New Mexico Philharmonic Program Book • 2019/20 Season • Volume 9 • No. 1

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VOLUME 9 / NO. 1

2019/20 SEASON

nmphil.org

19/20 NMPHIL CONCERT SCHEDULE

2019/20 SEASON Sunday, September 29, 2019, 3:00 p.m.

Brandenburg to Holberg

Saturday, October 5, 2019, 6:00 p.m.

Tchaikovsky Times Two

Saturday, October 12, 2019, 3:00 p.m.

Anna, Amadeus, & The Clock Saturday, October 26, 2019, 8:00 p.m.

NMPHIL PRESENTS:

The Music of Pink Floyd Saturday, November 2, 2019, 6:00 p.m.

Stars of the Future

OLGA KERN INTERNATIONAL PIANO COMPETITION FINALS

Saturday, December 14, 2019, 7:30 p.m.

Sunday, December 15, 2019, 3:00 p.m

Handel’s Messiah

Saturday, April 4, 2020, 6:00 p.m.

Star Wars to Superman: A Salute to John Williams

Sunday, January 12, 2020, 3:00 p.m.

Saturday, April 11, 2020, 6:00 p.m.

Saturday, January 25, 2020, 6:00 p.m.

Sunday, April 19, 2020, 3:00 p.m.

Brass, Winds, & Bach’s Air Mozart & Beyond

FUNDRAISING SPECIAL Saturday, February 15, 2020, 6:00 p.m.

Elgar & Mahler 7

Saturday, February 22, 2020, 3:00 p.m.

Unforgettable Albinoni, Marcello, Boccherini, & Bach

Saturday, November 23, 2019, 6:00 p.m.

Saturday, February 29, 2020, 6:00 p.m.

Magical Mendelssohn Beautiful Brahms

Song Plays Shostakovich

Holiday Pops!

Saturday, December 21, 2019, 6:00 p.m.

Glorious Vivaldi!

Sunday, November 10, 2019, 3:00 p.m.

Saturday, March 21, 2020, 6:00 p.m.

Only Olga Piano Supreme Music From Within Our Midst Sunday, April 26, 2020, 3:00 p.m.

Musical Delights

Saturday, May 2, 2020, 6:00 p.m.

Carmina Burana

FUNDRAISING SPECIAL

Alice in Wonderland Ballet

2019/20 Season

(505) 323-4343 nmphil.org

LETTER FROM THE

MUSIC DIRECTOR I could not wait to get back to Albuquerque after the summer hiatus to start my third season as Music Director and perform with the wonderful musicians of your NMPhiI. The season we created for you is full of amazing soloists and music that can only be fully appreciated with a live orchestra in the concert hall. I am so honored to lead the orchestra as it accompanies the Olga Kern International Piano Competition finalists on November 2. I hope that you will consider attending the competition that begins on October 27 and casting your vote for the Audience Prize. We are grateful for your amazing reception and warmth as an audience, and remember, we love playing for you!

Enjoy the music!

Sincerely, Roberto Minczuk Music Director

NMPHIL .

TABLE OF CONTENTS PROGRAMS September 29, 2019 Program October 5, 2019 Program October 12, 2019 Program October 26, 2019 Program Program Notes

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ARTISTS Roberto Minczuk Valerie Potter Krzysztof Zimowski Kathleen McIntosh Paul Huang Anna Dmytrenko

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YOUR NMPHIL Letter from the Music Director Musical Fiestas Letter from the President & Executive Director Legacy Society Donor Stories Sponsor a Musician Community Connection Strategies for Wise Giving Sound Card Student Membership Orchestra Board of Directors, Advisory Board, Staff Donor Circles NMPhil Foundation Donors & Trustees Thank You Sponsors

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THE NEW MEXICO PHILHARMONIC OFFICES

3035 Menaul NE #2 / Albuquerque, NM 87107 CONNECT WITH US

facebook.com/nmphilharmonic twitter.com/nmphilharmonic nmphil.org 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. ●

The New Mexico Philharmonic

ADVERTISE TODAY

Interested in placing an ad in the NMPhil program book? Contact Christine Rancier: (505) 323-4343 / crancier@nmphil.org

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NEW MEXICO PHILHARMONIC

musical fiestas Musical Fiestas are special 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.

MUSIC, DINNER, WINE COMPLIMENTARY VALET PARKING

Sunday, October 6, 2019 4:00 p.m.

Paul Huang violin

Laurie and Rogan Thompson will host at their beautiful High Desert home, co-hosted by Drs. Michael and Wendy Cieslak.

Sunday, January 26, 2020 4:00 p.m.

Jason Vieaux guitar

Hosted by John Trotter in his art-filled Near North Valley home.

Sunday, February 16, 2020 4:00 p.m.

Andrei Ioniţă cello

Performance hosted at the North Valley arts-and-crafts-inspired home of Dr. Ron Bronitsky.

Friday, April 10, 2020 Time TBA Olga Kern piano

Hosted by Drs. Kelly and Lee Caperton at their sleek, contemporary North Albuquerque home.

RSVP ONLY

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(505) 323-4343 nmphil.org 2019/20 Season / Volume 9 / No. 1

WELCOME TO YOUR NMPHIL’S

9TH SEASON!

We are excited to present an array of wonderful works under the artistic leadership of our Music Director, Roberto Minczuk.

The NMPhil continues to be the backbone of New Mexico’s performing arts scene, creating culture that makes Albuquerque and New Mexico a great place to live, to do business, and to attract and keep the talent that ensures the vitality and future of our community.

Most of this year’s concerts are taking place at our traditional venues: Popejoy Hall, the National Hispanic Cultural Center, and Simms Auditorium, Albuquerque Academy. However, stay tuned as we are working on collaborations with new and unusual venues for entirely new interactive concerts.

This season, we are joined by eight new musicians for either temporary or permanent positions. New appointees include: Lidija Peno, Anna Quintero, and Heather MacArthur, violin; Laura Chang, principal viola; James Carney, principal cello; Annabelle Hoffman, assistant principal cello; Jeffrey Rogers, horn; and Matthew Tutsky, principal harp. Please give them a warm New Mexico welcome.

Some NMPhil members have changed positions: Tony Templeton, principal second violin for 27 years with both the NMSO and now the NMPhil, asked to retire from his principal position and move to fourth chair, second violin.

Gabriela Fogo will be filling the principal second violin position. Allison Tutton will move from fourth horn to second horn.

We are deeply saddened by the passing of two longtime beloved members of our musical family, violinists Roberta Branagan and Linda Boivin. They will be missed.

As we ended our 8th season, we once again surveyed you, our most important stakeholders, and again received strong endorsements for our concerts and programs: 97 percent artistic excellence and 95 percent overall satisfaction for five years in a row, an amazing achievement for any business. Our new season promises to present programs and artists who will again earn this level of approval from you.

You contributed $85,976 to the fourth year of our fiveyear campaign, Match the Magnificence, down somewhat from last year’s record of $114,460. Overall, donations increased enough for us to end the 18/19 season in the black, enabling us to again carry no recurring debt. As support continues to be a challenge, we are exploring new and expanded sources of grants and sponsorships to ensure a bright future for your orchestra. The New Mexico Philharmonic Foundation, a 501(c)(3), with its own independent board led by Dr. Thomas Martin, is entering its second full year and continues to receive gifts, the proceeds of which will directly support your NMPhil. More information is available at nmphilfoundation.org.

We are deeply grateful for all you do to build a healthy future for NMPhil and look forward to enjoying the music together.

Maureen Baca President, Board of Directors

Marian Tanau Executive Director

CONCERT PROGRAM .

AFTERNOON CLASSICS

Brandenburg to Holberg

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Sunday, September 29, 2019, 3:00 p.m.

Roberto Minczuk Music Director Valerie Potter flute Krzysztof Zimowski violin Kathleen McIntosh harpsichord

Orchestral Suite No. 2 in b minor, BWV 1067 I. Ouverture II. Rondeau III. Sarabande IV. Bourrée V. Polonaise VI. Menuet VII. Badinerie Valerie Potter flute

Simms Center for the Performing Arts, Albuquerque Academy

Johann Sebastian Bach (1685–1750)

Keyboard Concerto No. 1 in d minor, BWV 1052 I. Allegro II. Adagio III. Allegro Kathleen McIntosh harpsichord

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

Albuquerque Community Foundation

Bach

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

Brandenburg Concerto No. 5 in D Major, BWV 1050 I. Allegro II. Affetuoso III. Allegro Valerie Potter flute Krzysztof Zimowski violin Kathleen McIntosh harpsichord Holberg Suite, Op. 40 I. Praeludium II. Sarabande III. Gavotte IV. Air V. Rigaudon

The New Mexico Philharmonic

Bach

Edvard Grieg (1843–1907)

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CONCERT PROGRAM .

POPEJOY HALL CLASSICS

Tchaikovsky Times Two

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Saturday, October 5, 2019, 6:00 p.m.

Roberto Minczuk Music Director Paul Huang violin

Popejoy Hall

“The Star-Spangled Banner”

Violin Concerto in D Major, Op. 35 I. Allegro moderato—Moderato assai II. Canzonetta: Andante III. Finale: Allegro vivacissimo Paul Huang violin

John Stafford Smith (1750–1836)

Peter Ilyich Tchaikovsky (1840–1893)

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

Sonya Priestly & Art Gardenswartz

PRE-CONCERT TALK Hosted by:

Brent Stevens, Classical 95.5 KHFM Sponsored by:

Menicucci Insurance Agency

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

Symphony No. 4 in f minor, Op. 36 I. Andante sostenuto—Moderato con anima II. Andantino in modo di canzona III. Scherzo: Pizzicato ostinato IV. Finale: Allegro con fuoco

The New Mexico Philharmonic

Tchaikovsky

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Challenging Education

See what Trey has to say about his Academy experience at aa.edu/experience.

Trey Caperton ̕ 19 Carnegie Mellon University ̕ 23

ADMISSION Sunday, October 27 OPEN HOUSE 1:30-3:30 p.m.

CONCERT PROGRAM .

AFTERNOON CLASSICS

Anna, Amadeus, & The Clock

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Saturday, October 12, 2019, 3:00 p.m.

Simms Center for the Performing Arts, Albuquerque Academy

Roberto Minczuk Music Director Anna Dmytrenko piano

Overture to Don Giovanni Wolfgang Amadeus Mozart

(1756–1791)

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

Meredith Foundation Piano Concerto No. 25 in C Major, K. 503 I. Andante maestoso II. Andante III. Allegretto Anna Dmytrenko piano

Mozart

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

Symphony No. 101 in D Major, “The Clock” I. Adagio—Presto II. Andante III. Menuetto: Allegretto IV. Finale: Vivace

The New Mexico Philharmonic

Joseph Haydn (1732–1809)

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CONCERT PROGRAM .

ROCK & POPS

The Music of Pink Floyd

Saturday, October 26, 2019, 8:00 p.m.

Martin Herman conductor Randy Jackson lead singer/guitar Eldon Sully guitar Wes Smith bass Bob Habib drums Kathryn Key keyboards/vocals Eddie Williams sax

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Popejoy Hall

Your NMPhil presents a night of classic Pink Floyd with full orchestra, joined by nine extraordinarily talented rock musicians and singers!

Experience spot-on lead vocals and harmonies, ethereal strings, synthesizers, and all of the special effects you’d expect in a Pink Floyd concert. From Dark Side of the Moon and The Wall to A Momentary Lapse of Reason, and Wish You Were Here, the Music of Pink Floyd will be an amazing and unforgettable Floyd experience! ●

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

Holmans USA, Anthony Trujillo

The New Mexico Philharmonic

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PROGRAM NOTES .

Program Notes Charles Greenwell

Johann Sebastain Bach

Born March 21, 1685, in Eisenach, Germany Died July 28, 1750, in Leipzig, Germany

Orchestral Suite No. 2 in b minor, BWV 1067 Scored for flute and strings. Approximately 20 minutes.

When Bach died in the summer of 1750, he was mourned as one of the greatest organists and keyboard players of his time, but his compositions were relatively unknown.

When he died, his manuscripts were divided among his sons, and many of them were lost. When the big Bach revival began in the mid-1800s, only a small fraction of his works was recovered. Orchestral suites were very popular in Germany during the first part of the 18th century, and were called by various names such as Partie, but Bach called all four of his works Ouvertures, using the French spelling to indicate a reliance on the French style that influenced the form. Using the term orchestral suite is acceptable, but these works were written for forces that were just beginning to evolve into what we would now call an actual orchestra. Bach did use the term Orchestre just once in his output, but no one is sure what he really meant by it. These four suites, or ouvertures, have generally been thought of as a collection, in spite of the fact that they were not composed as a set (like the English Suites) or compiled from existing works (like the Brandenburg Concertos). He almost certainly wrote more than the four we have, but if so, they are part of the body of tragically lost compositions, and even these have come down to us not in their original form but in later reorchestrations.

Unlike the popular Brandenburg Concertos, surviving manuscripts of the Suites contain no scores in Bach’s handwriting and only

a few orchestral parts, and no mention of the works has been found in documents of the time, either by Bach or any of his contemporaries. Exact information about the Suites’ composition is almost nonexistent, but modern scholars think that some, if not all, of the Suites were written in Leipzig, where Bach served as cantor of the famous St. Thomas School from 1723 until just before his death. The suite had its origin in the early 16th century, when composers turned to printed collections of dance music in order to satisfy their employers’ enormous demands for new music to be used at court balls and other entertainments. At the time the dances were grouped by type, and the musicians would assemble suites according to what was required and the available musical forces. By Bach’s time, most of the dances found in the earlier suites had gone out of fashion, and the suite had moved from the ballroom and banquet hall to the concert room. In so doing, the group of dance movements was now preceded by a lengthy and grandiose Ouverture, patterned after opera overtures by the great French baroque master Jean-Baptiste Lully. In Bach’s hands, the opening movements were so extensive and of such musical substance that they became the most important part of the suite. ●

Keyboard Concerto No. 1 in d minor, BWV 1052

Scored for solo keyboard and strings. Approximately 24 minutes.

This concerto, composed during Bach’s Cöthen period, is thought to be based on a lost violin concerto. The work is composed in the usual three movements: The first was later used by Bach as an organ prelude, and the slow movement became the first chorus of his Cantata No. 146. The earliest surviving manuscript of this concerto can

… there is no way that Bach could have known that these works would become a benchmark of Baroque music.

be dated to 1734: It was made by C.P.E. Bach and contained only the orchestral parts, the harpsichord part having been added later by an unknown copyist. In the second half of the 1720s, Bach had already written versions of all three movements of the concerto for two of his cantatas. In these cantata versions the orchestra was augmented by the addition of oboes. ●

Brandenburg Concerto No. 5 in D Major, BWV 1050 Scored for solo harpsichord, flute, violin, and strings.

Approximately 21 minutes.

Few works in music history are as beloved as these six instrumental concertos, which display a somewhat lighter side of Bach’s extraordinary genius. Sent to the Margrave of Brandenburg in 1721, there is no way that Bach could have known that these works would become a benchmark of Baroque music, and that almost 300 years later they would still have the power to move listeners with their extraordinary musical substance.

Bach thought of them as a set (even though they did not acquire their title until years later), compiling them from instrumental sinfonias and concerto movements he had already written, reworking and elaborating the music as he saw fit. Each of the six concertos requires a different combination of instruments along with some very skilled soloists. The Margrave had a small court orchestra in Berlin, but they were not firstrate performers. What we know indicates that these concertos were tailored for the excellent musicians that Bach had in AnhaltCöthen, which brings up the question, how did this small provincial town get so many first-rate performers? Just before Bach arrived in Cöthen in 1717, a new king came to the throne in Prussia: He was Friedrich Wilhelm I, known as the “Soldier King” because he was more interested in military matters than in artistic endeavors. He immediately disbanded the very prestigious Berlin court orchestra, which threw many fine musicians out of work, and as luck would have it, at least seven of the finest ones were instantly hired by the music-loving Prince Leopold in Cöthen. That is why Bach found such a splendid music scene there, and it gave him the ability to write for virtuosos who in continued on 14

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PROGRAM NOTES . continued from 13 turn inspired him to push the boundaries of his fertile creativity. Over the years, scholars have had to fill in a lot of gaps in dealing with Bach’s music: Nearly half of his output is considered lost, and many of the concertos exist only in later arrangements and dubious copies. However, these six concertos survive in his original manuscript, which is one of the most beautiful examples of Bach’s calligraphy that has come down to us.

In 1721, Bach was in his fourth year as Prince Leopold’s musical director, and all was going well until the Prince decided to marry his cousin that year. She is known to have disliked music, and we know that Bach certainly disliked her! Toward the end of March, he began to feel an urgent need to leave Cöthen, and so he sent these concertos, along with a very servile dedication letter, to Margrave Christian Ludwig of Brandenburg whom he had met a couple of years earlier, and who he thought might be interested in hiring him. The meeting referred to took place in March of 1719 in Berlin, where Bach had gone to approve and bring home a marvelous new harpsichord for Prince Leopold. At the time, Bach is reputed to have played for the Margrave, who was quite impressed and requested some music to add to his meager library. Bach obviously did so, but no one can figure out why it took him two years to send the music off. Clearly, in 1721 these concertos were a reminder to the Margrave, and were meant to serve as a résumé for a new job. It was once held that the Margrave never performed the concertos—almost certainly because his instrumental forces could not handle the technical demands of the music—and possibly never even looked at the score (remember what pristine condition it was in), and that Bach never even received an acknowledgment. In addition, it was felt that the works were considered so worthless that they were sold for a pittance when the Margrave died in 1734. However, modern scholarship suggests that a performance would have used individual parts rather than the score, that the absence of a response could simply mean that it might have been lost, and that the score was not sold, but was given a nominal value in order to assure that the Margrave’s estate was evenly divided among his heirs. Whatever the case, in the estate inventory there is no specific mention of the concertos or even of Bach’s name, but they appear to have been put in a bulk lot of 177 concertos as being worth very little, and eventually were passed on to the heirs. The 14

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Key was inspired by the large U.S. flag—with 15 stars and 15 stripes—known as the Star-Spangled Banner, flying triumphantly above the fort during the U.S. victory. set then gathered dust until 1849 when it was discovered in the Brandenburg archives, and was published the following year to mark the 100th anniversary of Bach’s death. As if this wasn’t enough, the manuscript was nearly lost during World War II, as it was being transported for safekeeping to Prussia by train in the care of a librarian. The train came under aerial bombardment, but happily the librarian escaped unharmed into a nearby forest, with the scores hidden under his coat!

Bach’s own title for the set was Six Concertos for Several Instruments, and they are simply one of the great glories of Baroque instrumental music. These works have become so familiar that it is difficult for modern audiences to appreciate just how revolutionary they were. ●

Edvard Grieg

Born June 15, 1843, in Bergen, Norway Died September 4, 1907, in Bergen, Norway

Holberg Suite, Op. 40 Scored for string orchestra. Approximately 21 minutes.

During the early 18th century, the Danish poet-dramatist Ludwig Holberg put Scandinavia on the map in European theatrical circles. His comedies were so witty that he became known as “the Moliere of the North,” after the celebrated 17th-century French dramatist. Norway also claimed Holberg as her own because for a time he had lived in Grieg’s home town of Bergen. When the bicentenary of Holberg’s birth came in 1884, the city of Bergen wanted to provide its own tribute, and so Grieg—by then one of Europe’s most admired composers—was asked to write a cantata for male voices to be performed outdoors, and another work for the concert hall. The cantata was quickly

forgotten, but the other work, properly titled From Holberg’s Time, a Baroque-inspired dance suite originally written for piano solo then rescored for string orchestra, became one of his best-loved compositions. Written in five short movements, the suite, following Baroque tradition, begins with a Prelude followed by four short dance movements. The Prelude opens with an energetic figure that is prominent throughout. The Sarabande, originally a Spanish dance form, is in slow tempo and triple meter. In third place is a Gavotte, a courtly French court dance in duple meter, and in the central Musette, the strings imitate the droning of bagpipes. Then comes an Air—not a dance but an elegiac song—that Grieg directs be played with a “religious spirit.” The suite then concludes with a Rigaudon, a vivacious French folk dance in duple meter. ●

John Stafford Smith

Born March 30, 1750, in Gloucester, England Died September 21, 1836, in London, England

“The Star-Spangled Banner”

“The Star-Spangled Banner” is the national anthem of the United States. The lyrics come from the Defence of Fort M’Henry, a poem written on September 14, 1814, by the then 38-year old lawyer and amateur poet Francis Scott Key after he witnessed the bombardment of Fort McHenry by British ships of the Royal Navy in Baltimore Harbor during the Battle of Baltimore in the War of 1812. Key was inspired by the large U.S. flag—with 15 stars and 15 stripes—known as the Star-Spangled Banner, flying triumphantly above the fort during the U.S. victory. The poem was then

PROGRAM NOTES .

set to a popular British song written by the composer, church organist, and musicologist John Stafford Smith for the Anacreontic Society, a men’s social club in London. “To Anacreon in Heaven,” with various lyrics, was already popular in the U.S. This setting, renamed “The Star-Spangled Banner,” soon became a well-known patriotic song, and was recognized for official use by the U.S. Navy in 1889, by President Woodrow Wilson in 1916, and was made the national anthem by a congressional resolution in March of 1931, signed by President Herbert Hoover. The playing of the song during the seventh-inning stretch in Game One of the 1918 World Series, and thereafter during every game of the series, is often cited as the first time that the anthem was played at a baseball game, although the anthem had been performed as early as 1897 at opening day ceremonies in Philadelphia, and then regularly at the Polo Grounds in New York City beginning in 1898. Whatever the case, the tradition of performing the national anthem before every baseball game began during World War II. Although the National Anthem officially comprises all four stanzas of the poem, only the first is regularly sung. ●

Peter Ilyich Tchaikovsky

Born May 7, 1840, in Kamsko-Votkinsk, Russia Died November 6, 1893, in St. Petersburg, Russia

Violin Concerto in D Major, Op. 35

Scored for solo violin, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 4 horns, 2 trumpets, and strings.

Approximately 33 minutes.

The four great pillars of 19th-century violin concertos are those by Beethoven, Brahms, Mendelssohn (the e minor concerto), and Tchaikovsky. It is a curious fact of history that of the four, only the Mendelssohn was a great success at its first performance, and of the four it was the Tchaikovsky that took the worst beating initially: His wealthy

patroness Madame von Meck was displeased with the concerto; it was rejected by the great violinist Leopold Auer (to whom the work was originally dedicated), saying the work was unviolinistic and unplayable; the Vienna premiere in December of 1881 was a disaster; and the most feared critic of the day, Eduard Hanslick, demolished the work by writing, in part: “The violin is no longer played. It is yanked about. It is torn asunder.

It is beaten black and blue … Tchaikovsky’s Violin Concerto brings to us for the first time the horrid idea that there may be music which stinks to the ear.” Tchaikovsky was not a violinist, and so while he was writing the work he consulted one of his former composition students, an outstanding violinist named Josef Kotek, who was actually the one who had brought him to the attention of Madame von Meck for the first time. Work on the concerto began in March of 1878 in Switzerland and lasted a mere 26 days. In the course of this work, an original version of the slow movement was rejected and replaced by the familiar Canzonetta; the original version became a separate work for violin and orchestra entitled Meditation. Then began a disheartening round of rejections, first by Kotek, then by Auer, then by the fine French violinist Emile Sauret. It was then offered to another Russian violinist, Adolph Brodsky, who waffled for more than two years about his estimation of the new work.

Finally, Brodsky agreed to the premiere, but even after playing it let Tchaikovsky know that it was too full of technical difficulties.

Nevertheless, Tchaikovsky changed the dedication of the concerto to Brodsky, who, in the years to come, made a great reputation by playing the work. Eventually Auer recanted his opinion, playing the work many times as well as teaching it to other violinists, and it was not long before the concerto became established as one of the glories of the Romantic concerto repertoire. Whether Hanslick ever changed his estimation of the work is not known. ●

“The violin is no longer played. It is yanked about. It is torn asunder.”

—Eduard Hanslick

Symphony No. 4 in f minor, Op. 36

Tchaikovsky was an exceptionally effective composer of program (descriptive) music; his symphonic poems and ballets are prime examples. In his mind, however, there was no rigid distinction between absolute and program music: Most of his major works have a program of some sort, however hidden it may be. It was with the Fourth Symphony that Tchaikovsky came into his own as a symphonist: It was stronger, more individual, and more revolutionary than the first three. The work was completed in Venice in December of 1878, and first performed in Moscow in March of the following year. The premiere was not a success, due mainly to a poorly-rehearsed orchestra.

The composition of the symphony took place around the most catastrophic personal crisis in his life, namely his disastrously failed marriage. In July of 1877, shortly after sketching the first three movements of the symphony, he married a young conservatory student who had shown great interest in him for some time. Tchaikovsky, who had been homosexual all of his life, realized almost immediately that he had made a huge mistake, and after a short time fled to his brother’s house in St. Petersburg. He had something akin to a nervous breakdown, made a rather pathetic attempt to commit suicide, and finally went to Switzerland to recover. It was at this time that another woman entered the composer’s life, a wealthy widow named Nadezhda von Meck.

Madame von Meck first became interested in Tchaikovsky’s music the previous year.

Ultimately, she provided him with a generous annual stipend on the condition that the two of them were never to meet. This extraordinary relationship lasted for some 14 years and was maintained exclusively by voluminous correspondence. On the two occasions when they accidentally found themselves in the same place, they passed by each other without speaking. One other fascinating aspect of this saga is that in 1884 von Meck’s son Nikolai married one of Tchaikovsky’s nieces. At any rate, shortly after the symphony was completed, von Meck received from Tchaikovsky a program on which the work was supposedly based.

The famous brass theme with which the work begins is described by the composer as follows, and sums up the quintessence of the continued on 16

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PROGRAM NOTES .

symphony: “This is FATE, that force which hampers the search for happiness, which ensures that peace and happiness will not be complete, which hangs over your head like the Sword of Damocles, and which constantly poisons the soul. It is invincible, and you will never overcome it. You can only submit to it, and languish helplessly.” Overall, the pattern of the symphony as he saw it is: first movement—dejection; second movement— reminiscences both poignant and happy; third movement—intoxication; and fourth movement—joy in the happiness of others. ●

Wolfgang Amadeus Mozart Born January 27, 1756, in Salzburg, Austria Died December 5, 1791, in Vienna, Austria

Overture to Don Giovanni

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

Approximately 7 minutes.

This powerful opera is based on the legends of Don Juan, a fictional libertine and seducer, and it can be said that the Don and Faust were created by the CounterReformation as warnings against exceeding the boundaries set for man: Faust for seeking metaphysical knowledge and power; Don Juan for living in unbounded sensuality without any spiritual belief.

In the end, both are overtaken by divine retribution. Created by Mozart and his librettist Lorenzo da Ponte in 1787, Don Giovanni brought all of these old popular legends to the stage in what was the most complex and modern music of its time.

Commissioned by an Italian opera company in Prague, the opera blended elements of

“… a miracle of productivity, the highpoint of [Mozart’s] instrumental composition.”

—Alfred Einstein

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high tragedy with the low and frequently risqué humor of the opera buffa, or opera with humorous subject matter. The role of Don Giovanni embraces this duality by depicting an aristocratic gentleman whose sexual adventures and open philosophy lead him to disavow the dignity of his class, transgress society’s moral codes, and cross the line from pleasurable risk to destruction and death. Looked at another way, the Don is everything and nothing who dominates every moment of the action, even when he is not on stage. In the process, the opera blends comedy, melodrama, and supernatural elements. Don Giovanni was performed in October of 1787 for a visit to Prague by the Archduchess Maria Theresa of Austria, niece of the Emperor Joseph II. It was a huge success, as was often true of Mozart’s work in Prague. The opera’s final ensemble (the scene after the Don is dragged down to hell by demons) was generally omitted until the early 20th century, a tradition that appears to have begun very early on, and was sanctioned by Mozart himself. Nowadays, of course, that final ensemble—which is a kind of morality lesson—is always performed. For Mozart, it was an unusually intense work, and was not entirely understood in his time, but by the middle of the 19th century was recognized as one of the greatest of all operas. The opening section of the overture is taken almost entirely from the scene in which the statue of the slain Commendatore confronts the Don, and in doing so, Mozart daringly anticipates the crucial event of the whole opera. In performances of the opera, the end of the overture slows down and blends into the beginning of the first act, but in concert, it is usual to use the ending created

by Johann Andre. ●

Piano Concerto No. 25 in C Major, K. 503 Scored for solo piano, flute, 2 oboes, 2 bassoons, 2 horns, 2 trumpets, timpani, and strings.

Approximately 30 minutes.

From his childhood, Mozart was closely associated with the piano, both as a performer and composer. When he was only four, he had already demonstrated his remarkable abilities at the keyboard, and just three years later he embarked on an extended concert tour of Europe, at which time he garnered astonished praise from

members of the nobility and professional musicians. At these concerts, the young Mozart would improvise on themes given to him by members of the audience, and these improvisations were often so successful that some of them were later written down and published. Later on, during the years 1784–1786, he produced what biographer Alfred Einstein referred to as “… a miracle of productivity, the highpoint of his instrumental composition.” In that astonishingly short period of time, he produced his six Haydn string quartets, the “Prague” Symphony, the opera The Marriage of Figaro, and twelve piano concertos, six of which date from 1784 alone. If one considers the extraordinarily high quality of these works, there is ample justification for considering this feat the greatest outpouring of genius in music history. In no other composer is so much sublime music concentrated in the area of the piano concerto as Mozart, and, indeed, no other composer wrote nearly as many. The piano concerto was the medium in which he most consistently excelled, and in which he most successfully combined the elements of virtuosity and profundity, and it may also be said that he perfected the form, in the process giving us the first truly great piano concertos in history. As Mozart’s mastery of the genre developed, he eschewed the popular, small-scale, lightly scored concertos that were in vogue at the time, and that were mainly written for amateurs. Instead, he took as his model the tightly constructed keyboard concertos of J.C. Bach that featured innovative melodic content and a largerthan-normal orchestra. The unique and profound estimation of his art and his world that was developing gave him the ability to fashion a new type of concerto consisting of a collaborative dialogue between the soloist and the orchestra, rather than just alternating solo passages and orchestral ones.

He saw no need for radical formal changes, but his infinitely resourceful genius enabled him to find new ways of expanding and enlivening the traditional concerto form. All but six of Mozart’s original piano concertos were written for his own use, and what is curious is that all six of those exceptions were written for female performers.

The present concerto was completed by Mozart in December of 1786. Although two more concertos would follow, this is the last of what are considered the twelve great piano concertos written in Vienna between 1784 and 1786, and it is now considered one of his

PROGRAM NOTES .

greatest masterpieces in the concerto genre.

Although he did play it on several occasions, it was not performed again in Vienna until after his death, and it only gained general acceptance in the latter part of the 20th century. The concerto was originally written for the fortepiano (the predecessor of the modern piano) but has a much lighter touch and sound. Also, there is no cadenza in the work because Mozart improvised them at his concerts, and so performers of his concertos were expected to provide their own. In the years after this work was completed, Mozart witnessed a dramatic decline in the demands for his services in Vienna as a composer, pianist, and teacher, and he soon lost the financial ability to support his oncesuccessful concert series. ●

Franz Joseph Haydn

Symphony No. 101 in D Major, “The Clock” Born March 31, 1732, in Rohrau, Austria Died May 31, 1809, in Vienna, Austria

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

Approximately 28 minutes.

There are few more heartwarming episodes in music history than the story of Haydn’s two visits to London, and how they came about.

He had spent most of his composing career— some 28 years—in provincial obscurity as court composer for the wealthy and culturally aware Prince Nikolaus Eszterhazy, even as his reputation grew throughout Europe.

When the Prince died in 1790, his culturally unaware son Anton largely disbanded the family musical establishment, at which point Haydn moved to Vienna and immediately received many tantalizing employment offers.

The most attractive one came from a Germanborn violinist and impresario named Johann Peter Salomon, who offered Haydn a large sum of money to come to London to present some new compositions in an extended series of concerts. Making his first-ever trip outside Austria, Haydn arrived in England on New Year’s Day 1791, and the first set of what proved to be wildly successful concerts began that March. Suddenly, he found himself the center of attention in a major foreign capital, where he was entertained by the nobility and by the royal family; became Dr. Haydn, with an honorary degree from Oxford; through performances, benefit concerts, teaching, and publications became wealthy beyond

The New Mexico Philharmonic

“… it lays claim to being the greatest last movement of Haydn’s career.”

—H.C. Robbins Landon

his dreams; and received the plaudits of his fellow musicians and a large number of music lovers. The London years in Haydn’s career (1791–1792 and 1794–1795) were distinguished by a remarkable number of masterpieces in all genres, but when looked at as a whole, it is his last 12 symphonies that have consistently been public favorites and that seem to contain more than any other form the true essence of the man’s personality.

These extraordinary works represent the zenith of his art as a symphonist: the freedom, the variety of form, and richness of invention make each symphony a unique and entirely fresh experience, none of which was lost on his extremely enthusiastic English audiences.

At the time, the finest players in London were employed at the rival Professional Concert Series, but through rigorous training Salomon and Haydn forged an orchestra of impeccable ensemble and deep musical understanding.

Haydn began this beloved symphony in Vienna in 1793, completed it in London in February of 1794, and led the first performance there that March. Eighteen months separated Haydn’s two London visits, and few external events in his life had stimulated him like those two visits.

He was full of fresh, new ideas, and he now realized that the London audience was as sophisticated as any in the world. This symphony was popular right from the start, and at the first performance, both the first and second movements had to be repeated.

Throughout the composing of the London Symphonies, Haydn developed his orchestral technique, generally increasing the scale and grandeur of the works and making innovations in form and scoring. Here, the first movement is constructed on a large sale with a long development section full of ingenious twists and turns of harmony and orchestration. The second movement opens with the famous evocation of a grandfather clock created by pizzicato lower strings and staccato bassoons. The third movement is a conventional minuet and trio, but expanded in scale in comparison to anything Haydn had yet written. In fact, it is the longest

minuet and trio he ever composed. It is village band music, featuring missed cues, late entrances, and even wrong notes! The finale is an outpouring of nonstop brilliance built from a few remarkably simple musical ideas, from folk song to a magnificent double fugue, and in the words of the Haydn scholar H.C. Robbins Landon, “… it lays claim to being the greatest last movement of Haydn’s career.”

In spite of the enormous success of the premiere, it did not find immediate favor with the critics, who looked upon the innovations as errors or lapses of good taste. Time has proven those early critics to be way off base, and this magnificent “Clock” symphony is now generally regarded as one of the greatest symphonies in the repertoire. ●

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LEGACY SOCIETY

GIVING FOR THE FUTURE Your continued support makes this possible. The Legacy Society represents people who have provided long-lasting support to the New Mexico Philharmonic through wills, retirement plans, estates, and life income plans. If you included the NMPhil in your planned giving and your name is not listed, please contact (505) 323-4343 to let us know to include you.

Jo Anne Altrichter & Robin Tawney Maureen & Stephen Baca Nancy Berg Sally A. Berg Thomas C. Bird & Brooke E. Tully Edison & Ruth Bitsui Eugenia & Charles Eberle Bob & Jean Gough Peter Gregory Ruth B. Haas Howard A. Jenkins Walter & Allene Kleweno Louise Laval Dr. & Mrs. Larry Lubar

Thomas J. Mahler Cynthia Phillips & Thomas Martin George Richmond Eugene Rinchik Barbara Rivers Terrance Sloan Jeanne & Sid Steinberg William Sullivan Dean Tooley Betty Vortman Maryann Wasiolek William A. Wiley Dot & Don Wortman 9/3/2019

â—?

ARTISTS .

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

Highlights of Minczuk’s recent seasons include the complete Mahler Symphony Cycle with the Calgary Philharmonic Orchestra; Bach’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 2016/17 season, he made return visits to the Israel Symphony Orchestra, as well as the Teatro Colón Philharmonic and Orchestra Estable of Buenos Aires.

A protégé and close colleague of the late Kurt Masur, Minczuk debuted with the New York Philharmonic in 1998, and by 2002 was Associate Conductor, having worked closely with both Kurt Masur and Lorin Maazel. He has since conducted more than 100 orchestras worldwide, including the New York, Los Angeles, Israel, London, Tokyo, Oslo, and Helsinki Philharmonic Orchestras; the

London, San Francisco, Dallas, and Atlanta Symphony Orchestras; and the National Radio (France), Philadelphia, and Cleveland Orchestras, among many others. In March 2006, he led the London Philharmonic Orchestra’s 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. ●

Valerie Potter flute Valerie Potter is currently the principal flutist with the New Mexico Philharmonic. She previously performed as principal flutist of continued on 21

The New Mexico Philharmonic

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DONOR STORIES LYNN ASBURY & JOHN WRONOSKI Percussion Sponsorship, Emily Cornelius

“We love live music performances and consider ourselves fortunate to have the fantastic NMPhil in Albuquerque Sponsoring a musician seemed like a good way to not just support the NMPhil, but to learn about the musicians who keep the music alive for us and the community. We asked to sponsor Emily because the percussion section is one of our favorites, and even though the section is placed at the back of the orchestra she catches our eye as she performs, especially when she plays the bass drum. Lynn also feels a bond with Emily because she gave birth to twins and Lynn herself is a twin.”

SPONSOR A MUSICIAN GEORGE & SIBILLA BOERIGTER Concertmaster Sponsorship, Krzysztof Zimowski

WE INVITE YOU TO ENGAGE MORE DEEPLY WITH THE ORCHESTRA AND ITS MUSICIANS. This new program comes with wonderful benefits that give you a chance to develop a personal relationship with one of our stellar musicians. Please call (505) 323-4343 to find out the benefits and cost of sponsorship.

SPONSOR TODAY

(505) 323-4343

“I am very excited to sponsor Krzysztof our Concertmaster. It will give my wife and me the opportunity to form a lifetime friendship that is surrounded by music.”

—George Boerigter

Lynn Asbury

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2019/20 Season / Volume 9 / No. 1

Emily Cornelius

George & Sibilla Boerigter

ARTISTS . continued from 19 the New Mexico Symphony and has held the piccolo position with the Santa Fe Opera Orchestra since 1994. A student of James Pellerite, she received her Bachelor of Music from Indiana University with a performer’s certificate. Ms. Potter also received a Master’s of Music from Yale University where she studied with Tom Nyfenger. She has performed with many orchestras across the country including the Cincinnati Symphony, the Detroit Symphony, the San Antonio Symphony, the San Francisco Symphony, and the Houston Symphony.

She has been featured as a soloist with the New Mexico Symphony, performing the CPE Bach Concerto in d minor and the Concerto for Flute and Harp by Mozart and was a soloist in the Santa Fe Chamber Music Festival’s performance of Bach’s Brandenburg Concerto No. 4. She has been a member of the faculty of the Cincinnati CollegeConservatory of Music and is currently serving as Associate Professor of Flute at the University of New Mexico.

Ms. Potter has been featured as a performer at several National Flute Association conventions. She has also been an invited artist and clinician at several flute fairs and is in demand as a chamber musician. In 2007, she served as the local coordinator for the NFA Convention. Ms. Potter’s discography includes a recording of twentieth-century wind quintet repertoire with the New Mexico Winds.●

Krzysztof Zimowski violin Born in Wroclaw, Poland, violinist Krzysztof Zimowski began his musical studies at the age of six. He participated in music schools and programs organized by La

Federation International des Jeunesses Musicales (International Federation of Young Musicians); he was concertmaster of the Weikersheim and Bayreuth Symphony Orchestras (Germany), working with Franz Paul Decker (OSM). In 1976, Mr. Zimowski joined the L’Orchestre Mondial des Jeunesses Musicales (World Youth Orchestra) in Brussels and Paris, conducted by maestro Jean Martinon, with extraordinary participation of maestro Henryk Szeryng.

He was also appointed concertmaster of the State Opera Orchestra in Wroclaw while still a student at the Wroclaw Academy of Music.

He graduated in 1977 with a Master’s degree (high honors) in violin performance.

During this active career as a student and orchestral musician, Mr. Zimowski continued to be a soloist in high demand throughout Poland, the Czech Republic (former Czechoslovakia), and Germany. It was during this time that he became more interested in chamber music, forming many ensembles, and enrolling in masterclasses with eminent violinist Henryk Szeryng.

Following this intense period of study, Mr. Zimowski entered the competition circuit, garnering third prize in the Karol Szymanowski National Music Competition (Warsaw, 1977). Bolstered by his success, he took the international stage, entering both the Carl Flesch International Violin Competition (London, 1978) and the 6th J.S. Bach International Violin Competition (Leipzig, 1980). He then enrolled for advanced violin studies at the Morley College of Music in London under the guidance of Simon Goldberg and Perry Hart.

In 1981, Mr. Zimowski joined the Mexico City Philharmonic Orchestra, receiving critical acclaim for his solo appearance in a concert dedicated to the victims of Mexico City’s earthquake. He was appointed joint-concertmaster and soloist of the Mexico City Philharmonic when they toured Europe, South America, and the United States—the country that eventually became his home in 1986. He moved to Albuquerque, where he formed the Helios String Quartet, an ensemble-in-residence at the Placitas Artists Series. Mr. Zimowski performed with the Phoenix Symphony, Santa Fe Opera, Santa Fe Symphony, and Santa Fe Pro Musica. He was also the concertmaster and soloist of the Chamber Orchestra of Albuquerque. In October 1986, he began his long association with the New Mexico Symphony Orchestra, becoming Associate Concertmaster in 1995 and

Concertmaster and soloist in 1999. He was the featured soloist in Mendelssohn’s Violin Concerto during the NMSO’s 12-city New Mexico tour 2001. During the 2009 season, he performed the New Mexico premiere of Karol Szymanowski’s First Violin Concerto.

He currently serves as Concertmaster of the New Mexico Philharmonic and the Opera Southwest Orchestra.

During the summer, Mr. Zimowski performs with the Grant Park Orchestra in the world-renowned Grant Park Music Festival at Millennium Park in Chicago. Along with his wife Urszula—herself an opera singer—he makes his home in Albuquerque.

●

Kathleen McIntosh harpsichord Harpsichordist Kathleen McIntosh has been a Santa Fe Chamber Music Festival artist since 1996 and has performed in festivals in the United States, Cuba, Japan, Peru, Spain, and Germany. She has appeared as soloist with chamber orchestras in places as diverse as Russia and Vietnam, and taught in Havana, Lima, and Opole (Poland). An enthusiastic performer of contemporary music, she has premiered works by Melinda Wagner, Leo Brouwer, John Steinmetz, Carl Mansker, and many others, and she will premiere a work by Gregory Spears with Chatter on October 12 and 13, 2019. A resident of Santa Fe, New Mexico, McIntosh has appeared with Severall Friends, the Santa Fe Symphony, Santa Fe Pro Musica, and Serenata of Santa Fe. She can be heard on Maricam Studio and Gasparo recordings. ●

continued on 22 The New Mexico Philharmonic

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ARTISTS . continued from 21

Paul Huang violin Recipient of the prestigious 2015 Avery Fisher Career Grant and the 2017 Lincoln Center Award for Emerging Artists, violinist Paul Huang is considered to be one of the most distinctive artists of his generation. The Washington Post proclaimed Mr. Huang as “an artist with the goods for a significant career” following his recital debut at the Kennedy Center.

This summer, Mr. Huang made his highly acclaimed debut at the Bravo! Vail Music Festival stepping in for violinist Anne-Sophie Mutter in Mozart’s Violin Concerto No.4 with Chamber Orchestra Vienna-Berlin. Recent and forthcoming engagements include his recital debut at the Lucerne Festival in Switzerland, Aspen Music Festival, as well as appearances with the Mariinsky Orchestra with Valery Gergiev (St. Petersburg’s White Nights Festival), Berliner Symphoniker with Lior Shambadal (Philharmonie Berlin debut), Detroit Symphony Orchestra with Leonard Slatkin, Houston Symphony with Andres Orozco-Estrada, Orchestra of St. Luke’s with Carlos Miguel Prieto, Seoul Philharmonic, Baltimore Symphony and Grant Park Festival Orchestra with Markus Stenz, North Carolina Symphony and Charlotte Symphony with Gemma New, Buffalo Philharmonic with JoAnn Falletta, Pacific Symphony with Carl St. Clair, National Symphony Orchestra of Taiwan with Shao-chia Lu, and the Taipei Symphony with Jahja Ling (both in Taipei and on a U.S. tour). The 2019/20 season will also see Mr. Huang giving the German premiere of Tan Dun’s Violin Concerto “Fire Ritual” with the Nuremberg Symphony with Kahchun Wong and appearances in the U.S. with the Tucson Symphony, New Mexico Philharmonic, Long Beach Symphony, Brevard Symphony, and Mobile Symphony.

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2019/20 Season / Volume 9 / No. 1

Recital and chamber music performances this season will include Mr. Huang’s recital debut for People’s Symphony Concerts in New York, a recital tour across North America and Taiwan with pianist Helen Huang, as well as his debut at the Wolf Trap in Washington, D.C. He will also return to Camerata Pacifica in Santa Barbara and the Chamber Music Society of Lincoln Center for three separate tours in the U.S., Europe, and the Far East.

Mr. Huang’s recent recital engagements included Lincoln Center’s “Great Performers” series and a return engagement at the Kennedy Center, where he premiered Conrad Tao’s “Threads of Contact” for violin and piano with pianist Orion Weiss. He also stepped in for Midori with Leonard Slatkin and the Detroit Symphony Orchestra to critical acclaim. Mr. Huang has also made debuts at Wigmore Hall, Seoul Arts Center, and the Louvre in Paris.

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

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

A frequent guest artist at music festivals worldwide, he has performed at the Seattle, Music@Menlo, Caramoor, Bridgehampton, La Jolla, Santa Fe, Moritzburg, Kissinger Sommer, Sion, and Orford Musique music festivals, as well as the PyeongChang Music Festival in Korea. His collaborators have included Gil Shaham, Cho-Liang Lin, Nobuko Imai, Mischa Maisky, Jian Wang, Frans Helmerson, Lynn Harrell, Yefim Bronfman, and Marc-Andre Hamelin.

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

Born in Taiwan, Mr. Huang began violin lessons at the age of seven. He is a proud recipient of the inaugural Kovner Fellowship at The Juilliard School, where he earned his Bachelor’s and Master’s degrees under Hyo Kang and I-Hao Lee. He plays on the legendary 1742 “ex-Wieniawski” Guarneri del

Gesù on extended loan through the Stradivari Society of Chicago. For more information, visit paulhuangviolin.com. ●

Anna Dmytrenko piano Ukrainian-American pianist Anna Dmytrenko has dedicated her life to music from a young age, starting piano lessons at age four. Described as “a fine combination of keyboard mastery and elegant refinement,” she has performed extensively throughout the United States and Europe at such renowned venues as Carnegie Hall, Kimmel Center of Performing Arts, Lincoln Center, Temple Emanu-El, Auditorium Gaber, Paris Philharmonie, Salle Cortot, Popejoy Hall, and Teatro Sociale di Como, among others.

Anna Dmytrenko has won prizes in many international piano competitions including the Concorso Internazionale Pianoforte e Orchestra Citta di Cantu (First Prize) for performing Prokofiev’s Piano Concerto No. 2 (Mihail Jora Philharmonic Orchestra Bacău, with conductor Ovidiu Balan), Manhattan International Music Competition (First Prize), the American Prize in Piano Performance (First Prize), Dorothy MacKenzie Artist Recognition Competition (First Prize), Viardo International Piano Competition (First Prize), Bradshaw and Buono International Piano Competition (First Prize), Ricard Viñes International Piano Competition (Third Prize) for her performance of Tchaikovsky Piano Concerto No. 1 (Orquestra Simfonica del Valles, with conductor Ruben Gimeno Martinez), and the New York International Piano Competition (Third Prize) where her performances were broadcast on the Young Artists Showcase on WQXR Radio. In 2016, at the first Olga

ARTISTS .

Kern International Piano Competition, Dmytrenko received three awards: Second Prize, the Audience Choice Award, and the Best Contemporary Piece Prize, where she performed Prokofiev’s Piano Concerto No. 2 with the New Mexico Philharmonic under the baton of Vladimir Kern.

Recent performances with orchestras include the Orchestre de Chambre de Paris performing Beethoven’s Piano Concerto No. 3, which Dmytrenko conducted from the keyboard; the New Mexico Philharmonic performing Mozart’s Piano Concerto No. 21 with Roger Melone conducting; and the KwaZulu-Natal Philharmonic Orchestra performing Saint-Saëns’ Piano Concerto No. 2 with Daniel Boico conducting.

An active chamber musician, Ms. Dmytrenko was selected to participate in the Swiss Verbier Festival Academy in 2016.

While studying in London for her Bachelor’s degree, Dmytrenko enjoyed performing both solo and chamber music in venues such as St. Paul’s Bedford, Windsor Parish Church, St. Mary’s Perivale, St. Martin-inthe-Fields, Steinway Hall, and Regent Hall, among others.

Ms. Dmytrenko has recently recorded her debut album, entitled Anna Dmytrenko: Live in Recital, performing works by Medtner, Rachmaninoff, and Barber.

An advocate for cancer research, Dmytrenko works to bring awareness to clinical studies of promising new treatments.

Anna Dmytrenko began her musical studies at the Mariupol School of Music in Ukraine. Following her relocation to the United States in 1998, she furthered her musical education at the Juilliard School PreCollege Division with Oxana Yablonskaya.

She received her Bachelor’s degree with Regents Award from the Royal Academy of Music in London under the tutelage of Christopher Elton.

She is currently based in Berlin, Germany, where she obtained two Master’s degrees (in solo and in chamber music) at the University of the Arts with Pascal Devoyon.

In addition to her piano studies, Anna also completed Harvard Business School’s Credential of Readiness (CORe) online program with honors. ●

NMPHIL .

COMMUNITY CONNECTION THE NMPHIL’S YOUNG MUSICIAN INITIATIVE ENCOURAGES CIVIC ENGAGEMENT THROUGH FREQUENT PUBLIC CONCERTS. Student ensembles have performed at the Balloon Fiesta, the New Mexico State Capitol, schools, museums, senior centers, cultural festivals, and more. See them onstage with the New Mexico Philharmonic on May 2, 2020, as part of our Carmina Burana Fundraising Special! ●

POPEJOY CLASSICS

Saturday, May 2, 2020, 6:00 p.m.

MAY

2

Carmina Burana!

FUNDRAISING SPECIAL Roberto Minczuk Music Director New Mexico Symphonic Chorus Commission TBD Orff Carmina Burana O Fortuna! The New Mexico Symphonic Chorus teams up with the New Mexico Philharmonic for Carl Orff’s choral masterpiece Carmina Burana!

Powerful, inspirational, and captivating—with a global following that spans eight decades. Featured in films including Excalibur, The Matrix Revolutions, and many more—to the soundscape for annual events like the Daytona 500. Experience the unparalleled power and passion in this special concert benefiting your NMPhil.

Popejoy Hall / 203 Cornell Dr NE / Albuquerque, NM 87106 (505) 925-5858 / unmtickets.com / nmphil.org

The New Mexico Philharmonic

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NMPHIL

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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.

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.

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PER SEASON VALID 9/2019 TO 8/2020

ACCESS THE ENTIRE SEASON FOR JUST $30!

Your card gives you access to at least 20 concerts with your NMPhil during the 2019/20 season.

Unlimited Concerts

Reserve one ticket to any Classical, Afternoon Classics, Rock & Pops, Neighborhood, or Zoo concert.

Access to the Best Seats

Reserve tickets to the best available seats. From the balcony to the main floor, the choice is yours.

Bring a Friend Free

Popejoy Classics: 11/23/19; 2/15/20 Afternoon Classics: 1/12/20; 4/19/20 Rock & Pops: 12/21/19 Neighborhood: 2/22/20 Zoo Concert: Memorial Day Weekend 5/23/20

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.

PLAN A WISE GIVING STRATEGY

nmphil.org/ways-to-donate

24

2019/20 Season / Volume 9 / No. 1

TO PURCHASE OR FOR MORE INFORMATION Call (505) 323-4343 Online nmphil.org/soundcard In Person 3035 Menaul Blvd NE Suite No. 2 Albuquerque, NM 87107

BOARD OF DIRECTORS Maureen Baca President Anthony Trujillo Vice President

New Mexico Philharmonic

David Peterson Secretary

The Musicians

FIRST VIOLIN Krzysztof Zimowski Concertmaster David Felberg Associate Concertmaster Sarah Tasker Assistant Concertmaster Joan Wang Jonathan Armerding Steve Ognacevic Kerri Lay Barbara Rivers Nicolle Maniaci Barbara Scalf Morris SECOND VIOLIN Gabriela Fogo • Carol Swift •• Julanie Lee Anthony Templeton Michael Shu Donna Bacon Lidija Peno Sheila McLay + Anna Quintero ++ Heather MacArthur Brad Richards Eric Sewell VIOLA Laura Chang • Kimberly Fredenburgh •• Allegra Askew Christine Rancier Laura Steiner Virginia Lawrence Willy Sucre Joan Hinterbichler Lisa DiCarlo

CELLO Joan Zucker •+ James Carney ++ Carol Pinkerton ••+ Annabelle Hoffman ••++ 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 •••

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

PICCOLO Sara Tutland

TUBA Richard White •

OBOE Kevin Vigneau • Amanda Talley

TIMPANI Douglas Cardwell •

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

PERCUSSION Jeff Cornelius • Kenneth Dean Emily Cornelius HARP Matthew Tutsky •

Kory Hoggan Treasurer Thomas Domme J. Devon Hyde Anne McKinney Jeffrey Romero Edward Rose, MD Rachael Speegle Al Stotts Marian Tanau Michael Wallace ADVISORY BOARD Thomas C. Bird Lee Blaugrund Clarke Cagle Roland Gerencer, MD Larry Lubar Heinz Schmitt William Wiley STAFF Marian Tanau Executive Director Roberto Minczuk Music Director Christine Rancier Director of Business Management Alexis Corbin Director of Education & Outreach Matt Hart Production Manager Shea Perry Personnel & Operations Manager Allison Tutton Principal Librarian Jeremiah Fernandez Assistant Librarian Eric Sewell Copyist Nancy Pressley-Naimark Office Manager Crystal Reiter Assistant Office Manager Mary Montaño Grants Manager

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

The New Mexico Philharmonic

Joan Olkowski Design & Marketing Lori Newman Editor Sara Tutland Ensemble Visits Coordinator

nmphil.org

25

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 The Meredith Foundation

MOZART CIRCLE Donation of $10,000– $24,999 Bernalillo County Commission Deborah Borders Art Gardenswartz & Sonya Priestly Mary Herring 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, in memory of Florence Parker Cynthia Phillips & Thomas Martin Sandia Foundation, Hugh & Helen Woodward Fund Dr. Dean Yannias

BRAHMS CIRCLE Donation of $5,000–$9,999 Albuquerque Community Foundation, The CavettWalden Grant Albuquerque Community Foundation, The Ties Fund Anonymous Anonymous Paula & William Bradley William E. Cates Cover Family Giving Fund Nance Crow-Sullivan & Molly Saunders, in loving memory of Bill Sullivan Eugenia & Charles Eberle

26

Bob & Fran Fosnaugh Tanner & David Gay Keith Gilbert Hancock Family Foundation William H. & Matatie Wattis Harris Foundation Holman’s Foundation Robert & Elisa Hufnagel Hunt Family Foundation Harry & Elizabeth Linneman Dr. & Mrs. Larry Lubar Menicucci Insurance Agency Jan Mitchell, in memory of Gwendolyn D. Mitchell New Mexico Arts George & Mary Novotny Bob & Bonnie Paine, in memory of Allyra Jameson & Ann Stinchcomb The Schmidt-Nowara Family, in memory of Christopher Schmidt-Nowara Terrence Sloan The Swalin Family Marian & Jennifer Tanau Richard Van Dongen John Wronosky & Lynn Asbury X-Ray Associates of New Mexico, P.C.

CHOPIN CIRCLE Donation of $3,500–$4,999 Linda & Carl Alongi The Cates Team/RBC Wealth Management David & Mary Colton David & Ellen Evans Cynthia & Thomas Gaiser Jonathan & Ellin Hewes Myra & Richard Lynch Karl & Marion Mueller Scott Obenshain Robertson & Sons Violin Shop Melissa & Al Stotts United Way Community Fund The Verdes Foundation William A. Wiley & Diane Chalmers Wiley Lance Woodworth

GRACE THOMPSON CIRCLE Donation of $1,933–$3,499 Albuquerque Involved Meg Aldridge Scott Alexander Marie Jo Anderson & Carl C. Anderson, Sr Charitable Foundation Anonymous The Baca Family, in memory of George H. Baca Thomas Bird & Brooke Tully Nancy & Cliff Blaugrund Ann Boland

2019/20 Season / Volume 9 / No. 1

Ronald Bronitsky, MD, in honor of Anastasiya Naplekova, Hedwig Bronitsky, & Robert Alexander Century Bank Richard & Margaret Cronin D’Addario Foundation Virginia & Richard Feddersen Firestone Family Foundation Frank & Christine Fredenburgh Madeleine Grigg-Damberger & Stan Damberger Chris & Karen Jones Bonnie & Hank Kelly Walter & Allene Kleweno Virginia LeRoy Tyler M. Mason Kathy & John Matter Edel & Thomas Mayer Foundation Bob & Susan McGuire Ruth Mondlick, in memory of Martin I. Mondlick Moss-Adams LLP Ruth & Charles Needham David & Audrey Northrop Carol & Gary Overturf Dick & Marythelma Ransom Sandra P. & AFLt/Col (r.) Clifford E. Richardson III, in loving memory of Priscilla L. & Clifford Eugene Richardson Jr. & Josephine Anne & Angelo “A.J.” Asciolla Steve Ridlon, in memory of Casey Scott Edward Rose Ellen Ann Ryan Vernon & Susannah Smith Susan Spaven, in honor of Carla Lehmeier-Tatum U.S. Bank Foundation Kathleen & David Waymire

BACH CIRCLE Donation of $1,000–$1,932 Leah Albers & Thomas Roberts Robert Anderson Christopher Apblett Phillip Askenazy, in memory of Alex Askenazy Edward & Leslie Atler Ellen Bayard & Jim O’Neill Gay & Stan Betzer Deborah Blank James Botros Robert Bower & Kathryn Fry Patricia Broyles Dawn & Joseph Calek Edwin & Deborah Case, in memory of Debbie Case Daniel & Brigid Conklin, in memory of Dr. C.B. Conklin John Crawford & Carolyn Quinn Krys & Phil Custer

Thomas & Martha Domme Gertrude Frishmuth Helen Fuller GE Foundation Dennis & Opal Lee Gill Laurence Golden A. Elizabeth Gordon Jean & Bob Gough Steve Hamm & Mary Kurkjian Katherine & Roger Hammond Harris Hartz Dr. Carlton Holte & Sheryl Guterl Rosalyn Hurley Sue Johnson & Jim Zabilski Stephanie & David Kauffman Virginia Lawrence, in memory of Jean Sharp Linda S. Marshall Jean & William Mason Jackie & C. Everett McGehee Ina S. Miller Martha Miller Ranne B. Miller & Margo J. McCormick Mark Moll Judy & Michael Muldawer Musicians Association of Albuquerque, Local 618 Ed & Nancy Naimark Gretchen & Tom Obenauf Stuart & Janice Paster Mike Provine Mary Raje, in memory of Frederick C. Raje Dr. Barry & Roberta Ramo Kathryn & Chris Rhoads Jay Rodman & Wendy Wilkins Scott & Margaret Sanders Janet & Michael Sjulin Paula M. Steinberg David E Stinchcomb, in memory of Ann Stinchcomb Conrad & Mary Strohacker Jane & Doug Swift Fund for Art & Education Betty & Luke Vortman Endowment Judy Basen Weinreb & Peter Weinreb Robert & Trudy White Bill & Janislee Wiese Alice Wolfsberg Dolly Yoder Carol Zulauf

CONCERTMASTER CIRCLE Donation of $500–$999 William & Ona Albert Albuquerque Community Foundation, Maisel/Goodman Charitable Endowment Fund Atkinson & Co., Clarke Cagle Tonianne Baca-Green Sally Bachofer

Daniel Balik Bank of America Charitable Foundation Dorothy M. Barbo Monica Boehmer, in memory of Leonie Boehmer Rod & Genelia Boenig Timothy Briggs Michael & Cheryl Bustamante Drs. Kathleen L. Butler & M. Steven Shackley Bill Byers Thomas Gordon Cagle Carol Callaway Drs. Lee & Kelly Caperton CarMax Ricardo Castillo Margaret Chaffee Edith Cherry & Jim See Jane & Kenneth Cole Mark & Susan Conradi Douglas Doll Patricia & Leonard Duda Thomas Dyble Mary Lou Edward, in honor of Camile Carstens ExxonMobil Foundation Gail Feldman Howard & Debra Friedman Charles & Judith Gibbon Mark Goodman Barbara & Berto Gorham Peter Gould Sharon Gross Ron & Nancy Halbgewachs Margaret Harvey & Mark Kilburn Ulton & Jean Hodgin Noelle Holzworth Thomas & Greta Keleher Suzanne Kelsey, in memory of Bill Sullivan Woody & Nandini Kuehn Stephanie & Kenneth Kuzio Rita Leard Kathleen D. Lebeck Dwayne & Marjorie Longenbaugh John & Kathleen Mezoff Robert Milne & Ann DeHart, in memory of Clare Dreyer Paul Mondragon Richard Moore Robert & Claudia Moraga Mardell Morrow Lynne Mostoller & Kathryn McKnight Elias Nasr Charles Olguin Bethe Orrell Jerald & Cindi Parker Rada Potts Kenneth & Diane Reese Deborah L. Ridley Elizabeth Robertson

DONOR CIRCLES .

Joan Robins & Denise Wheeler, in memory of Sue & Mel Robins John & Faye Rogers Ruth Ronan Glenn Rosenbaum Richard & Pamela Salmon Nancy Scheer Howard & Marian Schreyer Chris Schroeder Gary Singer Conrad & Marcella Stahly Philip Stanton Wes & Marilyn Steiner Charles & Flossie Stillwell Sturges-Draper Family Charitable Fund Suzanne Taichert, in memory of Bob & Zane Taichert Jeffrey & Elizabeth Thomsen Gehron & Michelle Treme Marianne Walck Patricia & Robert Weiler Carl G. & Janet V. Weis Dr. & Mrs. Albert Westwood Jeremy Wirths David & Evy Worledge Lei Yang Michael & Jeanine Zenge

PRINCIPALS CIRCLE Donation of $125–$499 Dr. Fran A’Hern-Smith Gerald Alldredge Roger Ames Jerry & Jo Marie Anderson Anderson Organizing Systems Anonymous Anonymous Janice J. Arrott Richard & Linda Avery David Baca Diane & Douglas Brehmer Bailey Genevieve Baker Jan Bandrofchak & Cleveland Sharp Elinore M. Barrett Steve & Nancy Bassett Fred L. Beavers Edie Beck Hugh & Margaret Bell, in memory of Joan Allen Kristi Bemis-Standoli Peter Bernstein & Debbie Erfer, in memory of Stan & Lea Bernstein Marianne Berwick Waldemar Boehmer, in memory of Leonie D. Boehmer Ann & James Bresson Lee Calderwood Dante & Judith Cantrill Paty Carreon Ann Carson

Camille Carstens Robert E. & Shirley Case Olinda Chavez Susan Clark Virginia Clark James Connell Cathy Conrad David Corcoran Bob Crain Stephen & Stefani Czuchlewski Rosalie D’Angelo William Davidson Hubert Davis Jerry & Susan Dickinson Fran DiMarco Christel Dinkler Raymond & Anne Doberneck Janice Dosch Kathleen Economy Michael Edenburn Anne Egan Martha Egan Catherine & Paul Eichel Richard & Mildred Elrick Robert & Dolores Engstrom Stephanie Eras & Robert Hammerstein Jackie Ericksen Harry Ettinger David & Frankie Ewing Helen Feinberg Howard & Deonne Finkelstein Joy Fishel-Eaton, in memory of C.J. Eaton, MD Stanley Fitch Heidi Fleischmann & James Scott Denise Fligner & Terry Edwards Flying Star Inc. Carol Follingstad Cheryl & William Foote J. Arthur Freed Joseph Freedman & Susan Timmons Mary Day Gauer Ann Gebhart Kenneth Gillen James Robert Goldberg The Very Rev J. Mark Goodman Yvonne Gorbett Justin M. & Blanche G. Griffin Elene & Robert Gusch Kenneth Guthrie & Doni Lazar Bennett A. Hammer Joan Harris Darren Hayden Stephen & Aida Ramos Heath Douglas & Joyce Hilchie Fred Hindel Toppin & Robert Hodge Kory I. Hoggan, CPA John Homko Thomas & Mary Ann Horan Constance & James Houle

Carolyn & Hal Hudson Janet & Vincent Humann Bryan Hurt Jerry & Diane Janicke Gwenellen Janov Dal & Pat Jensen Carol Kaemper John Kahrs Sheri & Ira Karmiol Julia Kavet, in memory of Margaret Birmingham Carl & Jeanette Keim Ann King Marlin Kipp Gerald F. Kiuttu James & Helen Knoll Jennifer C. Kruger Karen Kupper William & Margie Lang Jeffery & Jane Lawrence Rebecca Lee & Daniel Rader John Linder William J. Lock Julianne Lockwood Dr. Ronald & Ellen Loehman Katherine Logan Frank & Judy Love Orlando Lucero & B.J. Jones Ruth Luckasson & Dr. Larry Davis Joanne E. Magalis Robert & Linda Malseed Jeffrey Marr Salvatore T. Martino Sallie McCarthy Jon McCorkell & Dianne Cress Brian & Jane McDonald Eugene McGuire & Rosemary Hunter Anne McKinney Albert & Linda McNiel Judith W. Mead Bernard & Mary Metzgar Jim Mills & Peggy Sanchez Mills Christine & Russell Mink Deborah & Louis Moench Jim & Penny Morris Dorothy White Morse Deborah Muldawer Albert Narath, in memory of Orval Jones NM School of Music, Tatiana Vetrinskaya Betsy Nichols Donald & Carol Norton Rebecca Okun Joyce & Pierce Ostrander Judith Pentz Richard & Susan Perry Lang Ha Pham & Hy Tran Judi Pitch PNM Resources Richard Price

Karla Puariea, in honor of Shirley Puariea Dan & Billie Pyzel David & Tracey Raymo T.D. Raymond Tim Renk Lee A. Reynis & David W. Stryker Charles & Kay Richards Deborah Ridley & Richard S. Nenoff Erika Rimson & David Bernstein Shelley Roberts & Dewey Moore Catalin Roman Jeffrey Romero Carole Ross Sofya Rubinchik Christine Sauer John & Karen Schlue Laura Scholfield Leigh Schultzberger Bruce & Sandra Seligman Richard & Susan Seligman Daniel & Barbara Shapiro Frederick & Susan Sherman R.J. & Katherine Simonson Walt & Beth Simpson George & Vivian Skadron Amanda Smith Carol Smith Smith Engineering, in memory of Linda Bolvin Steven & Keri Sobolik Stan & Marilyn Stark, in memory of Judy Hines Patricia & Luis Stelzner, in honor of Joan Zucker Brent & Maria Stevens Maria & Mark Stevens John & Patricia Stover Kevin & Judy Taira David & Jane Tallant Phyllis Taylor & Bruce Thompson Rogan Thompson Leonard Truesdell Boris Venet Rena E. Vinyard Michael Wallace Alfred Watts & Jan Armstrong David Watts Kevin Welch Lawrence Wells Margaret Wente Jeremy Weserich Jeffrey West Kay & Tad West Marybeth White Diana Whitehouse Helen M. Whitesides Jane & Scott Wilkinson Phyllis Wilson Kathryn Wissell Jae Won-Lee

Don & Dot Wortman Stanley Yager Alvin Zuckert & Louise Martin, in memory of Sam & Mimi Zuckert

FRIENDS OF THE PHILHARMONIC Donation of $25–$124 Vicki Aamodt David & Elizabeth Adams Wanda Adlesperger Natalie Adolphi & Andrew McDowell Kelly Aldridge Jeffrey Allen Arthur Alpert Jo Anne Altrichter & Robin Tawney Elizabeth Anderson Judith Anderson Oliver Anderson Judy Andrews Anonymous John Arango Shanon Arellano, in memory of Ralph Cover Audio Excellance Austin-Healey Roadrunner Club, in memory of William N. Sullivan Barbara Baca Jackie Baca & Ken Genco Thomas J. & Helen K. Baca Joyce Barefoot David & Judith Bennahum Debra & Kirk Benton Dorothy & Melbourne Bernstein Denise Bissell Jeff Bjarke Christine Blaser & Constantine Stewart Cliff & Nancy Blaugrund, in memory of Sid Skaar Thomas & Suzanne Blazier Dusty & Gay Blech Blue Sky Properties, Inc Dennis Boesen Henry Botts J.M. Bowers & B.J. Fisher Marilyn Bowman Lydia Boye Sue Bradigan-Trujillo & Theodoro Trujillo Charles Brandt Carolyn Brown James & Elizabeth Brown Allan & Barbara Brumer Elaine Burgess Elizabeth Burki James Carroll Joseph Cella Thomas Chacon Robert Chamberlin Barbara & Roscoe Champion

continued on 28 The New Mexico Philharmonic

nmphil.org

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DONOR CIRCLES . continued from 27 Kyle Champion, in honor of Barbara & Roscoe Champion J & J Chavez Douglas Cheney Kathy & Lance Chilton Barry Clark Dr. Donald Clark James & Joan Cole Randall & Valerie Cole Lloyd Colson III Patrick Conroy Alexis & Hovey Corbin Sierra Corrin John & Mary Covan Henry Daise III Ashlee Dauenhauer Kurt & Yvonne Deshayes Ronald Detry Carol Diggelman Carl & Joanne Donsbach Paula Dorris-Osborn & Larry Osborn Sheila Doucette Martin J. Doviak Matt Doxtator Jeff & Karen Duray Edward Dzienis Jr. Linda Eaton Reverend Suzanne & Bill Ebel Helene Eckrich Roger C. Entringer Philippa M. FalknerSchwendimann Darlene Fattorusso Peggy Favour John Fielder Mary Filosi Rona Fisher Rabbi Arthur Flicker Martin & Ursula Frick Neal Gerstein Lawrence Jay Gibel, MD Lois Gonzales Timothy Gonzales Janice K. Goodman Alfred & Patricia Green Erna Sue Greening Charles Gregory Friends of Marian & Larry Greher David Griffith Ginger Grossetete Kirk & Jan Gulledge Charles or Betsy Gunter Fletcher Hahn Karen Halderson Bhanu Joy Harrison Gloria B. Hawk John & Diane Hawley Patricia Henning Robert & Sara Henning Donna Hill Diane Holdridge Larisa Holiday

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Kiernan Holliday Bernhard E. Holzapfel, in memory of Barbara Holzapfel Michael Hyde Claudia Isaac, in the name of Teresa Marquez Sandra & Michael Jerome John P. Johnson Nancy Johnson, in memory of Betty Vortman Peggy Jones Robert & Mary Julyan Margaret Keller Kim Kiesow Kate Killebrew William Kirtley Karen Knoll Katherine Kraus Holly Kraynik Phil Krehbiel Deborah Krichels Hareendra & Sanjani Kulasinghe Janice Langdale Michael Langner Daniel Lee Robert Lindeman & Judith Brown Betty Logan Daniel Lopez & Linda Vigil Lopez Jessica Lopez Betty Louise Lovering Frank Maher Bruce F. Malott Joan March Jim & Helen Marquez Walton & Ruth Marshall Carolyn Martinez Janet Matwiyoff David & Jennifer Mayschak Barb McBee, in memory of William N. Sullivan Peter & Lois McCatharn Fred & Karin McDowell David McGuire David & Barbara Menicucci Kathleen Miller Dr. William Moffatt Robert & Phyllis Moore Claude Morelli & Sharon Nepstad Shirley Morrison & Cornelis Klein Baker H. Morrow & Joann Strathman John Morrow & Harriette Monroe Ted & Mary Morse Karen E. Mosier John & Patsy Mosman Brian Mulrey Dick & Sharon Neuman New Mexico Japanese American Citizens League

2019/20 Season / Volume 9 / No. 1

Candace & Frank Norris Richard & Marian Nygren Wendy & Ray Orley Ricardo Ortega Daniel O’Shea Mark Parshall Howard Paul Brian Pendley Oswaldo Pereira & Victoria Hatch Elizabeth Perkett Phil & Maggie Peterson Leslie Porter Helen Priest Shirley Puariea Regina & Daniel Puccetti Therese Quinn Jane Rael Russell & Elizabeth Raskob Robert & Marj Reed Ray Reeder Carol Renfro Patricia Renken Judith Ribble & Clark Bussey George & Sheila Richmond Matthew Roberts Rochelle Robertson Gwenn Robinson, MD & Dwight Burney III, MD Dawn Rodriguez Lisa D. Romero Kletus & Lois Rood Christopher Rosol Tom Ruddell Robert & Mary Sabatini Evelyn E. & Gerhard L. Salinger Mary Ann Sampson Scott & Carol Schaffer Roger Schluntz Travis Scholten Claude M. Senninger Arthur & Colleen M. Sheinberg Ronald & Claudia Short, in memory of Susie Kubie Beverly Simmons Katharine Sisk Norbert F. Siska Carl & Marilyn Smith Maryellen Smith Smith’s Community Rewards Karen Smoot Lillian Snyder David & Laurel Srite Bill Stanton Jennifer Starr & Eugene Lesser Geny Stein Patricia Steffes Elizabeth C. Stevens Herb Strasberg Peter & Mary Tannen Herbert & Ingeborg Farny Taylor, in honor of Julie Kavet Nina & Gary Thayer Ruth M. Thelander

David Ther Corinne Thevenet, in memory of Dick Kavet Julie Tierney John Tischhauser Thomas Tomczyk Dean Tooley Karen & John Trever J.T. Vaughn John Vittal & Deborah Ham David Wade Marmion Walsh Robert Walston Cynthia & William Warren Dale A. & Jean M. Webster Wendy Weygandt, in memory of Joe Zoeckler Wendy Weygandt, in memory of John Emerson Dixon Carol Whiddon Leslie White Katherine Whitman Brahna Wilczynski David Winter & Abagail Stewart Walter Wolf Maria Wood Kari Young Kenneth & Barbara Zaslow Diana Zavitz, in honor of Pat & Ray Harwick Rebecca Zerger Linda R. Zipp Vita Zodin Michael & Anne Zwolinski 9/10/2019

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DONOR CIRCLES .

Thank You for Your Generous Support Volunteers, Expertise, Services, & Equipment

The New Mexico Philharmonic Foundation is a new standalone 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!

NEW MEXICO PHILHARMONIC FOUNDATION Donors & Trustees Maureen & Stephen Baca, Trustee Edie Beck Mark & Beth Berger Sue Bradigan-Trujillo & Theodore Trujillo Camille Carstens Dennis Chavez Development Corp., Jorge Tristani, President Judith & Thomas Christopher Kathleen & Hugh Church Henry & Ettajane Conant Winnie Devore Tomas & Elizabeth Dodson

The New Mexico Philharmonic

Eugenia & Charles Eberle, Trustee Rosario Fiallos Lorraine B. Gordon Herman Haase Dal Jensen Robert H. & Mary D. Julyan Thomas & Greta Keleher Marlin E. Kipp Gerald Knorovsky Mary E. Lebeck Douglas Madison Robert A. Malseed Thomas Martin, Trustee, & Cynthia Phelps Donald McQuarie Claude Morelli Mary Ann & James B. Moreno

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 Daniel T. O’Shea Eric P. Parker Jerald Parker Bonnie Renfro Margaret E. Roberts Warren & Rosemary Saur Janet & Michael Sjulin Marian & Jennifer Tanau Ronald T. Taylor Robert Tillotson Dean Tooley Ann & Thomas Wood Mae S. Yee & Eric R. Brock Peter & Ann Ziegler 9/3/2019

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Chris Kershner Jim Key Jackie McGehee Brad Richards Brent Stevens

NMPHIL GUILD VOLUNTEERS Thank you for all their help and dedication!

Bill Albert Ona Albert Michael Beerman Chuck Chavez Stephanie Coxe Dianne Cress Jackie Ericksen Helen Feinberg Louise Gibson Debbie Hammack Janet Heindel Lisa Jackson June Jefford Carolyn Johnson Juliet Jones Sybil Keyser Linda Laitner Patricia Lake

Juliana Martinez Susan McGuire Anne McKinne, Chair NMPhil Guild guild@nmphil.org Edward Naimark Geri Newton Nancy Pressley-Naimark Sonja Pulvino Billie Pyzel Elizabeth Robertson Flora Sanchez Jan Strand Valari Taylor Sherri Wells Diane Werner Bronwyn Willis 9/3/2019

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nmphil.org

29

THANK YOU .

Sponsors & Grants Sound Applause

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

Bernalillo County bernco.gov

Albuquerque Community Foundation albuquerquefoundation.org

Century Bank mycenturybank.com

City of Albuquerque cabq.gov

GARDENSWARTZ REALTY Computing Center Inc. cciofabq.com

D’Addario Foundation daddariofoundation.org

French Funerals & Cremations frenchfunerals.com

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

Menicucci Insurance Agency mianm.com

Meredith Foundation

Music Guild of New Mexico musicguildofnewmexico.org

New Mexico Arts nmarts.org

New Mexico Gas Company nmgco.com

RBC Wealth Management rbcwealthmanagement.com

Sandia Foundation sandiafoundation.org

Sandia Laboratory Federal Credit Union slfcu.org

United Way of Central New Mexico uwcnm.org

Urban Enhancement Trust Fund cabq.gov/uetf

U.S. Bank usbank.com

The Verdes Foundation verdesfoundation.org

Wells Fargo wellsfargo.com

Yanni’s Lemoni Lounge yannisandlemoni.com

30

2019/20 Season / Volume 9 / No. 1

Olga Kern International Piano Competition olgakerncompetition.org

PNM pnm.com

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

Call Today! (505) 323-4343.

WE INVITE YOU TO JOIN US FOR THE

2ND OLGA KERN INTERNATIONAL PIANO COMPETITION Preliminary Rounds

October 28–29, 2019 9 am–9 pm National Hispanic Cultural Center Free Admission

Semifinal Rounds

October 30-31, 2019 11 am–5:30 pm National Hispanic Cultural Center Admission $10/per day Reserve Tickets 505.724.4771

Final Round

WITH THE NEW MEXICO PHILHARMONIC

November 2, 2019 6 pm Popejoy Hall Admission $22-$75 Students $10 Available with Sound Card Reserve Tickets 505.925.5858 nmphil.org

Award Ceremony & Winners’ Recital

November 3, 2019 3 pm Popejoy Hall Admission $25 Students $10 Reserve Tickets 505.925.5858

MORE INFORMATION

olgakerncompetition.org 505.814.5355

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