebecca Brunette soprano Kim Kraut mezzo-soprano Jonathan Davidson tenor Alfredo Beltran baritone Coro Lux Oratorio Society Spencer Beckwith narrator

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St. Paul Lutheran Church

Adagio for Strings Samuel Barber (1910â&#x20AC;&#x201C;1981)

Missa brevis in G Major, K. 49/47d I. Kyrie II. Gloria III. Credo IV. Sanctus V. Benedictus VI. Agnus Dei

Wolfgang Amadeus Mozart (1756â&#x20AC;&#x201C;1791)

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

Voices of Remembrance Laura Rossi I. Break of Day in the Trenches, poem by Isaac Rosenberg (b. 1975) II. Break of Day in the Trenches (orchestral) III. The Soldier, poem by Rupert Brooke (orchestral/choral) IV. Into Battle, poem by Julian Grenfell V. Into Battle (orchestral) VI. Before Action, poem by William Noel Hodgson VII. Before Action (orchestral) VIII. A Lark Above the Trenches, poem by John William Streets (orchestral/choral) IX. Dulce et Decorum est, poem by Wilfred Owen X. Dulce et Decorum est (orchestral/choral) XI. Anthem for Doomed Youth, poem by Wilfred Owen XII. Anthem for Doomed Youth (orchestral) XIII. In Memoriam, poem by Ewart Alan Mackintosh XIV. In Memoriam (orchestral) XV. In Flanders Fields, poem by John McCrae XVI. In Flanders Fields (orchestral) XVII. For the Fallen, poem by Robert Binyon (orchestral/choral)

The New Mexico Philharmonic

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Concert Program .

Saturday, April 21, 2018, 6:00 p.m. / 5 p.m. Pre-Concert Talk

Popejoy Classics: From the Heart of Fumi

Roberto Minczuk Music Director Fumiaki Miura violin

Popejoy Hall

Pomp and Circumstance March No. 1 in D Major

Edward Elgar (1857–1934)

Introduction and Rondo Capriccioso, Op. 28 Camille Saint-Saëns (1835–1921)

Tzigane Maurice Ravel (1875–1937) Fumiaki Miura violin

The Planets I. Mars: The Bringer of War II. Venus: The Bringer of Peace III. Mercury: The Winged Messenger IV. Jupiter: The Bringer of Jollity V. Saturn: The Bringer of Old Age VI. Uranus: The Magician VII. Neptune: The Mystic

MAKING A DIFFERENCE This performance is made possible in part by the generosity of the following: Thomas & Cynthia Gaiser

PRE-CONCERT TALK Sponsored by:

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

The New Mexico Philharmonic

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Menicucci Insurance Agency

Gustav Holst (1874–1934)

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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.

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.

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Concert Program .

Saturday, April 28, 2018, 6:00 p.m.

Neighborhood Concert: Hail, Britannia!

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Kristin Ditlow conductor John Yuan conductor New Mexico School of Music Orchestra Jackson Middle School Jaguar Orchestra Cleveland Middle School Colts Orchestra University of New Mexico Chamber Singers “Hail, Britannia!” Dido and Aeneas excerpts Overture Air: Shake the Cloud From off Your Brow Chorus: Banish Sorrow, Banish Care Duet: Grief Increases by Concealing Chorus: When Monarchs Unite Duet and Chorus: Fear no Danger to Ensue Trio Recitative: See, See Your Royal Guest Appears Chorus: Cupid Only Throws the Dart Aria and Chorus: Thanks, to These Lonesome Vales Aria and Chorus: Haste, Haste to Town Chorus: Great Minds Against Themselves Conspire Recitative and Aria: Thy Hand Belinda—When I Am Laid in Earth Chorus: With Drooping Wings “If Ye Love Me”

First United Methodist Church

Thomas Arne (1710–1778) arr. Ditlow-Yuan Henry Purcell (1659–1695)

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

Thomas Tallis (1505–1585)

“Why Fumeth in Sight”

Tallis

Fantasia on a Theme by Thomas Tallis

Ralph Vaughan Williams (1872–1958)

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

Dixit Dominus, HWV 232 Dixit Dominus Domino Meo Virgam virtutis Tecum Principatus Juravit Dominus Tu es sacerdos Dominus a dextris tuis Judicabit in nationibus De torrente in via bibet Gloria patri “God Save the Queen”

The New Mexico Philharmonic

George Frideric Handel (1685–1759)

John Bull (1563–1628) arr. Ditlow-Yuan nmphil.org

Program Notes .

Program Notes

Charles Greenwell (unless otherwise noted)

Aladdin & the Magic Lamp Ballet

Synopsis We begin in the street market of old Arabia, where we meet a peculiar street rat named Aladdin. Aladdin and his best friend, Abdul, like to cause a bit of trouble here and there, but they mean no harm. One day, a Princess from the nearby palace sneaks out to explore the world that is unknown to her. In the street market, Aladdin stumbles upon a beautiful lady that happens to be Princess Jasmine. Being captured for stealing goods from the street market, Aladdin is taken to the prison cell in the palace. Princess Jasmine demands to know why Jafar, the Sultan’s counselor, took the young man into custody. Aladdin is overcome with despair in the dungeon, and an old prisoner convinces Aladdin to break out of their dismal cell. As they plan their escape, the old man speaks of a magical cave filled with brilliant treasures. Aladdin is captivated by the idea of helping the old prisoner, and they journey to the Cave of Wonders. Upon arriving, the Cave restricts entrance to only one person. Aladdin agrees to go in for the old man, and he is instantly awestruck by the abundance of riches. While wandering deeper into the Cave, Aladdin stumbles upon a lamp and seizes it to take back to the old man. As he attempts to relinquish it, the treasures consume Aladdin with the lamp and draw him back into the depths of the Cave. While tumbling to the ground, Aladdin awakens, brushes the lamp, and a charismatic Genie appears and grants him three wishes. For his first wish, Aladdin desires to be a Prince. The Genie takes measurements and fashions splendid royal attire for Aladdin. For his second wish, Aladdin requests to be freed from the spell of the Cave. He returns to the Palace as the new Prince Ali and charms Princess Jasmine. They take flight on a magic carpet ride and fall deeply in love. Meanwhile, Jafar steals Aladdin’s magic lamp, and the Genie is forced to grant him three wishes. Jafar first chooses to be a powerful sorcerer, and his second wish is to manipulate the Sultan and marry Jasmine. His final wish is to become a genie himself. Once Jafar transforms into a genie, he can only represent himself with a master. Aladdin serves as the master, captures Jafar

2017/18 Season / Volume 7 / No. 5

“A concerto is a conversation, and not without some element of contest […] part of the appeal is the way in which the one dominates the many.” —Michael Steinberg

in his lamp, and tosses him deep into the Cave of Wonders. With the Genie still owing Aladdin one more wish, Aladdin struggles with the decision to either free the Genie or marry Jasmine. Will Aladdin discover that true love has a magic of its own? ●

Wolfgang Amadeus Mozart Born January 2, 1756, in Salzburg, Austria Died December 5, 1791, in Vienna, Austria

Concerto in E-flat Major for Two Pianos, K. 365 Scored for 2 solo pianos, 2 oboes, (2 clarinets), 2 bassoons, 2 horns, (2 trumpets), (timpani), and strings. Approx. 25 minutes.

Mozart’s piano concertos belong to an age that he helped to begin, an era governed by the idea that the individual, no matter how small or limited in strength, could positively influence the forces of nature. As well, scientists of the day had become supremely confident that the world could be easily explained, and its problems capable of being solved. Heroes such as Beethoven and Byron—and even revolutions such as those in France and America—uplifted the ego and enlarged a sense of self. With regard to concertos, the esteemed writer Michael Steinberg has said, “A concerto is a conversation, and not without some element of contest. Central to the idea of concerto is that there be a fundamental inequality between the participants, and part of the appeal is the way in which the one dominates the many.” However, in Mozart’s concertos, particularly in his beautiful slow movements, there is real balance, and the conversation is more in the nature of a persuasion than that of a conflict. Given his connections and his skills as a pianist, it is rather odd that he did not write more two-piano music. Along with this exuberant concerto, there is also

a D Major Sonata, an Adagio and Fugue in C minor, and a Larghetto and Allegro in E-flat Major. Early in his career, he formed a virtuoso duo with his older sister (who was almost as fine a player as he was), performing widely for the nobility, yet the only two-piano work there is that connects the two is this concerto, most likely written for the two of them to play in 1779, but there is no definite record of brother and sister ever having performed the work. There is some evidence, however, that the concerto could actually predate his Three-Piano Concerto, as the cadenzas for K. 365 were written on paper used by Mozart for works known to date from late 1775 to early 1777. Nevertheless, most scholars are in agreement that 1779 is the true date of composition, which would place it at about the same time as his sublime Sinfonia Concertante for violin and viola. If so, it would then date from the time of his unhappy return to Salzburg following an extended trip with his mother to Mannheim and Paris to find a more lucrative position, but not only did this not happen, his mother died unexpectedly while they were in Paris, leaving him in delicate emotional circumstances. The only positive thing to come from the trip was exposure to new musical styles that were gaining popularity across Europe. Upon returning home, Mozart was given a position as court organist, and he wasted no time in composing several works based on the styles he heard in his travels. He decided to concentrate on the form of the double concerto, and soon realized that he would need a different approach from what he was used to. Normally his piano concertos would contain interplay between soloist and orchestra, but he quickly discovered that the texture became too thick with two pianos. He therefore scaled back the role of the orchestra, having it now become more of an accompanist rather than a partner.

Program Notes . As far as we know, the public premiere of the concerto was given in 1781, by which time Mozart had finally escaped from the Archbishop’s clutches in Salzburg and settled permanently in Vienna. His keyboard colleague on that occasion was one of his best pupils named Josepha Auernhammer, a fine pianist for whom he wrote the aforementioned two-piano sonata. She was gifted technically and musically, but not at all attractive, and Mozart in his typically forthright manner once described her as “… a fright, but she plays enchantingly.” To complicate matters even more, she apparently fell seriously in love with Mozart, to his extreme annoyance! In any case, it is a tribute to her abilities that he continued to tolerate her presence long enough to give several more concerts with her. The original scoring of the orchestra was for two oboes, two bassoons, two horns, and strings, but for the more important setting of Vienna, he added two clarinets, two trumpets, and timpani, which makes the work more extroverted and festive. The two solo piano parts are of equal importance and difficulty, and the technical demands would have challenged most pianists of the day. As well, the orchestra is more discreet than in Mozart’s solo concertos, leaving much of the music to the soloists. The opening movement is wonderfully spacious and lyrical, giving both pianists ample room for creative expression, and toward the end features a stunning double cadenza. The slow movement is very refined, gracious and even a bit playful, touched at one point by a fleeting melancholy as the key veers temporarily into the minor, and throughout its length the orchestra remains very much in the background. The energetic and exuberant finale is cast as a rondo (recurring main theme interspersed with contrasting material), and of particular interest is that the main theme takes a different harmonic turn at each appearance. The concerto concludes with another brilliant double cadenza, followed by a marvelous orchestral flourish. ●

Sergei Prokofiev

Born April 27, 1891, in Sontsovka, Ukraine Died March 5, 1953, in Moscow, USSR

Piano Concerto No. 1 in D-flat Major, Op. 10 Scored for solo piano, 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, tuba, timpani, orchestral bells, and strings. Approx. 16 minutes.

Prokofiev’s First and Second Piano Concertos date from his years of study at the St. Petersburg Conservatory (1904–1914), a period when he had a reputation as a rebellious student who delighted in writing “modernist” music that shocked and displeased his professors. The young man was a brilliant and acrobatic pianist, and of his early works, most were written for the piano. The public premiere of his First Piano Concerto took place in August of 1912 in a suburb of Moscow, with the composer at the piano. Great publicity, particularly regarding his prowess at the piano, preceded the concert, with the result that the huge hall —if one can believe the reports —was filled with around 3,000 listeners! Predictably, press and audience reception of the new work was sharply divided. One critic applauded its “freedom from the mildew of decadence,” another said the composer was in need of a straitjacket, another praised the composer for a work of “wit, imagination, and brilliance,” yet another wrote that “… this energetic, rhythmic, harsh, coarse, primitive cacophony hardly deserves to be called music,” while one perceptive critic posed a prophetic question: “Prokofiev might well mark a stage in the development of Russian music … why not?” Certainly, this work jolted the audience with its unorthodox treatment of melodic and harmonic material, as well as its very aggressive approach to rhythm, and the resulting impression was both intense and dramatic. Then, in 1914, as part of his graduation exercises at the Conservatory, he entered a concerto performance competition whose winner would receive a grand piano

“Prokofiev might well mark a stage in the development of Russian music … why not?” —Russian Critic

and the school’s top prize. Instead of traditional concertos chosen by the other contestants, Prokofiev decided to play his own First Concerto, his reason being that any failure would be less embarrassing because no one would know that he lost because the concerto was bad or his performance was faulty! It was his first formal appearance with an orchestra, and the rules of the competition required that whatever was played be published; happily, Prokofiev found a publisher willing to produce 20 copies in time for the competition. He won, with one jurist suggesting that he be ejected from the hall, while another felt that his playing was so remarkable that it deserved a dozen grand pianos. Composer and conductor Alexander Glazunov, who was director of the Conservatory at the time, found the music “filled with harmful tendencies,” but voted with the majority in awarding the prize to Prokofiev, albeit somewhat reluctantly. The music in the Concerto progresses in a single unbroken sweep with three obvious sections comparable to the three movements in a traditional concerto. What further unsettled the listeners was his disdain for the conventional patterns of thematic development, preferring instead to juggle, shape, and reshape many of the themes as he saw fit. Like his First Violin Concerto, Prokofiev originally planned this work as a more modest Concertino, but decided as the piece unfolded to give it more weight and significance. He later said that he regarded the First Piano Concerto as his first fully mature work, and it certainly signaled his arrival as an extraordinary talent that could not be ignored. ●

Ludwig van Beethoven

Born December 15, 1770, in Bonn, Germany Died March 26, 1827, in Vienna, Austria

Symphony No. 7 in A Major, Op. 92

Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. Approx. 36 minutes.

In the summer of 1811, Beethoven was having something like a mid-life crisis. His music was undeniably popular, but his health was declining and his growing deafness was all but irreversible. In the hope of getting some relief, he went to the spa city of Teplitz in northern Bohemia (now Bad Teplice in the Czech Republic) and stayed there for most of the summer. Rather than improving, continued on 14

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Program Notes . continued from 13 his hearing and his general health only worsened, and it has been suggested that the famous mineral waters at Teplitz could have contained a number of toxic substances. Still, the trip was worthwhile as Beethoven finally met the great German writer and statesman Goethe, and at the time these two men stood as the giants of German culture. It was not, however, the exalted meeting that one might imagine, as the clashing temperaments of the two men provided too great an obstacle to any kind of a serious friendship. Beethoven, with his temperamental and difficult personality, was also not in the best frame of mind, being in despair over the great love of his life, the woman known usually as the Immortal Beloved. So, although Beethoven greatly admired Goethe’s work to the end of his life, their personalities and attitudes about various matters differed so much that they were obstacles to a significant relationship. (There is a famous painting done in 1887 by the German artist Carl Rohling called “The Incident at Teplitz” that clearly shows a divide between the two men.) By the following year, there had been great changes in Beethoven’s life and career since the days of the remarkable period between 1802 and 1809 when he produced an amazing number of masterpieces, perhaps without equal in the whole history of music. In 1809, when the Fifth and Sixth Symphonies were premiered, this concentrated production fell off sharply, and although there was much extraordinary music yet to come, he never again composed with the kind of passion and intensity that was in him in the first decade of the century. Now, what happened? Yes, his health and hearing were getting worse, but given his ability to surmount physical problems, it is more likely that this resulted from doubts and questions about his powers of creation. He was beginning to realize that the flood of ideas that had driven him for so long was drying up: He had to find something new, and it is in the Seventh and Eighth Symphonies

that we can recognize the change of direction into his third period taking shape. With the Seventh Symphony, Beethoven permanently turned his back on the heroic model of the Third and Fifth Symphonies, but had not yet achieved the inward expression of his late works. The Seventh was begun in Teplitz and completed several months later back in Vienna. The premiere took place in December of 1813 at a benefit concert to help Austrian and Bavarian soldiers who had been wounded at the battle of Hanau in the Napoleonic War, and Beethoven himself conducted it. It was hailed as a great success, but also on that concert was the premiere of an even more successful (but now almost forgotten) work known popularly as the Battle Symphony, but whose full title was Wellington’s Victory at the Battle of Vittoria, which celebrated the rout in June of 1813 of Napoleon’s brother Joseph and his forces: The decisive battle of the Peninsular War that finally broke Napoleon’s power in Spain. The highly patriotic Viennese took great delight in the program, which was such a success that it had to be repeated four days later. One critic wrote, “… this symphony is the richest melodically and the most pleasing of all Beethoven symphonies,” but not everyone agreed. Carl Maria von Weber thought that Beethoven was “now quite ripe for the madhouse,” and Friedrich Wieck (Clara Schumann’s father) said the music could only have been written by someone who was seriously intoxicated! In our time, the esteemed critic Richard Freed calls the symphony “… a triumphant discourse by a man intoxicated with the spirit of creativity itself.” Whatever the case, the first audiences for the Seventh probably associated its larger-than-life exuberance with the sense of impending triumph over Napoleon’s power, once thought to be invincible: After years of disruptive warfare, a lasting peace seemed finally to be on the horizon. The Battle Symphony had its origins in a bizarre

“(Beethoven’s Symphony No. 7 is) a triumphant discourse by a man intoxicated with the spirit of creativity itself.” —Richard Freed

2017/18 Season / Volume 7 / No. 5

invention by Johann Maelzel, the man who invented the metronome and an ear trumpet that Beethoven found useful as an aid to his weakened hearing. This was what Maelzel called a “panharmonicon,” an invention produced in 1805 that was a large and extravagant machine run by air pressure and supposedly could imitate the sounds of most orchestral instruments as well as cannon shots and gunfire. It is considered to be one of the first automatic playing machines. This was how the Battle Symphony was originally intended to be played, but Maelzel suggested that Beethoven arrange it for a full normal orchestra plus a battery of percussion for the December concert —which he did. The Seventh is certainly one of Beethoven’s most abstract or absolute works, in the sense that it is determinedly about the power of music itself. It is also unified by a persistent and compelling rhythmic component, and it can be said that no serious work before it —and very few since —has relied to such an extent on rhythm as a fundamental principle. Beyond its extraordinary rhythmic drive, other critics have praised its innovative and unsurpassed orchestration and its grandeur of sound, even though it was achieved with basically the same size orchestra familiar to Mozart and Haydn. From beginning to end, the Seventh broke startling new ground, among its features being the unprecedented length of the introduction to the first movement, and the almost demonic fury of the last movement, in which Beethoven pushed the form and content of the classical symphony into uncharted territory. ●

April 7, 2018 Concert

Program Notes by Kristin Thelander

Adagio for Strings Adagio for Strings was originally the second movement of Samuel Barber’s String Quartet, Op. 11, written in 1936. He subsequently sent an arrangement for string orchestra to Arturo Toscanini in 1938. Toscanini conducted it in a live radio broadcast on November 5, 1938, and that historic recording was added to the National Recording Registry of the Library of Congress in 2005. Often called “the saddest music ever written,” it has been associated with the deaths of Franklin D. Roosevelt, John F. Kennedy, Albert Einstein, Princess Diana, the victims of 9/11, and many others. As is so often the case, the music expresses both beauty and sadness so much more eloquently than words could ever do.

Program Notes . Missa brevis in G Major, K. 49/47d Mozart’s prodigious talent as a keyboardist, violinist, and composer is well known. His first symphony was written at the age of eight, his first mass at the age of twelve, and his first opera at the age of fourteen. He toured Europe with his family from the age of six, performing as a child prodigy, studying with his father, and becoming immersed in the music of the major composers of the day. The work performed this evening is Mozart’s first mass (1768), a missa brevis, indicating that it was intended for a regular Sunday service. Voices of Remembrance British composer Laura Rossi is known for her many scores for film and television. When she was commissioned to compose music for the 1916 documentary film, The Battle of the Somme, she discovered that her great uncle had been a stretcher-bearer during that battle and had left a diary about his experiences. As she composed the music, she researched World War I and the Battle of the Somme, and traveled to many of the places her great uncle had fought. Subsequently she was commissioned by Boosey & Hawkes to compose Voices of Remembrance to mark the centenary of World War I. The work for orchestra and choir is inspired by ten famous poems about World War I, some of which are read prior to orchestral movements, and some of which are sung by the choir. Voices of Remembrance was premiered on the weekend of the British Remembrance Day, November 2015, and has received several additional performances in Great Britain. Tonight’s performance marks the US premiere of this highly effective work. ●

Edward Elgar

Born June 2, 1857, in Broadheath, England Died February 23, 1934, in Worcester, England

Pomp and Circumstance March No. 1 in D Major Scored for 2 flutes, 2 piccolos, 2 oboes, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 4 horns, 4 trumpets, 3 trombones, tuba, timpani, percussion, 2 harps, and strings. Approx. 6 minutes.

Sir Edward Elgar was England’s first significant composer in 200 years. In many ways, he was the perfect product of the late-Victorian and Edwardian eras: His temperament was basically emotional, but he confined himself to classical forms, and

“I may say, was the one and only time in the history of the Promenade Concerts that an orchestral item was accorded a double encore.” —Henry Wood

in his maturity he remained indifferent to contemporary trends, particularly to the English folk-song revival that influenced Ralph Vaughan Williams and others. He was, however, a man of many musical facets, and the five Pomp and Circumstance marches reflect the popular side of his output. They demonstrate how rich Elgar’s sense of ceremony was, even in his final years, for in these works are contained a remarkable stretch of British history: The first was written in the year of Victoria’s death, and the fifth appeared during the 20th year of the reign of her grandson, George V. Moreover, like so many Englishmen of the late-19th and early-20th centuries, Elgar was deeply patriotic, and combined with his natural militaristic turn, this patriotism made him a natural to compose these distinguished and powerful marches. They were published collectively as Opus 39, but were composed over a period of almost 30 years, and are by a wide margin the best-known of his works in this uniquely British genre. When Elgar sold his first two marches to the famous publisher Boosey & Hawkes, they commissioned him to write four more to create an even half-dozen, but when he died he had only completed three. Nevertheless, sketches were known to exist of a sixth march, and in 2006 the Elgar scholar Anthony Payne took all of the existing sketches and fashioned a March No. 6 in g minor. In doing so, he decided to conclude it by making a brief reference to the end of the world-famous March No. 1 as a gesture of homage, celebrating the closing of a very special chapter in the composer’s life. March No. 1 was sketched in June of 1901 and completed in July, within a month of No. 2, but the central tune —one of the most famous tunes ever penned by an English composer —was written earlier. His friend

Dora Penny (one of the people portrayed in the Enigma Variations) recalled having visited Elgar that May, and how he told her of having written “a damn fine tune” that he said would “knock people flat!” March No. 1 was dedicated to the Liverpool Philharmonic and its conductor Alfred Rodewald, but contrary to what was commonly thought for many years, Elgar himself conducted the first performance in October of 1901, and Rodewald conducted the other works on that concert. It was repeated a few days later at a Proms Concert in London, when the wonderful Henry Wood was on the podium, and the response was sensational. As Wood later recalled, “The people simply rose and yelled. I had to play it again—with the same result; in fact, they refused to let me go on with the program. Merely to restore order, I played the march a third time, and that, I may say, was the one and only time in the history of the Promenade Concerts that an orchestral item was accorded a double encore.” This stately theme became so popular that Elgar decided to make immediate use of it in the finale of his 1902 Coronation Ode, where it was set to lyrics beginning “Land of Hope and Glory,” in which form it has become like a second national anthem. For the record, the tune was also used in Queen for a Day, the popular American TV show which ran in the 1950s and ‘60s. The collective title of these marches was taken from Act 3 of Shakespeare’s Othello, in which Othello bids farewell to his soldier’s profession, saying, in part, “Farewell the tranquil mind! Farewell the neighing steed, the spirit-stirring drum, the royal banner, and all quality, pride, pomp, and circumstance of glorious war!” ●

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Camille Saint-Saëns

Born October 9, 1835, in Paris, France Died December 16, 1921, in Algiers, Algeria

Introduction and Rondo Capriccioso, Op. 28 Scored for solo violin, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings. Approx. 9 minutes.

Saint-Saëns’s career was one of music’s longest and most productive, and during his lifetime, composers as diverse as Tchaikovsky, Mahler, and Debussy were born and died. When Saint-Saëns died at age 86, he had made his mark as a virtuoso pianist and organist, a fine conductor, and as a writer of operas, symphonies, concertos, along with a treasure trove of fascinating smaller works. Today, sadly, the general public knows just a fraction of his vast output, notably The Carnival of the Animals, two or three of his concertos, the opera Samson and Delilah, and the Third Symphony, the so-called “Organ” Symphony. Although he wrote in a traditional style, he recognized the importance of other composers’ works that were stylistically much more advanced than his own. Born less than a decade after the deaths of Beethoven and Schubert, he lived to witness the beginning of the age of radio and recordings, and in 1908 became the first significant composer to write music for a film. Like his compatriots Bizet and Lalo, SaintSaëns had a great fascination for Spanish music, a situation that continued into the Impressionist era of Debussy and Ravel. When the prodigiously gifted Spanish violin virtuoso Pablo de Sarasate (1844–1908) graduated from the Paris Conservatory at the age of 15, he began a series of concert tours that earned the praise of audiences everywhere with his seemingly effortless playing. Like many composers who write concertos for instruments they don’t play, Saint-Saëns welcomed the advice of Sarasate, whom he met just after his graduation. SaintSaëns was 24 at the time, and later recalled the brilliant youngster as “Fresh and young as spring itself.” Sarasate approached the older gentleman and asked him to compose something that he could play; the result was the A Major Violin Concerto, written in that year of 1859. Four years later came the present work, a short but dazzling showpiece with a reflective beginning (almost like an operatic recitative) followed by a brilliant aria full of fireworks tailor-made to showcase Sarasate’s famed technique. Later

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(Saint-Saëns) lived to witness the beginning of the age of radio and recordings, and in 1908 became the first significant composer to write music for a film. on, in 1880, Saint-Saëns wrote for him the b minor Concerto, one of the finest of all of his concertos. Following this work’s premiere (whose date has apparently been lost!) and publication, Sarasate championed it and established the work’s great popularity, and ever since it has become a staple of the violin repertoire. It was so popular in its day that both Bizet and Debussy made transcriptions of the piece, the former making the accompaniment for piano, and the latter transforming it into a work for two pianos. The form of the Introduction and Rondo may have led Sarasate 20 years later to compose his Zigeunerweisen (Gypsy Airs) in a similar design, and perhaps even Ravel to write his Tzigane in the new century. (See below.) All three works are about the same length, and begin with a bold theme in the minor leading to a brilliant ending in the major. Sarasate went on to enjoy a long and successful career as one of the greatest of romantic virtuosos, and was the first important violinist to make recordings. He even tried his hand at composing, his Fantasy on Themes from Bizet’s Carmen having long since become another staple of the repertoire. ●

Maurice Ravel

Born March 7, 1875, in Ciboure, France Died December 28, 1937, in Paris, France

Tzigane

Scored for solo violin, 2 flutes, piccolo, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 1 trumpet, percussion (cymbals, triangle, and glockenspiel), harp, celesta, and strings. Approx. 10 minutes.

By the early 1920s Ravel was a wellestablished composer on his way to becoming one of the most significant and influential composers of the first third of the 20th century. In addition to composing, he was an accomplished pianist and a good conductor, and had a command of orchestration that was second to none. He is often linked as an

Impressionist with his compatriot Claude Debussy, and while the two composers’ styles were superficially similar, Ravel’s output was much broader in scope with influences from such diverse sources as the French Baroque, Bach, Mozart, Chopin, Spanish folk music, and even American jazz and blues. Moreover, although his body of work was not large in comparison to some of his contemporaries, his compositions are notable for being meticulously and elegantly crafted. During this time Ravel’s interest in the violin was very strong, mainly because he wanted a new work to replace his Violin Sonata that was not coming along as quickly as he had hoped, but also because he needed some new stimulus to get out of a mental block he was dealing with at the time. That stimulus was provided by the extraordinary Hungarian-born violinist Jelly d’Aranyi, who was the grand-niece of another great Hungarian musician, violinist/ composer/conductor Joseph Joachim, the man who had given the premiere of Brahms’s great violin concerto. d’Aranyi had taken up Ravel’s fiercely difficult Sonata for Violin and Cello, and played it at a private musicale in London in the summer of 1922, which Ravel attended. He was so impressed by d’Aranyi’s playing that, later in the evening, he asked her to play some Gypsy melodies. She obliged, and when Ravel asked her to continue, she did so willingly until around 5:00 in morning, by which time everyone in attendance was exhausted except Ravel and d’Aranyi! Thus was born in Ravel’s fertile imagination the work which he called simply Tzigane, the name deriving from the generic European term for gypsy. It took Ravel two years to complete the work, and when d’Aranyi premiered it in London in April of 1924 it created an absolute sensation. The work was originally scored for violin and piano, with optional lutheal attachment. This was a device, patented in 1919 by a Belgian organ builder, which sat over the

Program Notes . strings of the piano and was capable of creating a range of unusual sounds such as a guitar, a harmonica, or a cimbalom, the Hungarian version of a zither. Tzigane was indeed performed this way at its premiere in London, but has rarely been performed that way since. Part of the problem was that the mechanics of the lutheal were so sensitive and unstable that it needed constant adjustment, and eventually proved too unwieldy for practical use. As a result, Ravel created a version for piano alone, and later orchestrated the work. For the record, the only two pieces in the general repertoire that utilized this strange machine were both by Ravel, his magical one-act opera l’Enfant et les Sortileges and the original version of Tzigane. Virtuosity for its own sake was rarely a feature of Ravel’s music, but this dazzling showpiece is the chief exception. In it, Ravel pushed the technical capabilities of the violin right to the limit, while at the same time trying to imitate as much as possible many of the characteristics and “tricks” of Hungarian gypsy fiddle playing. The work is in two main sections, the first being an unaccompanied cadenza for the soloist that can be considered as a gypsy’s meditation on life with all of its uncertainties, passions, memories, and dreams. The second section begins with the orchestra gradually joining in, depicting the gaiety and high spirits of gypsy life, the music alternating between dances of great contrast, and ending with musical fireworks in a riotous, frenzied dance in the form of a loose set of variations. ●

“As a rule, I only study things which suggest music to me […], and I have been studying astrology.” — Gustav Holst

Gustav Holst

Born September 21, 1874, in Cheltenham, England Died May 25, 1934, in London, England

The Planets

Scored for 4 flutes, 2 piccolos, alto flute, 3 oboes, English horn, bass oboe, 3 clarinets, bass clarinet, 3 bassoons, contrabassoon, 6 horns, 4 trumpets, 3 trombones, tenor tuba, tuba, timpani, percussion, celeste, 2 harps, organ, strings, and in “Neptune,” a wordless female chorus. Approx. 50 minutes.

“As a rule, I only study things which suggest music to me; recently, the character of each planet suggested lots to me, and I have been studying astrology …” So wrote Gustav Holst to a friend in 1913, confirming the source of inspiration for what he originally called “Seven Pieces for Large Orchestra.” During the early 1910s, Holst was going through something like a mid-life crisis: His first large-scale work (an opera called Sita) failed to win a prize in an international composition competition, and his other large works of the time were premiered without much success. In March of 1913, he received an anonymous gift that enabled him to travel to Spain with Clifford Bax, the brother of composer Arnold Bax. Clifford was an astrologer, and he and Holst became good friends, with Bax introducing him to the concepts of astrology. At the same time, Holst began to rediscover his childhood attraction for theosophy, a collection of mystical and occultist philosophies concerning, or seeking direct knowledge of the presumed mysteries of life and nature, particularly the nature of divinity, and the origin and purpose of the universe. So it is that the concept of The Planets is astrological, rather than astronomical, and that is why Earth is not one of the movements, and why each movement was intended to convey ideas and emotions associated with the purported influence of the planets on the human psyche. One could even say that in this work Holst did not embrace astrology directly but seemed to shy away from it. He also used Alan Leo’s book What is a Horoscope as a springboard for his own ideas, as well as for the subtitles of each movement. The work was composed from 1914 to 1916, but was not performed in public until 1919, at a time when Europe was rebuilding after the devastation of World War I. The war had disrupted virtually every facet of life, and the world of music was no exception. Modernist composers such as Stravinsky and Schoenberg were drastically

shifting the musical landscape by creating works that seemed to be quite beyond the comprehension of the average listener. While some composers were definitely in the avant-garde, many English composers such as Vaughan Williams and Elgar were defining a new English style by incorporating folk melodies into their scores. Holst was somehow miraculously able to combine these various styles in The Planets. He originally subtitled the suite as “… a series of mood pictures, and this paves the way for looking at a number of influences on the work.” Before Holst set to work on this suite, both Stravinsky and Schoenberg made trips to England and set people’s hair on end with their radical new works. Stravinsky conducted performances of The Rite of Spring, at which Holst had to have been aware of a new and unconventional way to use an orchestra: in Mars, for example, the striking dissonances and unconventional rhythm patterns are very Stravinsky-like in their nature. Among other influences on the work are the flexible rhythms of Thomas Morley and other English madrigal composers; Berlioz’s influential Treatise on Orchestration that Holst thoroughly absorbed and created sonorities of remarkable originality; the expanded harmonies and orchestral palette of Debussy that helped to break the heavy influence of German music; the idealistic philosophies of Walt Whitman and William Morris; and the unusual blend of Hindu philosophy, English folk-song, and Eastern scales and rhythms. Already mentioned was the influence of theosophist Alan Leo, who tried to popularize, modernize, and systematize astrology into a scientific practice concerned with the delineation of character rather than prediction. The famous English conductor Sir Malcolm Sargent recalled that Holst did not believe in astrology as prophetic, but as a means to understand how each planet could shed its rays of influence on the earth. In addition, Holst pointed out on more than one occasion that there is no real program for his suite, and that it bore no connection with classical mythology. Perhaps the most direct musical influence on this work was Schoenberg’s Five Pieces for Orchestra, which was not only one of the first compositions to eliminate tonal anchors and modulations in favor of extensive dissonance, but it also used an enormous orchestra that created a discrete kaleidoscope of unusual sounds and textures. After hearing this work for the first time in January of 1914, Holst purchased a copy of continued on 18

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Program Notes . continued from 17 the score, annotated it heavily, and it became the only work by Schoenberg that was ever in his library. One of the work’s greatest glories is its orchestration, which, compared to what he had written previously, seemed to come out of nowhere, and which totally dumbfounded audiences on first hearing. His experience as an orchestral trombonist gave him a practical understanding of how the instruments function, and this resulted in an uncommon flair and brilliance, particularly in the remarkably radiant brass writing. Then there are the unusual instruments in his orchestration, among them the alto flute, bass oboe, and tenor tuba. In the words of Holst authority Colin Matthews, “Holst’s ability to write succinctly and without overstaging the natural development of his material, and to sustain this invention over 50 minutes, is what makes The Planets such a remarkable achievement.” Holst began work on the suite in the summer of 1914 with Mars, and then continued with the other movements in order except for Mercury, which he wrote last. He drafted it as a two-piano score during weekends in a soundproof room at St. Paul’s Girls School where he taught, and due to a crippling neuritis in his right hand, relied upon his students to perform his sketches and write the orchestral score according to his directions. With his characteristic modesty, after writing the work Holst made no attempt to have it performed, believing the necessary forces to perform the work could not be assembled during the austerity of wartime. Then, Henry Balfour Gardiner, a wealthy concert promoter who favored British works, arranged for a private performance in September of 1918 with the Queen’s Hall Orchestra conducted by Adrian Boult. This was a gift to the composer, as he was preparing to go to Salonika to arrange musical entertainments for the troops. It was a very hastily rehearsed performance, as the musicians did not see the completed parts until two hours before the concert began! Boult also led the first public performance with the Royal Philharmonic in February of 1919 (while Holst was still out of the country), but omitted the final two movements. In November, Holst conducted a similarly truncated performance, but he was not happy with these incomplete performances, particularly disliking having to finish with the “happy ending” of Jupiter, for as he said, “… in the real world, the end is not happy at all.” The first complete performance

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at a public concert occurred in November of 1920, with the London Symphony Orchestra conducted by Albert Coates. Written when it was, the seven movements represent each known planet in the solar system with the exception of Earth, because astronomers could not observe it unless they traveled into space. Pluto, of course, was not discovered until 1930, but Holst never expressed any interest in writing an extra movement to accommodate this, or in writing any kind of a sequel to the original suite. In 2000, Colin Matthews was commissioned to write a new eighth movement, which he called “Pluto, the Renewer.” It had a brief vogue in performances here and in England, but ultimately proved to be unsatisfactory. Odd though it may seem, Holst intensely disliked the popularity of The Planets, feeling that it completely overshadowed most of the rest of his output. In fact, after writing the work he swore off his belief in astrology, and how ironic it was that this famous and brilliant work which made his name famous throughout the world brought him so little joy in the end. ●

April 28, 2018 Concert Program Notes by Kristin Ditlow

“As poetry is the harmony of words, so music is that of notes; and as poetry is a rise above prose and oratory, so is music the exaltation of poetry.” —Henry Purcell Our program today shows a throughcomposition of many threads of musical life, specific to the British Isles, but also that took effect on “the continent.” Many of the pieces that you will hear today are mainstays in the repertoire. The opening and closing pieces on the concert, “Hail, Britannia!” and “God Save the Queen” reflect the tradition of Anglican Hymnody. It will not take long for an American listener to recognize the tune of “God Save the Queen” as our “patriotic” song known simply as “America.” It seemed to us very natural to include one of the greatest English operas, and indeed, perhaps the greatest opera in the English language written expressly for students. Henry Purcell’s Dido and Aeneas, with a libretto by Nahum Tate (based on Virgil’s Aeneid), is his best-known opera and his only fully sung stage work. Parts of the original manuscript are lost, as is some information about the premiere and early performances. There is evidence that shows that the first

performance took place before the summer of 1689 at the Josias Priest Girls’ School. While we are not performing the full work today, the excerpts we have chosen show the highlights of the plot and certainly exhibit the remarkable choral writing throughout the opera. Queen Dido is lamenting the death of her first husband, and while she is Queen of Carthage, her marriage to royalty, as soon as possible, secures her kingdom politically as well as from possible attack. Aeneas enters with an entourage, and immediately they are taken with each other. Aeneas is beckoned away from Carthage by a spirit who encourages him to be the founder of Rome. Dido, bereft by a second great loss, contemplates and commits suicide. The heart of this program lies in the tradition of plainchant. Thomas Tallis was known for his choral, tonal, triadic, and church compositions. His “theme” (which you will first hear sung by the choir, with the Youth Orchestras playing a drone) was dedicated to the Archbishop of Canterbury at the time. It was one of nine “tunes” which Tallis contributed to the 1567 Psalter. Ralph Vaughan Williams used the theme as the basis for Fantasia on a Theme by Thomas Tallis. In the Fantasia, Vaughan Williams uses the orchestra like an organ, stratifying three sections of strings as if they were three different manuals. Handel’s Dixit Dominus is amongst his earliest works, first written (with some revisions) in 1707 while he was living in Italy. The work recalls a style of Italian Baroque that would resurface again in Handel’s later oratorios written in England. It uses the text setting of Psalm 110, and oscillates between being a church cantata and a full-blown oratorio. There are melodic threads that appear both in Messiah as well as in Samson.

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“… in the real world, the end is not happy at all. — Gustav Holst

Artists .

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. ●

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Robbie Rodriguez “Aladdin” Robbie Rodriguez is an Albuquerque native and began dancing at age four. For 16 years, he trained with Elite Dance Company and became an instructor and choreographer for many of the studio’s original productions. Throughout his career, Robbie has trained on scholarship with State Street Ballet and Joffrey Ballet School in NYC. He has been a guest choreographer and judge for Cathy Roe Productions and Showbiz National Talent and appeared in Seth MacFarlane’s A Million Ways to Die in the West. He is a UNM graduate and currently co-coaches the school’s dance team. Robbie has been with NMBC for six years and has had the privilege of originating the roles of Tybalt in Romeo and Juliet, Crassus in Spartacus, Jack in Alice in Wonderland, and the Cowardly Lion in The Wizard of Oz. Robbie is also a rehearsal coach and the Marketing and Operations Director for NMBC. ●

Amanda Rohr “Princess Jasmine” Amanda Rohr began her ballet training in Wenatchee, Washington, with Joan Shelton Mason, and later furthered her training in San Diego, California, with Maxim and Sylvia Tchernychev. She studied on full scholarship at The Jillana School and Ballet Idaho. Amanda has been featured in roles including Alice in Alice in Wonderland, Swanhilda in Coppélia, Kitri in Don Quixote, the Sugar Plum Fairy in The Nutcracker, lead Russian Girl in George Balanchine’s Serenade, and lead in George Balanchine’s Stars and Stripes. She was invited to New York for the Youth American Grand Prix ballet competition and danced professionally with Ballet Idaho for four years. This is Amanda’s fourth season dancing with NMBC. ●

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Artists .

Natalie Harris NMBC Artistic Director & Choreographer Natalie Harris first fell in love with the art of ballet at the New Mexico Ballet Company’s production of The Nutcracker. She began her training locally with Lana Kroth, Suzanne Johnston, Wendy Rubin, and Jolie Sutton-Simballa. In 2007, she accepted an apprenticeship with Ballet Quad Cities in Rock Island, Illinois. While there, she danced lead roles in The Nutcracker and Coppélia. After a year, Ms. Harris was offered a full scholarship with the Joffrey Ballet School in New York City. There, she trained with Davis Robertson, Brian McSween, Francesca Corkel, Era Jouravlev, Nicole Duffy, and guest teachers such as Desmond Richardson, Maria Kowroski, Daniel Ulbricht, Africa Guzman, and more. While in New York, she had the opportunity to perform as a guest artist with Urban Ballet Theatre in their production of Nutcracker in the Lower. Ms. Harris continued her training with the Joffrey Ballet School and was appointed Company Manager of the first Joffrey Concert Group company tour. After her time in New York, she returned home to New Mexico and started teaching at local schools, as well as coaching and choreographing for NMBC. This is her third season as NMBC’s Artistic Director. Along with putting on the production of The Nutcracker ballet, Ms. Harris has choreographed full-length Alice in Wonderland and The Wizard of Oz ballets. She is excited to present NMBC’s premiere production of Aladdin & the Magic Lamp. ●

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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 2016/17 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

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 Villa-Lobos 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

Artists . 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.

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Olga Kern piano Russian-American pianist Olga Kern is now recognized as one of her generation’s great artists. With her vivid stage presence, passionately confident musicianship, and extraordinary technique, the striking pianist continues to captivate fans and critics alike. Olga Kern was born into a family of musicians with direct links to Tchaikovsky and Rachmaninoff and began studying piano at the age of five. She jumpstarted her US career with her historic Gold Medal at the Van Cliburn International Piano Competition in Fort Worth, Texas, as the first woman to do so in more than 30 years. Steinway Artist and first-prize winner of the Rachmaninoff International Piano Competition at the age of 17, Ms. Kern is a laureate of many international competitions and tours throughout Russia, Europe, the United States, Japan, South Africa, and South Korea. In 2016, she served as Jury Chairman of both the Seventh Cliburn International Amateur Piano Competition and the first Olga Kern International Piano Competition, where she also holds the title of Artistic Director. Kern serves as Artist in Residence to the San Antonio Symphony’s 2017/18 season, appearing in two subscription concerts as well as a solo recital. She will also perform with the Madison Symphony, Rochester Philharmonic, Copenhagen Philharmonic, Austin Symphony, New Mexico Philharmonic, Arizona Musicfest Orchestra, Colorado Symphony, and the Hawaii Symphony Orchestra. Ms. Kern will premiere her first American concerto, Barber’s Piano Concerto, with the Detroit Symphony Orchestra under the baton of Leonard Slatkin. She will give recitals at the University of Arizona; the Lied Center in Lincoln, NE;

the Sanibel Music Festival in Sanibel, FL; and abroad in Mainz and Turin. Additionally, Ms. Kern will perform in the Huntington Estate Music Festival with Musica Viva in Australia. Highlights of the previous season include her Chinese debut with the National Youth Orchestra; concerts with the Pacific Symphony, Colorado Symphony, the State of Mexico Symphony Orchestra, Stuttgart Philharmonic, Tivoli Symphony Orchestra, and La Jolla Music Festival; and recitals in Santa Fe, New Haven, Scottsdale, and San Francisco. Ms. Kern opened the Baltimore Symphony’s 2015/16 centennial season with Marin Alsop. Other season highlights included returns to the Royal Philharmonic with Pinchas Zukerman; Orchestre Philharmonique de Nice with Giancarlo Guerrero; a month-long tour of South Africa for concerts with the Cape and KwaZulu Natal Philharmonics; an Israeli tour with the Israel Symphony; solo recitals at Sarasota’s Van Wezel Hall, New York’s 92nd Street Y, and the University of Kansas’s Lied Center; and recitals with Renée Fleming in Carnegie Hall and Berkeley. In recent seasons, Ms. Kern has performed with Tokyo’s NHK Symphony, Orchestre National de Lyon, Orquestra Sinfônica do Estado de São Paulo; the symphonies of Detroit (performing Tchaikovsky’s Piano Concertos 1, 2, and 3), Pittsburgh, Cincinnati, Nashville, Colorado, Madison, and Austin; and she has given recitals in New York, San Francisco, Seattle, and Louisville and alongside Renée Fleming and Kathleen Battle. Ms. Kern’s performance career has brought her to many of the world’s most important venues, including Carnegie Hall, Lincoln Center, the Great Hall of the Moscow Conservatory, Salzburger Festspielhaus, La Scala in Milan, Tonhalle in Zurich, and the Châtelet in Paris. Ms. Kern’s discography includes Harmonia Mundi recordings of the Tchaikovsky Piano Concerto No. 1 with the Rochester Philharmonic Orchestra and Christopher Seaman (2003), her Grammy-nominated recording of Rachmaninoff’s Corelli Variations and other transcriptions (2004), a recital disc with works by Rachmaninoff and Balakirev (2005), Chopin’s Piano Concerto No. 1 with the Warsaw Philharmonic and Antoni Wit (2006), the Brahms Variations (2007), and a 2010 release of the Chopin Piano Sonatas Nos. 2 and 3 (2010). Most recently, SONY released its recording of Ms. Kern performing the Rachmaninoff Sonata for Cello and Piano with cellist Sol Gabetta. She was also featured continued on 22

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Artists . continued from 21 in the award-winning documentary about the 2001 Cliburn Competition, Playing on the Edge, as well as Olga’s Journey, Musical Odyssey in St. Petersburg, and in They Came to Play. In 2012, Olga and her brother, conductor and composer Vladimir Kern, cofounded the “Aspiration” foundation whose objective is to provide financial and artistic assistance to musicians throughout the world. In 2017, Ms. Kern was gratified to receive the Ellis Island Medal of Honor, joining other honorees including Rosa Parks, Buzz Aldrin, Coretta Scott King, and Supreme Court Justice Sandra Day O’Connor. This commendation recognizes Americans who “embody the spirit of America in their salute to tolerance, brotherhood, diversity, and patriotism.” ●

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In 2016, Vladislav played his senior recital at The Juilliard School, Paul Recital Hall. In the summer of 2016, he gave a concert in Fort Collins, Colorado, on IKO&F at CSU. In the 2016/17 season, he performed solo recitals and concerts with orchestras in Europe (Italy, Germany, and the Czech Republic), the USA (Bear Valley Music Festival and the Virginia Arts Festival), and concerts in Moscow, Russia. ●

Vladislav Kern piano Vladislav Kern, Russian-American pianist, was born in Moscow into a family of musicians. He started his musical studies in 2005 at the Central Music School at the Moscow State P.I. Tchaikovsky Conservatory, class of Professor V.V. Piasetsky. From 2011 to 2016, he was a student at The Juilliard School of Music, Pre-College Division, class of Dr. Y. Kaplinsky. Since September 2016, he has been a student at Academia Pianistica Internazionale “Incontri col Maestro” di Imola, class of Professor B. Petrushansky. Vladislav received a scholarship from the Vladimir Spivakov International Charity Foundation in 2007 and from The Juilliard School of Music in 2011. In 2012, he got the prestigious Van Cliburn scholarship, the first time in the history of The Juilliard School, Pre-College Division. Vladislav performed his first concert with an orchestra at the age of six with the Cape Town Philharmonic (Republic of South Africa). At the age of eight, he performed at the House of the Government of the Russian Federation. When he was nine years old, he was invited as a soloist to a solemn concertcelebration of Van Cliburn in Fort Worth, Texas, USA. In 2015, Vladislav won the Rosalyn Tureck First Prize at the Tureck International Bach Competition in New York, and in 2016, he became a Young Steinway Artist. He is the winner of international festivals in Russia, the Republic of South Africa, Denmark, and the USA. He has recordings on the radio and television in many countries, including Italy, the USA, Czech Republic, Luxembourg, and Russia.

Artists .

Bradley Ellingboe conductor Bradley Ellingboe has led a wide-ranging career in the world of singing, including accomplishments as a choral conductor, soloist, composer, scholar, and teacher. As a choral conductor, he has led festival choruses in 35 states and 14 countries. He made his operatic conducting debut in December 2011, leading the world premiere of Stephen Paulus’s opera Shoes for the Santo Niño, in a joint production by the Santa Fe Opera and the University of New Mexico. As a bassbaritone soloist, he has sung under such conductors as Robert Shaw, Helmuth Rilling, and Sir David Willcocks. Ellingboe has over 140 pieces of music in print, including the Requiem for chorus and orchestra, which has been performed more than 300 times in this country and Europe, and his newest work, Star Song, which had its New York debut (Lincoln Center) in May of 2014 and its European debut in July of that year. For his scholarly work in making the songs of Edvard Grieg more accessible to the English-speaking public, he was knighted by the King of Norway in 1994. As a teacher, the University of New Mexico Alumni Association named him Faculty of the Year in 2008. Bradley Ellingboe retired in 2015 after serving on the faculty of the University of New Mexico for 30 years, where he was Director of Choral Activities, Professor of Music, and Regents Lecturer. During his three decades at UNM, he also served at various times as Chairman of the Department of Music and Coordinator of Vocal Studies. He is a graduate of Saint Olaf College and the Eastman School of Music and has done further study at the Aspen Music Festival, the Bach Aria Festival, the University of Oslo, and the Vatican. Ellingboe has won annual awards for his

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choral compositions from ASCAP—the American Society of Composers, Arrangers, and Publishers—since 2000. His choral music is widely sung and is published by Oxford, G. Schirmer, Augsburg, Walton, GIA, Hal Leonard, Mark Foster, Choristers Guild, Alliance, Concordia, Selah, and particularly the Neil A. Kjos Music Company, for whom he edits two series of choral octavos. In 2017, he became Acquisitions Editor for National Music Publishing. His music has been performed and recorded by such groups as the Santa Fe Desert Chorale, Philip Brunelle’s VocalEssence, the Saint Olaf Choir, the Harvard Glee Club, Craig Hella Johnson’s Conspirare, and the choirs of the University of Michigan and Luther College, among many others. He has prepared choirs for such luminaries as Dave Brubeck, Moses Hogan, Alice Parker, Morten Lauridsen, René Clausen, and Robert Ray. At the request of composer Libby Larsen, the UNM Women’s Chorus, Las Cantantes, recorded all of Larsen’s music for treble chorus. He was guest conductor of the Santa Fe Desert Chorale in a series of concerts in December 2011. ●

Rebecca Brunette soprano Rebecca Brunette is a recent graduate of the UNM music program. A lifelong lover of music, she is delighted to be singing with the New Mexico Philharmonic. As an undergraduate, she has performed many roles, including Hanna Glawari in Lehár’s The Merry Widow, the Starbird in Mollicone’s Starbird, and, most recently, Rosalinde in Strauss’s Die Fledermaus. In 2015, she made her soloistic debut with the Red Rock String Ensemble in Vivaldi’s Gloria. Over the past year, she has been a soloist with Coro Lux, singing the soprano solos in Brahms’s Eine Deutches Requiem and Jenkins’s The Armed Man: A Mass for Peace. In addition to singing the soprano solo in this evening’s performance of Mozart’s Missa brevis, 2018 will see her singing in Opera Southwest’s chorus for Norma and performing at a festival in Italy. She is auditioning for grad school in the fall of 2018 and is hoping to end up in Philadelphia. She would like to thank her teachers, Donna McRae and Leslie Umphrey, for their constant support and attentiveness; Bradley Ellingboe for his mentorship and the opportunities he has provided; and all of the supporters of the arts in New Mexico for providing young artists with a safe place to explore their craft and a springboard into the greater artistic community. ●

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Artists .

Kim Kraut mezzo-soprano Mezzo-soprano Kim Kraut makes her debut this season with the New Mexico Philharmonic and Coro Lux as the mezzosoprano soloist in Mozart’s Missa brevis in G. Kim received her formal training at the University of Missouri at Kansas City’s Conservatory of Music, where she graduated with degrees in Music Education and Secondary Education (Biology) and began a Master’s Program in Vocal Performance. Kim sang opera professionally for almost 15 years before retiring to teach others. Kim’s operatic performances include Madame Flora (The Medium), Amneris (Aida), Azucena (Il trovatore), Dame Quickly (Falstaff), Maddalena (Rigoletto), Cherubino (Le nozze di Figaro), Elizabeth Proctor (The Crucible), Marthe Schwertlein (Faust), Zulma (L’italiana in Algeri), and many others. Other classical performances include soloist for Verdi’s Requiem, Handel’s Messiah, and Beethoven’s Ninth Symphony. ●

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Jonathan Davidson tenor 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 co-conductor 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. ●

Alfredo Beltran baritone Baritone Alfredo Beltran is a freelance professional singer currently based in the Albuquerque area. This is his second solo appearance with the New Mexico Philharmonic, having sung the baritone solos in the Fauré Requiem in March of 2014. In the past few years, Beltran has performed with Opera Southwest, both in the chorus and as supporting roles in Hector Armienta’s Bless Me, Ultima and Rossini’s Guillaume Tell. In April of 2017, he performed the titular role in UNM Opera’s production of Puccini’s Gianni Schicchi, as well as the baritone solos in Brahms’s Ein Deutsches Requiem with Coro Lux. Outside of the Albuquerque area, Beltran was recently a participant of Varna International’s Opera Academy in Stara Zagora, Bulgaria, performing as Masetto in Mozart’s Don Giovanni and Top in the Bulgarian premiere of Aaron Copland’s The Tender Land. During the summer of 2016, he was an Emerging Artist with Opera in the Ozarks in Eureka Springs, Arkansas, once again performing the role of Masetto in Mozart’s Don Giovanni, and performing the role of Vicar Gedge in Benjamin Britten’s Albert Herring. Beltran received a Bachelor of Music degree in voice performance from the University of New Mexico, studying under baritone Michael Hix, and a Master of Music degree also in voice performance from the Conservatory of Music at the University of Missouri-Kansas City, studying under baritone Dale Morehouse. ●

Artists .

Spencer Beckwith narrator Spencer Beckwith reports on the arts for KUNM 89.9 FM. For 10 years, until March of 2014, Spencer was the producer and host of KUNM’s “Performance New Mexico,” a weekday morning arts program that included interviews with musicians, writers, and performers. Spencer is a graduate of the acting program at The Juilliard School, and, before moving to New Mexico in 2002, he was for many years a professional actor based in New York City. ●

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Fumiaki Miura violin Fumiaki Miura is not only the youngest winner of the Joseph Joachim Hannover International Violin Competition (2009) but also the most decorated—having also been awarded the Music Critics’ and the Audience Prize. The young Japanese violinist is already proving himself to be one of the most accomplished of his generation. At only 23 years old, Fumiaki has performed with several of the world’s leading orchestras, including NDR Sinfonieorchester Hamburg, NDR Radiophilharmonie Hannover, Radio-Sinfonieorchester Stuttgart des SWR, Sinfonieorchester Basel, Wiener KammerOrchester, Orchestre de Chambre de Lausanne, and Hong Kong Sinfonietta, and has played under conductors including Kazushi Ono, Christopher Warren-Green, Pietari Inkinen, Stéphane Denève, Kazuki Yamada, Kristjan Järvi, and Rafael Payaré. Notable recent highlights include debut performances with the Warsaw Philharmonic (Eiji Oue), Jacksonville Symphony Orchestra, and Orquesta Sinfónica Nacional de Colombia; a tour of Japan with the Prague Philharmonia (Jakub Hrůša); and a performance of Penderecki’s Double Concerto with Julian Rachlin, conducted by the composer himself in his 80th-anniversary concert, where Fumiaki played the viola. Highlights of the 2016/17 season included debut performances with the NAC Orchestra (Pinchas Zukerman) in Ottawa and returns to Yomiuri Nippon Symphony (Tatsuya Shimono), Utah Symphony (Thierry Fischer), and the Japan Philharmonic (Kenichiro Kobayashi). In autumn 2016, Fumiaki was invited to be part of the One Asia Festival in Busan, South Korea. Fumiaki has appeared at numerous international music festivals such as

Miyazaki International Music, Ravinia, Julian Rachlin and Friends, SchleswigHolstein Musik, Musique de Menton, as well as Menuhin Festival Gstaad. As a chamber musician, he has performed with Mischa Maisky, Torleif Thedéen, Pinchas Zukerman, and Lawrence Power, and made his Paris recital debuts at the Louvre and the Théâtre des Champs-Élysées. In spring 2016, he gave a recital tour in Japan that included two soldout concerts at Tokyo’s Kioi Hall. He made his recital debut at London’s Wigmore Hall in June 2017. Fumiaki’s debut recording was a disc of both of Prokofiev’s Violin Sonatas with Itamar Golan for Sony Japan. In autumn 2015, Fumiaki’s second album of Mendelssohn and Tchaikovsky’s Violin Concertos with Deutsches SymphonieOrchester Berlin and Hannu Lintu was released by Avex-classics. Fumiaki recently played an important role in recording the theme music for NHK’s historical drama Sanadamaru with NHK Symphony Orchestra—one of the most popular television drama series in Japan. Miura performs the violin on the J.B. Guadagnini (1748) on loan from Yellow Angel Foundation and the viola on the Storioni school “ex-Julian Rachlin” (1780) on loan from Nippon Violin. ●

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Artists .

Kristin Ditlow conductor Kristin Ditlow, American pianist, harpsichordist, vocal coach, and conductor, is enjoying a career in opera and recital collaboration, and music directing in the United States and abroad. She is an alumna of the Oberlin Conservatory of Music, Westminster Choir College, Tanglewood Music Center, and Merola Opera Program. She is a 2014 graduate of the Eastman School of Music, with the Doctor of Musical Arts degree in Accompanying and Chamber Music, where she was a student of Dr. Jean Barr. Dr. Ditlow is the Assistant Professor of Voice and Vocal Coaching at the University of New Mexico (Albuquerque). Notable highlights from the past few seasons include conducting world premiere operas written by Steve Block (UNM), Joseph Illick (Santa Fe Opera), and Ron Strauss (NHCC/Teatro Paraguas) and appearing as a pianist with Ellen Rose (principal violist, Dallas Symphony Orchestra), Tara Venditti, the Metropolitan Opera National Council, OperaWorks, and New Mexico organizations Chatter, Movable Sol, Opera Southwest, and New Mexico Winds. She studied lieder and German Romantic poetry during the summer of 2017 in Baden-bei-Wien, Austria. The 2017/18 season boasts her debut as both piano soloist and conductor with the New Mexico Philharmonic and Opera Southwest, as well as the premiere performance project of her new opera company, Antigua y Moderna. ●

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John Yuan conductor John Yuan, violist, violinist, and conductor, has been enjoying his professional career for 20 years in China, France, and the United States. He has served many professional performing groups such as the New Mexico Philharmonic, Opera Southwest, San Juan Symphony, Roswell Symphony, Abilene Philharmonic, San Angelo Symphony, Las Colinas Symphony, TCU Symphony, UTA Symphony, SMU Symphony, CCBC Orchestra, Dallas String Quartet, Lukens Chamber Ensemble, St. Paul’s Chamber Orchestra, Texas Elite Youth Chamber Orchestra, and numerous orchestras, operas, and ballets in China. He held the position of Principal Violist of the Beijing Philharmonic before moving to the United States. Currently, Mr. Yuan serves as the Orchestra Instrument Department Chair and String Instrument instructor at the New Mexico School of Music, and Artistic Director of Cleveland Colts Middle School Orchestra and Jackson Jaguars Middle School Orchestra. His teaching career has spanned more than 19 years, and includes Albuquerque Public Schools, Albuquerque Youth Symphony, Hummingbird Music Camp, Dallas-Fort Worth Public and Private Schools, Elite Performing Arts Center, Rochester Academy of Music and Arts, Beijing Central Conservatory of Music, Beijing Music School of Nationalities, and Beijing Sun Symphony Orchestra. ●

University of New Mexico Chamber Singers The Chamber Singers are the premiere choral ensemble at the University of New Mexico. Each student receives a scholarship supporting his or her program of study while enrolled in the ensemble. This 16-voice group is auditioned at the beginning of every year. Former Director of Choral Activities Bradley Ellingboe began the ensemble in 2014. Since 2015, the group has been under the direction of Dr. Kristin Ditlow. The Chamber Singers have traveled all over New Mexico as a vehicle for community outreach, engagement and recruitment. Recent seasons have featured their appearances on various concert series throughout the state. They have been in residence at high schools and churches in Carlsbad, Las Vegas, and Farmington, NM. The group has appeared in concert at the Carlsbad Caverns National Park and with the New Mexico Philharmonic in Haydn’s Paukenmesse (spring 2016). Repertoire for the group has ranged from antiphons of Hildegard von Bingen to Bach Cantatas and the Christmas Oratorio, the Mozart Solemn Vespers, masses of Haydn and William Byrd, and other works of living composers, including Peter Gilbert, Richard Herrmann, Augusta Read Thomas, David McGuire, and Nathan Culberson. For more information about donating to the University of New Mexico Choral Area, please contact Kristine Purrington at kristine.purrington@unmfund.org. ●

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 Margaret Dyer Harris • 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 Richard Harris • Byron Herrington David Tall BASS TROMBONE David Tall

PICCOLO Sara Tutland

TUBA Richard White •

OBOE Kevin Vigneau • Amanda Talley

TIMPANI Douglas Cardwell •

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

Kory Hoggan Treasurer Ruth Bitsui Michael Bustamante Emily Cornelius Thomas Domme Roland Gerencer, MD 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

PERCUSSION Jeff Cornelius • Kenneth Dean Emily Cornelius

Roberto Minczuk Music Director

HARP Anne Eisfeller •

Alexis Corbin Director of Education & Outreach/ Co-Personnel & Operations Manager

E-FLAT CLARINET Lori Lovato BASS CLARINET Timothy Skinner

Chris Rancier Executive Assistant & Media Relations

Katelyn Benedict Co-Personnel & Operations Manager Mancle Anderson Production Manager Danielle Frabutt Artistic Manager & Social Media Coordinator Allison Tutton Head Librarian Jacob Rensink Office Manager

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

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

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

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2017/18 Season / Volume 7 / No. 5

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Ellen Bayard & Jim O’Neill Gay & Stan Betzer Craig Billings Nancy & Cliff Blaugrund Steve Boerigter Ann Boland Robert Bower & Kathryn Fry Ronald Bronitsky, M.D. Pat Broyles Michael & Cheryl Bustamante Dawn & Joseph Calek John Crawford Nance Crow & Bill Sullivan Krys & Phil Custer Philip & Linda Custer Marjorie Cypress & Philip Jameson William Dake, in honor of Rihini & Jason McKee David & Ellen Evans Nim & Sue Evatt GE Foundation Ann Gebhart Dennis & Opal Lee Gill Claudia & Leonard Goodell, in memory of Brandon Lynn Crotty Barbara & Berto Gorham Roger Hammond & Katherine Green Hammond Stuart Harroun Harris Hartz Martha Hoyt Rosalyn Hurley Sue Johnson & Jim Zabilski Stephanie & David Kauffman Henry Kelly Stephanie & Kenneth Kuzio Virginia Lawrence, in memory of Jean Sharp Linda S. Marshall Jean & William Mason Tyler M. Mason Kathy & John Matter Edel & Thomas Mayer Foundation Joan McDougall Jackie & C. Everett McGehee Ina S. Miller Ranne Miller Mark Moll Robert & Claudia Moraga Judy & Michael Muldawer Carol & Gary Overturf Jerald & Cindi Parker Matthew Puariea Carolyn Quinn & John Crawford Mary Raje, in memory of Frederick C. Raje Dr. Barry & Roberta Ramo Dick Ransom & Marythelma Brainard Gregory Shields Susan Spaven Conrad & Marcella Stahly Miller Stratvert P.A., Ranne Miller PK Strong, in memory of Clare Dreyer Jane & Doug Swift Fund for Art & Education Lynett & David Tempest Vanguard Charitable Margaret Vining 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 Atkinson & Co., Clarke Cagle Richard & Linda Avery George Baca Joel & Sandra Baca Sally Bachofer Daniel Balik Dorothy M. Barbo Hugh & Margaret Bell, in memory of Joan Allen Sheila & Bob Bickes Rod & Genelia Boenig Suzanne Brown Sandra A. Buffett Drs. Kathleen L. Butler & M. Steven Shackley Bill Byers Camille Carstens Edith Cherry & Jim See Betty Chowning Beth Clark, in celebration of Matt Puariea Daniel & Brigid Conklin, in memory of Dr. C.B. Conklin Thomas & Martha Domme Gale Doyel & Gary Moore Patricia & Leonard Duda Jeffrey & Laura Erway Marie Evanoff David Ferrance Fifty ‘n Fit, Inc., George & Pat Fraser Chuck & Judy Gibbon Laurence Golden Jean & Bob Gough Grief Resource Center Dr. Kirk & Janet Gulledge David Hafermann Ron & Nancy Halbgewachs Steve Hamm & Mary Kurkjian Ken & Winnie Hoeksema Kory I. Hoggan, CPA Noelle Holzworth Ira & Sheri Karmiol Bonnie & Hank Kelly Guido C. Kemp Marlin Kipp Rita Leard Judith Matteucci Roger & Kathleen McClellan John & Kathleen Mezoff Martha Miller Robert Milne & Ann DeHart, in memory of Clare Dreyer Jan Mitchell Deborah & Louis Moench Lynne Mostoller & Kathryn McKnight Dick & Sharon Neuman David & Audrey Northrop Stuart & Janice Paster David Peterson Mike Provine Dr. Mark Rainosek Ken & Diane Reese Donald Rigali John & Faye Rogers Jeffrey Romero Ruth Ronan Nancy Scheer Howard & Marian Schreyer Stephen Segura Frederick & Susan Sherman, in memory of Joan Allen Janet & Michael Sjulin Charles & Flossie Stillwell

Hannah Strangebye Martha Strauss, in memory of Richard Strauss Betsey Swan & Christopher Calder Larry Titman Coleman Travelstead & Brookes McIntyre Richard Vivian, in memory of Zanier Vivian Marianne Walck Patricia & Robert Weiler Carl G. & Janet V. Weis Bill & Janislee Wiese, in honor of Joan Allen Jane & Scott Wilkinson Dr. Helmut Wolf, in memory Mrs. M. Jane Wolf David & Evy Worledge Vince & Anne Yegge Michael & Jeanine Zenge Zia Trust

PRINCIPALS CIRCLE Donation of $125–$499

Wanda Adlesperger Dr. Fran A’Hern-Smith Carol & Mike Alexander Gerald Alldredge Linda & Carl Alongi 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 L.G. & M.S. Baca Mary E. Baca Thomas J. & Helen K. Baca Toni Baca Sarah Barlow Sheila Barnes Elinore M. Barrett Steve Bassett William Bechtold Helen Benoist Deborah Blank Dr. David & Sheila Bogost Susan Brake Ann & James Bresson Marcia Bumkens Elaine Burgess Gordon Cagle Lee Calderwood Jonathan Campbell Dante & Judith Cantrill James Carroll Christopher & Maureen Carusona Edwin & Deborah Case Robert Case Shirley & Ed Case M. David Chacon Don & Tina Chan R. Martin Chavez Wayne & Elaine Chew Judith & Thomas Christopher Jane & Kenneth Cole James Connell Bob Crain John & Sarah Curro Stephen & Stefani Czuchlewski Herbert & Diane Denish Jerry & Susan Dickinson Fran DiMarco Raymond & Anne Doberneck

continued on 30 The New Mexico Philharmonic

nmphil.org

Donor Circles . continued from 29 Thomas & Elizabeth Dodson Carl & Joanne Donsbach Ernest & Betty Dorko Janice Dosch Gale Doyel & Gary Moore, in honor of Sibilla & George Boerigter Jeff & Karen Duray Reverend Suzanne Ebel Mary Lou Edward Paul & Catherine Eichel Eleanor D. Eisfeller Carol & John Ellis Richard & Mildred Elrick Robert & Dolores Engstrom Roger C. Entringer Stephanie Eras & Robert Hammerstein Harry Ettinger David & Frankie Ewing Helen Feinberg Winifred & Pelayo Fernandez The Financial Maestro, LLC, Joann MacKenzie Howard & Deonne Finkelstein Heidi Fleischmann & James Scott Thomas & Mary Kay Fleming J. Arthur Freed Paul Getz Drs. Robert & Maria Goldstein Richard & Anne Gonzales Yvonne Gorbett A. Elizabeth Gordon Justin M. & Blanche G. Griffin Stanley Griffith Sharon Gross Mina Jane Grothey Bennett A. Hammer Janet Harris Joan Harris Margaret Harvey & Mark Kilburn 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 Ruth Johnson Anne & Lawrence Jones Robert & Mary Julyan Carol Kaemper Summers & Norty Kalishman Julia Kavet, in memory of Margaret Birmingham Carl & Jeanette Keim Thomas & Greta Keleher Ann King Noel & Meredith Kopald Asja Kornfeld, MD & Mario Kornfeld, MD Susie Kubié Woody & Nandini Kuehn Karen Kupper Rebecca Lee & Daniel Rader William J. Lock Thomas & Donna Lockner Dr. Ronald & Ellen Loehman Frank & Judy Love Betty Lovering Robert Lynn Robert & Linda Malseed

Avigael Mann John & Brynn Marchiando Carolyn Martinez Andrew Mason, in honor of Jean Mason Linda Mayo Joseph McCanna III Jack & Victoria McCarthy Sallie McCarthy Ronald & Barbara McCarty Jon McCorkell & Diane Cress Eugene McGuire Albert & Linda McNiel Bernard & Mary Metzgar Phyllis Metzler Bruce & Jill Miller Christine & Russell Mink Dr. William Moffatt James B. & Mary Ann Moreno James & Margaret Morris Shirley Morrison & Cornelis Klein Mardell Morrow Lynn Mostoller & Kathryn McKnight Sharon Moynahan Brian Mulrey Edward & Nancy Naimark Elizabeth & Daniel Neal New Mexico School of Music, Tatiana Vetrinskaya Donald & Carol Norton Ben & Mary Lee Nurry Suzanne Oakdale & David Dinwoodie Rebecca Okun Joyce & Pierce Ostrander Calla Ann Pepmueller Stephen Perls Richard Perry Judi Pitch Dan & Billie Pyzel Therese Quinn Robert Reinke Lee A. Reynis & David W. Stryker George & Sheila Richmond Deborah L. Ridley Deborah Ridley & Richard S. Nenoff Erika Rimson & David Bernstein Joan Robins & Denise Wheeler Gwenn Robinson, MD & Dwight Burney III, MD Erica Roesch Justin Roesch Catalin Roman Kletus & Lois Rood Nancy Ruggles, in memory of Clare Dreyer Janet Saiers Salazar, Sullivan, & Jasionowski Evelyn E. & Gerhard L. Salinger Scott & Margaret Sanders Christine Sauer Warren & Rosemary Saur Dewey Schade John & Karen Schlue Laura Scholfield Kathleen & Wallace Schulz Norman Segel Daniel & Barbara Shapiro 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

2017/18 Season / Volume 7 / No. 5

George & Vivian Skadron Carol Smith Harry & Patricia Smith Smith’s Community Rewards Mr. & Mrs. William E. Snead Frederick Snoy Steven & Keri Sobolik Marilyn & Stanley Stark Jennifer Starr Patricia & Luis Stelzner Daphne Stevens Elizabeth C. Stevens Maria & Mark Stevens John & Patricia Stover Carmen & Lawrence Straus Laurence Tackman Suzanne Taichert, in memory of Robert D. Taichert David & Jane Tallant Debra Taylor Phyllis Taylor & Bruce Thompson Nina & Gary Thayer David Ther Marit Tully & Andy Thomas Cynthia & William Warren Alfred Watts & Jan Armstrong Marie Weingardt Margaret Wente Jeffrey West Kay West Marybeth White Trudy & Robert White Helen Whitesides Ellen Whitman Phyllis Wilson Walter Wolf Marian Wolff Jae Won-Lee Don & Dot Wortman 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 Natalie Adolphi & Andrew McDowell Carol Allen Judith Anderson Ben Andres Emil Ardelean Ana Baca David Baca Jackie Baca & Ken Genco Diane & Douglas Brehmer Bailey A. Robert Balow Jan Bandrofchak & Cleveland Sharp Joyce Barefoot Graham Bartlett Joanne Bartlett Julian & Margaret Bartlett Donna Bauer, in memory of Susie Kubie Susan Beard Fred L. Beavers Edie Beck David & Judith Bennahum Debra & Kirk Benton Mark Berger Barry Berkson Dorothy & Melbourne Bernstein Jerome & Susan Bernstein

Ann Blaugrund & William Redak Jr., in memory of Clare Dreyer Bronnie Blaugrund, in memory of Clare Dreyer Cliff & Nancy Blaugrund, in memory of Andrew Lackner Cliff & Nancy Blaugrund, in memory of Paul Matteucci Cliff & Nancy Blaugrund, to commemorate the honorable James Parker’s 80th birthday and his 30 years on the bench Dusty & Gay Blech Henry Botts Joan Bowden J.M. Bowers & B.J. Fisher Marilyn Bowman Sue Bradigan-Trujillo & Theodoro Trujillo Charles Brandt, in memory of Jennifer K. Brandt Marilyn Bromberg Gloria Brosius, in memory of John Cory Carolyn Brown Carolyn Rose Brown Robert & Suzanne Busch Glo Cantwell Roxanne & John Carpenter Joseph Cella Barbara & Roscoe Champion Olinda Chavez, in memory of Clare Dreyer Jean Cheek Jo-Ann Chen, in memory of Clare Dreyer Kathy & Lance Chilton Stephen & Judy Chreist, in memory of Clare Dreyer Jay & Carole Christensen, in memory of Clare Dreyer Wendy Cieslak, in memory of Richard Strauss Barry Clark Virginia Clark Francine Cogen James & Joan Cole Randall & Valerie Cole Lloyd Colson III Henry & Ettajane Conant Marcia Congdon Patrick Conroy Linda Copeland Alexis & Hovey Corbin Bertha Cory, in memory of John Cory Nancy Covalt, in memory of Paul Matteucci John & Mary Covan Ralph Cover Mark Curtis Rosalie D’Angelo Henry Daise III Barbara David William Davidson David del Castillo Winnie Devore Patricia Dolan Darryl Domonkos Stephen R. Donaldson Veronica Dorato Sheila Doucette Martin J. Doviak Dr. James & Julie Drennan Michael & Jana Druxman Sondra Eastham, in memory of Dr. Andrew Lackner D. Ted Eastlund Joy Eaton, in memory of C.J. Eaton

Lestern Einhorn Jeannine Encinas & Alicia & Roland Fletcher, in memory of Chela Hatch Helen & Richard Erb Irma Espat, in memory of Celia Hatch Cheryl Everett David & Regan Eyerman B.J. & R.L. Fairbanks John & Jo Margaret Farris Ann & Howard Fegan Leonard & Arlette Felberg Helene K. Fellen Ella J. Fenoglio Mary Filosi Rona Fisher Stephen Fisher Robert & Diane Fleming Denise Fligner Cheryl & William Foote, in honor of Susan Patrick & Don Partridge Beverly Forman & Walter Forman, MD Ms. Libby Foster, in memory of Clare Dreyer Joseph Freedman Martin & Ursula Frick Ron Friederich Cynthia Fry Patricia Gallacher, in memory of Susie Kubie Yolanda Garcia Mary Day Gauer T. David & Ilse Gay, in memory of Susie Kubie Paula Getz Rosalind Gibel Kenneth Gillen Global Organization for EPA & DHA Omega-3s, in memory of Susan Kubie David Goldheim Theresa Goldman Lois Gonzales Maria Gonzales Maria & Ira Goodkin, in memory of Susan Kubie Mr. & Mrs. Thomas Grace Erna Sue Greening Charles Gregory Richard & Suzanne Guilford Carl & Nancy Guist Herman Haase Linda Lalita Habib Michael Hall Bhanu Joy Harrison Joan & Fred Hart M.L. Hartig John & Madeline Harvey E. R. Haskin Rossanna & William Hays Rogene Henderson Patricia Henning Robert & Sara Henning Duane & Yongtae Henry Douglas & Joyce Hilchie Pamelia S. Hilty Nancy Hoffman Diane & Joe Holdridge Tom & Linda Holley Kiernan Holliday Theresa Homisak Judy & Sam Honegger, in memory of Clare Dreyer Suzanne Hood Tom & Vinita Hopkins Helen & Stanley Hordes

Donor Circles . Stephanie Horoschak & Paul Helman Timothy Howard Claudia Isaac, in the name of Teresa Marquez Olivia Jaramillo Connie & Terry Johnson, in memory of Clare Dreyer Eldon Johnson Judy & Scott Jones Peggy Jones Paul Karavas Margaret Keller Sue Kil Gerald F. Kiuttu Barbara Kleinfeld, in memory of Clare Dreyer Gerald Knorovsky Herbert & Shelley Koffler, in memory of Clare Dreyer Philip Kolehmainen & Vivian Waldron Katherine Kraus Phil Krehbiel Deborah Krichels Roger & Marcia Brumit Kropf, in memory of Richard Strauss Jennifer C. Kruger Janice Langdale Molly Lannon Mary E. Lebeck Don & Susan Lentz Madeleine Lewis Byron & Tania Lindsey Carl Litsinger Joel Lorimer Carol Lovato Kenneth Luedeke Audrey Macdonald William Majorossy Bruce F. Malott Jim Manning Fred & Joan March Maria Teresa Marquez Jeffrey Marr Anna Marshall Marita Marshall Walton & Ruth Marshall Willa H. Martin Michael Mauldin Marina De Vos Mauney Peter & Lois McCatharn John & Carolyn McCloskey Mary Kay McCulloch Brian McDonald Virginia McGiboney David McGuire Millie McMahon, in memory of Clare Dreyer Paul & Cynthia McNaull Sterrett & Lynette Metheny Patricia Meyer Sandra Lee Meyer V.L. Mied Kathleen Miller Robert F. Miller John & Mary Mims Steven & Beth Moise, in memory of Clare Dreyer Kenneth Moorhead Claude Morelli Shirley Morrison

Baker H. Morrow & Joann Strathman John Morrow & Harriette Monroe Ted & Mary Morse Karen E. Mosier Bruce & Carolyn Muggenburg Cheryl Mugleston, in memory of Clare Dreyer Bruce & Ruth Nelson New Mexico Japanese American Citizens League Betsy Nichols & Steve Holmes Elizabeth Norden Jennifer Nuanez Richard & Marian Nygren Marilyn Jean O’Hara Ruth Okeefe Gloria & Greg Olson, in memory of Celia Hatch H. George Oltman Jr. Wendy & Ray Orley Ricardo Ortega Daniel O’Shea Pete & Anita Palmer, in memory of Richard Strauss Carolyn D. Parrish Howard Paul Deborah Peacock & Nathan Zorn Brian Pendley Oswaldo & Victoria Pereira Sergio & Isabelle Hornbuckle Perez, in memory of Chela Hatch Phil & Maggie Peterson Lang Ha Pham Barbara Pierce Mr. & Mrs. Paul Pierce, in memory of Clare Dreyer The Power Path Inc. Franklin J. Priebe III Regina & Daniel Puccetti Jane Rael Russell & Elizabeth Raskob Ray Reeder Patricia Renken Kerry Renshaw Kathryn & Chris Rhoads Judith Ribble & Clark Bussey Barbara & Herbert Richter Dr. Eugene M. Rinchik Jacob & Nancy Rittenhouse Margaret E. Roberts Matthew Robertson Gerald & Gloria Robinson Diane & William Rueler Harvey & Laurie Ruskin Robert Sabatini Glen & Beverly Salas Esperanza Sanchez Donald & Nancy Schmierbach David A. Schnitzer Stephen Schoderbek

The New Mexico Philharmonic

Roland & Justine Scott Mark Sedam Arthur & Colleen M. Sheinberg Beverly Simmons Marion & Andy Simon Marsha & Don Simonson Diane & Matthew Sloves Carl & Marilyn Smith Katherine Smith, in memory of Craig Smith Gwyneth & Tracy Sprouls David Stalla Bill Stanton Stan & Marilyn Stark, in honor of judge James Parker’s 30 years on the bench Charlie & Alexandera Steen Geny Stein Alice Stephens & Robert Bruegger, in memory of Celia Hatch Judge Jonathan Sutin William Swift Ruth M. Thelander Betty Tichich & Fred Bunch Julie Tierney Margaret Ann Todd Valerie Tomberlin Jacqueline Tommelein John Tondl Dean & Bonita Tooley Karen & John Trever Gloria Tristani, in memory of Clare Dreyer Jorge Tristani Stephen Turner Ross Van Dussen John Vittal & Deborah Ham Marmion Walsh Dale A. & Jean M. Webster Wendy Weygandt, in memory of Joe Zoeckler Carol Whiddon Leslie White Katherine Whitman Robert Wilkins Keith & Jane Wilkinson David Winter & Abagail Stewart Kathryn Wissel & Robert Goodkind Alice Wolfsberg Daniel & Jane Wright John Wronosky & Lynn Asbury Judith A. Yandoh Kari Young Diana Zavitz, in honor of Pat & Ray Harwick Linda R. Zipp Vita Zodin 3/5/2018

●

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 2/24/2018

●

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 2/24/2018

●

nmphil.org

ZOO CONCERTS MAY

MAY

Behind every music performance is a strategy for success

JUNE

Every great music program has a well-designed plan to succeed. At RBC Wealth Management, we take the same approach to helping you meet your financial needs and goals. Proud to support the New Mexico Philharmonic! The Cates Team 6301 Uptown Blvd. NE, Suite 100 Albuquerque, NM 87110 (505) 872-5909 (866) 998-0279 www.catesteamrbc.com Non-deposit investment products: • Not FDIC insured • Not bank guaranteed • May lose value

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18-AL-502_Cates_NM Philharmonic Ad_3.5x4.75.indd 1

1/9/18 2:33 PM

NMPhil

Music & Arts Festival 2018

DISCOVERING ABUNDANCE APRIL 2018

New Mexico Museum of Natural History & Science 1801 Mountain Rd NW, Albuquerque, NM 87104 Saturday, April 14, 2018, 7:30 p.m.

Rahim AlHaj Trio

Outpost Performance Space 210 Yale Blvd SE, Albuquerque, NM 87106 outpostspace.org Sunday, April 15, 2018, 10:30 a.m.

Sunday Chatter

Las Puertas Event Center 1512 1st St NW, Albuquerque, NM 87102 chatterabq.org Sunday, April 15, 2018, 3 p.m.

The Art of Education: Mixer & Speaker Series

North Fourth Art Center 4904 4th St NW, Albuquerque, NM 87107 Presented by Any Given Child Albuquerque, in collaboration with The Kennedy Center and Albuquerque Public Schools. Tuesday, April 17, 2018, 6 p.m.

Music & Poetry Open Mic

Napoli Coffee 3035 Menaul Blvd NE, Albuquerque, NM 87107 Featuring students of Warehouse 508 Poetry in the Schools. Hovey Jude Corbin emcees. Wednesday, April 18, 2018, 7:30 pm

New Music New Mexico Keller Hall, Center for the Arts, University of New Mexico Albuquerque, NM 87131

Thursday, April 19, 2018, 5:00 p.m.

Making Africa: A Continent of Contemporary Design

A & cisuM lavitseF

Festival Kick-off

lihPMN

Friday, April 13, 2018, 7:30 p.m.

Albuquerque Museum 2000 Mountain Rd NW, Albuquerque, NM 87104 Featuring the AYSP Marimba Band. albuquerquemuseum.org & aysmusic.org Friday, April 20, 2018, 6:30 p.m.

Reliving the Renaissance

New Mexico Museum of Natural History & Science 1801 Mountain Rd NW, Albuquerque, NM 87104 Saturday, April 21, 2018, 6 p.m. 5 p.m. Pre-Concert Talk

From the Heart of Fumi

Popejoy Hall 203 Cornell Dr, Albuquerque, NM 87131 New Mexico Philharmonic Featuring Fumiaki Miura and Gustav Holstâ&#x20AC;&#x2122;s The Planets. nmphil.org Monday, April 23; Tuesday, April 24; & Wednesday, April 25, 2018

Santa Fe Opera Spring Tour

National Hispanic Cultural Center 1701 4th St SW, Albuquerque, NM 87102 santafeopera.org Tuesday, April 24, 2018, 7:30 p.m.

Our Abundant Universe

UNM Hodgin Hall 889 Central NE, Albuquerque, NM 87106 Hosted by the UNM Honors College. Presented by Prof. Patricia A. Henning, Extragalactic Radio Astronomer and Discoverer of Galaxies.

MORE INFO AT

nmphil.org

NMPhil .

MATCH THE MAGNIFICENCE! Two years ago, we launched the Fabulous Fifth: Match the Magnificence campaign, a five-year effort to both celebrate your New Mexico Philharmonic’s fifth-anniversary season and to begin a five-year effort to help with the following: to gradually expand income to keep pace with increased costs, to pay the musicians and staff more appropriate wages, and to move off the financial knife edge that is your NMPhil’s reality. We are asking you today to continue this campaign with us. Your NMPhil is well into our 7th season of excellent concerts with exemplary fiscal and business responsibility and meaningful community involvement— all of which is recognized by Quality New Mexico with the 2017 Road Runner Award, a first in New Mexico and the US for an arts organization. We are delighted and blessed to have Roberto Minczuk as our first Music Director, and he is already taking the orchestra to a higher level. Our programming continues to achieve 97 percent audience approval. This season, our Pops and Rock concerts have brought over 2,500 new audience members into the concert hall, many falling in love with the orchestra. In 2016, the “Match raised $101,000, and in 2017 it raised $106,000— encouraging results beginning a trend of increased support. In these same years, foundation grants and other sources of income have declined about the same amount resulting in relative flat budgets. It is very clear we cannot rely on others to take care of the NMPhil.

As a community-supported orchestra, all of us must take care of NMPhil, our community’s cultural treasure that makes Albuquerque and New Mexico a great place to work and live. Our highly qualified musicians and staff earn very limited incomes and continue with us because of their commitment to NMPhil, love of the music, and the hope that we continue toward a secure future. With your support we will make this a reality. All of this makes this year’s “Match campaign even more important. Every new donation, every increased donation, and every commitment to continue the journey with your NMPhil is an important investment ensuring a bright future for your orchestra. Our deepest thanks,

Maureen Baca President Board of Directors

2017/18 Season / Volume 7 / No. 5

Marian Tanau Executive Director

NMPhil .

MOVING NMPHIL TO THE NEXT LEVEL FINANCIALS Your NMPhil is managed as a business. The organization has operated on a $2,000,000 budget for its six full seasons, with very careful management, razor-thin margins, and no recurring debt. Here are some key business facts: INCOME Earned (Ticket sales, advertising, car raffle) Donated (Annual fund, individual donations, grants)

TOTAL INCOME PER SEASON (Ticket sales pay less than half the cost of operating the NMPhil, which is managed extremely conservatively.)

EXPENSES TOTAL EXPENSES PER SEASON (With an overhead of 23% compared to 36% national average for nonprofits) RESULTS Your NMPhil has achieved six years of positive results, all with favorable trends, including: • Reaching 40,000+ audience members • Attaining audience satisfaction and artistic excellence of 97 percent • Achieving attendance at concerts of 75 percent+ of venue capacity, well above industry average • Providing education programs that reach more than 17,000 students, impacting lives and academics • Being the only arts organization in New Mexico to ever receive Quality New Mexico’s Piñón and Road Runner Awards for excellence in its organizational practices HOW THIS HAS BEEN MADE POSSIBLE To make your NMPhil successful on this budget, key stakeholders have made amazing commitments: • NMPhil Musicians have accepted limited work and fewer rehearsals, resulting in less income • NMPhil Staff (6) all work multiple jobs • Guest Artists and Conductors have accepted greatly reduced fees • Every member of the Board of Directors has donated very generously of their time and resources

The New Mexico Philharmonic

$1,000,000 $1,000,000 $2,000,000

$2,000,000

LET’S CONTINUE TO MOVE YOUR NMPHIL TO THE NEXT LEVEL Achieving the next level means: • Increased work for the musicians • Being better able to attract and keep musicians • Continuing to bring in world-class soloists • Serving the community better with expanding education programs and additional concerts HOW DO WE GET THERE? • Raising $125,000+ in our third year of “Match the Magnificence • Gaining commitments to increase financial support in each of the coming seasons • Achieving a $2,500,000 budget by our 10th anniversary season (by 2021)

NMPHIL EXPENSES Percentage of Total Budget of Two Million Dollars per Season. NMPHIL MUSICIANS

35%

PRODUCTION COSTS

23%

EDUCATION PROGRAMS

10%

GUEST ARTISTS & CONDUCTORS

MARKETING 7% STAFF SALARIES

DEVELOPMENT / FUNDRAISING

OTHER ADMINISTRATIVE COSTS

INSURANCE

HOW YOU CAN HELP Visit nmphil.org to make a new or increased donation. Please specify in the comments section of the website that your donation is for the MATCH THE MAGNIFICENCE initiative. Together, we can take your NMPhil to a new level of success and ensure it remains a strong cultural asset in our community.

nmphil.org

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The 2018

Proud sponsor of

Presented by

New Mexico Museum of Natural History and Science

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