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NMPHIL .
LETTER FROM THE
MUSIC DIRECTOR
TABLE OF CONTENTS PROGRAMS March 23, 2019 Program March 30, 2019 Program April 13, 2019 Program April 28, 2019 Program Program Notes
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ARTISTS Roberto Minczuk Toni Marie Palmertree Jill Grove Javier Gonzalez Robert Pomakov New Mexico Symphonic Chorus Roger Melone Logan Skelton Nicole New Rachel Barton Pine
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YOUR NMPHIL Letter from the Music Director Musical Fiestas Legacy Society NMPhil Music & Arts Festival Events Sponsors Orchestra Board of Directors, Advisory Board, Staff Donor Circles Thank You Match the Magnificence Strategies for Wise Giving
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We are performing the last concerts of the New Mexico Philharmonic’s 8th season, and my 2nd season as Music Director. I am happy to say that these final few programs feature masterworks that will highlight the amazing quality of our musicians; these masterworks are rarely heard live due to the size and difficulty of the works. We are so excited to perform them for you! I hope that as you reflect upon the 2018/2019 season, you will remember the wonderful works that celebrated the Leonard Bernstein centenary, including the world premier of the NMPhilcommissioned Symphony No. 1 from Colin Martin. We are in the final stages of crystallizing our 2019/2020 season, which promises spectacular works and soloists. If you are not yet a subscriber, I would like to invite you to become one starting with next season. You can benefit from the great discounted prices we offer our subscribers as well as your favorite seats that you can rely on for every concert. I want to close by thanking you for being such an amazing and supportive audience. We love playing for you! Enjoy every minute of music! Sincerely, Roberto Minczuk Music Director
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2018/19 Season / Volume 8 / No. 5
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 .
Popejoy Classics: Verdi Requiem
MAR
Saturday, March 23, 2019, 6:00 p.m.
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Roberto Minczuk Music Director Toni Marie Palmertree soprano Jill Grove mezzo-soprano Javier Gonzalez tenor Robert Pomakov bass New Mexico Symphonic Chorus/Roger Melone director
Requiem I. Introit – Kyrie II. Sequence Dies irae Tuba mirum Mors stupebit Liber scriptus Quid sum miser Rex tremendae Recordare Ingemisco Confutatis Lacrimosa III. Offertory Domine Jesu Christe Hostias
Popejoy Hall
Giuseppe Verdi (1813–1901)
MAKING A DIFFERENCE This performance is made possible by the generosity of:
George & Sibilla Boerigter, in honor of their 60th wedding anniversary
PRE-CONCERT TALK Hosted by:
Brent Stevens Sponsored by:
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IV. Sanctus V.
Agnus Dei
VI. Communion Lux aeterna VII. Libera me Libera me Dies irae Requiem aeternam Libera me
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CONCERT PROGRAM .
Popejoy Pops: Gershwin & Company
MAR
Saturday, March 30, 2019, 6:00 p.m.
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Roberto Minczuk Music Director Logan Skelton piano Nicole New vocalist
Popejoy Hall
Overture to Candide (1955–56) Leonard Bernstein (1918–1990) Concerto in F (1925) I. Allegro II. Adagio – Andante con moto III. Allegro agitato
George Gershwin (1898–1937)
MAKING A DIFFERENCE This performance is made possible in part by the generosity of the following:
Bernalillo County
Logan Skelton piano
I N T E R M I S S I O N
“Summertime” from Porgy and Bess
Gershwin
“But Not for Me” from Girl Crazy
Gershwin
Medley: “Someone to Watch Over Me”/“Embraceable You”
Gershwin
“I Got Rhythm” from Girl Crazy
Gershwin
“Our Love Is Here to Stay”
Gershwin
“The Man I Love”
Gershwin Nicole New vocalist
An American in Paris (1928)
The New Mexico Philharmonic
Gershwin
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NEW MEXICO PHILHARMONIC M E E T T H E A RT I S T S
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, April 14, 2019, 4 p.m. Rachel Barton Pine violin Rachael Speegle and her husband Eric will host at their Tuscan-designed home in Primrose Pointe. RESERVED SEATS
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CONCERT PROGRAM .
Vivaldi: The Seasons
APR
Saturday, April 13, 2019, 6:00 p.m.
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Roberto Minczuk Music Director Rachel Barton Pine violin
Popejoy Hall
The Four Seasons
Antonio Vivaldi (1678–1741)
Concerto No. 1 in E Major, Op. 8, RV 269, “La primavera” (Spring) I. Allegro II. Largo e pianissimo sempre III. Allegro pastorale
MAKING A DIFFERENCE This performance is made possible in part by the generosity of the following:
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Concerto No. 2 in g minor, Op. 8, RV 315, “L’estate” (Summer) I. Allegro non molto II. Adagio e piano – Presto e forte III. Presto
Dr. Larry & Marcia Lubar
Concerto No. 3 in F Major, Op. 8, RV 293, “L’autunno” (Autumn) I. Allegro II. Adagio molto III. Allegro
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Concerto No. 4 in f minor, Op. 8, RV 297, “L’inverno” (Winter) I. Allegro non molto II. Largo III. Allegro Rachel Barton Pine violin
Menicucci Insurance Agency
I N T E R M I S S I O N
Symphony No. 7 in E Major, WAB 107 I. Allegro moderato II. Adagio: Sehr feierlich und sehr langsam III. Scherzo: Sehr schnell IV. Finale: Bewegt, doch nicht schnell
The New Mexico Philharmonic
Anton Bruckner (1824–1896)
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Now accepting applications for the 2019-2020 school year
CONCERT PROGRAM .
NHCC: The Latin Spirit
APR
Sunday, April 28, 2019, 3:00 p.m.
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Roberto Minczuk Music Director
National Hispanic Cultural Center
Bachianas Brasileiras No. 4 Heitor Villa-Lobos I. Prelúdio (Introdução) (1887–1959) Last Round I. Movido, Urgente – Macho, Cool, and Dangerous II. Lentissimo
Osvaldo Golijov (b. 1960)
MAKING A DIFFERENCE This performance is made possible in part by the generosity of the following:
Meredith Foundation
The Honorable & Mrs. James A. Parker
Divertissement Jacques Ibert I. Introduction: Allegro vivo (1890–1962) II. Cortège: Moderato molto III. Nocturne: Lento IV. Valse: Animato assai V. Parade: Tempo di marcia VI. Finale: Quasi cadenza
I N T E R M I S S I O N
Carmen Suite No. 1 Georges Bizet I. Prélude (1838–1875) II. Aragonaise III. Intermezzo IV. Séguedille V. Les Dragons d’Alcala VI. Les Toréadors Carmen Suite No. 2 I. Marche des Contrebandiers II. Habanera III. Nocturne IV. Chanson du Toréador V. La Garde Montante VI. Danse Bohème
The New Mexico Philharmonic
Bizet
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PROGRAM NOTES .
Program Notes Charles Greenwell
Giuseppe Verdi
Born October 10, 1813, in Le Roncole, Italy Died January 27, 1901, in Milan, Italy
Requiem
Scored for SATB vocal soloists, chorus, 3 flutes, piccolo, 2 oboes, 2 clarinets, 4 bassoons, 4 horns, 8 trumpets, 3 trombones, tuba, timpani, percussion, and strings. Approximately 84 minutes.
All but one of Verdi’s masterpieces are operas. The one exception is his extraordinary Requiem, which contains the same intense emotion as his greatest operas, but does so without dealing with plots, character delineations, and narrative considerations. In fact, many critics have called this work Verdi’s finest opera. Verdi’s beloved Requiem dates from a fallow period in his operatic career. Following the premiere of Aida in 1871, he composed no operas for the next 16 years, and for the remainder of his life he only would consider projects that stirred his heart. Fiercely independent and passionately patriotic, he revered few men as great, but at the top of that list there were just two names, Rossini and Manzoni, and it was the deaths of these two, five years apart, that led to the composition of his remarkable setting of the Latin Requiem Mass. When Rossini died in 1868, Verdi proposed that a requiem be composed in his honor with thirteen leading composers, himself among them, each invited to contribute one movement or section. Not surprisingly, initial enthusiasm for the project degenerated into professional rivalries and money squabbles, and the scheme was abandoned. In 1873, the celebrated Italian poet, novelist, and national hero Alessandro Manzoni died, a man whom Verdi idolized, and once again the idea of a memorial requiem was born. Both men were deeply committed to the Risorgimento, the decadeslong political and social effort to unite all the Italian city-states into one unified Kingdom.
Verdi was not much given to hero worship, but the depth of his feelings for Manzoni was intense. This time, Verdi wisely chose to compose the entire work himself. He began by reworking the Libera me that he had written five years previously for the ill-fated Rossini project. His proposal to the city of Milan was to produce this requiem only if the city would completely underwrite its first performance. Despite some opposition, the mayor of Milan accepted, the church of San Marco was chosen for its excellent acoustics, the convention of having a priest recite liturgy between numbers was eliminated, and the Archbishop gave special permission to use female performers on condition that they wear long black dresses and mourning veils and be hidden behind a screen. The first performance took place as planned on May 22, 1874—the first anniversary of Manzoni’s death. The resulting work was as dramatic as any opera that Verdi composed, but the premiere, although quite successful, was somewhat muted by the restrained circumstances and the ban on applause. In total contrast, the second performance that took place three days later at the famous La Scala opera house was greeted with tumultuous applause. It soon became an overnight sensation, and was joyously received at the many European performances that soon followed. The British premiere took place at the Royal Albert Hall in London in May of 1875, conducted by the composer, with a chorus of more than 1,000 singers and an orchestra of 140! Surprisingly, even in spite of its great initial success, by the turn of the century the Requiem had virtually disappeared from the standard choral repertoire, but in the 1930s interest in the work was rekindled, and since then it is performed regularly all over the world. Though the premiere was given in a church, every performance that Verdi later conducted was in an opera theater. Unlike previous requiems, there is no role for an officiant in this one, as it was intended as a purely musical work, not a sacred one. Verdi poured the same drama and passion into
“[This great masterpiece (Requiem)] could only have been done by a genius.” —Johannes Brahms
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the Requiem as he did in his greatest operas, and he composed with tremendous gusto those verses that called for graphic musical settings. It is for this reason that he chose to make the Dies irae the centerpiece of the whole work. This great masterpiece, which Brahms said, “could only have been done by a genius,” stands as a sublime tribute to both Manzoni and Verdi. The Requiem is underpinned by Verdi’s personal doubts as to the importance of prayer, perhaps intensified by his advancing age and fear of what lay ahead. Nevertheless, the work’s great strength lies in its exploration of Verdi’s ambivalent views toward religion, filtered through the unparalleled sense of theatre that he had developed. Few choral works have captured the imagination to the degree that this great work has: the directness of his style, the soaring melodic lines, the powerful orchestration, and above all, the extraordinary dramatic and emotional intensity—all of these have contributed to the Requiem’s status as one of the great icons of Western music. ●
Antonio Vivaldi
Born March 4, 1678, in Venice, Italy Died July 28, 1741, in Vienna, Austria
The Four Seasons
Scored for solo violin and strings. Approximately 40 minutes.
When the Baroque style arrived at the beginning of the 17th century, the newer violins replaced the older viols as the preeminent string instruments of the time, and violin music transitioned from the vocal style of the early 17th century to the instrumental style of the later Baroque, in which the music was written for the instruments at hand. Vivaldi’s Four Seasons are so familiar and popular today that it is difficult to realize they were deemed very modern when they appeared, that they stretched the limits of violin technique, and that they were essentially unknown for about 200 years before reappearing around 1950—just in time for the invention of the long-playing record! Make no mistake about it: The LP was the medium by which these marvelous violin concertos became known worldwide, and may still hold the record as the most recorded work in all of classical music. Of the many composers who helped bring the Italian Baroque style to its high point at the beginning of the 18th century, Antonio Vivaldi was probably the most creative. Just
PROGRAM NOTES .
as with Bach, Vivaldi directed his energies to perfecting existing forms instead of creating new ones, and in his music one finds a perfection of the 17th-century concerto and operatic forms. Through his extensive work in the genre, Vivaldi standardized some of the characteristics we associate with the concerto. For example, he regularly composed concertos with fast outer movements and a slower central movement, a structure that became the norm for the entire Baroque period. He and Alessandro Scarlatti were to be that last important Italian composers until Rossini and Verdi came along. After a long and illustrious career during which this extraordinary man composed more than 800 works—including more than 500 concertos for almost every instrument known in his time, as well as 40 operas and a lot of choral music—he died penniless and unknown in Vienna. In his prime, however, he was a celebrated violin virtuoso—one of the finest of his day—and his dynamic concertos influenced many composers, among them J.S. Bach. (As an aside, most Baroque scholars will tell you that, no matter how famous and popular his concerto output is, if you don’t know his operas, you don’t know the real Vivaldi.) In Amsterdam in 1725, there was published a set of 12 violin concertos by Vivaldi with the collective title The Contest Between Harmony and Invention, Op. 8, the first four of which are The Four Seasons. The works were printed with a dedication to the Bohemian Count Wenzel von Morzin, a distant cousin of Haydn’s patron before he entered the service of the Esterhazy family in 1761. Modern scholars, however, now believe that The Four Seasons were actually composed a few years earlier, making them contemporaries of Bach’s Brandenburg Concertos. Although Vivaldi had written other concertos with colorful titles, The Four Seasons took descriptive writing several steps further by graphically illustrating four sonnets—possibly written by Vivaldi himself after the music was composed—which are included in the original printed edition. In addition, Vivaldi added verbal cues in the scores so performers would know exactly what they were representing, and he also took great pains to relate his music to the texts of the sonnets, translating the poetic lines themselves directly into the music on the page. Three of these concertos are entirely original, but the first, the “Spring” Concerto, borrows themes from his contemporaneous opera Il Giustino. The overall inspiration
The Four Seasons were a revolution: music with a narrative element, certainly among the boldest ever written. for the concertos could have come from the countryside around Mantua, where he was living at the time, and/or landscape paintings by the prolific Italian artist Marco Ricci (1676–1730). They were a revolution in musical conception, as they variously represent flowing creeks, singing birds, a shepherd and his barking dog, buzzing flies, storms, drunken dancers, hunting parties, frozen landscapes, and warm winter fires. These four astounding concertos stand as one of the earliest and most detailed examples of what we now call program music, that is, music with a narrative element, and are certainly among the boldest program music ever written in the Baroque period. When you consider that the term “program music” was not coined until the Romantic era, that makes these four concertos unique indeed. ●
Anton Bruckner
Born September 4, 1824, in Ansfelden, Austria Died October 11, 1896, in Vienna, Austria
Symphony No. 7 in E Major, WAB 107
Scored for 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, timpani, and strings. Approximately 62 minutes.
By general consensus, Bruckner was the most important composer of symphonies in the last half of the 19th century. He occupies a key role between Beethoven, Schubert, and Mahler, and his significance radiates further than was appreciated at the time, a fact that only came to be appreciated in the second half of the last century. A great deal of this situation arose from Bruckner not having been generally understood during his lifetime, and this included friends and people who were sympathetic but could not follow the singular path he was going down. His symphonies contain some of the most radical and forward-thinking harmonies of the late 19th century, harmonic practices that baffled and even upset many of his contemporaries,
and these symphonies reveal an almost perfect amalgam of Wagnerian Romanticism and Classical forms. He also possessed one of the most complex personalities in music history: He was a devout Catholic, and there are numerous stories about his simple, often childlike beliefs. At the same time, he was a peasant at heart who had a deep-seated respect for the authority of church and state. The facets of this complex personality can be discerned in most of his music, but the most powerful and obvious of them is a deep love of God and nature along with a never-ending quest for peace. It is no accident that his symphonies have frequently been compared with cathedrals because of their scope and grandeur and their search for the sublime, and their chief musical models are certainly Beethoven and Wagner. The overall sound of a Bruckner symphony is unique, and this comes from his highly individual concept of orchestral color, coming as it does from his training and proficiency as an organist. Many composers of his time blended or shaded orchestral colors with an almost Impressionistic style, but Bruckner frequently made use of striking contrasts and huge blocks of sound. As an organist, he was familiar with changes in stops or manuals that created terraced effects in volume and color, and this sound greatly influenced his orchestral style. These monolithic blocks of sound are often separated by moments of complete silence—something that was harshly criticized in his day—but this was an essential feature of his symphonic technique, and probably stems from his experience as a superb improviser at the organ, when, in very resonant churches or cathedrals, there is a tendency to pause after powerful climaxes to give the vibrations time to clear before continuing. He also made a statement once to the great German conductor Arthur Nikisch, explaining that he liked to catch his breath before saying something significant. Whatever the case, and even in spite of his religious beliefs and orientation, we continued on 12
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PROGRAM NOTES . continued from 11 don’t really know what these monumental works might have had in the way of inner symbolic meanings. This we can only guess at, as he left virtually no clues, written or spoken, in this regard. One thing we do know is that all of his life he was troubled by a powerful and fundamental insecurity that made his days on this earth unsettled and miserable, severely damaged his dealings with other people, and came perilously close to interfering with his ability to compose. He spent the first 44 years of his life in the small town where he was born, then moved to Vienna, the capital of the musical world, to become a professor of harmony and counterpoint at the prestigious Vienna Conservatory, where he also had a number of organ pupils. He ultimately joined the faculty of the University of Vienna, although Eduard Hanslick, the powerful and influential and acid-tongued music critic who was on the university’s staff, did all he could to block the appointment. Moreover, Hanslick savaged virtually everything Bruckner ever wrote: one of his ways of helping to promote the music of Brahms, which Hanslick deeply loved, and which he always cast as Bruckner’s rival. In spite of a general lack of support and his own insecurities, Bruckner developed into a hardworking and dedicated writer of symphonies during his first years in the Austrian capital—but recognition would come much later. Bruckner was 60 years old when he experienced public success for the first time. The ovation that followed the premiere of his Seventh Symphony lasted a full 15 minutes, and the press was a part of this while at the same time being dumbfounded that a mature, major talent like this could have gone unknown for such a long time. This was the greatest triumph he was to know in his life,
but from this point on he was recognized as a composer who deserved attention, and his name began to be spoken of in the same light as Brahms and Wagner. What is amazing is that Bruckner survived so long without public acceptance, but this is partly because of all the major composers, Bruckner took the longest to find his own distinctive voice. It could even be said that his sudden and unlikely decision to begin writing symphonies is one of music’s miracles. Sometime in the early 1860s, Bruckner decided that the symphony was going to be his chosen form, in spite of the fact that he had an almost total lack of experience in writing for orchestra. Once he set out on this path, form and content somehow merged, and he became the first composer to translate the essence of Wagner’s operatic language to instrumental music. After its premiere in Leipzig in December of 1884, conducted by the legendary Arthur Nikisch, the Seventh began to be heard in major music centers, and over the next few months it was heard in Munich, Dresden, Frankfurt, Utrecht, The Hague, New York, and Chicago. Within three years, it was heard in Vienna, London, Amsterdam, and Berlin, and became the first of his symphonies to be recorded. In the end, the Seventh was the greatest triumph of Bruckner’s life, and during that lifetime was the most frequently performed of all of his symphonies. Unique among his symphonies, he never revised it (as he did all of his others) but produced a single version and stood by it. Before the premiere, however, he did make a few small changes in tempo markings and orchestration, but they were minimal and did not affect the character or proportions of the work. Now about versions of the symphony: The 1883 version was the one performed at the premiere, but it has
Bruckner was 60 years old when he first experienced public success: The ovation that followed the premiere of his Seventh Symphony lasted a full 15 minutes. 12
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survived in only one manuscript copy, and unfortunately the changes that were made were written in over the original text, so the exact contents of this version are lost and it was never published. Then there is the 1885 Gutmann version, which made some changes to the work after the premiere, but there is still some debate as to whether or not these changes were authorized by Bruckner. In 1944, Robert Haas tried to remove the changes from the 1885 version in order to get at the composer’s original conception of the symphony. He used some material from the 1883 manuscript, but because this autograph includes the aforementioned changes, much of his work seems to have been the product of conjecture. Whatever the case, this is the version being played at this performance. The biggest debate over the various versions is regarding whether to play or not to play the big cymbal crash (with triangle) at the climax of the monumental slow movement. Some conductors play it, some don’t, but Haas always maintained that Bruckner made the decision to omit the percussion, so it is not in his version. On February 13, 1883, as Bruckner was finishing the Adagio, Wagner died in Venice. Upon hearing the news, Bruckner wrote an extraordinarily quiet yet wrenching coda to the movement, which he always referred to as “funeral music for the Master.” The beginning of this movement uses a passage for Wagner tubas, the unusual instruments situated in sound about halfway between the horns and the tubas, which Wagner designed specifically for the operatic Ring Cycle, and which here made their debut in a purely orchestral setting. ●
Heitor Villa-Lobos
Born March 5, 1887, in Rio de Janeiro, Brazil Died November 17, 1959, in Rio de Janeiro, Brazil
Bachianas Brasileiras No. 4
Scored for 3 flutes, piccolo, 3 oboes, English horn, 3 clarinets, bass clarinet, 3 bassoons, contrabassoon, 2 horns, 7 trumpets, 3 trombones, tuba, timpani, percussion, celesta, and strings. Approximately 4 minutes.
Described once as “the single most significant creative figure in 20th-century Brazilian art music,” Villa-Lobos is certainly the bestknown of all Latin-American composers. He was amazingly prolific, writing more than 2,000 orchestral, chamber, instrumental, and vocal compositions, known for their
PROGRAM NOTES .
“[Villa-Lobos’s music is] an art which we do not recognize, but to which we must now give a new name.” —Paris critic
characteristic nationalism, driving rhythms, and unusual instrumentation. His music was influenced by both Brazilian folk music and elements of the European classical tradition, and he was the most original and influential of Brazilian composers in the 20th century who worked toward the development of a national idiom in serious music. Villa-Lobos was also known and highly regarded for the work he did in Brazil to reform music education in local schools. Villa-Lobos had very little traditional training, acquiring most of his musical teaching from his father who was one of Rio’s finest amateur musicians. When his father died suddenly from malaria in 1899, his family urged him to become a doctor, but he was determined to become a musician. As he grew up, he embarked on a series of wildly adventurous travels all around Brazil absorbing the many musical influences of the country, with the primary cultural influences being Portuguese, African, and Amerindian. In addition, the sounds of jungle creatures, the feeling of solitude, the raw ferocity of the Amazon River, and the thick, dense forest left deep impressions on him, and it is likely that the nationalism inherent in his music developed during this time. Eventually, he put together all of these unique traits and elements to create sounds unlike anything that had ever been heard in classical music. In 1917, Sergei Diaghilev and the famous Ballets Russes made a tremendous impact by touring Brazil, and it was at that time that Villa-Lobos met the French composer Darius Milhaud, who was in Rio as secretary to the French ambassador Paul Claudel. The meeting was mutually productive: Milhaud brought with him music of Debussy, Stravinsky, Satie, and others, and in return Villa-Lobos introduced him to Brazilian street music, which was to be an influence on Milhaud for the rest of his life. The following year, Villa-Lobos met the great pianist Artur Rubinstein, who became a lifelong friend and champion.
It was Rubinstein who suggested that the young composer should go to Europe, specifically Paris, and so in 1923 he set out for the French capital, aided by a government stipend and the support of wealthy friends, and he remained in Paris for most of the next seven years. Villa-Lobos returned to Brazil in 1930, and embarked on a campaign to improve music education in schools throughout the country. The following year, he was appointed Superintendent of Musical and Artistic Education in Rio de Janeiro, in which capacity he created a program to include music education in all public schools and created a number of large civic choirs that focused on Brazilian music. He achieved amazing results, and in 1932 was put in charge of music education throughout the country. In 1942, he established a conservatory for choral singing, and three years later, in partnership with fellow composer Oscar Lorenzo Fernandez, founded the Brazilian Academy of Music. Between 1944 and 1949, he traveled widely in the U.S. and Europe, received many honors, was much in demand as a conductor, and wrote music for several films. He also received a great number of commissions (among them one for his 11th Symphony from the Boston Symphony Orchestra), and was able to fulfill most of them in spite of failing health. In 1959, he moved back to Brazil, his health rapidly deteriorating, but was able to direct the Academy of Music again for a few months, and conducted a spectacular recording of the symphonic poem Forest of the Amazon. He kept active until just a few days before his death in Rio in November, his massive state funeral, attended by the President of Brazil and hundreds of music lovers, becoming the last major civic event in the city before the capital was transferred to Brasilia. He was able to create music of a kind that was unique and special, and in 1927 a critic in Paris wrote that his music is “ … an
art which we do not recognize, but to which we must now give a new name.” Among his most significant compositions are a series of 14 works called Choros (1920– 1929), named for a popular country dance, which were a transformation of Brazilian music and sounds by the personality of the composer; and his nine suites for a variety of ensembles and voices that he labeled as Bachianas Brasileiras, which can be roughly translated as Brazilian Bachian pieces. These are his best-known works, and represent not so much a fusion of Brazilian popular music with the music of J.S. Bach, as they do an attempt to freely adapt a number of Baroque harmonic and contrapuntal devices to Brazilian music. They are characterized by a remarkable range, great power, melodic inventiveness, and tightly controlled structures. Most of the movements in the suites have two titles, one related to Bach (Prelude, Fugue, etc.), the other to Brazilian contexts such as Embolada, Modinha, Ponteio, and so forth, but there are no folk melodies in any of the nine works. The suites evolved piecemeal between 1930 and 1945, and above all bespeak the composer’s great love of Bach, whom he regarded as “a mediator among all races.” In 1930, he wrote three pieces for piano in this style, one of which would become the last movement of No. 4, then over the next few years he added three additional movements. In 1941, he recast the pieces for a large orchestra, and conducted the first performance himself the following year. The second movement, subtitled “Song of the Sertao,” refers to an arid region of the country that can be roughly translated as “outback” or “back country,” and includes the cry of a jungle bird. The third movement uses an actual folk tune from the northeastern part of Brazil, called “Oh, Sister, Let Me Go,” and the last movement uses the gentle samba-like rhythms of the dance called miudinho. ●
Osvaldo Golijov
Born December 5, 1960, in La Plata, Argentina
Last Round
Scored for strings. Approximately 14 minutes.
Osvaldo Golijov has become a major figure in contemporary music by developing a style variously based on Western music of many centuries, on traditional JudeoChristian liturgies, on folk traditions of many countries, and on Latin-American influences, particularly the tango as developed by the continued on 14
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PROGRAM NOTES . continued from 13 legendary Astor Piazzolla. He grew up in a Jewish family that emigrated to Argentina from Romania, his mother being a piano teacher, and his father being a physician. In his early years, he listened constantly to chamber music, Jewish liturgical and klezmer music, and the Piazzolla tangos, later studying piano and composition at the conservatory in his native city. He moved to Israel in 1983, where he studied at the Jerusalem Rubin Academy, immersing himself in the musical traditions of the city. Moving to the U.S. in 1986, Golijov earned a Ph.D. at the University of Pennsylvania where he studied with George Crumb, and was a fellow at Tanglewood, studying with Oliver Knussen. He has received numerous commissions from major ensembles and institutions in this country and Europe, and is the recipient of a MacArthur Fellowship and several other awards. He has served as composer-in-residence for many major festivals and workshops, and has worked extensively with the Silk Road Project. He has also been a member of the music faculties at Holy Cross College, the Tanglewood Music Center, and the Boston Conservatory. In 2000, the premiere of his St. Mark Passion took the music world by storm, written to commemorate the 250th anniversary of the death of J.S. Bach; two years later, the recording of the work received Grammy and Latin Grammy nominations. In 2006, Lincoln Center presented a sold-out festival entitled “The Passion of Osvaldo Golijov,” featuring performances of his major works, chamber music, and late-night programs of music dear to him. ABOUT THIS WORK, THE COMPOSER HAS WRITTEN:
Astor Piazzolla, the last great Tango composer, was at the peak of his creativity when a stroke killed him in 1992. He left us, in the words of the old tango, ‘without saying goodbye,’ and that day the musical
“[Last Round] is conceived as an idealized bandoneon.” —Osvaldo Golijov
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face of Buenos Aires was abruptly frozen. As the years passed, everything singled out the bandoneon: a small accordion-like instrument without keyboard that was invented in Germany in 1840 to serve as a portable church organ and which, after finding its true home in the bordellos of Buenos Aires’ slums in the 1920s, went back to Europe to conquer Paris high society in the 1930s. Since then it had reigned as the essential instrument for any Tango ensemble … I composed Last Round in 1996, prompted by Geoff Nuttall and Barry Shiffman. They heard a sketch of the second movement, which I had written in 1991 upon hearing the news of Piazzolla’s stroke, and encouraged me to finish it and write another movement to complement it. The title is borrowed from a short story on boxing by Julio Cortazar, the metaphor for an imaginary chance for Piazzolla’s spirit to fight one more time … The piece is conceived as an idealized bandoneon. The first movement represents the act of a violent compression of the instrument, and the second a final, seemingly endless opening sigh (it is actually a fantasy over the refrain of the song My Beloved Buenos Aires, composed by the legendary Carlos Gardel in the 1930s.) But Last Round is also a sublimated tango dance. ●
Jacques Ibert
Born August 15, 1890, in Paris, France Died February 5, 1962, in Paris, France
Divertissement
Scored for flute, piccolo, clarinet, bassoon, contrabassoon, horn, trumpet, trombone, percussion, piano, and celesta. Approximately 15 minutes.
Jacques Francois Antoine Marie Ibert was best remembered for a handful of orchestral bonbons, but his output encompassed almost every genre bearing testament to great craftsmanship. His mother, an accomplished pianist, gave him both piano and violin lessons despite his father’s wishes that he enter the family business. He decided to become a composer, encouraged by the great Spanish composer Manuel de Falla, who was his cousin. After graduating from secondary school in 1908, he delayed entering the Paris Conservatory in order to help his father’s business that had suffered financial setbacks. While working there, he actually decided to switch from music to drama, and this interest in the theater would remain with him the rest of his life. He finally was able to go to the Conservatory in 1911, and among his
classmates were Darius Milhaud and Arthur Honegger, with whom he would work later on several occasions. His father, unhappy about his musical studies, withdrew all financial support, so the young Ibert earned a living by working as an accompanist, by writing popular songs under a pen name, and by playing the piano in silent movie theatres. After the advent of sound, he went on to write more than 60 film scores. World War I interrupted his studies at the Conservatory, at which time he joined an army medical unit and was later decorated by the French government with the Croix de Guerre. Returning to the Conservatory at the end of the war, he competed for and won the coveted Prize of Rome, allowing him to live and study at the Villa Medici in Rome from 1920 to 1923. While there, he wrote some of his most famous works, among them Escales and The Ballad of Reading Gaol. In 1937, he was named Director of the Academy of France in Rome, supervising the subsequent winners of the Rome Prize. He held this post—with one hiatus—until 1960. That hiatus came in 1940 when the Vichy government in France banned his music, and he was forced to leave the country for four years, after which time he was recalled to France by General de Gaulle and was able to re-enter his former musical activities. In 1955, he was appointed administrator of the combined managements of the Paris Opera and the Opera-Comique, but the following year he had to retire due to health issues. At the same time, he was elected to the Academy of Fine Arts. Ibert composed in almost every genre, including opera, ballet, symphonic works, choral works, songs, concertos, incidental and theater music, and, as mentioned, scores for many films. He appeared to be quite partial to woodwinds, composing a number of works for wind ensemble, and his Flute Concerto is a staple of the flute repertory. Escales (Ports of Call) is perhaps his most famous work: It was first performed in Paris in early 1924 in a concert conducted by Paul Paray, and was one of the works that earned him an early reputation both at home and abroad. The Divertissement from 1930 is drawn from the incidental music Ibert composed for the farcical seventeenthcentury comedy by Eugene Labiche entitled The Italian Straw Hat. The play tells the story of a nervous bridegroom on his wedding day as he attempts to save a woman’s honor by searching for a replacement for a hat that
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was eaten by a horse, all the while concealing his frantic mission from his intended bride, her suspicious father, and the entire wedding party! Along the way, disguises, deceptions, misunderstandings, and mistaken identities create a frenzy of action before a tidy resolution to the craziness. The score is a comic parody pastiche that includes everything from jazz elements to Viennese waltzes to the famous wedding march from Mendelssohn’s A Midsummer Night’s Dream, and in the process throws in blues, music hall tunes, and spiky modernist dissonances. ●
Georges Bizet
Born October 25, 1838, in Paris, France Died June 3, 1875, in Bougival, France
Carmen Suites Nos. 1 and 2
Scored for 2 flutes, 2 piccolos, 2 oboes, English horn, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, 3 trombones, timpani, percussion (bass drum, cymbals, tambourine, castanets, snare drum, and triangle), and strings. Approximately 16 minutes.
Bizet was one of the rare composers who was as great in adolescence as he was in maturity: From his earliest compositions to his supreme masterpiece Carmen, he was able to create works that still hold the listener’s interest with freshness, energy, and delightful melodies. Although he wrote orchestral music, piano pieces, songs, choral works, and incidental music, he began and ended his career in the field of opera, and in that realm he produced an original combination of wonderful melodies, spicy and sometimes exotic harmonies, vivid orchestration, and in a few of those operas, a realistic and dramatic power that has rarely been equaled. His first opera, The Doctor’s House, was written when he was 16, and curiously, had to wait for its first performance until 1989, when it was produced at the Opera Theater of the University of Texas! His final opera, the immortal Carmen—surely one of the greatest operas in history—has become one of the most popular, beloved, and frequently performed of all operatic endeavors. How tragic it is, then, that Bizet died when he was just 36 without being able to know what he had achieved. (For the record, his second opera, Doctor Miracle, was given its premiere in 1857 as one of the prizewinners in a competition sponsored by Jacques Offenbach, and has a sparkling overture that is still performed separately to this day.)
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“Carmen is a masterpiece in every sense of the word … and in ten years’ time, it will be the most popular opera in the world.” —Pyotr Ilyich Tchaikovsky
The story of how Carmen was initially received is full of ironies. Although it was mainly condemned by the critics after its 1875 Paris premiere for its conventionbreaking overt sexuality, raw slice-of-life dramatics, its controversial characters (smugglers, deserters, factory workers, and low-lifes), and its graphic and brutal final scene, nevertheless its groundbreaking realism was welcomed by a number of sophisticated and discerning members of the public, and ultimately gained a hold on opera lovers in general as perhaps no other opera ever has. Indeed, such disparate composers as Brahms and Tchaikovsky greatly admired the work; Tchaikovsky even going so far as to predict that “Carmen is a masterpiece in every sense of the word … and in ten years’ time, it will be the most popular opera in the world.” Bizet’s goal in composing the opera was to lift the dull, unadventurous, moralistic, and middle-class appeal of the genre known as opera comique into a new, vital, and sophisticated type of stage work. This story is complicated by the fact that, to this day, there is no one authoritative version of the opera, even in spite of its enormous popularity and influence. It was written in the traditional opera comique form, meaning arias, ensembles, and choruses with spoken dialogue—rather like a 19th-century version of modern musical comedy. For a later production in Vienna after Bizet’s untimely death (which marked the beginning of the opera’s remarkable ascendancy to international acclaim), one of Bizet’s colleagues, conductor-composer Ernest Guiraud, replaced the spoken dialogue with competent sung recitatives, but these were not universally accepted. As a result, most modern productions opt for a version that uses some of the dialogue and some of the recitatives. The opera was based on a novella by the French writer, historian, and archeologist Prosper Merimee (1803–1870), and it appears that it was Bizet himself who
suggested to his librettists that they use the story, which contains elements of class distinctions, unabashed sexuality, and even misogyny. Merimee’s story is part adventure and part travelogue, perhaps inspired by his lengthy travels in Spain in 1830, and possibly influenced as well by the great Russian writer Alexander Pushkin’s poem The Gypsies, which Merimee had translated into French. What is also interesting is that Bizet composed one of the most evocative musical landscapes of Spain without ever having been there, but he did take pains to familiarize himself with the musical sounds and rhythms of the region in which Carmen is set. The result was a work praised for its brilliant melodies, harmonies, and orchestration, and for the skill in which Bizet musically represented the emotions and suffering of its characters. In short, Carmen represents the supreme achievement of both Bizet and the opera comique, a genre that it totally transformed. ●
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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’s St. John Passion, Bruckner’s Symphony No. 7, Beethoven’s Fidelio, Berlioz’s The Damnation of Faust, Mozart’s The Magic Flute, Verdi’s La traviata, Bernstein’s Mass, and Strauss’s Der Rosenkavalier with the Theatro Municipal Orchestra of São Paulo; debuts with the Cincinnati Opera (Mozart’s Don Giovanni), the Tokyo Metropolitan Symphony Orchestra, and Daejeon Philharmonic in South Korea; and return engagements with the Orchestra National de Lille and the New York City Ballet. In the 2016/2017 season, he made return visits to the Israel Symphony Orchestra, as well as the Teatro Colón Philharmonic and Orchestra Estable of Buenos Aires. A protégé and close colleague of the late Kurt Masur, Minczuk debuted with the New York Philharmonic in 1998, and by 2002 was Associate Conductor, having worked closely with both Kurt Masur and Lorin Maazel. He has since conducted more than 100 orchestras worldwide, including the New York, Los Angeles, Israel, London, Tokyo, Oslo, and Helsinki Philharmonic Orchestras; the London, San Francisco, Dallas, and Atlanta Symphony Orchestras; and the National
Radio (France), Philadelphia, and Cleveland Orchestras, among many others. In March 2006, he led the London Philharmonic Orchestra’s U.S. 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 prizewinner for its recording from the 2005 Festival, which also garnered the TIM Award for best classical album. Roberto Minczuk has received numerous awards, including a 2004 Emmy for the
program New York City Ballet – Lincoln Center Celebrates Balanchine 100; a 2001 Martin E. Segal Award that recognizes Lincoln Center’s most promising young artists; and several honors in his native country of Brazil, including two best conductor awards from the São Paulo Association of Art Critics and the coveted title of Cultural Personality of the Year. In 2009, he was awarded the Medal Pedro Ernesto, the highest commendation of the City of Rio de Janeiro, and in 2010, he received the Order of the Ipiranga State Government of São Paulo. In 2017, Minczuk received the Medal of Commander of Arts and Culture from the Brazilian Government. 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. ●
Toni Marie Palmertree soprano Toni Marie Palmertree is a recent graduate of the prestigious Adler Fellowship Program at San Francisco Opera. During her time in the program, she was heard as Barena in Jenufa, Voice of Heaven in Don Carlo, continued on 18
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ARTISTS . continued from 17 and High Priestess in Aida. Additional assignments include covering Elisabetta in Don Carlo, Violetta in La traviata, and the title role in Madama Butterfly. In November 2016, Ms. Palmertree was called to step onto the War Memorial stage as Cio-Cio San in Madama Butterfly on three-hours’ notice. Of her performance, Janos Gereben from San Francisco Classical Voice wrote: “The young soprano not only met the challenge, but she claimed her place among the finest vocal interpreters of the role heard here recently.” Ms. Palmertree opened San Francisco Opera’s 95th season as Liù in Turandot receiving high praise for her “performance of wondrous poignancy and heroism … clothed in vigorous, expressive phrasing.” Further performances in the 2017/2018 season included returning to the title role in Madama Butterfly for Festival Opera New Zealand and for Syracuse Opera. In the 2018/2019 season, Ms. Palmertree returns to San Francisco Opera to cover the role of Nedda in Pagliacci, will be heard in The Dallas Opera’s Hart Institute for Women Conductor’s concert, and makes debuts in the title role of Tosca with the Reading Symphony Orchestra and in Verdi’s Requiem with the Allentown Symphony. Additionally, she joins the Sacramento Philharmonic for a concert of operatic debuts with tenor Dimitri Pittas. Other recent performances include Giorgetta in Il tabarro, the title role in Suor Angelica, for West Bay Opera’s production of Puccini’s Il trittico, and a recital performance with pianist Ronny Michael Greenberg in Berkeley, CA. A 2015 participant of the Merola Opera Program, Ms. Palmertree is also a recent recipient of the Richard F. Gold Career Grant by the Shoshana Foundation. She is proud to hold many awards, including winner of the Metropolitan Opera National Council District Awards, finalist in the International Moniuszko Voice Competition, and the Classical Singer Voice competition. She took first place in the Long Leaf Opera of North Carolina voice competition, the Kennett Square Symphony Voice Competition, and the Marcella Sembrich competition. She was awarded third place in the National Opera Association Voice Competition and the James Parkinson Opera Competition, and was the second-place winner of the Sylvia Green Voice Competition. ●
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Jill Grove mezzo-soprano Praised by the Chicago Tribune for her “firmly knit tone from top to bottom of an imposingly wide range,” American mezzosoprano Jill Grove returned to Houston Grand Opera as Ježibaba in Rusalka, Lyric Opera of Chicago as Margret in Wozzeck, and San Francisco Opera as Buryja in Jenůfa in the 2015/16 season. She also returned to Baba the Turk in The Rake’s Progress with Pittsburgh Opera and, in her home state of Texas, Verdi’s Requiem with the Lubbock Symphony Orchestra. Future engagements include returns to the Lyric Opera of Chicago and San Francisco Opera. Last season, she reprised Klytaemnestra in Elektra with Michigan Opera Theatre and Ježibaba in Rusalka with New Orleans Opera. She also made her role and company debut with Utah Opera as Baba the Turk in The Rake’s Progress with Thierry Fischer conducting and sang Elgar’s The Kingdom at the Grant Park Music Festival. In addition, she returned to the Lyric Opera of Chicago for the world premiere of Wlad Marhulet’s The Property in performances throughout the Chicagoland area in the inaugural season of Lyric Unlimited, a new educational initiative that expands community engagement through artistic innovation. Ms. Grove is a frequent guest at the Lyric Opera of Chicago, where she has sung performances of Ježibaba in Rusalka, and in past seasons, has joined the company as Klytaemnestra in Elektra, the Witch in Hänsel und Gretel, Die Amme in Die Frau ohne Schatten, Amneris in Aida, Erda in Götterdämmerung, and Countess Geschwitz in Lulu. At the Metropolitan Opera, her performances include Erda in Götterdämmerung and Das Rheingold, Magdalene in Die Meistersinger von Nürnberg,
Madelon in Andrea Chénier, Pantalis in Mefistofele, Emila in Otello, Mary in Die fliegende Holländer, Auntie in Peter Grimes, die Muschel in Die ägyptische Helena, and Cornelia in Giulio Cesare. A sought-after concert soloist, she has joined the Los Angeles Philharmonic, New York Philharmonic, National Symphony, Atlanta Symphony, Utah Symphony, and Houston Symphony for Beethoven’s Symphony No. 9. She has sung Verdi’s Requiem with the Toronto Symphony under the baton of Sir Andrew Davis and with the Tucson Symphony and Calgary Philharmonic. She has performed Mahler’s Symphony No. 3 with the Houston Symphony under the baton of Christoph Eschenbach and the Royal Concertgebouw Orchestra with Mariss Jansons conducting. Ms. Grove’s recordings include Ulrica on a Chandos recording of Verdi’s Un ballo in maschera, Auntie in Peter Grimes on the London Symphony Orchestra Live label with Sir Colin Davis, a new production by John Doyle at the Metropolitan Opera (available on EMI DVD), Magdalene in Die Meistersinger von Nürnberg under the baton of James Levine and issued on DVD by Deutsche Grammophon, as well as the Muschel in Strauss’s Die ägyptische Helena with the American Symphony Orchestra on Teldec. As a member of the Houston Grand Opera Studio, she sang the role of Tisbe in La cenerentola opposite Cecilia Bartoli which was released by Decca/London. ●
Javier Gonzalez tenor A native of Southern California, tenor Javier Gonzalez holds a Master’s degree in vocal performance and choral conducting
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from the University of New Mexico, where he studied under soprano Leslie Umphrey. He has been described as a “bold, arresting tenor with a shining lyricism.” On the operatic stage, he has performed the roles of Javier in Moreno Torroba’s Luisa Fernanda, Tamino in Mozart’s The Magic Flute, Canio in Leoncavallo’s Pagliacci, Pinkerton in Puccini’s Madama Butterfly, Don José in Bizet’s Carmen, Roberto in Puccini’s Le Villi, Edgar in Puccini’s Edgar, Laerte in Opera Southwest’s revival production of Faccio’s Amleto, and the role of Jesus in the acclaimed operatic tableaux Oh My Son by Spanish composer Marcos Galvany. For 10 years, he served as assistant choral director of the Georgetown Presbyterian Chorale in Washington, D.C., and has been a guest choral and vocal clinician for the Vocal Arts Society of Washington. Mr. Gonzalez has also been a finalist in the Washington National Opera’s DomingoCafritz Young Artist Competition, firstplace winner in the Barry Alexander International Vocal Competition in New York City, and first-place winner in the UNM concerto competition and the New Mexico/Oklahoma/Texas regional NATS competition. He has performed with various orchestras around the country such as the New Mexico Philharmonic, the New England Symphonic Ensemble, and the Alexandria Symphony Orchestra. He has appeared on such stages as Carnegie Hall, the Kennedy Center, and Dvořák Hall and performed with such artists as Placido Domingo, John Rutter, and Branford Marsalis. Mr. Gonzalez currently serves on the voice faculty of La Sierra University in Riverside, California, and is the founder and chair of LiveFor1, Inc., a nonprofit organization devoted to using the performing arts to engage local communities for the sake, care, and aid of refugees in the Middle East. For more information, visit livefor1.com and javiergonzaleztenor.com. ●
Robert Pomakov bass In the 2018/2019 season, Canadian bass Robert Pomakov will make role debuts as Nourabad in Les Pêcheurs de Perles at Santa Fe Opera and Méphistophélès in Faust for his house debut with Vancouver Opera. He will return to Oper Frankfurt to sing King René in a new production of Iolanta directed by Lydia Steier and to the Metropolitan Opera to reprise the role of Monterone in Rigoletto. Concert performances of the 2018/2019 season include his debut with the Victoria Symphony, singing König Heinrich in Act III of Lohengrin. In the 2017/18 season, Mr. Pomakov returned to the Metropolitan Opera to sing Luther and Crespel in Les contes d’Hoffman and Bonze in Madama Butterfly, and to cover Wurm in Luisa Miller. He also returned to the Canadian Opera Company to sing Monterone in Rigoletto and to cover Osmin in Die Entführung aus dem Serail, as well as to Oper Frankfurt to sing Oroveso in a new Christof Loy production of Norma. Mr. Pomakov made his Metropolitan Opera house debut as Monterone in Michael Mayer’s new staging of Rigoletto in a production that was seen live in HD in cinemas around the world. He has also appeared at the Met as Don Basilio in Bartlett Sher’s production of The Barber of Seville and as Mathieu in Andrea Chénier opposite Patricia Racette and Marcelo Álvarez; he also sang in Manon with Diana Damrau and Vittorio Grigolo, in productions of Le nozze di Figaro conducted by James Levine, and in roles in both Don Carlo and Les contes d’Hoffmann, as well as covered the title role in Verdi’s Attila in a new production by Pierre Audi conducted by Riccardo Muti. Mr. Pomakov has been a prizewinner in several of the world’s premier singing competitions: a finalist in the Queen
Elizabeth Competition in Belgium, second place at the Belvedere Competition in Vienna, and third place in Plácido Domingo’s Operalia. Mr. Pomakov was decorated with the Simeon, the first honorary medal from the Ministry of Culture of the Republic of Bulgaria, and with a diploma from the Minister of Culture for his achievements in opera’s art and special merit to Bulgarian culture and its dissemination all over the world, and an encouragement award in the George London Foundation Competition. Other prizes have included first prize in the Oratorio Society of New York’s competition, an award from the Marilyn Horne Foundation Competition, the Victoria Scholars Grant, second prize in the Canadian Music Competition, and first prize in the Kiwanis Music Festival in Toronto. Pomakov is a graduate of the Curtis Institute of Music. ●
New Mexico Symphonic Chorus The 2018/2019 season marks the 46th anniversary of this highly select, allvolunteer chorus and its eighth season with the name New Mexico Symphonic Chorus. Under Roger Melone’s direction since 1983, the chorus, formerly known as the New Mexico Symphony Orchestra Chorus, has gained national renown. In 1999, the chorus received the Albuquerque Arts Alliance Bravo Award for Excellence in Musical Performance for its 1998 performances of Walton’s Belshazzar’s Feast and Beethoven’s Symphony No. 9. In 2006, Christopher Seaman, music director of the Rochester Philharmonic Orchestra, invited the New Mexico Symphony Orchestra Chorus to perform Mozart’s Requiem with his orchestra at the 2006 Bravo! Vail Valley Music Festival. Accolades from the audience, continued on 20
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ARTISTS . continued from 19 conductor, and orchestra were overwhelming, leading to return engagements in 2007, 2008, and 2011 to perform Beethoven’s Symphony No. 9 and Orff’s Carmina Burana with the Philadelphia Orchestra. Local artistic collaborations include Verdi’s Aida in 2015 and Bizet’s The Pearl Fishers in 2014, both with Opera Southwest, Holiday Festival of Voices at Popejoy Hall in 2013 and 2014 with the Albuquerque Youth Symphony Program, and Mahler’s Symphony No. 2, “Resurrection” with the New Mexico Philharmonic in 2012. ●
Roger Melone director Music director of the New Mexico Symphonic Chorus, Roger Melone was previously Resident Conductor and Chorus Director of the New Mexico Symphony Orchestra (NMSO). Since arriving in Albuquerque in 1983, Melone has brought national acclaim to the NMSO Chorus, now known as the New Mexico Symphonic Chorus. Under Melone’s direction, the NMSO Chorus performed at the Bravo! Vail Valley Music Festival. Mr. Melone led the chorus to triumphant performances, first with the Rochester Philharmonic Orchestra in 2006 and then in 2007 and 2008 with the Philadelphia Orchestra. As Resident Conductor of the NMSO, Mr. Melone conducted subscription, tour, pops, and children’s concerts. The NMSO Chorus received the Albuquerque Arts Alliance Bravo Award for Music Excellence for its 1998 performances of Beethoven’s Symphony No. 9 and William Walton’s Belshazzar’s Feast. In 1994, Mr. Melone was awarded the prestigious Albuquerque Arts Alliance Bravo Award for excellence in the arts. He continues to develop
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the talents of the New Mexico Symphonic Chorus, whose performances have been described as “stunning” and “riveting” by national critics. Prior to his tenure at the New Mexico Symphony Orchestra, Mr. Melone held similar posts with the San Antonio Symphony Orchestra. He attended Del Mar College in Corpus Christi, Texas, where he studied with Ronald Shirey. He then studied with B.R. Henson at Texas Christian University in Ft. Worth, Texas. In San Francisco, Mr. Melone studied Baroque performance practices and harpsichord with Laurette Goldberg. ●
Logan Skelton piano Logan Skelton is a much sought-after pianist, teacher, and composer whose work has received international critical acclaim. He has concertized widely in the United States, Europe, and Asia and has been featured as both pianist and composer on many public radio and television stations, including NPR’s Audiophile Audition, Performance Today, All Things Considered, and Morning Edition, as well as on radio in China and national television in Romania. He has recorded numerous discs for Centaur, Albany, Crystal, Blue Griffin, and Naxos Records, the latter performing on two pianos with fellow pianist-composer William Bolcom. Upcoming recording projects include compact discs devoted to solo piano music of Liszt and Bartók, and a series of compact discs devoted to his own song compositions, all of which will be released by Blue Griffin Records. A frequent guest at music festivals, Skelton regularly appears in such settings as the Gina Bachauer International Piano
Festival, Eastman Piano Festival, Tunghai Music Festival, MTNA National Convention, EPTA World Piano Conference, Chautauqua Institution, Eastern Music Festival, New Orleans International Piano Festival, American Romanian Festival, Indiana University Piano Academy, Hilton Head Island International Piano Festival, Poland International Music Festival, Amalfi Coast Music Festival, and the Prague International Piano Masterclasses. Moreover, he has given countless performances and masterclasses at colleges, conservatories, and conferences throughout the U.S., South Korea, Taiwan, Singapore, China, Italy, Romania, Serbia, Poland, and the Czech Republic. He is a frequent juror for international piano competitions. His Centaur Records compact disc, of all 20th-century American solo piano music, is titled American Grab Bag: Piano Music of Our Time. American Record Guide described this as a “fascinating recording,” commenting on Skelton’s “superb, wonderfully subtle and elegant playing … Bravo!” As a composer, Skelton’s work focuses on both piano and voice. His compositions have been performed throughout the world by a variety of musicians in such settings as Weill Recital Hall at Carnegie Hall and Merkin Concert Hall in New York City, Tblisi in the former Soviet Republic of Georgia, Timisoara in Romania, Australia, Poland, as well as numerous cities throughout the United States including Los Angeles, Salt Lake City, Tampa, Dallas, New Orleans, Lincoln, Houston, Detroit, and many others. He composed the required work for the 1993 New Orleans International Piano Competition, his Suite for Piano. His song cycle, Anderson Songs, was selected to receive the 2004 Music Composition Prize from the Mississippi Institute of Arts and Letters. His work has been favorably reviewed in many publications such as American Record Guide, the New York Times, BBC Music Magazine, and many others. Feature articles have been written on his life as a living representative of the time-honored tradition of pianist-composer. Skelton holds degrees from Loyola University, Eastman, and Manhattan School of Music; his principal teachers have included John Murphy, Rebecca Penneys, Lillian Freundlich, and Artur Balsam. A devoted teacher himself, Skelton’s own piano students have won awards in many competitions including Hilton Head Island, San Antonio, Cincinnati World, BartókKabalevsky-Prokofieff, Fischoff, Jacob Flier, Iowa, Frinna Awerbuch, Eastman, Missouri
ARTISTS .
Southern, Shreveport-Wideman, Concorso Internazionale di Esecuzione Musicale, Grieg Festival, Heida Hermanns, Peabody Mason, Janacek, Seattle, Kingsville, New York, Oberlin, Idyllwild, as well as numerous Music Teachers National Association competitions. His former students hold positions of prominence in music schools and conservatories throughout the world. He was honored by the University of Michigan with the prestigious Harold Haugh Award for excellence in studio teaching. He has served on the faculties of Manhattan School of Music, Missouri State University, and is currently Professor of Piano and Director of Doctoral Studies in Piano Performance at the University of Michigan. ●
Nicole New vocalist Nicole New is Detroit’s leading female band leader, alluring audiences with her sensitive and soulful voice. Her velvety yet powerful voice, reminiscent of Billy Holiday yet with her own modern sound, developed from Motown influences. Nicole’s eclectic style of singing, drawing from her early influences of performing jazz, pop, opera, and musical theatre, has transformed into a sound all her own. Nicole studied classical voice but quickly fell in love with jazz and began a career exploring those sounds, creating new arrangements to standards of the Great American Song Book. She continues to work with musicians across the U.S. to create new and interesting projects spanning all genres, and she will be releasing an album this spring. Nicole continues to make a lasting impression, wowing fans with her rich tone and rhythmic phrasing, and venues such as Cliff Bell’s, Steinway Jazz Café, the
The New Mexico Philharmonic
Midland Symphony, and most recently the Jackson Symphony Orchestra have become a welcoming venue for this dynamic performer. Be sure to check out her schedule if you are in the Detroit area, as she hosts a Jazz Jam every month at the Sugar House and other haunts around town. ●
Rachel Barton Pine violin Heralded as a leading interpreter of the great classical masterworks, international concert violinist Rachel Barton Pine thrills audiences with her dazzling technique, lustrous tone, and emotional honesty. With an infectious joy in music-making and a passion for connecting historical research to performance, Pine transforms audiences’ experiences of classical music. Pine’s performances this season include concerts with the Ann Arbor, Columbus, and Phoenix Symphonies, the New Mexico and Reno Philharmonics, the Philharmonia Baroque and Teatro Municipal (São Paolo) Orchestras, Orchestre Symphonique de Bretagne, the Tel Aviv Soloists, and Mercury Houston, as well as a residency at Domaine Forget. At Festival Lanaudiere, she plays “American Partitas”—a recital program of suites of dance movements composed for Pine by Bruce Molsky, Darol Anger, Billy Childs, and Daniel Bernard Roumain as well the Bach Partitas for solo violin that inspired them. This season Pine celebrates the important contributions to classical music made by musicians of African descent in performance and through the release of two projects: Music by Black Composers (MBC) Violin Volume I and her 37th album, Blues Dialogues:
Violin Works by Black Composers (Cedille) that explores classical music by 20th- and 21st-century black composers rooted in the blues, in addition to repertoire by four living composers: Dolores White, Errolyn Wallen, Daniel Bernard Roumain, and Billy Childs. Galvanized by the fact that young people learning classical music seldom have the opportunity to study and perform repertoire written by black composers, over the last 15 years, Pine has collected more than 900 works by more than 350 black composers from the 18th–21st centuries, representing North and South America, the Caribbean, Europe, Africa, and Asia. Pine’s not-for-profit RBP Foundation’s Music by Black Composers supplements the current instrumental training methods by publishing books of music exclusively by black composers from around the world, starting with violin. The inaugural MBC Violin Volume I features 23 works for violin with piano or second violin by 17 black composers spanning from 1767 to 2014 representing the United States, Brazil, Puerto Rico, Cuba, Jamaica, Ghana, Nigeria, Switzerland, France, and England. Her Elgar & Bruch Violin Concertos with the BBC Symphony Orchestra, Andrew Litton conducting; Mozart: Complete Violin Concerto, Sinfonia Concertante, with the Academy of St Martin-in-the-Fields, Sir Neville Marriner conducting; Testament: Complete Sonatas and Partitas for Solo Violin by Johann Sebastian Bach; Violin Lullabies; Bel Canto Paganini: 24 Caprices and other works for solo violin all charted on the classical charts, including at number one. Pine has appeared as soloist with many of the world’s most prestigious ensembles, including the Chicago and Vienna Symphonies, the Philadelphia Orchestra, the Royal Philharmonic, and Camerata Salzburg. She has worked with such renowned conductors as Zubin Mehta, Erich Leinsdorf, Neeme Järvi, and Marin Alsop. In addition to her violin soloist career, Pine is an avid performer of Baroque, Renaissance, and Medieval music on Baroque violin, viola d’amore, Renaissance violin, and rebec. Her most recent Baroque album is Six Sonatas for violin and obbligato harpsichord by Johann Sebastian Bach with harpsichordist Jory Vinikour (Cedille, May 2018). She performs on the “ex-Bazzini ex-Soldat” Joseph Guarnerius del Gesu (Cremona 1742). rachelbartonpine.com ●
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Exploring the Intersection of Belief & Creativity
APRIL 2019
The New Mexico Philharmonic’s Music & Arts Festival brings together a variety of cultural institutions and organizations to produce events which will spark dialogue and deepen our collective understanding. The dynamic 2019 festival schedule contains music, theatre, film, and more—and most events are free to attend.
SCHEDULE OF EVENTS Tuesday, April 2, 2019, 6 p.m.
Saturday, April 6–Sunday, April 7, 2019
Napoli Coffee 3035 Menaul Blvd NE, Albuquerque, NM 87107 Hosted by the Outpost Performance Space Roust the House Band, comprised of Sarah Bodkin, Neil Cole, and Hovey Jude Corbin. All attendees are invited to share their own music and poetry relating to faith in any of its incarnations. nmphil.org
Buddhist Center of New Mexico 143 Madison St NE, Albuquerque, NM 87107 Celebrate the Traditional New Year of Thais, Laotians, Sri Lankans, Burmese, and Cambodians with food, music, dance, art, and more. watbuddhasothornusa.business.site
Music & Poetry Open Mic Night
FREE ADMISSION
Thursday, April 4, 2019, 7:30 p.m.
FUSION presents Meteor Shower
The Cell Theatre 700 1st St NW, Albuquerque, NM 87107 Said to be “among the best work of his long career” by the National Review, Steve Martin’s 2016 play examines two couples’ faith in intimate relationships, and each other. Performances run through April 7, 2019. Reserve tickets online through FUSION. fusionnm.org RESERVE ADMISSION ONLINE
Friday, April 5, 2019, 6:30–9 p.m.
Der Freylekher Shabes
Congregation Nahalat Shalom 3606 Rio Grande Blvd NW, Albuquerque, NM 87107 A joyous, danced Shabbat service with live music. Potluck vegetarian dinner at 7:20 p.m., Yiddish dancing with The Community Klezmer Band at 8 p.m. All are welcome to attend any part of the evening’s celebrations. nahalatshalom.org FREE ADMISSION
Songkran Festival
FREE ADMISSION
Saturday, April 6, 2019, 4–7 p.m.
The Art of Faith in Historic New Mexico
Gutierrez–Hubbell House 6029 Isleta Blvd SW, Albuquerque, NM 87107 An afternoon of music, art, and wine! Performances by the New Mexico Philharmonic String Quartet, talks by New Mexican artists and wine growers, wine tasting, open–air art market, food trucks, and more! Reserve your spot through Bernalillo County. bernco.gov FREE ADMISSION
Sunday, April 7, 2019, 4 p.m.
Art & Transformation: R.A.W. TUBA
African American Performing Arts Center 310 San Pedro NE, Albuquerque, NM 87107 The New Mexico premiere screening of R.A.W. TUBA: From Sandtown to Symphony. This documentary chronicles New Mexico Philharmonic Principal Tuba Richard Antoine White’s inspiring journey from homeless youth to world–class symphonic musician. Reserve tickets online. nmphil.org ADMISSION $1+ PAY WHAT YOU WILL (donations are appreciated)
MORE INFO AT
nmphil.org Monday, April 8, 2019, 7 p.m.
Saturday, April 13, 2019, 6 p.m.
Empire Board Game Library 3503 Central Ave NE, Albuquerque, NM 87107 Albuquerque’s own live, interactive game show! Three storytellers spin tales of art and faith, as the audience attempts to determine which one is lying. Win prizes, and enjoy food and beverages from Empire’s café. Doors open at 5:30 p.m., game starts at 7 p.m. Admission is $5 at the door, no pre-sales. facebook.com/theliarsgame
Popejoy Hall 203 Cornell Dr NE, Albuquerque, NM 87107 The New Mexico Philharmonic’s final classics concert of the 2018/19 season, featuring two very different composers, both of whom led lives influenced by their strong religious faith. Sound Card members eligible to reserve tickets one week prior to the show. nmphil.org
The Liar’s Game
NMPhil Classics: Vivaldi & Bruckner
ADMISSION $5
ADMISSION $22–$75 STUDENT $10 (with valid student ID)
Tuesday, April 9, 2019, 6–9 p.m.
Sunday, April 14, 2019, 1 p.m.
Anton Bruckner: The Music of Faith La Cumbre Brewing Company 3313 Girard Blvd NE, Albuquerque, NM 87107 New Mexico Philharmonic Music Director, Roberto Minczuk, speaks on the influence of religious beliefs in Bruckner’s life and compositions. Featuring a performance by the NMPhil Wagner Tuben Quartet. La Cumbre will donate $1 of each pint to the NMPhil. FREE ADMISSION
Wednesday, April 10, 2019, 6 p.m.
Miracles, Magic, & Monsters
Boxing Bear Brewing Co. 10200 Corrales Rd NW, Albuquerque, NM 87107 Author, researcher, and skeptic Benjamin Radford weaves the mysterious tales of New Mexico throughout the ages. FREE ADMISSION
Inspired by Faith: Josie Lopez & Tracey Whitney
The Albuquerque Museum 2000 Mountain Rd NW, Albuquerque, NM 87107 Curator of Art Josie Lopez, PhD, highlights works from the permanent collection that use themes of faith in both traditional and unexpected ways. Tracey Whitney, singer/songwriter, New Mexico Music Awards nominee, and former Ray Charles “Raelette” performs a set of gospel–inspired tunes. Featuring Steve Figueroa, pianist. Museum admission is free from 9 a.m.–1 p.m. cabq.gov/culturalservices/albuquerque-museum FREE ADMISSION
Monday, April 15, 2019, 7 p.m.
The Lady in Blue: Sor María de Ágreda
UNM Hodgin Hall, Bobo Room 1889 Central NE, Albuquerque, NM 87106 UNM Assistant Professor and author of Quill and Cross in the Borderlands: The Writing and Travels of Sor María de Ágreda, Anna Nogar, PhD, speaks on the fascinating transatlantic history of a Spanish nun, focusing not only on the 400-year-long history of the nun’s bilocation narrative, but also on the impact of her writing on colonial Mexican society. FREE ADMISSION
SPONSORS
THANK YOU .
Sponsors & Grants Sound Applause
Albuquerque Community Foundation albuquerquefoundation.org
The concerts of the New Mexico Philharmonic are supported in part by the City of Albuquerque Department of Cultural Services, the Bernalillo County, and the Albuquerque Community Foundation.
Bank of Albuquerque bankofalbuquerque.com
Bernalillo County bernco.gov
Century Bank mycenturybank.com
GARDENSWARTZ REALTY City of Albuquerque cabq.gov
Computing Center Inc. cciofabq.com
D’Addario Foundation daddariofoundation.org
Gardenswartz Realty
Holmans USA holmans.com
Hunt Family Foundation huntfamilyfoundation.com
John Moore & Associates johnmoore.com
Keleher & McLeod keleher-law.com
Lexus of Albuquerque lexusofalbuquerque.com
Lockheed Martin lockheedmartin.com
Menicucci Insurance Agency mianm.com
Music Guild of New Mexico musicguildofnewmexico.org
New Mexico Arts nmarts.org
New Mexico Gas Company nmgco.com
Olga Kern International Piano Competition olgakerncompetition.org
PNM pnm.com
RBC Wealth Management rbcwealthmanagement.com
Sandia Foundation sandiafoundation.org
Sandia Laboratory Federal Credit Union slfcu.org
Sandia National Laboratories sandia.gov
Starline Printing starlineprinting.com
SWGA, P.C. southwestgi.com
United Way of Central New Mexico uwcnm.org
Urban Enhancement Trust Fund cabq.gov/uetf
U.S. Bank usbank.com
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The Verdes Foundation verdesfoundation.org
2018/19 Season / Volume 8 / No. 5
Wells Fargo wellsfargo.com
SUPPORT YOUR NMPHIL Interested in becoming a sponsor of the NMPhil? Call Today! (505) 323-4343.
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 Gabriela Da Silva Fogo ++ Joan Wang Jonathan Armerding Steve Ognacevic Kerri Lay Linda Boivin Barbara Rivers Nicolle Maniaci Barbara Scalf Morris SECOND VIOLIN Anthony Templeton • Carol Swift •• Julanie Lee Michael Shu Donna Bacon Eric Sewell ++ Sheila McLay Brad Richards Juliana Huestis ++ VIOLA Kimberly Fredenburgh •++ Allegra Askew Christine Rancier 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 ••• PICCOLO Sara Tutland OBOE Kevin Vigneau • Amanda Talley ENGLISH HORN Melissa Peña ••• CLARINET Marianne Shifrin • Lori Lovato •• Timothy Skinner E-FLAT CLARINET Lori Lovato
BASS CLARINET Timothy Skinner BASSOON Stefanie Przybylska • Denise Turner HORN Peter Erb • Nathan Ukens Katelyn Benedict ••• Allison Tutton Niels Galloway •••• TRUMPET John Marchiando • Mark Hyams Brynn Marchiando ••• TROMBONE Byron Herrington David Tall BASS TROMBONE David Tall TUBA Richard White • TIMPANI Douglas Cardwell • PERCUSSION Jeff Cornelius • Kenneth Dean Emily Cornelius HARP Anne Eisfeller +
Kory Hoggan Treasurer Thomas Domme Anne McKinney Jeffrey Romero Rachael Speegle Al Stotts Marian Tanau Michael Wallace Sherri Wells ADVISORY BOARD Thomas C. Bird Lee Blaugrund Clarke Cagle Roland Gerencer, MD Larry Lubar Steve Paternoster Heinz Schmitt William Wiley STAFF Marian Tanau Executive Director Roberto Minczuk Music Director Christine Rancier Executive Assistant & Media Relations Alexis Corbin Director of Education & Outreach Katelyn Benedict Personnel & Operations Manager Mancle Anderson Production Manager Danielle Frabutt Garcia Artistic Manager & Social Media Coordinator Allison Tutton Head Librarian Nancy Pressley-Naimark Office Manager Mary Montaño Grants Manager Joan Olkowski Design & Marketing
Principal • Assistant Principal •• Associate Principal ••• Assistant •••• Leave + One-year position ++
The New Mexico Philharmonic
Lori Newman Editor Sara Tutland Ensemble Visits Coordinator
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DONOR CIRCLES .
Donor Circles Thank You for Joining a Circle
BENEFACTOR CIRCLE Donation of $50,000 + Albuquerque Community Foundation Anonymous Lee Blaugrund City of Albuquerque Karen McKinnon
BEETHOVEN CIRCLE Donation of $25,000– $49,999 George & Sibilla Boerigter The Computing Center Inc., Maureen & Stephen Baca Bob & Greta Dean Holmans USA, LLC, Anthony D. Trujillo Howard A. Jenkins The Meredith Foundation
MOZART CIRCLE Donation of $10,000– $24,999 Anonymous Bernalillo County Commission E. Blaugrund Family Fund Deborah Borders Mary Herring McCune Charitable Foundation Terri L. Moll, in honor of Dad John Moore & Associates, Inc. Music Guild of New Mexico & Jackie McGehee Young Artists’ Competition for Piano & Strings New Mexico Gas Company The Honorable & Mrs. James A. Parker Cynthia Phillips & Thomas Martin Sandia Foundation, Hugh & Helen Woodward Fund Patricia & George Thomas, in memory of William Ambrose & Clarence Shaw United Way of Central New Mexico U.S. Bank Foundation Dr. Dean Yannias
BRAHMS CIRCLE Donation of $5000–$9999 Albuquerque Community Foundation, The Ties Fund Paula & William Bradley Eugenia & Charles Eberle Foundation for Art & Music, Peggy Cavett-Walden & Prof. Jefford Walden
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Keith Gilbert Hancock Family Foundation Robert & Elisa Hufnagel Hunt Family Foundation Chris & Karen Jones Henry & Judith Lackner Harry & Elizabeth Linneman Dr. & Mrs. Larry Lubar Menicucci Insurance Agency Jan Mitchell, in memory of Gwendolyn D. Mitchell New Mexico Arts Bob & Bonnie Paine, in memory of Allyra Jameson & Ann Stinchcomb Sonya Priestly & Art Gardenswartz The Schmidt-Nowara Family, in memory of Christopher Schmidt-Nowara Melissa & Al Stotts Richard VanDongen The Verdes Foundation Wells Fargo William A. Wiley & Diane Chalmers Wiley
CHOPIN CIRCLE Donation of $3500–$4999 Anonymous William E. Cates Bob & Fran Fosnaugh Eiichi Fukushima & Alice Hannon Cynthia & Thomas Gaiser Tanner & David Gay Jonathan & Ellin Hewes Keleher & McLeod Tina Kilroy George & Mary Novotny Scott Obenshain Marc Powell Robertson & Sons Violin Shop Sandia Laboratory Federal Credit Union, Robert Chavez Southwest Gastroenterology Associates Marian & Jennifer Tanau Lance Woodworth
GRACE THOMPSON CIRCLE Donation of $1933–$3499 Albuquerque Involved Scott Alexander The Baca Family, in memory of George H. Baca Thomas Bird & Brooke Tully Ronald Bronitsky, MD, in honor of Anastasiya Naplekova, Hedwig Bronitsky, & Robert Alexander Jonathan Miles Campbell Century Bank David & Mary Colton
2018/19 Season / Volume 8 / No. 5
Richard & Margaret Cronin D’Addario Foundation Suzanne S. DuBroff, in memory of Warren DuBroff David & Ellen Evans Virginia & Richard Feddersen Firestone Family Foundation Frank & Christine Fredenburgh Gertrude Frishmuth Roland Gerencer, MD Madeleine Grigg-Damberger & Stan Damberger Chavonne Harroun Stuart Harroun The Hubbard Broadcasting Foundation Bonnie & Hank Kelly Christopher Kwapich Virginia Lawrence, in memory of Jean Sharp Virginia LeRoy Myra & Richard Lynch, in memory of Orval E. Jones Tyler M. Mason Bob & Susan McGuire Sara Mills & Scott Brown Ruth Mondlick Moss-Adams LLP Ruth & Charles Needham David & Audrey Northrop Carol & Gary Overturf Sandra P. & Clifford E. Richardson III, in loving memory of Priscilla L. & Clifford E. Richardson Jr. & Josephine A. & Angelo A.J. Asciolla Steve Ridlon, in memory of Casey Scott Jacquelyn Robins Ellen Ann Ryan Barbara & Heinz Schmitt Terrence Sloan Vernon & Susannah Smith Susan Spaven, in honor of Carla Lehmeier-Tatum Betsey Swan & Christopher Calder Kathleen & David Waymire Dr. & Mrs. Albert Westwood Drs. Bronwyn Wilson & Kurt Nolte
BACH CIRCLE Donation of $1000–$1932 Leah Albers & Thomas Roberts Linda & Carl Alongi Anonymous Anonymous Christopher Apblett Peggy Atencio & Don Degasperi Edward & Leslie Atler Toni Baca Wendy & Mark Baca Bank of Albuquerque Ellen Bayard & Jim O’Neill
Gay & Stan Betzer Craig Billings Deborah Blank Nancy & Cliff Blaugrund Steve Boerigter Ann Boland James Botros Robert Bower & Kathryn Fry Patricia Broyles Michael & Cheryl Bustamante Dawn & Joseph Calek Daniel & Brigid Conklin, in memory of Dr. C.B. Conklin John Crawford & Carolyn Quinn Nance Crow & Bill Sullivan Krys & Phil Custer Philip & Linda Custer Marjorie Cypress & Philip Jameson William Dake, in honor of Rohini & Jason McKee Nim & Sue Evatt Ron Friederich Helen Fuller GE Foundation Ann Gebhart Dennis & Opal Lee Gill Howard & Janis Gogel A. Elizabeth Gordon Barbara & Berto Gorham Elene & Robert Gusch Steve Hamm & Mary Kurkjian Harris Hartz Stephen & Aida Ramos Heath Dr. Carlton Holte & Sheryl Guterl Martha Hoyt Rosalyn Hurley Sue Johnson & Jim Zabilski Stephanie & David Kauffman Walter & Allene Kleweno Stephanie & Kenneth Kuzio Thomas & Donna Lockner Dr. Ronald & Ellen Loehman Linda S. Marshall Kathy & John Matter Edel & Thomas Mayer Foundation Jackie & C. Everett McGehee Ina S. Miller Ranne B. Miller & Margo J. McCormick Mark Moll Robert & Claudia Moraga Judy & Michael Muldawer Edward & Nancy Naimark New Mexico School of Music, Tatiana Vetrinskaya Gretchen & Tom Obenauf Jerald & Cindi Parker Stuart & Janice Paster Mike Provine Yukiko Raine Larry & Dorothy Rainosek Mary Raje, in memory of Frederick C. Raje
Dr. Barry & Roberta Ramo Dick & Marythelma Ransom Kathryn & Chris Rhoads Joan Robins & Denise Wheeler, in memory of Sue & Mel Robins Jay Rodman & Wendy Wilkins Albert Seargeant Janet & Michael Sjulin Conrad & Marcella Stahly Paula M. Steinberg Conrad & Mary Strohacker PK Strong, in memory of Clare Dreyer Jane & Doug Swift Fund for Art & Education UW Community Fund Margaret Vining Betty & Luke Vortman Endowment Barbara & Eugene Wasylenki Judy Basen Weinreb & Peter Weinreb Robert & Trudy White Bill & Janislee Wiese, in honor of Joan Allen Linda Wolcott Dolly Yoder Carol Zulauf
CONCERTMASTER CIRCLE Donation of $500–$999 William & Ona Albert Albuquerque Community Foundation, Maisel/Goodman Charitable Endowment Fund John Ames Atkinson & Co., Clarke Cagle Richard & Linda Avery George Baca Joel & Sandra Baca Tonianne Baca-Green Sally Bachofer Daniel Balik Bank of America Charitable Foundation Dorothy M. Barbo Hugh & Margaret Bell, in memory of Joan Allen Sheila & Bob Bickes Monica Boehmer, in memory of Leonie Boehmer Rod & Genelia Boenig Timothy Briggs Carolyn Rose Brown Suzanne Brown Sandra A. Buffett Drs. Kathleen L. Butler & M. Steven Shackley Bill Byers Thomas Gordon Cagle Drs. Lee & Kelly Caperton CarMax Camille Carstens
DONOR CIRCLES .
Edwin & Deborah Case Margaret Chaffee Edith Cherry & Jim See Betty Chowning Paul & Linda Cochran Mark & Susan Conradi Thomas & Martha Domme Gale Doyel & Gary Moore Patricia & Leonard Duda Thomas J. Dyble Mary Lou Edward Marie Evanoff Howard & Debra Friedman Yolanda Garcia Laurence Golden Drs. Robert & Maria Goldstein Jean & Bob Gough Grief Resource Center David Hafermann Ron & Nancy Halbgewachs Janet Harris Margaret Harvey & Mark Kilburn John & Diane Hawley Ulton & Jean Hodgin Ken & Winnie Hoeksema Kory I. Hoggan, CPA David & Bonnie Holten Noelle Holzworth John P. Johnson Thomas & Greta Keleher Suzanne Kelsey, in memory of Bill Sullivan Guido C. Kemp Marlin Kipp Woody & Nandini Kuehn Jeffery & Jane Lawrence Rita Leard Kathleen D. Lebeck William & Jennifer Maguire Judith Matteucci Roger & Kathleen McClellan John & Kathleen Mezoff Martha Miller Robert Milne & Ann DeHart, in memory of Clare Dreyer Paul Mondragon Richard Moore Mardell Morrow Lynne Mostoller & Kathryn McKnight Sharon Moynahan, in honor of Virginia Lawrence Elias Nasr Dick & Sharon Neuman Charles Olguin Charles & Susan Palmer James & Linda Parker David Peterson Norlynn B. Price Dr. Mark Rainosek Christine & Jerry Rancier Elizabeth Robertson John & Faye Rogers Ruth Ronan
Glenn Rosenbaum Richard & Pamela Salmon Nancy Scheer Chris Schroeder Richard & Eileen Simpson Gary Singer Philip Stanton Wes & Marilyn Steiner Sarah Stevens-Miles Charles & Flossie Stillwell Martha Strauss, in memory of Richard Strauss Sturges-Draper Family Charitable Fund Duffy & Jean Ann Swan Laurence Titman Coleman Travelstead & Brookes McIntyre Gehron & Michelle Treme Arthur & Sandra Vall-Spinosa Folkert Vandergaast Marianne Walck Patricia & Robert Weiler Carl G. & Janet V. Weis Jane & Scott Wilkinson Jeremy Wirths David & Evy Worledge Lei Yang Albert & Donna Zeman Michael & Jeanine Zenge
PRINCIPALS CIRCLE Donation of $125–$499 Wanda Adlesperger Dr. Fran A’Hern-Smith Carol & James Alexander Gerald Alldredge Jo Anne Altrichter & Robin Tawney Roger Ames Jerry & Jo Marie Anderson Anderson Organizing Systems Anonymous Anonymous Robert J. & Marilyn R. Antinone Judith & Otto Appenzeller Janice J. Arrott David Baca Mary E. Baca M S & L G Baca Paul M. Baca Thomas J. & Helen K. Baca Diane & Douglas Brehmer Bailey Genevieve Baker Jan Bandrofchak & Cleveland Sharp Elinore M . Barrett Julian & Margaret Bartlett Steve & Nancy Bassett Fred L. Beavers Edie Beck Kristi Bemis-Standoli Helen Benoist
Peter Bernstein & Debbie Erfer, in memory of Stan & Lea Bernstein Blissful Spirits, Inc. Waldemar Boehmer, in memory of Leonie D. Boehmer Ann & James Bresson James & Elizabeth Brown Terry Brownell & Alpha Russell Elaine Burgess Lee Calderwood Carol Callaway Dante & Judith Cantrill Paty Carreon James Carroll Ann Carson Robert E. & Shirley Case Richard Chapman & Jan Biella Olinda Chavez R. Martin Chavez Wayne & Elaine Chew Judith & Thomas Christopher Susan Clark Virginia Clark Jane & Kenneth Cole James Connell David Corcoran Bob Crain Georgianne B. Cristo Stephen & Stefani Czuchlewski William Davidson Hubert Davis Herbert & Diane Denish Jerry & Susan Dickinson Fran DiMarco Raymond & Anne Doberneck Thomas & Elizabeth Dodson Jeff & Karen Duray Harvey & Jill Eastman, in memory of Jerry Lynn Greenberg Kathleen Economy Michael Edenburn Martha Egan Catherine & Paul Eichel Richard & Mildred Elrick Robert & Dolores Engstrom Stephanie Eras & Robert Hammerstein Jackie Ericksen Jan Erickson Jeffrey & Laura Erway Harry Ettinger David & Frankie Ewing Helen Feinberg Winifred & Pelayo Fernandez The Financial Maestro, LLC, Joann MacKenzie Howard & Deonne Finkelstein Rona Fisher Heidi Fleischmann & James Scott Thomas & Mary Kay Fleming Denise Fligner & Terry Edwards
Flying Star Inc. Cheryl & William Foote J. Arthur Freed Joseph Freedman & Susan Timmons Mary Day Gauer Charles & Judith Gibbon Kenneth Gillen James Robert Goldberg Richard & Anne Gonzales Yvonne Gorbett Peter Gregory Justin M. & Blanche G. Griffin Stanley & Sara Griffith Sharon Gross Mina Jane Grothey Kirk & Jan Gulledge Kenneth Guthrie & Doni Lazar Bennett A. Hammer Janet & William Harrington Joan Harris Rosalie & Leon Heller Douglas & Joyce Hilchie Dr. David Hilson & Eileen Grevey-Hillson Fred Hindel John Homko Thomas & Mary Ann Horan Carolyn & Hal Hudson Susan Hudson Janet & Vincent Humann Patrick & Elois Hurley Dal & Pat Jensen Sandra & Michael Jerome Robert & Mary Julyan Carol Kaemper John Kahrs Summers & Norty Kalishman Julia Kavet, in memory of Margaret Birmingham Carl & Jeanette Keim Ann King Elizabeth King Helen Knoll Asja Kornfeld, MD & Mario Kornfeld, MD Jennifer C. Kruger Karen Kupper William & Margie Lang Rebecca Lee & Daniel Rader John Linder William J. Lock Julianne Lockwood Katherine Logan Dwayne & Marjorie Longenbaugh Bruce & Leslie Loughridge Frank & Judy Love Ruth Luckasson & Dr. Larry Davis Robert Lynn Joanne E. Magalis Robert & Linda Malseed John & Brynn Marchiando
Jeffrey Marr Salvatore T. Martino Joseph McCanna III Sallie McCarthy Jon McCorkell & Dianne Cress Brian & Jane McDonald Eugene McGuire & Rosemary Hunter Albert & Linda McNiel Donald McQuarie Bernard & Mary Metzgar Phyllis Metzler Bruce & Jill Miller Jim Mills & Peggy Sanchez Mills Christine & Russell Mink Deborah & Louis Moench James B. & Mary Ann Moreno Jim & Penny Morris Paula Mortensen Albert Narath, in memory of Orval Jones Elizabeth & Daniel Neal Betsy Nichols Donald & Carol Norton Ben & Mary Lee Nurry Suzanne Oakdale & David Dinwoodie Rebecca Okun Wendy & Ray Orley Joyce & Pierce Ostrander Howard Paul Ole Peloso Judith Pentz Calla Ann Pepmueller Stephen Perls Richard Perry Judi Pitch PNM Resources Richard Price Karla Puariea, in honor of Shirley Puariea Dan & Billie Pyzel Therese Quinn T.D. Raymond Robert Reinke Tim Renk Lee A. Reynis & David W. Stryker John Reynolds George & Sheila Richmond Deborah L. Ridley Deborah Ridley & Richard S. Nenoff Donald Rigali Erika Rimson & David Bernstein Joan Robins & Denise Wheeler Gwenn Robinson, MD & Dwight Burney III, MD Erica Roesch Justin Roesch Catalin Roman Kletus & Lois Rood Carole Ross John Ross & Jane McGuigan
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DONOR CIRCLES . continued from 27 Nancy Ruggles, in memory of Clare Dreyer Janet Saiers Salazar, Sullivan, & Jasionowski Evelyn E. & Gerhard L. Salinger Oscar & Janet Sander Scott & Margaret Sanders Christine Sauer Warren & Rosemary Saur Dewey Schade John & Karen Schlue Laura Scholfield Howard & Marian Schreyer Leigh Schultzberger Kathleen & Wallace Schulz Richard & Susan Seligman Norman Segel Daniel & Barbara Shapiro Archbishop Michael Sheehan Frederick & Susan Sherman Ronald & Lisa Shibata Ronald & Claudia Short, in memory of Susie Kubie R.J. & Katherine Simonson Walt & Beth Simpson Katharine Sisk Norbert F. Siska George & Vivian Skadron Carol Smith Harry & Patricia Smith Smith’s Community Rewards Mr. & Mrs. William E. Snead Frederick Snoy Steven & Keri Sobolik Karen Soutar Marilyn & Stanley Stark Jennifer Starr Patricia & Luis Stelzner, in honor of Joan Zucker Daphne Stevens Maria & Mark Stevens John & Patricia Stover Carmen & Lawrence Straus Laurence Tackman Suzanne Taichert, in memory of Robert D. Taichert Kevin & Judy Taira David & Jane Tallant Debra Taylor Phyllis Taylor & Bruce Thompson Nina & Gary Thayer David Ther Andy Thomas & Marit Tully Rogan Thompson Jeffrey Thomsen Rena E. Vinyard Alfred Watts & Jan Armstrong Michael & Louisa Weinrib Lawrence Wells Margaret Wente Jeffrey West Kay & Tad West Marybeth White
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Helen M. Whitesides Ellen Whitman Kathryn Wissel Walter Wolf Jae Won-Lee Don & Dot Wortman Stanley Yager Mae S. Yee & Eric Brock Diana Zavitz, in honor of Pat & Ray Harwick
FRIENDS OF THE PHILHARMONIC Donation of $25–$124 David & Elizabeth Adams Natalie Adolphi & Andrew McDowell Kelly Aldridge Richard & Sandra Allen Gerald & Permelia Allgood Elizabeth Anderson Judith Anderson Steven & Lindi Anderson Judy Andrews Emil Ardelean Shanon Arellano, in memory of Ralph Cover Austin-Healey Roadrunner Club, in memory of William N. Sullivan Ana Baca Barbara Baca Ehren D. Baca Jackie Baca & Ken Genco Megan Baldridge A. Robert Balow Reid Bandeen Joyce Barefoot Sarah Barlow Graham Bartlett Harold & Patricia Baskin Susan Beard David & Judith Bennahum Debra & Kirk Benton Mark Berger Barry Berkson Dorothy & Melbourne Bernstein Judith Binder Ruth Bitsui Jeff Bjarke Christine Blaser & Constantine Stewart Ann Blaugrund & William Redak Jr., in memory of Clare Dreyer Bronnie Blaugrund, in memory of Clare Dreyer Cliff & Nancy Blaugrund, to commemorate the honorable James Parker’s 80th birthday and his 30 years on the bench Suzanne & Thomas Blazier Dusty & Gay Blech Blue Sky Properties, Inc Dennis Boesen
2018/19 Season / Volume 8 / No. 5
Susan Bonnell Henry Botts Joan Bowden Tim & Jackie Bowen J.M. Bowers & B.J. Fisher Marilyn Bowman Lydia Boye Sue Bradigan-Trujillo & Theodoro Trujillo Charles Brandt Carolyn Brown Allan & Barbara Brumer Don W. Burns Tomas & Karin Butchart Roxanne & John Carpenter Edward Cazzola Joseph Cella Thomas Chacon Barbara & Roscoe Champion Kyle Champion, in honor of Barbara & Roscoe Champion 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 Dr. Donald Clark James & Joan Cole Randall & Valerie Cole Lloyd Colson III Lawrence Compton Marcia Congdon Patrick Conroy Linda Copeland Alexis & Hovey Corbin Andrew & Susan Core Sierra Corrin John & Mary Covan Ralph Cover Edward Curtis & Alfred Papillon Rosalie D’Angelo Henry Daise III Ashlee Dauenhauer Nancy Deas Drina & Doug Denham Kurt & Yvonne Deshayes Ronald Detry Winnie Devore Patricia Dolan Darryl Domonkos Stephen R. Donaldson Carl & Joanne Donsbach Veronica Dorato Paula Dorris-Osborn & Larry Osborn Sheila Doucette Martin J. Doviak Matt Doxtator Gale Doyel & Gary Moore, in memory of Clare Dryer Michael & Jana Druxman D. Ted Eastlund
Reverend Suzanne & Bill Ebel Helene Eckrich Kurt & Carolyn Ehlert Roger C. Entringer Helen & Richard Erb David & Regan Eyerman B.J. & R.L. Fairbanks Philippa M. FalknerSchwendimann John & Jo Margaret Farris Darlene Fattorusso Peggy Favour Ann Fegan Ella J. Fenoglio Mary Filosi Robert & Diane Fleming Rabbi Arthur Flicker Beverly Forman & Walter Forman, MD Ms. Libby Foster, in memory of Clare Dreyer Richard Francia Guy Frederick & Michelle Morton Martin & Ursula Frick Lawrence Jay Gibel, MD David Goldheim Theresa Goldman Lois Gonzales Janice K. Goodman Mr. & Mrs. Thomas Grace Alfred & Patricia Green Erna Sue Greening Charles Gregory Friends of Marian & Larry Greher Richard & Suzanne Guilford Charles or Betsy Gunter Fletcher Hahn Karen Halderson Michael Hall Bhanu Joy Harrison Joan & Fred Hart M.L. Hartig Gloria B. Hawk Rossanna & William Hays Patricia Henning Robert & Sara Henning Florence Hernandez Donna Hill Pamelia S. Hilty Susan & Glenn Hinchcliffe Beate Hitzler Toppin Hodge Nancy Hoffman Diane Holdridge Larisa Holiday Kiernan Holliday Bernhard E. Holzapfel Judy & Sam Honegger, in memory of Clare Dreyer Elizabeth Hoobler Nancy Kay Horton Constance & James Houle
Charles Hunter Michael Hyde Claudia Isaac, in the name of Teresa Marquez Jerry & Diane Janicke Gwenellen Janov Connie & Terry Johnson, in memory of Clare Dreyer Eldon Johnson Nancy Johnson, in memory of Betty Vortman Ruth Johnson Anne & Lawrence Jones Peggy Jones Margaret Keller Allen Kenyon Kim Kiesow Kate Killebrew 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 Hareendra & Sanjani Kulasinghe Nick & Susan Landers Molly Lannon Wes & Dawn Leach Mary E. Lebeck Daniel Lee Douglas LeGrand Don & Susan Lentz Robert Lindeman & Judith Brown Carl Litsinger Daniel & Linda Lopez Jessica Lopez Carol Lovato Betty Louise Lovering Ching Lu Suzanne Lubar & Marcos Gonzales Frank Maher Bruce F. Malott Jim Manning Joan March Shila Marek Jim & Helen Marquez Maria Teresa Marquez Anna Marshall Walton & Ruth Marshall Willa H. Martin Andrew Mason, in honor of Jean Mason Alice Matvichuk Janet Matwivoff Michael Mauldin Marina De Vos Mauney David & Jennifer Mayschak
DONOR CIRCLES .
Barb McBee, in memory of William N. Sullivan Jack & Victoria McCarthy Peter & Lois McCatharn Fred & Karin McDowell Virginia McGiboney David McGuire Anne McKinney Millie McMahon, in memory of Clare Dreyer Wayne & Patricia McNeely Judith W. Mead David & Barbara Menicucci Sterrett & Lynette Metheny V.L. Mied Kathleen Miller Robert F. Miller Joan Moedl Dr. William Moffatt Steven & Beth Moise, in memory of Clare Dreyer Claude Morelli & Sharon Nepstad Letitia Morris Shirley Morrison & Cornelis Klein Baker H. Morrow & Joann Strathman Evelyn Morrow John Morrow & Harriette Monroe Karen E. Mosier Cheryl Mugleston, in memory of Clare Dreyer Brian Mulrey James & Beth Nance, thanks to Steve & Maureen Baca New Mexico Japanese American Citizens League Elizabeth Norden Candace & Frank Norris David & Marilyn Novak Jennifer Nuanez Richard & Marian Nygren Marilyn Jean O’Hara Ruth Okeefe H. George Oltman Jr. Margaret Guinan Orona Ricardo Ortega Joseph & Barbara Oser Daniel O’Shea Mary Ann Osley Carolyn D. Parrish Mark Parshall Deborah Peacock & Nathan Zorn Brian Pendley Maria Pereyra Elizabeth Perkett Phil & Maggie Peterson Lang Ha Pham & Hy Tran Barbara Pierce Mr. & Mrs. Paul Pierce, in memory of Clare Dreyer
Henry Pocock Leslie Porter The Power Path Inc. Judy & Orville Pratt Franklin J. Priebe III Helen Priest Regina & Daniel Puccetti Jane Rael Russell & Elizabeth Raskob David & Tracey Raymo Ray Reeder Patricia Renken Kathryn & Chris Rhoads Judith Ribble & Clark Bussey Kay Richards Jacob & Nancy Rittenhouse Margaret E. Roberts Matthew Roberts Shelley Roberts & Dewey Moore Michael Robertson Rochelle Robertson Gerald & Gloria Robinson Dawn Rodriguez Joseph Roesch Lisa D. Romero Edward Rose Christopher Rosol Tom Ruddell Harvey & Laurie Ruskin Robert Sabatini Glen & Beverly Salas Mary Ann Sampson Esperanza Sanchez Roger Schluntz Donald & Nancy Schmierbach David A. Schnitzer Stephen Schoderbek Travis Scholten Mark Sedam Margaret Seeley Claude M. Senninger Lois Sharp Arthur & Colleen M. Sheinberg Joe Shepherd Beverly Simmons Diane & Matthew Sloves Carl & Marilyn Smith Lillian Snyder 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 Elizabeth C. Stevens Herb Strasberg James & Judy Sutherlin Georgann Taylor Ruth M. Thelander Corinne Thevenet, in memory of Dick Kavet Roy & Enid Tidwell
The New Mexico Philharmonic
Julie Tierney John Tischhauser Margaret Ann Todd Dr. Steven Tolber & Louise Campbell-Tolber Thomas Tomczyk John Tondl Dean & Bonita Tooley Samuel D. Tonsend, in memory of Paul Moffitt Ronald Trellue Karen & John Trever Jorge Tristani J.T. Vaughn Jean Villamarin John Vittal & Deborah Ham Hilda A. Volkin, in memory of Howard C. Volkin Joanne Vye Marmion Walsh Robert Walston Cynthia & William Warren Maryann Wasiolek Dale A. & Jean M. Webster Wendy Weygandt, in memory of Joe Zoeckler Carol Whiddon Elizabeth White Leslie White Patricia White Katherine Whitman Sara Wilcoxon Amy & Robert Wilkins Phyllis Wilson David Winter & Abagail Stewart Dr. Helmut Wolf, in memory of Mrs. M. Jane Wolf Alice Wolfsberg Maria Wood Valerie & Marc Woodward Walter Wrightson John Wronosky & Lynn Asbury Judith A. Yandoh Kari Young Kenneth & Barbara Zaslow Rebecca Zerger Linda R. Zipp Vita Zodin Andrew A. Zucker Michael & Anne Zwolinski 3/10/2019
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 Tim Keller & the City of Albuquerque Trudy Jones & the Albuquerque City Council Maggie Hart Stebbins & the Bernalillo County Board of Commissioners Dr. Shelle Sanchez & the Albuquerque Cultural Services Department Hakim Bellamy & the Albuquerque Cultural Services Department Mayling Armijo & the Bernalillo Economic Development & Cultural Services Amanda Colburn & the Bernalillo County Special Projects
BUSINESS & ORGANIZATION APPRECIATION
The Cognitive Behavioral Institute of Albuquerque St. John’s United Methodist Church
INDIVIDUAL APPRECIATION
Lee Blaugrund & Tanager Properties Management Billy Brown Anne Eisfeller Rosemary Fessinger Chris Kershner Jim Key Jackie McGehee Brad Richards Brent Stevens 3/3/2019
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MATCH THE
NMPHIL .
MAGNIFICENCE Just as your NMPhil musicians work to take their playing to the next level, we as donors and sponsors must, and are beginning to, take our giving to the next level.
Three years ago, we launched the Fabulous Fifth: Match the Magnificence campaign, a five-year effort to both celebrate your New Mexico Philharmonic's fifthanniversary season and to begin a fiveyear effort to gradually expand income to $2,500,000: 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 8th season of excellent concerts with exemplary fiscal and business responsibility and meaningful community involvement— leading to the NMPhil being recognized by Quality New Mexico and receiving the Road Runner Award, a first in New Mexico for any arts organization. We are delighted and blessed to have Roberto Minczuk as our Music Director, as he continues to take the orchestra to a higher level of achievement. Our programming continues to receive outstanding audience approval, and combined with our Student Sound Card, it is bringing more than 3,000 new audience members into the concert hall, many falling in love with the orchestra.
In the last three years, the “Match” has raised more than $100,000 each year. In these same years, foundation grants and other donated income declined, making it very clear we cannot rely on others to take care of your NMPhil. Thanks to your generosity and our staff’s fiscal responsibility, we have been able to achieve our goal of carefully increasing the budget to achieve our goals mentioned above. This season, we are seeing a continued positive change in donated support, primarily from you. Your NMPhil, this amazing community’s cultural treasure, makes Albuquerque and New Mexico a great place to work and live. Just as your musicians work to take their playing to the next level, we as donors and sponsors must, and are beginning to, take our giving to the next level. We have been able to gradually grow our balanced, debt-free budget from $2,000,000 to $2,3000,000 because of your support. Compared with national averages, we have more room to grow our donated income, as we continue to earn a very large part of our income through ticket sales. Every new donation, every increased donation, and every
KNOW THE
Here are a few financial facts all of us should know about our orchestra to inform our giving and support: 2018/19 NMPHIL PLANNED EXPENSES
2018/19 PROJECTED NMPHIL INCOME
$2,300,000 Total Income
$2,300,000 Total Income
$1,700,000 Concert Production
50% Earned (35% national average)
$200,000 Education Programs
50% Donated (65% national average)
2018/19 Season / Volume 8 / No. 5
Our deepest thanks, Maureen Baca President, Board of Directors
Marian Tanau Executive Director
AVERAGE COST OF A CLASSICS CONCERT IN POPEJOY HALL
NUMBERS
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commitment to continue the journey with your NMPhil continues to create a bright future for your orchestra and helps us to move off the financial knife edge that has been our reality. Our highly qualified musicians and staff earn very limited incomes and continue with us because of their commitment to the NMPhil, their love of the music, and the hope that we will continue toward a secure future. With your support, we can make this a reality.
NMPhil musicians
$50,000
Popejoy costs
$12,000
Guest artist/conductor
$8,500
Production staff
$7,000
Stage hands
$4,000
Advertising
$5,000
Music rental/royalties
$2,500
Program books
$2,000
Rehearsal space
$1,000 nmphil.org
STRATEGIES FOR
WISE GIVING There are many ways to support the New Mexico Philharmonic. We thank our members, donors, volunteers, sponsors, and advertisers for their loyalty and enthusiasm and their help in ensuring the future of symphonic music in New Mexico for years to come.
Looking to make smart donations? Based on presentations by professional financial advisors, here are some strategies for giving wisely, following recent changes in the tax law. The advisors identified five strategies that make great sense. Here they are in brief:
GIVE CASH
Whether you itemize deductions or not, it still works well.
The New Mexico Philharmonic Foundation is a new stand-alone 501(c)(3) nonprofit charitable corporation. Its mission is to “provide dedicated funding for the New Mexico Philharmonic, funding that creates long-term stability, future growth, and permanence through a secure venue for donor support that is directly controlled by its donors and trustees.” Visit nmphilfoundation.org to learn more!
GIVE APPRECIATED ASSETS
This helps you avoid capital gains taxes, will give you a potentially more significant deduction if you itemize, and can reduce concentrated positions in a single company.
BUNCH GIVING
Give double your normal amount every other year to maximize deductions.
QUALIFIED CHARITABLE DISTRIBUTION/ REQUIRED MINIMUM DISTRIBUTION If you are required to take an IRA distribution, don’t need the cash, and don’t want the increased taxes, have the distribution sent directly to a qualified charity.
HIGH-INCOME YEARS
If you are going to have high-income years (for any number of reasons), accelerate your deductions, avoid capital gains, and spread out gifts through a Donor-Advised Fund.
N NE EW W M ME EX X II C CO O P PH H II L LH HA AR RM MO ON N II C C
2019 ANNUAL ANNUAL CAR CAR RAFFLE RAFFLE 2019 Y YO OU UR R G GA AR RA AG GE E C CO OU UL LD D B BE E H HO OM ME E T TO O A A B BR RA AN ND D N NE EW W
2019 Lexus IS The WINNER of the NMPhil Raffle will drive away in an The WINNER of the NMPhil Raffle will drive away in an all-new 2019 Lexus IS from Lexus of Albuquerque. all-new 2019 Lexus IS from Lexus of Albuquerque. SECOND PLACE draw will win a VIP subscription to SECOND PLACE draw will win a VIP subscription to the 2019/20 NMPhil Classical Series at Popejoy. the 2019/20 NMPhil Classical Series at Popejoy. THIRD PLACE draw will win a VIP subscription to THIRD PLACE draw will win a VIP subscription to the 2019/20 NMPhil Pops Series at Popejoy. the 2019/20 NMPhil Pops Series at Popejoy.
BE PROACTIVE!
Consult your own financial advisor to help you implement any of these. Please consider applying one or more of these strategies for your extra giving to the NMPhil.
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THIS YEAR YOU MIGHT WIN THIS BEAUTIFUL 2019 LEXUS IS WHILE HELPING YOUR OWN NMPHIL. THIS YEAR YOU MIGHT WIN THIS BEAUTIFUL 2019 LEXUS IS WHILE HELPING YOUR OWN NMPHIL.
PLAN A WISE GIVING STRATEGY
nmphil.org/ways-to-donate
(505) 323-4343 nmphil.org nmphil.org/raffle nmphil.org
CRAFTED FOR THE MODERN FRONTIER
EXPERIENCE the 2019 LEXUS UX and LEXUS UXh 4821 Pan American Fwy., Albuquerque, NM 87109 | 505.341.1600 | lexusofalbuquerque.com